Home (S02E05)

Airdate: February 23rd 2017

Written by: Mark Fergus & Hawk Atsby Directed by: Dave Grossman

Running Time: 46 minutes

The chasm separating merely good television from the truly exceptional often resides in a creative team’s willingness to defy expectations, to shatter the very formulae they themselves established. Few series demonstrate this audacious spirit as profoundly as The Expanse, a show which, from its inception, meticulously cultivated a signature rhythm: taut, propulsive episodes culminating invariably in heart-stopping cliffhangers, expertly engineered to propel viewers into the next instalment. Yet, nestled not even at the season’s midpoint but deep within the crucible of Season 2, the episode Home" performs a masterstroke of narrative subversion. It brazenly discards the cliffhanger crutch, opting instead for an ending possessing the profound, resonant weight of a season – or even series – finale. This is the deliberate, satisfying closure of one of the show’s most meticulously crafted and emotionally devastating plot strands, proving that true confidence lies not in perpetual suspense, but in the courage to conclude.

That strand, of course, belongs irrevocably to Detective Josephus Miller. Introduced as a cynical, world-weary Belter cop on Ceres, Miller was initially nothing more than a hired tracker, commissioned by Julie Mao’s powerful Earth father to locate his renegade daughter. Julie, having abandoned privilege to join the Outer Planets Alliance (OPA), became tragically ensnared by the extrasolar protomolecule – a virulent, reality-bending pathogen. Her unwitting role as vector ignited the apocalyptic outbreak on Eros Station. By the time Miller finally reached her, Julie was already lost, consumed by the alien entity. Yet, in her absence, Miller’s mission underwent a profound metamorphosis. Professional obligation dissolved into obsessive, hopeless love, transforming his quest from finding a living woman into avenging a ghost. He turned his fury against the corrupt Protogen scientists who unleashed the horror, against the protomolecule itself, and ultimately, against the very notion of his own survival. His journey became one of penance and purpose, inextricably bound to Julie’s spectral memory.

Home commences with Miller seemingly poised at the culmination of this grim pilgrimage, stranded on the ravaged surface of the protomolecule-infested Eros asteroid. The desperate gambit to slingshot Eros into the Sun has catastrophically failed. Miller stands alone, a nuclear device at his side, its timer malfunctioning, sealing his fate. Simultaneously, the Rocinante crew experiences a surge of disbelief swiftly curdling into horror: Eros, defying known physics, has initiated propulsion, altering course not towards solar oblivion but on a direct, terrifying trajectory towards Earth. The protomolecule, or the emergent intelligence it fostered, had rewritten the rules of celestial mechanics. Undeterred, the Rocinante commits to pursuit, maintaining a tenuous, crackling communication link with the doomed detective, a fragile tether across the void.

The news of Eros’s deadly vector forces the reluctant hand of the United Nations leadership. With Earth’s survival at stake, they order the launch of half the planet’s thermonuclear arsenal, a desperate hope to intercept and obliterate the asteroid before impact. When the missiles lose Eros’s radar signature amidst its unnerving acceleration, the Rocinante steps into the breach. Holden volunteers the ship for the near-suicidal task of visually marking the target, a decision demanding the crew endure punishing G-forces as they strain the ship’s limits to keep pace with the inexplicably swift celestial body. The physical toll on the crew – the gritted teeth, the laboured breathing, the sheer strain of maintaining position – becomes a visceral counterpoint to Miller’s solitary ordeal.

Amidst this cosmic crisis, Miller conceives a final, alternative gambit. Learning of a mysterious heat source deep within Eros, he resolves to penetrate the infected station’s heart and manually detonate his bomb, aiming to destroy the protomolecule core. His descent into the station’s necrotic depths is a haunting odyssey. He begins to perceive a voice, initially indistinct, then chillingly familiar. Encountering strange, human-like manifestations sculpted from the protomolecule – echoes of its countless victims – Miller grasps a horrifying, yet strangely poignant, truth: the entity has absorbed the memories, personalities, and very essence of those it consumed. Most significantly, it has assimilated Julie Mao. She, in turn, had somehow imprinted her own will onto the protomolecule during her infection. Following this spectral trail, Miller journeys to the Blue Falcon Hotel, the site of Julie’s physical demise. There, he encounters her new incarnation: not a monster, but an ethereal, otherworldly figure radiating profound loneliness, a being who simply yearns to "go home," repurposing Eros as her vessel for an interstellar voyage. In a scene of breathtaking emotional intensity, Miller marshals every ounce of his being, his love, his grief, his understanding, to persuade her. He convinces Julie to alter Eros’s course, not towards Earth’s destruction, but towards the relative safety of Venus. Recognising the futility of escape and the necessity of his presence for her transformation, Miller chooses to join her. As Eros plummets into Venus’s atmosphere, Earth is saved. Aboard the Rocinante, the crew raise a silent, solemn toast to their fallen comrade, the weight of his sacrifice settling upon them.

Written with remarkable economy and emotional precision by Mark Fergus and Hawk Ostby. Home stands unequivocally as the pinnacle of The Expanse up to that point. Directed with masterful control by Dave Grossman, the episode transcends its genre trappings through exceptional visual storytelling. Grossman harnesses cutting-edge special effects, seamless CGI, and innovative production design not merely for spectacle, but to forge a narrative that is relentlessly suspenseful, intellectually stimulating, and ultimately cathartic. Crucially, it breaks the show’s established chain of manufactured tension, demonstrating that profound satisfaction can stem from resolution as much as anticipation. Miller, arguably the series’ most complex and compelling character – a man whose descent into obsession was meticulously signposted yet never diminished in tragic power – meets his end. Yet, his demise is neither cheap nor nihilistic; it is spectacularly heroic, deeply personal, and imbued with a hard-won sense of purpose. He sacrifices himself not just to save tens of billions of lives, but to finally reunite with the object of his devotion, finding a twisted, transcendent peace in the heart of annihilation.

Grossman’s direction elevates the protomolecule, now irrevocably shaped by absorbed humanity, from a source of pure body horror into something unsettlingly beautiful. This is nowhere more evident than in the portrayal of Julie Mao. Her nude scenes, illuminated by the pulsating, organic light of the protomolecule, are rendered with such artistry and reverence that they feel utterly devoid of exploitation. Instead, she appears ethereal, almost angelic – a being transformed, not degraded. The final moments, as Miller and Julie are united, constitute one of the most emotionally resonant sequences not just in The Expanse, but in all of twenty-first-century science fiction television. It is a love story written in starlight and sacrifice, devoid of sentimentality yet overflowing with profound pathos.

Grossman judiciously injects moments of levity to prevent the overwhelming tension from becoming suffocating, such as Camina Drummer’s brilliantly defiant middle finger directed at the imperious Fred Johnson when ordered to fetch coffee – a perfectly timed burst of human defiance. However, the subplot involving Chrisjen Avasarala, tearfully bidding farewell to her husband via comms as he evacuates Earth while she remains to face potential annihilation, occasionally tips into excessive melodrama. While Avasarala’s political struggle is vital to the larger narrative, this particular scene feels somewhat extraneous within the intensely focused tragedy unfolding on Eros and with the Rocinante. A tighter focus solely on Miller’s pilgrimage, Julie’s transformation, and the Rocinante’s desperate race might have elevated "Home" from near-perfection to absolute mastery. Yet, even with this minor blemish, the episode remains a towering achievement.

Home is a testament to the power of narrative courage. In an era saturated with television designed for endless consumption, engineered solely to keep viewers perpetually hooked on the next cliffhanger, The Expanse dared to offer something rarer and more valuable: a definitive, emotionally rich conclusion. It proved that the mark of truly exceptional storytelling isn’t merely the ability to keep audiences guessing, but the wisdom and artistry to know when a story, and a character, have reached their necessary, resonant end. It is the moment The Expanse ceased being merely good television and announced itself as something very, very great.

RATING: 8/10 (+++)

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Hola toda la comunidad cinéfila en esta oportunidad les quiero compartir mi reseña sobre una película que me pareció bastante interesante la cual tiene ciertos matices bastante bien encontrados en cuanto lo que es la adopción animal la verdadera amistad y la lucha por perseverar a pesar de las malas circunstancias.

Me sorprende mucho lo que son capaces de hacer las películas con el sentimiento de las personas sí como esta nos pueden llevar conocer de una manera la realidad que vive en algunas personas en el mundo tanto así que nos sentimos identificados a pesar de que no vivimos la circunstancia del protagonista.

Básicamente esta película trata sobre una especie de comedia dramática una combinación bastante inusual si nos ponemos a analizar un poco pero me gustó mucho cómo es la producción brasileña pudo combinar estas dos cosas de una manera bastante equilibrada no soy experto en cine pero la película ha impactado mucho en el colectivo y varias personas han dado su reseña ya que no es la típica película sobre un humano y su perro.

En un principio se ve como una película típica común y corriente pero al pasar a ciertos momentos dramáticos donde la película nos lleva en un viaje a través del protagonista y la adversidad sin duda me gustó muchísimo como este cambio sucede sin siquiera uno se da cuenta.

Sin duda me sorprendió mucho ya que no quiero dar tantos spoilers ni opinar sobre las circunstancias que atraviesa este protagonista pero sí la forma en la que retrata todo ya que sabemos que los animales son bastantes importantes para nuestra vida y yo que tengo gatos lo cual solía tener perro sin duda hacen que nuestras vidas sean más felices con simplemente su presencia.

En esta oportunidad podemos observar que la película no trata sobre un perro de una raza increíble sino con la raza más común de brasil ya que incluso se le suele llamar a este tipo de perros caramelos por su color a lo que conocemos como el azúcar un poco quemada de ese color especial de ámbar un poco marrón lo cual lo hacen bastante característico.

Algo que me gustó mucho esta película es que los ciudadanos cuenta que un perro de raza o un perro sin alguna raza en específico pueden dar el mismo cariño independientemente de como sea algo que se hace mostrar mucho en el entrenamiento que le haga los cachorros y como esto puede ser tan inteligentes y lindos.

La película trae un mensaje maravilloso que te puede hacer llorar si eres un poco sensible sin duda me sorprende mucho el final de cómo los años pueden hacer que el cariño crezca y que el amor sea inmortal. Dile siempre eres el que atropella pedo sí los te encontraremos.

Los animales perciben y saben cosas que nosotros los humanos no incluso la película está implícito y trae un mensaje bastante bonito sin duda es una de las mejores películas que he visto y no quiero hablar mucho o solamente quiero recomendarla porque me parece que valdría la pena que todas las personas la vean.

Hello, movie lovers! Today I want to share my review of a film that I found quite interesting, which has some very well-crafted nuances in terms of animal adoption, true friendship, and the struggle to persevere despite adverse circumstances.

I am very surprised by what movies can do with people's feelings. Movies like this can show us the reality that some people in the world live in, so much so that we feel identified with them even though we do not live in the same circumstances as the protagonist.

Basically, this film is a kind of dramatic comedy, a rather unusual combination if we analyze it a little, but I really liked how the Brazilian production was able to combine these two things in a fairly balanced way. I'm no film expert, but the film has had a big impact on the collective and several people have reviewed it, as it's not your typical film about a human and their dog.

At first, it seems like a typical, run-of-the-mill film, but when it moves on to certain dramatic moments where the film takes us on a journey through the protagonist and adversity, I really liked how this change happens without you even realizing it.

It certainly surprised me a lot, as I don't want to give away too many spoilers or comment on the circumstances this protagonist is going through, but rather the way in which everything is portrayed, since we know that animals are very important in our lives. I have cats, and I used to have a dog, and they undoubtedly make our lives happier simply by their presence.

On this occasion, we can see that the film is not about an incredible breed of dog, but rather the most common breed in Brazil, as this type of dog is often called “caramel” because of its color, which we know as slightly burnt sugar, with that special amber color that is slightly brown, which makes it quite distinctive.

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And my initial reaction was... "JENNIFER LAWRENCE!!!!" hahahah

I love her, and I think she's a great and versatile actress, so I immediately decided to watch the movie despite the genre. And from the trailer, I thought it was going to be a funny and interesting film.
Let's talk about the movie called No Hard Feelings.

Maddie (Jennifer Lawrence) is a 32-year-old bartender and Uber driver in Montauk. She has a problem paying the property tax on the house she received from her late mom.

However, her car was repossessed, so she couldn't continue her Uber job. Without it, she may lose her house.

She was desperate to save her house, so she applied for an unusual listing on Craigslist. A wealthy couple were looking for someone to date their socially awkward son, Percy... and by date, they meant including having sex.
They're worried about him since he's very shy and has no experience with girls, doesn't attend parties, and doesn't drink. They were looking for someone to boost his confidence and help him come out of his shell before attending Princeton.
In exchange, they're going to give away their Buick Regal. And since Maddie was in need of a car for her Uber job to pay off her taxes, she accepted the challenge.
Will she succeed? Watch to find out!

Watching this movie was quite a ride. It was hilarious, then it turned a bit sensual, then dramatic, then comical again... and it goes on. I'm not complaining though.

Call me biased, but this girl eats! She can make you laugh, feel annoyed, cry, and so on.
Anyway, let's talk about the story... To be honest, I was a bit taken aback by the age gap. She's 32 in the movie, and the guy is 19. Well, that age gap wouldn't really matter a lot when they're much older, would it? It's just that the male character has just graduated from high school.

Maybe it's because I've been watching true crime stories involving women in their 30s to 40s trying to groom teenage males. XD But then, I reminded myself, this movie is fiction. Hahaha Enough about that... as the film progressed, everything fell into place, anyway.

It wasn't just the usual romantic comedy that many people enjoy; it has quite a depth to it. There are several issues tackled in the film, like the generation gap, helicopter parents, bullying, social anxiety, trust issues, and past traumas. Yes, quite heavy topics, but they were portrayed in a way that's engaging and lighthearted.

Additionally, I'm a sucker for character development, and this film delivered it. You really can't easily judge a person. Each individual has layers to them for various reasons, maybe to protect themselves, or to hide some scars that they've been battling to forget.

They both work well together. There's chemistry between them, but whether it's romantic, sexual, or platonic is for you to discover when you watch the film. haha

Here's my favorite character... and no, it's not the human one, but Milo, the retired police dog. He's adorable and also plays a role that would tug your heart in this film... just don't say "cocaine" or he'd go berserk. haha
All in all, it was a good watch. The setting was lovely, the story was deeper than I expected, and the actors did well on their part. There's a bit of nudity in this film, though. However, if you don't mind that, then I recommend you give this a shot. :)
I'll end this post here. Thanks for reading, and see you around! (^^,)/

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I saw this movie’s short clip on Facebook, and it got me glued, so I quickly added it to my to-watch list. The effects in the clip, especially the added slow motions, were just too amazing, and when I finally watched it, I felt fulfilled.

Jaat is an action/thriller Bollywood movie released in 2025. A movie that revolves around fighting against crime and corruption.

The movie started with a scene where some slaves were taken to the forest by soldiers for work. While the slaves were excavating the earth, they found a box containing gold buried in the ground, and that’s when a fight broke out between them, and the slaves ran away with the gold. Did they succeed? Yes, they did, after slaughtering countless numbers of soldiers. The slaves ran into an unknown community, bribed the government officials, and bought citizenship with some pieces of gold. Their leader, Ranatunga, decided to take over the territory by instilling fear in the villages with his brutal and merciless killings. These parts are too gory to the extent that graphics were used to blur out some deep sensitive spots, and I love the goriness.

When the news of Ranatunga got to the president of the country, she sent in some police officers, including men and women, to handle the situation. But along the line, the men in the police team backed out because they feared Ranatunga, while the women among them proceeded and were beaten, some killed, and all of them räped.

Then comes Brig. Baldev Pratap Singh, the main man, who was sent to the land to remedy the situation. But along the way, during his journey, he stopped by a roadside restaurant to have a meal, and that’s where he stumbled upon Ranatunga’s boys, who marched on his meal and refused to apologize — and that’s where the endless fight started from.

Did Brig. Baldev Pratap Singh succeed in his mission? Even though it seems very predictable, the journey was very far and brutal at both ends.

Rating and Opinions

The effects: Truthfully, the slow-motion effect is too much. There’s no fight scene where it wasn’t used, which sometimes made the scenes look as though the slow motion was interrupting the flow of the fight. But hey, I love it. As much as it was excessively done and interrupted my flow, I love it too because it made the scenes more catchy.

The storyline, especially with the thuggery and the corrupt display of what’s happening in some countries, is very interesting. Ranatunga was feared by almost everyone because anyone that dared to challenge him was slaughtered. I love the realistic storyline.

It’s a good watch. I would rate it 8/10.

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Margin of Error (S04E06)

Airdate: October 15th 2006

Written by: Eric Overmyer Directed by: Dan Attias

Running Time: 58 minutes

The Wire’s fourth season, widely lauded for its searing dissection of Baltimore’s crippled public education system, deliberately shifts focus from the political machinations that dominated Season 3. Yet, within this landscape of failing schools and lost children, the episode Margin of Error performs a masterful pivot. It returns the narrative lens squarely onto the city’s dysfunctional politics, but not as a sustained exploration. Instead, it isolates a single, feverish election day – the Democratic primary for mayor – presenting it as a fleeting, often illusory, moment where ordinary citizens seemingly hold the power to enact change through the simple, sacred act of voting. This temporal compression is crucial; the episode understands that hope in Baltimore is rarely a steady flame, but rather a brief, desperate spark against an overwhelming tide of institutional decay. The primary, in this heavily Democratic city where the victor is all but guaranteed the mayoralty, becomes the sole meaningful contest, stripping away the veneer of bipartisanship to expose the raw, localised struggle for power that truly shapes Baltimore’s fate.

The cold open, set two days before the vote on a Sunday morning, lays bare the performative theatre of Baltimore politics through the candidates’ church visits. Incumbent Mayor Clarence Royce, the establishment figure, dutifully attends a Black Baptist church, his presence expected, almost ritualistic. Tony Gray, the earnest but politically naive challenger, visits a Catholic church, aligning with his own faith. The true narrative and political intrigue, however, centre on Tommy Carcetti. The white, Catholic challenger, shielded by the formidable influence of State Delegate Odell Watkins, audaciously inserts himself into a Black Protestant congregation. This calculated move, facilitated by Watkins’s political capital, signifies Carcetti’s recognition that victory hinges on mobilising the city’s Black majority – a stark contrast to Royce’s assumption of automatic loyalty. The polls confirm the tension: Carcetti and Royce are locked within the statistical "margin of error," transforming the final 48 hours into a brutal, high-stakes scramble. Carcetti and his razor-sharp campaign manager, Norman Wilson, resort to the city’s oldest, dirtiest currency: cash. They pay off the notoriously corrupt State Senator Clay Davis, securing his promised support in key districts. The bitter irony, witnessed with cynical resignation by Carcetti and Wilson, is Davis’s public, last-minute endorsement of Royce – a blatant double-dip confirming that in Baltimore’s political economy, money buys access, not loyalty, and trust is the first casualty.

Crucially, Margin of Error refuses to confine its gaze to the campaign trail. The election’s tremors reverberate through the lives of those ostensibly outside the political sphere, exposing the systemic barriers that render the ballot box meaningless for many. Randy Wagstaff, ever the entrepreneurial child, attempts to profit from the frenzy by distributing Carcetti stickers, only to find his friends indifferent or unable to help, his small venture collapsing as readily as his precarious stability. Deputy Commissioner Rawls, acutely aware of the political toxicity surrounding the unsolved murder of state’s witness Braddock, strategically deploys Detectives Kima Greggs and Leander Sydnor to polling station guard duty – a move designed to shield the high-profile case from election-day interference, sacrificing investigative momentum for perceived political safety. Most poignantly, Cutty Wise remains entirely oblivious to the election’s significance, a silent testament to Maryland’s felon disenfranchisement laws that bar individuals like him, even on parole, from participating in the very process that governs their lives.

The election night itself delivers a narrow, hard-fought victory for Carcetti. High voter turnout, widespread discontent with Royce’s administration, and Watkins’s crucial mobilisation efforts coalesce to snatch the win. Carcetti’s initial reaction – pacing anxiously on a pier with his wife, questioning whether this victory is truly a good thing – captures the profound ambivalence at the episode’s core. The subsequent celebration feels hollow, underscored by his rejection of Tina D’Agostino’s offer of a post-victory tryst. This moment, portraying Carcetti as surprisingly humble and self-questioning despite his past infidelities, is pivotal. It suggests, however tentatively, a man capable of restraint and perhaps even redemption – a rare glimmer of personal integrity within the show’s typically murky moral landscape.

Yet, even as Carcetti claims victory, Margin of Error masterfully ensures the relentless machinery of Baltimore’s dysfunction continues unabated, overshadowing the political drama. Howard "Bunny" Colvin finally assembles his small cohort of at-risk students, including Namond Brice, for his experimental classroom program at Tilghman Middle School – a fragile counterpoint to the system’s failure. Simultaneously, Namond’s mother, De’Londa Brice, driven to desperation by Brianna Barksdale’s revelation that the Barksdale organisation can no longer support them, forces her reluctant son towards the streets with Bodie Broadus, prioritising immediate survival over any future. Randy’s world implodes further when Principal Donnelly, threatening his expulsion over his involvement as paid lookout in a sexual assault, triggers his terrified confession about Lex’s disappearance – a confession that draws Carver into the orbit of the devastating consequences of the drug trade. Meanwhile, the Major Case Unit’s latest attempt to ensnare Marlo Stanfield via video surveillance collapses into farce at the train station, a meticulously orchestrated humiliation. Marlo simultaneously neutralises Omar Little, having him falsely arrested for murder, though Omar finds precarious sanctuary through Butchie’s prison connections.

This is where Margin of Error achieves its profound, unsettling significance within The Wire’s canon. It represents one of the series’ exceedingly rare instances where the ostensible "good guys" – or at least, the less bad guys – appear to win. Carcetti, despite his undeniable ambition and moral compromises, is portrayed by Aidan Gillen with a palpable sense of earnestness, self-doubt, and a genuine, if politically calculated, desire to effect change. Viewers are given compelling reason to believe Carcetti could be an improvement over the calcified, self-serving Royce. The episode’s atmosphere, underscored by Curtis Mayfield’s soaring anthem "Move On Up," is undeniably its most optimistic. Yet, this optimism is deliberately fragile, laced with foreboding. The victory is narrow, bought in part with dirty money, and achieved within a system still dominated by despicable figures like Clay Davis, brutalised by psychopaths like Marlo Stanfield, and policed by incompetents like Herc. The episode’s true prophetic power lies not just in its depiction of an underdog primary victory, but in its chilling parallel to Barack Obama’s 2008 triumph – another campaign promising "hope and change" that defied the establishment. Margin of Error understands the intoxicating euphoria of such moments. But David Simon, ever the chronicler of systemic rot, ensures we also see Bunny Colvin’s fragile classroom, Randy’s shattered life, Namond’s forced descent, and the train station fiasco. The episode doesn’t just show the election; it whispers the inevitable sequel: the crushing weight of reality that follows the victory parade, the slow erosion of idealism by the unyielding machinery of Baltimore – and by extension, America. The margin of error in the poll was small; the margin for genuine, lasting change in The Wire’s world remains infinitesimal. The victory is real, but the battle, as the series relentlessly reminds us, is never truly won. The mirage of change shimmers brightly for a day, then fades, leaving the same broken city beneath.

RATING: 7/10 (+++)

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Alright its like there is not much to watch at the moment and Afterburn came out as another meh movie but with a few cool scenes its just that too much meh than anything else and its basically what you expect when Dave Batista and Samuel L Jackson show up on a poster together, lots of action, some explosions and a story that asks you not to think too hard about whats happening. A solar flare wipes out half the planet, borders dont exist anymore and now Batista plays Jake who has to grab the Mona Lisa for Jackson who somehow became the King of England, governments collapsed after the disaster, warlords run Europe now and Jake used to be a treasure hunter before everything went to hell. Now he still does the same job but the world looks like a cheaper version of Mad Max without the cool factor. Director JJ Perry did Day Shift and Killers Game before this, he worked as a stunt coordinator on John Wick so I would say the guy knows how to shoot action sequence but one thing is knowing stunts another is been a great director and this movie is proof of that. The action is fine, theres decent hand to hand combat, Jake fights through a train full of bad guys and that part actually works. You see blood when someone gets stabbed or shot witch is always good in my book. Theres a car chase with a tank and some explosions, Perry keeps the action in frame this time witch is better than some of his other work. Still the guy needs way more practice because scenes that should have tension just fall flat.

• IMDB: https://www.imdb.com/title/tt1210027/

Rottentomatoes Rating

The plot falls apart pretty quick, Jake gets hired by King August played by Samuel Jackson and yes we know Jackson is that kind of actor that brings hype into a movie but I feel like that is all he was to this production as he is barely here. Maybe fifteen or twenty minuets at most, he probably shot his scenes in a week and went home, just a quick buck and this is not his fault, probably easy money for him. August wants Jake to go to France and bring back the Mona Lisa from some secret storage place in paper looks and sounds easy except France got destroyed by the solar flares and now General Volk controls everything, a crazy warlord loves chess and killing people. The movie tries hard to make Volk scary but it dont work because we never understand what he wants, I truly doubt people would get mad for spoilers but the Mona Lisa isnt actually a painting, its a nuclear bomb with the Mona Lisa painted on it. August already has the real one so the whole mission was about getting this third atomic bomb from World War Two. Dont ask how that makes sense because the movie never explains why August wants it but the twist is supposed to be surprising but it just feels lazy, they could have done something interesting with this idea but instead they treat it like its no big deal.

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When Babygirl came out they announced it everywhere and I thought it was more sexual and crazy and that's why I hadn't seen it, but the truth is it ended up being different. It's not the typical erotic movie you expect to see when they tell you Nicole Kidman is having an affair with a younger guy, this goes way beyond just that and gets into really deep topics about sexuality, marriage and all that stuff about what happens when a person doesn't prioritize what they really want in bed for decades. The main character is named Romy who is this super successful CEO of a tech company who has everything in her life, a husband who is Antonio Banderas or one hell of a man hahaha, two daughters, an impressive career but there's one small detail and it's that never in 19 years of marriage has she had an orgasm with her husband, 19 yearsssss without finishing with the guy she sleeps with every night that's total craziness when you think about it and the worst part is there are many women who go through that. Then Samuel shows up who is a new intern at her company and the guy is younger, has this whole I don't care about anything attitude but at the same time is super sensitive and knows how to play with Romy, from the moment they meet there's a weird chemistry between them where he tells her that she's the type of person who likes to be told what to do and she's like kinda sorta but at the same time knows he's right. What I liked most about this movie is that it doesn't romanticize the affair at all, the sex scenes are uncomfortable and weird in many moments because these two don't know what they're doing, they're just trying to figure out what they like and how to communicate it and that looks real instead of being like those movies where everything is perfect and sensual and blah blah blah.

Cuando salió Babygirl la anunciaron por todos lados y yo pensaba que era más sexual y loca y por eso no la había visto, pero la verdad terminó siendo diferente. No es la típica película erótica que uno espera ver cuando te dicen que Nicole Kidman está teniendo una aventura con un tipo más joven, esto va mucho más allá de solo eso y se mete en temas bien profundos sobre la sexualidad, el matrimonio y todo ese rollo de que pasa cuando una persona no prioriza lo que realmente quiere en la cama durante décadas. La protagonista se llama Romy que es esta CEO súper exitosa de una compañía de tecnología que tiene todo en su vida, un esposo que es Antonio Banderas o tremendo hombre jejeej, dos hijas, una carrera impresionante pero hay un pequeño detalle y es que nunca en 19 años de matrimonio ha tenido un orgasmo con su esposo, 19 añosssss sin acabar con el tipo con el que duerme todas las noches eso es una locura total cuando lo piensas y lo peor es que hay muchas mujeres que pasan por eso. Entonces aparece Samuel que es un pasante nuevo en su empresa y el tipo es más joven, tiene toda la actitud de no me importa nada pero al mismo tiempo es super sensible y sabe como jugar con Romy, desde que se conocen hay una química rara entre ellos donde el le dice que ella es del tipo de persona que le gusta que le digan que hacer y ella queda como más o menos pero al mismo tiempo sabe que tiene razón. Lo que más me gusto de esta película es que no romantiza la aventura para nada, las escenas de sexo son incomodas y raras en muchos momentos porque estos dos no saben lo que están haciendo, solo estan tratando de descubrir que es lo que les gusta y como comunicarlo y eso se ve real en vez de ser como esas películas donde todo es perfecto y sensual y bla bla bla.

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That relationship between Romy and Samuel is really interesting because he plays this role of being dominant but it's not like the guy is an expert either, he's also learning as he goes and trying to understand what she needs while Romy struggles with all this shame she's been carrying since she was a kid about her sexual fantasies. There's a scene where she tells her husband she wants to do something different in bed and the woman is so embarrassed that she puts a sheet over her face to not even look at him and he gets all uncomfortable and tells her no, so you get to understand why this woman ends up looking for that somewhere else although I'm not justifying it. What I found strongest is when Romy has a real orgasm with Samuel and it's not sexy or pretty at all, she starts crying afterwards because she realizes everything she's been missing for almost two decades and that hurts, that scene is so raw that you feel all that accumulated emotion and frustration coming out of her. After that she becomes addicted to Samuel and starts acting like a teenager in love for the first time, she gets jealous when she finds out he has a girlfriend, starts behaving impulsively and even breaks a plate because she loses total control of her emotions, it's like watching this woman who is powerful fall apart just because she found someone who understands her sexually and that's something really powerful.

Esa relación entre Romy y Samuel es bien interesante porque el juega este rol de ser dominante pero tampoco es que el tipo es experto, el también está aprendiendo sobre la marcha y tratando de entender que es lo que ella necesita mientras que Romy lucha con toda esta verguenza que ha cargado desde que era niña sobre sus fantasías sexuales. Hay una escena donde ella le dice a su esposo que quiere hacer algo diferente en la cama y la tipa esta tan avergonzada que se pone una sábana en la cara para ni siquiera mirarlo y el se pone todo incómodo y le dice que no, entonces yuno llega a entender porque esta mujer termina buscando eso en otro lado aunque no lo estoy justificando. Lo que me pareció más fuerte es cuando Romy tiene un orgasmo real con Samuel y no es nada sexy ni bonito, ella se pone a llorar después porque se da cuenta de todo lo que se ha estado perdiendo durante casi dos décadas y eso duele, esa escena es tan cruda que uno siente toda esa emoción y frustración acumulada saliendo de ella. Después de eso ella se vuelve adicta a Samuel y empieza actuar como una adolescente enamorada por primera vez, se pone celosa cuando descubre que el tiene novia, empieza a comportarse de manera impulsiva y hasta rompe un plato porque pierde el control total de sus emociones, es como ver a esta mujer que es poderosa desmoronarse solo porque encontró a alguien que la entiende sexualmente y eso es algo bien potente.

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Nicole Kidman's performance is the best thing about this whole movie because she carries all the emotional weight of the story, there are moments where she looks so vulnerable and real that it's uncomfortable but in a good way. Harris Dickinson who plays Samuel also does well although his character is a bit harder to understand because sometimes he seems like he hates women but at the same time is sweet and protective with Romy, there's a scene where he tells her she seems like a mother and that he doesn't want that but then he hugs her and tells her she's beautiful when she's crying naked in front of him feeling horrible about her body. Antonio Banderas does a good job although his character is more secondary, he represents this old generation that doesn't understand female sexuality the same way and there's a moment where he tells Samuel that women don't want to be dominated sexually and that's just a male fantasy. Romy's assistant whose name is Esme and is played by Sophie Wilde also has an interesting role because she discovers what's going on between these two and basically tells her to end it because she's not going to let her ruin everything for fucking the intern, it's like blackmail but at the same time she does it because she cares about Romy's future and wants to see more women in positions of power.

La actuacion de Nicole Kidman es lo mejor de toda esta peli porque ella carga con todo el peso emocional de la historia, hay momentos donde se ve tan vulnerable y real que incomoda pero de buena manera. Harris Dickinson que hace de Samuel también lo hace bien aunque su personaje es un poco más difícil de entender porque a veces parece que odia a las mujeres pero al mismo tiempo es dulce y protector con Romy, hay una escena donde el le dice que ella parece una madre y que el no quiere eso pero después la abraza y le dice que es hermosa cuando ella está llorando desnuda frente a el sintiéndose horrible con su cuerpo. Antonio Banderas hace un buen trabajo aunque su personaje es mas secundario, el representa esta generación vieja que no entiende la sexualidad femenina de la misma manera y hay un momento donde le dice a Samuel que las mujeres no quieren ser dominadas sexualmente y que eso es solo una fantasia masculina. La asistente de Romy que se llama Esme y hace de Sophie Wilde tambien tiene un papel interesante porque ella descubre lo que está pasando entre estos dos y casi que le dice qe termine eso porque ella no va a dejar que arruine todo por estar cogiendo con el pasante, es como un chantaje pero al mismo tiempo lo hace porque le importa el futuro de Romy y quiere ver más mujeres en posiciones de poder.

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What didn't totally convince me was the ending because it's a bit ambiguous and open, after everything explodes and the husband discovers the affair and even gets into a fistfight with Samuel, the movie jumps to Samuel going to work in Japan, Esme getting her promotion and Romy trying to fix things with her husband trying new things in bed. The last scene is Romy having an orgasm with Antonio Banderas while imagining something that had happened with Samuel at the beginning of the movie and she looks straight at the camera like saying yeah that's it and it was a powerful moment but at the same time I was left like okay but what really happened with her marriage, are they going to be okay or is this just temporary we don't know. Another thing I didn't like is that Romy is always on her phone even in moments where she shouldn't be and that tells you a lot about how she prioritizes her work over everything else including her family and her personal life, there's a scene where she goes to the theater to see her husband and he tells her it's the first time in 20 years that she shows up and you realize she only went out of guilt for cheating on him so that also says a lot about her character.

Lo que no me terminó de convencer del todo fue el final porque es un poco ambiguo y abierto, después de que todo explota y el esposo descubre la aventura y hasta se agarra a golpes con Samuel, la película salta a que Samuel se fue a trabajar a Japón, Esme consiguió su promoción y Romy está tratando de arreglar las cosas con su esposo probando cosas nuevas en la cama. La última escena es Romy teniendo un orgasmo con Antonio Banderas mientras imagina algo que había pasado con Samuel al principio de la pelicula y ella mira directo a la camara como diciendo si que con eso y fue un momento poderoso pero al mismo tiempo me quede como ajá pero que pasó realmente con su matrimonio, van a estar bien o esto es solo temporal no lo sabemos. Otra cosa que no me gustó es que Romy siempre está en su teléfono incluso en momentos donde no debería estarlo y eso te dice mucho sobre como ella prioriza su trabajo sobre todo lo demás incluyendo su familia y su vida personal, hay una escena donde ella va al teatro a ver a su esposo y el le dice que es la primera vez en 20 años que ella aparece y uno se da cuenta que ella solo fue por culpa de estar engañándolo entonces eso también dice mucho sobre su personaje.

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Overall Babygirl is a movie that makes you think a lot about relationships, communication and sexuality especially when you've been with someone for a long time, it's not perfect and there are things that could have been handled better but Nicole Kidman gives one hell of a performance here. The sex scenes aren't as scandalous as I thought and in fact they're more uncomfortable than anything else but I think that's the point, it's not supposed to be like pornography or like those sensual movies where everything is perfect, it's supposed to be like real life when you're trying to discover new things about yourself and about what you want. I liked that the movie doesn't punish Romy in the end like usually happens in these stories where the woman who cheats loses everything, here she has her sexual awakening, her career is still fine and her marriage seems like it's going to get better. My score is 7.5/10, obviously it's not a movie for everyone I think it's more a movie for women and not so we justify these things but so we learn to speak up in time about what we want and what we like, also don't expect something super hot and sexy it's like I'm telling you something more introspective about a woman trying to understand herself.

En general Babygirl es una película que te hace pensar bastante sobre las relaciones, la comunicación y la sexualidad y más cuando llevas mucho tiempo con alguien, no es perfecta y hay cosas que pudieron haberse manejado mejor pero Nicole Kidman hace tremenda acutación aqui. Las escenas de sexo no son tan escandalosas como yo creía y de hecho son más incomodas que otra cosa pero creo que ese es el punto, no se supone que sea como pornografia o como esas peliculas sensuales donde todo es perfecto, se supone que es como la vida real cuando estas tratando de descubrir cosas nuevas sobre ti mismo y sobre lo que quieres. Me gustó que la película no castiga a Romy al final como normalmente pasa en estas historias donde la mujer que engaña pierde todo, aqui ella tiene su despertar sexual, su carrera sigue bien y su matrimonio parece que va mejorar. Mi puntuación es 7.5/10, claro no es uan peli para todo el mundo creo que es más una peli para las mujeres y no para que justifiquemos esas cosas sisno para que aprendamos a hablar a tiempo sobre lo que queremos y lo que nos gusta, tampoco esperes algo super caliente y sexy es como te digo algo más introspectivo sobre una mujer tratando de entenderse a si misma.

"Translated to English with DeepL"

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A warm greeting to the community. In a cinematic world often intent on privileging cynicism and complexity, there is a place for simple beauty and sincere romance. A Walk in the Clouds (1995) is a visual fable woven with golden light and restrained passions.

Un afectuoso saludo comunidad. En un mundo cinematográfico empeñado muchas veces en privilegiar el cinismo y la complejidad, existe un rincón para la belleza simple y el romance sincero. Un Paseo por las Nubes (1995) es una fábula visual tejida con luz dorada y pasiones contenidas.

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If you're looking for a realistic drama, this is not the place for you. But if you yearn to immerse yourself in a tale where love and magic reign freely, you have reached the right destination.

Si buscas un drama realista, este no es tu lugar. Pero si anhelas sumergirte en un cuento donde el amor y la magia se impone a sus anchas, has llegado al destino correcto.

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The story introduces us to Paul (Keanu Reeves), a lonely and good-hearted ex-soldier returning home after World War II. On the way, he meets Victoria (Aitana Sánchez-Gijón), a pregnant student who fears her traditional family's reaction upon her imminent return to the family hacienda. To help her, Paul agrees to pose as her husband during the visit.

La historia nos presenta a Paul (Keanu Reeves), un exsoldado solitario y de buen corazón que regresa a casa tras la Segunda Guerra Mundial. En el camino, conocerá a Victoria (Aitana Sánchez-Gijón), una estudiante embarazada que teme la reacción de su familia, de rígida tradición, ante su inminente regreso a la hacienda familiar. Para ayudarla, Paul aceptará hacerse pasar por su esposo durante la visita.

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What begins as a simple pact of convenience soon transforms within the heart of this passionate family, deeply rooted in the land. There, Paul will find the warmth of a home for the first time, while his pretend relationship with Victoria begins to blossom into a genuine and powerful attraction. It is a tale about kindness, honor, and the redeeming power of love, which steers clear of the irony and skepticism that dominate modern cinema.

Lo que comienza como un simple pacto de conveniencia pronto se transforma en el seno de esta familia apasionada y arraigada a la tierra. Allí, Paul encontrará por primera vez el calor de un hogar, mientras su relación fingida con Victoria empieza a florecer en una atracción auténtica y poderosa. Es un relato sobre la bondad, el honor y el poder redentor del amor, que se aleja de la ironía y el escepticismo que dominan el cine moderno.

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Do I recommend it? Absolutely. It is the perfect choice for a rainy night, for a romantic date, or for when the soul needs a little beauty and comfort. It is a classic romance that is well worth revisiting.

_¿La recomiendo? Absolutamente. Es la elección perfecta para una noche lluviosa, para una cita romántica o para cuando el alma necesite un poco de belleza y consuelo. Es un clásico del romance que bien merece ser revisitado.

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The sources for the images were provided. Text translated with Google Translate.

Primitive War (2025) came out and I was not so much interested on it, look like Avatar hit Jurasic Park and ratings on RTT are very far apart but over all not a bad bad movie, its a cool one time watch although there are certain things I didnt like that much, people online are loosing their minds over it, I get both sides here because this thing is weird as hell to judge. You got soldiers in Vietnam fighting dinosaurs with a budget under 10 million bucks, that sounds awesome on paper, also this thing is over two hours you start noticing problems that no amount of dinosaur carnage can fix. The CGI looks damn good for what they spent no question about that, some of those sequences are impressive and put bigger budget stuff to shame but then you got these actors who look like they have no idea there are five dinosaurs in the room with them. The script feels clunky too, characters dropping words trying to sound tough but coming off goofy instead, what really bugs me is how everyone keeps saying this is showing Jurassic Park how its done when half the thing copies the same exact structure same rules T Rex is king raptors hunt in packs all that stuff. Its not breaking new ground its just doing the same thing with more blood and a Vietnam setting, props to the team for pulling off so much action on such little money thats seriously impressive work right there but at the end of the day this feels more like a tech demo than an actual thing you care about cool to look at but empty underneath. The whole setup is Vulture Squad gets sent into this isolated jungle valley to find a missing Green Beret platoon and boom dinosaurs everywhere, sounds simple enough and honestly thats probably the smartest thing this does because when you try to add more layers it just falls appart.

• IMDB: https://www.imdb.com/title/tt18312380/

Rottentomatoes Rating

The military stuff is where things get tricky because on one hand they clearly put effort into making it authentic, Captain Dale Dye who did Platoon and Saving Private Ryan came in as a consultant, Im no gun expert but to me all the weapons look like period accurate M16s, M203s for some of the ones I recognize, all that Vietnam hardware, the uniforms look vintage too, they even got like six Huey helicopters for this Apocalypse Now style sequence that looks expensive as hell. But just because something looks authentic doesnt mean it feels right for the story youre trying to tell, Ryan Kwanten plays the lead very convincing like hes in an actual war drama and it clashes hard with the ridiculousness of dinosaurs eating people. Jeremy Piven brings some energy to his role as the colonel but even he cant save scenes where the tone is all over the place, one minute were doing Saving Private Ryan grit the next were watching a raptor with a knife in its eye get revenge and those two things dont mix so well. Anthony Gruber adds a bit of humor here and there which helps but its not enough, I would say the movie needed way more moments where characters acknowledge how insane their situation is instead everyone just acts like fighting dinosaurs in Vietnam is a normal. The pacing in the first hour is rough too, they spend so much time at the base trying to develop all these characters but none of it sticks because what makes the movie interesting is out there, this is not a close environment movie and by the time people start dying you dont really care who makes it out which is a problem.

At the end of the day Primitive War is a mixed bag that leans more towards disappointment and it wouldnt be strange if there are a lot of paid votes to rank the movie higher and even though I really wanted to love it, the dinosaurs look great the action is solid when it happens and you can tell everyone involved worked their asses off to make this thing happen on basically no money, its the kind of movie you can watch clips about but just that because you know how draggy it can turn in. For sure it has good intentions and impressive visuals but they dont make up for a weak script, uneven tone and characters you never get connected or root for, for the most of the part I kept rooting for the dinosaurs actually, its like watching a really expensive animatronics demo; not sure if thats the accurate word, like back in the day of good old Jurassic Park where all the pieces are there but nobody figured out how to make them fit together into something that feels complete. The final thirty minutes are the best part of the movie, once the T Rexes show up and start wrecking that base with tanks and helicopters everywhere its everything you want from this concept but getting there requires sitting through an hour and half of stuff that ranges from okay to straight up boring. People online saying this puts Jurassic Park to shame are out of their minds, this doesnt come close to that level because you need characters, people to give a shit about before you start feeding them to dinosaurs, Primitive War forgets that part and just assumes spectacle is enough. If they make a sequel and Luke Sparke gets a bigger budget plus someone to help tighten up the writing it could be something special, theres clearly talent here and passion for the material but this first one just doesnt stick the landing. I would give it maybe a 7 out of 10, worth watching if you are into dinosaur or just want to see some crazy action but dont go in expecting anything close to the classics, its a fun messy experiment that shows potential without fully delivering on it and sometimes thats the most frustrating kind of thing to watch because you can see what it could have been.

#skiptvads, #inleo, #hive, #primitive, #war, #dinosaurs, #vietnam, #movie, #raptors, #trex, #soldiers, #action, #jurassic, #indie, #budget, #military, #feathers, #spinosaurus, #helicopters, #tanks, #combat, #jungle, #sequel, #collider, #russian, #realistic, #violence, #spectacle

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🦆 Hello! Hello! 🐷

No soy mucho de ver este tipo de arte, creo que me hizo falta más dibujos animados cuando era chiquita 😆, pero como la promocionaron tanto y "asumí" que me retornaría a mi infancia, entonces me atrevía a verla.

Yo le daría un 5/10; pero, resalto que como no me gustan los comics, no crean mucho en mi criterio "objetivo". De igual manera, les daré mis razones para darle esta puntuación:

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Until another opportunity 🎞

Hasta una nueva oportunidad 🎞