The 1970s, often mythologised as the Golden Age of Pornography, fostered a peculiar optimism among certain filmmakers and cultural commentators: the belief that the Sexual Revolution would inevitably culminate in hardcore pornography’s seamless integration into mainstream cinema. This notion, crystallised decades later in Paul Thomas Anderson’s Boogie Nights through the character of the idealistic porn auteur Jack Horner, proved spectacularly misguided in America. Yet, in a perverse, delayed echo, the prophecy found a distorted realisation across the Atlantic a quarter-century later. European auteurs, eager to burnish the continent’s reputation as sexually liberated and intellectually fearless compared to its prudish transatlantic counterpart, began embedding unsimulated sex into otherwise conventional dramatic frameworks. Virginie Despentes and Coralie Trinh Thi’s Baise-moi (2000) emerged as a notorious early exemplar of this trend—a film less interested in genuine artistic exploration than in leveraging transgression as a shortcut to notoriety.

The title itself, translating literally from French as “Fuck Me,” became a lightning rod for controversy. International distributors, seemingly incapable of grappling with the phrase’s raw imperative, opted for the jarringly aggressive Rape Me—a choice that fundamentally misrepresents the film’s narrative while cynically amplifying its shock value. This rebranding foreshadowed the critical and public backlash that would define Baise-moi’s reception, framing it not as a complex, if flawed, character study but as an unambiguous assault on decency. The film originated in Despentes’ incendiary 1994 debut novel, a work that detonated on the French literary scene with its unflinching depictions of sexual violence, marginalised lives, and nihilistic rage. Despentes spent years attempting to adapt her own text, finally securing backing from producer Philippe Godeau, whose pivotal suggestion was the inclusion of unsimulated sex scenes. Despentes acquiesced, ultimately co-directing with Coralie Trinh Thi, a former pornographic actress whose casting choices would prove inseparable from the film’s identity and infamy.

Baise-moi follows two women propelled into a violent odyssey by circumstance and shared trauma. Nadia (Karen Lancaume, credited as “Karen Bach”), a prostitute, strangles her roommate during an argument and flees town. Manu (Raffaëlla Anderson), the chaotic, Maghrebi bartender’s sister who funds her hedonism by shooting amateur porn, kills her brother after he attempts to avenge her gang rape. Their paths converge at a deserted train station; Manu, unable to drive her brother’s car, hands it to Nadia. What follows is a nihilistic road trip fuelled by drugs, alcohol, casual sex with men, and increasingly brutal robberies. Their killing spree transforms them into national pariahs. The journey ends abruptly when Manu is fatally shot by a petrol station attendant; Nadia, attempting a symbolic burial and contemplating suicide, is apprehended by police before she can pull the trigger.

The casting was inextricably linked to the film’s transgressive aims. Both Lancaume and Anderson were active pornographic performers during production, as were several supporting actors—including Ian Scott, a veteran of the adult industry who appears chillingly as one of Manu’s rapists. Despentes and Trinh Thi justified this choice by citing the necessity for experienced performers in the unsimulated sex scenes and the pragmatic need to reduce costs. Yet this decision fundamentally undermined the film’s aspirations beyond exploitation. While Despentes vehemently denied Baise-moi was pornography—pointing to the sex scenes’ deliberate lack of eroticism, the predominance of brutal violence, and the grim digital video aesthetic—the distinction rings hollow. The film’s raw, unpolished look and brief runtime (a merciful 78 minutes) cannot disguise its conceptual poverty; the sex acts are staged with the mechanical indifference of a clinical study, devoid of emotional or narrative weight, while the violence feels gratuitous rather than cathartic.

Despentes later attempted to reframe Baise-moi as a radical feminist statement, positioning Nadia and Manu’s rampage as a visceral, uncompromising retaliation against systemic sexism and racism. She explicitly invoked Thelma & Louise, arguing her protagonists offered a “hardcore” European counterpart to Ridley Scott’s iconic fugitives—a raw, unfiltered scream against patriarchal oppression. Yet this interpretation collapses under scrutiny. The film offers no meaningful critique of the structures that victimise its heroines; instead, it replicates the very violence it purports to condemn. Manu’s gang rape, filmed with cold detachment, serves less as social commentary than as a narrative trigger for her subsequent nihilism. Nadia’s murder of her roommate stems from petty jealousy, not systemic rebellion. Their subsequent killings target random men with indiscriminate brutality, offering no catharsis for the audience or the characters. The supposed feminist rage feels less like political statement and more like adolescent nihilism dressed in leather jackets.

This critical failure was exacerbated by the firestorm of censorship controversies that overshadowed any substantive discussion of the film’s merits. In France, it was initially banned for public screening; Australia imposed a permanent ban; even in the UK, it faced significant distribution hurdles. Yet the controversy stemmed less from the narrative’s engagement with difficult themes and more from Despentes and Trinh Thi’s transparent desperation to be “edgy.” Like so many auteurs of the so-called “New French Extremity” movement—exemplified by Gaspar Noé’s Irreversible (2002)—they mistook shock for substance, conflating transgression with profundity. The connection to Noé’s work is literal: Jean-Louis Costes, who plays the last victim of swingers’ club massacre, also appeared in Irreversible; earlier, Nadia watches Noé’s I Stand Alone on a television screen. But where Noé employed formal innovation (a reverse-chronological structure, sonic brutality) to explore trauma’s psychological toll, Baise-moi offers only a linear descent into emptiness, mistaking nihilism for insight.

The film’s reputation suffered further by comparison to Catherine Breillat’s Romance (1999), released a year earlier. Breillat, a vastly more disciplined and experienced filmmaker, integrated explicit sex into a coherent psychological narrative about female desire and objectification. Her scenes served character development and thematic exploration, never mere spectacle. Baise-moi, by contrast, deploys unsimulated sex as a hollow provocation, its inclusion feeling arbitrary rather than essential. The sex scenes lack Romance’s unsettling intimacy and intellectual rigour, reducing female experience to a series of clinical transactions. Despentes’ ambition to shock ultimately reveals her artistic limitations—she mistakes the presence of transgressive content for the meaning derived from it.

That said, the two lead performances possess a raw, undeniable power. Lancaume and Anderson generate a compelling, volatile chemistry rooted in stark physical contrast: Lancaume’s taller, more conventionally poised presence juxtaposes Anderson’s wiry, feral energy. Their dynamic—shifting between tentative camaraderie, mutual dependence, and unspoken tension—forms the film’s sole emotional anchor. Anderson, notably, abandoned pornography shortly after Baise-moi and attempted a mainstream acting career, though with minimal success. Lancaume’s trajectory was tragically shorter; personal struggles culminated in her suicide just five years later, casting a profoundly dark shadow over her performance. Knowing this history, Nadia’s final moments resonate with an unintended, haunting poignancy that the film itself never earns.

Ultimately, Baise-moi remains a cinematic curiosity rather than a significant artistic achievement. Its historical importance lies not in its execution but in its embodiment of a specific cultural moment: the late-1990s European fascination with using hardcore content as a cudgel against perceived American prudery. Yet it fails utterly as either drama or thriller. The narrative is threadbare, the character motivations underdeveloped, and the political messaging muddled beyond coherence. Its unsimulated sex scenes contribute nothing to thematic depth, serving only as hollow provocations that alienate without illuminating. While its brevity spares viewers an extended ordeal, it cannot compensate for the film’s conceptual bankruptcy. Despentes and Trinh Thi mistook the audacity of their premise for artistic merit, confusing the act of transgression with the substance of critique.

RATING: 5/10 (++)

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

For a long time, I’ve had this movie The Battleship Island—a Korea-Japan mixed war movie—on my list to watch, but I haven’t had the time to do so until yesterday. Mehn, this movie should be rated among the greatest movies in terms of its realistic nature. Hey, I don’t mean the storyline, because it got me a bit confused with the many unaligned attachments. However, it’s very understandable since it’s based on a true-life story. The realistic nature I’m talking about is the setting. I don’t know if I were an actor, I would agree to feature in such a movie, especially in those underground mining areas. Those scenes are so real, and even if they were done on a green background, I still wouldn’t believe it. The workers are very exposed to the dangers of gas and fire; they work without clothes, with their bodies littered in gas—such that with any little spark of fire, they’re gone. The hunger and survival realm are damn so real that one could almost feel it from the screen.

During the war between the U.S. and Japan, the Korean people, including children, were enslaved to work in a coal mine called Hashima. The women were not forced to work; they were used for chores and “comfort” (rape). The Japanese lords had no mercy for the Koreans—their lives did not count—to the extent that when a section of the mine caught fire, they closed up that mine with the workers still inside, just to prevent the fire from spreading.

They(the Koreans) later planned a plot to escape the island even though it looked almost impossible, and that was when the heartbreaking war broke out. The war was brutal, and the scenes were so real and unimaginable.

Aside from the writer and the directing crew, the actors and actresses did excellently well. For them to appear in such gory scenes and make every bit of the action so real deserves an applaud. The movie locations, especially Hashima Island, are a perfect fit for the story, particularly because it tells of an exact occurrence from the past. I didn’t go and do research, but if the large water body used in the movie is real, then they must have taken a big risk for that—and that’s what really makes a movie feel so real.

Maybe I’m the only one who got lost in the storyline at one point. I would have rated this movie an 8/10 if not for how the storyline isn’t straightforward; hence, I’m giving it a 6/10.

Thanks for reading.

Image 1

Image 2

|

Recursos 【Resources】

Posted Using INLEO

I have to be honest, I'm pretty biased about this movie because I use parts of it in my class to teach my World history students about the origins of Buddhism.

Even with this bias, I do think that this movie is worth watching. as the name implies, the movie is about Siddhartha Gautama's journey from Prince to The Buddha (The Enlightened) one. But before I go any further, we need to talk about the elephant in the room. Yes. For some reason Bernardo Bertolucci decided to cast Keanu Reeves as Buddha. Why he decided to do this is beyond me. Reeves is not Indian and... let me whisper this part... is not a good actor. Don't get me wrong, Keanu Reeves is an entertaining actor, but that doesn't make him a good one. I love him as John Wick, Johnny Utah and Ted "Theodore" Logan. I have seen those movies probably a combined one hundred times, but that does not mean he's the type of actor who can pull off playing the founder of a religion. In just about every scene he is in, I expect him to say "Whoa", "Yes" or 'i did not reach enlightenment to learn how to surf". Sadly, he never does.

​

Another very strange choice is casting Chris Isaac... a singer... as a main character in the movie. Aside from his amazing "Wicked Game" music video (which had a lot more to do with Helena Christensen than Isaac) I don't recall seeing him in any other large role. And there is a reason why. He's not an actor.

Well then how can I saw this movie is worth a watch? Well as a teacher, I respect any movie that can teach a lesson. This one does a really good job of teaching how Prince Siddhartha becomes the Buddha. It starts with the miracle of his birth and takes us through his time as a very sheltered prince who never witnesses any type of suffering. While his father the king was trying to shield his son from suffering, like what happens with many overbearing parents, his child grows up to want to do the exact opposite. He not only wants to know about and experience suffering, he dedicates his life to stopping it.

This movie is also based on a true story... and I don't mean about Buddha. Whether that is true or not is left up to the hearts of the followers of Buddhism. The part that is true concerns a little American boy who some Buddhist monks think might be the reincarnation of their teacher. Bertolucci uses this story about a real little boy learning about Buddha as a vehicle to teach the audience the same lesson. Along the way, they share some very cool beliefs of Buddhism, show how similar it is to other religions, and even makes a point to show that Buddha and Jesus had quite a bit in common. I love any content that brings viewers together instead of driving them apart.

Bad acting aside, the story is compelling and even involves a little mystery as there are two other candidates who could possibly be the reincarnation of the teacher. It is actually one of the more entertaining history lessons out there. I really enjoy how they used a creative and interesting modern story in order to tell the historical beginnings of Buddhism.

Has anyone else seen this? Anny Buddhists out there who can give their take?

​

For more details about the film you can visit the link that I leave you of Filmaffinity | Para más detalles sobre el filme puedes visitar el link que te dejo de Filmaffinity

In case you were wanting more | Por si quedaste con ganas de más

Cover photo, Logo, Crane, Hand with pen, Yugi, Edward chibi, Edward Child, Edward young, Edward bleeding, Naruto chibi, Goku chibi, Jesper, Hand with a tablet, Sound system & Trigun

Greetings once again to this community. Today I'm here with a review of a film that had been on my watch list for quite some time, a film that was nominated for the 2024 Oscars. I don't know why I waited so long to see it, but the good thing is that I finally did, and I'm here to tell you what I thought of it. The film is The Holdovers, by Alexander Payne.

Spanish

Saludos nuevamente a esta comunidad. Hoy vengo con la reseña de una película que tenía en mí Watch List desde hace un buen tiempo, se trata de una película que estuvo nominada a los Oscars del 2024. No sé por qué esperé tanto tiempo para verla, pero lo bueno es que ya lo hice y vengo a comentarles que tal me fue con ella. Se trata de The Holdovers, de Alexander Payne.

It's Christmas break 1971 at a boys' boarding school. The strict and detestable Professor Paul Hunham, played by Paul Giamatti, has been delegated the task of looking after the students who, for various reasons, have to stay at school during the holidays. Professor Hunham, along with the school cook, Mary, who is mourning the death of her son, form a special bond with Angus, a misfit and troubled student whom he has left behind.

This film, which you can enjoy streaming on HBO Max, is classified as a comedy, but I would classify it more as a light drama with touches of comedy. It's a story that really touches the soul because it shows us the differences between what we think are privileges for the rich and what teenagers really go through. Obviously, by studying at a top-notch school, they have more privileges than anyone else, yet they still have problems as human as the rest of us.

Spanish

Llega el break de Navidad de 1971 a un internado de varones, y al estricto y detestable profesor Paul Hunham, interpretado por Paul Giamatti, se la ha delegado la tarea de cuidar a los estudiantes que, por diversos motivos, les toca quedarse durante esta época de vacaciones en el colegio. El profesor Hunham, junto con la cocinera de la escuela, Mary, quien está en duelo por la muerte de su hijo, crean un lazo especial con Angus, un desadaptado y problemático estudiante a quien ha dejado atrás.

Esta película, que pueden disfrutar en streaming a través de HBO Max, está clasificada como comedia, pero yo podría clasificar más bien como un drama ligero con toques de comedia. Es una historia que realmente llega al alma, porque nos muestra las diferencias entre lo que creemos que son privilegios para ricos, y lo que de verdad atraviesan los adolescentes. Obviamente, al estudiar en un colegio de primera categoría, tienen más privilegios que cualquier otro, sin embargo, no dejan de tener problemas tan humanos como el resto.

You can show examples of humanity and the possible reasons why a teacher is strict, and I can relate to that, because they always strive for excellence. But it's not necessary to be despotic and rude to your students when there are better ways to learn. There is something special that I connected with, because I have had some pretty strict teachers in my life, but the strictest teacher is the one I remember the most and from whom I learned the most. It was also the most difficult subject in my degree program, but as soon as he found out that I read a lot, he came to class with a bag of 10 books.

That, on the one hand, and on the other hand, I also identified strongly with spending some celebrations away from home. I was always away on Mother's Day or Father's Day because taking a bus just for a weekend was not possible, as it took up to 20 hours to get there. It was never as bad as the cases shown in the film, but I always found a family to enjoy myself with, and I was never, ever alone on occasions like this. I even spent one Christmas away, but with my friends, because I decided to do so, and I don't regret it, because the following year, all those friends started to emigrate.

Spanish

Puede mostrar muestras de humanidad y las posibles razones por las cuales un profesor es estricto, y me siento identificada, porque siempre buscan la excelencia. Pero, no es necesario ser déspota y grosero con tus estudiantes, cuando hay mejores maneras de aprender. Hay algo especial con lo que conecté, porque en mi vida he tenido algunos profesores bastante estrictos, pero mi profesor más estricto es al que más recuerdo y con quien más aprendí, además que era la materia más difícil de mi carrera, pero en cuanto se enteró de que leía mucho, me llegó con una bolsa de 10 libros a clases.

Eso, por una parte, y, por otro lado, también me sentí muy identificada con el hecho de pasar algunas celebraciones lejos de casa, los días de la madre o del padre siempre estaba lejos porque tomar un bus solo por un fin de semana no era posible, puesto que tardaba hasta 20 horas en movilizarme. Nunca en comparación con los casos mostrados en la película, pero siempre conseguí alguna familia con quien disfrutar y nunca, jamás, estuve sola en ocasiones como esta. Incluso llegué a pasar una Navidad lejos, pero con mis, pero porque así lo decidí y no me arrepiento, porque al año siguiente, todos esos amigos empezaron a emigrar.

Spending Christmas away from your family is difficult and sad, but you know that you will be able to get together again at some point. However, when that is not possible because you have lost a family member, as in Mary's case, sadness consumes you and you empathize with her character. She was played by Da'Vine Joy Randolph, who won all the major awards of the awards season as supporting actress for her excellent performance. She was incredible, and I absolutely loved her. It's also worth mentioning that the film won the Golden Globe for Best Comedy or Musical, and Paul Giamatti also won Best Actor in a Musical or Comedy. And now I understand why. It was well deserved.

I think the most important thing about this film, which touched my heart, is to accept what we have with love, to take advantage of and enjoy the opportunities we have. My only regret is that I didn't see it a couple of months ago because it's a beautiful Christmas movie that you should put on your list to watch because it's so lovely.

I hope you liked the review. Here's the trailer in case you feel like watching it. Take care, and we'll keep reading.

Spanish

Pasar la Navidad con tu familia lejos, es fuerte y triste, pero sabes que en cualquier momento se podrán reunir una vez más, pero cuando no hay posibilidades, porque perdiste un familiar, como es el caso de Mary, ahí si te consume la tristeza y logras empatizar con su personaje. Estuvo interpretada por Da'Vine Joy Randolph, y se ganó todos los premios importantes de la temporada de premiaciones como actriz de reparto por su excelente interpretación. Fue increíble y la adoré por completo. Además, es pertinente decir, que la película ganó el Golden Globe como mejor comedio o musical, y Paul Giamatti también ganó como mejor actor en musical o Comedia. Y ya entiendo por qué. Muy merecida.

Creo que lo más importante de esta película, que me tocó el corazón, es aceptar con amor lo que tenemos, aprovechar y disfrutar las oportunidades que tenemos. Lo único que lamento es haberlo visto ahora y no en un par de meses porque es una bella película navideña que deberían poner en su lista para ver porque es hermosa.

Espero que les haya gustado la reseña, les dejo el tráiler por si se animan a verla. Un abrazo y nos seguimos leyendo.

• Todos los diseños son realizados en Canva Pro.
• Filmaffinity

The Outrageous Okona (S02E04)

Airdate: December 12th 1988

Written by: Burton Armus Directed by: Robert Becker

Running Time: 46 minutes

Star Trek, for all its lofty philosophical inquiries and high-stakes galactic drama, has never been entirely devoid of levity. Moments of wit, character-driven humour, and outright whimsy are woven into the fabric of the franchise, providing essential respite from the weight of command and cosmic threats. However, episodes dedicated wholly to this lighter fare have always been a rarity, a calculated risk. When executed with finesse, as in the immortal The Trouble with Tribbles, such ventures yield some of the franchise’s most cherished and enduring classics. Regrettably, The Outrageous Okona, the fourth episode of Star Trek: The Next Generation’s second season, represents the other end of the spectrum: a serviceable, occasionally amusing diversion that ultimately dissolves into the ether of forgettable Star Trek fluff, lacking the narrative depth or comedic genius to leave a lasting impression.

The episode unfolds within the Omega Sagitta system, where the USS Enterprise-D navigates the delicate space between the planets Atlec and Straleb. These worlds, inhabited by humanoid species locked in a centuries-long, precarious peace under the Coalition of Madena compact, provide the stage for the Enterprise’s encounter with the Erstwhile, a dilapidated interplanetary cargo vessel. Its sole occupant, Captain Thadiun Okona (a pre-Rocketeer Billy Campbell), presents himself as a charming rogue with a faulty guidance system. Despite Counselor Deanna Troi’s immediate and prudent warning that Okona’s reputation precedes him as an untrustworthy scoundrel, Captain Picard, ever the diplomat, offers assistance. Okona’s arrival on the Enterprise swiftly validates Troi’s caution. Effortlessly embodying the archetype, he seduces not one but two female officers: the vivacious transporter chief, Lieutenant B. G. Robinson (a young Teri Hatcher, soon to be Lois Lane), and the uncredited but equally smitten Lieutenant Diana Giddins (played by uncredited Gates McFadden's stand-in Lorine Mandel). His swagger, amplified by a costume deliberately echoing Han Solo’s iconic look, is undeniable.

This flirtatious interlude is abruptly shattered when two warships converge on the Enterprise. Captain Debin of Atlec arrives, demanding Okona be handed over for the unspeakable crime of impregnating his daughter, Yanar (Rosalind Allen). Simultaneously, Captain Kushell of Straleb arrives, accusing Okona of stealing a priceless family jewel. Both captains brandish their primitive weaponry, threatening dire consequences should the Federation starship refuse their demands. While Picard is visibly unimpressed by their technological posturing – the Enterprise’s capabilities render their threats utterly hollow – he recognises the genuine risk of igniting a full-scale interplanetary war between the fragile Coalition partners. Driven by a mix of diplomatic duty and personal curiosity, he beams both captains and their aggrieved parties aboard to mediate. Okona, initially flustered and even suggesting a hasty marriage to Yanar as a solution, eventually reveals the farcical truth: he merely acted as a go-between for the star-crossed lovers, Yanar and Benzan (Kieran Mulroney), Kushell’s son. The real conflict stems from the ancient feud between their families, not Okona’s antics. With the truth exposed, the two houses agree to a peaceful resolution, allowing the perpetually unrepentant Okona to slip away, his reputation as a rogue intact.

Running parallel to this planetary farce is a subplot centring on Data’s earnest, yet profoundly misguided, quest to understand humour. Spurred by Okona’s offhand remark, the android becomes fixated on mastering comedy as a key to humanity. Seeking guidance from Guinan in Ten Forward, he then retreats to the holodeck. There, he engages a holographic comic named "Comic" (a rather unconvincing Jerry Lewis impersonator portrayed by Joe Piscopo, already a fading star in late 1980s). Data’s attempts at stand-up comedy, delivered with robotic precision and utterly devoid of timing or relatability, are painfully awkward. The jokes are uninspired even by the era’s standards, failing to land with either the holodeck audience or the viewer. This subplot hinges on the audience recognising Piscopo’s specific comedic niche and Lewis’s style, knowledge that was already somewhat esoteric for a global audience of late 1980s and feels utterly alien today, rendering the entire endeavour narratively inert.

The fundamental weakness of The Outrageous Okona lies precisely in these dual narratives. Screenwriter Burton Armus constructed two plots, each so inherently thin that deploying either as the sole focus would have been unbearable. The primary Okona storyline is a stock comedy of errors, a romantic entanglement resolved through mistaken paternity – a plot device familiar to ancient Greek theatre and countless sitcoms since. Its resolution, while mildly unpredictable in its specifics, feels contrived and lacks genuine stakes; the threat of war evaporates far too easily once the truth is spoken. The Data subplot is arguably worse. It doesn’t just rely on poor jokes; it fundamentally misunderstands Data’s character arc. His journey towards understanding humanity is usually compelling precisely because it’s grounded in observation and logic applied to complex emotional phenomena. Reducing it to a quest for punchline delivery, using such a poorly realised comedic reference point, feels reductive and lazy, squandering Brent Spiner’s consistently brilliant performance.

What ultimately prevents The Outrageous Okona from sinking entirely into the abyss of TNG’s weaker moments is the sheer charisma of its performers. Billy Campbell embodies the "lovable rogue" archetype with such infectious, roguish charm that one almost forgives the character’s narrative thinness; his performance is the episode’s undeniable engine. Brent Spiner, as always, elevates the material, making Data’s clinical bafflement at humour genuinely endearing despite the weak writing. Teri Hatcher, though her role is frustratingly brief due to significant post-production editing (she later successfully petitioned for her name’s removal from credits over the cuts), makes a strong impression as Robinson. Yet, even these strengths cannot compensate for the episode’s core deficiencies. The Okona plot is a well-worn farce lacking originality or meaningful consequence, while the Data subplot is a baffling detour into obscure comedy that adds nothing to his character and actively detracts from the episode’s cohesion. The Outrageous Okona is a curious footnote in TNG’s history – a valiant but ultimately unsuccessful attempt at pure comedy, proving that charm alone, however outrageous, cannot sustain a truly memorable Star Trek adventure. It is pleasant enough viewing but evaporates from the memory long before the next stardate, a serviceable trifle utterly overshadowed by the franchise’s genuine comedic triumphs.

RATING: 5/10 (++)

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

Como les dije anteriormente, Partisanos es una película bibliográfica que nos habla de la vida y hazañas logradas por parte de Krystyna Skarbek, una espia polaca quien trabajó para Gran Bretaña en la Segunda Guerra Mundial. Esta mujer tenía una gran valentía, irrumpía en territorio enemigo para llevar a cabo misiones complicadas, ultrasecretas, que no solo suponía un riesgo para ella, sino que para todas las personas que formaban del plan. Lo que más me llamó poderosamente la atención es la frialdad del personal, siempre salía de situaciones complicadas, incluso cuando fue a su país a una misión y fue traicionada, por lo que debía hacer todo para poder salir con vida de Polonia. Krystyna Skarbek es una mujer misteriosa, lo que me daba mucha más intriga por conocer del personaje y ver como finalizaba su historia.

Skarbek representa aquellas personas que trabajaron desde la sombra, que no son muy conocidas para poder derrotar a los Nazis y que el mundo que conocemos hoy sea un poco distinto. Una persona que no espera nada a cambio, ningún tipo de reconocimiento. Este personaje sufrió mucho, perdió a seres queridos, por lo que se volvió la persona que fue, una mujer oscura, pero sin temor alguno con tal de concluir la misión que se le encomendó. Al principio Krystyna se veía como una mujer sin sentimientos, pero a lo largo de la trama nos damos cuenta de que es una mujer que sí le importa a los demás, tanto así que luchó por la liberta de su país y toda Europa, sin importar arriesgar su integridad. Puedo llegar a concluir con el filme, que Partisano es una producción que nos recuerda que las historias de quienes resistieron deben ser contadas, no solo por justicia, sino para entender el precio de la libertad.

Morgane Polanski brought the character of Krystyna Skarbek to life, doing a pretty solid job with her character. To be honest, I was quite surprised, because I believed the scenes I was watching. She came across as very real, both when she was playing a good woman and in those moments when she revealed her true personality. As I said, she was a rather mysterious woman. She seemed cold to me, but I can understand why, given the horrific things that war tends to do to us. There was also an extensive cast, with good performances, some better than others, but I was left with the magnificent performance of the film's lead actress.

The cinematography is another aspect of the film that I must praise, as it creates an incredible atmosphere, drawing us into Skarbek's story and everything he had to do, with powerful scenes full of tension and suspense about what might happen, and this was reflected in the film. Visually, the film is well done; Karol Lakomiec did a great job. The film showed us how disastrous the war was for Poland and Europe, the atrocities committed by the Germans against the Poles and Jews, which is why the European rebellion had to do whatever it took to defeat the enemy. Krystyna Skarbek was a heroine who accomplished great things, expecting no reward in return, only freedom for her country and to defend those who could not do so themselves.

Morgane Polanski fue quien le dio vida al personaje de Krystyna Skarbek, haciendo un trabajo bastante sólido con su personaje, la verdad es que me sorprendió bastante, pues me creía las escenas que estaba viendo, sé vía bastante real, tanto cuando hacía de una buena mujer, como en aquellos momentos donde sacaba su verdadera personalidad. Como dije era una mujer bastante misteriosa, la sentía fría y pues puedo llegar a entender, pues pasó por cosa horrorosa que la guerra nos suele dar. También hubo la participación de un extenso cast, con buenas actuaciones, una mejores que otras, pero me quedó con la magnífica actuación de la actriz principal del filme.

La fotografía es otro de los puntos que debo exaltar del filme, pues crea una atmosfera increíble, nos adentra en la historia de Skarbek y todo lo que tuvo que hacer, con grandes escenas de mucha tensión y también suspenso por lo que podría pasar y esto quedó reflejado. Visualmente, la película está bien lograda, Karol Lakomiec hizo un trabajo estupendo. El filme nos mostró la desastrosa que fue la guerra para Polonia y Europa, las barbaridades que hacían los alemanes con los polacos y los judíos, por lo que la rebelión europea tuvo que hacer lo necesario para derrocar al enemigo y Krystyna Skarbek fue una heroína que realizó grandes cosas, sin esperar ningún premio a cambio, solo la libertad, por su país y para defender aquellas personas que no lo podía hacer.

The soundtrack for the film was composed by Joe Wilson Davies, and the musical compositions lent the film an emotional depth and the dark, suspenseful tone that this type of film often has. The music gave Partisans a contemporary and somber tone, which I think was a great success. As I said, I don't think the film is perfect; it has its flaws like everything else, but overall I think it's a great film, with an interesting story, outstanding cinematography, and a soundtrack that lives up to what is presented to us. James Marquand and his entire team did a good job with the production, and it shows on screen. I recommend this film with my eyes closed. If you like the genre and want to learn about these characters who are often forgotten, then Partisans is the ideal film.

La banda sonora de la película estuvo a cargo de Joe Wilson Davies, donde en el filme se notó con las composiciones musicales una profundidad emocional, el tono oscuro y de suspenso que suelen tener este tipo de películas. La música le dio un tono contemporáneo y sombrío a Partisanos, lo que considero que fue un gran acierto. Como les dije, la película no me parece perfecta, tiene sus detalles como todo, pero en general me parece una estupenda película, una historia interesante de ver, una fotografía sobresaliente y una banda sonora a la altura de lo que se nos presenta. James Marquand y todo su equipo hizo un buen trabajo con la producción y se ve reflejada en la pantalla. Una película que se las recomiendo con los ojos cerrados, si te gusta el general, conocer sobre estos personajes que muchas veces son olvidados, pues Partisanos es la película ideal.

Source

Join the community

Text separator created by me in Canva

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

Till a next chance

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

Separador de textos creado por mi persona en Canva

Gracias por su visita. Espero que les haya gustado.

Hasta una próxima oportunidad

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

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

Posted Using INLEO

The beginning of the movie shows three people very worried and consulting each other; one of the three is the main character of this movie means the hero of this movie. They basically went to a bank to rob the bank. There are many other people in their group, each of them has taken hostage the people who were inside the bank, and some are busy breaking the lockers. It means that as soon as possible, they will break the bank locker and run away with the money. The director started the movie exactly like this. The director has shown great suspense in the beginning. I like the start of the movie very much.

I like the acting of everyone who acted in this movie; the action scenes are also eye-catching. Very well presented by the action director, besides the way the location has been used, or the kind of work done by the choreographer, is commendable. From the beginning to the end, I liked the movie very well. Those who have seen this movie will agree with me. And those who haven't seen this movie yet, if you like action movies, then you can watch the movie if you want. I hope you will like this movie and it will not disappoint you.

---

🎥 Mary & Martha 🎥

Mary y Martha

---

Mothers have that gift, that unstoppable strength, that makes them unique, special, authentic. It's not easy to bring a child into the world, but it's even harder when they lose them and have to move on without them.

This weekend, as always, I took the opportunity to watch a movie, something that would disconnect me a little from my daily routine. What better way to do that than by watching a story that moves us and leaves us with beautiful messages of overcoming adversity, courage, and hope.

I came across this movie called Mary and Martha, about two mothers whom fate decided to bring together when it saw that they were both going through the same loss, the death of their children.

Las madres tienen ese Don, esa fuerza indetenible, que las hace únicas, especiales, auténticas, no es fácil darle vida a un hijo, pero más difícil, cuando lo pierden, y les toca seguir adelante sin ellos.

Este fin de semana, cómo siempre aprovecho para ver una película, algo que me desconecte un poco de mi rutina diaria, que mejor manera de hacerlo, que viendo una historia que nos conmociona, y te deja lindos mensajes de superación, de valor y esperanza.

Me encontré con esta película llamada Mary y Martha, dos madres que el destino decidió unirlas, al ver que ambas pasan por una misma pérdida, el fallecimiento de sus hijos.

---

The story tells us about the meeting of these two women, Mary and Martha, who are completely different but have one thing in common: the loss of their children to malaria. Together, they embark on a journey to Africa with the aim of helping others to prevent this disease and save the lives of other children.

---

---

La historia nos relata el encuentro de estas dos mujeres, Mary y Martha, completamente diferentes, pero con una cosa en común, la perdida de sus hijos por la malaria, juntas se embarcan en un viaje a África, con el objetivo de ayudar a otros, a prevenir esta enfermedad, salvando la vida de otros niños.

At first, we see how these women go out of their way for their children, thinking about their well-being and happiness, protecting them, but how much can they do? Only what is in their hands. The rest is up to life, to God. They thought that on the other side of the world, they would be safe, happy, living and sharing another lifestyle, another way of seeing life. However, they did not count on the conditions in which people live in that country, surrounded by so many shortages and incurable diseases.

It was a risk they didn't take into account, as I said, things that are beyond their control, but as they say, these things happen for a reason. they suffered that loss, yet they decided to come together, find courage, and carry on, looking for ways to help others, because they were mothers, and they know the pain of losing a child. Of course, they didn't want to see other mothers or children go through the same thing they did.

Al principio vemos como estas mujeres se desviven por sus hijos, pensando en su bienestar, felicidad, protegiéndolos, pero que tanto pueden hacer, solo lo que esté en sus manos, ya lo demás, es cosa de la vida, de Dios, ellas pensaron que en ese otro lado del mundo, estarían a salvo, siendo felices, viviendo y compartiendo otro estilo, otra manera de ver la vida, sin embargo, no contaban con las condiciones en las que se vive en ese país, rodeado de tantas carencias y enfermedades incurables.

Era un riesgo, el cual no tomaron en cuenta, como dije, cosas que escapan de sus manos, pero como dicen por allí, son sucesos que pasan por algo, ellas tuvieron esa perdida, aun asi, decidieron unirse, sacar valor, y continuar, buscando la manera de ayudar a otros, porque ellas eran madres, y saben el dolor de la perdida de un hijo, por supuesto, no querían ver que otras madres o niños, pasen por lo mismo que ellas.

In Conclusion

This film was released in 2013, starring the famous actress Hilary Swank. Personally, I really like films with her in them, especially when they have moving stories like this one. I think most of the films she has made are like this, and it suits her well. Her other performances have also been memorable.

It's a short, simple film with a powerful message. As I said, it's moving. I hope you'll be encouraged to watch it if you haven't already. It's worth it. It has no action or suspense; it's relaxed.

Thanks for reading. See you next time.😄

We're still going strong with day #3 of the challenge together with @hivecreatorsday, in the #Hive14Challenge. 💪

Conclusión

Esta película fue estrenada en el 2013, protagonizada por la famosa actriz Hilary Swank, a mí en lo personal, me gustan mucho las películas con ella, cuando son asi, con historias conmovedoras, creo que la mayoría de las películas que ha realizado, son de este estilo, y le queda bien, las otras actuaciones también fueron memorables.

Un film corto, sencillo, pero poderoso mensaje, como dije, conmovedor, espero se animen a verla, si no lo han hecho, vale la pena, no tiene acción ni suspenso, es relajado-

Gracias por leerme, nos vemos en la próxima.😄

Seguimos activos con el día #3 del reto junto con @hivecreatorsday, en el reto de #Hive14Challenge. 💪

---

Posted Using INLEO

This movie throws you headfirst into a nightmare dressed up in politics and morality. From the very first episode, you feel it in your bones—this isn’t just going to be another crime-thriller anime. This is going to crawl under your skin, whisper questions you don’t want to hear, and leave you staring at the ceiling at 3 a.m., wondering if you’ve been too comfortable with the idea of right and wrong. Watching Babylon felt like watching the ground disappear beneath me, one law, one choice, one human soul at a time.

It begins with Zen Seizaki, this straight-laced prosecutor who believes in the system, believes in justice, believes that if you just work hard enough, dig deep enough, the truth will come out clean. He is quick, tenacious, the type of a man you feel is capable of doing anything. However, as he begins to enquire into the pharmaceutical company conspiracy in the new independent state of Shiniki, the existing cracks start widening. What he falls over is not, as it were, corporate corruption, it is merely a window to something far more sinister, more existential.

Enter Ai Magase. God, Ai Magase. Unless there is a villain in anime who has ever stalked me in the same way she did, I cannot recall it. She is not a monster, tipped with claws, or a god, with powers, she is worse. She is gorgeous, she is self manipulative and she speaks in a manner that bends people. Men, women, people of power, people of faith--she whispers, and at that moment suicide seems the most natural, liberating thing to do. And it is horrifying to watch her at work, as she is not fighting with fists, she is fighting with words. and words are sharper than a knife.

This is what makes Babylon so uncivilized--it is not of action scenes or spectacular battles. It’s about ideas. The concept of suicide law, the notion that humans ought to be legally able to take their own lives should they want to. On the one hand, it is more like a discussion, a policy. The anime does not make it clean though. It brings it into blood and tears, politicians falling down under the burden of choice, whole societies shattering, children abandoned. And all this time Magase is there, like a phantom, smiling, pushing, prodding, pushing humanity to the brink.

One of the scenes that still messes with me is when that first politician kills himself after Magase gets to him. Watching a man who’s supposed to be untouchable, confident, collapse into despair—it wasn’t gore that shocked me. It was the silence after. The way death felt almost seductive, like she had stolen his will in plain sight. And then it kept happening, again and again. People you thought were strong, people you thought were safe, gone. And every time, Seizaki is left standing there, powerless, his faith in the law unraveling.

The worst of watching Babylon is that it continues to drag the carpet out beneath you. You think Seizaki has tracked Magase to the wall, or that the government has worked out a plan, but she escapes. And just as in that scene as Seizaki runs after her, desperate, angry, and she bends down and whispers that voice that melts steel--and you can see, in a moment, even him wavering. The man who was not to be moved, was nearly broken. It is then that you know: it is not a battle that can be won by evidence and trials. This is a war of souls.

And the Shiniki experiment the first state to legalize suicide--that arc was a gut punch flattened out across intervals. Initially, it is a political game, a gimmick. but you look at the results. You watch parents leaving kids behind, you watch the tally marks go up, you watch people giving up at such a fast rate when society informs them that being a desplicator is a choice just like any other. Death was not the worst thing as people died. It was its normalness, its acceptability. To see it happen was to peep in a mirror and see the darkest depths of human freedom.

Among the most memorable moments to me was when Seizaki makes a call to his wife, with a cracking voice, pleading with her to come and assure him, to hang on to him in the midst of all this insanity. and you know--Ai Magase has reached her as well. That moment gutted me. Since now the fight was not out there, in politics or law--but in his own home, in his own bed. And the horror of not only losing strangers, but of those who were nearest to you--then the subject of the story became morality in principle. It became personal.

The most annoying aspect of Babylon is that it does not provide you with clean answers. Usually, even when it is a dark thriller, there is the feeling of a resolution, you capture the villain, you prevent the propagation, you restart. But here? Magase never gets “caught.” The concept that she embodies--hopelessness in the form of freedom--never truly passes away. And Seizaki… The descent of God is one of the most gruesome sequences of the anime by Seizaki. When a man who thought in justice falls into obsession, grief, hopelessness,--it is like a light going out. At the end, he is not even fighting Magase anymore. He is battling himself, and battling the urge of despair, and you are not even certain whether he is winning.

This is an uncomfortable position put you in by the anime. No happy ending, no triumph of the hero. Just questions ringing in your ear. But are humans willing to have freedom? Or is it comfort, rules, something we want to keep us out of the burden of our own decisions? When suicide is made a right is it a liberty, or is it an exodus? And the worst part of it: when somebody like Magase whispers in your ear, can you work against it?

Babylon did not feel like entertainment and was more like peeking into a hole that was gazing back. It made me recall that our beliefs are so weak, and how thoughts can destroy civilizations so easily. And it was not the deaths that bothered me--it was the comfort. The silent manner in which individuals release, believing in some smile, a sentence, a whisper.

Babylon doesn’t just tell you a story—it dares you to question the foundation of morality, to stare at the line between choice and manipulation, freedom and destruction. And it doesn’t flinch.

That’s why I can’t forget it. Because it’s not about whether Seizaki “wins” or Magase “loses.” It’s about the fact that once you’ve heard her voice, once you’ve seen that world, you realize the fight between life and death, hope and despair, isn’t out there. It’s inside us. Always has been.

#animation #movie #cinetv #animerealm #moviereview #disney #hiveposh #hiveengine #reviews #dailyblog #otaku #magic #waves #entertainment #moana #season2 #whattowatch #movierecommendation #film #cinema

#movie #cinetv #animerealm #moviereview #disney #hiveposh #hiveengine #reviews #dailyblog #otaku #magic #action #entertainment #nakedgun #season2 #whattowatch #movierecommendation #film #cinema #netflix #crunchroll #primevideo #niche #tylerperry