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The colors in this animated Netflix film feel like someone painted a memory in pastel with all the soft teals, peppermint pinks and deep midnight blues swirling together to make a world put together to feel like a comforting hug and a thrilling mystery. Right from the start, it’s obvious that this movie isn’t only focused on adventure but it focuses on things of the heart, magic and finding your way when the real world feels like it’s slipping.
What the Film’s About(possible spoilers)
The story follows siblings Stevie (voiced by Jolie Hoang-Rappaport) and her younger brother Elliot (Elias Janssen). Their parents (voiced by Simu Liu and Cristin Milioti) are going through some serious tension, and Stevie’s convinced that fixing their family means more than just hoping things get better. Then, one day at the library, Elliot finds a magical book that lets them enter the realm of dreams. In this dreamworld, anything is possible. Their stuffed animal talks, nightmarish landscapes, and a quest to reach the Sandman, who they believe has the power to bring their family back together.
My Not So Very Subjective Thoughts
There’s something deeply inspirational about how the film treats dreams, not just as silly fantasies, but as places where fears, hopes and the messiness of real life can mix and be understood. Stevie and Elliot’s journey is more than just a magical quest; it’s a way for them to face the big feelings they can’t quite express in the real world.
And the magic bursts off the screen. The world-building is wild, imaginative and full of little details that feel made just to make kids and of course grown-ups, who enjoy animated films, gasp.
Stevie and Elliot’s sibling bond is the emotional backbone here. They tease, they argue and carry each other. But through it all, there’s real loyalty. In their shared dream spaces, they learn that they’re stronger together than they ever thought possible.
You would literally go wow with this one because the animation is gorgeous and There’s a ton of wacky, silly stuff like dancing breakfast foods, a stuffed giraffe named Baloney Tony who brings levity and laughs.
At its core, this is a story about family. Stevie carries a lot of guilt and responsibility, and she learns she doesn’t have to carry it all by herself. I like how the film doesn’t shy away from the pain of change notwithstanding the kind of audience this was meant for. Their parents are drifting apart, and their dream world becomes a place to process that loss.
Well, I really have nothing to criticize about this film because I loved it from the jump to when the credits rolled. This film actually gave me real hope, not just for the kids on screen, but for every little part of us that feels lost when family gets messy. It’s an inspirational film because it teaches that courage. The magic is generous, the imagination is wild, and the emotional stakes are very real.
Even if it doesn’t rewrite the rules of animated fantasy, it reminds you why we make dreams in the first place and I think that’s to hold onto what we love, to face what scares us and to believe we can build something better, even if only in our sleep.
Rating: 7.9 / 10
It is an absolute heartfelt, visually delightful adventure that’s perfect for kids and grownups who miss the feeling of dreaming big. Highly recommended!
Synopsis: In an attempt to save a relationship currently in crisis (and seemingly doomed to fail), a couple decides to find refuge by moving to a small town in the countryside, further away from the urban chaos. However, they were not prepared for what they would find in their new home: a rather terrifying experience.
If someone asked you what the definition of true love is, what would you answer? I know there are countless answers to that question, but cinematically speaking, what this script manages to create in an attempt to provide some explanation for it is something totally unexpected. Relying on some clichés to give weight and form to its entire plot, but at the same time also managing to subvert the audience's expectations, the result tends to be very shocking, because it corroborates the essence of the idea that is worked on throughout its development. Without a doubt, here is one of the most interesting and creative horror movies of the entire year (or of recent years).
It all begins when Tim and Millie decide to move to a quieter town and build a more solid foundation for their relationship (which is in crisis). However, what seemed like the perfect refuge for this "romantic metamorphosis" to happen begins to transform into an unimaginable nightmare after they unknowingly experience a kind of supernatural encounter in a dark and mysterious cave (into which they fall after suffering an accident during a hike while lost and trying to find their way home). It doesn't take long for the script to sharpen its claws and sink them into the audience, bringing disturbing aspects.
Without any explanation that is substantially logical according to the physical or psychological standards of human beings, some strange events (and to a certain extent, somewhat unusual depending on each person's point of view) begin to occur. They are all intrinsically connected to the couple and how they relate to each other (especially sexually). In a bizarre way, their bodies are mutually attracted, almost magnetically, creating a total dependence between them. This reaches such a deep level that they can literally merge, thus transforming into a single person. Yes, you read that right... That's the idea.
One of the coolest things about this movie is how it can be interpreted in different ways. This creates a dynamic that paves the way very well for the development of this grotesque (in a positive way) plot, which, however absurd it may be (and it truly is), offers powerful metaphors about what love is and, moreover, makes an analogy - albeit brief - about the knots that create these loving bonds within a more solid relationship. However, there is a strong consensus that the plot is about a psychologically and physically distorted romance, because the script works a lot within the idea that limitless love is actually a cage full of traps.
If we think of romantic love as a relationship where two people always give in and what they mutually desire never faces any resistance, theoretically there would be a perfect love relationship. Even though this might seem utopian (which I personally think it is), there are people who foster this dynamic within a romantic relationship, and I think it's precisely in the idea that a relationship of this nature (without any individuality) can become sustainable that the script shines by making its intriguing analogies about the "monster" that love can eventually become. I really liked the concept within the idea.
In any case, I can't refrain from making negative comments about the script's development. Although the idea is really good, there are necessary scenes that end up minimizing the "surprise factor," and even the gore that fuels the body horror within the narrative (which could have been much better and more impactful if the CGI had been more competent). The practical effects are very interesting (much better than I imagined they could be, to be honest) and help bring more credibility to the plot, but this cannot compensate for the flaws, which in the scenes where the CGI insists on trying to be something more significant, tend to elicit involuntary laughter instead of repulsion.
There's an effective immersion in the couple's relationship and how everything around them is constructed, as well as the strong sense of mystery and tension that dominates the movie throughout the events. However, it's precisely when the most physically shocking aspects of the movie should emerge that it loses most of the visceral force it has in its subtext. In other words, it's like making a promise and not keeping it, minimizing the chances of creating something even more complex and impactful than what's in the final cut of the project. In particular, in the scenes where everything could have been more intense (visually speaking), only insinuations about what actually happened remain.
Together features Dave Franco and Alison Brie as the protagonists (and both are very good in their respective roles... bringing a natural chemistry that solidifies the bubble in which they are inserted), under the direction of Michael Shanks (who not only directed this movie, but also wrote it... and in both roles, did a very satisfactory job, despite all the misguided decisions), who managed to think "outside the box," delivering a surprising, creative, and devilishly fun movie (even with an ending worthy of involuntary laughter in a situation that should be terrifying), but which needed to be a little more courageous to embrace its brutal (and ghostly) essence.
[ OFFICIAL TRAILER ]
CRÍTICA DE PELÍCULA: “Together” (2025)
Sinopsis: En un intento por salvar una relación en crisis (y aparentemente condenada al fracaso), una pareja decide buscar refugio mudándose a un pequeño pueblo en el campo, lejos del caos urbano. Sin embargo, no estaban preparados para lo que encontrarían en su nuevo hogar: una experiencia aterradora.
Si alguien te preguntara qué es el amor verdadero, ¿qué responderías? Sé que hay innumerables respuestas a esa pregunta, pero cinematográficamente hablando, lo que este guion logra crear al intentar explicarlo es algo totalmente inesperado. Apoyándose en algunos clichés para dar peso y forma a su trama, pero a la vez subvirtiendo las expectativas del público, el resultado tiende a ser impactante, pues corrobora la esencia de la idea que se desarrolla a lo largo de la película. Sin duda, se trata de una de las películas de terror más interesantes y creativas del año (o de los últimos años).
Todo comienza cuando Tim y Millie deciden mudarse a un pueblo más tranquilo para fortalecer su relación, que está en crisis. Sin embargo, lo que parecía el refugio perfecto para que ocurriera esta "metamorfosis romántica" se transforma en una pesadilla inimaginable tras experimentar, sin saberlo, un encuentro sobrenatural en una cueva oscura y misteriosa (a la que caen tras un accidente durante una excursión, perdidos e intentando encontrar el camino a casa). El guion no tarda en mostrar su lado más perturbador, inquietando al público con imágenes perturbadoras.
Sin ninguna explicación que resulte sustancialmente lógica según los estándares físicos o psicológicos humanos, comienzan a suceder cosas extrañas (y, hasta cierto punto, algo inusuales, según la perspectiva de cada uno). Todas están intrínsecamente ligadas a la pareja y a su relación (sobre todo sexual). De una forma peculiar, sus cuerpos se atraen mutuamente, casi magnéticamente, creando una dependencia total entre ellos. Esta dependencia alcanza tal profundidad que pueden fusionarse literalmente, transformándose así en una sola persona. Sí, has leído bien… Esa es la idea.
Una de las cosas más interesantes de esta película es su versatilidad. Esto crea una dinámica que facilita enormemente el desarrollo de esta trama grotesca (en el buen sentido), la cual, por absurda que parezca (y lo es), ofrece poderosas metáforas sobre el amor y, además, establece una analogía - aunque breve - sobre los nudos que crean esos lazos amorosos dentro de una relación más sólida. Sin embargo, existe un fuerte consenso en que la trama gira en torno a un romance psicológica y físicamente distorsionado, ya que el guion se basa en gran medida en la idea de que el amor sin límites es, en realidad, una jaula llena de trampas.
Si concebimos el amor romántico como una relación donde ambos siempre ceden y sus deseos mutuos no encuentran resistencia, teóricamente existiría una relación amorosa perfecta. Aunque esto pueda parecer utópico (y personalmente lo creo), hay quienes fomentan esta dinámica en una relación romántica, y creo que es precisamente en la idea de que una relación de esta naturaleza (sin individualidad) pueda ser sostenible donde el guion brilla, al establecer intrigantes analogías sobre el "monstruo" en que el amor puede convertirse. Me gustó mucho el concepto subyacente.
En cualquier caso, no puedo evitar hacer comentarios negativos sobre el desarrollo del guion. Si bien la idea es muy buena, hay escenas necesarias que terminan minimizando el “factor sorpresa”, e incluso la violencia explícita que alimenta el horror corporal dentro de la narrativa (que podría haber sido mucho mejor y más impactante si los efectos especiales hubieran sido más competentes). Los efectos prácticos son muy interesantes (mucho mejores de lo que imaginaba, para ser honesto) y ayudan a dar más credibilidad a la trama, pero esto no compensa las deficiencias, que en las escenas donde los efectos especiales insisten en ser algo más significativos, tienden a provocar risa involuntaria en lugar de repulsión.
La película logra una inmersión efectiva en la relación de la pareja y en cómo se construye todo a su alrededor, así como una fuerte sensación de misterio y tensión que la domina a lo largo de los acontecimientos. Sin embargo, es precisamente cuando deberían emerger los aspectos más impactantes físicamente que pierde gran parte de la fuerza visceral de su subtexto. En otras palabras, es como hacer una promesa y no cumplirla, minimizando las posibilidades de crear algo aún más complejo e impactante que lo que se ve en el montaje final. En particular, en las escenas donde todo podría haber sido más intenso (visualmente hablando), solo quedan insinuaciones sobre lo que realmente sucedió.
Together cuenta con Dave Franco y Alison Brie como protagonistas (ambos muy buenos en sus respectivos papeles... aportando una química natural que consolida la burbuja en la que se encuentran), bajo la dirección de Michael Shanks (quien no solo dirigió esta película, sino que también la escribió... y en ambos roles, hizo un trabajo muy satisfactorio, a pesar de todas las decisiones desacertadas), quien logró pensar “fuera de la caja", entregando una película sorprendente, creativa y diabólicamente divertida (incluso con un final digno de risa involuntaria en una situación que debería ser aterradora), pero que necesitaba ser un poco más valiente para abrazar su esencia brutal (y fantasmal).
CRÍTICA DE FILME: “Juntos” (2025)
Sinopse: Na tentativa de recuperar um relacionamento atualmente em crise (e parece estar fadado ao fracasso), um casal decide encontrar refúgio ao se mudar para uma pequena cidade do interior, mais afastada do caos urbano. Porém, eles não estavam preparados para o que eles iriam encontrar no seu novo lar: uma experiência bastante aterrorizante.
Se alguém te perguntasse qual é a definição do amor verdadeiro, o que você responderia? Eu sei que há uma infinidade de respostas para essa pergunta, mas cinematograficamente falando, o que esse roteiro consegue criar na tentativa de trazer alguma explicação para isso é algo totalmente inesperado. Apoiando-se em alguns clichês para dar peso e forma à toda sua trama, mas ao mesmo tempo, conseguindo também subverter as expectativas do público, o resultado tende a ser muito chocante, porque corrobora com a essência da ideia que é trabalhada durante todo o seu desenvolvimento. Sem dúvidas, eis aqui um dos filmes de horror mais interessantes e criativos de todo o ano (ou dos anos mais recentes).
Tudo começa quando Tim e Millie decidem se mudar para uma cidade mais calma e construir pavimentos mais sólidos para o relacionamento deles (que está em crise). No entanto, o que parecia ser um refúgio perfeito para que houvesse essa “metamorfose amorosa” acontecesse, começa a se transformar num pesadelo inimaginável após eles vivenciarem (sem saber) um tipo de encontro sobrenatural em uma caverna sombria, e misteriosa (na qual eles caem após sofrerem um acidente durante uma caminhada enquanto estavam perdidos tentando encontrar o caminho de casa novamente). Não demora muito para o roteiro começar a afiar suas garras e cravá-las no público, trazendo aspectos perturbadores.
Sem qualquer explicação que seja substancialmente lógica para os padrões físicos ou psicológicos dos seres humanos, alguns eventos estranhos (e até certo ponto, um tanto quanto inusitados a depender do ponto de vista de cada pessoa) começam a acontecer. Todos eles estão intrinsicamente conectados ao casal, e como eles se relacionam (especialmente na parte sexual). De uma maneira bizarra, os corpos deles são mutualmente atraídos, quase que de um jeito magnético, criando uma dependência total entre eles dois. Isso chega a um nível tão profundo que eles podem literalmente chegar a se fundirem, transformando-se assim em apenas uma única pessoa. Sim, você não leu errado... A ideia é essa mesma.
Uma das coisas mais legais neste filme é como ele pode ser interpretado de diferentes maneiras. Isso acaba trazendo uma dinâmica que pavimenta muito bem o desenvolvimento de toda essa trama grotesca (positivamente falando), que por mais absurda que seja (e de fato é), traz metáforas contundentes sobre o que é o amor e além disso, faz também uma analogia - ainda que breve - sobre os nós que criam esses vínculos amorosos dentro de um relacionamento mais sólido. Porém, há o forte consenso de que à trama se trata de um romance psicologicamente e fisicamente deturpado, porque o roteiro trabalha muito dentro da ideia que um amor sem limites é na verdade uma jaula cheia de armadilhas.
Se nós pensarmos no amor romântico como uma relação onde duas pessoas sempre cedem e o que elas mutualmente desejam nunca precisa enfrentar nenhum tipo de resistência, teoricamente havia uma relação amorosa perfeita. Ainda que isso possar como uma utopia (o que eu particularmente acho que seja), há pessoas que fomentam nessa dinâmica dentro de uma relação amorosa, e penso que é precisamente na ideia de que um relacionamento dessa natureza (sem qualquer individualidade) pode vir a se tornar sustentável que o roteiro brilha ao fazer suas intrigantes analogias sobre o “monstro” que no qual o amor pode eventualmente se transformar. Eu realmente gostei do conceito dentro da ideia.
De todo modo, não posso me abster de fazer comentários negativos sobre o desenvolvimento do roteiro. Embora essa ideia seja realmente boa, há cenas necessárias e que acabam minimizando o “fator surpresa”, e até mesmo o lado gore que alimenta o body horror dentro da narrativa (que poderia ter sido muito melhor e mais impactante se o CGI tivesse sido mais competente). Os efeitos práticos são muito interessantes (bem melhor do que imaginei que poderia ter sido, para ser sincero) e ajudam a trazer mais credibilidade para a trama, mas isso não consegue sustentar as falhas, que nas cenas onde o CGI insiste em querer ser algo mais significativo, tendem a arrancar risos involuntários ao invés de repulsa.
Há uma imersão eficiente no relacionamento do casal e em como tudo ao redor deles é construído, bem como a forte sensação de mistério e tensão que domina o filme ao longo dos acontecimentos. No entanto, é justamente quando os aspectos mais fisicamente chocantes do filme deveriam emergir, que o filme vai perdendo a maior parte de toda força visceral que tem nas suas entrelinhas. Em outras palavras, é como fazer uma promessa e não cumprir, minimizando as chances de criar algo ainda mais complexo e impactante do que está no corte final do projeto. Em especial, nas cenas onde tudo poderia ter sido mais intenso (visualmente falando), ficam só as insinuações sobre o que de fato aconteceu.
Juntos traz a dupla Dave Franco e Alison Brie como protagonistas (e ambos estão muito bem seus respectivos papeis... trazendo uma química natural que sedimenta a bolha na qual eles estão inseridos), sob o comando de Michael Shanks (que não apenas dirigiu este filme, como também o escreveu... e em ambas funções, fez um trabalho bem satisfatório, apesar de todos as decisões equivocadas), que conseguiu pensar “fora da caixa”, entregando um filme surpreendente, criativo e diabolicamente divertido (até mesmo com um final digno de risadas involuntárias numa situação que deveria ser assustadora), mas que precisava ser um pouco mais corajoso para abraçar à sua essência brutal (e fantasmagórica).
Cada vez es más habitual ver películas de empresas, e incluso de algunas más actuales. Ese es el caso de este título, que muestra los inicios de Tinder, bajo los ojos de una de las cofundadoras, Whitney Wolfe Herd. Estrenada este año, siendo su directora Rachel Goldenberg.
It is increasingly common to see films about companies, even some of the more recent ones. Such is the case with this title, which shows the beginnings of Tinder through the eyes of one of its co-founders, Whitney Wolfe Herd. Released this year, it was directed by Rachel Goldenberg.
Sinopsis: Whitney Wolfe Herd, una joven egresada quiere crear un impacto positivo en la vida, para ello decide aceptar una oferta de trabajo en una empresa enfocada en startups. Y si bien logra ser una de las fundadoras de Tinder, el mezclar amor, negocios y un entorno tóxico, generará una situación en ella, para la que tendrá que reinventarse de nuevo.
Synopsis: Whitney Wolfe Herd, a young graduate, wants to make a positive impact on life, so she decides to accept a job offer at a company focused on startups. And while she manages to become one of the founders of Tinder, mixing love, business, and a toxic environment will create a situation for her in which she will have to reinvent herself again.
Una trama enfocada en mostrar los desafíos por los que tiene que pasar Whitney. He de decir que mucho de lo visto en tramas parecidas se repite, en todo caso lo nuevo es lo relativo a la visión femenina, ya que en una industria mayoritariamente masculina, los desafíos son diferentes. Por otro lado, intenta mostrar que difícil es seguir unos valores, ya que en un contexto de alta competencia las emociones, o sentimentalismos, se ven como debilidad.
The plot focuses on the challenges Whitney has to face. I must say that much of what we see in similar plots is repeated, but what is new is the female perspective, since in a predominantly male industry, the challenges are different. On the other hand, it tries to show how difficult it is to follow certain values, since in a highly competitive environment, emotions or sentimentality are seen as weakness.
Si bien toda la parte de Tinder es interesante, cuando comienza a mostrarse el 2do proyecto, llamado Bumble, se acorta mucho lo mostrado, siendo ya casi un resumen. Además, si bien se habla de ciertas conductas tóxicas de la protagonista, se muestra poco en realidad. Lo bueno es que el ritmo es bueno, y no deja de interesarte cómo acabará la historia.
While the whole Tinder part is interesting, when the second project, called Bumble, begins to be shown, what is shown is greatly shortened, becoming almost a summary. In addition, although certain toxic behaviors of the protagonist are mentioned, little is actually shown. The good thing is that the pace is good, and you remain interested in how the story will end.
Un punto realmente malo es la actuación, unos secundarios dejan mucho que desear, y creo que la directora no debió dejar pasar ciertas escenas, que caricaturizan a los personajes. Los otros aspectos técnicos son correctos, sin ser resaltantes.
One really bad point is the acting; some of the supporting actors leave a lot to be desired, and I think the director should not have allowed certain scenes that caricature the characters. The other technical aspects are fine, without being outstanding.
Si bien pueda parecer que no me gustó la película, la realidad es que me entretuvo y con ello me basta. Además que me permitió conocer más de los orígenes de una marca conocida como es Tinder.
Although it may seem that I didn't like the film, the truth is that it entertained me, and that's enough for me. It also allowed me to learn more about the origins of a well-known brand like Tinder.
Three years after achieving exceptional success with his thriller Mystery Road, Ivan Sen wrote the screenplay, directed, handled cinematography and editing, and composed the music for its sequel titled Goldstone. In it, Aaron Pedersen reprises the role of Aboriginal police detective Jay Swan. The plot, set several years after he exposed corruption in his hometown, this time takes place in Goldstone, a remote mining town in the Australian outback. Swan arrives there to investigate the suspicious disappearance of an Asian tourist, but his investigation is seriously jeopardised from the outset by a relapse into alcoholism, which lands him in prison under the watch of Josh (Alex Russell), a local officer who initially fails to recognise him as a colleague. After Jay sobers up, Josh reluctantly agrees to assist him in the investigation, and soon both become targets of clear hostility from the two most powerful figures in the area—Mayor Maureen (Jackie Weaver) and Johnny (David Wenham), the director of the local Furnace Creek mine, who is on the verge of finalising a lucrative deal with the local Aboriginal tribe to expand mining operations onto their tribal land. Jimmy’s (Dacid Gulpilil) opposition to the entire process sparks a chain of violence involving local bikers, who are likely being aided by Maureen and Johnny in some dirty dealings. Josh, meanwhile, follows a lead to a local bar where he befriends May (Michelle Lim Davidson), a Chinese entertainer whom he suspects is a trafficked prostitute and decides to help.
In many respects, Ivan Sen has chosen to retain the style credited with the success of his previous film, particularly the exceptional attention to cinematography and the use of the Australian outback and its landscapes as a key element in crafting the film. Inevitable comparisons with Mystery Road, however, suggest that his second film is much smoother and more conventional, although this is not immediately apparent with the protagonist, who at the outset—with long, unkempt hair and completely drunk—appears as the antithesis of the type one would trust to uphold justice in the Australian outback. Pedersen, however, handles the role exceptionally well, including the melodramatic elements Sen has layered onto his character—such as a family tragedy he understandably attempts to drown in alcohol or the company of a prostitute, whose services he will use shortly after officially interrogating her. However, as the film progresses, Jay is gradually relegated to the background, with Josh emerging as the true protagonist—a seemingly much 'cleaner' and more polished character, despite also resorting to the services of prostitutes. This conventionality is further accentuated by the much more frequent use of often melodramatic music, as well as certain 'buddy-buddy' clichés. However, the problems become much more pronounced as the film approaches its conclusion, particularly as it becomes clear that Sen has attempted to cram too many elements into the film to appeal to progressively-minded critics—racist exploitation of Australian Aboriginal people (the central theme of the previous film), capitalist greed triggering environmental disaster and corruption, and finally, sexual abuse through trafficking. All these themes are not well integrated into a coherent whole, and an additional issue is the finale, which, despite featuring another impressive gunfight, includes some overly confusing elements. Even greater disappointment comes from the otherwise compelling Weaver and Wenham, whose characters are rendered overly caricatured. Despite this, and despite likely being seen as a disappointment when compared to Mystery Road, Goldstone deserves recommendations as an unusual yet solid film.
RATING: 6/10 (++)
(Note: The text in the original Croatian version is available here.)
Without wasting any time, the story begins with Marissa picking up her 5-year-old son Milo from the house of a school friend with whom he had arranged to play. Or rather, she had arranged it over the phone with the boy’s mother; when she arrives at the house and asks, she discovers that the owner does not know the people she mentions, and this is where a mother’s despair and the search for Milo begins. This miniseries is right up my alley because I love these kinds of plots involving police searches and suspense, where in the end we learn the secrets of all the family members and the reasons behind the events.
Hola amigos, bienvenidos a mi blog
Sin perder el tiempo, la historia comienza con Marissa recogiendo a su hijo Milo de 5 años en la casa de un amiguito de la escuela con el que había quedado para jugar. O mejor dicho, ella había quedado por teléfono con la madre del niño; cuando llega a la casa y pregunta, descubre que la propietaria no conoce a las personas que nombra, aquí es donde empieza la desesperación de una madre y la búsqueda de Milo. Es una miniserie hecha a mi medida porque me encantan este tipo de tramas que involucra búsqueda policial y suspenso, dónde al final nos enteramos de los secretos de todos los integrantes de la familia y el porqué de los sucesos.
The first thing that attracted me was the cast, which includes Sarah Snook (Marissa Irvine), Jake Lace (Peter Irvine), Dakota Fanning (Jenny), Sophia Lillis (Carrie), and Michael Peña (Detective McConville). After reading the plot, I was hooked. Each of the eight episodes provides information to get to know each character and find out who has real mental health issues. At first, it seems that this wealthy family has everything figured out for themselves and their loved ones, but we gradually realice that there are manipulative people who just need to be needed and see themselves as the protectors of everyone around them. From the first episode, we have a culprit, and little by little, we discover everything this person did to get close to the child. That’s a lot of work for just a kidnapping for money, and that’s what we have to find out.
Lo primero que me atrajo fue el elenco compuesto por Sarah Snook (Marissa Irvine), Jake Lace (Peter Irvine), Dakota Fanning (Jenny), Sophia Lillis (Carrie) y Michael Peña (Detective McConville) y luego de leer la sinopsis, quedé enganchada. Cada uno de los ocho capítulos tiene información para conocer a cada personaje, saber quienes son los que tienen verdaderos problemas mentales, pues al principio parece que está familia bien acomodada económicamente tiene todo resuelto para ellos y para sus seres queridos, pero nos vamos dando cuenta que existen personas manipuladoras que lo único que necesitan es ser necesitados y verse como los protectores de todos a su alrededor. Desde el primer capítulo se tiene un culpable y poco a poco se van descubriendo todo lo que está persona hizo para poder acercarse al niño. Eso es mucho trabajo para solo ser un secuestro por dinero y es lo que hay que descubrir.
Another topic that comes up quite often is what mothers who work outside the home have to endure in order to fulfill all that is expected of them. No mother wants to be labeled as neglectful because she is not at home 100% dedicated to her children. How harsh society can be when a mother has to go out to work out of necessity or because she wants to feel professional and decides to leave her child in the care of a nanny. Sometimes even husbands are unable to provide the support that is needed because both are supposed to be professionals, or the children themselves feel abandoned. I don’t know if the idea was to show that children miss their mothers when they go out to work, although it has to be that way, it’s logical. But in one small scene, Marissa remembers her son telling her that he didn’t want the nanny to go because that meant she wouldn’t be there, and in several scenes we see Marissa feeling guilty for not having been with her son, for not having paid attention to the details, or remembering that when certain things happened she had left him in the care of the nanny because she had to work. In the end, the message I got was that a mother will do anything for her child and that it's better to be alone than in bad company.
Otro tema que se toca bastante es lo que tienen que soportar las madres que trabajan en la calle para poder cumplir con todo lo que se espera de ellas, en ningún momento una madre quiere ser catalogada como descuidada por qué no está en la casa 100% dedicada a sus hijos. Que tan dura es la sociedad cuando una madre tiene que salir a trabajar por necesidad o por qué quiere sentirse profesional y decide dejar a su hijo al cuidado de una niñera. En ocasiones ni los mismos esposos son capaces de prestar el apoyo que se necesita porque se supone que los dos son profesionales o los mismos niños se sientes abandonados, y no se si la idea fue dar a mostrar que a los niños les hace falta la mamá cuando salen a trabajar, aunque tiene que ser así, es lógico. Pero en una pequeña escena, Marissa recuerda que su hijo le dijo que no quería que la niñera fuera porque eso quería decir que ella no iba a estar y n varias escenas vemos a Marissa sintiéndose culpable por no haber estado con su hijo, por no haber prestado atención a los detalles, o recordando que cuando pasaron ciertas cosas ella lo había dejado al cuidado de la niñera porque tenía que trabajar. Al final, el mensaje que obtuve es que una madre hace lo que sea por su hijo y que es mejor estar sola que mal acompañada.
Bazingaaa! 😁 To be honest, i don't know how they did it, but The Big Bang Theory is the coolest show for me. I mean, four super-smart guys, but totally out of touch with reality, obsessed with comics and physics, have become my ultimate comfort. Why? Because the humor is clean, simple and makes me feel good. When i find a clip on YouTube, i stop and watch it. It's like a quick relaxation ritual, i know I'm in for a laugh.
Every time i rewatch a scene, i don't just see actors....i see a bunch of weird friends who showed me that it's OK to be completely, absolutely, gloriously weird. This show didn't make geek culture cool, it made it real and super funny.
___
The heart of the whole comedy is, of course, Dr. Sheldon Cooper. This guy is not only smart, he's a machine of jokes based on rules. My nostalgia begins and ends with him, with his total refusal to accept normal reality. I often wonder😁 what life would be like with a Roommate Agreement in place!
His humor never goes out of style because it's predictable. Every time i hear the famous knock-knock-knock, Penny!... i feel a thrill of anticipation. I know a ridiculous moment of rigidity is coming and I'm laughing before he can finish. And His Place on the Couch? It's legendary! It's the clear symbol of his obsessions, and who doesn't have his obsessions? When someone, anyone, violates it, i don't just laugh at the scene, i laugh because i find myself in his little crises of order.
And, of course, Bazinga! That triumphant cry of a genius child is my favorite moment. It's the clip i instinctively seek out when i need a quick positive energy boost.
If Sheldon is the crazy guy, Leonard Hofstadter is the normal guy (at least for this group). His relationship with Penny is essential. What i love most is that they fell in love precisely because of their differences.
Leonard, full of insecurities, was always the guy who tried to be cool, and every awkward failure to impress Penny is adorable. Penny, with her practical sense, not only translated the world to the boys, but forced them to grow up. To me, their story clearly demonstrates that a real connection beats any physics formula.
What keeps me coming back to the YouTube clips is the sincere friendship between Howard and Raj.
Howard started out as a bit of a talker, but i loved him as he grew. I fondly remember the jokes with his mother. Hearing Mrs. Wolowitz scream from upstairs (the best unseen character of all time!) gives me the chills. The fact that this nerd has made it to space is the best proof that dreams, no matter how absurd, can come true.
And Raj?...his struggle with selective mutism was super funny, but also touching. I'm always looking for clips of him drunk, when he becomes an absolutely ridiculous Don Juan or when he talks about his life with Cinnamon...a precious delight.
For me, The Big Bang Theory is a safe place that is open to everyone. Its humor appeals to anyone, regardless of passions, because it's actually about relationships and how we all struggle to be adults. The jokes about friendship, love and character development are universal and touch a sensitive chord. Every short clip, whether it's an unnecessary argument about movies or simply the gang huddled on Sheldon's couch, is a homecoming to a family you can choose.
This series whispered to me that it's OK to be weird, but the most important message is that it's OK to be human. And that your equally weird friends are the coolest. It's a joy I can recommend to anyone who wants to relax and watch a comedy with soul. And as long as Sheldon has his couch😊, laughter will never stop helping me relax in my world.
[Alien 2]
Noah Hawley has been given the green light to work on a second season. The first season was, in my opinion, so sloppily written and therefore downright repulsive, that I don't want to return to Season 2. Even if it had the best script in television history. I understand a lot, but Alien had too many holes for me to defend it. And above all, he wanted to do it.
https://variety.com/2025/tv/news/alien-earth-renewed-season-2-noah-hawley-overall-deal-fx-1236575612/
[Shogun]
We've met the team that will be making season 2. Filming begins in January. The creators are promising a great show. I hope I won't be disappointed. The second season has potential, but only if they have a really good idea for it. Ren Meguro, an actor and musician, has also joined the cast. Sanada announced that the second season will be even better than the first.
https://variety.com/2025/tv/news/shogun-season-2-cast-writers-directors-fx-1236580525/
Alien: Romulus 2 | Alien S2 | nowe dzieło showrunnera The Simpsons | Percy Jackson S2 | nowa chronologia w Marvelu | Miss Piggy dostanie swój film | Reasonable Doubt S4 | Toy Story 5 trailer | Tell Me Lies S3 | Marvel wynagradza reżysera WbN | WonderMan trailer | Zootopia 2 | 24 Hours - będzie kontynuacja? | BP 3
[Alien 2]
Noah Hawley dostał zielone światło na prace nad 2 sezonem. Pierwszy był imo tak bardzo niechlujnie napisany, a przez to wręcz odpychający, że nie chcę wracać na S2. Choćby miał najlepszy scenariusz w historii telewizji. Ja rozumiem wiele, ale Alien miał zbyt wiele dziur bym mógł go obronić. A przede wszystkim chciał to zrobić.
https://variety.com/2025/tv/news/alien-earth-renewed-season-2-noah-hawley-overall-deal-fx-1236575612/
[Shogun]
Poznaliśmy ekipę, która zrobi 2 sezon. Zdjęcia ruszają w styczniu. Twórcy zapowiadają wielkie show. Mam nadzieję, że nie rozczaruję się. Drugi sezon ma potencjał, ale tylko jeśli mają na niego naprawdę dobry pomysł. Do castingu dołączył również Ren Meguro - aktor oraz muzyk. Sanada zapowiedział, że drugi sezon będzie jeszcze lepszy niż 1.
https://variety.com/2025/tv/news/shogun-season-2-cast-writers-directors-fx-1236580525/
Written by: Kurt Sutter
Directed by: Clark Johnson
Running Time: 45 minutes
The Shield, renowned for its unflinching portrayal of morally compromised policing within the harsh realities of Los Angeles’s Farmington district, reached a pivotal juncture with its fifth-season episode, Blowback. While still anchored in the show's signature gritty aesthetic and the ethically murky operations of Vic Mackey’s Strike Team, this instalment marked a distinct, and arguably concerning, shift. It began to subtly but unmistakably veer away from its grounded origins towards a more heightened, "soapish" melodrama, incorporating plot elements that felt increasingly contrived and "out there," threatening to undermine the very authenticity that defined the series’ early brilliance.
Central to Blowback is the precarious maintenance of the Strike Team’s Faustian bargain with local drug kingpin Rondell Robinson. Their arrangement, predicated on keeping street-level drug prices artificially low to suppress associated violent crime within Farmington, faces immediate jeopardy. Armenian gangsters seek to flood Robinson’s territory with high-purity Peruvian cocaine, destabilising the fragile equilibrium. In response, the Strike Team resorts to blatantly illegal methods, wiretapping the Armenians’ hangout. After painstakingly listening and translating their conversations, they pinpoint the drug delivery. The ensuing raid is meticulously planned for maximum personal gain: it promises to burnish their image as efficient crime-fighters (potentially easing pressure from Captain Aceveda), while also ensuring a portion of the seized narcotics finds its way back to Robinson (preserving their arrangement) and a significant sum of cash lines the Strike Team’s pockets. This intricate, self-serving calculus remains the show’s strongest, most plausible element, embodying its core theme of institutional corruption.
However, Aceveda appears to see through their scheme. Citing the tragic death of Officer Terry Crowley during a previous similar operation as justification, he insists on uniformed backup for the raid. The operation itself succeeds tactically – arrests are made, a substantial stash is seized – but the aftermath reveals the rot. Julien Lowe, part of the mandated backup, cannot ignore the sight of Strike Team members surreptitiously loading "bricks" of cocaine into their bags, sparking immediate suspicion. Claudette Wyms, ever the voice of cautious reason, warns Julien against approaching superiors without absolute certainty, understanding the catastrophic risks of accusing powerful colleagues. Yet, burdened by conscience and ambition, Julien confides in Aceveda, who recognises this as the long-sought opportunity to finally dismantle Mackey’s crew.
This opportunity explodes dramatically due to Shane Vendrell’s characteristic recklessness. Celebrating the raid’s success, he visits his girlfriend Amy (Amy Moon), only to later discover the incriminating police Lincoln Navigator – laden with the stolen drugs – being stolen. What follows is a frantic, almost farcical race against time: Aceveda seeks the vehicle to secure evidence against the Strike Team, while Vic’s men scramble to erase it. Leveraging Lester Hoffman, a corrupt LAPD officer desperate for inclusion, they trace the vehicle through a convoluted chain – from chop-shop mechanic Mark (E. Roger Mitchell), via middleman Ricardo (Gary Douglas Kohn), to the arrest of Deena (Kimberly McCullough) by Danny and Julien (who promptly alerts Aceveda). Yet, the Strike Team narrowly wins the final lap. Deena had already sold the drugs to fence Antoine (Lee Cherrey), who passed them to a Frenchman, Freddie, whose subsequent fatal overdose conveniently removes the primary evidence just before Aceveda’s arrival. This sequence, while undeniably tense, relies heavily on a series of increasingly improbable coincidences that strain credulity, pushing the narrative firmly into the realm of heightened, almost pulp-fiction drama that feels alien to The Shield’s earlier, more restrained tone.
Parallel personal storylines further amplify the episode’s melodramatic leanings. Julien confronts his internal conflict head-on, confessing his lover Tomas Motyasik that is he is torn betweern his recently acknowledged homosexuality and his deep-seated Christian beliefs. Simultaneously, Vic and Corrine receive the devastating news that their son Matthew is autistic, a profoundly human moment that risks being overshadowed by the surrounding chaos. Blowback attempts to frame itself as a "day in the life" snapshot, but the outrageous antics of the Strike Team and the sheer accumulation of convenient, high-stakes coincidences transform what could have been routine procedural tension into an operation of almost cinematic, and ultimately less believable, danger. There is, admittedly, a semi-comic, almost slapstick quality to the Strike Team’s increasingly desperate scramble to reconstruct the criminal chain and locate the vehicle before Aceveda, offering moments of dark levity.
Kurt Sutter, the episode’s writer and a series regular, makes a formidable impression in a dual role, portraying the terrifying Armenian assassin Margos Dezerian. Dezerian is a force of nature – largely silent except for a bizarre compliment to Danny’s feet – yet radiating palpable menace. His ruthlessness is established immediately by executing a fellow Armenian pre-raid, later killing another prisoner in custody, and ultimately escaping LAPD transport. Sutter’s creation injects a potent, almost operatic villainy that, while effective, further contributes to the episode’s departure from gritty realism. Meanwhile, Danny’s subplot sees her preparing for the sergeant’s exam, tutored by Dutch Wagenbach, whose unspoken romantic feelings become increasingly evident. The tension culminates in a passionate between Danny and Vic, witnessed by Dutch after his departure, a moment of raw personal drama that, while compelling character development, undeniably leans into the very "soapish" territory the series had previously avoided.
In conclusion, Blowback remains a gripping hour of television, driven by strong performances (particularly Sutter’s Dezerian) and the inherent tension of the Strike Team’s precarious existence. However, it also represents a significant turning point where The Shield’s narrative ambition began to outpace its foundational commitment to gritty plausibility. The intricate drug plot, while initially compelling, collapses under the weight of its own convoluted coincidences, and the parallel personal dramas, though emotionally resonant, flirt dangerously with melodrama.
This is another one of those films that was damn near perfect but they threw a lot of character development into the middle of the film that I largely felt was unnecessary and therefore the film ended up being 2 hours long. I strongly believe that there is some sort of unwritten law in Hollywood where if you want to be in the award picture, you MUST make a film that is 2 hours long.
That being said, this was an enjoyable experience overall that had me feeling a wide range of emotions throughout. The casting was done pretty well with both Kirsten Dunst and Channing Tatum outperforming what I expect of them, especially Tatum.
This is a story about Jeffrey Manchester who is a real life person who really did most of what is presented in the film. I am always a bit hesitant to believe "true stories" ever since the Coen Brothers completely duped me with their Fargo "true story* that was 100% made up.
But I did my background check after watching this movie and found out that while some rather inconsequential liberties were taken for certain parts of the plot, the events portrayed are extremely accurate and come from speaking to Jeffrey Manchester himself over the course of more than a year.
The story about Jeff is that facing financial difficulty and marriage and parenting woes that revolve around money, he decides to break into places and rob them using a rather inventive technique. He would break into businesses via going through the roof and then wait there until the staff showed up in the morning. He was a very polite thief and ultimately his kindness and treating his prisoners with respect was ultimately why he ended up getting caught. He did go on with this for a very long time while completely evading authorities though.
This isn't a spoiler because it is in both the poster and the trailer but the film focuses mainly on how he lived inside of a Toys 'R Us store for months while he waiting for the heat on him to die down. He would live off the snacks in the store and on occasion leave at night to go and get supplies only to return and set up some sleeping quarters in an area that the staff were not going to discover during the day.
After a while though, he ended up meeting up with some church folks who didn't know about his criminal background and they accepted him as one of their own. This is where he gets a bit sloppy and as the viewer you will find yourself saying "oh man! That's gonna get you caught!" many times while all of this is going on.
The filmmakers did a good job of showing what I think was the real situation and how most people would eventually want to be able to return to "regular life" instead of always living on the run because his captive life in the toy store wasn't really all that different from being in prison since it was always very dangerous for him to break from his routine.
One of the only things that disappointed me about the entire film, other than the drawn out middle part, was Peter Dinklage having a role in the film at all. He just seems really out of place in his role as the manager at the Toys 'R Us and I can't really even point my finger at why. Probably because try as he may, I can't really take him seriously as an authority figure.
The film is narrated often by Jeffrey, but they do a good job of doing mostly showing and not telling throughout the entire movie. I frequently get annoyed at films that are over-narrated but in this one the things they do narrate would honestly take too long to show it on screen rather than just have the narrator tell you about it. The film is too long already so I am glad they made this decision.
While this is primarily a dramatic and serious film, there is also a decent amount of comedy in there and it's easy to understand how someone who spends months hiding inside of a toy store would start to go a bit loopy.
I looked up online and found out that the filmmakers actually found an old Toys 'R Us and ordered a ton of retro toys online to fill up the shelves and as someone that was alive and absolutely loved Toys 'R Us when they were in their heyday, I really appreciated the authenticity of all of that.
You will feel yourself going through a wide range of emotions while watching this film because at the end of it all the things that lead Jeff to be in this position in the first place was societal pressures of consumerism and his inability to keep up with that without resorting to a life of crime. Jeff, the real person and as portrayed in the film, is not a bad guy, he just can't keep up with the Jones' and he sees no way to rectify this situation other than robbing others. I think they missed a great opportunity there to talk about the dangers of such things but whatever... it's a good film.
Should I watch it?
Well this is where things get a bit tricky and depends on you as a person. If I hadn't already had a productive day when I sat down to watch this I would have started to feel anxious in the middle of the film where things just seem to drag on. You'll know what I mean when you get there. Busy people will likely feel as though the film should be about 30 minutes shorter than it is and I would agree with them in this thinking.
I believe that almost anyone will enjoy this movie if they can be in the right state of mind when they do sit down to play it. If you are the type of person that is doing multiple things at once, as I frequently am when watching movies, you'll be ok with this one because a good 1/3 of the film can be skipped entirely without really losing any of the story.
This film kind of underperformed at the box office but it did manage to turn a profit by pulling in $32 million on the $18 million budget. This isn't necessarily considered a financial success in the movie industry since it is often the case to promotional costs can normally double the budget of the film.
This film may still be in some theaters and can be rented or purchased on almost all major streaming networks. It is NOT on Netflix. If you can wait about 30 days or so, it will likely be streaming on Paramount+ in the future as part of a subscription, because Paramount distributed the film
Welcome my dear travelers who love the paranormal and thank you very much for making a temporary stop in my post, it had been a while since I went to the movies so when the opportunity to go see "The Conjuring: Last Rites" presented itself, I did not miss it. Without further ado, get ready for another disturbing adventure with the Warrens as we are about to begin.
Bienvenidos mis queridos viajeros amantes de lo paranormal y muchas gracias por haber hecho una parada temporal en mi post, había pasado un tiempo desde que fui al cine es por ello que al presentarse la oportunidad de ir a ver "The Conjuring: Last Rites" no la desaproveche. Sin más que agregar, prepárense para otra perturbadora aventura con los Warrens pues estamos por comenzar.
Property by @Jrjaime
Property by @Jrjaime
The Conjuring: Last Rites was released this year, directed by Michael Chaves, produced by New Line Cinema, Atomic Monster & The Safran Company, and has a running time of 2 hours and 15 minutes. It is a horror and suspense film, the story focuses on the Warrens who are forced to work on one last case because a family was suffering because of paranormal beings, which is why they decide to face these mysterious forces in order to help those who need them.
The Conjuring: Last Rites fue estrenada este año, dirigida por Michael Chaves, producida por New Line Cinema, Atomic Monster & The Safran Company, cuenta con una duración de 2 horas y 15 minutos. Es una cinta terror y suspenso, la historia enfoca a los Warrens los cuales se ven obligados a trabajar en un último caso debido a que una familia se encontraba sufriendo por culpa de seres paranormales, es por ello que deciden enfrentarse a estas fuerzas misteriosas con tal de poder ayudar a aquellos que los necesitan.
For more details about the film you can visit the link that I leave you of Filmaffinity | Para más detalles sobre el filme puedes visitar el link que te dejo de Filmaffinity
Property by @Jrjaime
The soundtrack is quite meh, it never manages to generate that feeling of intrigue and suspense that a film of this nature deserves so much, this leads to it feeling like a section that does not add anything of value to the film.
La banda sonora es bastante meh, la misma nunca logra generar ese sentimiento de intriga y suspenso que tanto amerita un filme de esta índole, esto conlleva a que se sienta como un apartado que no aporta nada de valor a la cinta.
Property by @Jrjaime
The construction of the world goes unnoticed, it is not a section that contributes in any way to the atmosphere, in fact, it does not even have a minimum of interest because there are few occasions in which the scenery contributes in any way to the premise. The camera angles are also quite forgettable, they do not stand out for anything in particular and their contribution to the generation of suspense is null, some chaotic camera angles would have been at least interesting but this film does not even have that.
La construcción de mundo pasa desapercibida, no es un apartado que contribuya de ninguna forma en la atmósfera, es más, la misma no tiene siquiera un mínimo de interés debido a que son escasas las ocasiones en que la escenografía contribuye de alguna manera con la premisa. Los ángulos de cámara también son bastante olvidables, los mismos no destacan por nada en concreto y es nulo su aporte a la generación de suspenso, algunos ángulos caóticos de cámara hubiesen sido por lo menos interesantes pero esta cinta ni siquiera tiene eso.
Property by @Jrjaime
The plot is the usual, a demon/entity that is evil and is tormenting a family, the drawback does not come with the premise being generic, the problem comes with not knowing how to generate an atmosphere of tension and only making use of shameless jumpscares. Narratively there is nothing, its main attraction is supposed to fall on terror and suspense, however, because these are non-existent the film becomes tedious and extremely long, being the lack of substance what ends up condemning the present film.
La trama es lo de siempre, un demonio/ente que es malvado y está atormentando a una familia, el inconveniente no viene con que la premisa sea genérica el problema viene con no saber generar una atmósfera de tensión y solo se haga uso de jumpscares descarados. Narrativamente no hay nada, se supone que su principal atractivo debería recaer en el terror y el suspenso, no obstante, debido a que estos son inexistentes el filme se hace jodidamente tedioso y extremadamente largo, siendo la falta de sustancia lo que termina condenando al presente filme.
Property by @Jrjaime
Nothing to highlight here, nothing is exposed that makes any of the characters interesting in any way.
Nada que destacar aquí, no se expone nada que haga a ninguno de los personajes interesantes de ninguna forma.
The Conjuring: Last Rites is one more member of a very overexploited franchise that does not take any kind of care in the quality of its films, in addition, individually the film lacks any iota of minimally disturbing moment, which is a huge mistake considering the genre to which it belongs. It is for all of the above that it deserves 1.5 star out of 7, despite the fact that it was a terrible disappointment it was fun to see it on the big screen, not recommended in any way since I almost fell asleep 2 times watching it.
The Conjuring: Last Rites es un integrante más de una franquicia muy sobre explotada que no tiene ninguna clase de cuidado en la calidad de sus cintas, además, de forma individual la cinta carece de cualquier ápice de momento mínimamente inquietante lo que es un error garrafal tomando en cuenta el género al que pertenece. Es por todo lo anterior que merece 1,5 estrella de 7, pese a que fuese una decepción terrible fue divertido verla en la pantalla grande, no recomendada de ninguna forma puesto que casi me quedo dormido 2 veces viéndola.
Property by @Jrjaime
My dear travelers combatants of the supernatural we have reached the end of another review, if it was to your liking I would appreciate it very much if you left your positive vote and made use of the reblog button, I upload content daily so if you don't want to miss it I invite you to start following me so that you are aware of all my updates. If you want me to review something specific you can leave the suggestion below in the comment box and I will gladly dedicate a post to it as soon as I can. Without further ado, I thank you for having reached this point and I send you a big hug from a distance, I remind you that you have the strength of your greatness giving you its support, you just have to take the helm and set a course, I hope we meet again when you decide to make another temporary stop in one of my future posts.
Mis queridos viajeros combatientes de lo sobrenatural hemos llegado al final de otra reseña, si fue de tu gusto agradecería mucho que dejases tu voto positivo e hicieses uso del botón reblog, subo contenido de forma diaria por lo que si no quieres perdértelo te invito a que comiences a seguirme para que estés al tanto de todas mis actualizaciones. Si deseas que reseñe algo en concreto puedes dejar la sugerencia abajo en la caja de comentarios y con gusto le dedicaré una publicación apenas pueda. Sin más que agregar te doy las gracias por haber llegado hasta este punto y te mando un fuerte abrazo desde la distancia, te recuerdo que tienes la fuerza de tu grandeza dándote su apoyo solo tienes que tomar el timón y fijar un rumbo, espero que nos topemos de nuevo cuando decidas hacer otra parada temporal en uno de mis futuros posts.
Property by @Jrjaime
In case you were wanting more | Por si quedaste con ganas de más
All the images used to make this post that have no source are my property being taken, created and / or edited partially or totally by me using the Gimp program, those that are not of my authorship will have their respective source at the end. The screen shots shown in the post were taken by me while watching the series, however, these remain with their respective authors.
Todas las imágenes utilizadas para hacer este post que no tienen fuente son de mi propiedad siendo tomadas, creadas y/o editadas parcial o totalmente por mi utilizando el programa Gimp, aquellas que no son de mi autoría tendrán al final su respectiva fuente. Las capturas de pantalla mostradas en el post fueron tomadas por mi mientras veía la serie sin embargo estas siguen perteneciendo a sus respectivos autores.
Hello, friends of this wonderful community! I recently finished watching this series, which I thought was great. It has a mystery that keeps you hooked from the beginning, despite the graphic images. Here's a mini summary:
¡Hola, amigos de esta hermosa comunidad! Hace poco terminé de ver esta serie que me pareció genial. Tiene un misterio que te deja enganchado desde el principio, a pesar de lo crudo de las imágenes. Dejo aquí abajo un mini resumen:
“Mr. Mercedes” is a three-season American series based on the novel of the same name by Stephen King, which premiered in 2017 and ended in 2019; you can find it on Netflix today. The series tells the story of Bill Hodges, a retired detective who becomes involved in a mass murder case committed by a psychopath known as Mr. Mercedes.
"Mr. Mercedes" es una serie estadounidense de tres temporadas basada en la novela homónima de Stephen King, que se estrenó en 2017 y finalizó en 2019; hoy podés encontrarla en Netflix. La serie relata la historia de Bill Hodges, un detective retirado que se ve envuelto en un caso de asesinato en masa cometido por un psicópata conocido como Mr. Mercedes.
- Bill Hodges: A retired detective who becomes involved in the Mr. Mercedes case. Played by Brendan Gleeson, Hodges is a complex character who is struggling to overcome his own demons.
Bill Hodges: Un detective jubilado, que se ve envuelto en el caso de Mr. Mercedes. Interpretado por Brendan Gleeson, Hodges es un personaje complejo que está luchando por superar sus propios demonios.
- Mr. Mercedes: A brilliant and manipulative psychopath who boasts about the deaths that occurred at the job fair. Played by Harry Treadaway, Mr. Mercedes is a fascinating and terrifying character.
Mr. Mercedes: Un psicópata brillante y manipulador que se jacta de las muertes que se produjeron en la feria laboral. Interpretado por Harry Treadaway, Mr. Mercedes es un personaje fascinante y aterrador.
- Holly Gibney: A shy and brilliant young woman who joins Hodges in his search for Mr. Mercedes. Played by Holland Taylor, Holly is an interesting and complex character.
Holly Gibney: Una joven tímida y brillante que se une a Hodges en su búsqueda de Mr. Mercedes. Interpretada por Holland Taylor, Holly es un personaje interesante y complejo.
- Jerome Robinson: A young man who joins Hodges and Holly in their search for Mr. Mercedes. Played by Jharrel Jerome, Jerome is an intelligent and loyal character.
Jerome Robinson: Un joven que se une a Hodges y Holly en su búsqueda de Mr. Mercedes. Interpretado por Jharrel Jerome, Jerome es un personaje inteligente y leal.
The series gets off to a shocking start, opening with a brutal attack at a job fair, where Mr. Mercedes, a man with a twisted past, runs over a group of people with a stolen Mercedes-Benz, killing sixteen and injuring many more. Bill Hodges, played by Brendan Gleeson, is the detective in charge of the case, but it remains unsolved. However, now retired, he cannot forget it and is so involved in it that he still suffers from nightmares.
El comienzo de la serie resulta impactante, ya que empieza con un brutal ataque en una feria laboral, donde Mr. Mercedes, un hombre con un pasado retorcido, atropella a un grupo de personas con un Mercedes-Benz robado, matando a dieciséis e hiriendo a muchos más. Bill Hodges, interpretado por Brendan Gleeson, es el detective que se encarga del caso, pero no se resuelve. Sin embargo, ya jubilado, no puede olvidarlo y está tan metido en él que aún sufre de pesadillas.
The plot takes a turn when he receives a video from the killer on his computer, followed by several more, and he is even able to communicate with him through a website. Hodges is transported back to the past and embroiled in a battle of wits with Mr. Mercedes, played by Harry Treadaway. As the story progresses, the detective realizes that Mr. Mercedes is a highly intelligent and manipulative psychopath who is playing with him and his mind, just as he did in the past with the owner of the car, who ended up committing suicide.
La trama da un giro cuando recibe un video del asesino en su computadora y a este le siguen varios e, incluso, puede llegar a comunicarse con él por una página web. Hodges se ve transportado al pasado y envuelto en una batalla de ingenios con Mr. Mercedes, que es interpretado por Harry Treadaway. A medida que avanza la historia, el detective se da cuenta de que Mr. Mercedes es un psicópata muy inteligente y manipulador que está jugando con él y con su mente, como lo hizo en el pasado con la dueña del auto, que se terminó suicidando.
The series shows both characters, focusing on each of their lives, so we can see not only the detective but also what the killer is really like, his twisted mind, his dark life full of trauma and abuse (some images of abuse are very realistic and graphic). We also see a detective obsessed and traumatized by the case, to the point of being constantly alert to the danger surrounding him.
La serie muestra a los dos personajes, enfocándose en la vida de cada uno, por lo que podemos ir viendo no solo al detective sino a cómo es el asesino en realidad, su mente retorcida, su vida oscura y llena de traumas y abusos (algunas imágenes de abuso son muy realistas y crudas). También vemos a un detective obsesionado y traumatizado por el caso, al punto de estar siempre alerta del peligro que lo rodea.
I really liked “Mr. Mercedes,” and if you're a fan of series that get inside the killer's mind, you'll love it, because it truly explores the darkest depths of a twisted mind.
"Mr. Mercedes" es una serie que me gustó mucho y si sos fan de esas series que se meten en la mente del asesino, te va a gustar mucho, porque realmente explora lo más oscuro de una mente retorcida.
Hello everyone! I hope you're all doing well and having a great start to the week! ✨
Yesterday I had the opportunity to go to the cinema to see a film that, beyond entertainment or criticism for being a "Peruvian" film, seeks to construct a historical episode that left a deep mark on the country. This episode is still very much remembered, even though it happened in 1997 (I wasn't even born then). Today, it seeks to give us the message that "Those who do not know their history are condemned to repeat it."
P.S.: Before continuing with this post, I want to clarify that I am not trying to benefit or show favoritism towards any political party in this film.
In an unprecedented rescue operation, elite commandos infiltrate an embassy besieged by terrorists to free dozens of hostages, facing a challenge that will test their courage and humanity.
STORY BASED ON TRUE EVENTS:
This operation, known as "Chavín de Huántar," was carried out by the Peruvian Army. It involved a rescue operation, and this film tells the story from the perspectives of both the commandos and the hostages. This operation arose after the MRTA took hostages at the Japanese ambassador's residence on December 17, 1996.
For those unfamiliar, the MRTA (Túpac Amaru Revolutionary Movement) was a very dangerous terrorist organization (though not on the same level as Shining Path, another terrorist group that operated in the country during the same period). It claimed to fight for social equality and justice for the poor. However, its methods were not based on politics or democracy, but rather on violence, including kidnappings, bombings, assaults, and assassinations.
Throughout the film, we gradually observe the members of the commando unit, especially Juan Valer Sandoval (nicknamed "Chizito"), as human beings with fears, dreams, doubts, and personal motivations. The film also highlights the hours of extreme training, the brotherhood among the soldiers, and the personal sacrifices involved in participating in the operation (all presented in a way that neither idealizes nor minimizes what they had to endure).
But this film will not only talk about the members of the army and how they carried out the operation, but we will also see the perspective of the hostages, and how they constantly live with fear, the uncertainty of not knowing who would survive and above all the physical and psychological exhaustion (Since it is true that the incident happened on December 17, 1996 and ended on April 22, 1997).
The film does a good job of reflecting certain moments of tension and uncertainty that were experienced second by second, and although most Peruvians know how the story ends in real life (since this topic of terrorism is something that is often mentioned, especially by older adults so that it does not happen again), the film maintains that suspense and adrenaline, especially at the moment when they carry out this operation.
As an adaptation, there will be details within the film that are not explicitly or directly accurate, since some themes were modified to avoid supporting or favoring any political parties (especially now that we are months away from the elections in the country), but any well-informed viewer will understand or be clear about some things... especially when, at one point in the film, while the "Chavín de Huántar" operation was being carried out in secret, a newspaper published on its front page about the plan they had to help the hostages... which led to certain problems in the "negotiation" with this terrorist organization.
In closing, I recommend this film because it allows us to learn more about this episode that marked the entire country (I've had the opportunity to meet and discuss this topic with people, and they always mention that the country came to a complete standstill the day the operation took place). It's a film that invites us to reflect on and appreciate those who risked their lives in these kinds of situations. Many people who know me will have heard me speak about the terrorism of those years at least once, so this film is yet another reference point that would allow us to better understand our history and prevent similar mistakes from being repeated.
Likewise, for those who are interested, I will attach the trailer:
> ALL THE IMAGES / CAPTURES THAT I PRESENT HAVE THE LINK OR PAGE WHERE THEY COME FROM AND THE TEXT IN ENGLISH WAS TRANSLATED IN GOOGLETRADUCTOR.
THANK YOU ALL VERY MUCH FOR COMING THIS FAR AND TAKING THE TIME TO READ MY PUBLICATION. I WILL BE ATTENTIVE TO READ AND RESPOND TO YOUR COMMENTS. ANY SUGGESTION OR RECOMMENDATION IS WELCOME TO IMPROVE THE QUALITY OF EACH FUTURE CONTENT.❤️
VERSIÓN EN ESPAÑOL:
Hola a todos!!! Espero se encuentren bien y tengan un buen inicio de semana✨.
El día de ayer tuve la oportunidad de ir al cine a ver una película que más allá del entretenimiento o críticas por ser una película "peruana" busca construir un episodio histórico que dejó una huella profunda en el país. Este episodio es muy recordado a pesar de que sucedió en 1997 (Incluso yo no nacía para aquel entonces), hoy en día busca darnos un mensaje que "Él que no conoce su historia, está condenado a repetirla".
Pd: Antes de continuar con el post aclaro que no busco beneficiar ni brindar favoritismo a ningún partido político dentro de esta película.
En una operación de rescate sin precedentes, comandos de élite se infiltran en una embajada sitiada por terroristas para liberar a decenas de rehenes, enfrentando un desafío que pondrá a prueba su valentía y humanidad.
HISTORIA BASADA EN HECHOS REALES:
Este nombre conocido como "Chavín de Huántar" es una operación que realizó el Ejército Peruano, consiste en la ejecución de rescate y esta película es vista desde la perspectiva de los comandos y los rehenes. Esta operación surge tras la toma de rehenes por parte del MRTA en la residencia del embajador de Japón el 17 de diciembre de 1996.
Para quienes no conozcan, el MRTA (Movimiento Revolucionario Túpac Amaru) fue una organización terrorista muy peligrosa (No al nivel que tuvo Sendero Luminoso, otro grupo terrorista que también operaba en el país en la misma época), el cual afirmaba y "luchaba" por la igualdad social y la justicia para los sectores con escasos recursos... Sin embargo los métodos que emplearon no fueron a nivel de política o democracia, sino de manera violenta a través de: Secuestros, atentados, asaltos, asesinatos, entre otros.
Poco a poco, en toda la película observaremos a los miembros del comando, sobre todo de Juan Valer Sandoval (Apodado “Chizito”) como seres humanos, con miedos, sueños, dudas y motivaciones personales. Pero de igual forma destacará Las horas de entrenamiento extremo, la hermandad entre soltados y los sacrificios personales que implicó participar en la operación (Pero todo esto a un nivel donde no son idealizados pero tampoco se minimiza lo que tuvieron que pasar).
Pero esta película no sólo hablará de los miembros del ejército y como realizaron la operación, sino que veremos también la perspectiva de los rehenes, y como se mantienen con el miedo de manera constante, la incertidumbre de no saber quien sobreviviría y sobre todo el desgaste físico y psicológico (Ya que si bien es cierto el incidente sucedió el 17 de diciembre de 1996 y acabó el 22 de abril de 1997).
La película hace un buen trabajo en reflejar ciertos momentos de tensión e incertidumbre que se vivió segundo a segundo y a pesar de que la mayoría de peruanos saben como termina la historia en la vida real (Ya que este tema del terrorismo es algo muy mencionado, sobre todo de los adultos mayores para que no se vuelva a repetir), la película mantiene ese suspenso y adrenalina, sobre todo al momento en el que realizan esta operación.
Como adaptación, habrán detalles dentro de la película que no serán explícitos o exactos de manera directa, ya que algunos temas fueron modificados para no brindar apoyo o favorecer algunos partidos políticos (Sobre todo ahora que estamos a meses de las elecciones en el país), pero para todo buen conocedor si entenderá o tendrá claro algunas cosas... sobre todo cuando en un momento a la película, cuando se encontraba en secreto la operación "Chavín de Huántar", un periódico publicó en su portada sobre el plan que tenían para ayudar a los rehenes... lo cual llevó a ciertos problemas en la "negociación" con esta organización terrorista.
Para finalizar, recomiendo esta película por que nos permite conocer un poco más de este episodio que marcó a todo el país (He tenido la oportunidad de conocer y conversar de este tema con personas y siempre mencionan que era algo que pausó el país completamente el día que realizaron la operación), es una obra que nos invita a reflexionar y valorar a quienes arriesgaron su vida en este tipo de situaciones. Muchas personas que me conocen habrán escuchado por mi parte el acontecimiento del terrorismo en esos años al menos una vez, así que esta película es un referente más que nos permitiría entender mejor nuestra historia y evitar que errores similares se repitan.
De igual forma, para quienes se encuentren interesados, les adjuntaré el trailer:
> TODAS LAS IMÁGENES / CAPTURAS QUE PRESENTO TIENE EL LINK O PÁGINA DE DONDE PROVIENEN Y EL TEXTO EN INGLES FUE TRADUCIDO EN GOOGLETRADUCTOR.
MUCHAS GRACIAS A TODOS POR LLEGAR HASTA AQUÍ Y TOMARSE LA MOLESTIA DE LEER MI PUBLICACIÓN, ESTARÉ ATENTA A LEER Y RESPONDER SUS COMENTARIOS, CUALQUIER SUGERENCIA O RECOMENDACIÓN ES BIEN RECIBIDA PARA MEJORAR LA CALIDAD EN CADA CONTENIDO A FUTURO❤️
This film may still be in some theaters and can be rented or purchased on almost all major streaming networks. It is NOT on Netflix. If you can wait about 30 days or so, it will likely be streaming on Paramount+ in the future as part of a subscription, because Paramount distributed the film 
