Hello, greetings to everyone.

Today I decided to rewatch one of the creepiest movies I've ever seen. It was released 23 years ago and it undoubtedly marked a milestone in horror cinema. I'm talking about "The Ring."

I'm no expert, not by a long shot, on cinema, but I am interested in film criticism, though I don't intend to do that now. Today I just want to talk about the film because, in a way, it left a permanent mark on me.

It's not your typical scary movie with screams and blood. Instead, it gets under your skin and leaves you with a really weird feeling for the rest of your life.

The fear wasn't about a monster chasing you with an axe, but about a simple idea like a videotape that, if you watch it, you die in seven days. Back then, we all had VHS players at home, imagine that, it added a realistic touch that resonated with me much more.

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What disturbed me the most was the story behind it all, that girl, Samara. She's not your usual villain. She's a little girl who was deeply hurt, who had something strange inside her, and who in the end just wants others to feel her pain. It's sad and terrifying at the same time. And the ending, well, what a blow, because the protagonist thinks she has won, but in reality, what she has done is help the curse continue. There's no way to save yourself without condemning someone else. That is disturbing.

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The film has a very particular style. Everything is blue, cold, as if it's always about to rain. And the images on the tape, the woman combing her hair, the ladder, the horse, are nonsensical but produce a terrible sense of dread. You don't understand why, but they scare you.

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And then there's the scene, that scene which lasts about 3 minutes, but the minute and a half where Samara appears and comes out of the television is a deep, fearful wound that lasts forever. It's not a quick scare, no. It's slow, unnatural, as if the laws of reality are breaking. Seeing that girl crawling towards you from inside the screen, wow, that is so intense that all you can think about is running away. It was so different from anything I had seen before.

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"The Ring" is an intelligent film that makes you think and uses fear in a more sinister way. It doesn't shout at you; it whispers something in your ear that makes you glance sideways at the turned-off television, just in case.

But that said, it's highly recommended for horror lovers. A masterpiece, I'm not afraid to say it.

Well, I'll leave you now because it's movie time.

I am a Doctor of Microbiology, a lover of nature, literature, music, cooking, and life itself. A staunch defender of family and children.

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Thank you for visiting my blog.

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ESPAÑOL

Hola, saludos a todos.

Hoy decidí volver a ver una de las películas más tenebrosas que he visto, hace ya 23 años que se estrenó y sin dudas marcó un hito en el cine de terror. Hablo de "El Anillo".

Yo no soy experta, ni mucho menos en cine pero si me atrae la critica cinematográfica cosa que no pretendo hacer ahora. Hoy solo quiero comentar sobre el filme porque de alguna manera me marcó con tinta indeleble.

No es la típica de sustos con gritos y sangre, sino que se te mete debajo de la piel y te deja una sensación bien rara por el resto de la vida.

El miedo no estaba en que un monstruo te persiguiera con un hacha, sino en una idea simple como una cinta de vídeo que, si la ves, te mueres en siete días. En esa época todos teníamos VHS en casa, imaginate, le daba un toque real que me llegaba mucho más.

Fuente

Lo que más me perturbó fue la historia detrás de todo esa niña, Samara. No es el malo de siempre. Es una chiquilla a la que hicieron mucho daño, que tenía algo raro dentro y que al final lo único que quiere es que los demás sientan su dolor. Es triste y aterrador al mismo tiempo. Y el final pues tremendo golpe pues la protagonista cree que ha ganado, pero en realidad lo que ha hecho es ayudar a que la maldición siga. No hay forma de salvarse sin condenar a otro. Eso es perturbador.

Fuente

La película tiene un modo muy particular. Todo es azul, frío, como si siempre fuera a llover. Y las imágenes de la cinta, la mujer peinándose, la escalera, el caballo, son un sin sentido pero te producen un agobio terrible. No entiendes por qué, pero te asustan.

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Y luego está la escena, esa escena que dura unos 3 minutos pero el minuto y medio que dura en que aparece Samara y sale del televisor es una herida de miedo profundo para siempre. No es un susto rápido, no. Es lento, antinatural, como si las leyes de la realidad se rompieran. Ver a esa niña arrastrándose hacia ti desde dentro de la pantalla, oiga eso es algo tan fuerte que en lo único que piensas en en salir corriendo. Fue tan diferente a todo lo que había visto antes.

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"El Anillo" es una película inteligente, que te hace pensar y que usa el miedo de una manera más siniestra. No te grita, te susurra algo al oído que te hace mirar de reojo la televisión apagada, por si acaso.

Pero eso si, súper recomendada para los amantes del terror. Una obra maestra, sin miedo a decirlo.

Bueno ahora los dejo porque toca película.

Soy Médico Microbióloga, amante de la naturaleza, las letras, la música, la cocina y la vida en sí. Férrea defensora de la familia y los niños

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Loki season one was a total ride, took me years to watch this one even though back then everyone was loosing their minds for it but its just that Loki is not my type of character, I went in thinking we would just get more of the same Loki doing his usual tricks and causing trouble but instead Marvel decided to get weird with it and I mean weird AF because this TVA concept has so much in it with how time works and how time ends that there were some confusing moments as to how each action had a consequence in the time line and how they kept it under control, its crazy stuff. The whole TVA thing with Owen Wilson showing up as this agent who loves jet skis but has never actually been on one was genius casting, Wilson just brings this laid back energy that plays off Tom Hiddleston so well and their back and fourth was probably my favorite part of the show as it kepts me watching one episode after another to see what would happen next. The bureaucracy angle was funny as hell too because you got these people monitoring all of time and space but they are stuck in this 1970s office setup with what looks like terrible technology and mountains of paperwork, it should not work but it does and I think thats what makes the TVA so interesting as a concept. Then they throw in Sylvie and at first I was like okay another Loki but she turned out to be way more interesting than just a female version of him, she had her own story and her own motivations that actualy made sense when you think about what the TVA did to her as a kid. The romance between them was strange technically they are the same person but also not really and Marvel took a risk there because if they are the same person how could they fall in love? but at the same time it makes perfect sense since Loki is that narcissist so why not. The whole thing with the TVA being this massive time cop organization but then finding out its run by variants who had their memory wiped was such a good twist, you start the show thinking these are the good guys keeping everything in check but then you realize they are just pawns too and that changes everything. Mobius finding out he was a jet ski salesman or whatever his real life was before the TVA grabbed him and erased everything hit different, Owen Wilson played that confusion and betrayal so well that you actually felt it. Miss Minutes was hilarious and annoying at the same time like this cartoon character thats supposed to be helpful but really just reminds you that your stuck in this beurocratic nightmare where nobody knows whats realy going on, at times the TVA felt like a loop you never escaping from.

• IMDB: https://www.imdb.com/title/tt9140554/
• Platform: Disney+

Rottentomatoes Rating

The relationship between Loki and Sylvie was one of those things that could have gone completely wrong but somehow worked because both actors sold it so hard and made you believe it. At first it feels weird watching Loki fall for basically himself in female form but then you start to see that Sylvie is not just a female Loki at all, she was someone who had a completely different life because the TVA took everything from her when she was just a kid and shes been surviving on her own ever since without anyone to help her. She taught herself magic and how to enchant people by jumping into their minds and she used those skills to hunt down TVA agents one by one trying to find whoever was in charge of the whole operation, those episodes hunting Sylvie down gave both so much context. Loki by comparison had a cushy life in Asgard even if he always felt like an outsider so when these two meet its like two sides of the same coin finally seeing each other for the first time. The romance builds slow over episode three and four and that train scene where they are talking about their pasts and Loki gets drunk and starts singing was so good, it showed him letting his guard down for maybe the first time ever in his life. You could tell Sylvie was not used to trusting anyone and Loki was not used to caring about anyone besides himself so watching them figure out how to work together and then develop actual feelings was cool to see play out. The nexus event that happens when they are about to die on Lamentis actually backs up how their conection was strong enough to break through even an apocalypse which should be imposible but it happend anyway and thats when the TVA realizes they are in trouble.

Its the ending with Kang that get things to another level of craziness and confusion, the hole Sylvie and Kang fight was never going to happen as he just wanted to either die or be replace, although he knew he wouldnt abandon the chair. That whole scene had me on edge because you could see both sides of the argument, Sylvie wanted revenge for her stolen childhood and everything the TVA took from her and Loki was finally thinking about consequences for once instead of just acting on impulse like he always does throughout his entire life. The fact that her choice unleashed the multiverse and probably doomed everything was such an awesome moment to develop the entire Multiverse saga but we already know how Marvel fuck it up. The statue of Kang at the end instead of the time keepers was such a perfect way to show that everything has changed now and the TVA is under the control of one of those evil variants that He Who Remains warned them about so things are gonna get way worse before they get better if they ever do. Marvel really swung for the fences with this show and even though some episodes were slower than others the overall story was incredible and took risks that actually paid off in the end. Tom Hiddleston proved how he is the real live Loki just like Hugh Jackman is the real life Wolverine and the supporting cast all brought their A game especially Owen Wilson who needs to be in more Marvel stuff going forward because he was perfect in this role, I would love to see him next to Deadpool. The cliffhanger ending leaves so many questions about what happens next like is Mobius gonna remember Loki eventually, what is Sylvie gonna do now that shes alone at the end of time and how bad are things gonna get now that the multiverse is unleashed and all these Kang variants are free to do whatever they want across infinite timelines. Loki season one gets a solid 8 out of 10 from me, it was weird and ambitious and took risks that paid off even when the pacing was not perfect in every episode but overall it was one of the best Marvel Tv shows we have gotten ever.

#skiptvads, #inleo, #hive, #loki, #marvel, #mcu, #tva, #sylvie, #mobius, #multiverse, #disney, #hiddleston, #kang, #timeline, #variants, #jetski, #nexus, #alioth, #timekeepers, #revenge, #owen, #majors, #romance, #enchantment, #pruned, #apocalypse, #betrayal, #finale

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Paradigm Shift (S02E06)

Airdate: March 1st 2017

Written by: Naren Shankar Directed by: Dave Grossman

Running Time: 41 minutes

Much like the preceding episode, Home, which functioned as a de facto series finale by conclusively resolving the central Leviathan Wakes storyline involving the Eros asteroid and the protomolecule's initial outbreak, Paradigm Shift operates with the distinct aura of an ersatz season premiere. It possesses that crucial, often elusive quality of a fresh beginning, deliberately severing ties with the immediate past catastrophe to plant seeds for an entirely new narrative trajectory. Where Home offered catharsis through resolution, "Paradigm Shift" compels the audience to lean forward, asking not „what was”, but „what now?” It successfully transitions the series from the contained crisis of the first season into the expansive, politically fractured, and profoundly alien-drenched landscape that defines its enduring appeal.

The episode masterfully establishes this new epoch through a prologue set 137 years prior, on a Mars still firmly within the United Nations' colonial sphere. We are introduced to Solomon Epstein, a brilliant but restless engineer whose relentless tinkering with a novel spaceship drive culminates in a fateful solo test flight. His vessel achieves velocities previously deemed impossible, hurtling towards Jupiter with staggering speed. Tragically, Epstein’s triumph becomes his undoing; he fails to disengage the drive, succumbing to lethal G-forces aboard his uncontrollable craft. This poignant, almost Shakespearean hubris – the creator destroyed by his own creation – is the indispensable bedrock of the series' universe. Epstein’s foresight, however, ensured his legacy: he bequeathed his blueprints and data on Mars. His widow capitalised on this inheritance, Mars ascended to technological supremacy, and humanity, empowered by the Epstein Drive, surged outwards to colonise the Asteroid Belt and the outer planets. This prologue is not mere backstory; it is the foundational myth of The Expanse, delivered with economical grace and imbued with a darkly ironic humour by Sam Huntington’s brief but compelling performance as the doomed inventor, whose final, fading voiceover narration lingers with unsettling wit.

The narrative then snaps back to the immediate, chaotic aftermath of Eros’s collision with Venus – a near-miss for Earth that paradoxically saved civilisation while obliterating the asteroid and its horrifying cargo. The episode adeptly dissects the fallout across the solar system’s power blocs. James Holden and Naomi Nagata face the comparatively intimate, yet politically fraught, task of revealing their relationship to the Rocinante crew, a moment underscoring the human cost beneath the grand strategy. On Tycho Station, Fred Johnson and Camina Drummer grapple with the dangerous legacy of Earth’s thermonuclear missiles, now a volatile bargaining chip in the fragile post-crisis landscape. Simultaneously, Chrisjen Avasarala, ever the pragmatic predator, zeroes in on Jules-Pierre Mao, convinced of his culpability, and delivers a suitably menacing ultimatum via his proxy, Errinwright – though this scene occasionally veers into theatrical excess, lacking the razor-sharp subtlety Avasarala usually wields. Crucially, Avasarala’s scientific advisor, Dr. Iturbi (Ted Whittall), begin probing the true nature of the Venus event. Iturbi’s astute hypothesis – that an alien lifeform is responsible – and his subsequent request for an expedition to Venus, forms the vital bridge to the season’s core mystery.

Yet, the old crisis swiftly yields to a new, more insidious one. Gunnery Sergeant Bobbie Draper, on a routine patrol along the tense Ganymede ice boundary separating UN and Martian territories, witnesses the catastrophic attack on the MCRN Scirocco. As debris rains down, Draper’s squad is seemingly annihilated. Barely surviving herself, disoriented and bleeding, Draper glimpses an impossible figure moving through the snow: a tall, unnaturally proportioned humanoid form, distinctly not human. This moment, rendered with chilling ambiguity and visceral terror, is the episode’s true pivot point. It transforms theoretical alien speculation into terrifying, immediate reality, shattering the solar system’s fragile peace anew and setting the stage for the next phase.

Written by series architect Naren Shankar, Paradigm Shift undeniably lacks the raw, cathartic emotional punch of Home, which brought the first novel’s arc to its devastating climax. It consciously steps back from that intensity to lay groundwork. While the episode only tangentially connects to the Caliban’s War novel near its conclusion (with Bobbie’s sighting), the bulk is original teleplay material. Crucially, however, it never feels like filler. Shankar’s genius lies in the framing device: the intermittent Epstein flashbacks, woven throughout the present-day narrative, serve as exemplary worldbuilding. They provide essential historical context with tragic weight and moments of wry, almost gallows humour, enriching the setting without infodumping. Huntington’s performance, though fleeting, anchors this thread with memorable humanity.

Conversely, some contemporary scenes falter. The Rocinante crew’s reaction to Holden and Naomi’s relationship feels somewhat perfunctory, lacking the nuanced interpersonal depth the characters deserve. Similarly, Amos and Alex’s bonding over Tycho Station’s post-crisis celebrations, while offering welcome levity, lacks substantial narrative thrust. Avasarala’s indirect confrontation with Mao’s ally Errinwright, whilst delivering necessary plot momentum, occasionally overplays its hand with dialogue that feels slightly too declamatory for her typically controlled menace.

Nevertheless, Paradigm Shift emerges as a remarkably effective and necessary episode. It successfully navigates the treacherous transition from one major story arc to the next, replacing the immediate threat of Eros with the far more profound and unsettling mystery unfolding on Venus and now, visibly, on Ganymede. The Epstein prologue provides indispensable mythological grounding, Bobbie Draper’s encounter delivers a masterclass in suspenseful horror, and the political machinations, even when occasionally overstated, maintain the series’ signature complexity. It trades the emotional crescendo of its predecessor for a more deliberate, world-expanding recalibration. Far from being a mere placeholder, Paradigm Shift is a confident, intelligent recalibration – a necessary deep breath before the plunge into the even deeper, darker, and more alien conflicts that define The Expanse’s most compelling seasons. It fundamentally shifts the paradigm, proving the series’ capacity to evolve beyond its initial premise into something grander and more unsettling. This is not merely a new season; it is the moment The Expanse truly finds its vast, terrifying, and utterly captivating stride.

RATING: 7/10 (+++)

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• IMDB: https://www.imdb.com/title/tt20990442/

Rottentomatoes Rating

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I watched a new movie called Cleaner. It is nothing much but simple from the plot to the end. I kind of like the movie because of how simple they kept the plot throughout the movie. The movie stars Daisy Ridley as a cleaner of a luxurious building in London. For starters, her brother gets kicked out of the special home he has been staying in because he hacked into their system. So he has to go stay with his sister, but before they head home, his sister has to go work as she is running late.

♟♟♟♟♟♟♟♟♟

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Unto Others (S04E07)

Airdate: October 29th 2006

Written by: William F. Zorzi Directed by: Anthony Hemingway

Running Time: 58 minutes

The midpoint of The Wire's fourth season presented Baltimore with a flicker of hope rarely afforded by David Simon’s unflinching Baltimore saga. Following the reform-minded Tommy Carcetti’s improbable victory in the mayoral primary – an event radiating uncharacteristic optimism for the series – viewers might have dared to believe the city’s entrenched dysfunction could finally yield to change. Yet, as the very title of the subsequent episode, "Unto Others," chillingly implies, the Golden Rule’s idealism is swiftly dismantled. This masterful instalment, written by former Baltimore Sun reporter William F. Zorzi, acts as a narrative defibrillator, violently resetting the series’ tone. It dispenses with any lingering euphoria from Carcetti’s win, delivering a stark, systemic rebuke: in Baltimore, the machinery of power, race, and institutional inertia ensures things rarely improve, merely perpetuate, often with devastating human cost.

Carcetti himself becomes the immediate vessel for this disillusionment. His celebratory lunch with Tony, the shrewd former mayor (Sam Coppola), is a masterclass in political realism. Tony’s decision to retreat to a less stressful legal career isn’t mere cowardice; it’s a tacit admission of the near-impossibility of meaningful reform against the city’s calcified structures. The veneer of courtesy during Carcetti’s discussions with the outgoing Clarence Royce starkly contrasts the vicious primary, yet this civility masks a deeper trap. Carcetti’s impulsive announcement to fire Police Commissioner Ervin Burrell – a move intended to signal decisive change – is instantly countered with the brutal, unspoken racial calculus of Baltimore politics: as a white mayor, he simply cannot fire a Black commissioner without catastrophic political fallout. His hands are bound before he even takes office; the mandate for reform is immediately constrained by the very racial dynamics he sought to transcend. His task shifts from enacting change to merely finding a suitable Black replacement, a symbolic gesture that barely scratches the surface of the department’s deep-seated rot. The optimism of the primary vanishes, replaced by the suffocating weight of political necessity.

Conversely, Rhonda Pearlman experiences a qualified, yet significant, reprieve. The newly elected State’s Attorney, Rupert Bond (Dion Graham), embodies the rare, genuine reformer within the system. Despite Pearlman being white – a potential liability in Baltimore’s racialised power struggles – Bond recognises her competence and integrity, forged through her work with the Major Crime Unit. His decision to not only retain her but appoint her to lead the new Violent Crime Unit (VCU) is a beacon of meritocracy amidst the gloom. The VCU’s explicit mission – to tackle the soaring crime rate that doomed Royce – offers a tangible, if fragile, pathway for systemic improvement. Yet, even here, the episode injects caution; the VCU’s success hinges entirely on navigating the same dysfunctional police bureaucracy Carcetti is now entangled with, a system currently exemplified by the abject failure of the Major Crime Unit itself.

This failure is laid bare through Herc and Carver’s hapless pursuit of Marlo Stanfield. Following Marlo’s brief railroad station arrest, the crew’s audacity peaks when they brazenly steal the police’s own video camera – not out of necessity, but as a calculated taunt to discern if the investigation is federal or state. It’s a humiliating demonstration of Marlo’s dominance and the unit’s incompetence. Herc, meanwhile, embodies the unit’s moral and professional bankruptcy. He callously disregards Randy Wagstaff, the vulnerable foster child who bravely volunteers crucial information about Marlo’s body dumps – information potentially vital to the very MCU’s mission. Herc’s dismissal is a systemic failure to protect the most vulnerable, prioritising easy arrests over genuine justice, directly enabling Marlo’s continued reign of terror.

The school storyline offers a microcosm of both potential and despair. Prez, liberated from the worst disruptions, ingeniously harnesses his students’ street awareness, teaching complex mathematical concepts like probability through board games and mock gambling – a pragmatic adaptation to his environment yielding genuine progress. Namond Brice, however, spirals further into his performative "gangsta" persona, openly defying Bunny Colvin’s attempts at intervention in the special class. His time is increasingly spent on the corner, attempting to deal, leading to a violent clash with a rival crew involving Sherrod. Sherrod’s subsequent descent into drug use, and Bubbles’ heart-wrenching realisation that his surrogate son is lost to the streets he sought to protect him from, delivers the episode’s most visceral emotional blow. It underscores the tragic human cost of the systems failing Randy and Namond – a cost measured not in statistics, but in shattered lives and broken trust.

Adding layers of bitter irony, the murder case that propelled Carcetti to victory – the death of a key witness – is solved by Kima Greggs. Her meticulous reconstruction, echoing the iconic scene from Season 1’s Old Cases (a subtle nod by director Anthony Hemingway), reveals the truth: the witness died accidentally, struck by a stray bullet from youths using bottles for target practice. The case that symbolised the city’s lawlessness and became Carcetti’s springboard was ultimately meaningless, a random tragedy exploited for political gain. This underscores the series’ central thesis: the narratives constructed by institutions often bear little resemblance to the messy, indifferent reality on the ground.

Omar Little’s predicament under robbery murder charge in detention further illustrates the inescapable nature of the game. Surrounded by enemies he robbed, a substantial bounty on his head leads to a violent assassination attempt. While Omar, with characteristic resourcefulness and the aid of temporary bodyguards, survives the immediate threat, his call to Bunk Moreland highlights his vulnerability. Bunk, now a homicide detective whose unit believes they’ve solved the case, reluctantly concedes Omar wouldn’t kill civilians – a rare moment of professional respect across societal divides. Yet, Bunk’s power to help is limited to securing Omar’s transfer to a safer cell; he cannot alter the fundamental reality that Omar’s life remains perpetually forfeit within the system’s confines. Survival, not justice or change, is the only achievable goal.

Unto Others stands as a pinnacle of The Wire’s unparalleled storytelling. Zorzi, drawing on deep journalistic insight into Baltimore’s institutions, weaves these disparate threads – politics, law enforcement, education, the streets – into a cohesive tapestry of systemic failure. The title’s reference to the Golden Rule is profoundly ironic; the episode relentlessly demonstrates how characters fail to act with the empathy or reciprocity it demands, constrained by self-preservation, institutional pressure, and ingrained cynicism. The script thrives on devastating irony – the solved case that was meaningless, the reformer immediately shackled, the protector (Bubbles) powerless to save his charge. Hemingway’s direction, particularly Kima’s scene, pays homage to the show’s legacy while showcasing the cyclical nature of police work, where skill persists but systemic change remains elusive. Far from a downer, Unto Others is essential Wire – a brutally honest, meticulously crafted dissection of why cities like Baltimore remain trapped.

RATING: 7/10 (+++)

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The Phoenician Scheme

The film follows Za-Za Korda, a wealthy businessman (played by Benicio del Toro), who is hunted by governments, terrorists, and assassins. When everything around him collapses, Korda decides to name his estranged daughter—played by Mia Threapleton, a nun—as his sole heir. The young woman soon finds herself swept into a chaotic, globe-trotting chase. But is it worth watching?

🟢🟢🟢🟢

• The music and costumes are outstanding.
• Benicio del Toro delivers a strong performance—unsurprisingly, he shines once again.
• Fans of Wes Anderson’s style will likely enjoy it.
• Works well if viewed as an anti-capitalist satire.
• Features an all-star cast.
• Visually and aesthetically, the film is impressive.

🔴🔴🔴🔴

• Fairly predictable plot that brings nothing new.
• I found myself bored at several points 🫣—the story felt stagnant throughout.
• An odd film that lacks broad appeal.
• It leans into excess, more than it really needed to.
• Beyond its visuals, it’s ultimately an average effort, unfortunately.

Dangerous Animals

When Zephyr, a smart and free-spirited surfer, falls victim to a serial killer obsessed with sharks, she must find a way to escape his boat before he feeds her to them. It was marketed as a shark movie… but is it really? For me, no!!!

🟢🟢🟢🟢

• It maintains steady tension and suspense — I’ll give it that, and I think audiences will appreciate it.
• Fans of the genre will have a good time; it’s an easy, watchable film.
• The main performances are basic.
• The cinematography adds a bit to the atmosphere.
• Nice opening scene.
• Short runtime (thankfully).

🔴🔴🔴🔴

• As I said in the intro, despite the marketing pushing it as a shark movie, at its core it isn’t.
• Not scary at all.
• The script is formulaic — runs on autopilot.
• Repetitive in several parts.
• Oh, that CGI…
• No character development whatsoever.

¡Hello movie-loving community! 👋

Continuing with my Jim Carrey fixation, I bring you this fun comedy. Honestly, I hadn't seen it before and I laughed a ton. The amount of clowning and the things that happen to him made it seem like one of his best, 100% recommended.

🎬 What's the Movie About?

Charlie Baileygates (Jim Carrey) is a Rhode Island police officer, a kind person, an exemplary cop, who, after his wife leaves him, develops a personality disorder called "Hank" :) I remember it and laugh by myself. Hank is basically the complete opposite of the kind person. Within the plot, he meets Irene (Renée Zellweger) because he has to escort her, he starts falling in love, and various scenes emerge, alternating between his self and his other self.

Favorite Scenes!

There are several situations that made me laugh a lot: when his wife leaves him because of the little person at the beginning of the movie and she leaves him their kids, making him believe they are his children. The scene with the cow on the highway... it seems dead but it was alive, then he tries to kill it with a shot so it won't suffer, but it's still alive, he empties his gun, but it's STILL ALIVE haha. Then he puts it in a wrestling hold... what a show that scene was.

🎭 Impressions and Analysis

It doesn't stray far from Jim's typical acting, with a typical amount of his facial expressions. Apparently, at the time, there was a protest from the American Mental Health Association because they said it could make the public confuse dissociative identity disorder with schizophrenia. Sometimes I think people complain about silly things. Anyway, a "politically incorrect" movie in some scenes, released back in the year 2000.

⭐ Final Verdict

I really liked it, entertaining, plenty of scenes to laugh at, silly scenes too, but I recommend it for a Sunday with popcorn.

My rating:

6/10 ⭐⭐⭐⭐⭐⭐ ☆ ☆ ☆ ☆

Leave us your comment! 👇

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¡Hola comunidad cinéfila! 👋

Siguiendo con mi fijación con Jim Carrey, les traigo esta comedia divertida, la verdad no la habia visto y me rei un monto, la cantidad de payasadas y cosas que le pasan que me parecio una de las mejores de el, recomendada 100%.

🎬 ¿De Qué Trata la Película?

Charlie Baileygates (Jim Carrey) es un policia de Rhode Island, una persona amable, un policia ejemplar, que luego del abandono de la esposa desarrolla un transtorno de personalidad llamado "Hank" :) me acuerdo y me rio solo. Que viene siendo todo lo contrario de la persona amable. Dentro de la trama el conoce a Irene (Renée Zellweger) porque debe escoltarla, se va enamorando y surgen las distintas escenas variando entre su yo y su otro yo.

Escenas Favoritas!

Hay varias situaciones que me dio mucha risa, cuando lo deja la esposa, por el enanito al comienzo de la pelicula y le deja los hijos de ellos, haciendo creer que son sus hijos. La escena de la vaca en la carretera, parece muerta pero estaba viva, luego la trata de matar con un disparo para que no sufra, pero sigue viva, le vacia la pistola, pero sigue viva jajaj. Luego le hace una llave de lucha libre, no un show esa escena.

🎭 Impresiones y Análisis

No escapa mas alla de la tipica actuacion de Jim, con una cantidad de muecas tipica de el, Segun en su momento hubo una protesta de la asociacion de enfermos mentales de america porque se decian que podia hacer qye el oublico confundiera el sindrome de doble personalidad con la exquizofrenia. A veces pienso que la gente se queja por tonterias, en fin, una pelicula "politicamente incorrecta" en algunas escenas, estrenada por alla en el año 2000.

⭐ Veredicto Final

La verdad me gustó, entretenida, bastante escena para reir, escenas bobas tambien, pero la recomiendo para domingo con pop corn.

Mi Valoración:

6/10 ⭐⭐⭐⭐⭐⭐ ☆ ☆ ☆ ☆

Dejame tu Comentario

• IMDB: https://www.imdb.com/title/tt21103218/
• Platform: AppleTV+

Rottentomatoes Rating

The other problem is the movie keeps cutting back to the fire command center where the Cali Fire battalion chief and his team are trying to figure out what to do and all those scenes are pretty flat and boring but I guess those are necessary too because someone is suppose to be getting things under control, although they all felt flat with zero connection to Kevin and the kids on the bus, those scenes needed way more emotional weight because these are people watching a whole town burn down and potentially hundreds of people dying but instead it just feels like checking boxes to make sure things are done by the book. I wish they had spent more time making those command center scenes actualy mean something instead of just being filler between the bus action sequences. Now the kids on the bus, you going to take one for the team and they just kids, these 22 children are basically just props in the background who occasionally say stuff like I dont want to die but we never get to know any of them as actual characters but then again its 22 kids so not enough time and space to know them all and build up their characters so it was expected they just the cargo.

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