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Samostically
@samostically (78)
2,112 followers
418 following
236d
Movie · on Soul Plane
Movie Review: Soul Plane
Hello everyone,

Over the weekend, I decided to watch another comedy movie on Prime Video to lighten the mood of the seriousness that comes with life. Coming from my last comedy movie, which was The Couple Retreat, I decided it wouldn't be all bad to try something new, especially with Kevin Hart in it. So I went for Soul Plane.

The movie, which is quite funny from the get-go, starts with Kevin Hart as Nashawn Wade, who goes through an unpleasant flight experience while traveling with an airline. The experience was quite funny because of the things that happened in the toilet for Kevin. I would not give too many details in case of those of you who decide to watch the movie after this review.
_{![image.png](https://files.peakd.com/file/peakd-hive/samostically/23tvgqKnzZCroKJpisAcWxT6epjtkZ8Va1zMHXVvVAtctaykhZq1AgeBVPr2UAzHAjPn9.png)}
Through this experience, Nashawn sues the airline, and in exchange, he gets a settlement of 100 million dollars. That is a lot of money to change a person's generation. Then decides he is going to run his own airline. Where there will be everything, and when I say everything, I mean everything. There are rims on the tyres of the plane, first-class seats with a lovely seating arrangement, and you get the experience that is worth your money. This also applies to entire passengers, even those in economy. There are only chicken wings and pizza that are distributed. While those in first class get the full course meal. _{![image.png](https://files.peakd.com/file/peakd-hive/samostically/23zkkehvvR3oqwwURY1twzwyRxzPP6C9XtwdBknVZ37FJ9KXe5uYLh8L2JteV9U4V2hA4.png)}
The funniest part for me was when there was a presentation of the safety rules. I mean the safety rules in case of an emergency, but this time it was being sung instead of the normal presentation from the air hostess, while someone spoke into the mic. The presentation was done in the form of a musical with the air hostesses singing out the safety rules to the passengers. Then Nashawn comes out in the end to address the passenger._{![image.png](https://files.peakd.com/file/peakd-hive/samostically/23uQk8rvmzTcwXSJNiStFPgNhmjU2Xjy3h4DHuDXP1oWGFLyioorY4dyBgi8rNdURRMfm.png)}
The name of the airline is N.W.A., and it has everything, ranging from a swimming pool to a club with loud music blasting in and out. N.W.A. is the first and only black airline in the movie, and it became more hilarious when there were a single white family got on the plane. They were the only family that stood out at first, but when they came to the order, they blended in well. Within minutes, the son was already mingling with the music director on the plane, shooting a video. There was absolutely nothing that could not be found or done on the plane. _{![image.png](https://files.peakd.com/file/peakd-hive/samostically/EoiUn8avQ5PRTzmpqFERVGZtcsKHG8EKCKmUbHB3hx3NJP3naqjrLUXDJ3D7qt8EZVw.png)}
Kevin Hart as Nashwan was the lead in this movie, but most importantly, the ensemble was quite terrific. With every character playing a funny role, right from Method Man down to Monique, all being funny characters. It took a while to understand everything going on, but I got to see that it was more of a movie where a man's dreams actually came to pass, and he has to fight to keep it going. _{![image.png](https://files.peakd.com/file/peakd-hive/samostically/23xL56phWtGnUEU6Jn4wNgaPPPwQQgTWEb9P91rM89xDyUFtwzDLiiRfM9FR2HAxHPsK6.png)}
It is a comedy, but let us not fail to remember that a lot can also be learned from a comedy movie. Right from the acting down to the storyline, and even sometimes the best movies are comedies in my opinion. Argue with your keypad.
What a way to relax.

Go check it out.

_{I am @samostically, a chess player and writer. I love to share the experience I have gained from different battles over the 64 squares and the knowledgeable insights from books I have read. But most importantly, [I am a Midnight Owl and I founded the community Midnight Letters.](https://peakd.com/c/hive-186424/about)}
♟♟♟♟♟♟♟♟♟

Thanks For Reading!

Posted Using INLEO
✺
Valentin Slavu
@valentin86 (68)
📍 Romania
988 followers
967 following
Life and internet Crypto-Enthusiast/freedom solutions. Just a simple person.
236d
Movie · on Predator: Badlands
Predator Badlands 2025. An Unimaginable Odyssey - When the Predator Becomes the Hero.
Predator Badlands 2025. An Unimaginable Odyssey - When the Predator Becomes the Hero.

There are some movies that you wait for with silent hope, while at the same time fearing the inevitable disappointment that often comes with the revival of a classic franchise. When i walked into the theater for Predator Badlands, expectations were not just high, but enormous, etched in the nostalgic memory of the 1987 original. What unfolded on screen, however, was more than a simple sequel: it was a courageous redefinition, an odyssey that not only met those monumental expectations, but also exceeded them in spectacular fashion.
This film does not compromise on its promise and, in fact, plays its most important card from the very first act: the shift in perspective. We are no longer helpless witnesses to the hunt, hidden in the shadow of human fear. This time, the thermal helmet and spectral vision belong to an alien warrior named Dek, an exiled Predator who, incredibly, becomes our protagonist. The script, which deserves all the praise, does not throw our alien hero into action simply to satisfy his bloodlust. On the contrary, his origins, the source of his ostracism, are carefully revealed to us, laying the foundations for a character of unexpected complexity. ___
One of the most impressive aspects is the way in which the main character becomes a lethal outcast. He is not a simple tool to kill; he is a being with a history, a violated honor and a path that he must forge for himself. From the very first sequences, we are introduced to Yautja culture from an internal perspective, understanding the strict rules of hunting and the consequences of his exile. This narrative treatment, which keeps Dek in the foreground not only when the blade is about to strike, allows us to become emotionally attached to this deadly hunter. We follow Dek not as a monster, but as an outcast, a young warrior learning what it means to survive beyond the strict rules of his clan.
The piece de resistance, in addition to the excellence of the script, is the unexpected dynamic at the heart of the film: the alliance between Dek and Thia, the intelligent android of the Weyland-Yutani company, played masterfully by Elle Fanning. The character of Thia is absolutely fascinating. She is not just a guide or a mechanical sidekick; she is the catalyst who manages, subtly and convincingly, to "humanize" the young Dek. Fanning brings a calm but nuanced presence to the screen that balances the Predator's inherent brutality with a certain vulnerability, forging an unlikely and profound connection.
But perhaps the element that throws you the deepest into the abyss of fascination is the planet Badlands itself. This realm of exile is not a simple inert backdrop, but a visual fever and a race with bio-hazardous obstacles. The valley, the world of creatures there... you never know where the writers and design team could have gotten their inspiration! The bestiary is truly original, defying any form of alien life seen before. From tiny but lethal predators that camouflage themselves in the toxic landscape, to biomechanical giants that seem torn from gothic nightmares, each encounter is a lesson in survival. https://youtube.com/shorts/0pho3rxPFKk?si=td-v-cPIdm7QrU7y It's a captivating experience to watch how Dek must adapt his hunting techniques to this hostile and unexpected environment. And the weapons! The arsenal presented, both the improved Yautja and that of the local fauna, is cleverly designed. Each piece of equipment plays a crucial role in the narrative, bringing a fresh and highly engaging twist to the sci-fi universe. There’s a sense of massive investment not just in the main story, but also in creating a toxic, stunning ecosystem perfectly tailored to test the limits of an exiled Predator.

The technical execution is impeccable. Predator Badlands is filled with rare visual effects that aren’t just used for free show, but serve to build a believable and dangerous world. The intensity of every sound, from the click of the plasmacaster to the eerie sound of camouflage, transforms viewing into a multisensory experience.

What sets this film apart from many other remakes is that it’s not too cliched. The creative team has managed to avoid well-worn narrative traps, offering surprising plot twists and an action that flows naturally without feeling forced or exaggerated. You can feel the work put into every frame, demonstrating a genuine respect for the source material but also a burning desire for innovation. It's clear proof that when passion and intelligence are invested in the script, a franchise can be reborn stronger and more relevant than ever.
> This film is a monumental achievement, undoubtedly at the top of the pyramid, surpassed only by the unwavering greatness of the 1987 original. But perhaps its most thrilling aspect is the ending.
The ending doesn't just close a chapter, it opens the door wide to a much-needed sequel. The stakes are high, and the search for the ultimate adversary only now seems to truly begin, with Dek and Thia heading towards the horizon. The signs are clear: Dek and Thia's world, as well as the complex politics of Weyland-Yutani, are set to fuel at least one more film, if not an entire trilogy. I am absolutely convinced that this wonderful franchise will not stop here, and Badlands is the solid foundation on which to build an extraordinary narrative future.

If you are looking for an experience that will take you out of your daily routine and offer you an unforgettable visual and narrative spectacle, go see it in the cinema. It's a special experience, an ode to innovation, and a huge step forward for the Predator universe.
✺
steemychicken1
@steemychicken1 (81)
2,927 followers
412 following
Photographer - Pornographer
236d
Movie · on Frankenstein
Frankenstein
Mary Shelley’s Frankenstein; or, The Modern Prometheus is not merely a gothic tale or a philosophical allegory. It is a work born from the grief of a nineteen-year-old woman who had lost her child and, through unbearable pain, imagined what it would mean to bring the dead back to life. I believe this story remains alive within us precisely because it touches those raw nerves of horror and sorrow—it confronts dangerous knowledge, creation, loneliness and isolation, power and responsibility, our relationship with nature, and the moral accountability of both the individual and society.

With that historical and biographical lens in mind, here’s my first observation: I found the film excessively stylized—at times more like a music video than a gothic thriller. It feels as though the dark grandeur of Shelley’s vision was sacrificed on the altar of digital excess. Personally, I think CGI should work invisibly, supporting practical effects just enough to make them believable, not drawing attention to itself. Instead of feeling as though I were in a dim room lit by flickering candles, surrounded by death and dread, I felt like I was watching a video-game cutscene.
Shelley’s novel was radical because it dared to imagine male appropriation of motherhood at a time when she herself was mourning a lost child. Thinking of this, I feel the film silences the feminine voice that gave birth to the story—a true model of Romantic tension between scientific hubris and divine mystery. A meditation on power, creation, and their cost. That complexity is missing here. This Victor does not seek to *give birth* to life or to understand God; he wants to conquer death and dethrone Him. The creature ceases to mirror human anguish and becomes merely a vessel of masculine suffering. Ironic, isn’t it—given that the source material questions male dominion over life itself?
I’ll go on with my complaints: the omission of Clerval—the moral voice of Victor in the novel—was disappointing, replaced instead by overused voice-over exposition. The characters of William and Elizabeth are diluted; he’s practically a prop, and she feels like a shadow of her written counterpart. And while I adore Christoph Waltz, his added character (not in the book) further weakens the story’s spine.

Another unjustified change is the removal of the scene where the creature saves a drowning girl only to be shot by her father—a defining moment that exposes him to human cruelty. That moral ambiguity runs through the entire novel. Shelley, daughter and wife of atheists, wrote about the void left by a silent God. The Romantics were living in an era when divinity was being dismantled into physics and laws of nature, and atheism was becoming almost mainstream. Yet existential anguish intensified: God might not exist, but the pain of His absence is real. That’s why this adaptation feels soulless—it commits the very sin the novel condemns. Shelley’s message is that we are the gods who create and destroy. By erasing that ambiguity, the maternal grief, and the awe of creation, the film cuts itself off from the work’s heart.

For coherence, then, the film should have shown Victor abandoning his creation—as in the novel—instead of chaining it like an abusive father. In the original, he turns away in horror from his own act. That rejection is crucial: it makes the creature’s awakening existential and contrasts sharply with Victor’s privileged upbringing, making his deed even more blasphemous. The film’s “birth” scene—with its chains and brutality—leans toward melodrama rather than philosophical terror.

Shelley’s masterpiece endures because she refused to give us just one monster. Victor, his creation, and society itself form a cycle of guilt and despair. In this film, however, the creature is too “good,” his violence overly justified, and the moral tension simplified. Gone is the question—does evil arise or is it made? When he kills Elizabeth, it isn’t cosmic vengeance against divine silence but merely a predictable act of self-defense. Instead of moral allegory, we get a plain hero-versus-villain arc.

I was also (very) disappointed by the attempt to give the creature depth through Ozymandias—a poem by Shelley’s husband, Percy—and by the fact that the film ends with a line by Lord Byron. So the final word, once again, belongs to a man. Apparently, the woman who gave birth to the myth of modern masculine arrogance still needed male validation.

And so I was left with a sense of emptiness. For me, the film doesn’t aim to provoke thought or emotion—it just wants to dazzle visually. But Shelley’s story asks to be seen through its contradictions, through human frailty. Here, everything becomes easier, cleaner—and with that, the tension that makes the novel so haunting and so painfully human is lost.
Drax
@drax (77)
893 followers
106 following
Blogger, film critic, columnist (writes in Croatian and English)
236d
Movie · on Hotel Artemis
Film Review: Hotel Artemis (2018)

If one needed to illustrate how time inevitably affects everyone, even the biggest Hollywood stars, Jodie Foster might provide one of the best examples. There’s no need to delve too far into the past and recall her role in Taxi Driver, when, as a pre-teen nymphette, she incited violence both on screen and in real life. It’s enough, for instance, to remember how, just a decade ago in The Brave One, she portrayed a relatively young woman cleaning up New York’s streets in the style of Charles Bronson. The shock is all the greater, then, when viewers see her in Hotel Artemis—albeit with the aid of appropriate makeup—for the first time in a role whose age falls into what is euphemistically referred to as the ‘golden years’.

The film’s plot, meanwhile, is set in the relatively near future—a period that, at least for California, would be hard to describe as a ‘golden age’. By 2028, local authorities have implemented some of the most extreme neoliberal ideas, including the complete privatisation of water supply with monopolistic pricing determined exclusively by supply and demand. In Los Angeles, this means the majority of the population will be either poor, thirsty, or both, leading to mass riots that a privatised police force attempts to suppress with extreme brutality. Sherman (Sterling K. Brown), however, couldn’t care less, having long ago decided to earn his bread through crime, including bank heists. During one such robbery, he and his brother (Brian Tyree Henry) are wounded, prompting them to seek out a peculiar institution known as the Hotel Artemis—a facility that, in reality, operates as a hospital where nurse Jean Thomas (Jodie Foster) provides discreet yet top-tier medical services to pre-registered criminals, outcasts, and others on the wrong side of the law, utilising nanotechnology and other cutting-edge medical advancements. The Hotel Artemis also operates under strict behavioural rules that all guests must follow, including a ban on killing one another. Yet, on the night Los Angeles erupts in chaos, maintaining this rule proves difficult—especially given the presence of professional assassins among the guests and the fact that Sherman has robbed the head of Los Angeles’ underworld.

Hotel Artemis was produced by a relatively new and small studio with an exceptionally low budget, and for Drew Pearce—previously known as a screenwriter and producer—this marks his directorial debut. This raises the question of how the film managed to secure standard cinema distribution, with the best answer lying in its cast. This applies not only to Jodie Foster, who devours what could have been a thankless role as an ageing, occasionally eccentric nurse, but also to the imposing Sterling K. Brown, who delivers the closest thing to a hero among all the characters. The rest of the cast is, in some cases, strong—witness Jeff Goldblum, who appears only briefly towards the film’s end, or Sofie Boutella, who brilliantly utilises her dance skills in a fight sequence, and the ever-compelling Dave Bautista as Jean’s assistant—while in others, it falls short, particularly irritating Charlie Day as Zachary Quinto, who once again displays a tendency to lapse into unbearable hamming it up when portraying villains.

The biggest issue with Hotel Artemis, however, is Pearce’s rather uninspired script, which draws significant inspiration from John Wick—particularly its memorable similar hotel concept. Beyond poorly written characters and an overdose of melodrama towards the end, the most glaring flaw is the underutilisation of dystopian motifs; the apocalyptic riots outside are nothing more than a superfluous backdrop, failing to pose any real threat to the characters safely ensconced behind the hotel’s thick, fortified walls. The idea of neoliberal policies triggering a water shortage and societal collapse could have served as a compelling socio-economic commentary, but this opportunity is wasted. On the other hand, Hotel Artemis functions remarkably well as a stylistic exercise—a testament to Pearce’s directorial and production skills—where Jodie Foster’s talent and charisma blend seamlessly with the set design and atmosphere, evoking futuristic neo-noir classics like Blade Runner. When cinemas are starved of small yet solid films, Hotel Artemis’ strengths are more than enough.

RATING: 6/10 (++)

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

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Valeria
@valsalazar (66)
📍 Venezuela
51 followers
40 following
Fan del cine, las series, el anime y la formula 1
236d
TV · on Fallout
Recommendation Fallout: a nuclear apocalypse, a girl, a Ghoul, a soldier, and the dog. [Eng/Esp]
Hello, TV series lovers!

I hope you are all well. Today I want to talk to you about a post-apocalyptic science fiction series based on an iconic and famous video game series. This series has a retro aesthetic with a futuristic twist, featuring drama, action, and touches of humor in a world that has gone to hell, along with the people in it. The series is called Fallout.

As the series begins, we are introduced to Cooper Howard dressed as a cowboy, who is quickly revealed to be a once famous and acclaimed television actor who has now fallen on hard times and works as a party entertainer to support himself and his daughter, who is accompanying him to the party.

His daughter watches longingly as the other children have fun, while Cooper swallows his pride as he is embarrassed and contemptuously called a “communist.” Until, looking towards the city (the party was at a house on the hill), he is astonished to see how the city is being ravaged and destroyed by fire. Noticing how the explosion is heading towards his area, he can only try to do his best to ensure his daughter's survival, until everything goes black.

_IMDb

_IMDb

But the real story begins 219 years later. The devastation we saw at the beginning was caused by a nuclear apocalypse, and the story focuses on a descendant of the privileged who had the fortune (literally) to live in luxurious underground shelters. But whose lifestyle is bizarre, even caricatured, where everyone dresses the same, marriages are arranged, and they believe they are the last remnants of humanity.

This is how we are introduced to Lucy, a daring, dreamy young woman with a desire for adventure who wanted to live life to the fullest. Lucy is about to marry an inhabitant of another shelter, but she discovers that her “husband” is actually an inhabitant of the outside world, as are all those who came with him. So the wedding turns into a massacre. This operation was carried out with the aim of kidnapping Lucy's father, but before leaving, the leader of the operation tells Lucy that she is “just like her mother.”

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_IMDb

After this event and against the rules, Lucy decides to leave the shelter to rescue her father, unaware not only of the danger that lies ahead, but also of the truths she will ultimately discover.

Three stories and three characters intertwine in the series. Lucy, in search of her father, discovers a devastated world and a dark reality. Máximo, an aspiring member of a group called the Brotherhood, eager for glory, ends up chasing a scientist and his dog (who are on the run). And finally, we have the Ghoul, a mutant (formerly human) who is apparently immortal and bounty hunts because he has nothing else to do (apparently).

The paths of these characters end up intertwining through chance encounters, as they face mutant monsters (a giant axolotl with fingers for teeth), what remains of the government, military remnants, corporations, gangs, and generally any crazy and evil people, or both, who will cross paths while we, as spectators, try to piece together the puzzle of what happened before, during, and after the nuclear apocalypse. Fortunately, the Ghoul's memories, which serve as a bridge between the past and the future, are at hand.

_IMDb

_IMDb

The story has a very complete and lively plot, with an attractive and interesting narrative where there is a little bit of everything. To begin with, the story emerges in an alternative world that diverges from real history after World War II and maintains an aesthetic, as I said at the beginning, in a retro style from the early 1950s that seems to come out of a video game (it is). The story has a lot of lore, so it is an extensive world with a lot to tell.

Visually, the series is incredible, and the story grabs you instantly. There is action, drama, and adventure, and Lucy and Ghoul were my favorites, along with the scientist and his faithful dog. Although the story seems to have a cartoonish tone, it is not like that at all. In fact, as it progresses, it has a darker and even disturbing undertone (especially for those who know what may come in the following seasons). But overall, the series is a mix of action, dark humor, satire, politics, and social commentary. The only thing I found a little negative is that, in my opinion, the episodes sometimes felt long or had an uneven pace between episodes.

_IMDb

_IMDb

_IMDb

As I said at the beginning, it is based on a video game, so for those who have not played any Fallout games, it is not necessary to know the lore of the game, and for those who do play it, it is faithful to the original work.

In short, it's a very good series, with a lot of content, great action, drama, mysteries, and laughs. I should point out that it has plenty of graphic violence, but overall it's quite entertaining, and the production design and post-apocalyptic retro-futuristic atmosphere are incredible.

¡Hola, amantes de las series!

Espero que se encuentren bien. Hoy les quiero hablar de una serie de ciencia ficción postapocalíptica basada en una icónica y famosa serie de videojuegos. Esta serie tiene una estética retro con dosis futurística, con drama, acción y toques de humor en un mundo que se fue el traste y las personas en él también. Esta serie se llama: Fallout.

Apenas inicia la serie, nos muestran a Cooper Howard disfrazado de vaquero, que rápidamente se nos revela alguna vez fue un famoso y aclamado actor de televisión, quien ahora caído en desgracia trabaja animando fiestas para vivir y mantener a su hija, quien se encontraba acompañándolo en dicha fiesta.

Su hija solo observa anhelante la diversión de los otros niños, mientras Cooper se traga su orgullo al ser avergonzado y llamado despectivamente “comunista”. Hasta que, mirando hacia la ciudad (la fiesta era en una casa en la colina), se asombra al notar cómo la ciudad es arrasada y destruida por fuego. Notando cómo la explosión se dirige a su zona, solo puede tratar de hacer lo mejor posible por procurar la supervivencia de su hija, hasta que todo se vuelve negro.

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Pero la verdadera historia arranca, 219 años después. La devastación que vimos al inicio fue causada por un apocalipsis nuclear y la historia se centra en una descendiente de los privilegiados que tuvieron la fortuna (literalmente) de habitar lujosos refugios subterráneos. Pero cuyo estilo de vida es bizarro, hasta caricaturesca, donde todos visten igual, los matrimonios se arreglan y creen que son lo último que queda de la humanidad.

Es así como se nos presenta a Lucy, una joven atrevida, soñadora y con deseo de aventura que quería vivir la vida. Lucy está a punto de casarse con un habitante de otro refugio, pero descubre que su “esposo” es realmente un habitante del exterior y todos los que vinieron con él también. Por lo que la boda se vuelve una masacre. Esta operación fue hecha con el objetivo de secuestrar al padre de Lucy, pero antes de irse, la líder de dicha operación le dice a Lucy “que es igual a su madre”.

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_IMDb

Después de este suceso y en contra de las reglas, Lucy decidí salir del refugio para recuperar a su padre, sin saber, no solo el peligro que le depararía el camino, sino las verdades que terminaría descubriendo.

En la serie se entrelazan tres historias, tres personajes.Lucy, en búsqueda de su padre, descubre un mundo devastado y una realidad oscura. Máximo aspirante a un grupo llamado la hermandad, deseoso de gloria, quien termina persiguiendo a un científico y a su perro (quienes están huyendo). Y finalmente tenemos al Ghoul, un mutante (antes humano) aparentemente inmortal que hace de cazar recompensas porque no tiene nada más que hacer (aparentemente).

Los caminos de estos personajes se terminan entrelazan a través de casualidades, mientras enfrentan monstruos mutantes (un ajolote gigante con dedos por dientes), lo que quedo del gobierno, remanentes militares, corporaciones, bandas y en general cualquier gente loca y malvada o las dos cosas que se cruzarán mientras nosotros como espectadores tratamos de armar el rompecabezas de lo que sucedió antes, durante y después del apocalipsis nuclear. Por suerte, las memorias del Ghoul que hacen de puente entre el pasado y el futuro están a la orden.

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La historia tiene una trama muy completa y viva, con una narrativa atractiva e interesante donde hay de todo un poco. Para empezar la historia surge en un mundo alternativo que diverge de la historia real tras la Segunda Guerra Mundial y mantiene una estética como dije al inicio estilo retro, de inicios 50 que parece salido de un videojuego (lo es), la historia tiene mucho lore, por lo que es un mundo extenso con mucho que contar.

Visualmente, la serie es increíble y la historia atrapa al instante. Hay acción, drama y aventura y Lucy y Ghoul fueron mis favoritos junto con el científico y su fiel perro. Aunque la historia parece que tenga un tono caricaturesco, no es así, para nada; de hecho, a medida que se avanza tiene un trasfondo más oscuro y hasta perturbador (sobre todo para quienes saben qué puede venir en las siguientes temporadas). Pero en general, la serie es una mezcla de acción, humor negro, sátira, política y crítica social. Lo único que le encontré un poco negativo es que, a mi percepción, los capítulos por momentos se me hicieron largos o con un ritmo desigual entre episodios.

_IMDb

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Como dije en un inicio, está basado en un videojuego, por lo que para quienes no han jugado ningún juego de Fallout no es necesario conocer el lore del juego y para quienes lo juegan es fiel a la obra original.

En resumen, es una muy buena serie, con mucho contenido, muy buena acción, drama, misterios y risas que aclaro, tienen basta violencia gráfica, pero que en general entretiene bastante y cuyo diseño de producción y ambiente postapocalipsis-retrofuturista es increíble.

_{,🔅 Cover created in/Portada creadad en Canva, 🇺🇸Translated with www.DeepL.com/Translator (free version)}
SkipTvAds
@skiptvads (72)
306 followers
230 following
If its on Tv I'll write about it || If its on Tv they already doing it
236d
Movie · on Ballad of a Small Player70
Ballad of a Small Player (2025) - All Style No Substance - REVIEW
[Source](https://screenrant.com)
Ballad of a Small Player came out on Netflix October 29 and this thing wore me out way more than it entertained me, Im not the type of guy who commonly stops movies but I was about to. Edward Berger went from directing Conclave to basically trying his best Baz Luhrmann impression and it does not land at all, like what was he thinking with this one. Colin Farrell plays this sweaty disaster of a gambler named Brendan Reilly who goes by the fake name Lord Doyle while he is hiding in Macau and he cannot stop betting even tho he sucks at it, you watch him loose over and over again and it starts feeling like you are stuck in this endless loop with him, its exhausting as hell to sit through and there is no end to it, this guy just cant catch a break. The movie visually looks so good like they really invested in the production, all those neon lights and wild camera angles make it feel super flashy but thats its, thats why on the title I use All Looks No Substance because the story is a complete mess, like a beautiful wrapping paper around an empty box. Tilda Swinton shows up as this private investigate tracking Doyle down and there is another woman named Dao Ming who is a credit broker at the casino and might be his only chance at getting out but none of these relationships feel real or developed enough to actually give a damn about what happens. The whole thing tries so hard to be this deep look at addiction but it just comes off as repetitive and confusing, I could not tell you what was real and what was in his head half the time and not in a cool way just in an annoying way that had me with the finger on the fast forward button. Farrell is great as always but even he cant save this from feeling like style over substance, by the end I was just tired of a repetitive story that was getting no where, watching him going into this addictive cycle spiral down for nearly two hours without any reward, Berger clearly has talent but he forgot to give us characters worth caring about or a story that goes somewhere meaningful.
- IMDB: https://www.imdb.com/title/tt32063098/
- Platform: NETFLIX
Rottentomatoes Rating
[Source](https://tinyurl.com/4k9fkt93)
If you have seen the trailer its a very simple setup, Doyle is this disgraced Irish guy who embezzled millions and ran off to Macau where he pretends to be royalty, he walks around acting like some nobleman even tho everyone sees through his bullshit and its kinda pathetic to watch after a while. He gambles at baccarat tables and loses constantly but keeps going back because thats what addicts do, they never know how to stop, the movie wants you to think he is tortured and complex but really he just comes off as annoying after the first thirty minutes or so, witch makes the rest of the movie feel like a chore you have to sit through. When Dao Ming comes in during the Hungry Ghost Festival things get weird, shes this quiet mysterious credit broker who sees through his lies and tries to help him but the chemistry is very poor and their scenes fall completely flat on there face, you never understand why she cares about this loser or what she gets out of trying to save him witch becomes frustrating. Berger shoots everything with extreme closeups of sweat on Farrells face and long shots from behind peoples heads where everything else is blurry. The cinematography is technical impressive but that alone cant safe the movie, it looks very neat and clean but aint enough, there is no emotion just pretty visuals that dont serve the story at all and it becomes more obvious as things drag on. Every scene looks like it could be in some fancy art magazine but none of it connects to anything deeper, it is all surface beauty without heart underneath it, the gambling scenes should be tense but they drag on forever witch is the opposite of what you want, you watch Doyle bet and loose and bet again until it becomes this monotonous rhythm that puts you to sleep instead of keeping you interested in whats going to happen next. After taking money from Dao Mings shed Doyle goes on this stupidly and incredible winning streak before his final big bet but even that feels hollow and empty, its this hallelujah moment but just feels like the rest another fake moment, his character is very similar to Vince in the Black Rabbit who in fact had a similar gambling night and blow it up in a single final bet, when you watch that scene there was an adrenaline rush.
[Source](https://tinyurl.com/4k9fkt93) [Source](https://tinyurl.com/4k9fkt93) Then there is this whole supernatural aspect of the movie where Dao Ming might be a ghost or she might be real or maybe both, the movie never commits to anything witch is frustrating because you spend the whole time trying to figure out whats going on instead of just experiencing the story and letting it happen like the movie is on cruise control. After Doyle has a heart attack he wakes up next to Dao Ming, he finds a big stash of her money hidden in the shed and goes gambling, winning like crazy at the tables. Suddenly his luck turns around completely and casino people whisper that a ghost is helping him win witch sounds cool but the execution is poor and it looses all impact. The movie wants to be this meditation on guilt and redemption but doesnt earn any of that, Doyle never does anything to make you root for him or care if he finds peace or whatever hes looking for in this damn casino, he is just self destructive without learning anything. The movie had some crazy editing cuts and loud music and colorful lights but none of it adds up to anything meaningful, its like watching someone show off technical skills without having a good story to tell witch is a waste of everyone time. The Hungry Ghost Festival stuff should add more to it both cultural and spiritual weight but it feels tacked on, like Berger thought it would look cool to have people burning offerings without actually integrating those beliefs into the story in a way that matters to anything happening on screen. Tilda Swintons character shows up periodically to remind Doyle that people back home want their money but also gave him a deadline to pay back embezzled funds or face deportation to stand trial, these scenes feel random and disconnected from everything else, she appears out of nowhere to then disappears until the script needs her again witch is lazy. [Source](https://tinyurl.com/4k9fkt93) [Source](https://tinyurl.com/4k9fkt93) Things get worst as the movie goes on and in fact close to the end its when things fall apart, Doyle steals Dao Mings money from her houseboat and uses it to gamble, he wins big and pays off his debts first but then he burns the rest of the cash in this symbolic gesture thats supposed to represent him letting go of addiction but it feels unearned because we never saw the journey that would make this moment land with any kind of impact or weight, you just cannot turn the table around from one minute to another. The movie tries to make this big statement about hungry ghosts and Buddhist mythology but barely scratches the surface of any of it, I mean the Festival of the Hungry Ghosts is all over the background but does that really give us enough depth to understand what Berger is trying to say about Doyle being one of those hungry ghosts, not really. You got Colin Farrell and Tilda Swintons characters dancing together during the credits in this awkward scene thats supposed to be about something but it feels random and out of place after everything else thats happened witch makes no sense at all, like why are Doyle and Blithe dancing when she spent the whole movie hunting him down. The score is actually pretty good, one of the few things that works but even that feels disconnected from whats happening on screen like it belongs in a different better version of this story that somebody forgot to make, witch is a shame. Nothing about the ending feels satisfying or earned, Doyle burns his remaining money and walks away and you are supposed to think he found peace but the movie never showed us the internal journey that would make that moment work or feel real, Berger wanted to make a redemption story without actually showing someone changing or growing or learning shit about themselves witch is the whole point. Farrells performance is the only thing holding this together and even thats not enough to save it, he commits fully to playing this broken mess of a man but the script does not give him enough to work with beyond just looking miserable and sweaty. Look I wanted to like this so bad, Berger is talented and Farrell always brings it but Ballad of a Small Player is just exhausting to sit through and not in a good way that makes you think about it after. The movie is supposed to be this psychological thriller mixed with a ghost story and black comedy but ends up repetitive and hollow without landing any of those things right, Doyle is a disgraced Irish financier who stole money and ran to Macau where he drinks and gambles away everything while this investigator named Cynthia Blithe hunts him down, the problem is the movie never makes you care about any of it even though the setup is there. The ghost story part with Dao Ming is intentional because she actually drowned and is a hallucination but it still feels confusing and messy even knowing that, the pacing drags forever and by the time you get to the ending you are actually glad it ended. Maybe if the movie had focused more on making the characters interesting instead of just looking good this could have been something special worth talking about, this are many things to ask I think, this is one of those movies that just did not work for me at all. I would give it a 6 out of 10 because it looks beautiful and Farrell tries his best but everything else feels empty with no flavor, if your a fan of Bergers other work you might find something here but for me it was just a disappointment from start to finish that left me wishing I watched something else. Netflix has been putting out interesting stuff lately but this one I have no clue what happen with them, its the kind of movie that makes you appreciate when directors balance style with substance instead of choosing one over the other and forgetting what actually matters. I dont see a reason to watch this movie even if you are into gambling, I went into this movie thinking that it will be more interesting on the gambling side, so safe your time.
#skiptvads, #inleo, #hive, #netflix, #ballad, #player, #colin, #farrell, #gambling, #macau, #casino, #addiction, #edward, #berger, #review, #movie, #tilda, #swinton, #baccarat, #ghost, #supernatural, #cinematography, #drama, #disappointment, #streaming, #2025, #thriller, #critique

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Movie · on Predator: Badlands
A Geeky Guy's Guide to Predator: Badlands
Let's get this out of the way really quick, Predator: Badlands is flat out silly... but it is also so freaking entertaining!

When I first saw the previews for Predator:Badlands, I literally laughed out loud. I thought the special effects for this predator (a member of the Yautja species) were one of the worst things I had ever seen. It honestly looked like a really bad fan-made movie. Then I was reminded that the movie was made by the same team that made Prey (which I thoroughly enjoyed) and Predator: Killer of Killers (which I absolutely loved). In fact, I thought Killer of Killers was the best Predator content since the 1987 original starring Arnold Schwarzenegger. But even that couldn't get me to forget my first impression of that terrible trailer. Then over the past week I started to hear some really good buzz about the movie. So when my college aged son asked if I wanted to see it with him, I jumped at the chance. To be honest, even if I had heard it was terrible, I probably would have gone just to spend time with my son. But he had heard the same buzz I had so we were both pretty psyched.

From the opening scene, we knew we would not be disappointed. It starts with two predators fighting and the action only ramps up from there. Here's one of the first silly/awesome (let's just say silawesome to make this simpler) things that happens: they create a very quick backstory that makes you sympathize with and root for a Predator. Part of this is giving the predator an actual name: Dek. Dek is the runt of the litter and, much like the Spartans, his father does not want any runts around. So when the young predator Dek goes on his manhood ritual quest to prove himself to his father and his clan, you really want him to succeed.

In case the fact that they tried and succeeded to create an emotional connection with the most deadly predator in the universe didn't already clue you in on the secret... "Pssst. 20th Century Fox is owned by Disney... so Prey, Killer of Killers and Badlands were all made by Disney". That is not a bad thing, but it is something to remember when you are going into this movie. Another thing to keep in mind is that this movie is rated PG-13. It is not going to be the bloody action movie of 1987. They aren't just going to rely on cool action sequences and giant dudes flexing their muscles. They need a story and even some cute animals (yes I said cute animals).

Predator: Badlands is basically a buddy movie between a robot, a predator and a little animal pal named Buddy. (You did not misread that.) Like I said it is silawesome! Like all good buddy movies, they toss in some humor as the two buddies (well three) are getting to know each other. One is gruff and serious while the other is a chatterbox who can't "read the room". I know that might sound like you just want to roll your eyes and walk away, but if you go into this knowing what it is, it actually works incredibly well. I have already seen a ton of "Predators don't speak. They don't feel. They don't have personalities. They only kill". Seeing another one of those would be pretty boring. But having the predator be the hero? Now that I have never seen.

Once you get passed the fact that this is a buddy movie with funny sidekicks, the action in this movie is sensational. And there is tons of it. Dek spends at least 75% of the movie fighting something. So even if you don't like the buddy aspect, just put some headphones in and wait two minutes and I assure you the action will start back up again.

Now onto the special effects. When I first saw the preview, there were two problems. First they clearly didn't use the best shots from the movie in the trailers. Second, the director purposely wanted to create a old school feel by relying on practical effects as much as possible. Instead of creating of a guy walking around in a motion capture suit while filming and then drawing over him with CGI later, they actually used a good old rubber suit and mask. Well maybe not "good old" considering they clearly used some modern teach to make Dek and the rest of the predators look really cool. I actually appreciate when directors use practical effects. In many cases, I think they look far better than CGI... I'm looking at you Baby Yoda puppet.

If you are expecting to relive your youth and just see an updated version of 1987 Predator, this movie is not for you. If you are willing to evolve and see a unique member of the Yautja species who actually has developed some emotional intelligence, enjoy some jokes, like buddy movies, and love action then Predator: Badlands is a can't miss. In other words, if you can handle silawesome, you should go in see this in the highest quality theater you can.
Cristian Caicedo
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Movie · on Censor
Censor (2021): a great debut and a one-way trip to madness | un gran debut y un viaje sin retorno a la locura [ENG | ESP]
Directed by Prano Bailey-Bond | Dirigida por Prano Bailey-Bond

Choosing a film is a bit like playing Russian roulette: there's a high risk of losing. You don't lose money, of course, but you do lose some time and, above all, the chance to have chosen something else. Often, after watching a disappointing film, that's what we regret: having chosen it over others. But when the opposite happens and the roulette wheel spins until it lands on your number, the feeling is one of triumph. Especially if, as in this case, the risk involved daring to step outside your comfort zone.

Elegir una película se parece un poco a jugar la ruleta rusa: hay un gran riesgo de perder. No se pierde dinero, claro, pero sí algo de tiempo y sobre todo la posibilidad de haber escogido otra opción. Muchas veces, después de ver una película decepcionante, eso es lo que lamentamos: haberla elegido sobre otras. Pero cuando sucede lo contrario y la ruleta gira hasta detenerse en tu número, la sensación es de triunfo. Sobre todo si, como en este caso, el riesgo implicaba atreverse a salir de la zona de confort.

Poster

I say all this because I'm not a big fan of horror movies, and choosing a film from this genre over others I enjoy more is a risky bet for me. Besides, Halloween is over, so I wasn't interested in watching horror films for a while. But then, MUBI suggested a film on its homepage whose synopsis I found very interesting—more of a psychological thriller than horror—and I decided to give it a chance because I trust the platform's curation criteria. And I wasn't wrong. Thanks, MUBI. Censor is a British horror-thriller film directed by Prano Bailey-Bond and written by her and Anthony Fletcher. Set in 1980s Britain, the film's social and historical context is original; that is to say, it's unlike almost anything I'd seen before. At that time, England had the highest number of video cameras per capita in the world, which led to a surge in recording personal memories, but it also had its dark side: Nasty Cinema. This term referred to the numerous low-budget films that depicted graphic violence, murder, torture, and shocking scenes that mainstream cinema wouldn't allow. Instead of outright banning them, the British government established an office tasked with reviewing and evaluating these films to determine which titles could be distributed (after some editing, of course) and which should be banned altogether. This is where we meet Enid, a censor for this government agency, played by Niamh Algar.

Digo todo esto porque no soy fanático de las películas de terror y elegir una cinta de este género sobre otros que disfruto más es una apuesta arriesgada para mí. Además, Halloween ya pasó, así que no tenía interés de ver cintas de terror durante un tiempo. Pero entonces, MUBI me sugirió en su pantalla principal una cinta cuya sinopsis se me hizo muy interesante, más de thriller psicológico que de terror, y quise darle una oportunidad porque confío en los criterios de curación de esa plataforma. Y no me equivoqué. Gracias MUBI. Censor es una película de terror e intriga británica dirigida por Prano Bailey-Bond y escrita por ella misma junto a Anthony Fletcher. Ambientada en los años ochenta en el Reino Unido, el contexto social e histórico de la película es original; es decir, no se parece a casi nada que yo hubiera visto antes. Para esa época, Inglaterra era el país con mayor cantidad de cámaras de video per cápita en el mundo, lo que se tradujo en un entusiasmo por grabar memorias personales, pero también tuvo su lado oscuro: el cine Nasty. Se llamó así a las numerosas películas de bajo presupuesto que mostraban violencia gráfica, asesinatos, torturas y escenas impactantes que el cine convencional no permitía. En lugar de prohibirlo tajantemente, el gobierno británico estableció una oficina que debía revisar estas cintas y evaluarlas a fin de determinar cuáles de esos títulos podían distribuirse (después de haberle hecho ciertos cortes, claro) o cuales debían prohibirse de plano y allí es donde encontramos a Enid, una censora de ese organismo del estado, interpretada por Niamh Algar.

Scene from the movie | Escena de la película

The government and society feared that the proliferation and distribution of these VHS tapes would expose the population—especially young people—to such violent and explicit images, leading to equally violent behavior and ultimately undermining a society whose self-image was more idealized than its actual reality. All these fears exploded when a multiple murder was reported on the news, in which the killer acted similarly to a character in one of those few nasty tapes that censorship—after some editing—had allowed to circulate. Could the censorship office then be blamed for the victims of this tragedy?

El miedo del gobierno y de la sociedad ante la proliferación y distribución de este tipo de cintas grabadas en VHS era que, si la población - en especial los jóvenes - eran expuestos a imágenes tan violentas y explícitas, su comportamiento podría volverse igual de violento y eso acabaría socavando las bases de una sociedad cuya imagen de sí misma era más elevada que su propia realidad. Todos esos temores estallan cuando llega a los noticieros un asesinato múltiple en el cual el asesino actuó de forma similar a uno de los personajes de una de esas pocas cintas nasty que la censura - previa edición - permitió circular en el país, ¿se puede culpar entonces a la oficina de censura por las víctimas de esa tragedia?

Behind the Scenes

That's the premise that governs the first third of the film, and it's interesting in itself because it allows for discussion of complex themes: freedom, censorship, the influence of the media, mass behavior, violence, authoritarianism, guilt, responsibility, voyeurism, exploitation cinema, and many others. But in addition, there's the personal drama of Enid, who, amidst questioning her role as a censor in the wake of the aforementioned tragedy, is drawn into a vortex of emotions when, in one of the films she has to review, she witnesses a scene very similar to one she herself experienced moments before her sister Nina's disappearance more than twenty years earlier, when they were both children. Then, when Enid sees an adult woman with Nina's eyes in another film, the censor begins her own investigation into the possibility that her sister is still alive and has become a nasty film actress. From that point on, reality and fiction begin to blur, not only in Enid's life but also on the viewer's screen, and a downward spiral of madness and horror begins. Up to this point, tell me if you don't find the plot intriguing, isn't it a story that makes you want to watch it? The personal trauma, the forbidden element, individuality versus the collective, the real historical context, the curiosity... Censor has a diverse range of elements that make it a very appealing story, especially for horror film fans.

Poster

Esa es la premisa que abarca el primer tercio de la cinta y en sí misma ya es interesante porque permite el debate de temas complejos: la libertad, la censura, la influencia de los medios de comunicación, el comportamiento de las masas, la violencia, el autoritarismo, la culpa, la responsabilidad, el voyeurismo, el cine de explotación y muchos otros. Pero además, a ello se agrega el drama personal de Enid, quien en medio del cuestionamiento de su papel como censora a partir de la tragedia mencionada, se ve atraída hacia un vórtice de emociones cuando, en una de las cintas que debe revisar, presencia una escena muy similar a la que ella misma vivió momentos antes de la desaparición de su hermana Nina hace más de veinte años cuando ambas eran niñas. Luego, cuando en otra cinta Enid ve a una mujer adulta que tiene los mismos ojos de Nina, la censora comienza a investigar por su cuenta la posibilidad de que su hermana siga viva y que se haya hecho actriz de cine nasty. A partir de allí la realidad y la ficción comienzan a confundirse no sólo en la vida de Enid sino también en la pantalla del espectador y comienza una espiral descendente de locura y horror. Hasta allí, díganme si no les parece una trama interesante, ¿no es una historia que dan ganas de verla? El trauma personal, el elemento prohibido, la individualidad versus lo colectivo, el contexto histórico real, la curiosidad... Censor tiene una diversidad de elementos que la hacen una historia muy atractiva, en especial para los fanáticos del cine de terror.

Enid (Niamh Algar)

Furthermore, Niamh Algar's performance is breathtaking. Despite the intricate plot and the challenge of portraying that descent into madness on screen, Algar remains believable throughout. Watching her transformation from an immaculate and strict censor to a woman desperate to find a truth she herself wants to believe is one of the best performances I've seen in recent months. It's true that Algar primarily works in television series, but I don't understand why she hasn't yet been offered a leading role on the big screen. She's a true actress.

Además, la interpretación de Niamh Algar es impresionante. A pesar de lo enrevesado de la trama y lo desafiante que resulta mostrar en cámara ese proceso de abandono en los brazos de la locura, Algar resulta creíble en todo momento. Seguir su transformación de inmaculada y estricta censora a mujer desesperada por encontrar una verdad que ella misma quiere creer, es de las mejores actuaciones que he visto en los últimos meses. Es cierto que Algar se dedica principalmente a hacer series de tv, pero no entiendo cómo hasta ahora no le han ofrecido algún otro papel protagónico en la gran pantalla. Esta mujer es una verdadera Actriz.

Poster

While reading this review, you might be thinking of Alejandro Amenábar's Thesis, so I'd like to clarify. Censor refers to Nasty films, which are explicit and violent, but still fictional. Amenábar's film, on the other hand, refers to Snuff films, which are recordings of real crimes. The torture, rape, or murders shown in snuff films are real. Those in Nasty films are acted out. Both can be condemned for being very graphic and violent, but there's a world of difference between what one genre entails and what the other entails. The idea for Censor was taken by Prano Bailey-Bod from his own short film Nasty, filmed six years earlier. In the original idea, the protagonists were a son and his father, but the concept of incorporating nasty films and that blurring of reality and fiction was already present in those 15 minutes. It's true that Censor is a bit uneven, but considering the work as a whole, it has more virtues than flaws. A couple of scenes that will make you jump out of your seat, an impeccable performance from its lead actor, and a metafiction that immerses the viewer in the heart of nasty cinema are enough to praise this first film by Prano Bailey-Bond, who, from what I've read, is currently developing an adaptation of the short story Things We Lost in the Fire by the Argentinian author Mariana Enríquez, one of the modern voices in horror literature. So, while we wait, I recommend watching Censor, available on MUBI, and leaving a comment with your opinion.

Poster

Es posible que al leer esta reseña estén pensando en Tesis de Alejandro Amenábar, así que aprovecho para aclarar el punto. Censor hace referencia al cine Nasty, que son cintas explícitas y violentas, pero que no dejan de ser ficción. En cambio, la película de Amenábar hace referencia al cine Snuff, que son grabaciones de crímenes reales. Las torturas, violaciones o asesinatos mostrados en las cintas snuff son reales. Las de las cintas nasty son actuadas. Pueden condenarse todas por ser historias muy gráficas y violentas, pero hay un mundo de diferencia entre lo que implica un género y lo que implica el otro. La idea de Censor fue tomada por Prano Bailey-Bod de su propio cortometraje Nasty, filmado seis años antes. En la idea original, los protagonistas eran un hijo y su padre, pero el concepto de involucrar las cintas nasty y esa confusión de realidad y ficción ya estaban presentes en esos 15 minutos. Es cierto que Censor es un poco irregular, pero teniendo en cuenta la totalidad de la obra, tiene más virtudes que defectos. Un par de escenas que te hacen saltar del asiento, una actuación impecable de su protagonista y una metaficción que sumerge al espectador al centro del cine nasty son suficientes elementos para alabar esta primera película de Prano Bailey-Bond quien, por lo que he leído, se encuentra desarrollando la adaptación del relato Las cosas que perdimos en el fuego de la argentina Mariana Enríquez, una de las voces modernas de la literatura de terror, así que mientras esperamos les recomiendo ver Censor, disponible en MUBI y dejarme algún comentario con su opinión.

Reviewed by | Reseñado por @cristiancaicedo

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@wiseagent
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236d
Movie · on 13 Going on 30
CineTV Contest: “13 Going on 30”, when you (finally) understand the true meaning of life.
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

As soon as I read the contest theme this week, I had absolutely no doubt about which movie I would write about: 13 Going on 30. What could be cuter than seeing Jennifer Garner (who, by the way, is one of my favorite actresses) in a romantic comedy, bringing to life a character who is physically an adult but mentally still a pre-teen, having to face life's challenges in a reality completely different from what is personally familiar to her? All this with light, genuinely funny jokes and a very good soundtrack?

Autostraddle

Business Insider

In the plot, we follow the adventures of Jenna Rink, a girl rejected at school for not being very popular and therefore ends up being left out. Magically (and without having any idea about it), she manages to access a kind of "magic dust" that grants her a birthday wish: to be thirty years old (the age that, in her opinion, is what can be called the "age of success"). Now, physically older (but still mentally an insecure young woman) and working as an editor at a fashion magazine, she's about to discover that she needs to be careful about certain desires.

Only Inspirations

Netflix

From a cinematic standpoint, this is one of my definitions of "cuteness", because this movie manages to combine a captivating story, full of emblematic moments directly linked to its soundtrack (which, by the way, seems to have been handpicked), with precisely assertive direction (credit to director Gary Winick, who knew how to capture the essence of the material he had in hand, written by the duo Josh Goldsmith and Cathy Yuspa), coupled with a cast that has a very synergistic chemistry on screen. All of this stamps this movie as a "cute" project.

Revista VLK

MUBI

The cast is led by Jennifer Garner and Mark Ruffalo, and their on-screen chemistry is undeniably good (from the leading roles of the romantic couple to the presence of the villains and other supporting characters), creating an atmosphere that draws the audience into a plot that is simple and concise, but has excellent narrative developments (especially about how we should reflect on who we want to be in the future, without trying to rush through any of the phases we still need to experience to get there). Literally, it's like "understanding" what life is all about.

Franklin Theatre

IndieWire

13 Going on 30 manages to be both a lighthearted comedy and a more "profound" drama if analyzed in its "finer" layers (which is where the script's most intense material is hidden). Everything is remarkably well done in this project, and the movie's most personal perspective rests on the audience's own choices (because each person can approach it differently). On the other hand, it's impossible to remain indifferent to the characters' own desires, who, in their quest for premature "adulthood," understand how wrong that is.

This post is my entry for the CineTV Contest #147, which is being promoted by the CineTV community.

Concurso CineTV: “El sueño de mi vida”, cuando (finalmente) comprendes el verdadero significado de la vida.

En cuanto leí el tema del concurso de esta semana, no tuve ninguna duda sobre la película que iba a reseñar: El sueño de mi vida. ¿Qué podría ser más adorable que ver a Jennifer Garner (que, por cierto, es una de mis actrices favoritas) en una comedia romántica, dando vida a un personaje que físicamente es adulta pero mentalmente sigue siendo una preadolescente, enfrentándose a los retos de la vida en una realidad completamente diferente a la suya? ¿Y todo esto con humor ligero y genuinamente divertido, y una banda sonora estupenda?

En la trama, seguimos las aventuras de Jenna Rink, una chica rechazada en el colegio por no ser muy popular y, por lo tanto, termina siendo excluida. Mágicamente (y sin saberlo), consigue acceder a una especie de "polvo mágico" que le concede un deseo de cumpleaños: cumplir treinta años (la edad que, en su opinión, es la "edad del éxito"). Ahora, físicamente mayor (pero aún mentalmente una joven insegura) y trabajando como editora en una revista de moda, está a punto de descubrir que debe tener cuidado con ciertos deseos.

Desde una perspectiva cinematográfica, esta es una de mis definiciones de "encanto", ya que esta película logra combinar una historia cautivadora, llena de momentos emblemáticos directamente ligados a su banda sonora (que, por cierto, parece haber sido cuidadosamente seleccionada), con una dirección precisa y firme (un gran mérito para el director Gary Winick, quien supo capturar la esencia del material que tenía entre manos, escrito por el dúo Josh Goldsmith y Cathy Yuspa), junto con un elenco que tiene una química increíble en pantalla. Todo esto convierte a esta película en un proyecto “encantador”.

El reparto está encabezado por Jennifer Garner y Mark Ruffalo, y su química en pantalla es innegablemente buena (desde los papeles principales de la pareja romántica hasta la presencia de los villanos y otros personajes secundarios), creando una atmósfera que sumerge al público en una trama sencilla y concisa, pero con excelentes desarrollos narrativos (especialmente sobre cómo deberíamos reflexionar sobre quiénes queremos ser en el futuro, sin apresurarnos a través de ninguna de las etapas que aún necesitamos experimentar para llegar allí). Literalmente, es como "entender" de qué se trata la vida.

El sueño de mi vida logra ser a la vez una comedia ligera y un drama más profundo si se analiza en sus capas más “sutiles” (donde se esconde el material más intenso del guion). Todo está magníficamente realizado en este proyecto, y la perspectiva más personal de la película reside en las decisiones del espectador (ya que cada persona puede abordarla de manera diferente). Por otro lado, es imposible permanecer indiferente ante los deseos de los personajes, quienes, en su búsqueda de una “adultez” prematura, comprenden lo erróneo de esa búsqueda.

Esta publicación es mi entrada para el Concurso CineTV #147, que está siendo promovido por la comunidad CineTV.

Concurso CineTV: “De Repente 30”, quando você (finalmente) entende o real significado da vida.

Assim que eu li o tema do concurso esta semana, eu não tive a menor sombra de dúvidas sobre qual filme eu escreveria: De Repente 30. O que poderia ser mais fofo do que ver Jennifer Garner (que aliás, é uma das minhas atrizes favoritas), em um filme de comédia romântica, dando vida à uma personagem que é fisicamente adulta, mas mentalmente ainda é uma pré-adolescente, tendo que enfrentar os desafios da vida em uma realidade completamente diferente do que é pessoalmente familiar para ela? Tudo isso, com piadas leves, genuinamente divertidas e uma trilha sonora muito boa?

Na trama, nós acompanhamos as aventuras de Jenna Rink, que é uma garota rejeitada na escola não ser tão popular e por isso, acaba sendo deixada de lado. Magicamente (e sem ter nenhuma noção disso), ela consegue ter acesso a uma espécie de “pó mágico” que lhe realiza um desejo de aniversário: ter trinta anos (a idade que, na opinião dela, é o que se pode chamar de a “idade do sucesso”). Agora, mais fisicamente velha (mas mentalmente ainda uma jovem insegura) e trabalhando como uma editora numa revista de moda, ela vai descobrir que é preciso ter cuidado com alguns desejos.

Cinematograficamente falando, essa é uma das minhas definições de “fofura”, porque esse filme consegue reunir uma estória cativante, que é repleta de momentos emblemáticos e que estão diretamente ligados à sua trilha sonora (que aliás, aprece ter sido escolhida a dedo aqui), com uma direção precisamente assertiva (méritos do diretor Gary Winick, que soube cativar a essência do material que tinha em mãos, e que foi escrito pela dupla Josh Goldsmit e Cathy Yuspa), aliada a um elenco que tem uma química muito sinérgica na tela. Tudo isso carimba este filme como um projeto “fofo”.

O elenco é liderado por Jennifer Garner e Mark Ruffalo, e o entrosamento deles na tela é inegavelmente bom (desde o protagonismo do casal romântico até a presença dos vilões, e os demais coadjuvantes), criando então, uma atmosfera que envolve o público dentro de uma trama que é simples e sucinta, mas que tem ótimos desdobramentos narrativos (principalmente sobre como devemos refletir sobre quem queremos ser no futuro, sem tentar atropelar qualquer uma das fases que nós ainda precisamos vivenciar até chegarmos lá). Literalmente, é como “entender” sobre o que é a vida.

De Repente 30 consegue ser, ao mesmo tempo, um filme de comédia descompromissada e um drama mais “profundo” se for analisado em suas camadas mais “finas” (que é onde está escondido o material mais intenso do roteiro). Tudo é notavelmente muito bem feito neste projeto, e a perspectiva mais pessoal do filme recai sobre as escolhas do próprio público (porque cada pessoa pode encará-lo de uma maneira diferente). Por outro lado, é impossível ficar alheio a tudo aos anseios dos próprios personagens, que na sua busca pela “adultização” precoce, entendem o quanto isso é errado.

Este post é a minha participação para o Concurso CineTV #147, que está sendo promovido pela comunidade CineTV.

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Frank Córdova
@franz54 (76)
📍 Ciudad Bolívar, Venezuela.
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236d
Movie · on A Beautiful Life
A Beautiful Life // Una vida maravillosa
Cover created in Canva. Source of images || Portada creada en Canva. Fuente de las imágenes

Friends of the Movie & TV SHOWS community, I hope you are all having a great weekend, enjoying the best entertainment, such as series, movies, anime, and other productions that we can enjoy. I must confess that I hadn't planned on sharing any reviews in the community, but I came across a movie called A Wonderful Life and didn't want to miss the opportunity to tell you about it, as it's a film that I think is worth talking about. This is a 2023 Danish film, directed by Mehdi Avaz. It's a romantic drama with a story that really caught my attention. Did it live up to my expectations? I'll share this and much more with you below.

The film tells the story of Elliott, a talented young Danish fisherman with a wonderful, captivating voice. But this character is alone, having lost his parents in an accident at sea, so he devotes his life to fishing. Elliott, as I said, has great potential, but he is an insecure character who does not like to sing in public and needs motivation that he never had. That's where he meets Suzie, a producer and daughter of a music star who also died in an accident. Both have strong personalities, so they clash at first, but then there is a great connection between them, which serves as an emotional axis that drives him to heal his wounds and open himself up to love. Our protagonist is quite insecure and doesn't want to reveal himself, but what better way than music to tell his story and leave the past behind, no matter how painful it may have been and how much it still affects us.

The film lasts one hour and thirty-eight minutes, unfolding a great story of love and drama. Both characters have something in common: they lost their parents. However, Suzie has her father Suzanne, a powerful music agent who recognizes Elliott's talent because she wants to replace her husband, who had a difficult life and pushed his daughter away. This film shows the wounds that can be caused by other people's decisions or situations that often happen. People often dwell on the negative and never move forward, we tend to waste talent, and what better way to reflect that pain than by creating art and conveying it to the public. In short, the film motivates us to move forward and heal our wounds. The film teaches us that the most important thing is to do things from the heart, to have the motivation to do things.

Amigos de la comunidad Movie & TV SHOWS, espero que todos estén pasando un excelente fin de semana, con el mejor entretenimiento, como son las series, películas, animes, entre otras producciones con la cual podemos entretenernos. Debo confesar que no tenía pensado compartir ninguna reseña en la comunidad, pero me encontré con una película llamada Una vida maravillosa y no quería dejar pasar la oportunidad de hablarles de ella, pues es un filme que considero que vale la pena hablar. Esta es una película danesa de 2023, dirigida por Mehdi Avaz. Un drama romántico con una historia que me llamó poderosamente la atención. ¿Será que cumplió con mis expectativas? Esto y mucho más se los voy a compartir a continuación.

La película nos habla de Elliott, un joven pescador danés, con un gran talento, tiene una voz maravillosa que cautiva mucho. Pero este personaje está solo, perdió a sus padres en un incidente en el mar, por lo que le entrega su vida a la pesca. Elliott como dije, tiene un gran potencial, pero es un personaje inseguro, no le gusta cantar el público, necesita la motivación que nunca tuvo. Allí es donde conoce a Suzie, una productora e hija de una estrella de la música, quien este también murió en un incidente. Ambos tienen un carácter fuerte, por lo que llegar a chocar en un principio, pero luego hay una gran conexión entre ellos, que sirve eje emocional que lo impulsa a sanar heridas y abrirse al amor. Nuestro protagonista es bastante inseguro, no quiere mostrarse, pero que mejor que la música para dar a conocer su historia y dejar el pasado atrás, por más doloroso que haya sido y que aún nos siga marcando.

La película tiene una duración de una hora y treinta y ocho minutos, donde se desarrolla una gran historia de amor y drama. Ambos personaje tiene algo en común, que perdieron a sus padres, aunque Suzie tiene a su padre Suzanne, una poderosa agente musical que reconoce el talento de Elliott, porque desea sustituir a su esposo, pues esta persona tuvo una vida difícil, por lo que alejó a su hija. Un filme que muestra las heridas que nos pueden causar por decisiones de otras personas o situaciones que suelen pasar. Las personas muchas veces nos quedamos con lo negativo y nunca avanzamos, solemos desperdiciar al talento y que mejor que reflejar ese dolor al momento de hacer un arte y transmitirlo al público. En fin, la película nos motiva a continuar adelante, a sanar las heridas. La película nos enseña que lo más importante es hacer las cosas desde el corazón, tener una motivación al menor de realizar las cosas.

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A Wonderful Life seems to me to be a film with a great story of personal growth, authenticity about fame, healing through art, faith and perseverance, and the power of love. I think it's a good story with a beautiful ending. But something I would have liked is to know more about the parents of our protagonists, especially Suzie's. She is a hugely successful music star, but we don't learn much else about her. The film's screenplay was written by Stefan Jaworski, with simple dialogue that creates a strong connection with the viewer. Every word, every detail reveals more about the story and what the screenwriter and director wanted to convey. I must say that both did a magnificent job, with exceptional scenes, striking shots, and sequences of scenes that make us want to continue watching the story.

As for the cast, Christopher Lund Nissen brought Elliott to life, doing a great job with his character, a troubled young man who doesn't like to show much, is insecure, but at the same time shows great character. For her part, Inga Ibsdotter Lilleaas played Suzie, with what I consider to be a masterful performance. I connected with her character from beginning to end and didn't want to miss a single detail of the film, which is saying a lot. The cast in general lived up to the story. In terms of cinematography, Daniel Cotroneo delivered, showing us the emotional connection between the characters and the different places where the story unfolds, whether in the port or at sea. The production shows beautiful locations, highlighting the authenticity and emotional connection between the past and the present. The scenes I liked the most were the musical moments, with extraordinary shots. I have to say that everything lived up to my expectations, even exceeding them.

Una vida maravillosa me parece un filme con una gran historia de superación personal, autenticidad sobre fama, sanación a través del arte, Fe y perseverancia y el poder del amor. Me parece una buena historia, con un final hermoso. Pero algo que me fuese gustado es conocer más sobre los padres de nuestras protagonistas, sobre todo de Suzie, es una estrella de la música con un gran éxito, pero no se da a conocer mucho más. El guion del filme estuvo escrito por Stefan Jaworski, con diálogos sencillos, pero que da una gran conexión con el espectador. Cada palabra, cada detalle da a conocer más sobre la historia y lo que el guionista y el director quería trasmitir. Dedo decir que ambos realizaron un magnífico trabajo, con escenas excepcionales, con planos impactantes y unas secuencias de escenas que querrán que continuemos viendo la historia.

En cuanto al cast se refiere, Christopher Lund Nissen fue quien le dio vida a Elliott, haciendo un gran trabajo con su personaje, de un joven con problemas, que no le gusta mostrar mucho, es inseguro, pero a la vez muestra un gran carácter. Por su parte, Inga Ibsdotter Lilleaas hizo de Suzie, con una interpretación desde mi punto de vista magistral, logré conectar con su personaje de principio a fin, no me quería perder ningún detalle del filme y eso es bastante decir. El cast en general estuvo a la altura de la historia. En cuanto a la fotografía refiere, Daniel Cotroneo cumplió, pues nos nuestra la conexión emocional entre los personajes con los diferentes lugares donde se desarrolla la historia, ya sea en el puerto, como el mar. La producción muestra lugares hermosos, que muestra la autenticidad y la conexión emocional entre el pasado y el presente. Las escenas que más me gustaron fueron los momentos musicales, con planos extraordinarios. Dedo decir que todo estuvo a la altura de lo esperado, incluso sobrepasó mis expectativas.

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Everything mentioned above in the review was very good, but of all the sections, I was most impressed by the soundtrack, the musical moments, with very good, sentimental compositions that make us connect more with the scenes and what we are seeing, the different emotional moments of our characters, insecurity, sadness, happiness, love, among many others. A Beautiful Life is an excellent film, one of the best I have seen in recent years, Romantic dramas are always more of the same, a cliché, and this one may not be the most original we've seen, but overall it exceeds my expectations, with a beautiful story, messages that help us realize that we should never dwell on the past, that life goes on and we must move forward, and cinematography, casting, and a soundtrack that are on par with the film I'm talking about today. For me, the film is a 10/10 and I recommend it.

Todo lo anteriormente expuesto en la reseña estuvo muy bien, pero de todos los apartados, me quedó con la banda sonora, los momentos musicales, con composiciones muy buenas, sentimentales, que hacen que conectemos más con las escenas y lo que estamos viendo, los diferentes momentos emocionales de nuestros personajes, inseguridad, tristeza, felicidad, amor, entre otras muchas más. Una vida maravillosa es una excelente película, de las mejores que he visto en los últimos años, pues los dramas románticos siempre es más de lo mismo, un cliché, que puede que esta no sea de la más original que hemos visto, pero en general sobrepasa lo que esperaba, con una historia hermosa, mensajes que ayudan a pensar que nunca debemos quedarnos en el pasado, la vida continua y se debe avanzar, una fotografía, reparto y banda sonora a la altura de la película que les hablo el día de hoy. Para mí el filme es un 10/10 y se los recomiendo.

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Data sheet 🎟

Original title 📼: A Beautiful Life

Year: 2023

Length ⏱️: 98 minutes

Country: Denmark

Direction 🎥: Mehdi Avaz

Screenplay 📃: Stefan Jaworski

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Thank you for your visit. I hope you liked it.

Till a next chance

Without further ado, he bids farewell to you, his cordial server @franz54.

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Gracias por su visita. Espero que les haya gustado.

Hasta una próxima oportunidad

Sin más que decir, se despide de ustedes, su cordial servidor @franz54.

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Christy Arvelaiz
@chris-chris92 (73)
📍 Guacara, Carabobo, Venezuela
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151 following
Madre, amante y estudiante del arte y la reposterÃÂÃÂa. AdemÃÂÃÂ¡s, una eterna aprendiz y con un lado salvaje pero reservado...
236d
TV · on Pluribus
Pluribus, An Uncomfortable Way of Being Around Happiness [First Two Episodes REVIEW]

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Pushing play on the first two episodes of Pluribus felt like stepping into a room where everyone has learned how to perform joy while the wiring behind the lights is burning. I watched Carol Sturka with the attention of someone who has followed an artist through many reinventions and recognised in Rhea Seehorn a particular steadiness that does not try to mesmerise but to interrogate. The premiere does not waste time on grand exposition. It gives a clear premise and then lets the small moments accumulate until they become unbearable. In those opening sequences there is a radio signal a stranger hears on the air, a hospital corridor that hums with an ill fitted cheer, and then a strange social choreography that takes hold of streets and kitchens. What I respond to most is Gilligan turning the camera toward the ordinary and making the ordinary feel foreign, forcing a choice between the comfort of enforced happiness and the discomfort of being fully oneself.

Somewhere in the second episode the pace changes and the show deepens its focus on character work. Carol is not an action hero who will solve the problem with a tool or a plan. She is a person whose craft is language and narrative and who now finds narrative failing her. That failure is what interests the series and what made me stay with it through long quiet takes and small humiliations. The scenes in the bar and in the emergency room are technical and terrifying in their mundanity because they show bodies under a different rule set. The production choices insist on realism in the choreography of those scenes and they pay off by making the contagion feel less like a device and more like an atmosphere. As a viewer I felt close to Carol in a way that is not sentimental. I felt that my patience with a slow reveal was rewarded by the precision of the performances and the intelligence of the staging.

Leaving the theatre of spectacle behind, Pluribus asks questions about community and consent with a dryness that is both unsettling and necessary. The second episode gives longer frames for people who are not infected and shows how thin the margin becomes between solidarity and absorption. I keep circling back to the image of someone smiling because they are compelled to do so and not because they feel it. For me this is where the show becomes unexpectedly political without ever feeling laboured. It is interested in the social architecture that can be built around a single emotion and in how that architecture flattens history and private grief. The writing allows me to sit with the contradiction of wanting peace and fearing its cost. That paradox is the engine the first two episodes rely on and it is what turns a science fiction premise into a human problem I recognise.

Responding as someone who reads and makes images, I find Gilligan and the showrunners attentive to texture. The camera lingers on the way light reverses on a cheek, on the specificity of a roadside motel, on gestures that betray more than any speech could. These choices remind me that a scene can hold its meaning in silence as much as in dialogue. The central performance gives those silences weight and sometimes a small gesture reveals more than a long argument. I appreciated that the series trusts its audience to feel the stakes without spelling out moral lessons. It trusts that the horror of losing the right to refuse joy is apparent when you watch a small town move in lockstep and see a funeral ritual flattened into a carnival. The first two episodes made me want to return not because I crave plot answers but because I want to see how the show will measure the cost of resistance.

Reading the critical reaction after watching did not change how I felt inside those episodes, but it confirmed that the show is doing something that provokes more than agreement or rejection. Critics and early audiences have noted the show as a bold reinvention for its creator and praised the central performance and the measured confidence of the premiere. I will watch the remaining episodes with that combination of curiosity and caution. For now I remain with an image that will not leave me: Carol in the back of a truck hauling a body across a road as the world smiles on, and me wondering whether survival is the same thing as victory. That hesitation is the honest space Pluribus has opened in its first two hours, and it is exactly the kind of unease I welcome in a show that asks me to reconsider the value of feeling awkward in the presence of other people.

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Kyara
@twirilyn (62)
📍 Lima, Perú
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20 following
Arquitecta en proceso, me encanta el anime y los videojuegos. Aprendiendo día a día de la plataforma
236d
Movie · on The Wild Robot
MOVIE RECOMMENDATION: THE WILD ROBOT / ROBOT SALVAJE [Eng/Esp]
ENGLISH VERSION:

Hello everyone in this community! I hope you're all doing well and having a wonderful weekend! ✨

Today I'm going to recommend a movie that's one of the few that can truly touch your heart, thanks to the genuine emotion it portrays. This film boasts spectacular animation and a magnificent soundtrack that will make you thoroughly enjoy watching it.

Link

> THE WILD ROBOT / ROBOT SALVAJE

SYNOPSIS / SUMMARY:

The epic adventure of a robot, unit ROZZUM 7134, who is shipwrecked on a deserted island and must learn to adapt to the harsh environment. Little by little, she forms a bond with the island's animals and adopts an orphaned goose.

AN ACCIDENT THAT CHANGED EVERYTHING:

Roz, or as we know her at the beginning, "Unit ROZZUM 7134," was part of a shipment of robots from a company. Unfortunately, a storm landed her on an island full of animals who perceived her as a "monster." However, they hadn't counted on the fact that this robot was programmed to help others. Through her instinct to be helpful, she sought to adapt and understand the new language offered by the wildlife. This new environment subsequently forced her to develop new survival strategies, solving various problems while always learning and observing.

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BRIGHTNESS - A KEY MOMENT IN THE STORY:

While on the run, Roz unwittingly causes an accident... She destroys a nest, killing a family of geese, but among the wreckage, one egg remains intact.

Roz, unaware of how to raise a new creature, decides to protect the egg until it hatches. A chick emerges from this egg, whom she names "Brightness." Upon seeing Roz for the first time, the chick chooses her as its mother figure...

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And this is where much of the film's plot begins, in which Roz learns this new programming of "being a mother," where she has to take care of a creature and teach it to eat, swim, and fly.

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We will observe this new bond between Roz and Brillo as a genuine relationship, as if they were "mother and son".

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But it won't all be rosy, since Brillo, being cared for by a robot outside his nature, is judged or seen as "the weird animal" every time he tries to relate to others of his kind.

DOES ROZ BREAK HER PROGRAMMING?

As mentioned earlier, Roz was designed to serve and obey orders, but her contact with nature led her to learn new behaviors not included in her manual.

Roz develops new knowledge, but above all, emotions, as she feels deeply for Brillo and seeks to be there for him at all times, just like a true mother would. She always prioritizes his life and well-being, to the point of wanting to teach him to fly so he can move more easily with his group.

Winter arrived on the island, and since Brillo was absent because his entire species migrates periodically, she decides to help the others... by building a new home. We will see how all the animals admire and love Roz, the robot they used to bully or even steal parts from because she was different from them.

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But the island's peace won't last forever. They eventually detect Roz and decide to investigate her, as it's a very particular case of a programmed robot disobeying the rules. This is where we witness a confrontation between Roz's new friends (the entire animal community) and the robot company Roz belonged to. Unfortunately, she realizes they will return for her again and again... and she can't allow them to continue doing that, as it would mean they would destroy the island to take her. So, she decides to surrender herself to avoid further chaos.

Finally, we see Brillo migrate again and arrive at a place where he finds several robots of the same model as Roz. He decides to approach them to see if they recognize him. And this is where we witness one of the most significant moments of the film: Roz still recognizes and remembers Brillo, because the fact that all her memories were taken doesn't mean she forgets him... because Roz holds Brillo in her heart.

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I highly recommend this film because it achieves something truly remarkable: it's suitable for everyone (especially for family viewing) while also being profound. The relationship between Roz and Brillo creates moments brimming with genuine emotion, particularly showing us that motherhood doesn't have to be biological and that love can blossom in the most unexpected situations.

> ALL THE IMAGES / CAPTURES THAT I PRESENT HAVE THE LINK OR PAGE WHERE THEY COME FROM AND THE TEXT IN ENGLISH WAS TRANSLATED IN GOOGLETRADUCTOR.

THANK YOU ALL VERY MUCH FOR COMING THIS FAR AND TAKING THE TIME TO READ MY PUBLICATION. I WILL BE ATTENTIVE TO READ AND RESPOND TO YOUR COMMENTS. ANY SUGGESTION OR RECOMMENDATION IS WELCOME TO IMPROVE THE QUALITY OF EACH FUTURE CONTENT.❤️

VERSIÓN EN ESPAÑOL:

Hola a todos y a la gente de esta comunidad!!! Espero que se encuentren bien y tengan un excelente fin de semana✨

El día de hoy les recomendaré una película que es de las pocas que puede tocar el corazón a más de uno, debido al sentimiento genuino que nos muestra. Esta película mantiene una animación espectacular y una banda sonora magnífica que nos hará disfrutar muchísimo mientras vemos la película.

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> THE WILD ROBOT / ROBOT SALVAJE

SINOPSIS / RESUMEN:

La aventura épica de una robot, la unidad ROZZUM 7134, que naufraga en una isla desierta y debe aprender a adaptarse a las inclemencias del entorno. Poco a poco, establece relación con los animales de la isla y adopta a una cría de ganso huérfana.

UN ACCIDENTE QUE LO CAMBIÓ TODO:

Roz, o como la conocemos al inicio "Unidad ROZZUM 7134", formaba parte de una carga de robots de una compañía. Lamentablemente por una tormenta termina en una isla llena de animales que la perciben como un "monstruo", sin embargo, no contaban con que este robot se encontraba programado para ayudar a los demás, en el que a través de su lógica de ser servicial busca adaptarse y comprender este nuevo idioma que le ofrece la fauna. Este nuevo entorno para ella, posteriormente la obliga a desarrollar nuevas estrategias de supervivencia, resolviendo diversos problemas pero siempre aprendiendo y observando.

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BRILLO - UN MOMENTO CLAVE DE LA HISTORIA:

Mientras Roz se encontraba huyendo, provoca sin querer un accidente... Destruye un nido que provoca la muerte de una familia de ocas (Gansos), pero entre todos estos restos un huevo queda intacto.

Roz, sin conocer las reglas de cómo criar un nuevo ser, decide proteger ese huevo hasta que nazca. De este huevo termina saliendo un polluelo al que le denomina "Brillo", este al ver por primera vez a Roz la termina eligiendo como su figura paternal...

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Y aquí es donde inicia gran parte de la trama de la película, en el que Roz aprende esta nueva programación de "ser madre", donde tiene que cuidar a una criatura y enseñarle a comer, nadar y volar.

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Este nuevo vínculo entre Roz y Brillo lo observaremos como una relación genuina como si fueran "madre e hijo".

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Pero no todo será color de rosas, ya que Brillo al ser cuidado por una robot fuera de su naturaleza, cada vez que él intenta relacionarse con los de su especie es juzgado o visto como "el animal raro".

¿ROZ ROMPE SU PROGRAMACIÓN?

Como se mencionó anteriormente, Roz fue diseñada para servir y obedecer ordenes, pero ese contacto que tuvo con la naturaleza la llevó a terminar aprendiendo nuevos comportamientos que no se encontraban previstos en su manual.

Roz desarrolla nuevos conocimientos pero sobre todo emociones, ya que siente mucho por Brillo y busca estar siempre para él en todo momento como lo haría realmente una madre. Ella prioriza siempre la vida y cuidado de él, a tal punto de querer enseñarle a volar para que pueda trasladarse con mayor facilidad con su grupo.

El invierto llegó en la isla y ya que Brillo no se encontraba debido a que toda su especie migra cada cierto tiempo, decide ayudar a los demás... construyendo un nuevo hogar. Observaremos como todos los animales admiran y quieren a Roz, la robot que antes molestaban o incluso le robaban piezas por ser diferente a ellos.

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Pero la paz de la isla no durará para siempre, terminan detectando a Roz y deciden investigarla ya que es un caso muy particular donde un robot programado desobedece las reglas. Aquí es donde observaremos un enfrentamiento entre los nuevos amigos de Roz (Toda la comunidad animal) y la compañía de robots donde pertenecía Roz. Lamentablemente, ella se da cuenta de que volverán una y otra vez por ella... y no se podía permitir que sigan haciendo eso, ya que significaría que destruirían la isla con tal de llevársela, así que decide entregarse ella misma para no realizar más caos.

Finalmente, observaremos que más adelante Brillo vuelve a migrar nuevamente y llega a un lugar donde encuentra varios robots del mismo modelo de Roz... él decide acercarse para ver si era reconocido... Y aquí es donde observamos uno de los momentos más significativos de la película, Roz aún reconoce y recuerda a Brillo, por que el hecho que le hayan quitado todos sus recuerdos no significa que se olvide de él... ya que Roz tiene a Brillo en su corazón.

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Recomiendo mucho esta película ya que logra algo muy espectacular, que es ser una película apta para todos (Sobre todo para ver en familia) y a la vez profunda. La relación que tiene Roz y Brillo generan unos momentos llenos de sentimientos genuinos, sobre todo nos explican que la maternidad no necesita ser biológica y que el amor puede nacer en situaciones donde menos lo esperamos.

> TODAS LAS IMÁGENES / CAPTURAS QUE PRESENTO TIENE EL LINK O PÁGINA DE DONDE PROVIENEN Y EL TEXTO EN INGLES FUE TRADUCIDO EN GOOGLETRADUCTOR.

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Reviewed by | Reseñado por @cristiancaicedo

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Translated with www.DeepL.com/Translator (free version)

ENGLISH VERSION:

> THE WILD ROBOT / ROBOT SALVAJE

SYNOPSIS / SUMMARY:

AN ACCIDENT THAT CHANGED EVERYTHING:

BRIGHTNESS - A KEY MOMENT IN THE STORY:

DOES ROZ BREAK HER PROGRAMMING?

VERSIÓN EN ESPAÑOL:

> THE WILD ROBOT / ROBOT SALVAJE

SINOPSIS / RESUMEN:

UN ACCIDENTE QUE LO CAMBIÓ TODO:

BRILLO - UN MOMENTO CLAVE DE LA HISTORIA:

¿ROZ ROMPE SU PROGRAMACIÓN?

Data sheet 🎟
Original title 📼: A Beautiful Life
Year: 2023
Length ⏱️: 98 minutes
Country: Denmark
Direction 🎥: Mehdi Avaz
Screenplay 📃: Stefan Jaworski