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Lamento no tener la novela para establecer una especie de comparación con la versión cinematográfica.
Un día pregunté a un escritor amigo si había leído no recuerdo cuál novela y me respondió "no, pero vi la película" .
Yo, verdaderamente me quedé muy preocupado porque aquel amigo tenía intenciones de convertirse en escritor.
Por mucho que le expliqué las diferencias entre una novela y su versión al cine, él creía estar el seguro de que con haber visto la película ya era suficiente.
Dicho lo dicho, vamos a lo que vamos. "27 Noches", es una película que prácticamente acaba de estrenarse. Una producción Argentina de 2025.
El cine argentino en los últimos años para mí se ha vuelto esquivo, por alguna u otra razón no he tenido acercamiento a las producciones bonaerenses.
Así que, encontrarme con esta historia ha sido una especie de exorcismo intelectual.
La crítica la califica como una cinta delicada y al mismo tiempo audaz. Algunos les atribuyen tonos de comedia ácida. Y otros simplemente hablan de un drama tradicional.
A mí me parece que una cosa no niega necesariamente a la otra. En "27 Noches", el asunto es cómo se logra una puesta que se filtre en los terrenos pantanosos de la memoria, de la familia y la honestidad.
La anécdota central ni por asomo es original en su esencia: una anciana aquejada de demencia es ingresada por sus hijas en una clínica psiquiátrica.
Parece un acto simple una decisión incluso hasta práctica pero en esta historia es mucho más que eso... es como un torbellino, algo existencial.
Algo que me agradó muchísimo es que la película no juzga, observa y tal propuesta la traslada, obviamente al espectador.
El título, "27 Noches", hace referencia al período de internación que la ley argentina establece para la evaluación del paciente.
No esperes ver aquí una paleta lúgubre, tradicional del cine que apuesta por desdibujar la cordura cotidiana. Ese cliché fue borrado de un plumazo por el director.
Me arriesgo incluso, a decir que tal decisión, dota la película de una extraña normalidad. A veces resulta incluso inquietante.
La protagonista, Marilú Marini, nos regala un performance justo que va del humor negro a la lucidez y se mezcla con la rebeldía de momentos inesperados.
El plato perfecto qué sirve para revelar verdades incómodas y recuerdos enterrados.
El elenco de apoyo, está compuesto por figuras sólidas del cine argentino como Humberto Tortonese, Julieta Zylberberg, Paula Grinszpan y Carla Peterson.
Cada uno encarna las reacciones, a menudo contradictorias, ante la enfermedad de un ser querido: la culpa, la impotencia, el hastío, el negacionismo y un amor que a veces duele más de lo que consuela.
El guión, coescrito por Hendler, Martín Mauregui y Agustina Liendo a partir de la novela de Natalia Zito, es una pieza de ingeniería narrativa brillante.
¿Quiénes somos cuando nuestros recuerdos nos abandonan? ¿Qué queda de una persona cuando su historia personal desaparece?
El humor y el drama de mezclan de manera creíble... catártica.
"27 Noches" trasciende el tema de la demencia para hablar de la identidad.
Solo lamento no haber leído la novela. Tal vez algún día tropiece con ella. Entonces mi opinión sobre esta película será más completa.
I regret not having the novel to make a comparison with the film version.
One day I asked a writer friend if he had read a certain novel—I can't remember which one—and he replied, "No, but I saw the movie."
I was truly worried because this friend had aspirations of becoming a writer.
No matter how much I explained the differences between a novel and its film adaptation, he seemed certain that having seen the movie was enough.
That said, let's get down to business. "27 Nights" is a film that has practically just been released. An Argentine production from 2025.
Argentine cinema has become elusive for me in recent years; for one reason or another, I haven't had any contact with productions from Buenos Aires.
So, encountering this story has been a kind of intellectual exorcism.
Critics describe it as a delicate yet audacious film. Some attribute to it tones of dark comedy. And others simply call it a traditional drama.
It seems to me that one thing doesn't necessarily negate the other. In "27 Nights," the issue is how to achieve a narrative that delves into the murky waters of memory, family, and honesty.
The central anecdote is by no means original in its essence: an elderly woman suffering from dementia is admitted to a psychiatric clinic by her daughters.
It seems like a simple act, even a practical decision, but in this story, it's much more than that... it's like a whirlwind, something existential.
Something I really appreciated is that the film doesn't judge; it observes, and this perspective is then conveyed, obviously, to the viewer.
The title, "27 Nights," refers to the period of hospitalization that Argentine law establishes for patient evaluation.
Don't expect to see here a somber palette, traditional in cinema that aims to blur everyday sanity. That cliché was swept aside by the director.
I would even venture to say that this decision lends the film a strange normalcy. At times, it's even unsettling.
The protagonist, Marilú Marini, delivers a perfectly crafted performance that ranges from dark humor to lucidity, interwoven with unexpected moments of rebellion.
It's the perfect recipe for revealing uncomfortable truths and buried memories.
The supporting cast is comprised of established figures in Argentine cinema, such as Humberto Tortonese, Julieta Zylberberg, Paula Grinszpan, and Carla Peterson.
Each embodies the often contradictory reactions to the illness of a loved one: guilt, helplessness, weariness, denial, and a love that sometimes hurts more than it comforts.
The screenplay, co-written by Hendler, Martín Mauregui, and Agustina Liendo, based on the novel by Natalia Zito, is a brilliant piece of narrative engineering.
Who are we when our memories abandon us? What remains of a person when their personal history vanishes?
Humor and drama blend in a believable... cathartic way.
"27 Nights" transcends the theme of dementia to explore identity.
My only regret is not having read the novel. Perhaps I'll stumble upon it someday. Then my opinion of this film will be more complete.
Nostalgists lament many things no longer found in cinemas today, yet few will admit that exploitation films are among them. Cheap low-budget productions that once dominated global cinema repertoires often compensated for their creators’ lack of budget, inspiration, or enthusiasm by readily catering to the basest public appetites—typically through explicit depictions of sex and violence, including content of an undeniably sadistic nature. Today, such films can only sneak into cinemas if they disguise themselves as the antithesis of exploitation films, most commonly as pseudo-politically engaged art dramas. A prime example of such successful camouflage is Brimstone, a Western by Dutch filmmaker Martin Koolhoven, which premiered at the 2016 Venice Film Festival.
The word in the title is commonly used as part of the phrase 'fire and brimstone,' describing hellfire or serving as a metaphor for Hell. For the film’s protagonist, a young woman named Liz (Dakota Fanning), the entire narrative largely amounts to little more than enduring Hell itself. At first, things seem relatively promising, as we meet her as the wife of a significantly older but well-meaning and relatively prosperous farmer in a mountainous settlement in the Wild West. Despite being practically mute, Liz has won the locals’ affection as a skilled midwife. However, matters change when she attends church with her family one day and encounters a new preacher (Guy Pearce), whom she clearly recognises and who fills her with terror. It becomes clear that things will go awry when the preacher strokes a pregnant woman, triggering a premature birth with unimaginably horrific consequences—not only for the woman but also for Liz’s mental health and standing within the community. Yet this is merely the beginning of Liz’s unimaginably gruelling trials, as she and her family become the preacher’s obsession—a man whose malevolent intentions and ability to enact them Liz had long tried to forget from a past she spent years suppressing.
Brimstone is occasionally cited as one of Dutch cinema’s most successful recent achievements, though this accolade is rather dubious, as its festival premiere immediately polarised critics into two extreme camps—those hailing it as an undisputed masterpiece and those branding it one of the worst pieces of celluloid manure. As with many such cases, both sides have valid arguments. Supporters can point to Koolhoven’s directorial skill and outstanding performances, particularly Pearce’s, who clearly relishes portraying arguably the most unsettling character of his career. Meanwhile, the proverbially talented Dakota Fanning excels in a complex role requiring her to remain almost entirely silent throughout. Cinephiles will appreciate the numerous nods to spaghetti western classics such as Leone’s Once Upon a Time in the West and Corbucci’s The Great Silence. Koolhoven has also won over snob-oriented critics primarily through its non-linear structure—comprising four chapters, the first three of which unfold in reverse, akin to Nolan’s Memento—allowing viewers to gradually uncover increasingly harrowing and unpleasant details of Liz’s past. Perhaps most crucial for Koolhoven, however, is that the film is marketed as feminist—portraying women as near-exclusive victims of unspeakable degradation, torture, murder, and sexual humiliation, while men are depicted either as abusive scum or ineffectual bumbling fools, forcing Liz to resolve her own predicaments single-handedly.
Those who disliked the film often cite its deeply disturbing content, featuring scenes that would turn even the stomachs of hardened viewers, alongside a disturbing inventiveness in depicting methods of killing, torturing, and maiming. From start to finish, Brimstone, with the exception of a few brothel scenes, maintains an exceptionally dark and serious tone. However, Brimstone’s chief flaw is not that Koolhoven has lost restraint, but that he has lost rhythm and inspiration, rendering certain segments overly protracted. A case in point is the subplot featuring Kit Harington as a young outlaw, laced with black humour that momentarily lightens the mood. Despite his prominent placement on the official poster, the actor appears far more briefly than Game of Thrones fans of Jon Snow might expect. The greatest disappointment, however, lies in the finale, which shifts from a dark yet somewhat plausible narrative into an almost self-parodic 'slasher film,' transforming Liz into a caricatural embodiment of the 'Final Girl' trope characteristic of such endings.
The epilogue, foreshadowed in the prologue, adds further disappointment, including a final enigmatic shot hinting at a sequel in the vein of Friday the 13th. Such a follow-up seems unlikely, though most viewers who endure this film will likely be grateful for its absence.
RATING: 4/10 (++)
(Note: The text in the original Croatian version is available here.)
Hello, cinema fans. Since we're on the subject of virtual worlds, what better way to continue than with a film that raised the bar for cinematic quality to its highest point in the past decade. One of the best sequels I've seen since I was a kid, and one that I still consider a masterpiece of modern cinema. Tron: Legacy was directed by Joseph Kosinski and stars Garrett Hedlund, Jeff Bridges, Olivia Wilde, Bruce Boxleitner, and Michael Sheen. I invite you to revisit one of the best science fiction and action films released in the last century.
SPANISH VERSION
Hola, fanáticos del cine. Ya que estamos dentro del tema de los mundos virtuales, qué mejor forma de continuar que con una cinta que elevó la vara de la calidad cinematográfica a su punto máximo en la década pasada. Una de las mejores secuelas que he visto desde que era pequeño y que aún ahora sigo considerándolo como una obra maestra del cine moderno. Tron: Legacy fue dirigida por Joseph Kosinski y cuenta con el protagonismo de Garrett Hedlund, Jeff Bridges, Olivia Wilde, Bruce Boxleitner y Michael Sheen. Te invito a recordar una de las mejores películas de ciencia ficción y acción que han sacado en este último siglo.
The film begins with a father telling his son about his greatest creation: The Grid. A virtual world where all information can have life and freedom like never before. It then continues with a summary of what he and his companions (Tron and CLU) did in this world. After putting him to bed, Kevin Flynn says goodbye to his young son Sam and goes to work that night. However, that is the last day he will see him, as he disappears afterwards. Twenty years later, a more adult and rebellious Sam visits his father's company ENCOM to play a prank on the board of directors as they announce their new operating system.
SPANISH VERSION
Trama
La película inicia con un padre contándole a su hijo sobre su más grande creación: La Red. Un mundo virtual donde toda información puede tener vida y libertad como nunca antes se había visto. Luego continúa con una especie de resumen sobre lo que él y sus compañeros (Tron y CLU) hicieron en este mundo. Después de llevarlo a la cama, Kevin Flynn se despide de su pequeño hijo Sam y se va a trabajar esa noche. Sin embargo, ese es el último día que lo vería ya que después desaparece. Veinte años después, un Sam más adulto y rebelde visita la compañía de su padre ENCOM para jugarles una broma a la junta directiva mientras ellos anuncian su nuevo sistema operativo.
There are very few films that I have seen that have fascinated me as much on an audiovisual level as this gem from the past decade. Yes, I know it is a sequel to a cult film that deserves to be remembered now even more than before, but I honestly admit that I am one of those who grew up watching this installment that revived and elevated the franchise to the highest possible level in the world of cinema and entertainment in general. That's why I decided to review it, not Tron itself, but this second installment, which, at the time, was one of the most anticipated comebacks in cinema.
Rather than talking about the reviews and/or opinions it received at the time, I prefer to focus on what I think of this film and what I think of it today. Clearly, my opinion of Tron: Legacy has changed a lot over the years, especially recently, after the release of the latest installment of the franchise and its direct sequel called Tron: Ares. It's not to discredit what I haven't even seen to date, but something inside me makes me think that there is no better sequel than the one Joseph Kosinski achieved with this film.
SPANISH VERSION
Hay muy pocas películas que he visto y me han fascinado tanto a nivel audiovisual como lo ha logrado hacer esta joya de la década pasada. Si, sé que es una secuela de una cinta de culto que merece ser recordada ahora aún más que antes, pero sinceramente admito que soy de los que crecieron viendo esta entrega que revivió y elevó dicha franquicia hasta lo más alto posible en el mundo del cine y el entretenimiento en general. Es por eso que decidí hacerle una reseña, no a Tron como tal, sino a esta segunda entrega que, en su momento, fue de los regresos más esperados que hubo en el cine.
Más allá de hablar de las críticas y/o opiniones que obtuvo en su momento, prefiero mejor centrarme en lo que yo opino de esta película y lo que a mí me pareció al día de hoy. Claramente, mi opinión acerca de Tron: Legacy ha cambiado mucho con el paso de los años, sobre todo recientemente, luego del estreno de la última entrega de la franquicia y su secuela directa llamada Tron: Ares. No es por desprestigiar lo que ni siquiera he visto hasta la fecha, pero algo en mi interior me hace pensar que no existe mejor secuela que la que consiguió Joseph Kosinski con esta película.
Surely those of you reading this who are fans of this franchise may question what I have to say about this sequel without even having seen the 1980s film of the same name. And it's normal to think that way, since I'm also a proponent of watching a saga/series of films in order rather than randomly and without any sense. However, personally, I think that Tron: Legacy managed—in one way or another—to give us a story that works independently of its predecessor. At least that's how it was for me when I was a teenager and watched it over and over again on television.
This can be clearly seen by watching just the first ten minutes of the film, which begins with a brief summary of what Tron was, in essence, as if it were a fairy tale that a father always tells his son before bedtime. Right after that, we see how the child grows up with the almost forgotten hope of seeing his beloved father again, who disappeared two decades ago. His life has become a series of pranks where we can glimpse Sam Flynn's ingenuity and talent with technology. However, what he does next will completely change his perception of reality as he knows it forever.
SPANISH VERSION
Seguramente para los que me estén leyendo y son fanáticos de esta franquicia puedan cuestionarse sobre lo que yo tengo que decir acerca de esta secuela sin siquiera haber visto la cinta homónima de los años 80. Y es normal que piensen así, ya que también soy partidario de ver una saga/serie de películas en orden que ir al azar y sin sentido alguno. Sin embargo, en lo personal, pienso que Tron: Legacy consiguió -de alguna forma u otra- darnos una historia que funciona de manera independiente a su antecesora obra cinematográfica. Al menos para mí fue así desde que era apenas un adolescente y lo veía repetidas veces en la televisión.
Esto se puede ver claramente con sólo presenciar los primeros diez minutos de la película, la cual inicia con un pequeño resumen de lo que -en esencia- fue Tron como si fuera un cuento de hadas que siempre le cuenta un padre a su hijo antes de dormir. Justo después vemos cómo dicho niño crece con la casi olvidada esperanza de volver a ver a su querido padre quien desapareció hace dos décadas atrás. Su vida se ha vuelto una serie de bromas pesadas donde se puede ver ligeramente el ingenio y talento que tiene Sam Flynn con la tecnología. Sin embargo, lo que hará a continuación cambiará por completo su percepción de la realidad tal y como la conoce para siempre.
A familiar message from a place that should have been abandoned decades ago awakens Sam's deepest memories of his father. So he heads to the old Flynn's GamesStore with the faint hope of finding something that will prove his father is alive. As he searches the place, he finds a secret passageway that leads to a room where his father apparently spent all his time before disappearing. We see a computer and high-tech devices around him. Sam finds out what his father was doing here when, suddenly, he is transported to the virtual world of The Grid.
As you can see, the story told by Tron: Legacy is easy to follow, as it is about a young protagonist who is transported to a virtual world while searching for his father, who disappeared decades ago. What's more, with this brief description, one could even consider Tron to be—without exaggeration—an Isekai. But beyond being a story that matches or depends so much on its predecessor, it is a sequel that manages to function more as a standalone story than anything else. It even works better this way, since in the film itself we see Tron as an inspiration or something distant from what is shown to us.
SPANISH VERSION
Un mensaje bastante familiar procedente de un sitio que debería estar abandonado hace décadas atrás despierta los viejos y más profundos recuerdos de Sam sobre su padre. Es así como este se dirige a la vieja tienda de Juegos de Flynn con la leve idea de encontrar algo que le demuestre que su padre está con vida. Cuando investiga el lugar se encuentra con un pasadizo secreto que lleva a una habitación donde al parecer se la pasaba su padre todo el tiempo antes de desaparecer. Vemos una computadora y aparatos de alta tecnología alrededor. Sam averigua qué es lo que estaba haciendo su padre aquí cuando, de repente, este es transportado al mundo virtual de La Red.
Como ven, la historia que nos cuenta Tron: Legacy es sencilla de seguir al tratarse de un joven protagonista que es transportado a un mundo virtual mientras busca a su padre que ha desaparecido hace décadas atrás. Es más, con esta breve descripción se puede incluso considerar el hecho de que Tron sea -sin exagerar- un Isekai. Pero más allá de ser una historia que compagine o dependa tanto de su predecesora, es una secuela que logra funcionar más como una historia independiente que como cualquier otra cosa. Incluso sirve mejor así ya que en la misma película vemos a Tron como una inspiración o algo lejano a lo que se nos muestra.
One of the criticisms that Tron: Legacy received at the time was regarding its story, which seemed to be one of the most generic in the film industry. Personally, I don't know what the hell fans were expecting to see back then, since this film not only expands the Tron universe, but also gives us a much more complete view of that universe and its relationship with the real world. What I would complain about a little is how little we see of the story between "The Miracle" and "The Purge", which is limited to a story of no less than ten minutes in length.
There is also the issue of ISOS (Isomorphic Algorithms) and their impact on the story. I don't know, there are some things between the plot and the characters that overshadow the influence and presence of truly interesting characters in the story, such as the ISOS, for example. I think the main problem lies in how some elements of the story and certain important characters are slightly ignored by the plot, the impressive action scenes, or the performances of certain main characters. Be that as it may, I'm not saying that the story itself is bad, just that it doesn't get as much credit as it should at the beginning.
SPANISH VERSION
Una de las críticas que tuvo Tron: Legacy en su momento fue con respecto a su historia, la cual parecía ser de las más genéricas que se pueden conocer en la industria del cine. En lo personal, no sé qué rayos era lo que esperaban ver los fanáticos en aquel entonces, ya que esta película consigue no solo extender el universo de Tron, sino que nos da una visión mucho más completa de dicho universo y su relación con el mundo real. De lo que sí me quejaría un poco sería en lo poco que vemos de la historia entre “El Milagro” y “La Depuración”, limitándose a solamente ser un cuento de no menos de diez minutos de duración.
También está el tema de los ISOS (Algoritmos Isomórficos) y su impacto en dicha historia. No sé, hay algunas cosas entre la trama y los personajes que opacan bastante la influencia y presencia de personajes verdaderamente interesantes para la historia como lo son los ISOS, por ejemplo. Creo que el problema principal radica en cómo algunos elementos de la historia y ciertos personajes importantes son levemente ignorados por la trama, las escenas impresionantes de acción o las actuaciones de ciertos personajes principales. Sea como sea, no digo que la historia en sí sea mala, solo que no se consigue valorar tanto como debería al principio.
It is only when we stop to think about it that we realize everything that the film was trying to show us. A virtual world created from nothing by a technological genius obsessed with perfection, an intelligent, virtual, and autonomous form of life that goes beyond human understanding, and the consequences of certain decisions made by said genius after encountering something that escapes his control and knowledge. All this and more is what we see in this two-hour feature film. We could also mention how the film ultimately shows us a digital version of what we know as oppression and dictatorship.
This is where we talk about those characters who have given us so much to talk about in this film and who are difficult to overlook even if we want to. To begin with, I don't think there's much need to talk about the supposed main character, Sam Flynn, who is the son of the genius and famous Kevin Flynn. He simply plays a very typical and familiar role in the world of cinema, the typical protagonist and hero who travels to a virtual world to save someone and ends up saving the world. He is a typical rebellious young man who did not have a very happy childhood, and so on. He is one of those characters who stands out more in action scenes than in anything else.
SPANISH VERSION
No es sino cuando nos ponemos a pensar en ella que caemos en cuenta en todo lo que se nos intentó mostrar en dicha película. Un mundo virtual creado de la nada por un genio de la tecnología obsesionado por la perfección, una forma de vida inteligente, virtual y autónoma que va más allá de la comprensión humana y las consecuencias de ciertas decisiones que toma dicho genio luego de encontrar algo que escapa de su control y conocimiento. Todo esto y más es lo que vemos en dicho largometraje de dos horas de duración. También se podría mencionar cómo la película nos muestra al final una versión digital de lo que conocemos como opresión y dictadura.
Es aquí cuando hablamos de esos personajes que han dado mucho de qué hablar en esta película y que es difícil pasarlos por alto aunque uno quiera. Para empezar, creo que no hace falta hablar mucho sobre el que se supone es el protagonista principal, Sam Flynn, quien es hijo del genio y famoso Kevin Flynn. Este solo cumple con darnos un papel muy típico y conocido en el mundo del cine, el típico protagonista y héroe que viaja a un mundo virtual para salvar a alguien y termina salvando al mundo. Típico joven rebelde que de niño no tuvo una infancia muy feliz que digamos y todo eso. Es de esos personajes que destacan más en escenas de acción que en cualquier otra cosa.
On the other hand, we have Kevin Flynn, now aged and with a whole life spent in this virtual world where he has lived all these years. I don't know what Kevin Flynn was like in Tron, but here in Legacy I don't like him at all. Perhaps it's because he takes on the role of a philosophical old man who does nothing but meditate and utter profound phrases, but at the same time without any feeling. Ultimately, he just comes across as a character who failed at almost everything and whose only salvation was to walk away and do nothing. He may show moments of wisdom and brilliance, but in the end, he's just an absent father trying to earn his son's forgiveness.
Now it's time to talk about his evil copy, that version of Jeff Bridges that we would never see on the big screen, especially with so much CGI on top of it. A rejuvenated version of Kevin Flynn's character, but with a colder and more calculating way of thinking and doing things. We are talking about CLU (a digital copy or replica of Kevin), who is the villain of this story. Apart from his computer-generated physical appearance, something else I don't like about this particular character is the way he acts and thinks. Although, of course, the idea is that he should be ruthless, being a digital version of a cruel dictator who sees "users" as the enemy and any unknown program as a threat to his world.
SPANISH VERSION
Por otro lado, tenemos a Kevin Flynn, ya envejecido y con toda una vida hecha en este mundo virtual donde ha pasado todos estos años. No conozco cómo era el Kevin Flynn de Tron, pero aquí en Legacy no me agrada en lo absoluto. Tal vez y sea porque asume un rol de anciano filosófico y que lo único que hace es meditar y decir frases profundas, pero a la vez sin sentimiento alguno. Finalmente solo demuestra ser un personaje que falló casi en todo y que su única salvación fue alejarse y no hacer nada. Puede que en algunos momentos demuestra ser alguien sabio y genial, pero al final solo es un padre ausente que intenta ganarse el perdón de su hijo.
Ahora toca hablar de su copia malvada, esa versión de Jeff Bridges que jamás veríamos en la pantalla grande y menos con tanto CGI encima. Una versión rejuvenecida del personaje de Kevin Flynn, pero con una forma de pensar y hacer las cosas de manera más fría y calculadora. Estamos hablando de CLU (una copia o réplica digital de Kevin), quién es el villano de esta historia. Aparte de su aspecto físico hecho por computadora, algo que no me agrada tampoco de este personaje en particular es la manera de actuar y pensar que tiene. Aunque, claro está, la idea es que sea así de despiadado al ser una versión digital de un cruel dictador que ve a los “usuarios” como el enemigo y cualquier programa desconocido como una amenaza para su mundo.
Leaving aside the clear references in this film to racism, oppression, genocide, and dictatorship, seeing this side of history as a dangerous virtual world, very different from anything we may have seen before, is something that catches our attention. Normally, the virtual worlds shown to us in this industry are mind-blowing and fantastic, but on this occasion, it strays far from that dreamlike vision and only recreates a dark and dangerous version of that world, surely inspired by real life. Obviously, this does not compare in the slightest to what The Matrix showed us long before with its vision of a virtual world that made us question even our own reality.
But beyond that, the film does manage to be quite entertaining to watch despite its long running time. Sure, there are scenes that I sincerely think were unnecessary, but it's not that big of a deal. The light disc battles, light cycle races, fights, and chases on The Grid are some of the most entertaining things you'll find in this great sequel to Tron. We can say that this result was mainly achieved thanks to the spectacular audiovisual work, but we mustn't forget the cast and their work in playing characters that are difficult to forget, for better or for worse.
SPANISH VERSION
Dejando de lado las claras referencias que tiene esta película con el racismo, la opresión, el genocidio y la dictadura; ver este lado de la historia como un mundo virtual peligroso y muy diferente a lo que posiblemente se ha visto antes es algo que llama la atención. Normalmente los mundos virtuales que nos muestran en esta industria son alucinantes y fantásticos, pero en esta ocasión se aleja mucho de dicha visión soñada y solo recrea una versión oscura y peligrosa de dicho mundo, seguramente inspirado en la vida real. Obviamente, esto no se compara en lo más mínimo a lo que nos mostró The Matrix mucho antes con su visión de un mundo virtual que nos hizo cuestionarnos hasta nuestra propia realidad.
Pero más allá de eso, la película sí consigue ser bastante entretenida de ver a pesar de su larga duración. Claro, hay escenas que pienso sinceramente que estaban de más, pero tampoco es para tanto. Las batallas de discos de luz, las carreras de motos de luz, los combates y las persecuciones en La Red es de lo más entretenido que puedes encontrar en esta grandiosa secuela de Tron. Podemos decir que lo que consiguió dicho resultado fue mayormente el espectacular trabajo audiovisual que tiene, pero tampoco hay que olvidarnos del elenco y su labor al interpretar personajes difíciles de olvidar, ya sea para bien o para mal.
Finally, and most importantly, let's talk about the audiovisual aspect of this film. This is what made Tron: Legacy go from being a simple sequel to an 80s classic to one of the best-produced films of the past decade. The style, colors, designs, and vision of this virtual world are what make this film an unparalleled audiovisual marvel. The enormous amount of work behind all this is reflected in the different scenes, which have a fluidity and detail that make it a unique film in its style. The cinematography, the fixed shots, the slow motion, the transitions, the views, and the color palette are fantastic.
The costumes, the types of suits, the makeup, and the excellent use of light and shadow are also worth mentioning. But nothing stands out more than the computer-generated imagery (CGI), which practically takes up a large part of the film's attention. Starting with rejuvenating Jeff Bridges to play CLU, the designs of the light cycles, the ships, the cities, the surroundings, etc. It is interesting that they have also given meaning and value to the color palette in the film itself. The sound effects, on the other hand, are spectacular. But nothing compared to what Daft Punk achieved with the soundtrack. In short, this is a film that redefines the classic with the modern.
Personally, I give it a 9/10 rating in terms of the science fiction, action, and adventure genre.
SPANISH VERSION
Por último y lo más importante de todo, hablemos -ahora sí- del apartado audiovisual de esta película. Esto fue lo que hizo que Tron: Legacy pasará de ser una simple secuela de un clásico de los 80 a convertirse en una de las películas mejor producidas de toda la década pasada. El estilo, los colores, los diseños y la visión de este mundo virtual es lo que hace de esta película una maravilla audiovisual sin par. El enorme trabajo que tuvo detrás de todo esto se refleja en las diferentes escenas que tiene con una fluidez y unos detalles que lo hacen una cinta única en su estilo. La cinematografía, los planos fijos, las cámaras lentas, las transiciones, las vistas y la paleta de colores son fantásticas.
También hay que recalcar la parte del vestuario, los tipos de trajes, el maquillaje y el excelente manejo de luces y sombras. Pero no hay nada que se destaque más que los efectos visuales hechos por computadora (CGI) que, prácticamente, toman una gran parte de la atención en la película. Empezando por rejuvenecer a Jeff Bridges para interpretar a CLU, los diseños de las motos de luces, las naves, las ciudades, los alrededores, etc. Es interesante que también le hayan dado hasta un significado y valor a la paleta de colores en la misma película. Los efectos de sonido, por otro lado, son espectaculares. Pero nada comparado con lo que logró Daft Punk con la banda sonora. En fin, esta es una película que redefine lo clásico con lo moderno.
Personalmente, le doy una calificación de 9/10 en lo que respecta al género de ciencia ficción, acción y aventura.
Tell me, have you seen this movie yet? What did you think of it? You can leave your answer in the comments.
Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.
Por acá estamos una vez más compartiendo con ustedes esa gran pasión por el cine, hace algunos días comencé a escuchar mucho en redes sociales sobre una película y el mensaje que transmitía, así que me animé a verla para después compartir mi opinión con ustedes, se trata de Amores Materialistas.
Here we are once again sharing with you our great passion for cinema. A few days ago, I started hearing a lot on social media about a film and the message it conveyed, so I decided to watch it and then share my opinion with you. The film is called Materialistic Loves.
Esta producción de origen estadounidense del género comedia romántica estrenada en el año 2025, la misma fue dirigida por Celine Song y protagonizada por Dakota Johnson, Chris Evans y Pedro Pascal; actualmente se encuentra en la plataforma de streaming Prime Video.
La película cuenta la historia de Lucy Mason, una joven que trabaja de casamentera en una importante agencia de Nueva York. Ella vive constantemente frustrada por los estándares irreales de sus clientes y dice que morirá sola si no encuentra a un hombre muy adinerado. Una noche en la boda de una clienta, ella conoce a Harry Castillo, un prestigioso financiero, quien es hermano del novio. Pero también se encuentra con su ex novio quien está trabajando como mesero en la fiesta, quien al final la termina llevando a su casa y recuerdan su relación pasada.
This American romantic comedy, released in 2025, was directed by Celine Song and stars Dakota Johnson, Chris Evans, and Pedro Pascal. It is currently available on the Prime Video streaming platform.
The film tells the story of Lucy Mason, a young woman who works as a matchmaker at a major agency in New York City. She is constantly frustrated by her clients' unrealistic standards and says she will die alone if she doesn't find a very wealthy man. One night at a client's wedding, she meets Harry Castillo, a prestigious financier who is the groom's brother. But she also runs into her ex-boyfriend, who is working as a waiter at the party, and he ends up taking her home, where they reminisce about their past relationship.
Y creo que esa escena es la más importante de la película, porque ellos van en su carro y es su aniversario entonces para ella es importante que cuando estuvieran de aniversario salieran a comer a un lugar bonito, ya ella había hecho la reservación y pagaría por eso, pero él no encontraba dónde estacionar porque la verdad es que no tenía para pagar un parqueadero privado. Ellos comienzan a pelear en el carro y Lucy le dice a su ex John que no le gustaba pelear por dinero que eso le recordaba a sus padres, al final ella se baja del carro y se va.
Ahora en la actualidad se vuelven a encontrar y él sigue siendo un actor mediocre, tiene el mismo carro, comparte el apartamento con dos personas más y sigue trabajando como mesero. Por otra parte, Harry insiste en cortejar a Lucy llevándola a restaurantes costosos, Pero ella duda de su interés y le insiste en reiteradas ocasiones que sea su cliente, pero él le confirma que su interés es genuino y su relación se oficializa. Debido a unos inconvenientes en el trabajo Lucy toma unas semanas libres y Harry le dice que se vayan a Islandia, una noche antes del viaje Lucy le encuentra un anillo de compromiso en el equipaje y esto la hace terminar la relación con Harry y por lo tanto no viaja con él.
And I think that scene is the most important one in the movie, because they're in their car and it's their anniversary, so it's important to her that they go out to eat at a nice place for their anniversary. She had already made the reservation and was going to pay for it, but he couldn't find a place to park because he couldn't afford private parking. They start fighting in the car, and Lucy tells her ex, John, that she doesn't like fighting over money because it reminds her of her parents. In the end, she gets out of the car and leaves.
Now, in the present, they meet again, and he is still a mediocre actor, has the same car, shares an apartment with two other people, and continues to work as a waiter. On the other hand, Harry insists on courting Lucy by taking her to expensive restaurants, but she doubts his interest and repeatedly insists that he be her client. However, he confirms that his interest is genuine, and their relationship becomes official. Due to some problems at work, Lucy takes a few weeks off, and Harry suggests they go to Iceland. The night before the trip, Lucy finds an engagement ring in her luggage, which leads her to end the relationship with Harry and not travel with him.
Lucy busca a John y él le dice que se vayan de paseo hacia el norte del estado con el dinero que ganó haciendo una obra de teatro, estando por allá se cuelan en una boda y ella besa a John, cuando el la confronta ella muestra dudas pero el le dice que siempre ha estado enamorado de ella. Finalmente regresan y se casan.
Ahora bien, ¿Cuál es mi opinión sobre la pregunta? Primero debo confesar que a nivel de elenco y producción estuvo excelente, la verdad contó con actores de primera, que se caracterizan por actuaciones impecables y que son reconocidos en la gran pantalla por su excelente trabajo. Cabe destacar, que personalmente me motivé a ver la película por las diferentes críticas recibidas, cuánto al mensaje que deja y el primero es que ella es una interesada porque lo deja por ser pobre.
Lucy looks for John and he tells her to go on a trip to the north of the state with the money she earned from a play. While there, they crash a wedding and she kisses John. When he confronts her, she shows doubts, but he tells her that he has always been in love with her. Finally, they return and get married.
Now, what is my opinion on the question? First, I must confess that the cast and production were excellent. The truth is that it featured top-notch actors, known for their impeccable performances and recognized on the big screen for their excellent work. It should be noted that I was personally motivated to see the film because of the different reviews it received, as well as the message it conveys, the first being that she is self-serving because she leaves him for being poor.
La verdad ella no lo dejó por ser pobre, lo hizo porque él no buscó la manera de surgir, por mediocridad y porque ella no quería vivir toda su vida con alguien así y eso yo lo veo bien. Ella venía con una situación familiar en la cual creció viendo a sus padres discutir por dinero y eso la marcó, lamentablemente ella se relaciona con John mediante una herida, porque inconscientemente buscamos parejas parecidas a nuestro padre. Pero lo realmente mal es que ella tuvo la oportunidad de construir la relación que deseaba con Harry pero él le ofrecía un amor con calma, sin estrés, sin peleas y eso a ella no le gustó porque confundía calma con aburrimiento, lamentablemente ella escoge a John porque se acercaba más a lo conocido, le tuvo miedo a lo nuevo, a salir de su zona de confort.
Al ver la película, yo veía a una Lucy insegura, que no creía en ella y que no creía que era capaz de gustarle a un hombre con Harry, siempre sus conversaciones era descalificandose y sugiriendo que podía tener una mujer mejor. Le costaba recibir atenciones, detalles y lo último no supo ser conquistada, le tuvo miedo al compromiso con aquel increíble hombre. Obviamente a lo mejor a ella no le gustaba lo suficiente y por eso siempre colocaba obstáculos, Pero creo que la elección de volver con el ex nunca fue la mejor.
The truth is, she didn't leave him because he was poor, she did it because he didn't try to better himself, because of his mediocrity, and because she didn't want to spend her whole life with someone like that, and I think that's fine. She came from a family situation where she grew up watching her parents argue about money, and that left a mark on her. Unfortunately, she relates to John through a wound, because we unconsciously seek partners who are similar to our fathers. But what's really bad is that she had the opportunity to build the relationship she wanted with Harry, but he offered her a calm love, without stress, without fights, and she didn't like that because she confused calm with boredom. Unfortunately, she chose John because he was closer to what she knew. She was afraid of the new, of leaving her comfort zone.
When I watched the movie, I saw an insecure Lucy who didn't believe in herself and didn't believe she was capable of being liked by a man like Harry. Her conversations were always disparaging and suggesting that he could have a better woman. She had a hard time receiving attention and gestures of affection, and in the end, she didn't know how to be won over. She was afraid of committing to that incredible man. Obviously, maybe she didn't like him enough, and that's why she always put up obstacles, but I think that choosing to go back to her ex was never the best decision.
Finalmente, me gustaría poder leer en los comentarios sus opiniones ¿ya vieron la película? Después de leer mi opinión ¿La verían? Ya para despedirme, quiero agradecer a quienes se toman unos minutos de su tiempo para leer mis publicaciones.
Finally, I would like to read your opinions in the comments. Have you seen the movie? After reading my opinion, would you watch it? Before I go, I want to thank those who take a few minutes of their time to read my posts.
Always trust your guts even when no one believes you.
Hi movie lovers, it's Abeegail again, welcome to my blog and another psychological horror movie review. I've been feeling weird lately, I've not been in my movie watching mood until I came across the movie "Watcher" As a teen that L-O-V-E-S psychological horror movie I can say that "Watcher" is great movie if you love horror movie that slowly unravel.
The story starts out with julia (Maika Monroe)and her husband Francis (Karl Glusman) both of them moved from the U.S to Bucharest, Romania because of Francis' work. After arriving Julia notices a man in an apartment directly opposite their building who seems to be watching her through his window every night. There's a serial killer on the loose called The Spider, who territories women in the city. This adds more anxiety and panic to the already anxious Julia, who is being dismissed by her husband, the police, and neighbours in a strange place.
He's face still gives me the creeps😬. How can you not be creeped out looking at that kind of a face.
Maika monroe gave a stellar performance and she had to because the film rest on her discomfort, suspicion and emotional isolation and Burn Gorman as the "Watcher" was just a nice touch, there just something about the way he can express a horror character. I think it's his face, it was just made for horror. It delved into themes of not being believed, especially as a female, Julia was dismissed constantly because she was an outsider in a foreign land, she felt like an outsider looking in, like everyone is in on some inside joke that she doesn't get. Plus being paranoid over the big move to a place she's not familiar with. I loved the end although it was finished with ambiguity. This movie made me realize the horror of being watched/stalked, sometimes we may not even notice that someone has their eyes on you.
I loved every part of this movie although it is a little bit slow, the actions take time to unravel but is necessary to the plot. You might feel a sense of confusion at the end because of the ambiguity, If you like a more concrete ending, something that is cleanly wrapped this movie doesn't give that.
In conclusion Watcher is a good watch if you like slow-burn tension, mood, and movie that resonates with real-world anxieties . Don't go in expecting a straightforward serial-killer horror/thriller, it’s more psychological, more about the feeling of being watched and disbelieved than about horror. It's a nice watch.
It's Still Abeegail ✨💗
Your favorite horror fanatic,
Written by: Kevin Arkadie
Directed by: Stephen Gyllenhaal
Running Time: 45 minutes
The visceral intensity of The Shield was never conjured from pure fiction; its DNA was forged in the sordid reality of the LAPD's Rampart scandal. This infamous episode, where members of the elite CRASH unit moonlighted as security for prominent Los Angeles rap figures, inherently entangled them with the Bloods gang and the increasingly lethal violence permeating the city's music scene. Shawn Ryan, the series' creator, drew direct inspiration from this toxic intersection of law enforcement, celebrity, and gang culture. Dawg Days, the fourth episode of the inaugural season, plunges headfirst into this very milieu, utilising the Rampart blueprint to craft a narrative where the Strike Team's blurred lines of duty and criminality collide catastrophically with the rap world's brutal power struggles.
The episode explodes into action at a raucous album release party for Kern Little (a compellingly authentic turn by real-life rapper Sticky Fingaz), an aspiring star and close associate of Vic Mackey's criminal partner, Rondell Robinson. Officers Danny Sofer and Lemansky, moonlighting as security, find themselves amidst escalating tensions. Kern's rival, the volatile drug dealer and would-be rapper T-Bonz (Dex Elliot Sanders), crashes the event, nursing grievances over money and Kern's girlfriend, Tyesha (Chene Lawson). Verbal sparring rapidly degenerates into gunfire, leaving two dead and multiple injured. Crucially, Rondell Robinson is present during the chaos, witnessed by Danny. While Vic, ever the manipulator, guarantees Rondell he can make the weapons charges (and potentially worse) disappear, Rondell fatally misjudges the boundaries of their arrangement by sending thugs to threaten Danny. Vic’s ensuing fury is palpable and absolute; in his worldview, cops are untouchable sovereigns, and Rondell’s transgression demands immediate, brutal retribution. The Strike Team’s response – the systematic vandalism of Rondell’s home – is a chilling demonstration of their self-appointed authority and the swift, extrajudicial punishment meted out to those who dare challenge their perceived immunity.
Yet, the nightclub massacre proves merely the spark for a far more devastating conflagration. The Kern-T-Bonz feud spills onto the streets, escalating into a bloody drug war with innocent bystanders caught in the crossfire. The killing of a young boy, someone connected to the mayor’s circle, delivers a stark wake-up call: not only is Vic personally unsettled by the collateral damage, but Assistant Chief Gilroy explicitly warns that higher-ups can no longer shield the Strike Team from scrutiny. Faced with this pressure and a genuine, if self-serving, desire to quell the violence threatening his own position, Vic attempts mediation, forcing Kern and T-Bonz into a fragile truce. However, T-Bonz’s vicious act of poisoning Tyesha’s cat shatters the peace. Kern, now consumed by vengeance, demands Vic eliminate T-Bonz – but with the chilling stipulation that he must witness the execution. Vic, operating within his own warped moral calculus, delivers a solution far more brutal than mere assassination. He confines both men to a shipping container overnight, decreeing they must either broker peace or kill each other. Come morning, only Kern emerges, the implication of his survival – and Vic’s tacit approval of the outcome – a stark testament to the episode’s central thesis: in this world, "justice" is often indistinguishable from savage, self-determined retribution.
Concurrently, Captain Aceveda navigates the treacherous waters of political ambition. Attending a function hosted by Jorge Machado (Efrain Figueroa), a powerful figure in the city's Hispanic community, Aceveda is solicited for a favour concerning Machado’s nanny, Ellie Ruiz (Linda Medina), whose husband Manuel has vanished. Dutch and Claudette’s investigation leads them to Eduardo Salcido (Christopher Perez), Manuel’s undocumented friend who crossed the border with him. They uncover that Manuel died accidentally at a construction site, but Jamison (Marc McLure), the site foreman, concealed the death to avoid immigration complications, burying the body and convincing Eduardo it was murder. While Jamison faces obstruction charges and Ellie learns of potential civil damages, Machado subtly dangles future political support for Aceveda – support contingent on the Captain making his name by exposing LAPD corruption. This subplot masterfully layers Aceveda’s motivations, revealing his crusade against Vic is not purely principled but intricately tied to his own political ascent, adding significant complexity to his character and critiquing the pervasive intertwining of law enforcement and political opportunism within the city’s changing demographic landscape.
Supporting narratives further enrich the episode’s tapestry. Julien’s compassionate handling of elderly Dottie Cummings (Marlene Warfield), whose son’s body was stolen from a grave for ransom, provides a rare moment of procedural decency while adding some black humour. Simultaneously, Vic confronts the unsettling reality of his mentally unstable son, Matthew, posing a potential threat to his younger sister, a deeply personal crisis that momentarily punctures his usual bravado. Notably, Dawg Days is one of only three episodes in the entire series devoid of Shane Vendrell, a consequence of Walton Goggins’ delayed contract finalisation, subtly altering the Strike Team’s dynamic without diminishing the episode’s impact.
Directed by Stephen Gyllenhaal (father of actors Jake and Maggie), the episode was affected by significant behind-the-scenes tension. Gyllenhaal reportedly favoured a less sympathetic portrayal of Vic, a vision firmly overruled by Michael Chiklis. Chiklis’ perspective ultimately prevailed, shaping the scene’s uncompromising tone. Despite this creative friction, Gyllenhaal’s direction is taut and effective, particularly in the visceral nightclub shootout and the oppressive claustrophobia of the container. The final shot – Kern and Vic silently watching the sunrise, bound by the unspeakable act they have just facilitated – stands as one of Season One’s most haunting and memorable images, radiating a chilling, wordless understanding born of shared violence.
Kevin Arkadie’s script is largely exceptional, driving the narrative with relentless momentum. While the escalation of the drug war occasionally veers towards the operatically spectacular, flirting with gangsta rap clichés, it is counterbalanced by sharp socio-economic observations. The Aceveda/Machado subplot offers nuanced commentary on the precarious position of undocumented immigrants and the evolving political influence of Los Angeles’s Hispanic community. Crucially, it deepens Aceveda, transforming him from a simple antagonist into a figure whose motives are admirably complex yet morally compromised by ambition. Dawg Days works not merely as a gripping crime drama, but as a potent, unflinching dissection of the corrupting symbiosis between power, street violence, and political aspiration, proving that in Vic Mackey’s world, the line between cop and criminal isn’t just blurred – it’s often deliberately erased with brutal, finality.
It was time to treat myself to another short film from Philip K Dick's Electric Dreams. This is the second to last one I have to watch, and... I've been watching them in completely random order, because non-sequential viewing of independent things should be encouraged.
This short film begins with a woman dressed in business attire driving away from a city, observing a missile going toward said city. It turns out its a dream, until it isn't. Auto Fac means "Automatic Factory". A place where goods are still manufactured even though the cities are in a monochromatic ruin of bombed building skeletons.
Autofac was set up before the war, as a sort of fail safe for humanity - only, it was focused on the wrong things. Consumer goods, toys, Christmas decorations. New stuff, year round, seasonal. A world were everything is replaceable, except the output of production.
A group of survivors struggle to get what they need - and decide to try and appeal to the reason of the Autofac. If you've ever (and you most certainly have) spend time talking to a robotic lady or man when calling a company, you should know that you cannot reason with a branching sub system of logic that has only pre-defined pathways.
It is a choose your own adventure book, as opposed to an entirely branching reality. So they take matters into their own hands, because after all, what's the good of an infinite supply of consumer goods if people do not have enough to eat?
It remains entirely uncanny how prophetic Philip K Dick's stories are. Well ahead of his time, he had predicted the notion of the dark factory, and beyond even that, he has predicted the burgeoning automation driven by demand. Just in time manufacturing, delivered to a local point, for faster logistics.
The takes are fairly high to begin with, and in typical Philip K Dick style, they escalate further. The special effects (and costumes) are fantastic, and with the help of modern film-makers quite obviously embellishing the story, it becomes more relevant in a contemporary sense - RFID, Artificial Intelligence, coolant lines for super computers that power said artificial intelligence, and more.
There's shades of post-humanism thrown into the mix of the story, with the Autofac being an autonomous machine trying to please something that which it does not understand. At the same time, there's the experience of Dick's seminal work, Do Androids Dream of Electric Sheep? present in the later part of the film.
There is so much insight and so many questions asked about the very nature of existence in this short, less than an hour-long jaunt into what can only be described as genius - but may also be madness, meta-awareness and self discovery.
I was recently talking to some people about how I really enjoyed Caprica, and the themes it explored, the stories it approached, and I can now thoroughly see the influence that led to these things, and it all comes back to the stories of Philip K Dick.
Deception and discovery, and a story as good as you'll ever get, and of course, the question that Philip K Dick keeps asking. What is a dream and what is reality?
Hello dears friends of @Moviestvshows a pleasure to be here and this time I want to talk about the movie Deadpool & Wolverine, really for me very good, entertaining and did not stop laughing in several scenes, clearly not a movie for children as we know that Deadpool (Ryan Reynolds) is a rude character, does not stop to say strong words, but it does not imply that it is not something entertaining and funny the way he expresses himself.
Really a movie to watch as friends, as we know Deadpool is a mercenary who can regenerate as Wolverine, he has long wanted to be an avenger or belong to the X-men but because of his peculiarity to behave and say the right things he is not the hero that everyone would be noticed and respected by the little ones, however, at a time in his life he has to be a hero or at least join one that was known as the last X-men and returns to the screen with greater force, this is Wolverine (Hugh Jackman).
Although it is known that he is not himself, but because of the multiverse, he appears and will help Deadpool to save his timeline, which is good the union of these two is explosive, not only because they clash with each other because of their personalities, but also as much as they fight, they can't kill each other because they both regenerate, their battles are good and laughable, they are like a bad marriage for real, they argue more than they can sit still and think about what they can do.
Despite their differences and at first bad relationship intensified in both, they decide to support each other, since the world where this Logan comes from is lost for him, he supports Deadpool to save his and can live with those he loves, in the course will get several really interesting characters like The Human Torch (Chris Evans), Gambit (Channing Tatum) and Elektra (Jennifer Garner) were the ones that caught my attention and I loved their participation.
As well as having Doctor X's sister as an enemy, joining each universe and intervening things in that way was something interesting and exciting at the same time, a movie that summarizes certain points of the connections between past and future events, the idea of changing the lines and wanting to return heroes who fell or disappeared in others, the reality of many Deadpool until woman that part was really funny and with the participation of the doggie more. But not to fall into complete spoiler I invite you to watch it and enjoy it, the fights are brutal and entertaining, you laugh at the way they act.
Director: Shawn Levy
Starring: Ryan Reynolds, Hugh Jackman, Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Aaron Stanford and Matthew Macfadyen
Country: United States
Year: 2024
Film Genre: Superhero movies, action and black comedy films
Production Companies: Marvel Studios, Maximum Effort and 21 Laps Entertainment
Distribution: Walt Disney Studios Motion Pictures.
Thank you very much for reading it. I hope you like it. If you have any comments I'll be glad to answer and if you want to know more about me I leave you my:
Translated Using Deepl
ESPAÑOL
Hola queridos amigos de @Moviestvshows un gusto pasar por acá y en esta ocasión quiero hablarles de la película de Deadpool & Wolverine, realmente para mi muy buena, entretenida y no paraba de reírme en varias escenas, claramente no es una película para los pequeños ya que sabemos de por sí que Deadpool (Ryan Reynolds) es un personaje grosero, no se detiene a decir palabras fuertes, pero no implica que no sea algo entretenido y gracioso la forma como se expresa.
Realmente una película para ver como amigos, como se sabe Deadpool es un mercenaria que puede regenerarse como Wolverine, desde hace tiempo quiere ser un vengador o pertenecer a los X-men pero por su peculiaridad de comportarse y decir las cosas bueno no es el héroe que a todos les llamaría la atención y seria respetado por lo más pequeños, sin embargo, en un momento de su vida le toca ser un héroe o al menos unirse a uno que fue conocido como el último X-men y regresa a la pantalla con mayor fuerza, se trata de Wolverine (Hugh Jackman).
Aunque se sabe que es no es él mismo, pero por el multiuniverso, este aparece y ayudará a Deadpool a salvar su línea de tiempo, lo cual bueno la unión de estos dos es explosiva, no solo porque chocan entre sí por sus personalidades, sino que también por más que se pelean bueno no pueden matarse ya que ambos se regeneran, sus batallas son buenas y da risa como quedan después, son como un matrimonio mal hecho de verdad, es más lo que discuten que lo que pueden quedarse quieto y pensar bien en lo que podrán hacer.
Pese a sus diferencias y al principio mala relación intensificada en ambos, deciden apoyarse, ya que el mundo donde viene este Logan está perdido para él, apoya a Deadpool a salvar el suyo y que pueda vivir con los que quiere, en el transcurso se conseguirá varios personajes realmente interesantes como La antorcha Humana (Chris Evans), Gambito (Channing Tatum) y Elektra (Jennifer Garner) fueron los que me llamaron más la atención y me encanto su participación.
Así como tener de enemiga a la hermana del Doctor X, unir cada universo e intervenir las cosas de esa manera fue algo interesante y emocionante al mismo tiempo, una película que resume ciertos puntos de las conexiones entre eventos pasados y futuros, la idea de cambiar las líneas y querer devolver a héroes que cayeron o desaparecieron en otras, la realidad de muchos Deadpool hasta mujer esa parte fue cómica de verdad y con la participación del perrito más. Pero para no caer en completo spoiler invito a verla y disfrutarla, las peleas son brutales y entretenidas, te ríes de la forma en cómo actúan.
Dirección: Shawn Levy
Protagonistas: Ryan Reynolds, Hugh Jackman, Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Aaron Stanford y Matthew Macfadyen
País: Estados Unidos
Año: 2024
Género: Cine de superhéroes, acción y cine de humor negro
Compañías Productora: Marvel Studios, Maximum Effort y 21 Laps Entertainment
Distribución: Walt Disney Studios Motion Pictures.
Hello everyone, fellow fans of good stories, dear Movies and TV Shows community, this time I want to share a new review with my opinions, this time it's Mickey 17's turn, I finally got to see it this weekend and I'm still processing it... I mean, let's be honest, where do you start? Since we found out that Bong Joon Ho, the director, was back, expectations... boom! They went through the roof, I mean, we're talking about the genius behind Parasite, the guy who rocked the Oscars, who won Best Picture and who made the whole world turn to look at Korean cinema, the pressure of overcoming that... imagine, it must have been brutal. So yeah, I started watching it with a mix of "how excited!" and a little fear of "will he do it again?"... but anyway, first things first: the central idea of the film. Because it's both brilliant and completely crazy, think about it: in the future, humanity is colonizing an ice planet, and for the most dangerous missions, the suicidal ones, they have the "expendables" ... enter Robert Pattinson, who is Mickey, our poor devil who signs up for this job.
And what does it mean to be expendable? They save your DNA and your memories on a disk, so when you die a horrible death—and believe me, people die a lot—the company just reprints you. Bam! A brand new clone, with all your memories up to that point, ready to go die again, the concept is amazing, and the first hour of the film is, without exaggeration, a masterpiece of black comedy with science fiction ... it is Bong Joon Ho at his purest. The way he shows you Mickey's deaths, one after the other, is horrifying but at the same time you're laughing your ass off, at one point you're like "no, how horrible!" and the next second you burst out laughing... that's his genius, isn't it?
That unique ability he has to mix something disturbing with something ridiculously comical, this is where the film's review hits you hard... it's a direct, no-nonsense anti-capitalist satire about how mega-corporations view their employees as... literal, disposable parts. Your life is worthless, only what you produce, if you break, well, nothing, they bring in a new one... it's a topic I've already touched on, for example in Okja with the meat industry, but here it feels much more personal, more human, because the "product" that is discarded again and again is a person... that first hour is brutal. If the entire film had maintained that level, we'd be talking about another instant classic, simple as that.
Hola a todos, amigos fanáticos de las buenas historias, querida comunidad de Movies and TV Shows, en esta ocasión les quiero compartir una nueva reseña con mis opiniones, está vez me toca a Mickey 17, por fin la pude ver este fin de semana y todavía la ando procesando.. es que, seamos honestos, ¿por dónde empiezas? Desde que supimos que Bong Joon Ho, el director, estaba de vuelta, las expectativas... ¡pum! Se fueron hasta la luna, o sea, estamos hablando del genio detrás de Parásitos, el tipo que la rompió en los Oscares, que ganó Mejor Película y que hizo que todo el mundo volteara a ver el cine coreano, la presión de superar eso... imagínense, debió ser una cosa brutal. Así que sí, yo empecé a verla con una mezcla de "¡qué emoción!" y un miedito de "¿lo logrará de nuevo?".. pero bueno, primero lo primero: la idea central de la película. Porque es una genialidad y una locura total, piénsenlo: en el futuro, la humanidad está colonizando un planeta de hielo, y para las misiones más peligrosas, las que son suicidas, tienen a los "prescindibles".. ahí entra Robert Pattinson, que es Mickey, nuestro pobre diablo que se anota para este trabajo.
Y qué significa ser un prescindible? Que guardan tu ADN y tus recuerdos en un disco, así que cuando te mueres de una forma horrible —y créanme, se muere mucho— la empresa simplemente te vuelve a imprimir. ¡Zas! Un clon nuevecito, con todos tus recuerdos hasta ese punto, listo para ir a morir otra vez, el concepto es una pasada, y la primera hora de la película es, sin exagerar, una obra maestra de comedia negra con ciencia ficción.. es Bong Joon Ho en su estado más puro. La forma en que te muestra las muertes de Mickey, una tras otra, es horrible pero al mismo tiempo te estás cagando de la risa, en un momento estás como "¡no, qué horror!" y al segundo siguiente tienes una carcajada.. es que ese es su genio, ¿no?
Esa habilidad única que tiene para mezclar algo perturbador con algo ridículamente cómico, aquí es donde la crítica de la película te pega con todo.. es una sátira anticapitalista directa, sin pelos en la lengua, sobre cómo las mega corporaciones ven a sus empleados como... literal, piezas de usar y tirar. Tu vida no vale nada, solo lo que produces, si te rompes, pues nada, traen uno nuevo.. es un tema que ya había tocado, por ejemplo en Okja con la industria de la carne, pero aquí se siente mucho más personal, más humano, porque el "producto" que se desecha una y otra vez es una persona.. esa primera hora es brutal. Si toda la película hubiera mantenido ese nivel, estaríamos hablando de otro clásico instantáneo, así de fácil.
And now, Robert Pattinson, we have to talk about this man... honestly, I think this could be the best performance of his entire career. We've already seen him grow, haven't we? From being a teen idol to becoming one of the most interesting and daring actors around. But this... this is a different story. He has to play a bunch of versions of the same person, and he does it with such subtle differences that it's brilliant. The way his voice changes, his posture for each "Mickey," it's crazy. You feel the confusion, the tiredness, and how his anger grows with each clone. It's not like he's playing himself multiple times, not at all!
He's creating different characters who yes, share a past, but who are marked by the traumatic way in which they were "born" ... I read somewhere that he based the voice on Steve Buscemi's in Fargo and, I swear, once you realize it, you can't stop hearing it, it's a very strange but perfect decision that gives all the flavor to this character who is half comedy and half tragedy ... he deserves to have his name in the running for all the awards, because he alone carries all the emotional and philosophical weight of the film. And visually, people ... it's a delicacy!
You can't review Mickey 17 without talking about the photography, the director of photography is Darius Khondji, the guy is a master at creating environments and it shows here, the interiors of the ship, which are very clean but at the same time you feel trapped, they overwhelm you, each shot is perfectly taken care of, creating this world that looks advanced but at the same time depressing and dirty. The music is also a gem and perfectly accompanies the film's strange mood swings... really, this is a film that begs to be seen on a big screen; the scale, the sound, the art... it's an experience that can't be experienced the same way on a smaller screen.
Y ahora, Robert Pattinson, tenemos que hablar de este hombre.. de verdad, creo que esta podría ser la mejor actuación de toda su carrera, ya lo vimos crecer, ¿no? De ser el ídolo adolescente a convertirse en uno de los actores más interesantes y arriesgados de ahorita, pero es que esto… esto es otro pedo, le toca hacer de un montón de versiones de la misma persona y lo hace con unas diferencias tan sutiles que es una genialidad.. la forma en que cambia la voz, su postura para cada "Mickey", es una locura. Sientes la confusión, el cansancio y cómo le va creciendo la rabia con cada clon, no es que se esté actuando a sí mismo varias veces, ¡para nada!
Está creando personajes diferentes que sí, comparten un pasado, pero que están marcados por la forma tan traumática en que "nacieron".. por ahí leí que para la voz se basó en la de Steve Buscemi en Fargo y, se los juro, una vez que te das cuenta, ya no puedes dejar de oírlo, es una decisión rarísima pero perfecta que le da todo el sabor a este personaje que es mitad comedia y mitad tragedia.. se merece que su nombre suene para todos los premios, porque él solito carga con todo el peso emocional y filosófico de la película. Y visualmente, gente... ¡es un manjar!No puedes reseñar Mickey 17 sin hablar de la fotografía, el director de foto es Darius Khondji, el tipo es un maestro para crear ambientes y aquí se nota, los interiores de la nave, que son como muy limpios pero a la vez te sientes encerrado, te agobian, cada toma está perfectamente cuidada, creando este mundo que se ve avanzado pero a la vez deprimente y sucio. La música también es una joya y acompaña perfecto esos cambios de humor tan raros que tiene la película.. de verdad, esta es una película que te pide a gritos que la veas en alguna pantalla grande, la escala, el sonido, el arte… es una experiencia que no se vive igual en una pantalla más chica.
Buuuut, and this is a really big "but," after that first hour, which is wonderful, the film kind of starts to fall apart... this is where I think people are going to be divided. The problem is that Mickey 17 can't decide what it wants to be... is it a super-deep science fiction drama about identity? Is it a pitch-black comedy about corporations? Or is it some kind of half-joking environmental fable? And in trying to be all three, I feel like it falls short on all of them... all that sharp criticism from the first half is lost, and the second half feels much more... silly, more scattered. The plot becomes a kind of crazy run-around, and you get the feeling that there are a couple of stories and characters too many, that if they had been cut, everything would be more focused. And speaking of characters, that's where the rest of the cast comes in, especially Mark Ruffalo.
Bong Joon Ho himself said that his character, the colony’s leader, a bumbling, narcissistic man, is a mockery of politics, and he’s actually completely over the top, a total caricature of incompetence and ego. Yes, he does give you the biggest laughs. Toni Collette is also in the mix, in an equally weird role... but while they’re entertaining, their performances make the film feel too broad, too cartoonish, and they take away from the more serious questions I was asking you in the first place. It’s as if the film is putting these brutal philosophical questions in front of you—what makes us human? Does a clone have a soul? What is a life worth?—but just when you expect it to get insightful, it gets distracted by its own antics and never really explores them.
Peeeero, y este es un "pero" bien grande, después de esa primera hora que es una maravilla, la película como que empieza a hacer aguas.. aquí es donde creo que la gente se va a dividir, el problema es que Mickey 17 no se decide qué quiere ser.. es un drama de ciencia ficción súper profundo sobre la identidad? ¿Es una comedia negrísima sobre las corporaciones? ¿O es una especie de fábula sobre el medio ambiente, medio en broma? Y al intentar ser las tres cosas, siento que se queda a medias en todas.. toda esa crítica tan afilada de la primera mitad se va perdiendo y la segunda parte se siente mucho más… boba, más dispersa. La trama se vuelve un corredero medio loco, y te da la sensación de que le sobran un par de historias y personajes, que si los hubieran cortado todo estaría más centrado, y hablando de personajes, ahí entra el resto del elenco, sobre todo Mark Ruffalo.
El mismo Bong Joon Ho dijo que su personaje —que es el líder de la colonia, un tipo torpe y narcisista— es una burla de los políticos, y la verdad es que está pasadísimo, es una caricatura total de la incompetencia y el ego, y sí, te saca las mejores carcajadas,Toni Collette también anda por ahí, en un papel igual de raro.. pero, aunque te entretienen, sus actuaciones hacen que la película se sienta demasiado amplia, demasiado caricaturesca, y le quitan peso a las preguntas más serias que te había planteado al principio. Es como si la película te pusiera sobre la mesa estas preguntas filosóficas brutales —¿qué nos hace humanos?, ¿un clon tiene alma?, ¿cuánto vale una vida?— pero justo cuando esperas que se ponga profunda, se distrae con sus propias payasadas y nunca las explora de verdad.
And that brings me to something that made me a little sad. It really didn't have much of an impact or recognition. I mean, you have a film from one of the most acclaimed directors on the planet, with a huge star and a budget of over $100 million, and it seems like nobody even noticed it came out. My fear, my real fear, is that the studios will learn the wrong lesson from this, that they will see that it didn't fill theaters and say, "See? People don't want weird, original, visionary films... let's just make Captain America 17 instead." That makes you worry because it's films like Mickey 17 that keep cinema exciting. They're different, they challenge you, they don't feel like they were made by a robot... they feel like they were made by an artist with a clear idea in mind, one who didn't sell out. So, what's my final verdict?
Look, it's not a bad movie at all... it's not like you're going to waste your time, it's... a flawed masterpiece... maybe a brilliant disaster. It's one of those movies that I know people are going to argue about whether it's good or terrible, it's not a Happy Meal product designed for everyone to like, it's art... it's weird, it's beautiful, it's funny, it frustrates you and you don't forget it. For me, it's a well-placed 7.5/10. The first hour is a 9, easy. The second half... wow, it drops to like a 5... but even with its arguments, it's good that it exists, I'd much rather see a movie like this, all messy but ambitious and unique, from a genius like Bong Joon Ho, than another safe and predictable blockbuster... another Fast and Furious 15, ending up wanting to argue about it with someone... And isn't that what good cinema is all about? So, if you can, see it on the biggest screen you can find. It's daring cinema, but it has soul, and it's sure to captivate more than one person. And well, that's it for today's review. We'll see you in the next ones. Take care! Bye!
Y eso me lleva a algo que me puso un poco triste, realmente no tuvo mucho impacto o reconocimiento, o sea, tienes una película de uno de los directores más aplaudidos del planeta, con una estrellota y un presupuesto de más de 100 millones de dólares, y parece que nadie se enteró que salió.. mi miedo, mi verdadero miedo, es que los estudios aprendan la lección equivocada de esto, que vean que no llenó las salas y digan: “¿Ya ven? La gente no quiere películas raras, originales, con visión.. mejor vamos a hacer Capitán América 17”.. eso te hace preocuparte porque son películas como Mickey 17 las que hacen que el cine siga siendo emocionante. Son diferentes, te retan, no se sienten como si las hubiera hecho un robot.. se sienten hechas por un artista con una idea clara en la cabeza, uno que no se vendió. Entonces, ¿cuál es mi veredicto final?
A ver, no es una mala película, para nada.. no es que vayan a perder su tiempo, es… una obra maestra con defectos.. a lo mejor un desastre brillante. Es de esas películas que sé que la gente va a discutir si es buena o terrible, no es un producto de cajita feliz, diseñado para que a todo el mundo le guste, es arte.. es rara, es hermosa, es divertida, te frustra y no se te olvida. Para mí, es un 7.5/10 bien puesto. La primera hora es un 9, fácil. La segunda mitad… baja como a un 5.. pero con todo y sus broncas, qué bueno que existe, prefiero mil veces ver una película así, toda desordenada pero ambiciosa y única, de un genio como Bong Joon Ho, que otro blockbuster seguro y predecible.. otro Rápido y Furiosos 15, termine con ganas de discutirla con alguien.. ¿Y no es de eso que se trata el buen cine? Así que, si pueden, véanla en la pantalla más grande que ncuentren, es cine atrevido pero tiene alma, seguro cautiva a más de uno. Y bueno, hasta aquí la reseña de hoy, nos veremos en las próximas reseñas, cuidense mucho! Byebye!
Tell me... have you seen this movie? Has it caught your attention? Tell me what you thought of this review with my opinion, and tell me if it has made you want to watch this movie. You can leave me in the comments your recommendations for future publications! 😊
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The Avengers and their superhero allies must be ready to risk everything to stop the almighty Thanos before his wave of destruction brings an end to the entire universe.
Released in 2018, it served as the first of the two-part storyline centered on Thanos, the most menacing villain in the MCU.
Countless characters try to claim their moment and shine, and the Russo brothers at the helm deliver strong directing work.
Infinity War revolves around the possibility of contemplating the unthinkable: annihilation, extinction, the end of the immortal Avengers.
It features plenty of large-scale action scenes, packed with effects, enjoyable character interactions with some genuinely funny moments. The Scarlet Witch–Vision romance lacked the emotional weight it needed, the nonstop cinephile references from Spider-Man are a delight, the Thanos battle against the Guardians, Dr Strange, Spider-Man and the rest is visually striking, as is Thor’s entrance in the final fight and the film’s opening sequence.
Josh Brolin as Thanos is outstanding, giving real depth to the CGI character he brings to life through motion capture, along with the threatening presence required for this type of story.
The entire runtime follows a single narrative that stretches across different locations and emotional beats. Still, for the most part, the film doesn’t stray far from the usual Marvel formula. Impressive battles and effects, some humor, and a degree of creative restraint.
The finale, shocking at first with its outcome, is of course left unresolved since the story continued the following year with Endgame.
Avengers: Endgame
After their defeat by Thanos and the disappearance of half the living beings in the universe, the Avengers pick up the pieces and try to plan their retaliation. The mother of all comic-book battles begins with a narrative surprise, continues with time-travel, and reaches its peak with a series of emotional farewells.
Released in 2019, it marked the end of a major era for the MCU with a three-hour spectacle that, in my view, left very few people unmoved. Its box office performance, which climbed close to 3 billion, speaks for itself.
It is an entertaining, grand film where every hero returns, everyone gets their moment and shines, some less and some more. Whatever flaws it has are easy to overlook because the spectacle satisfies and the experience is fun, even though there are some coherence issues.
In the final battle I would have preferred a longer sequence rather than spending so much time on how the team arrives at that point. The deaths are portrayed with genuine emotion and the ending offers a gentle epilogue. Despite its long runtime, it never bored me. It carries the fan service that many viewers hoped for, the finale is predictable but it does not hurt the film, and there are some narrative conveniences that simply help move the story along.
Australia owes much of the vitality of its cinema to its specific geographical and climatic conditions, which have made its exotic landscapes ideal backdrops for Westerns and post-apocalyptic films. Part of this exotic appeal was also embodied by its Indigenous people, the Aboriginal Australians, whose fate following the arrival of white settlers was in many ways similar—and could even be said to be far worse—than that of American Indians. Unlike Hollywood, which has featured Native Americans in its Westerns from the very beginning, Australian cinema has largely ignored them. Even rarer were films that seriously sought to address the economic and other challenges faced by Aboriginal people, marginalised within Australian society and forced to live in ghettos ruled by poverty, alcohol, drugs, and crime. One of the few productions attempting to address this is Mystery Road, a crime film that portrays Aboriginal people from an exceptionally authentic perspective, given that its writer, director, and creator, Ivan Sen, is himself of partial Aboriginal heritage.
The lead actor, Aaron Pedersen, who is also of Aboriginal descent, portrays the character Jay Swan, a police detective returning to his hometown in rural Australia after a long absence. The plot begins with the discovery of an Aboriginal teenager’s body, and Swan, who knew the victim personally, takes charge of the investigation. It quickly becomes apparent that his task will be far from easy, partly because he himself faces racist prejudices from the white population, while his own community greets him with distrust, viewing him as a traitor. A far more serious issue is that his superiors and colleagues display a clear lack of enthusiasm for the investigation, preferring instead to cover it up—especially as the evidence begins to point towards connections with the case of a murdered police officer, as well as a drug trade in which officer Johnno (Hugo Weaving) may even be implicated. What weighs most heavily on Swan, however, is that the murdered girl was a close friend of his own daughter Crystal, with whom, along with his ex-wife and her mother Mary (Tasma Walton), he has long been estranged.
Sen has crafted his film in a style that, at first glance, seems more suited to an art-house drama than a conventional thriller. The narrative unfolds at an exceptionally slow pace, but Sen attempts to compensate by employing striking landscapes of the Australian Outback, which, largely thanks to Sen’s own cinematography, create a palpable atmosphere and serve as a kind of alternative character within the film. Sen skilfully plays with Western iconography, including the protagonist, who wears a white cowboy hat and carries a revolver at his belt for almost the entire film. Pedersen delivers an exceptional performance, making the character convincing both in scenes where, like a classic Western protagonist, he confronts local racist thugs, and in those depicting his vulnerability, such as during encounters with his estranged family. Pedersen’s performance is significantly supported by his fellow cast members, particularly Weaving in the role of his colleague, about whom it remains unclear until the very end whether Jay intends to eliminate him or, out of genuine friendship, advise him not to interfere with the local drug dealers. The film’s strongest section comes at the very end, where Sen and his team reward the audience’s patience with an exceptionally realistic yet thrilling final confrontation worthy of Western genre classics. Although Sen prioritises atmosphere and character over plot in his film, allowing certain details to remain unexplained or overly ambiguous for a single viewing, Mystery Road remains an exceptionally high-quality genre production, notably superior to the stylistically and thematically similar American film Wind River. Perhaps unsurprisingly, this Australian film, unlike Wind River, has been followed by a sequel in the form of the film Goldstone and a television mini-series of the same name.
RATING: 8/10 (+++)
(Note: The text in the original Croatian version is available here.)
Well, it finally came—the new season of The Witcher. I have mentioned before, but my main favorite thing about this story is Yennefer of Vengerberg. She has an incredible underdog beginning, a marvelous transformation, and a path that makes her look like a soft villain with a hero's heart. So, she is always my main focus in any season of this series. Here I share my observations and feelings regarding this last season, how Yennefer looks in it, and the rest of the decor around her, aka Geralt and Ciri.
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Bueno, por fin llegó: la nueva temporada de The Witcher. Ya lo he comentado antes, pero lo que más me gusta de esta historia es Yennefer de Vengerberg. Ella tiene un comienzo increíble, una transformación maravillosa y una trayectoria que la convierte en una villana con un lado tierno pero con corazón de heroína. Por eso, siempre es mi personaje principal en cada temporada de esta serie. Aquí comparto mis observaciones y sentimientos sobre esta última temporada, cómo luce Yennefer y el resto del elenco, es decir, Geralt y Ciri.
Aretusa is no more. The mages made a great last stand against the traitors led by Vilgefortz. Ciri makes contact with the Chaos monolith and teleports nowhere. Geralt is severely injured. These are the last events we were left with in season three. From this point forward, Yennefer makes it her mission to find Ciri, but they have no access to portal magic due to some actions of Vilgefortz. She embraces her mother role more in this season; actually, some dialogs specifically mention her recognition as Ciri's mother. Everything in this story is destiny, and so Ciri is portrayed not only as Geralt's but Yennefer's destiny.
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Aretusa ya no existe. Los magos resistieron valientemente contra los traidores liderados por Vilgefortz. Ciri contacta con el monolito del Caos y se teletransporta a la nada. Geralt está gravemente herido. Estos son los últimos acontecimientos de la tercera temporada. A partir de este momento, Yennefer se propone encontrar a Ciri, pero no tiene acceso a la magia de portales debido a las acciones de Vilgefortz. En esta temporada, Yennefer asume con mayor intensidad su rol maternal; de hecho, algunos diálogos mencionan explícitamente que la reconoce como la madre de Ciri. Todo en esta historia es destino, y por ello Ciri se presenta no solo como el destino de Geralt, sino también el de Yennefer.
We see a Yennefer determined to find her daughter and visit every survivor mage from Aretusa. The conflict arises when Vilgefortz is also recruiting mages to her cause. One by one, they are either killed or recruited by our part-elf beauty. The other two side stories are the survival of Ciri in the middle of the desert, where she joins a gang of rats, and we see Geralt travel his way to Ciri's father's throne in hopes of recovering her. In that travel, he meets several companions and forms an improvised fellowship.
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Vemos a una Yennefer decidida a encontrar a su hija y visitar a todos los magos supervivientes de Aretusa. El conflicto surge cuando Vilgefortz también recluta magos para su causa. Uno a uno, son asesinados o reclutados por nuestra bella mestiza. Las otras dos historias paralelas son la supervivencia de Ciri en medio del desierto, donde se une a una banda de ratas, y vemos a Geralt viajar hasta el trono del padre de Ciri con la esperanza de rescatarla. En ese viaje, conoce a varios compañeros y forma una alianza improvisada.
The mage recruiting storyline is strong. We face several feelings as some die, are exploited, or prepare for battle. Yennefer's teacher, Tissaia, serves a high impulse, brings nostalgia, and thirst for revenge. On the other hand, Ciri's plot is quite unappealing; it doesn't seem to add any depth to the overall story except for presenting her suffering in several ways. The links to her father and the prophecy are almost nonexistent in this part. Lastly, Geralt's plot is more enjoyable because of the fellowship that occurs. They create this group of misfits and try to present them bonding in many ways during their trip. It is also used to introduce a softer, more human side of Geralt, a side that I think was created to accompany his new look.
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La trama del reclutamiento de magos es potente. Experimentamos diversas emociones a medida que algunos mueren, son explotados o se preparan para la batalla. La maestra de Yennefer, Tissaia, despierta un fuerte impulso, evoca nostalgia y sed de venganza. Por otro lado, la trama de Ciri resulta bastante insípida; no parece aportar profundidad a la historia general, salvo por mostrar su sufrimiento de diversas maneras. Los vínculos con su padre y la profecía son prácticamente inexistentes en esta parte. Finalmente, la trama de Geralt es más entretenida gracias a la comunidad que se forma. Crean este grupo de inadaptados e intentan mostrar cómo se unen a lo largo de su viaje. También sirve para presentar una faceta más humana y sensible de Geralt, una faceta que creo que se creó para complementar su nueva apariencia.
This point leads me to talk about the elephant in the room, the main actor change. I am not as severely affected as others about this change, but it does feel like a different Witcher. First, it is the body. It looks softer in every way, in and outside of combat. This actor is less of a bodybuilder than the previous one, so his presence on stage is less impactful in that sense. It seems it was also thought to use this image as a way to soften the character himself. Geralt is portrayed as softer in attitude and more compassionate. His movements during combat are also less rigid. While he is not my focus for watching this show, I think it is a decent replacement for The Witcher, but he can be an acquired taste because of the different version of Geralt he brings.
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Esto me lleva a hablar del tema que todos evitan: el cambio de actor principal. No me afecta tanto como a otros, pero sí se nota que es un Geralt diferente. Para empezar, está su físico. Se ve más suave en todos los sentidos, tanto dentro como fuera del combate. Este actor no es tan musculoso como el anterior, así que su presencia en escena es menos impactante en ese sentido. Parece que también se buscó suavizar la imagen del personaje. Geralt se muestra más amable y compasivo. Sus movimientos en combate también son menos rígidos. Si bien no es el personaje que más me interesa de la serie, creo que es un buen reemplazo para el anterior Geralt, pero puede que no guste del todo debido a la versión diferente que ofrece.
The season provides one great battle between mages. It is not on the scale of Aretusa's fall, but it was good too. Yennefer shows great use of chaos while she seeks to face Vilgefortz directly. While many give their lives (again), we are left with a possible rebirth of Aretusa. Zero complaints on this storyline, it has action, strong emotions, surprises, and of course, Miss Vengerberg as the center of it all.
Aside from this, the only other element that captured my attention was the hunter of Witchers. It brings some twisted evil and sick depravity to the story. With Geralt, the Witchers seem almost undefeatable. This is the cultivation of a future opposition and a great battle for Geralt and Ciri in future seasons.
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La temporada nos ofrece una gran batalla entre magos. No alcanza la magnitud de la caída de Aretusa, pero también estuvo bien. Yennefer demuestra un gran dominio del caos en su intento por enfrentarse directamente a Vilgefortz. Aunque muchos dan la vida (una vez más), nos quedamos con la posibilidad de un renacimiento de Aretusa. Ninguna queja sobre esta trama: tiene acción, emociones intensas, sorpresas y, por supuesto, a la señorita Vengerberg como protagonista.
Aparte de esto, el único otro elemento que captó mi atención fue el cazador de brujos. Aporta una maldad retorcida y una depravación enfermiza a la historia. Con Geralt, los brujos parecen casi invencibles. Esto sienta las bases para una futura oposición y una gran batalla para Geralt y Ciri en futuras temporadas.
Despite the drama and hate, I enjoyed the season. It has some good storytelling, exciting moments, a focus on the mages, and plot progression for those like me who feel bothered by unfinished stories. Do not be influenced and have your own opinion on this season. I look forward to season 5.
spanish
A pesar del drama y el odio, disfruté la temporada. Tiene una buena narrativa, momentos emocionantes, se centra en los magos y la trama avanza para quienes, como yo, se sienten frustrados con las historias inconclusas. No se dejen influenciar y formen su propia opinión sobre esta temporada. Espero con ansias la quinta temporada.
