Community Reviews

Longform reviews of films, TV, anime, books, and audiobooks, written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 51,234 reviews and counting.

🎬 Browse reviews by genre and more →

Kyara
@twirilyn (62)
📍 Lima, Perú
15 followers
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.

Link

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...

Link

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.

Link

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

Link

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.

Link

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.

Link

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.

Link

> 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.

Link

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...

Link

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.

Link

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

Link

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.

Link

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.

Link

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.

MUCHAS GRACIAS A TODOS POR LLEGAR HASTA AQUÍ Y TOMARSE LA MOLESTIA DE LEER MI PUBLICACIÓN, ESTARÉ ATENTA A LEER Y RESPONDER SUS COMENTARIOS, CUALQUIER SUGERENCIA O RECOMENDACIÓN ES BIEN RECIBIDA PARA MEJORAR LA CALIDAD EN CADA CONTENIDO A FUTURO❤️
Drax
@drax (77)
893 followers
106 following
Blogger, film critic, columnist (writes in Croatian and English)
236d
TV · on The Wire
Television Review: Late Editions (The Wire, S5X09, 2008)

Late Editions (S05E09)

Airdate: March 2nd 2008

Written by: George Pelecanos Directed by: Joe Chapelle

Running Time: 60 minutes

The Wire, in its profound exploration of institutional decay, established a near-sacred narrative rhythm: the penultimate episode of each season, written by the formidable crime novelist George Pelecanos, served as the season’s devastating, no-holds-barred climax. Episodes like Middle Ground (Season 3) or Final Grades (Season 4) delivered uncompromisingly dark, consequential turning points that shattered characters and reshaped the narrative landscape, leaving the finale to grapple with the fallout. Late Editions, the ninth episode of the truncated fifth and final season, consciously steps into this tradition, bearing Pelecanos’s unmistakable signature of moral complexity and systemic critique. Yet, it operates under unique constraints – the season’s reduced episode count and the series’ impending conclusion – which temper its impact. While it possesses the structural hallmarks of a Pelecanos penultimate masterpiece, it functions more as a tense, intricate prelude, deliberately withholding the full, earth-shattering force for the true finale, –30–. It is a victory that tastes of ashes, a culmination that feels provisional, and a testament to the show’s enduring, unflinching gaze at a broken city.

The episode audaciously opens not with despair, but with what die-hard fans had craved for seasons: the meticulously orchestrated downfall of Marlo Stanfield’s seemingly impregnable empire. The cold open crackles with the cold efficiency of police work finally functioning as intended, a direct, albeit deeply ironic, consequence of Jimmy McNulty’s preposterous serial killer hoax. Lester Freamon’s genius in exploiting the coded communication system – intercepting the image alerting Stanfield’s crew to a major resupply in a derelict industrial warehouse – culminates in a raid executed with textbook precision. The Baltimore Police Department, for once, achieves exactly what it was designed to do: catch the apex predators red-handed. The scale is staggering – $16 million worth of narcotics seized, the core Stanfield hierarchy (Chris Partlow, Monk) arrested, and Marlo himself, for the first time visibly rattled, slammed into a cell. Bunk’s grim satisfaction at adding another murder charge to Partlow’s ledger and Carcetti’s immediate, cynical political capitalisation at a triumphant press conference underscore the moment’s surface-level significance. Yet, Marlo’s fury, fixated not on his incarceration but on Chris and Snoop’s failure to inform him of Omar’s final, fatal street challenge, instantly reframes this victory. It is a triumph built on sand, its foundations fatally compromised by the very fraud that enabled it, and Marlo’s immediate shift to damage control reveals the enduring, adaptive resilience of the streets.

McNulty, the architect of this apparent triumph, embodies its hollowness. Far from elation, he is consumed by a profound, almost existential depression. The charade has served its immediate purpose – bringing down Marlo – but the terrifying realisation dawns that the lie must be sustained, potentially indefinitely, even as it actively poisons genuine police work and risks catastrophic consequences. His descent into despair is starkly contrasted by Kima Greggs’s crystalline moral clarity. Utterly disgusted by McNulty’s reckless endangerment of the entire department and the integrity of their work, she takes decisive action. First, she confronts Carver, probing whether his newfound integrity (forged with Colicchio) extends to this crisis. Finding his resolve wanting, she escalates, informing Commissioner Daniels. The scene in the evidence room, where Daniels and Rhonda Pearlman discover the damning truth – the crucial phone evidence against Marlo is irrevocably tainted, originating from McNulty’s fictional serial killer – is a masterclass in understated horror. The sheer weight of the realisation, the potential collapse of the entire Marlo case, hangs thick in the air.

This legal fragility becomes the episode’s central, gnawing tension. Maurice Levy, Stanfield’s corrupt but brilliant lawyer, immediately grasps the vulnerability, discussing the matter with the bumbling Herc. Unbeknownst to Levy, his own role as the indispensable lubricant of Baltimore’s corrupt ecosystem is being dissected elsewhere. Lester Freamon’s conversation with State Senator Clay Davis lays bare the terrifying truth: lawyers like Levy are not mere defenders but the primary conduits between street violence, political power, and ostensibly legitimate business, facilitating money laundering and ensuring the system’s rotten core remains intact. Simultaneously, Marlo, operating on instinct, seeks traditional street solutions. Convinced an informant tipped off the police, he fixates on Michael Lee’s recent questioning of his methods. Snoop is dispatched to eliminate Michael under the guise of an assassination mission. However, Michael, hardened and perceptive, sees the trap. The reversal – Michael executing Snoop – is brutal, necessary, and utterly tragic. His subsequent, heart-wrenching farewell to his vulnerable younger brother Bug (left with his aunt) and the increasingly desperate Dukie (now living with the Arabers) is the episode’s emotional core. Dukie’s plaintive question about remembering happier times and Michael’s flat negative answer is a devastating epitaph for lost childhood and a future irrevocably poisoned by the streets.

Parallel to this central tragedy, the Baltimore Sun storyline reaches its own critical juncture. Gus Haynes, the weary city editor, persists in his lonely crusade against the mendacious Scott Templeton, the paper’s golden boy poised for Pulitzer glory. Haynes’s visit to Walter Reed Army Medical Center, where a disabled Iraq War veteran corroborates his comrade’s account and exposes Templeton’s embellished, fabricated story, is a vital, if structurally awkward, moment. It represents the last gasp of journalistic integrity against the encroaching forces of corporate mediocrity and careerist fabrication – David Simon’s deeply personal battle cry against the erosion of his former profession. While technically well-executed, directed with characteristic restraint by series veteran Joe Chappelle, Late Editions lacks the visceral, soul-crushing emotional impact of Pelecanos’s earlier penultimate episodes. The power resides less in sudden, shocking violence and more in the pervasive sense of inevitable, systemic failure closing in. The farewell between Michael and Dukie comes closest to that Pelecanos-esque devastation, a quiet moment of profound loss that resonates long after the credits.

Crucially, the episode consciously defers the ultimate gut-punch. Daniels’s statement to reporter Alma Gutierrez – "Today was a good day for the good guys" – hangs in the air, dripping with dramatic irony for any seasoned Wire viewer. We know such victories are fleeting, their foundations rotten. The episode meticulously sets the stage for the finale’s true darkness: the near-certainty that Levy will exploit the tainted evidence to cripple the Marlo case, potentially freeing the kingpin or, more damagingly, shielding the corrupt politicians and businessmen entangled with him. Simultaneously, the looming reckoning for McNulty and his accomplices promises severe professional and personal consequences. Yet, the most insidiously devastating moment arrives earlier: Carcetti’s advisor Steintorf suggesting Rawls and Daniels to "get creative" with crime statistics to meet political targets – the very statistical manipulation Carcetti railed against to win his election. The cycle of institutional corruption and self-preservation is complete, the reformer becoming indistinguishable from the machine he sought to replace. The "good day" is already over, replaced by the familiar, suffocating machinery of the game.

Nevertheless, Late Editions is not devoid of fragile hope, offering poignant, hard-won respites for a select few. Bubbles, celebrating his anniversary of sobriety at Narcotics Anonymous, finally confronts the horrific truth of Sherrod’s death, a moment of agonising accountability that signifies genuine, painful progress towards redemption. Namond Brice, transformed from corner boy to confident student at the elite private school, delivers a triumphant public speech in his immaculate uniform. This moment, a source of immense pride for his foster father Howard "Bunny" Colvin, is a rare, unambiguous victory – proof that escape is possible, albeit for the fortunate few who find the right intervention.

Ultimately, Late Editions is a very good, intricately plotted, superbly acted episode, yet it falls short of the transcendent perfection of its Pelecanos-penned predecessors. Its primary structural weakness lies in the Baltimore Sun storyline, which, despite its thematic relevance to Simon’s core concerns, often feels like a self-indulgent distraction for viewers outside journalistic circles. The intricate details of Templeton’s fabrications and the paper’s internal politics lack the visceral, universal resonance of the police, political, or street narratives. Furthermore, the episode leans heavily on viewers possessing specific contemporary knowledge – the real-life Walter Reed Army Medical Center scandal of 2007, or the cultural ubiquity of Dexter’s early seasons, which Dukie references with enthusiasm. These references, while authentic to the time, risk feeling dated or obscure to newer audiences, slightly marring the episode’s timeless quality.

Late Editions is a masterful exercise in controlled tension and thematic reinforcement. It delivers the structural beats of a Pelecanos penultimate episode – the major takedown, the revelation of catastrophic flaws, the quiet moments of profound loss – but consciously holds back the final, shattering blow. It is a victory that immediately curdles, a triumph built on lies destined to collapse, and a stark reminder that in Baltimore, as in The Wire’s universe, there are no permanent wins, only temporary respites before the next, inevitable turn of the corrupt wheel.

RATING: 7/10 (+++)

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

InLeo: https://inleo.io/signup?referral=drax.leo Leodex: https://leodex.io/?ref=drax Hiveonboard: https://hiveonboard.com?ref=drax Rising Star game: https://www.risingstargame.com?referrer=drax 1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7 BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9
@namiks
@namiks (77)
1,421 followers
181 following
236d
Movie · on Encino Man
'Encino Man' Rewatch: This shows how much culture has shifted

This is one of those films that I just really love. I think it's because it comes from such a completely different era. One that really shows just how much culture has managed to shift throughout the past three decades. Encino Man wasn't even a film considered a success financially or with the critics. It's a film that had stars of its time featured but ones that never quite managed to stick around to maintain their popularity, only recently did Brendan Fraser resurface a bit and make a decent comeback with his performance within The Whale. Pauly Shore went from being a massive pop culture star and essentially the King of MTV (so much so that his acting career was basically him just playing his character over and over again) to inevitably sizzling out of relevancy and never quite making that comeback. Sean Astin? He's had his moments here and there, but again nothing that has led to him staying within the public eye. It's not just the people within the film that show how much the times have changed, though. It's the concept of simple narratives and the world of comedy which have both unfortunately died.

I mean, really, a film about a caveman that comes back to life after his block of ice melts, leading to him being trained to the modern world and its expectations by two teenagers? Even today this concept has great chances of generating a hit. With such a simple structure to its narrative: the setup, the fun, the problem, and the solving of that problem. Is there really much of a question as to why we return to such films when they hold such easy concepts that manage to grab our attention, feeling almost timeless up until so much time has passed since its release that the world we now live in seems almost unrecognisable to the one we watch on the screen? To add, such films (especially with these comedic concepts) hold a lot of depth regarding the sub cultures that were once more prevalent within society, something that has felt more and more lost as globalisation continues and everyone is sort of the same. Though, there are some strong signs as of late that the pendulum is swinging to the other side, and people are finding more interest in these various sub cultures. Searching for other forms of identity.

While I have mentioned the general plot already: a caveman ends up melting and coming back to life. The story surrounds itself more on the cultural side of the Californian lifestyle. It's less about the caveman that has returned to the world but more about the oddities of the younger generations and the world they've crafted for themselves. The silliness in the standards they have. The fragility of the high school environment and how everyone is trying to one-up the other. It's as much about the survival of the characters of that era, and how they attempt to get by, with our caveman as the audience member that has been thrown into their world and forced to adapt as they learn and figure things out. I've never really seen the film in this manner before, it's quite strange that only now I have decided to look at it under such a different tone. Now, this is far from a serious film, while it may have some intent on shining light at the chaotic youthful environment, it's not doing so with some major meaningful thoughts to throw out.

At the same time for a comedy film it is funny that one of the most strangest events to happen to mankind happens to some of the dumbest groups, leading to them dealing with it in their own way. Finding a way to introduce that natural oddity into the modern world through culture and kindness. It's a funny film for sure, and removing that whole concept of time and the shifting of culture, there's no surprise that it did become quite a cult classic. Especially with the performance from peak Fraser at the time. And with Pauly Shore's unique characteristics that screams of the 1980s and early 90s as identity and expression really started to rise alongside media. Especially with how the concept of the blockbuster film was still somewhat new, with Steven Spielberg and James Cameron having dropped some of the most influential titles in cinema history a few years prior.

With it being a cult classic, I think it really is down to the time and the cast. While I said that the film could easily be something that is made today, the cast definitely is the icing on the cake. The people that really sell the film. I saw that Ben Stiller was originally considered for the caveman, and there's a video up on Pauly Shore's YouTube channel which shows a few casting tests featuring him and the others. And here I thought I'd be jumping into the film for yet another rewatch just to enjoy the silliness!
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 Annabelle75
Annabelle (2014) - WB Rushed Out Annabelle And It Shows - REVIEW
[Source](https://screenrant.com) Annabelle came out in 2014 right after The Conjuring was this massive hit and honestly this whole thing felt like Warner Brothers saw dollar signs and just rushed a spinoff out there to make some quick cash, the entire movie is about this young couple John and Mia who get this creepy looking doll as a gift and then these cult members break into there house one night, one of them bleeds all over the doll and boom now its possessed or whatever but heres the thing nothing really happens for like the first hour of this movie. You just get endless shots of the doll sitting there looking freaky and yeah sure the doll looks creepy as hell but that does not make a good scary movie, you need actual scares and tension and buildup and this movie just does not deliver any of that at all, the whole first half drags so damn much that I almost fell asleep watching it witch is not a good sign for a horror movie that is supposed to keep you on edge. The husband throws away the doll after the attack but then it magically shows up again in there moving boxes when they relocate to a new apartment and Mia just puts it back with her other dolls like nothing happened, I was sitting there thinking why the hell would you keep that thing after everything that went down but I guess the movie needed her to make dumb decisions so the plot could keep going.
- IMDB: https://www.imdb.com/title/tt3322940/
- Platform: PRIME VIDEO
Rottentomatoes Rating
[Source](https://tinyurl.com/mjepjjxr) When scary stuff finaly starts happening its all the same tired horror crap we have seen a billion times before, doors closing on there own, weird noises down the hallway, the TV turning on by itself and Mia walking towards every creepy sound like she has never watched a single horror movie in her entire life. The demon shows up a few times and there is this one decent scene in the basement with the elevator that actually got me a little bit, the elevator keeps bringing her back down to the basement where she saw this demon thing standing in the corner and that part was kind of effective I will give it that, but by the time we get there you have already sat through like fifty minutes of absolutely nothing happening so its hard to really care anymore. The husband John is played by this actor who has zero emotion on his face the entire time and his performance is so wooden and dry that it brings down every scene he is in, even when his wife is telling him about all this supernatural shit happening he just stands there looking bored like he would rather be anywhere else and I do not blame him because I felt the same way watching this. [Source](https://tinyurl.com/mjepjjxr) [Source](https://tinyurl.com/mjepjjxr) The movie tries to build up this whole backstory about the cult called the Disciples of the Ram who are trying to summon demons and steal souls or whatever, they show news reports about the Manson Family murders to set the time period in 1967 but honestly most of the movie does not even look like the sixties at all it just looks like modern day California. Mia ends up meeting this bookstore owner lady named Evelyn who is played by Alfre Woodard and she is honestly the best part of the whole damn movie, she actually gives a shit about her performance and brings some real emotion to her scenes especially when she talks about losing her daughter in a car accident that she caused, that whole conversation between her and Mia was probably the only time I felt anything watching this because Woodard is a great actress and she elevates the material even though the script is pretty paint by numbers. Theres also this priest character Father Perez who tries to help them get rid of the doll and the demon literally just tackles him like a WWE wrestler and sends him flying backwards, I am not even kidding it looked so ridiculous that I started laughing because it reminded me of those over the top wrestling moves where someone gets speared out of nowhere. [Source](https://tinyurl.com/mjepjjxr) [Source](https://tinyurl.com/mjepjjxr) The ending is where everything falls apart even more because after spending the whole movie establishing that this demon wants the babys soul they suddenly switch it up and say no actually it wants Mias soul instead, so Mia decides she is going to jump out the window with the doll to sacrifice herself but then Evelyn shows up out of nowhere and jumps instead because I guess she felt guilty about her daughters death and wanted to atone for it or something. It happens so fast and feels so unearned that I just sat there confused about what the hell just happened, one minute Evelyn is giving Mia advice about demons and the next she is yeeting herself out a window to save a family she barely knows, the movie tries to make it feel emotional but it just comes off as lazy writing because they did not know how else to end the story without killing off the main characters. After Evelyn dies the doll just disappears and then we get this quick scene at the end showing one of the girls from the begining of The Conjuring buying the doll from an antique shop as a gift and thats it, roll credits and your sitting there thinking wait is that all we get after sitting through ninety minutes of boredom. Looking back at Annabelle now its pretty wild that this thing made over 250 million dollars worldwide on a 6 million dollar budget because Warner Brothers knew people would show up just because of The Conjuring name, the director John Leonetti who also did the cinematography for The Conjuring clearly got this job because of that connection and not because he had any good horror movies under his belt considering he directed Mortal Kombat Annihilation witch is one of the worst sequels ever made. This whole movie feels like a cash grab that was rushed into production without anyone stopping to ask if we actually needed to know how the doll got possessed, the answer is no we did not need to know that because the mystery of it in The Conjuring was way scarier than whatever this tried to do, the cast is mostly forgettable except for Alfre Woodard who deserved a way better movie and Annabelle Wallis who plays Mia does an okay job when she is by herself but gets dragged down by her costar who has the charisma of a brick wall. The movie is not even about the three people who were interviewed about the doll in The Conjuring witch would have been way more interesting to see, instead we get this boring couple that has zero connection to anything and the doll barely does anything for most of the runtime, if your going to watch any Annabelle movie skip this one and go straight to Annabelle Creation because that one is actually good and fixes a lot of the problems this first one had. I would give Annabelle maybe a 4 out of 10 and thats me being generous, its not the worst horror movie I have ever seen but its definitely not worth your time when there are so many better options out there that will actually scare you instead of putting you to sleep.
#skiptvads, #inleo, #hive, #annabelle, #horror, #conjuring, #spinoff, #demon, #doll, #possessed, #cult, #scary, #movie, #review, #2014, #boring, #cashgrab, #supernatural, #haunted, #warren, #prequel, #jumpscares, #thriller, #cinema, #entertainment, #film, #disappointing, #warnerbros

Posted Using INLEO
Drax
@drax (77)
893 followers
106 following
Blogger, film critic, columnist (writes in Croatian and English)
237d
TV · on Star Trek: The Next Generation
Television Review: Peak Performance (Star Trek: The Next Generation, S2X21, 1989)

Peak Performance (S02E21)

Airdate: July 10th 1989

Written by: David Kemper Directed by: Richard Scheerer

Running Time: 45 minutes

It is a near-universal truism amongst Star Trek aficionados that The Next Generation's second season marked a substantial and welcome maturation over its often-awkward inaugural outing. Characters solidified, production values climbed, and the writing generally found a more confident footing, moving beyond the tentative explorations of Season 1. Yet, this widely accepted narrative of progressive improvement crumbles somewhat when subjected to the specific scrutiny of the respective season finales. While Season 1 concluded with the reasonably competent, if unremarkable, The Neutral Zone, Season 2 was catastrophically let down by the universally derided Shades of Gray, a cynical clip-show concocted to save money. So profoundly embarrassing is this episode – a nadir not just for the season but arguably the entire series – that most dedicated "trekkies" actively engage in collective amnesia, wilfully pretending it never aired. Consequently, the de facto Season 2 finale for the fandom, the episode that truly provides a sense of closure and thematic resonance befitting the season's growth, is universally acknowledged to be the penultimate offering: Peak Performance.

The episode commences with the USS Enterprise-D rendezvousing to collect Sirna Kolrami, a representative of the Zakdorn species. Played with impeccable, smarmy condescension by character actor Roy Brocksmith (best remembered as Dr. Edgemar in Total Recall), Kolrami embodies his race's famed strategic mastery, a trait Starfleet has specifically leveraged by dispatching him to observe a high-stakes tactical simulation. This exercise, set within the Braslota system, pits the mighty Enterprise against the USS Hathaway, a decrepit eighty-year-old Constellation-class vessel. Ostensibly designed to test Starfleet personnel's tactical acumen – a timely endeavour given the looming spectre of the Borg – the simulation initially strikes both Captain Picard and Commander Riker as a somewhat frivolous diversion. Nevertheless, Riker, seizing an opportunity to challenge himself and his crew, volunteers to command the derelict Hathaway. He assembles a skeleton crew comprising Worf, Geordi La Forge, and the often-maligned Wesley Crusher. The young ensign, predictably dismissed as insignificant by the haughty Kolrami, proves his mettle through cunning rather than raw power, successfully smuggling vital components like a portable fusion generator off the Enterprise to bolster the Hathaway's meagre capabilities. During the simulation itself, Riker's crew demonstrates remarkable ingenuity, utilising holographic emitters to project the illusion of a Romulan warbird, successfully bluffing the Enterprise into holding its fire and allowing the antiquated vessel to hold its own against overwhelming odds.

Riker’s tactical brilliance in commanding the Hathaway initially seems set to provide the episode’s climax. However, the meticulously constructed simulation is abruptly, and somewhat jarringly, shattered by the unanticipated arrival of the Kreechta, a Ferengi D’Kora-class marauder commanded by the ever-slippery Bractor (a welcome return for Armin Shimmerman, playing another Ferengi after The Last Outpost). Picard’s initial assumption that this is merely another layer of the simulation proves disastrously wrong; the Ferengi are all too real, and their attack cripples the Enterprise, whose weapons remain safely secured, believing the engagement to be non-lethal. Similarly, the Hathaway is woefully under-armed for a genuine confrontation. Faced with Bractor’s demand for the surrender of the Hathaway, Picard and Riker are forced into a desperate improvisation. They execute a ruse where the Enterprise fires photon torpedoes at the Hathaway, timed to detonate milliseconds after the smaller ship executes a warp jump. The Ferengi, witnessing the apparent destruction of the Federation vessel, are left bewildered, and Bractor simply withdraws.

Writer by David Kemper, an author with notable credits on Farscape and SeaQuest DSV, Peak Performance is fundamentally a solid, well-constructed piece of Star Trek. Its central premise – pitting Picard against his most trusted officer in a battle of wits – is inherently compelling and serves as an excellent vehicle to explore command styles and strategic philosophy. This main plot is effectively complemented by a crucial subplot involving Kolrami and Data. The Zakdorn strategist, eager to prove his species' intellectual superiority, challenges Data to the game of Strategema. Data, usually the epitome of calm logic, experiences a rare and profound crisis of confidence after an initial loss, fearing his inability to win reflects a fundamental flaw. Data ultimately defeats Kolrami not through superior play, but by forcing an interminable, psychologically exhausting stalemate, compelling the arrogant Zakdorn to quit in frustration – a subtle but potent victory for adaptability over rigid superiority.

Directed by Robert Scheerer, who helmed the seminal Season 2 episode The Measure of a Man, Peak Performance inevitably suffers from comparisons to that earlier classic. While lacking the profound ethical depth of Measure, it possesses numerous merits. The core premise remains consistently engaging, the regular ensemble cast operates with well-honed chemistry, and Brocksmith delivers a thoroughly convincing, if one-dimensionally unpleasant, performance beneath heavy prosthetics. His character’s predictable arrogance is the point, and Brocksmith embodies it with delicious precision.

However, the episode’s most significant and enduring flaw lies precisely where its supposed climax occurs: the utterly convenient, plot-derailing intervention of the Ferengi. While the appearance of Shimmerman’s Bractor is undeniably fun fan service, and the Ferengi threat provides a necessary external catalyst, its execution feels profoundly unearned and narratively disruptive. The sudden, unexplained arrival of the Kreechta purely to exploit the simulation’s vulnerability strains credulity. More critically, it robs the audience of the very resolution the episode meticulously built towards: a definitive outcome to the Picard-Riker tactical duel. The ingenuity displayed by Riker’s crew against the Enterprise is rendered moot, replaced by an external conflict resolved through a clever but ultimately circumstantial trick against a third party. This contrivance sacrifices the satisfying, character-driven conclusion the main plot deserved for an injection of external action and unearned tension. The simulation could have been resolved internally – perhaps through Riker’s resourcefulness pushing Picard to an unexpected concession, or a genuine stalemate forcing mutual respect – in a manner far more realistic and thematically resonant with the episode’s exploration of strategy, confidence, and command. Instead, the Ferengi deus ex machina feels like a narrative shortcut, undermining the episode’s core strength and leaving the central question tantalisingly, frustratingly, unanswered. For all its genuine strengths in character interplay and thematic underpinning, Peak Performance remains ultimately a near-miss.

RATING: 6/10 (++)

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

LeoDex: https://leodex.io/?ref=drax InLeo: https://inleo.io/signup?referral=drax.leo Hiveonboard: https://hiveonboard.com?ref=drax Rising Star game: https://www.risingstargame.com?referrer=drax 1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7 BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9
Devy Swan
@devyswan1 (70)
📍 EXO PLANET
155 followers
146 following
Cooking, Travel, Music, Movie
237d
TV · on The Manipulated
The Manipulated Review - New K-drama starring Ji Chang Wook and Doh Kyungsoo

Hello everyone in the Korean Hive Village! It's great to be back here with a review of a new K-drama called The Manipulated. Finally, The Manipulated is airing after a long wait. Actually, this drama has been airing since last week, but I was too busy and only had time to binge-watch it until episode four. I've only watched four episodes , but I think this K-drama is very interesting to discuss. Therefore, I decided to make a review of it in this Korean Hive Village community.

THE MANIPULATED

Source

**

The Storyline
**
The Manipulated tells the story of a young man named Park Taejung whose life is ordinary and his time is only spent busy working. A very kind man and likes to help others. But ,he never realized that his overly kind nature would destroy his life. Park Taejung had to languish in prison on charges of raping and murdering a woman he had never even met in his life. While in prison, he experienced many terrible things that made him almost commit suicide. But finally he began to recover , and finally began to accept the situation. After years of living in prison, he began to get a little clue about the person who framed him. Will he soon find out who the mastermind behind all this? Will he soon be free and take revenge? Many things make me even more curious to watch the continuation.

**

The Cast
**
Ji Chang Wook as Park Taejung

Source

Ji Chang Wook plays the main character, Park Taejung. There's no doubt that Ji Chang Wook's acting is excellent and He's also often acted in action dramas , so it wasn't difficult for him to portray Park Taejung.

Doh Kyungsoo as Ahn Yo Han

Source

Another actor with a great acting chops in this K-drama is Doh Kyungsoo... While Doh Kyungsoo has starred in numerous dramas and films, this is his first time playing an antagonist. One of the things that makes this drama so highly anticipated is his role as Ahn Yo Han , the mastermind behind the main character's suffering.

My personal impression after watching The Manipulated

From the first episode , this drama was very interesting and not boring at all. In terms of story and cinematography, everything was very good. All the characters acted well so everything looked very natural. Ji Chang Wook played the character of Park Taejung very well and totally. Doh Kyungsoo as the antagonist also played his role well even though his screen time was too little. I can't wait to watch episodes five and six. I loved the whole drama The Manipulated. So, if there is a question "Is this drama recommended?" of course the answer is "Highly recommended."

Thank you in advance for taking the time to read the review of the k-drama The Manipulated, I hope you enjoy it!

Best regards, Devy

About Author
_{Devy Swan is an ordinary person. She has many dreams that have not been achieved but she still tries to make them come true one by one. Becoming a writer is one of her dreams. Being able to write on this platform is one of her prides and she is very grateful. Devy's hobbies are cooking, singing, and traveling.}
Filotasriza3
@filotasriza3 (72)
📍 an exotic country
1,861 followers
93 following
237d
TV · on Gen V
Gen V Season 2 Series Review 2025

Yesterday, i decided to watch the whole season 2 of Gen V. To tell you the truth, even though i like "The Boys" series a lot, when i watched season 1 of Gen V i was like meh. I decided to give it a go as the events follow the boys series and we also get to see some of the boys' characters. At the same time some of the characters of Gen V will also play an important role in the main series.

Plot

The plot continues after the events of the first season and revolves around the supes vs humans conflict and what else, Godolkin University with the students and their lives.

Due to some events, pretty much all the main casts and students return to the University in order to "protect" themselves and discover more about a project called Odessa. There is also a new Dean in the house who also seems to have a dark secret.

I won't make any spoilers but i will tell you that things escalate quickly and that most likely won't be a third season, as there is no point anymore. Most of the main characters will be seen in the final season of the main series in 2026.

Good & Bad

Now regarding the good things, the fight scenes are good, some of the powers and events are hilarious or hilariously disgusting as it is expected from the series and most people are great actors, making the series pretty good.

To add to that, in my opinion, the plot of this season was better and more cryptic as you didn't know much about the "villain" and what his actual powers were. They did a pretty good job in terms of hype in this one.

Now let's start with the bad. The fight scenes were fewer than in the first season. I don't know what the reason, was because budget-wise wise they are pretty good. We only had a few good fights that were more than 2-3 minutes or so.

Also, i don't like the acting of the protagonist, Marie Moreau. It feels boring and like her expression is always kind of the same. Pretty much most of her "team" and "classmates" are good and besides that, Dean Cipher and Polarity also did a freaking amazing job in terms of acting.

All in all it's worth watching especially if you like that kind of movies and ofc The Boys!

My Rating is 7.5/10 for the 2nd Season.

Posted Using INLEO
Rakin Afsar Rafid
@rarafid (53)
📍 Nowhere
1 followers
0 following
Alhamdulillah for everything.
237d
Movie · on Haq
Haq (2025) Movie Review
This is no ordinary movie, it’s a blazing protest inspired by real life. Once you start watching, your blood will boil— how much injustice can a person endure to survive. In the end, you’ll feel, “This isn’t a movie, this is a war to claim one’s rights!”

Movie : Haq (2025)
IMDb Rating : 7.4/10 💥
Genre : Drama | Courtroom
Language : Hindi

Story

A mother named Shazia Bano. Her husband, who happens to be a renowned lawyer, coldly ends everything with three words, “Talaq, talaq, talaq”

These words shatter her life. Yet, with three children in tow, Shazia refuses to give up; she steps into the courtroom to claim her ‘Haq’, her rights.

But the story takes a dramatic turn when this divorce case reaches the Supreme Court. Then it’s no longer just a dispute between two people—it becomes the voice of every silenced woman in the country.

Here’s the real thrill

‘Haq’ is actually inspired by the Shah Bano case of the 80s. But here the story isn’t told like a textbook—it’s narrated like real people, completely authentic, with the scent of the soil.

Final Word

For those who see ‘Haq’ as more than just a movie—it’s a mother’s protest, a woman’s cry to survive! Those who love real emotions, courageous stories, and courtroom drama, missing ‘Haq’ means missing your own rights.

Enjoy & Happy Watching! 🍿
david
@david781211 (64)
📍 Cuba
29 followers
81 following
Aficionado de la lectura, los deportes, el buen cine y de la música inteligente
237d
TV · on American Primeval
"American Primeval" 2025 Review: A Poem of Dust, Silences, and Vengeance [ENG/ESP]
Dear community, Today, I want to talk to you about a cinematic experience I recently immersed myself in. It's not your ordinary series, but rather a miniseries that is a true Western gem: "American Primeval."

Querida comunidad, Hoy quiero hablarles de una experiencia cinematográfica en la que me sumergí recientemente. No es una serie al uso, sino una miniserie que es una joya del western: "American Primeval".

Source/Fuente

If you're curious about a story that takes its time to tell a grand narrative, this is for you. Watching it was like opening a time capsule and finding an epic tale, as slow and beautiful as a desert sunset.

Si sienten curiosidad por un relato que se toma su tiempo para contar una historia con mayúsculas, esto es para ustedes. Verla fue como abrir una cápsula del tiempo y encontrarse con un cuento épico, lento y hermoso como un atardecer en el desierto.

Source/Fuente

The first thing that struck me was its pace. This isn't a series with frantic action; on the contrary, it is deliberately paced, almost theatrical. The silences, the glances, those shots that linger on the characters' weathered faces... everything carries a weight and a meaning. It's a narrative that invites you to savor every moment, to feel the heat of the sun and the tension in the air.

Lo primero que me impactó fue su ritmo. No es una serie con acción frenética; al contrario, es pausada, casi teatral. Los silencios, las miradas y esos planos que se recrean en los rostros curtidos de los personajes... todo tiene un peso y un significado. Es una narrativa que te invita a saborear cada momento, a sentir el calor del sol y la tensión en el aire.

Source/Fuente

The story, which intertwines the fate of a woman in distress, a mysterious stranger, and a ruthless gunslinger, is a masterful study of vengeance, honor, and redemption. The soundtrack, with its melancholic melody, is another character in itself, elevating every scene to a work of art.

La historia, que entrelaza el destino de una mujer en apuros, un misterioso forastero y un despiadado pistolero, es un estudio magistral de la venganza, el honor y la redención. La banda sonora, con melodía melancólica, es otro personaje más que eleva cada escena a la categoría de arte.

Source/Fuente

It's not just a miniseries; it's an invitation to lose yourself in a myth. It's for those who believe that the best stories are not told with shouts, but with emotion-filled whispers. It is a tribute to the most classic West.

No es solo una miniserie, es una invitación a perderse en un mito. Es para aquellos que creen que las mejores historias no se cuentan a gritos, sino en susurros cargados de emoción. Es un homenaje al Oeste más clásico.

Source/Fuente
It's a journey that demands patience, but one that rewards you with a beauty and intensity that are hard to forget. Warm regards.

Es un viaje que exige paciencia, pero que regala una belleza y una intensidad difíciles de olvidar. Un abrazo fuerte.

Source/Fuente

Photos with sources identified Google Translate(free version)

Fotos con fuentes identificadas Traducción con Google (versión gratis)
SkipTvAds
@skiptvads (72)
306 followers
230 following
If its on Tv I'll write about it || If its on Tv they already doing it
237d
Movie · on Mission: Impossible – The Final Reckoning80
Mission: Impossible - The Final Reckoning (2025) - All Stunt No Story And Thats The Problem - REVIEW
[Source](https://screenrant.com) Mission Impossible The Final Reckoning, took me some time to watch because Im not really attracted to this franchise anymore honestly but I knew at some going I was going to watch, this movie is one of those movies where Tom Cruise does some absolutely insane shit on screen and you sit there thinking how the hell is this guy still alive at sixty two years old because the stunts in this thing are no joke and worth the price of the theater ticket but it has some holes in it, the movie. The submarine part where he is diving down into this Russian sub thats rolling down an underwater mountain is probably the best action sequence in the entire franchise and then that plane part at the end where he is hanging off these old biplanes doing flips and fighting Gabriel mid air while trying to save the world is just nuts, but here is the problem with this movie, everything else around those crazy stunts feels like a two hour and 49 minute meeting where people just keep talking and talking about what they gotta do next or what just happened or what could happen if they dont do this or that. The whole thing tries way too hard to tie the entire franchise together by bringing back stuff from Mission Impossible 3, none of it needs to be there at all because it just makes everything more confusing. Christopher McQuarrie clearly wrote the action scenes first and then scrambled to build a story around them and it shows big time because the pacing is all over the place, the first hour could have been thirty minutes shorter if they cut out all those repetitive flashback scenes and exposition dumps that slow everything down.
- IMDB: https://www.imdb.com/title/tt9603208
Rottentomatoes Rating
[Source](https://tinyurl.com/37xdhbhv) For the most part the movie is not bad so here some of what actually works here because there is some impressive stuff happening when the movie shuts up and lets the action do the talking, like that submarine sequence is just spectacular and you can tell its all real water and practical effects with Tom Cruise actually doing this stuff himself at the bottom of a tank or wherever they filmed it, at least that was my first impression. The way the sub spins around while Ethan is inside trying to grab this thing called the Podkova, witch is basically a hard drive with the AI source code on it and torpedo are sliding around and he has to time his movements perfectly or he dies, its just insane filmmaking that reminds you why this franchise has lasted so long in the first place. You feel the weight of the water and the pressure and the danger because its all actually happening in front of the camera instead of looking like a video game cutscene like most action movies these days, and the same goes for that biplane sequence at the end where Tom Cruise is literally on the outside of these planes flying around at sixty two years old doing stuff that should not be possible for anyone much less a guy whos been doing this for almost thirty years now. The guy is in better shape than most people half his age and he is out here risking his life for our entertainment, you got to respect that level of commitment even if the story around it is a mess, these are the moments that make Mission Impossible special and this one delivers on that front big time even if nothing else works. [Source](https://tinyurl.com/37xdhbhv) [Source](https://tinyurl.com/37xdhbhv) The problem with Final Reckoning is that it spends so much time trying to connect everything from the past movies that it forgets to tell a good story in the present, like the first hour is just constant old data dump reminding you about stuff that happened in previous movies. They show you clips from Mission Impossible 3 about the rabbits foot witch turns out was actually the proto AI that created the entity, so now Ethan is personally responsable for this whole mess witch could have been interesting if they actually did something with it but they dont, its just there to make you go oh wow everything was connected all along when really it just feels force. Then they bring back that scientist from the very first Mission Impossible and make this big deal about how a knife getting dropped during that heist ruined this guys life for thirty years but then the guy is like actually it was great I found my wife so no hard feelings and its just like why did we spend ten minuts on this if it doesnt matter at all. The movie keeps doing this thing where it introduces a character or a plot point and then immediately has to pause everything to explain it with flashbacks, so you never get into a rythm because you are constantly stopping to look backwards instead of moving forwards and they even do flashbacks to stuff that happened in Dead Reckoning Part One, like we remember Rebecca Ferguson dying you dont need to show us clips of it again we were there, I know I'm actually ranting a bit for a movie that I did enjoy watching but I'm ranting about the story that was suppose to build up during the movie, its over two hours so you expect character build up not tons of flashbacks. [Source](https://tinyurl.com/37xdhbhv) [Source](https://tinyurl.com/37xdhbhv) Gabriel is suppose to be this big scary villian but he is one of the weakest ones in the franchise, he just shows up and talks in this weird way about how everything is written and the entity has a plan for everyone, but then halfway through the entity abandons him so now he wants to control it himself for some reason that never gets explained properly. The actor does his best with what hes given but the character just isnt interesting at all, he doesnt have any real motivation beyond being evil and serving this AI, and when he finally dies at the end its in the most boring way possible where he just falls off a plane and hits the tail and thats it, no big fight or emotional payoff just dead. Compare that to how they handled villain like Solomon Lane or even Sean Ambrose from the second movie, those guys felt dangerous and had actual reasons for doing what they did, Gabriel is just there because the script needs someone for Ethan to fight every now and then, and the entity itself is also boring as far as AI threats go. Its just doing the standard take over all the nukes and destroy humanity thing witch feels like something from a ninety s action movie, there is no new ideas here and the movie doesnt have anything interesting to say about AI or technology even though we are living in a time where AI is everywhere, they had a great chance to make some kind of statement but instead just went with the most generic plot possible witch is disappointing. The best parts are when Ethan is underwater fighting for his life or hanging off planes, lest face it the movie is all action no story just flashbacks, thats only time when the movie comes alive and you remember why people still care about this franchise after all these years but they needed a way better script to hang all these amazing stunts on instead of this mess, if Im not mistaken they did this movie to kinda kill it because its just too much, even for the Fast and Furious there was a time they had to pivot and create the monster that it is today, there has to be a stop. The emotional side of the story dont land at all because we dont spend enough time with anyone, like Luthers death should have been this huge moment but it feels rushed and we barely get time to process it before moving on to the next stunt, same with Benji getting shot and having to talk someone through defusing a server while he is getting emergency surgery, witch should be super tense but its just one of like seven impossible things happening at the same time so it loses all its impact. The movie throws so much at you in the final hour that it stops being exciting and starts being silly and over the top, there is a nuclear bomb counting down and a server that needs unplugging at exactly one hundred milliseconds and an assassination attempt on some president and Ethan flying planes all at once, instead of feeling cool it just feels like too much, you stop caring because its all so over the top and ridiculus. Sometimes less is more and this movie really fail that test, its like it just keeps stacking more and more until your brain shuts off from overload. I give Mission Impossible The Final Reckoning a 7 out of 10, its worth seeing for those two big action sequences alone specially on the biggest screen you can find but the messy story and weak villian and bloated final hour keep it from being anything close to great, if this really is the last one then its a decent enough send off but definitely not the epic conclusion the franchise deserved after almost thirty years.
#skiptvads, #inleo, #hive, #mission, #impossible, #reckoning, #cruise, #ethan, #submarine, #action, #stunts, #gabriel, #entity, #biplane, #mcquarrie, #sequel, #franchise, #podcast, #benji, #luther, #villain, #bomb, #underwater, #practical, #effects, #spy, #thriller, #disappointment

Posted Using INLEO
@wiseagent
@wiseagent (81)
📍 Brazil
2,879 followers
790 following
Hive's first BRAZILIAN ORCA.
237d
Movie · on Popeye's Revenge
MOVIE REVIEW: “Popeye's Revenge” (2025)
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

Synopsis: The legend of Popeye haunts a group of young people who intend to renovate a "haunted" house, haunted by memories of a murder committed years ago at a kind of "summer camp" (especially for tourists who don't know the history of the place and what happened inside).

When it comes to horror, one of my favorite subgenres is slasher (thanks to the 70s, 80s and 90s for still supplying us with countless projects that are worth watching and rewatching over the years). I appreciate all the authenticity that these projects try to bring (even though, for the most part, they are low-budget) to this type of subgenre, even though it is something so subjugated by the general public. However, in the case of this specific movie, everything is really a big mess of epic proportions, where there is not a single aspect that really works well.

Bloody Disgusting

It all begins with a supposedly didactic explanation (at an almost childish level, with drawings scribbled in a totally amateurish way in relation to the technique that was used to create the characters) about the origin of Popeye and his deformed arms with superhuman strength. A narrative introduction that could have been something even curious in relation to everything that was to come, but the way things were done brings no credibility whatsoever to the script. Then, the movie really begins, with an opening sequence as embarrassing as the entire movie itself.

When a group of teenagers from the town of Sweetville (yes, you read that right... this is indeed the name of the fictional town in this movie) get together to renovate the house where Popeye lived as a child (a material possession that the "protagonist's" mother received, in a totally random way) and turn this place into a "tourist attraction" with considerable financial potential (with the horror stories that haunt the territory as its main attraction), the mysteries of the place begin to be revealed. However, the teenagers start disappearing one by one until this happens.

ACMODASI

After watching the trailer, I already knew the movie would be bad, and no, I really don't mind when that happens. The idea when watching these specific movies is simply to have fun amidst the horror and with all the creativity of the screenwriters (because they have more freedom to do it independently), but in the case of this project, not even the fun aspect was evoked throughout its less than 80 minutes. Quite the contrary, here is the worst slasher horror experience I've had the displeasure of watching this year (and no... I'm not exaggerating).

Nothing that was attempted works within this script, which is simply awful in every possible and impossible aspect to be thought of. The plot is totally absurd, and without any kind of solid foundation to support what is trying to be built on screen. The big problem with the script is not the idea being nonsense, it's precisely staying within this segment without trying to explain what is happening in a logical way. All the narrative aspects of the movie are summarized in one or two lines of explanation, which are embarrassingly included in the script.

Prime Video

Featuring a remarkable parade of stupid characters, built upon all the clichés of this subgenre (the drugged-up boy, the rich girl, the bully, the promiscuous girl, the benevolent girl, the good guy, and the vigilante girl), the cast delivers a deplorable performance. It had been a long time since I'd seen a slasher movie with such poor acting. All the actors and actresses here, without exception, are terrible (as are their respective characters, who, incidentally, don't hesitate to take totally stupid actions in any and every dangerous situation).

There are moments when the script tries to shock the audience with violently bloody scenes, but what could have been visceral and very creative gore actually becomes a big joke considering how it was all done. The technical aspects are also a real disaster (with the sole exception of the use of fog, which, even though it's somewhat exaggerated, still managed to bring a bit of "sobriety" to create an atmosphere more characteristic of the theme) and did nothing to improve what was already bad (and everything gets worse as the movie progresses).

MovieWeb

Popeye's Revenge was (shamefully) directed by William Stead, from a screenplay by the duo Harry Boxley and E.C. Segar, and I'm going to make sure I never watch anything involving those three people again, because the level of frustration with this project was beyond normal (at least in my opinion). This is the kind of movie I would be more than happy to forget, and at the same time, make up for the wasted time spent watching it. Nothing in this movie works well, not even the clear references to the animated characters.

[ OFFICIAL TRAILER ]

CRÍTICA DE PELÍCULA: “Popeye's Revenge” (2025)

Sinopsis: La leyenda de Popeye persigue a un grupo de jóvenes que pretenden renovar una casa supuestamente embrujada, atormentada por los recuerdos de un asesinato cometido años atrás en una especie de campamento de verano (especialmente para turistas que desconocen la historia del lugar y lo que allí ocurrió).

En cuanto al terror, uno de mis subgéneros favoritos es el slasher (gracias a los 70, 80 y 90 por seguir brindándonos innumerables películas que vale la pena ver y volver a ver a lo largo de los años). Aprecio la autenticidad que estas producciones intentan aportar (aunque, en su mayoría, sean de bajo presupuesto) a este subgénero, a pesar de ser tan poco popular entre el público general. Sin embargo, en el caso de esta película en particular, todo es un auténtico desastre, donde ningún aspecto funciona realmente bien.

Todo comienza con una explicación supuestamente didáctica (a un nivel casi infantil, con dibujos garabateados de forma totalmente amateur en relación con la técnica utilizada para crear los personajes) sobre el origen de Popeye y sus brazos deformes con fuerza sobrehumana. Una introducción narrativa que podría haber resultado incluso curiosa en relación con lo que vendría después, pero la forma en que se hizo no le aporta ninguna credibilidad al guion. Entonces, la película empieza de verdad, con una secuencia inicial tan bochornosa como la película misma.

Cuando un grupo de adolescentes del pueblo de Sweetville (sí, has leído bien... este es el nombre del pueblo ficticio de la película) se reúne para renovar la casa donde Popeye vivió de niño (una posesión material que la madre del "protagonista" recibió de forma totalmente fortuita) y convertirla en una "atracción turística" con un considerable potencial económico (con las historias de terror que acechan en el lugar como principal atractivo), los misterios del sitio comienzan a desvelarse. Sin embargo, los adolescentes comienzan a desaparecer uno por uno hasta que esto sucede.

Después de ver el tráiler, ya sabía que la película sería mala, y no, la verdad es que no me importa cuando eso pasa. La idea al ver este tipo de películas es simplemente divertirse con el terror y la creatividad de los guionistas (ya que tienen más libertad para ser independientes), pero en este caso, ni siquiera se logró ese aspecto divertido en sus menos de 80 minutos. Todo lo contrario, esta es la peor experiencia de terror slasher que he tenido la desgracia de ver este año (y no... no exagero).

Nada de lo que se intentó funciona en este guion, que es simplemente horrible en todos los sentidos imaginables. La trama es totalmente absurda y carece de cualquier base sólida que la sustente. El gran problema del guion no es que la idea sea nonsense, sino que se queda estancada en este segmento sin intentar explicar lo que sucede de forma lógica. Todos los aspectos narrativos de la película se resumen en una o dos líneas de explicación, que resultan vergonzosas al estar incluidas en el guion.

Con un desfile interminable de personajes estúpidos, basados en todos los clichés del subgénero (el chico drogado, la chica rica, el matón, la chica promiscua, la chica bondadosa, el chico bueno y la justiciera), el reparto ofrece una actuación deplorable. Hacía mucho tiempo que no veía una película de terror slasher con tan mala actuación. Todos los actores y actrices, sin excepción, son pésimos (al igual que sus respectivos personajes, quienes, dicho sea de paso, no dudan en cometer estupideces en cualquier situación de peligro).

Hay momentos en que el guion intenta impactar al público con escenas violentamente sangrientas, pero lo que podría haber sido gore visceral y creativo se convierte en una broma de mal gusto, considerando cómo se hizo. Los aspectos técnicos también son un verdadero desastre (con la única excepción del uso de la niebla, que, aunque algo exagerada, logró aportar un poco de "sobriedad" para crear una atmósfera más característica del tema) y no hicieron nada por mejorar lo que ya era malo (y todo empeora a medida que avanza la película).

Popeye's Revenge fue dirigida (vergonzosamente) por William Stead, con guion de Harry Boxley y E.C. Segar, y me aseguraré de no volver a ver nada relacionado con ellos tres, porque la frustración que me produjo este proyecto fue desmesurada (al menos en mi opinión). Es el tipo de película que me encantaría olvidar, y al mismo tiempo, recuperar el tiempo perdido viéndola. Nada en esta película funciona bien, ni siquiera las claras referencias a los personajes animados originales.

CRÍTICA DE FILME: “A Vingança de Popeye” (2025)

Sinopse: A lenda do Popeye assombra um grupo de jovens que pretendem reformar uma casa “mal-assombrada” pelas lembranças de um assassinato cometido anos atrás em uma espécie de “acampamento de verão” (especialmente para os turistas que não conhecem a história do lugar e o que aconteceu dentro dele).

Quando o assunto é horror, um dos meus subgêneros favoritos é o slasher (obrigado aos anos 70, 80 e 90 por nos abastecer até hoje com incontáveis projetos que valem à pena serem assistidos e reassistidos ao longo dos anos). Eu aprecio toda a autenticidade que esses projetos tentam trazer (ainda que em sua maioria, com baixo orçamento) para esse tipo de subgênero mesmo sendo algo tão subjugado pelo grande público. No entanto, no caso deste filme em específico, tudo é realmente uma grande bagunça de proporções épicas, onde não há um único aspecto que realmente funciona bem.

Tudo começa com uma explicação supostamente didática (em um nível quase infantil, com desenhos rabiscados de um jeito totalmente amador em relação a técnica que foi utilizada para criar os personagens) sobre a origem do Popeye e seus braços deformados com força sobre-humana. Uma introdução narrativa que poderia ter sido algo até curioso com relação a tudo o que estava por vir, mas o como como as coisas foram feitas não traz credibilidade algum para o roteiro. Em seguida, o filme começa de verdade, com uma sequência de abertura tão vergonhosa quanto todo o próprio filme.

Quando um grupo de adolescentes da cidade de Sweetville (sim, você não leu errado... este é mesmo o nome da cidade fictícia deste filme) se reúne para reformar a casa onde o Popeye viveu enquanto criança (um bem material que à mãe da “protagonista” recebeu, de uma maneira totalmente aleatória por sinal) e fazer desse lugar um “ponto turístico” de potencial financeiro considerável (tendo como principal atração as histórias de horror que assombram o território), os mistérios do lugar começam a ser revelados. Porém, os adolescentes vão desaparecendo um por um até isso acontecer.

Depois de ter assistido ao trailer, eu já sabia que o filme seria ruim, e não, eu realmente não ligo quando isso acontece. A ideia ao assistir esses filmes em especifico, é simplesmente me divertir no meio do horror e com toda a criatividade dos roteiristas (porque eles têm mais liberdade para fazer isso de maneira independente), mas no caso deste projeto, nem mesmo o aspecto divertido foi evocado ao longo dos seus menos de 80 minutos. Muito pelo contrário, eis aqui a pior experiência de horror slasher que eu tive o desprazer de assistir este ano (e não... eu não estou sendo exagerado).

Nada do que foi tentado funciona dentro desse roteiro, que é simplesmente horrível em todos os aspectos possíveis e impossíveis de serem pensados. A trama é totalmente absurda, e sem ter nenhum tipo de alicerce sólido que sustente o que está tentando ser construído na tela. O grande problema do roteiro não é a ideia ser nonsense, é justamente se manter dentro desse segmento sem tentar explicar o que está acontecendo de uma maneira lógica. Todos os aspectos narrativos do filme são resumidos a uma ou duas linhas de explicações, que são embaraçosamente incluídas no roteiro.

Trazendo um notável desfile de personagens estúpidos, e construídos em cima de todos os clichês desse subgênero (o garoto drogado, a garota patricinha, o garoto valentão, a garota vadia, a garota benevolente, o bom moço e a garota justiceira), o elenco traz uma performance deplorável. Já fazia muito tempo que eu não assistia a um filme slasher com uma carga de atuação tão ruim. Todos os atores e atrizes aqui, sem exceção, são péssimos (assim como seus respectivos personagens, que aliás, não se privam de tomar atitudes totalmente estúpidas de toda e qualquer situação de perigo).

Há momentos em que o roteiro quer tentar chocar o público com cenas violentamente sangrentas, mas o que poderia ter sido um gore visceral e muito criativo, na verdade se torna em uma grande piada considerando como tudo foi feito. Os aspectos técnicos também são verdadeiro desastre (com a única exceção do uso da neblina, que mesmo sendo algo exagerado, ainda conseguiu trazer um pouco de “sobriedade” para criar uma atmosfera mais característica do tema) e não ajudaram em nada a melhorar tudo o que já estava ruim (e tudo fica pior à medida em que o filme vai avançando).

A Vingança de Popeye foi (vergonhosamente) dirigido William Stead, sob o argumento da dupla de roteiristas formada por Harry Boxley e E.C. Segar, e eu vou me certificar de nunca mais assistir nada que envolva essas três pessoas, porque o nível de frustração com este projeto foi algo para além do normal (ao menos no meu ponto de vista). Esse é aquele tipo de filme que eu teria o maior prazer de esquecer, e ao mesmo tempo, recuperar o tempo desperdiçado para poder assisti-lo. Nada nesse filme funciona bem, nem mesmo as referências claras que são feitas aos personagens originais animados.

Posted Using INLEO
Roberto
@nameless16 (75)
📍 Venezuela
1,027 followers
666 following
Conocedor de Futbol y las MMA pero malo practicando deportes, me gusta las peliculas y series por eso ahora..."Soy critico de Cine". Viviendo en Venezuela
237d
Movie · on Good Boy
Good Boy - Movie Review [ES - EN]

En lo que posiblemente sea el film independiente con mejor promoción en el 2025, "Good Boy" relata la historia de "Indy" un perro de raza "Retriever de Nueva Escocia" quien es el fiel compañero de "Todd", un joven hombre que después de padecer problemas de salud decide irse a vivir junto a su fiel amigo a la cabaña abandonada de su abuelo; lo que no sabe Scott es que en ese alejado lugar se encuentra un ente oscuro que le acechará en cada momento y solamente tendrá como defensa a un fiel compañero que hará todo lo posible para salvarlo; con esa simple sinopsis creo que no había nada más que esperar de este film que usa el terror sobrenatural para relatar la vieja historia de amistad entre el perro y el hombre, pero que anteriormente fue relatada desde el punto de vista del humano y que en esta oportunidad, sin humanizar a la mascota, se decide dar todo protagonismo al perro.

In what is possibly the best-promoted independent film of 2025, Good Boy tells the story of Indy, a Nova Scotia Duck Tolling Retriever who is the faithful companion of Todd, a young man who, after suffering health problems, decides to go and live with his loyal friend in his grandfather's abandoned cabin. What Scott doesn't know is that in that remote place there is a dark entity that will stalk him at every turn, and his only defense will be his faithful companion, who will do everything possible to save him. With this simple synopsis, I think there was nothing more to expect from this film, which uses supernatural horror to tell the old story of friendship between man and dog, but which was previously told from the human point of view. This time, without humanizing the pet, they decides to give the dog the leading role.

Fuente / Source

La perspectiva de quién relata la historia en un film siempre es un factor relevante y en mi opinión es lo que determina al verdadero protagonista, ya que es quién debemos conectar para de alguna manera sentir empatía o hasta aberración; en esta oportunidad la empatía estaba más que ganada por quien debe ser el guía en toda la historia; creo que esa es una excelente decisión por parte de Alex Cannon y el director del film, Ben Leonberg, al momento de escribir el guion que seguramente al no presentar tantos diálogos, se puede pensar que fue el más fácil de escribir, pero creo que había mucha experiencia personal en poder plasmar la relación de los dos personajes principales y lo cual es de suma importancia para el desarrollo de la historia y como dije con anterioridad, para crear una completa empatía hacia la historia, ya que personas que tienen mascotas pueden sentirse relacionadas con varias de las escenas.

The perspective of the person telling the story in a film is always an important factor and, in my opinion, it is what determines the true protagonist, since it is the person we must connect with in order to feel empathy or even revulsion. In this case, empathy was more than earned by the person who should be the guide throughout the story. I think this was an excellent decision by Alex Cannon and the film's director, Ben Leonberg, when writing the script. Since there isn't much dialogue, one might think it was the easiest script to write, but I believe it took a lot of personal experience to capture the relationship between the two main characters, which is extremely important for the development of the story and, as I said before, to create complete empathy with the story, since people who have pets can relate to several of the scenes.

Fuente / Source

La manera de enfocar la narrativa desde la perspectiva del perro era sin ninguna duda lo que más me causó expectativa; en mi opinión, Leonberg hizo un correcto trabajo al espectador en la visual del Indy, y no solo eso, también se enfocó en la manera en como funciona su audición y olfato, siendo herramientas que nos ayuda a conocer como percibe el mundo que rodea; todas esas características ayudan a impulsar los elementos de terror y suspenso en esta historia, ya que es Indy quien supuestamente ve y percibe la maldad que rodea a su amigo y eso siempre hace que exista la sensación de estar alerta a cualquier amenaza que padezca Todd; ahora, como es de esperar, la historia no solo se debe enfocar en la perspectiva del perro, Leonberg tiene la oportunidad de realizar tomas que desarrollan la historia, principalmente la relación entre Todd e Indy, son momentos breves, pero necesarios que ayudan al espectador a saber el porqué deben ambos personajes experimentar el terror que los acecha.

The way the narrative was approached from the dog's perspective was undoubtedly what excited me the most. In my opinion, Leonberg did a good job of showing the viewer Indy's visual perspective, and not only that, but he also focused on how his hearing and sense of smell work, which are tools that help us understand how he perceives the world around him. All these characteristics help to drive the elements of horror and suspense in this story, as it is Indy who supposedly sees and senses the evil surrounding his friend, which always makes us feel alert to any threat Todd may face. Now, as expected, the story should not only focus on the dog's perspective. Leonberg has the opportunity to shoot scenes that develop the story, mainly the relationship between Todd and Indy. These are brief but necessary moments that help the viewer understand why both characters must experience the terror that haunts them.

Fuente / Source

El perro que protagoniza este film, es la mascota de Leonberg, así que no le dificultó hacerse con el rol principal de la película; Indy quien interpreta a "Indy", es el mejor personaje, es un amigo incondicional, protector, preocupado, dispuesto a todo para ayudar a su dueño; la manera de como está escrito es excelente porque como protagonista debe explorar y buscar primeramente una respuesta y después una solución para salvarse él y a "Todd", justamente eso es lo que me ha gustado de Indy porque no se limita a ladrar, dormir y nada más, su rol es de proteger y hacer todo lo posible para ayudar; no hay ninguna duda que como personaje está escrito como homenaje a todo can que ayudo a su dueño y amigo a solventar cualquier problema o ser un gran acompañante en la vida.

The dog that stars in this film is Leonberg's pet, so it wasn't difficult for him to land the lead role in the movie. Indy, who plays "Indy," is the best character. He is an unconditional friend, protective, caring, and willing to do anything to help his owner. The way he is written is excellent because, as the protagonist, he must first explore and search for an answer and then a solution to save himself and "Todd." That's exactly what I liked about Indy because he doesn't just bark, sleep, and nothing else. His role is to protect and do everything possible to help. There is no doubt that as a character he is written as a tribute to every dog who has helped his owner and friend solve any problem or been a great companion in life.

Fuente / Source

Good Boy es un film sumamente corto y ese es un gran punto a favor; considero que es una historia muy bien planeada que explora la relación entre un humano y un perro, la importancia del acompañante y la fidelidad, creo que es lo que más me ha gustado del relato porque funciona muy bien en el momento en que el terror hace aparición en la historia lo cual es muy bien usado y no es exagerado lo cual sumo a lo pausado del relato a pesar de ser como señalé, ser un film con una corta duración, pero es bastante correcto que funciona bien con respecto a su definición de ser terror sobrenatural lo cual aprecio a pesar de ser relatada desde la perspectiva de un perro. Mi consejo para quien decida ver está película es que como yo, no creen grandes expectativas, este es un film simple, con un presupuesto corto, con escenografías lúgubres, una historia oscura, en dónde la esperanza la provee un perro, uno que me hizo recordar a todo amigo incondicional que he tenido en todos mis años y que me generó más aprecio a Roky, mi perro actual y al que le dedicó esta reseña.

Good Boy is an extremely short film, which is a big plus; I think it's a very well-planned story that explores the relationship between a human and a dog, the importance of companionship and loyalty. I think that's what I liked most about the story because it works very well when the horror appears in the story, which is very well used and not exaggerated, which adds to the slow pace of the story despite being, as I pointed out, a short film. but it is quite accurate and works well in terms of its definition as supernatural horror, which I appreciate despite it being told from a dog's perspective. My advice to anyone who decides to watch this film is that, like me, they should not have high expectations. This is a simple film, with a low budget, gloomy sets, and a dark story, where hope is provided by a dog, one that reminded me of all the unconditional friends I have had over the years and made me appreciate Roky, my current dog, even more. This review is dedicated to him.

Good Boy - Official Trailer

Cover image edited in canva; the image was taken from the following source

I have used deepl.com as a translator

----

Community Reviews

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?

Plot

Good & Bad

My Rating is 7.5/10 for the 2nd Season.

Story

Here’s the real thrill

Final Word