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David Peña
@davidpena21 (78)
📍 Venezuela
826 followers
114 following
229d
Movie · on Black Phone 2
Black Phone 2 | Review [ENG-ESP]
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Today, horror movies continue to be talked about despite the fact that the latest releases have not been so good. Even so, productions in this genre continue to be released that manage to make a big impact without resorting to exaggerated scares, effects, or even as a continuation of a saga. Such is the case with the film El Teléfono Negro 2, a sequel that manages to maintain the disturbing essence of the first installment, which caused a stir due to the way it was made. Now, this second part offers a deeper perspective on what it means to face the fears and shadows of the past, something that will always be on people's minds. This continuation of the story focuses on new elements, maintaining psychological tension in those heavy silences and that constant feeling that something is about to happen, even though we don't know when, and that's when a phone call changes everything.

Hoy en día el cine de terror sigue dando de qué hablar a pesar de que las últimas que han estrenado no han sido tan buenas, aun así siguen saliendo producciones de este género que logran causar un buen impacto sin necesidad de exagerar en sustos, efectos e incluso como continuación de una saga. Ese es el caso de la película El Teléfono Negro 2, una secuela que logra mantener la esencia inquietante de la primera entrega, la cual dio de que hablar por la manera como fue elaborado y ahora esta segunda parte cuenta con una perspectiva más profunda sobre lo que significa enfrentar los miedos y las sombras del pasado, algo que siempre estará en la mente de las personas. Esta continuación de la historia apuesta por una historia con cosas nuevas, mantiene la tensión psicológica, en esos silencios que pesan, y en esa sensación constante de que algo está por suceder, aunque no sepamos cuándo y es allí cuando una llamada cambia todo.

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With the first installment now available, everything is starting to take shape, and once again, we are taken back to relive the experience of Finney, a young man trying to get on with his life after the traumatic events he has been through, something that takes skill and control to manage. However, the past never completely goes away, precisely because these are very powerful memories, and what seemed to have been left behind begins to manifest itself in an unexpected way, and this is where the real adventure and fear of this film begin. The phone rings again, although it is no longer in the same place, and this time it is not just warnings, but a deeper search to discover what remains and at the same time to put an end to a situation that has been the subject of much discussion. This leads us to ask ourselves, “Will he be able to free himself from that thought?” Reality mixes with the psychological, and doubt becomes as strong as fear itself, since one wrong move can ruin everything.

Al contar con una primera entrega ya todo comienza a tomar forma y por eso una vez más, nos lleva a revivir la experiencia de Finney, un joven que intenta seguir con su vida después de los sucesos traumáticos que vivió y es algo que se tiene que saber llevar y controlar. Sin embargo, el pasado nunca se va del todo, por el mismo hecho de ser recuerdos muy fuertes y lo que parecía haber quedado atrás comienza a manifestarse de una forma inesperada y es aquí donde la verdadera aventura y miedo de esta película comienzan. El teléfono vuelve a sonar, aunque ya no está en el mismo lugar, y esta vez no solo se trata de advertencias, sino de una búsqueda más profunda por descubrir qué quedó y a la vez poder darle fin a una situación que ha dado de que hablar y por eso nos lleva a preguntarnos ¿Podrá liberarse de ese pensamiento?, como también la realidad se mezcla con lo psicológico, y la duda se vuelve tan fuerte como el miedo mismo, ya que un mal movimiento todo se arruina.

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The film maintains that great essence of horror from start to finish and is much better, highlighting the way it fits perfectly and thus creates tension for all viewers. In addition, each of the scenes is very simple, with silent streets and rooms that seem to hold memories we don't want to revisit, all with very low lighting to add a great touch, so that the tension builds and the least expected moment gives us a scare, allowing the tension to grow, which the presence of that evil person changes everything, and that's where you have to give it your all again. Another aspect of this second part is how it reflects the trauma that a person can experience and how that leads them to make decisions. It may seem that everything is fine, but in reality, it is something worse, and this is where each person deals with it in a different way.

La película mantiene esa gran esencia de terror de inicio a fin y es mucho mejor, destacando la manera como encaja a la perfección y así poder darle tensión a todos los espectadores. Además, cada una de las escenas son muy sencillas, calles silenciosas y habitaciones que parecen guardar recuerdos que no queremos volver a tocar y todo con una iluminación muy baja para darle un gran toque, para que así la tensión crezca y el momento menos esperado llevarnos un susto dejando que la tensión crezca, la cual la presencia de esa persona mala hace que todo cambie y es allí donde tiene que dar lo mejor nuevamente. Otras de las cosas de esta segunda parte es cómo se refleja el trauma que puede llegar a tener una persona y eso lo lleva tomar decisiones, que puede llegar a aparecer que todo esta bien, pero en realidad es algo peor y es aquí donde cada persona lidia con eso de una manera distinta.

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A second part that perhaps wasn't necessary, since there comes a point where it's the same despite the new elements they add. Even so, it's a horror film that does a great job of building suspense and mystery throughout the plot, as well as showing the emotional growth of the protagonist. That's why The Black Phone 2 manages to convey that internal struggle, that moment when understanding fear is the only way to free yourself from it and thus be able to control it, since it can strike again at any moment. That's why it's a sequel worth watching, as it continues the story and perhaps leaves many things to further develop the plot for a future third installment. For my part, I consider it a very good film within the horror genre.

Una segunda parte que quizás no era necesario, puesto llegará un punto donde es lo mismo a pesar de lo nuevo que le colocan. Aun así es una película de terror que muestra muy bien el suspenso y el misterio a lo largo de la trama al igual ese crecimiento emocional del protagonista. Por eso El Teléfono Negro 2 logra transmitir esa lucha interna, ese momento en el que entender el miedo es la única forma de liberarse de él y así poder controlarlo, ya que en cualquier momento puede volver a atacar. Por eso es una secuela que vale la pena ver, ya que continúa la historia y quizás deja muchas cosas para seguir creciendo la trama a una futura tercera parte. Por mi parte, la considero una muy buena dentro del género de terror.

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Takeru [The PKK]

@takeru255 (74)

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Curator and Trail Owner - Crypto trader/investor - Complex and polifacetic - Splinterlands Maverick - Venezuelan - Gamer/Otaku - Community Helper- Food Lov...

229d

Movie · on It Chapter Two

🎬 📹 It (Part 2) 🎬 📹

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Let's "float" again. Today I bring you the review I promised when I posted my opinion on It (Part 1), so today I'll give you my opinion on chapter II of this saga. Technically, I saw it first thanks to The Simpsons, which released its own version of both movies, which, by the way, I also really enjoyed, and then I saw the theatrical version. I was very pleased to see that it had similar details to the first part; that is, scenes that could be considered the same in both parts, only one with them as children and the other with them as adults.

Vamos a "Flotar" de nuevo. Hoy les traigo la reseña que les prometí cuando publiqué mi opinión sobre Eso (Parte 1), por lo que hoy les daré mi opinión sobre el capítulo II de esta saga. Técnicamente la vi primero gracias a Los Simpsons que sacó su propia versión de ambas películas, que, por cierto, también me agradó mucho y ya después vi la versión cinematográfica. Me agradó mucho ver que tenía detalles similares con la primera parte, es decir, escenas que se podrían decir que fueron las mismas en ambas partes sólo que una cuando fueron niños y otra cuando fueron adultos.

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I really enjoyed seeing Bill Skarsgård again as this enigmatic demonic clown, and the director gave him the freedom to use his talent for moving his eyes from side to side during the film's most intense moments. I also liked the cast chosen to play the now-adult children, seeing how their childhood traumas never disappeared but instead haunted them throughout their lives, preventing them from overcoming them, and how, when they came together, they felt unstoppable and powerful again in the face of any adversity.

Me gustó bastante ver de nuevo a Bill Skarsgård interpretando a este enigmático payaso demoníaco y que el director le diera la libertad de usar su talento para mover los ojos de un lado a otro en los momentos más tensos de la película. También me gustó el elenco elegido para interpretar a los niños ahora de adultos, ver cómo sus traumas de la infancia nunca desaparecieron sino que los arrastraron a lo largo de su vida sin poder superarlos y que al juntarse, se sentían de nuevo imparables y poderosos ante cualquier adversidad.

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That behavioral shift from when they were separated and acting individually, each living their lives as normally as possible, to the change they underwent when they came together as a group, was immediately noticeable to me, and I imagine many of you reading this, being the film buffs you are, also saw it. One detail I didn't particularly like was the death of one of the members of the Losers' Club. He felt weak and believed that the fear he'd lived with all those years would put his companions in more danger by feeding the clown with those fears. In my opinion, this could have been handled better and not given the plot such a tragic edge, since, regardless of what happened, in both cases, the group was affected by the loss of their friend.

Ese cambio conductual de cuando estaban separados y actuando de manera individual viviendo cada uno su vida lo más normal que podían al cambio que tuvieron cuando se juntaron grupalmente lo noté enseguida e imagino que muchos de ustedes que me leen también lo vieron como buenos cinéfilos que son. Y un detalle que no me agradó mucho fue la muerte de uno de los integrantes del Club de los Perdedores porque se sentía débil y creyó que por el miedo con el cual vivió todos esos años, haría que sus compañeros corrieran más peligro al alimentar al payaso con tales temores. Esto, a mi parecer pudo haberse desarrollado mejor y no darle un toque tan trágico a la trama, ya que independientemente de lo que hubiera sucedido, en ambos casos fueron afectados grupalmente por la pérdida de su amigo.

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Another aspect to highlight in Chapter II is that the horror they tried to develop in this film leaned more towards gore than the psychological terror shown in the first part. Yes, I liked seeing some blood in this new film, but it lost some of its impact in terms of the suspense and fear they wanted to convey with the clown. Therefore, this part could be considered more of a cathartic closure for the protagonists, finally bringing to a close the cycle that caused them so much trauma since childhood.

Otro aspecto a resaltar del Capítulo II es que el terror que quisieron desarrollar en este film se inclinó más al Gore que al terror psicológico mostrado en la primera parte. Sí, me gustó ver algo de sangre en esta nueva película, pero perdió algo de peso en cuanto al suspenso y al miedo que querían transmitir con el payaso. Por lo que se podría considerar esta parte como si fuera más un cierre catártico para los protagonistas y así finalmente cerrar el ciclo que les generó tantos traumas desde la infancia.

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Both plots are different, but they maintain the essence of Stephen King's style. If I had to choose between the two, I'd pick the first for its horror style, but I can't help but think of the incredible performances by the great cast chosen for the second part. McAvoy was brilliant, Jessica Chastain was great too, and Bill Hader was masterful because he injects a touch of dark and unexpected humor into the plot, in addition to showing his vulnerability like the others, but in his own way. And the dynamic between the seven adults works excellently, just as it did with the seven children.

Ambas tramas son diferentes, pero mantienen la esencia del estilo de Stephen King. Si me ponen a elegir entre las dos, por el estilo del terror elegiría la primera, pero no puedo dejar de pensar en las actuaciones increíbles por el gran elenco elegido para hacer la segunda parte. McAvoy lo hizo genial, Jessica Chastain también y Bill Hader lo hizo magistral porque él le inyecta un toque de humor negro e inesperado a la trama, además de mostrar su vulnerabilidad como los demás, pero a su manera. Y la dinámica entre los siete adultos funciona excelente al igual que lo hicieron los siete niños.

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SOME OTHER REVIEWS
The Black Phone (Part 2)
The Devil's Advocate
The Covenant
Jackpot!
Sing Sing
Nosferatu
I Saw The Tv Glow
The Iron Claw
Enders Game
Miss Meadows
Bullet Train
Licore Pizza
The Devil all the time

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kingsleyy
@kingsleyy (74)
📍 NIGERIA
382 followers
276 following
Humourous 001 😎
229d
Movie · on Dawn of the Dead
Dawn Of The Dead (2004)
Dawn of the Dead, released in the year 2004, has been one of the zombie movies I have had on my list to add to the collection of zombie movies I have watched, and I finally gave it a shot last week — it was worth the time.

Being a zombie movie freak and already knowing most of the possible outcomes in such movies, I went in with that mindset while also expecting a strange twist in this one. I must say, even though most zombie movies follow almost the same pattern, this one had its own twist — especially with the newborn baby delivered by an infected mother. I was hoping the child wouldn’t be infected, unlike what happened in one of The Walking Dead spin-offs, Daryl Dixon, where the baby came out uninfected. That part broke my heart because they had to shoot a baby that was less than one day old.

Ana, a medical doctor who was at the hospital, heard the news and saw a lot of patients rushed in, infected with the disease. She didn’t get to witness the full manifestation until her shift ended and she went home. Upon getting home to meet her husband, they had a good time all through the night, and when dawn came, the husband found a little girl — their neighbour — whose mouth was stained with blood. He rushed to check what was happening, and that was the end of him. The little girl bit him, and he turned into one of them and attacked his wife, Ana, but she ran for her life.

Ana later met a group of survivors, and together they entered a mall, which appeared to be safe at first. However, a more dangerous problem awaited them there, but they had to survive by all means.

To think that this movie was released in 2004 and is still a masterclass with a good storyline and impressive set design — it stands among the first set of zombie movies from which current trends adopted their ideas. It truly deserves a big applause. The zombies here are very active, full of energy, and can compete with a car’s speed. I love the idea!

The deaths, filled with emotions from strangers who turned into family, are one of the elements I expected to see, and the movie delivered that maximally.

Cinematography There is complete perfection in the acts — both the craft of the characters and the graphics. The characters are so perfect in their performances, and we can’t take away anything from the graphics either, especially the gunshots followed by the reactions and the bullet impacts on the body.

I will give it a 9/10.

Image 1 & 2
Drax
@drax (77)
892 followers
106 following
Blogger, film critic, columnist (writes in Croatian and English)
229d
Movie · on Taking Sides
Film Review: Taking Sides (2001)

Istvan Szabo stands unchallenged as arguably the greatest living Hungarian filmmaker, his reputation meticulously constructed over decades through period dramas that dissect the tumultuous twentieth century of Central Europe—a century scarred by world wars, revolutions, and authoritarian regimes. Among his distinguished oeuvre, Mephisto (1981) remains his most celebrated achievement, an Academy Award-winning masterpiece that probes the ethical compromises of an artist navigating the treacherous waters of Nazi Germany. Twenty years later, Szabo directed Taking Sides, a film that, while operating in a different historical moment, functions as a spiritual sequel to Mephisto, examining similar moral dilemmas through the lens of post-war reckoning rather than pre-war collaboration.

Based on Ronald Harwood's 1995 stage play of the same name, Taking Sides benefits from the British author's profound understanding of the Nazi era and its aftermath. Harwood, whose works frequently engaged with the complexities of Nazism, would shortly after write the screenplay for The Pianist—a film that earned him the Oscar for Best Adapted Screenplay. This historical coincidence proved ironically detrimental to Szabo's film, as it would be overshadowed by Harwood's more commercially successful project. Taking Sides presents a slightly fictionalised account of the true story surrounding Wilhelm Furtwängler, the renowned German conductor investigated by American authorities for alleged collaboration with the Nazi regime—a narrative that, while set in the immediate aftermath of World War II, resonates with unsettling contemporary relevance.

Where Mephisto chronicled the journey of a talented actor who gradually compromised his leftist principles to thrive under the Third Reich, Taking Sides unfolds in the devastated landscape of post-war Germany, where reconstruction seems a distant dream amid the growing rift between the victorious Allied powers. In the American sector, General Wallace (R. Lee Ermey) oversees the de-Nazification process and orders his subordinate, Major Steve Arnold (Harvey Keitel), to dismantle the reputation of Wilhelm Furtwängler (Stellan Skarsgård), the celebrated conductor accused of supporting Hitler's regime. Arnold's investigation is assisted by Lieutenant David Willis (Moritz Bleibtreu), a young German Jew who fled Nazi persecution, and Emmi Straube (Birgit Minichmayr), daughter of an executed resistance member. Their findings reveal a complex reality: while Furtwängler remained in Germany and maintained his prestigious position, he never embraced Nazi ideology, despised anti-Semitism, and actively used his influence to protect Jewish colleagues and associates. To Arnold, however, these nuances matter little; he fixates on Furtwängler's decision to stay in Germany rather than emigrate, determined to brand him as a collaborator regardless of the moral complexities.

Taking Sides proves a fascinating exploration of the ethical quandaries that persist even after an oppressive regime has fallen—quandaries that can be as morally complex in the aftermath as during the tyranny itself. Here, the tables have turned from Mephisto: like Szabo's earlier protagonist, Furtwängler made the fateful decision to remain in Germany, but unlike the opportunistic actor of Mephisto, Furtwängler never actively cooperated with the Nazi regime. Instead, he becomes the target of what borders on sadistic bullying by Major Arnold, an American officer armed with the unquestionable authority of the occupying power. This power dynamic creates the film's central tension—not between artist and tyrant, but between victor and vanquished, where the moral high ground proves far more elusive than the triumphant Allies would prefer.

From a technical standpoint, Taking Sides benefits from a decent budget that convincingly recreates the bombed-out desolation of post-war Germany. One particularly interesting detail is the inclusion of an actual US Army educational film instructing servicemen to view Germans with suspicion—a subtle commentary on Arnold's own prejudicial attitude toward the defeated nation. The casting is impressive, with Harvey Keitel delivering a powerhouse performance that overshadows his co-stars, including the typically reliable Stellan Skarsgård. Keitel's Arnold is a fascinating study in ideological rigidity—a man so committed to his mission of de-Nazification that he becomes morally indistinguishable from the very regime he seeks to eradicate.

Yet despite its promising premise and strong performances, Taking Sides remains a profoundly unsatisfying cinematic experience. The film is remarkably dry, by-the-book, and emotionally unengaging—a stark contrast to the nuanced, character-driven storytelling that characterised Szabo's earlier work. It feels as though the director, who had previously demonstrated such remarkable sensitivity to moral complexity, had run out of creative juices. The characters remain stubbornly one-dimensional: Arnold is pure ideological bulldozer, Furtwängler a saintly martyr, and the supporting characters little more than narrative functions. Most damningly, the film's climax—Furtwängler's eventual acquittal—is delivered indirectly, robbing the audience of the cathartic resolution the narrative desperately needs. This structural choice transforms what should be a powerful moment of vindication into a mere footnote, emblematic of the film's broader failure to engage with its material on an emotional level.

Taking Sides was generally well-received by critics upon release, but it soon faded into relative obscurity—a fate influenced by several unfortunate contextual factors. Most significantly, it premiered shortly after the September 11, 2001 attacks, entering a cultural landscape suddenly preoccupied with questions of national security, patriotism, and the morality of military intervention. Some critics interpreted Arnold's portrayal as the film's villain—as an American military officer imposing his will on a defeated nation—as reflecting the growing anti-American sentiment worldwide. In the immediate aftermath of 9/11, when American cultural production was largely rallying around patriotic themes, Taking Sides' critical perspective on American authority proved poorly timed.

Furthermore, the film suffered from being released alongside Harwood's The Pianist, which not only dominated the awards season but also presented a more conventional, emotionally accessible Holocaust narrative. Where Taking Sides demanded intellectual engagement with uncomfortable moral ambiguities, The Pianist offered the catharsis of a clear hero-villain dynamic—a contrast that proved decisive in the marketplace of post-9/11 cultural consumption.

In the end, Taking Sides represents a missed opportunity from a master filmmaker. While its subject matter remains profoundly relevant—particularly in our current era of contested historical memory and geopolitical tension—Szabo's execution proves disappointingly flat. The film's failure to transcend its stage origins, develop its characters beyond ideological archetypes, or provide emotional catharsis ultimately undermines its important thematic concerns. A more nuanced, character-driven approach might have transformed this historical inquiry into the timeless moral exploration it aspires to be. Instead, Taking Sides remains a competent but ultimately forgettable entry in Szabo's filmography—a cautionary tale about how even the most talented directors can falter when confronted with material that demands emotional depth alongside intellectual rigour.

RATING: 4/10 (+)

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229d
Movie · on Extraction
Extraction (2020) - Way More Brutal Than I Expected - REVIEW
[Source](https://tinyurl.com/4nrf22yy) With the upcoming 2026 Exraction 3 I decided to watch the first two movies back to back and I bet both movies caught most people off guard thinking it was going to be another forgettable Netflix action movie where they throw money at a big name and hope it sticks but damn this movie delivered way more than I expected. Chris Hemsworth plays Tyler Rake witch is a badass name you could give a mercenary, a broken dude who gets hired to rescue some drug lord kid in Bangladesh and the setup is basic as hell but who cares when the action is this good, the whole thing is simple, kid gets kidnapped by rival drug lord, mercenary goes in guns blazing to save him, you seen this a million times before but what makes Extraction different is how insane the action gets and how brutal it feels. This isnt your typical shoot em up where bullets fly around and nobody really gets hurt, people die in this movie and they die hard, bones break, blood sprays everywhere, its John Wick level violence but somehow it has a different sauce and way more intense, the choreography is nuts with every gunfight that feels heavy, you can hear bones cracking and see the damage he is doing to these guys and its so satisfying to watch. Hemsworth is huge compared to everyone else in the movie so when he throws people around it looks crazy, he is not doing flashy kung fu moves, he is just using his size and strength to overpower everyone witch just makes sense for his character, then the movie hits you with that insane car chase sequence that turns into a building raid that turns into a street shootout and its all done in what looks like one continuous shot for like twelve minutes straight, I know there are hidden cuts in there but it looks seamless and its right there with some of the best action sequences I have seen in years and probably one of the reasons this movie got so much attention when it drooped on Netflix.
- IMDB: https://www.imdb.com/title/tt18177528/
- Platform: NETFLIX
Rottentomatoes Rating
[Source](https://tinyurl.com/3m597rrk) The movie starts with Tyler jumping off a cliff in Australia witch honestly felt a bit much for an introduction but I get what they were trying to show us, this guy has a death wish and he does not care if he lives or dies, he is taking pills, he is drinking, doing underwater meditation where he holds his breath for way too long and you just know something bad happened to him in the past and the flashbacks to his son are a bit predictable but Hemsworth sells it. You can see the pain in his face and it makes sense why he would take a suicide mission like rescuing Ovi Mahajan Junior from the middle of Dhaka Bangladesh, the kid is the son of an imprisoned Indian drug lord and he gets snatched by Amir Asif who runs things in Bangladesh, the ransom is too high so Ovis dad tells his main guy Saju to go get the kid back or his family is done and even though this seems very straight forward it works even tho its nothing new. What matters is how everything plays out once Tyler and his team hit the ground, that first action scene where Tyler busts into the building to grab Ovi is where the movie really kicks into gear, he clears rooms like its nothing, shooting dudes left and right, using whatever he can find to kill people including a freaking rake witch is just perfect considering his name and I bet the director did that on purpose. The way they filmed that massive sequence is incredible, the camera follows Tyler and Ovi through the streets of Dhaka as they are being chased by Amirs guys and corrupt cops, it goes from inside the car to outside to different angles but it never breaks the flow and you feel like you are right there running with them. The camera work is so smooth and the action never stops, people are getting shot, cars are crashing, Tyler is reloading and fighting hand to hand all at the same time, there is a moment where he fights a kid soldier and he doesnt want to kill him so he just slaps him around and takes his gun, then more kids show up and he has to fight like eight of them without actually hurting them too bad and its both funny and intense at the same time witch was a nice touch. The movie does not hold back on showing how brutal this world is, kids die in this movie, not just the soldier kids but innocent ones too and it hits hard every time, that scene early on where the cop just shoots Ovis friend in the head for no reason set the tone and you know this is not a fun action romp, people die for real and it matters. [Source](https://tinyurl.com/3m597rrk) [Source](https://tinyurl.com/3m597rrk) What is surprising is how you really start to care about Tyler and Ovis relationship becuase at first Tyler sees him as just another job but as they spend more time together you can see him starting to give a damn about this kid and Ovi is not annoying like a lot of kid characters in action movies. He is smart, he listens, he tries to help when he can and he actually kills someone to save Tyler witch shocks both of them, that scene where they sit down and talk about Tylers dead son is where their connection realy clicks, Tyler opens up about how he ran away instead of being there when his kid was dying from cancer and you can see the regret eating him alive and Ovi does not judge him. He just listens and from that point on they have each others backs no matter what, the kid even tries to help everytime he could, improvising and almost getting killed many times working things with Tyler, these two went from strangers to ride or die in like a day and it works because both actors sell it and you actually believe they care about each other witch is rare for this type of movie. The action never lets up tho, every fight scene is different and creative, Tyler uses knives, guns, his fists, whatever he can grab to stay alive and keep Ovi safe and the fight choreography was done by Sam Hargrave who also directed the movie and you can tell he knows his stuff since he worked as a stunt coordinator on Marvel movies. He brought that experience here but made it way more grounded and realistic, when Tyler fights Saju in an apartment building and goes down several floors into the streets and they both just beat the hell out of each other with no music, just the sound of fists hitting flesh and heavy breathing, its one of the most intense fight scenes Ive ever watched and it goes on for a while too. These two guys are both special forces, they both know how to kill, and they both have reasons to win so neither one holds back, the fight ends when they realize they are on the same side and team up to get Ovi out witch leads to the final bridge battle where all hell breaks loose and things get even more chaotic. [Source](https://tinyurl.com/3m597rrk) [Source](https://tinyurl.com/3m597rrk) The ending is where the movie gets a bit messy for me because Tyler and Saju fight their way through what feels like the entire Bangladesh military to get Ovi to safety and while its cool to watch, it also feels a bit over the top even for an action movie like this, they really push it to the edge. Tyler gets shot like fifty times but keeps going witch I guess makes sense for his character since he has nothing to lose, Saju dies protecting the kid, actually killed by a sniper on the bridge scene and then Tyler makes his final stand to buy Ovi time to escape and he gets shot in the neck by that kid soldier Farhad whos been fighting the whole movie. He falls into the river, the movie cuts to black and you think he is dead but then eight months later there is a blurry figure watching Ovi at his school pool that might be Tyler and I really wish they had just let him die because it would have been a perfect ending. He sacrificed himself to save this kid and found redemption for failing his own son, instead they tease that he might be alive witch feels cheap and only exists to set up a sequel and we all know Netflix loves there sequels so I get why they did it but still. The final bridge sequence is intense as hell tho, watching Tyler take on an entire army while bleeding out is both brutal and kinda sad at the same time, you can see he is ready to die and he has finally found something worth dying for witch is saving Ovi and giving this kid a chance at life. The way they shoot it makes you feel every bullet, every punch, every moment of pain Tyler goes through and by the end you are exhausted just from watching him fight and thats probably the point of the hole thing, war is exhausting and so is Tylers life.
Overall Extraction (2020) is that movie that surprise everyone, it is a solid action movie that delivers exactly what it promises, brutal fights, insane stunts and Chris Hemsworth being a badass for two hours strait and the story is simple but it works well enough to keep you interested. The characters are likeable enough that you care when they are in danger and the action is some of the best I have seen in a Netflix movie period, it is John Wick levels to be honest. Hemsworth proves he can carry a serious action role outside of Marvel and he is not doing the funny charming Thor thing here at all. Tyler Rake is a broken man with nothing to lose and you feel that weight on him the whole time, the supporting cast is great too, Randeep Hooda as Saju is fantastic and their fight scenes together are brutal, David Harbour shows up for like five minutes as the team leader who betrays Tyler for money witch was predictable but whatever his character wasnt that important anyway. This is the type of non stop action and dont care about a deep story, Extraction is the type of movie that I cant pass on since its violent, its intense and that twelve minute one shot sequence alone is worth watching the hole thing. There is no wasting time and never tries to split the story as it knows exactly what it wants to be and doesnt try to be anything more than that, it doesnt waste time with unnecessary subplots or trying to make some big statement about war or violence, it just gives you two hours of Chris Hemsworth kicking ass and saving a kid and sometimes thats all you need from an action movie. I give it a solid 8 out of 10 because its not perfect but its a hell of a good time and way better than I was expecting from a Netflix original, heads up the sequel is as good as the first one, so if you love movies like John Wick then you will probably enjoy Extraction too, just go in expecting pure action and you wont be dissapointed at all.
#skiptvads, #inleo, #hive, #extraction, #netflix, #action, #hemsworth, #brutal, #violence, #bangladesh, #mercenary, #rescue, #fight, #choreography, #oneshot, #intense, #gunfight, #thriller, #2020, #dhaka, #stunt, #tyler, #rake, #revenge, #redemption, #chaos, #bloody, #shootout

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Javier Eslava
@javyeslava.photo (75)
📍 Venezuela
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Aquí se habla de películas/series, deportes, música y cuando sale la inspiración de fotografía.
229d
Movie · on Frankenstein
(ESP-ENG) Frankenstein | A visual gem by Del Toro - Movie Review!
**

Hola amigos, buenas vibras para todos.
**

Hello friends, good vibes to all.

Source!

Guillermo Del Toro tiene una forma muy particular de mostrarnos las cosas, es un director muy visual, muy artístico y uno al que le preocupa cada escena, cada encuadre, cada color y cada sensación que produce todo eso. Frankenstein es la confirmación de que el mexicano sigue un patrón, uno que ya habíamos visto en Hellboy, The Shape of Water y hasta en el Laberinto del Fauno; hay muchas conexiones entre estas 4 películas, muchos puntos en común que ya son una especie de firma del director que hacen que sus trabajos sean realmente espectaculares. ¿Algún ejemplo? - pues que una escena pueda perfectamente ser catalogada como una pintura, así de curado y nítido es este film.

Guillermo Del Toro has a very particular way of showing us things. He's a very visual, very artistic director, one who is concerned with every scene, every frame, every color, and every sensation it produces. Frankenstein confirms that the Mexican director follows a pattern, one we've already seen in Hellboy, The Shape of Water, and even Pan's Labyrinth. There are many connections between these four films, many commonalities that have become a kind of signature for the director, making his work truly spectacular. An example? Well, a scene could easily be described as a painting; that's how meticulous and crisp this film is.

Esta versión dista mucho al Frankenstein que conocemos y que se ha popularizado a lo largo de la historia comenzando por el de su autora original, Mary Shelley. Basicamente todo comienza con el científico Víctor Frankenstein quien en su afán de seguir y hasta superar el legado de su padre decide hacer lo imposible: desafiar a la misma muerte. Al principio él era visto y considerado con mucho respeto y admiración pero esa obsesión lo fue arrastrando hacia un lado oscuro que lo terminó volviendo casi loco y llenándolo de un ego infinito. Al final esta criatura logra la vida a través de pedazos de cadáveres pero rápidamente Victor lo menosprecia considerando que no tiene la inteligencia esperada al punto de considerarlo un gran error.

This version is very different from the Frankenstein we know and that has become popular throughout history, beginning with the original version by its author, Mary Shelley. Basically, it all starts with the scientist Victor Frankenstein, who, in his desire to follow and even surpass his father's legacy, decides to do the impossible: defy death itself. At first, he was viewed and regarded with great respect and admiration, but this obsession gradually dragged him toward a dark side that ultimately drove him almost mad and filled him with an infinite ego. In the end, this creature achieves life through pieces of corpses, but Victor quickly despises it, considering it to lack the expected intelligence, to the point of deeming it a great mistake.

Source!

Source!

Lo primero a mencionar es todo lo que tiene que ver con lo visual. Muchas de las cosas que vemos en esta película fueron construidas a mano por no decir todas, el barco en cuestión, por ejemplo, fue elaborado desde cero y esto se debe a que GDT quería que se viera lo más realista posible. El director apostó por una artesanía super tradicional alejando la producción de lo digital, de las IA y del CGI. Esto se aprecia porque hoy en día son pocos los que se atreven a hacer tal cosa, creo que el resultado final es increíble. Además de esto decir que toda la cinematografía es de lo mejor que he visto este año, la fotografía de esta película es un espectáculo, los colores, la solemnidad con la se presentan varias escenas son realmente únicas.

The first thing to mention is everything related to the visuals. Many of the things we see in this film were handcrafted, if not all of them. The ship in question, for example, was built from scratch, and this is because GDT wanted it to look as realistic as possible. The director opted for a very traditional approach, steering the production away from digital technology, AI, and CGI. This is commendable because nowadays few dare to do such a thing, and I think the final result is incredible. In addition to this, I must say that the cinematography is among the best I've seen this year. The photography in this film is spectacular; the colors and the solemnity with which several scenes are presented are truly unique.

La trama es una busqueda de identidad, esta criatura desde el momento de su creación siempre estuvo descubriendo que era, cuál era su razón de ser; un cuestionamiento constante a pesar de que no se notara del todo. Es un Frankenstein humano que poco a poco va desarrollando una personalidad y sobretodo una identidad que le permitirá quitarse el yugo físico y psicológico que Víctor ejercía hacia él. Al final todo lo logra gracias al afecto, al reconocimiento de su existencia como un ser más y al amor y cariño que la dan par de personas. Así que es esto, la historia se basa en la evolución de la criatura pero también nos da contexto del por qué Víctor es como es. Son las tramas que navegan en paralelo.

The plot revolves around a search for identity. From the moment of its creation, this creature was constantly discovering what it was, what its purpose was; a constant questioning, even if it wasn't always obvious. It's a human Frankenstein who gradually develops a personality and, above all, an identity that allows it to break free from the physical and psychological control that Victor exerted over it. In the end, it achieves everything thanks to affection, the recognition of its existence as a human being, and the love and care given to it by two people. So, that's it: the story is based on the creature's evolution, but it also provides context for why Victor is the way he is. These are the parallel storylines.

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En cuanto a las actuaciones decir que todas son un sobresaliente. Jacob Elordi interpretando a la criatura es impresionante, él en Saltburn ya se le había visto lo buen actor que es pero con este papel lo reafirma con creces. El nivel complejidad que implicaba darle vida a algo que generalmente no tiene alma era grande pero acá Elordi le regala una identidad nueva con una inteligencia racional y emocional nueva. La verdad muy buen trabajo para este actor. Mia Goth es otra que merece mucho reconocimiento, el terror gótico y ella nacieron para siempre estar juntos. Todo en ella es perfecto, su estética y su puesta en escena es brutal. La elección de GDT con ella fue la más acertada. Y finalmente Oscar Isaac como Víctor igualmente estuvo a la altura, una sobriedad del personaje muy top, es todo un viaje la vida de este científico.

As for the performances, they are all outstanding. Jacob Elordi's portrayal of the creature is breathtaking. His talent was already evident in Saltburn, but this role reaffirms it beyond measure. The level of complexity involved in bringing to life something that generally lacks a soul was significant, but here Elordi gifts it with a new identity, imbued with a new rational and emotional intelligence. Truly excellent work by this actor. Mia Goth is another who deserves much recognition; gothic horror and she were destined to be together forever. Everything about her is perfect; her aesthetic and stage presence are breathtaking. GDT's choice of her was the most inspired. And finally, Oscar Isaac as Victor was equally impressive, portraying the character with a truly masterful restraint. The life of this scientist is quite a journey.

En fin, una gran película que en lo personal la disfruté mucho. Le doy un 9/10. Como ya dije es un terror gótico lleno de simbolismos por todos lados. No se supone que de miedo, creo que es más para disfrutarlo y ya está. No esperen sustos ni nada por el estilo, admiren todo lo que ven. Les dejo el tráiler por acá abajo.

In short, a great film that I personally enjoyed a lot. I give it a 9/10. As I said, it's gothic horror full of symbolism. It's not meant to be scary; I think it's more for enjoying, that's all. Don't expect jump scares or anything like that; just admire everything you see. I'll leave the trailer below.

Source!

Source!

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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!
Shei/Harumi
@tegoshei (76)
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229d
Movie · on Totally Killer
Totally Killer (2023) --- a funny and entertaining Sci-Fi Slasher Film
We finally got a stable internet connection in the temporary place, and all that's lacking is a working computer for me to work. Well, I can use my tablet in my personal classes, so I might try just that... but that's after I get over my colds and asthma.

I'm not used to going out anymore, but I had to do it especially when my father was still stranded in his homeland. And now that I'm able to relax somehow, the built-up fatigue started bugging me.

So today, to take my mind off things for a bit, I checked out my Amazon Prime app on my tablet. I get a free subscription every month, so might as well make use of it. And the movie that caught my attention was called "Totally Killer".
[IMAGE SOURCE](https://www.imdb.com/title/tt11426232/mediaviewer/rm2529320193/)
In the town of Vernon, way back 1987, an infamous serial killing took place. Three 16-year-olds were brutally stabbed and murdered 16 times on their 16th birthday. And this was known as the Sweet 16 Killer.
[IMAGE SOURCE](https://www.imdb.com/title/tt11426232/mediaviewer/rm4043788289/?ref_=ttmi_mi_36_1)
Fast forward Halloween night thirty five years later, Jamie, a 17-year-old lady, went to a concert with her friend on Halloween night despite her mom's warnings.

Her mom, Pam, was a friend to those three that were killed 35 years ago. And while handing out candy to kids who were trick or treating, she was attacked by the killer.

While still grieving, she helped her friend Amelia in her science fair project, which is a time machine. While talking with her friend, she got this idea of going back to the past to save the Sweet Sixteen victims.

While she was alone in the area, she was attacked by a the killer, and accidentally ended up time traveling.
[IMAGE SOURCE](https://www.imdb.com/title/tt11426232/mediaviewer/rm2068598785/?ref_=tt_ph_sm)
There, with the help of her best friend's mom, tried to befriend her mother's group that were known to be bullies. They have two missions, one is to stop the killings, and two is to go back to the present.

This movie reminds me of Time Cut, a Netflix film with the same concept. They're both comedic slasher films which involves time travel, but I must say I like this one better.

It's interesting in a way because there were discrepancies in the information the main character has, making it more exciting. It's not that unpredictable, but it's entertaining.

I like the 80s vibes despite being born a few years later. And the thought of being the same age as your parents and seeing them do stupid things are both cringe and hilarious. It must have been tough for Jamie to see the teen versions of her parents.

It was a nice combination of Sci-Fi, comedy and teen slasher. I'd definitely want to watch it again with my cousins next time. It's going to be an addition to the slasher films that we enjoy watching.

Call us weird or strange, but there's just something oddly satisfying watching such films.

That's it for my post. If you're into this genre, I recommend you give this one a try. Thanks for reading and see you around!!!
Drax
@drax (77)
892 followers
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Blogger, film critic, columnist (writes in Croatian and English)
229d
Movie · on Mission: Impossible – Ghost Protocol
Film Review: Mission: Impossible - Ghost Protocol (2011)

The decline of film stars is one of the most intriguing, yet least discussed trends in 21st century Hollywood. Everyone, except the most die-hard fans, understands that the poster face today represents an increasingly insignificant reason why cinemas fill up. It is easy to imagine how ??Harry Potter would have been a hit even without Daniel Radcliffe, Twilight without Kristen Stewart, and Avatar without Sam Worthington. In some cases, the poster face can do more harm than good; Mission: Impossible III is often cited as an example, its relative commercial failure frequently attributed to Tom Cruise’s off-screen missteps, despite him previously being the undisputed face of the popular franchise. Cruise appears to have learned something from this, or at least that is the impression one can glean from the next instalment, Mission: Impossible – Ghost Protocol.

At the very beginning of the film, Ethan Hunt (Cruise), the top operative of America’s super-secret IMF agency, languishes in a Moscow prison. He is rescued through a risky operation by two colleagues—the formidable Jane Carter (Pual Patton) and technician Benji Dunn (Simon Pegg). Hunt is freed solely because he alone can execute a dangerous intelligence-gathering mission within the Kremlin itself. However, this endeavour ends in catastrophic failure, culminating in a spectacular explosion for which the IMF team is blamed. To avoid nuclear war, the American government initiates the so-called “Ghost Protocol,” disavowing the IMF entirely. Hunt and his team, now joined by intelligence analyst Brandt (Jeremy Renner) through circumstance, strive to survive, unmask the villains who set them up, and prevent nuclear apocalypse.

Cruise, who served as producer on the franchise, concluded alongside his colleague J. J. Abrams that the fourth instalment required changes—ones that would both adapt to modern times and return to the roots, or rather the formula, of the original 1960s television series. The most intriguing and potentially risky move in this regard was hiring Brad Bird as director, a filmmaker who had built an enviable reputation but exclusively within the realm of animated films. His live-action debut, however, proves the risk was worthwhile; the action flows smoothly, and exotic locations are skilfully used to create a series of striking scenes.

The second, far more significant change compared to earlier films is that, as in the series, the IMF operates as a team rather than a “one-man show.” This means Cruise is nearly on equal footing with the rest of the cast, whether it be the formidable female agent Paula Patton, comedian Simon Pegg, or Jeremy Renner (who many speculate could eventually succeed Cruise as the franchise lead). The screenplay by André Nemec and Josh Applebaum also effectively utilises contemporary events to make the plot timely and certain scenes convincing. Furthermore, a strong balance is achieved between action, humour, and “serious” content, as well as between human characters and the various “cool” gadgets that could also be considered protagonists.

Where +Ghost Protocol+_ falters is in its insufficiently defined, or rather entirely characterless, villain. Swedish actor Michael Nyqvist, known to the wider public as the journalist in the original screen adaptation of Larsson’s Millennium trilogy, is utterly bland and unconvincing as the mastermind behind the diabolical plot. French model Lea Seydoux, despite the one-dimensionality and coldness of her role, proves somewhat more effective as a hired assassin. The best impression, however, is left by Indian actor Anil Kapoor (the TV host in Slumdog Millionaire) in a comedic role as a wealthy playboy.

Although Ghost Protocol is, at its core, merely a competently made Hollywood action film, in this era when the average quality of American films is constantly declining, this is more than sufficient. It can therefore be recommended even to those who are completely indifferent towards its star.

RATING: 6/10 (++)

(Note: The text in the original Croatian version is available here.)

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@namiks
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229d
Movie · on Bio-Dome
'Bio Dome' Review: Was it really a career killer?

I wrote about Encino Man recently and noticed how much culture had shifted over the past few decades. That film featured Pauly Shore, who was once at the very height of MTV in its golden years, a Hollywood piece of gold that almost overnight turned into some common bronze. I've often read that Bio Dome was the very film that killed off his career, the true moment it was confirmed that his time was up and unlikely to return. The moment in which culture had yet again shifted, where Pauly Shore's family ties to the Comedy Store in Los Angeles couldn't revive his box office failures. Nor could it convince Hollywood to continue throwing him into films in hopes that people would stick around. The thing is, Shore had a specific 'thing'. A character. And naturally, people tend to consider them one-trick ponies which inevitably people grow tired of. Obviously Shore can't keep up the character to this day, there was a time and a place for it. It's no longer that time.

So how bad was Bio Dome? I have had this question for a while. It's rare that a single title can often kill off a career. Usually it's a gradual decline in interest that comes. Usually it's over-saturation as audiences want to see new characters and actors. I think of The Rock as a great example of this, where he himself has been considered box office poison for a long time, despite Hollywood's continued efforts to convince us otherwise, only for them to burn another hundred million dollars. It makes you think: at which point does that cultural shift take place? Can we pinpoint it based on the types of people that at one point are considered invincible and dominating the entertainment industry, only for their name to suddenly fade out of relevancy seemingly overnight? Perhaps that was the case here. Where audience fatigue had set in, and Shore was an unfortunate victim of cultural rejection and change.

After watching Bio Dome, I think there's a mixture of things that went wrong here. But also I feel some of that hate came a bit unwarranted. After all, it wasn't much later than a slew of even more terrible films with worse of attempts at comedy would appear; the wide range of mockery films of the earlier 2000s. The idiotic genre of comedy had a ton of terrible entries within it, but many managed to gain quite a cult following throughout the years, with tons of references and generally just less harsh words from critics. Dumb and Dumber found success, but was that perhaps because of Jim Carrey's luck? Now, none of this is to defend Bio Dome, it really is a hard watch. A film that takes its attempts at comedy to quite an obnoxious level. Where it needs to find its pacing and do something different but feels like the pacing never stops. It never gives itself a moment to really be normal. And that's where it gets tiresome, fast.

The story surrounds two total idiots that have girlfriends somehow, of which they love to spend their time trying to support good causes and the environment, whereas their boyfriends find stupid little lies to get out of joining them every time, only for their girlfriends to mock them and make them jealous with their own lie. This has the two driving through the wilderness only to find what they think is a mall, instead it's a bio dome which aims to put into practice a small year-long civilisation that tests how humans could live alongside nature. Something that would put research towards the concept of off-world colonies in which man must nurture an artificial landscape to maintain its support, leading to its own survival. The two idiots get stuck in it somehow, leading to them being used as a marketing tool rather than admitting on its opening (or closing) day that they already suffered contamination.

With its 1996 release, this is already the time in which Shore is on the way out. Where his Weasel character has already been a bit exhausted. This is where Shore is attempting as an actor to continue on the general idea, while still changing up his persona a bit. Particularly in the appearance. This is certainly a case of exhaustion. Where fatigue has set in. The story itself is something that holds some fruit to it. I could see the narrative holding promise, but with a more tamed set of protagonists. Not so in-your-face. But this really does reach into the territory of being insufferable, where it's hard to continue. And that's with a runtime of 90 minutes! While the film is full of other relatively big actors, and with 'career killing' types of films, it always brings the question of why it is mostly actors taking the fall for poor scripts, poor directing and generally just more risky releases. The world of cinema is a weird one.
Josehany Burgos
@josehany (80)
📍 World wide
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Makeup | Food | Personal Growth | Girl's stuff
229d
Movie · on Frankenstein
Frankenstein | Netflix Movie Review

Today I want to talk to you about Guillermo del Toro's recent film “ Frankenstein”. I felt a need to see this movie, but without any expectations.

Frankenstein is a film, or rather an adaptation of Mary Shelley's novel "Frankenstein; or, The Modern Prometheus." As I mentioned before, it was recently released and has a runtime of 2 hours and 29 minutes.

Hoy quiero hablarles de la reciente película de Frankenstein dirigida por Guillermo del Toro, tenía una necesidad de ver esta película pero sin expectativa alguna.

Frankenstein es una película, mas bien una adaptación de la novela “Frankenstein; or, The Modern Prometheus” de Mary Shelley. Como dije antes, se estrenó recientemente y tiene una duración de 2 horas y 29 minutos.

Source

Let's talk about Frankenstein:

We have Victor Frankenstein, a doctor and scientist who has dedicated his time to finding the secret of life after death, to rebirth, so to speak. He manages to create a "creature," a "monster," that doesn't satisfy him and doesn't fulfill his expectations, so he begins to feel a great revulsion toward it, toward the creature. Victor has realized that he made a mistake playing God.

Hablemos de Frankenstein:

Tenemos a Víctor Frankenstein, es un doctor y científico que ha dedicado su tiempo ha encontrar el secreto de la vida después de la muerte, al renacer, por así decirlo. Y logra crear una “criatura”, un “monstruo” que no le satisface y no cumple con sus deseos de lo que tenía previsto por lo que empieza a sentir un gran rechazo hacia él, hacia la criatura. Victor, se ha dado cuenta de que se ha equivocado jugando a ser Dios.

Source

This is just a small part of what I could tell you about the film, although I also didn't mention that it is divided into two chapters. First, we have "Victor's Tale," where we learn everything from the scientist's point of view, but we also have "The Creature's Tale," where we complement it with the other part of the vision, the creature’s part.

Esto siendo poco de lo que podría decirles de la película, aunque tampoco mencioné que se divide en dos capítulos tenemos primero a “Victor’s Tale”, donde sabremos todo desde el punto de vista del científico pero también tenemos “The Creature’s Tale” donde complementamos con la otra parte de la visión, la de la criatura.

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I'm not very demanding when it comes to movies, so I've seen some less-than-positive reviews, but from my personal experience, I found the film to be more humanized, philosophical, and even quite sad. I particularly enjoyed it. Here we see how Victor, the creature's creator, handled his relationship with the creature; we see his feelings laid bare, even his profound guilt.

On the other hand, it's truly a very gothic film in every aspect. The atmosphere and effects clearly define it; you can almost feel the coldness. This touch also makes the film feel more intense, as it already has some quite strong and violent scenes. If you prefer lighter fare, I wouldn't recommend it. Aside from that, I'd say it's a film I recommend you check out.

No soy muy exigente con las películas, por lo que ya he visto algunas review no tan positivas pero desde mi experiencia personal me pareció que la película se siente más humanizada, filosófica y hasta muy triste, particularmente me ha gustado. Aquí vamos a ver como se manejaba la relación de Victor, el creador de la criatura, con la criatura, vemos sus sentimientos expuestos y hasta la gran culpa.

Por otro lado, realmente es una película muy gótica en todos los aspectos, la ambientación y los efectos lo dejan bien marcado, puedes hasta sentir la frialdad. Además este toque también hace que la película se sienta más intensa que de por sí tiene escenas bastante fuertes y violentas que si te gustan las cosas mas ligeras no te la recomiendo para ti y fuera de esto, diría que es una obra que recomiendo puedan echarle un vistazo.
Erika Mendoza
@erigm (73)
📍 Argentina
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Libros, películas y series, videojuegos, música y mucho más. Acá van a encontrar reseñas de todo lo que me gusta y les quiera compartir.
229d
Movie · on Frankenstein
🎬 Movie Review: Frankenstein [ES/EN]
_{Cover made in Canva. Image}

¡Hola amigos! Estaba con muchas ganas de ver la nueva película de Guillermo del Toro que vuelve con una reinterpretación moderna de este clásico del terror gótico como lo es Frankenstein.

Hello friends! I was really looking forward to seeing Guillermo del Toro's new film, which brings back a modern reinterpretation of this gothic horror classic, Frankenstein.

Trama - Plot

_Source

La historia gira en torno a Víctor Frankenstein, un hombre ambicioso con delirios de grandeza que quiere desafiar a la muerte y termina creando una criatura monstruosa hecha con partes de distintos cadáveres. Con el correr de los días, mientras intenta enseñarle cosas al monstruo comienza a ser consciente de lo qué creo y termina por sentir odio y rechazo de su creación. Desamparado y rechazado, la criatura intentará encontrarle un sentido a su vida y a descubrir qué es en realidad, no sin antes atravesar una serie de obstáculos y aprendizajes que lo pondrán a prueba y donde surgirá la pregunta de quién es el verdadero monstruo en toda esta historia.

The story revolves around Victor Frankenstein, an ambitious man with delusions of grandeur who wants to defy death and ends up creating a monstrous creature made from parts of different corpses. As the days go by, while trying to teach the monster things, he begins to realize what he has created and ultimately feels hatred and rejection for his creation. Helpless and rejected, the creature will try to find meaning in its life and discover what it truly is, but not before overcoming a series of obstacles and learning experiences that will test it and raise the question of who the real monster is in all of this.

Reseña - Review

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Me gustaría empezar diciendo que esta película es una interpretación del libro de Mary Shelley del que ya se han hecho varias adaptaciones. No tuve el placer de leerlo todavía, pero luego de ver esta obra me dieron muchas ganas de hacerlo. Siento que es una historia muy impactante para el tiempo en el que fue creada y te hace reflexionar sobre la vida y la muerte. Además de que busca interpelarte y hacerte sentir diferentes tipos de emociones. Siento que es una producción muy crítica.

I'd like to begin by saying that this film is an interpretation of Mary Shelley's book, which has already been adapted several times. I haven't had the pleasure of reading it yet, but after seeing this film, I'm eager to do so. I feel it's a very impactful story for the time in which it was written, and it makes you reflect on life and death. It also seeks to challenge you and evoke different kinds of emotions. I feel it's a very critical production.

En este sentido, vemos como en la película están las dos versiones, la de Víctor, el creador, y la del monstruo, la creación. Podemos ver la vida del joven Frankenstein, cómo fue su relación con la madre y el padre y todo lo que aconteció para que se terminará convirtiendo en un científico egocéntrico y maniático con grandes aspiraciones de poder, odiado por muchos y venerado por pocos. Se puede ver cómo lucha por desafiar a la razón y crear algo nunca antes visto, pero cuando lo hace, lejos de sentirse feliz y orgulloso empieza a sentir rechazo porque comprende que desafío a todas las normas y no sabe qué hacer con el monstruo, siente que no es un ser inteligente, lo ve cómo algo errático que puede ser peligroso. Así que lo tiene encadenado y lo trata como menos que a un animal. Si me preguntan, les diré que en ningún momento empatice con este personaje.

In this sense, we see how the film presents two versions: that of Victor, the creator, and that of the monster, the creation. We witness the life of young Frankenstein, his relationship with his mother and father, and everything that led him to become an egocentric and obsessive scientist with grand aspirations of power, hated by many and revered by few. We see how he struggles to defy reason and create something never before seen, but when he succeeds, far from feeling happy and proud, he begins to feel revulsion because he understands that he has defied all norms and doesn't know what to do with the monster. He feels it is not an intelligent being, seeing it as something erratic that could be dangerous. So he keeps it chained up and treats it as less than an animal. If you ask me, I'll tell you that I never once empathized with this character.

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Luego tenemos la visión del monstruo, que lo llamamos así porque ni nombre tiene el pobre, pero de monstruo no tiene nada. La primera palabra que logró pronunciar por mucho tiempo fue el nombre de su creador, Víctor. A pesar de su apariencia grotesca, es fácil empatizar con él de verdad porque se lo ve cómo un niño indefenso que está empezando a dar sus primeros pasos por la vida, es obvio que hay muchas cosas que no comprende y lo triste de todo es que casi nadie le da la oportunidad de enseñarle y ser un poco empático con él. Encima tiene esa mezcla entre sensibilidad y rabia reprimida, pienso que es una criatura muy inteligente que al final lo único que quería era ser comprendida y amada.

Then we have the monster, whom we call that because the poor thing doesn't even have a name, but he's not a monster at all. The first word he managed to utter for a long time was the name of his creator, Victor. Despite his grotesque appearance, it's easy to truly empathize with him because he's seen as a helpless child just starting to take his first steps in life. It's obvious there are many things he doesn't understand, and the saddest part is that almost no one gives him the chance to teach him or show him any empathy. On top of that, he has this mix of sensitivity and repressed anger. I think he's a very intelligent creature who, in the end, only wanted to be understood and loved.

Básicamente esa es la dualidad del asunto, la criatura termina siendo más humana que el mismo Víctor Frankenstein y lo que terminó por generar rechazo en su creador es haberse visto reflejado en semejante monstruo. Ahí fue cuando comprendió lo lejos que llegó y cómo sería visto por el resto del mundo. Eso fue lo que terminó condenando a la criatura porque siento que si se hubiera dado la oportunidad la podría haber amado. Aunque hay una cierta redención poética hacia el final.

That's essentially the duality of the matter: the creature ends up being more human than Victor Frankenstein himself, and what ultimately led to his creator's rejection was seeing himself reflected in such a monster. That's when he understood how far he had gone and how the rest of the world would perceive him. That's what ultimately doomed the creature because I feel that, given the chance, he could have loved it. Although there is a certain poetic redemption toward the end.

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Y en última instancia, también tenemos un romance super trágico, pero significativo porque ya sabes que lo esencial es invisible a los ojos, y al final lo que importa es que al monstruo si lo terminaron amando más allá de su aspecto porque era alguien amable con sentimientos puros (todo lo que Víctor no fue). Lo único que hizo es defenderse del ataque sistemático y del odio por ser diferente al resto. Algo que me llevó es que es una película que te hace reflexionar mucho y también en esta interpretación está ese otro camino del perdón y la aceptación del destino de cada uno.

And ultimately, we also have a super tragic, yet meaningful romance because, as you know, what is essential is invisible to the eyes, and in the end, what matters is that the monster was ultimately loved beyond his appearance because he was a kind person with pure feelings (everything Victor wasn't). All he did was defend himself against the systematic attacks and hatred for being different. Something that resonated with me is that it's a film that makes you reflect a lot, and this interpretation also explores the path of forgiveness and acceptance of one's own destiny.

Debo decir que me pareció una obra bellísima, tanto por la ambientación al mejor estilo gótico, como la historia que contaron y la manera en que lo hicieron. Creo que algunas cosas se dieron de manera precipitada pero ni siquiera puedo pensar en ello porque al terminar de verla me dejó un vacío existencial. Es increíble lo que me hizo sentir la película, tiene unas frases hermosas y conmovedoras acerca de la vida, y ya que estamos en ella entonces hay que vivirla. La verdad es que la recomiendo un montón.

I must say, I found it to be a beautiful film, both for its Gothic-style atmosphere and for the story it told and the way it was told. I think some things happened too quickly, but I can't even dwell on it because it left me with a profound sense of emptiness after watching it. It's incredible what the film made me feel; it has some beautiful and moving lines about life, and since we're here, we should live it to the fullest. I truly recommend it.

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Bueno amigos, hasta acá mi opinión acerca de la película. Espero que les haya gustado y los animo a verla si les llama la atención, y sino también. Si ya la vieron me encantaría saber qué les pareció. Gracias por llegar hasta acá y apoyar mi contenido. ¡Hasta la próxima!

Well, friends, that's my opinion on the movie. I hope you enjoyed it, and I encourage you to watch it if it interests you, and even if it doesn't. If you've already seen it, I'd love to hear what you thought. Thanks for reading this far and supporting my content. Until next time!

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Movie · on The Conjuring: Last Rites
The Conjuring: Last Rites (2025) - Way Too Long And Not Scary Enough - REVIEW
[Source](https://screenrant.com) The Conjuring Last Rites is suppose to be this big emotional goodbye to Ed and Lorraine Warren but man it really feels like the movie is trying way too hard to make you cry instead of making you scared or more like this is passing the crown to her daughter but not really, at the end a few weeks latter they play the "Take Two" card and reveal its not over and they working on a spin off. This thing runs for two hours and fifteen minutes witch is just insane when you think about what we actually get, the first hour drags like crazy because were stuck watching Judy Warren and her boyfriend Tony do relationship stuff when we should be watching demons terrorize the Smurl family. I get that they wanted to make this personal and emotional since its the final movie with the Warrens but doesnt work that way, this is a horror movie about people fighting evil spirits not a romantic drama about some couple who met six months ago and now they want to get married. The movie does have some very creepy moments scattered around especially when it leans into that dark corner stuff from the first Conjuring where you know somethings there but you cant see it yet, that infinity mirror scene with Judy trying on wedding dresses was pretty cool to make it to the cover of this posts and the opening with Lorraine going into early labor because of the demon was intense too so yeah there are some cool moments and its the only reason I gave it a 7 and not a 6. But those moments get buried under all the boring family drama and by the time Ed and Lorraine finally show up at the haunted house you have already been sitting through an hour of filler content that nobody asked for, plus the CGI gets way too crazy in some parts and it takes you right out of the experience.
- IMDB: https://www.imdb.com/title/tt22898462/
- Platform: AppleTV+
Rottentomatoes Rating
[Source](https://tinyurl.com/mtex5fa3)
The movie starts back in 1964 with young Ed and Lorraine Warren checking out this antique shop because the owners father killed himself after he said something was following him around. Right away Lorraine who is very pregnant with Judy feels this presence coming from this creepy mirror and she decides she was gonna help whatever is trapped inside it, witch seems pretty condescending if you ask me like telling a demon you are gonna help it is probably not the smartest move but hey they were young I guess. The thing gets pissed off, the mirror cracks and it throws Lorraine into early labor right there in the basement while Ed is nowhere to be found because he just left her alone down there with a damn demon. The hospital scene is actually pretty horrifying because the baby comes out stillborn with the cord wrapped around her neck and you can see this demon crawling on the walls watching everything happen, I hope they were most specific to identify that specific demon as they have done before with Valak, it takes a full minute for the baby to start breathing and Lorraines begging God to bring her back but you gotta wonder if it was God or the demon that actually made that baby come back to life, sounds creepy to posses a newborn I KNOW I KNOW!!!. After that we get this long montage of Judy growing up and shes got the same psychic abilities as her mom but maybe even worse because she is constantly seeing visions and they keep trying to block them out with this stupid nursery rhyme, I have to say it felt cringe every time she show up repeating it over and over, weird we have seen Judy on other movies but I dont recall she saying this rhymes.
[Source](https://tinyurl.com/mtex5fa3) [Source](https://tinyurl.com/mtex5fa3) Then we jump to 1986 and meet the Smurl family whos living in this tiny house in Pennsylvania with like eight people crammed in there including grandparents and multiple kids. One of the daughters gets this giant creepy mirror as a gift for her first communion and the grandfather says he got a really good deal on it because the guy just wanted it gone, witch is always a red flag right there if you have been watching horror movies for a while. The mirror is already cracked from when Lorraine touched it back in 1964 and their dog hates it immediately witch is another huge red flag because you always trust the home dogo when they dont like something new in the house. The hauntings start right away with candles blowing out by themselves and then the entire ceiling collapses on the girl, the ceiling part I felt was a bit drastic to be honest almost killed her right away, if this movie was focused properly Heather the daughter would have been the main character until the Warrens showed up but thats not what happens at all, something like on the first Conjuring movie. Instead we keep cutting back to the Warrens and Judy and her boyfriend Tony who nobody cares about, we find out Tonys an ex cop who quit after he almost got shot in the face and now he is dating Judy after six months and already bought a wedding ring witch is insane. The Smurl family stuff is actually pretty creepy when the movie decides to focus on it, there was this scene where one of the girls goes into the pantry to hide and then later this creepy demon lady is just standing there holding that doll and smiling at her in broad daylight. The problem is the movie keeps jumping between the two families and it makes everything feel disjointed and messy, you never get to stay with one story long enough to actually feel scared.
Father Gordon from the first movie shows up to help the Smurl family because the church wont do anything and Ed and Lorraine are semi retired because of Eds heart problems. He goes to the house and starts blessing it with holy water and everything seems fine until he gets to the basement and the holy water starts burning on the stairs witch means shits about to get real bad. But then the movie does him so dirty because while he is waiting at the church to talk to some elders about getting official help the demon attacks him, the cables in the hallway start moving and the woman he was talking to just disappears and then his crucifix catches on fire and the demon makes him hang himself. I was like really they killing Father Gordon in the final movie??, I really thought things would ramp up after that but nope we gotta slow it back down and watch Ed give Tony a tour of the artifact room and have them play ping pong. That whole birthday party scene feels like its from a completely different movie and it just kills all the momentum, keeps creating this gaps between the getting to know family aspect to the horror part of the movie, on a horror movie you either get the audience trying to figure out the dark psychology behind it or just keep them scare but dont give me that much room to breath and turn on the lights. The artifact room scene is stupid too because Ed keeps telling everyone not to touch anything but then we know how that went couple of movies ago, if these objects are so dangerous then maybe keep that room locked up and secret instead of giving tours during your birthday party, keep them on a secure house something like that, secret place.
[Source](https://tinyurl.com/mtex5fa3) [Source](https://tinyurl.com/mtex5fa3) Eventually Judy starts having visions and she feels like somethings calling her to Pennsylvania so she just goes there by herself witch is the dumbest thing ever because when youre connected to evil spirits maybe dont follow the weird feelings you get. Ed and Lorraine find out and they drive down there to get their daughter and that is when they finally agree to help the Smurl family, Lorraine walks into the house and immediately feels the evil presence and she figures out there is three spirits there including some farmer guy who killed his wife and her mother with an axe back in the day. The house is built on what used to be their farmland and the mirror is somehow connected to all of it but the movie never really explains how any of this works, like why is this demon so focused on Judy specifically and what does it actually want. I was expecting some big data dump where they why and when the demon got focus on Judy but nope keep it for another spin off or sequel, the movie just stays vague the whole time. Meanwhile the Smurl family is still getting terrorized and one of the daughters starts puking up blood and mirror shards after the garbage truck compacted the mirror on trash day but then the mirror just magically reappears in the attic later with the same crack and everything witch makes no sense. How did it get back there and why didnt anyone notice it before, also that girl who was vomiting blood seems totally fine the next day like nothing even happened witch is ridiculous because she should have been in the hospital for weeks. Even though Im a fan of the franchise I just hate how movies with the Warrens end, its all about the love for each other and all demons will be defeated, give me a talisman, a task, a rite something that is shocking. The hole exorcism rite was too much of the same and to make things worst then we get this long wedding scene where Judy and Tony get married and there was a bunch of cameos from people in the earlier movies including James Wan the director, Ed gives Tony the keys to the artifact room like he is passing on the family business witch makes me think they are setting up a spinoff with those two and I really hope they dont, but they did, that was the whole plan, never to end the franchise, I really really hope this doesnt turn into a Fast & Furious like. Lorraine tells Ed about a vision she had of their future where they grow old together and become grandparents and keep helping people over the phone, then the movie shows us what actually happened to the real Ed and Lorraine with Ed having a massive stroke at 74 and dying five years later and Lorraine following at 92. At the very end there is a disclaimer that says the mirror in the movie was actually from a completely different case where some guy was using it in rituals to summon spirits, so the whole thing with the Smurl family and the mirror was just made up for the movie witch is pretty generous considering how much they changed from the real story and I dont mind, Im here for the entertainment but there is a limit, if they wanted to make up the Judy stuff Im fine with it but stick to it. Now its well known and how exactly feels, like the Warren exaggerate their own cases to sell books and movie rights. Then again Im here to watch a horror movie and if they have focus more on the Smurl family and added Judy as her mothers sidekick and skip the entire boyfriend wedding thing could have been way better, now Im not saying I hate the movie its just my personal preference but I do feel like Ed and Lorraine didnt seem focus on the case and is the reason why they look like rushing out, not like in the other movies.
#skiptvads, #inleo, #hive, #conjuring, #horror, #warren, #demon, #haunting, #possession, #mirror, #ghost, #exorcism, #scary, #supernatural, #spirit, #evil, #priest, #church, #family, #curse, #terror, #paranormal, #investigation, #annabelle, #judy, #smurl, #lorraine, #sequel

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