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Erika Mendoza
@erigm (73)
📍 Argentina
190 followers
190 following
Libros, películas y series, videojuegos, música y mucho más. Acá van a encontrar reseñas de todo lo que me gusta y les quiera compartir.
270d
Movie · on Misery
🎬 Movie Review: Misery [ES/EN]
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¡Hola amigos! Como estamos en la spooky season se vienen las recomendaciones del género del terror. Hoy les traigo una película algo vieja para los estándares actuales, pero igual de perturbadora que en aquel entonces, sobre terror psicológico de la mano del maestro del terror, les estoy hablando de Miseria.

Hello, friends! Since it's spooky season, it's time for some horror genre recommendations. Today I bring you a film that's a bit old by today's standards, but just as disturbing as it was back then, about psychological terror from the master of horror. I'm talking about Misery.

Trama - Plot

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En esta película conoceremos a Paul Sheldon, un escritor que odia al personaje principal de su obra más popular por lo que decide matarla en su próximo libro y dedicarse a escribir otras cosas. Pero en el transcurso de todo esto es secuestrado por una fanática de Misery que obliga a Paul a que le escriba un libro digno de su personaje favorito. Al verse sin opciones, Paul empieza a escribir la novela mientras intenta escapar de la casa de Annie Wilkes antes de que sea demasiado tarde.

In this film, we meet Paul Sheldon, a writer who hates the main character in his most popular work, so he decides to kill her off in his next book and devote himself to writing other things. But in the course of all this, he is kidnapped by a fanatic fan of Misery who forces Paul to write her a book worthy of her favorite character. Finding himself with no options, Paul begins to write the novel while trying to escape from Annie Wilkes' house before it's too late.

Reseña - Review

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Esta película está basada en un libro del mismo nombre escrito por el maestro del terror Stephen King, leí hace poco el libro y me quedó pendiente volver a ver la adaptación, ya que era muy pequeña cuando la vi por primera vez y no le había prestado mucha atención. Ahora puedo decir que es una película que te mantiene con cierta tensión en varios momentos al no poder predecir la reacción de Annie Wilkes, ya que su mente está fuera de sí y hace cosas por impulso. Tanto que tiene a Paul muy paranoico y con un terror paralizante, lo que lo obliga a quedarse en el molde para no molestarla y así no provocar su ira.

This film is based on a book of the same name written by the master of horror Stephen King. I recently read the book and wanted to rewatch the adaptation, as I was very young when I first saw it and hadn't paid much attention to it. Now I can say that it's a film that keeps you on edge at various points because you can't predict Annie Wilkes' reactions, as she is out of her mind and acts on impulse. So much so that she makes Paul very paranoid and paralyzed with fear, forcing him to stay in line so as not to upset her and provoke her anger.

Sin embargo, cualquier motivo puede ser digno de molestar a Annie, ya que es un personaje con una salud mental muy inestable y es allí donde se puede sentir toda la tensión del ambiente y el terror psicológico de la película. Aunque debo decir que quedé un poco decepcionada con ciertas escenas que esperaba que sucedieran en el libro y que en la película pasaron de otra manera. Algunas fueron muy sugestivas, aunque en el libro es todo mucho más violento y explícito.

However, any reason can be enough to upset Annie, as she is a character with very unstable mental health, and that is where you can feel all the tension in the atmosphere and the psychological terror of the film. Although I must say that I was a little disappointed with certain scenes that I expected to happen in the book and that happened differently in the film. Some were very suggestive, although in the book everything is much more violent and explicit.

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Igual me parece una genialidad como adaptación. Logra meterte de lleno en la trama y siento que es una producción que se disfruta mucho incluso hoy en día a pesar de sus años. A veces no hay nada como lo viejo, quizá ahora estamos más acostumbrados a las escenas grotescas y más sangrientas, pero está tiene esa atmósfera que te atrapa totalmente. Me encantó verla para refrescar mi memoria.

I still think it's a brilliant adaptation. It manages to draw you right into the plot, and I feel like it's a production that can still be enjoyed today despite its age. Sometimes there's nothing like the old stuff. Maybe we're more used to grotesque and bloody scenes now, but this one has an atmosphere that completely captivates you. I loved watching it to refresh my memory.

Sin duda, es una excelente película para ver en este mes de octubre si quieren algo del estilo, no tan visual, pero si con ese clima y terror de antes. Además de excelentes actuaciones, la verdad es que no recordaba mucho por lo que sentí que estaba mirando una película que nunca había visto antes. Si no la viste te la super recomiendo, es muy buena y sabe cómo jugar con tu mente.

Without a doubt, it's an excellent film to watch this October if you want something in this style, not so visual, but with that old-school atmosphere and horror. In addition to excellent performances, the truth is that I didn't remember much about it, so I felt like I was watching a film I had never seen before. If you haven't seen it, I highly recommend it. It's very good and knows how to play with your mind.

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Bueno amigos, hasta acá mi opinión acerca de la película. Espero que les haya gustado y los animo a verla si no lo hicieron. Si ya la vieron me encantaría saber qué les pareció, y si tienen alguna recomendación del estilo que quieran hacerme estaré encantada de leerlos. Gracias por llegar hasta acá y apoyar mi contenido. ¡Hasta la próxima!

Well, friends, that's my opinion about the movie. I hope you liked it, and I encourage you to watch it if you haven't already. If you've already seen it, I'd love to hear what you thought, and if you have any recommendations of a similar style, I'd be delighted to read them. Thank you for reading this far and supporting my content. See you next time!

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k4rl4
@k4rl4 (62)
15 followers
4 following
270d
Movie · on Atomic Blonde
Atomic Blonde (2017) - Reseña (ESP/ENG)
Fuente

Volví a ver Atomic Blonde y esta vez tuve otro punto de vista porque aunque es de esas pelis intensas y de acción brutal me hubiese gustado ver más acción lo que quiero decir es que fuera más seguida, la trama es un poco complicada sin ninguna razón real, es como si hubieran agarrado una historia sencilla de espionaje y la cortaran en pedazos para después reorganizarla de forma confusa solo para que pareciera más inteligente. La peli ocurre en Berlin del 89 justo cuando el muro estaba por caer, Charlize Theron interpreta a Lorraine Broughton una agente británica que mandan a recuperar una lista con nombres de todos los espías del mundo y sus secretos, es algo que suena emocionante pero si debo decir que cuando la llevan a la historia es un poco desastrosa porque nunca te explican bien de donde salió esa lista o quien la hizo, un tipo la tiene memorizada completamente y vula es la razón de que eso nos importe, no sé si me explico. La película es como una mezcla de Tinker Tailor Soldier Spy con escenas de acción estilo John Wick pero no tiene la profundidad de una ni la energía constante de la otra, a eso me refería con que me hubiese gustado ver mpas acción. Lo que no puedo negar es que Charlize luce increíble aqui, está en una forma física impresionante y cuando pelea hace que todo se vea brutal y real, aunque su personaje es un poco frio y sin emociones que se me hizo difícil conectar con ella, pasa toda la película detrás de lentes oscuros con cara de piedra sin mostrar ninguna personalidad hasta los últimos 30 segundos que es cuando sonríe una vez me recordó a una profe que tenía en la universidad jajajaa, entiendo que querian hacer un personaje tipo asesina profesional que no muestra sentimientos pero eso solo funciona cuando hay suficientes escenas de acción para compensar y aqui no las hay, pasas mucho tiempo viendo a Charlize sentada en una silla fumando cigarros y contando la historia en flashback mientras dice cosas que cree que son muy inteligentes pero en realidad son pura paja.

Fuente

James McAvoy aparece como un agente encubierto que también tiene un puesto en el mercado negro vendiendo jeans y vodka, su personaje trae algo de carisma y humor a la película que se necesita porque todo lo demás es muy serio, hay un tipo llamado Spyglass que tiene la lista memorizada y tiene familia y todo pero lo matan después de una persecución brutal donde Charlize intenta salvarlo peleando contra como diez tipos, esa escena en las escaleras es lo mejor de toda la película pero no joda yo sentí que pasó como una hora y media después de que empiezó la peli para que se prendiera la acción, ella pelea en un edificio bajando las escaleras y los golpes se ven reales, la gente se cansa, se levantan cuando no deberían estar vivos todavía, es violento y bien hecho. Después de esa pelea donde recibe una paliza impresionante la escena continua sin cortes hacia una persecución en carro que también está bien hecha, pero incluso ahi hay un error raro donde un carro da vuelta y desaparece mágicamente de la calle como en un videojuego con gráficos malos, para ese punto ya estaba tan confundida con la trama de espías dobles y triples agentes que ni me importó mucho jajaja, todos en la película están traicionando a alguien todo el tiempo, McAvoy resulta ser el mañlo, Charlize resulta ser agente triple que fingió trabajar para los rusos pero en realidad trabajaba para los americanos, hay tantos giros que pierden impacto porque nunca te dieron razón para preocuparte por ninguno de estos personajes desde el principio.

Fuente

La película intenta venderse como esta experiencia visual increible de los ochentas y si, se ve bonita con todos sus colores neon y azules apagados, la verdad parece un poster de los 80 pero no creo que eso sea suficiente para hacer una buena película, el soundtrack tiene canciones icónicas de esa epoca como Blue Monday, Under Pressure y muchas otras pero no todas cuadran porque hay una escena de pelea donde ponen Father Figure de George Michael y esperan que te emociones con los golpes mientras suena esa canción lenta esa no funcionó para nada. Lo que no me gustó es que la estructura de la peli te saca completamente de la acción, empieza con Charlize siendo interrogada después de regresar de Berlin entonces ya sabes que sobrevive todo, cada vez que hay una escena intensa no puedes sentir tensión real porque literalmente la estás viendo contar la historia desde el futuro, además tiene como cuatro finales diferentes, yo pensé que había terminado cuando mataron a la novia francesa de Charlize, después cuando McAvoy dice que se va a escapar, luego cuando Charlize lo mata en el callejón, despues cuando engaña a los británicos haciéndose pasar por agente rusa y finalmente cuando mata a los rusos y revela que siempre fue agente americana, ya cuando llegó el final estaba así como que ahora si como el cuento del lobo jajaja.

Fuente

Sophia Boutella interpreta a Delphine una agente francesa novata que se enamora de Lorraine, tienen algunas escenas juntas que se ven bien filmadas en un apartamento completamente rojo mientras escuchan música de los 80, pero nunca se siente de verdad porque sabes que Lorraine esta usando a todos para su misión, cuando la matan es supuestamente el momento emocional de la peli pero no funciona porque su relación nunca tuvo tiempo de desarrollarse bien, solo fue un par de escenas de besos y después boom está muerta, se supone que uno debe sentir algo pero la película no te da suficientes razones para que a uno le importarte, es como todos los demás personajes que entran y salen tan rápido que no tienes chance de conocerlos o entender sus motivaciones. La dirección tiene momentos buenos en las peleas, el director sabe como hacer escenas de acción porque también dirigió John Wick, pero aquí falló en balancear la acción con la historia de espionaje, o haces una peli de acción pura como John Wick donde la trama es simple y directa o haces un thriller de espías complejo donde te tomas el tiempo de desarrollar personajes y motivaciones, no puedes hacer las dos cosas a medias y esperar que funcione, John Wick tiene una motivación clara desde el minuto uno, mataron su perro y robaron su carro entonces va a matar a todos, simple y efectivo, aqui Lorraine no tiene motivación personal, todo es trabajo y ordenes entonces nunca entiendes porque ella quiere estar en ninguno de los lugares donde está.

Fuente

Fuente

Atomic Blonde es una película que se ve increíble con toda la vibra de los 80 pero para mí le faltó más acción si tiene como tres escenas de accion realmente buenas pero el resto es puro relleno pretencioso de espionaje que intenta ser más inteligente de lo que es, Charlize Theron hace un buen trabajo físico en las peleas pero su actuación es tan plana que parece que no quiere estar ahí, el soundtrack es bueno si te gusta los 80 pero lo usan tanto que distrae en vez de ayudar a las escenas, la trama tiene tantos giros y traiciones que al final no importa ninguno porque nunca te dieron personajes por los cuales preocuparte, hubiese querido ver un John Wick versión femenina pero es más una película confusa es que me gusta la acción y creo que es eso hubiese querido ver más, yo le doy un 7/10 solo por las escenas de acción y el trabajo fisico de Charlize, todo lo demás lo olvidé rápdi, yo creo que tenía más potencial pero se perdio tratando de ser demasiadas cosas al mismo tiempo.

[ENGLISH VERSION]

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I watched Atomic Blonde again and this time I had another point of view because even though it's one of those intense movies with brutal action I would have liked to see more action what I mean is that it was more continuous, the plot is a bit complicated without any real reason, it's like they grabbed a simple spy story and cut it into pieces to then reorganize it in a confusing way just to make it seem smarter. The movie happens in Berlin 89 right when the wall was about to fall, Charlize Theron plays Lorraine Broughton a British agent who they send to recover a list with names of all the spies in the world and their secrets, it's something that sounds exciting but if I must say that when they take it to the story it's a bit disastrous because they never explain well where that list came from or who made it, a guy has it completely memorized and boom that's the reason we should care about it, I don't know if I'm explaining myself. The movie is like a mix of Tinker Tailor Soldier Spy with action scenes John Wick style but it doesn't have the depth of one or the constant energy of the other, that's what I meant when I said I would have liked to see more action. What I can't deny is that Charlize looks incredible here, she's in impressive physical shape and when she fights she makes everything look brutal and real, although her character is a bit cold and emotionless which made it hard for me to connect with her, she spends the whole movie behind dark glasses with a stone face without showing any personality until the last 30 seconds when she smiles once it reminded me of a teacher I had in college hahahaa, I understand they wanted to make a professional assassin type character who doesn't show feelings but that only works when there are enough action scenes to compensate and here there aren't, you spend a lot of time watching Charlize sitting in a chair smoking cigarettes and telling the story in flashback while saying things she thinks are very smart but really are pure bullshit.

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James McAvoy appears as an undercover agent who also has a spot in the black market selling jeans and vodka, his character brings some charisma and humor to the movie that's needed because everything else is too serious, there's a guy called Spyglass who has the list memorized and has a family and everything but they kill him after a brutal chase where Charlize tries to save him fighting against like ten guys, that scene on the stairs is the best of the whole movie but damn I felt like an hour and a half passed after the movie started for the action to turn on, she fights in a building going down the stairs and the hits look real, people get tired, they get up when they shouldn't be alive still, it's violent and well done. After that fight where she takes an impressive beating the scene continues without cuts into a car chase that's also well done, but even there there's a weird error where a car turns and magically disappears from the street like in a videogame with bad graphics, by that point I was already so confused with the plot of double spies and triple agents that I didn't even care much hahaha, everyone in the movie is betraying someone all the time, McAvoy turns out to be the bad guy, Charlize turns out to be a triple agent who pretended to work for the Russians but really worked for the Americans, there are so many twists that they lose impact because they never gave you a reason to worry about any of these characters from the beginning.

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The movie tries to sell itself as this incredible visual experience of the eighties and yes, it looks pretty with all its neon colors and muted blues, it really looks like an 80s poster but I don't think that's enough to make a good movie, the soundtrack has iconic songs from that era like Blue Monday, Under Pressure and many others but not all of them fit because there's a fight scene where they play Father Figure by George Michael and they expect you to get excited with the punches while that slow song plays that one didn't work at all. What I didn't like is that the structure of the movie takes you completely out of the action, it starts with Charlize being interrogated after returning from Berlin so you already know she survives everything, every time there's an intense scene you can't feel real tension because you're literally watching her tell the story from the future, plus it has like four different endings, I thought it had ended when they killed Charlize's French girlfriend, then when McAvoy says he's going to escape, then when Charlize kills him in the alley, then when she tricks the British pretending to be a Russian agent and finally when she kills the Russians and reveals she was always an American agent, by the time the ending came I was like yeah right like the boy who cried wolf hahaha.

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Sophia Boutella plays Delphine a rookie French agent who falls in love with Lorraine, they have some scenes together that look well filmed in a completely red apartment while they listen to 80s music, but it never feels real because you know Lorraine is using everyone for her mission, when they kill her it's supposedly the emotional moment of the movie but it doesn't work because their relationship never had time to develop well, it was just a couple of kissing scenes and then boom she's dead, you're supposed to feel something but the movie doesn't give you enough reasons for you to care, it's like all the other characters that come in and out so fast that you don't have a chance to know them or understand their motivations. The direction has good moments in the fights, the director knows how to make action scenes because he also directed John Wick, but here he failed to balance the action with the spy story, either you make a pure action movie like John Wick where the plot is simple and direct or you make a complex spy thriller where you take the time to develop characters and motivations, you can't do both things halfway and expect it to work, John Wick has a clear motivation from minute one, they killed his dog and stole his car so he's going to kill everyone, simple and effective, here Lorraine has no personal motivation, everything is work and orders so you never understand why she wants to be in any of the places where she is.

Source

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Atomic Blonde is a movie that looks incredible with all the 80s vibe but for me it needed more action it does have like three really good action scenes but the rest is pure pretentious spy filler that tries to be smarter than it is, Charlize Theron does a good physical job in the fights but her acting is so flat that it seems like she doesn't want to be there, the soundtrack is good if you like the 80s but they use it so much that it distracts instead of helping the scenes, the plot has so many twists and betrayals that in the end none of them matter because they never gave you characters to worry about, I would have wanted to see a female version John Wick but it's more a confusing movie is that I like action and I think that's it I would have wanted to see more, I give it a 7/10 only for the action scenes and Charlize's physical work, everything else I forgot quickly, I think it had more potential but it got lost trying to be too many things at the same time.

TranslatedwithDeepL

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Drax
@drax (77)
893 followers
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Blogger, film critic, columnist (writes in Croatian and English)
270d
TV · on The Wire
Television Review: Mission Accomplished (The Wire, S3X12, 2004)

Mission Accomplished (S03E12)

Airdate: December 19th 2004

Written by: David Simon Directed by: Ernest Dickerson

Running Time: 63 minutes

One of the most pressing questions facing creators of twenty-first century television drama is determining precisely how long their series should last. This question has gained particular significance in the cable and streaming era, where creative freedom ostensibly increases while the emphasis shifts from quantity to quality. David Simon, the mastermind behind The Wire—arguably the most critically lauded television series of the early twenty-first century—initially envisioned his Baltimore epic spanning five seasons, a vision ultimately realised between 2002 and 2008. Yet a compelling argument can be made that The Wire could have concluded with its third season without diminishing its standing among critics or fans, particularly given how the season finale Mission Accomplished so elegantly synthesises previous narrative threads into a coherent, thematically rich conclusion. The episode, written by David Simon from a story co-authored with Ed Burns and directed by Ernest Dickerson, originally aired on December 19, 2004, and functions as both a season coda and a potential series finale that addresses the show's central thesis about institutional dysfunction with remarkable completeness.

The episode opens with the devastating consequences of Stringer Bell's shocking demise, a moment that reframes everything that has come before. Beside his bullet-riddled corpse sits Jimmy McNulty, appearing utterly hollowed out—his expression capturing the essence of professional and personal defeat. Everything he had pursued for years—the grand prize of arresting Baltimore's most elusive drug lord and personal nemesis—has been snatched away moments before triumph. To compound his misery, even the homicide investigation that might have offered professional solace appears doomed; property developer Adam Krawczyk, the sole witness to the murder, proves unwilling to cooperate, his reticence undoubtedly influenced by his political contributions to city administration figures who would prefer burying any connection between narcotics trafficking and Baltimore's "polite society." When Bunk Moreland, investigating the murder, speculates that Omar Little might be responsible—a theory the audience knows to be correct—McNulty, despite his considerable talents, dismisses this possibility in conversation with his friend. This moment encapsulates McNulty's fundamental limitation: his brilliance is often undermined by his inability to see beyond his own preconceptions, even when evidence stares him in the face.

Some measure of consolation, albeit grim, arrives through Avon Barksdale's reaction to his friend's death. Avon appears profoundly affected by Stringer's demise and his own indirect role in it, responding with uncharacteristic passivity and fatalism. He publicly contemplates ending his war with Marlo Stanfield and even expresses scepticism about Stanfield's responsibility for Stringer's death—a vulnerability completely alien to the hardened drug kingpin we've known. Only when his lieutenant Slim Charles reminds him that "war once started must be ended" does Avon reluctantly re-engage. Yet before his troops can execute their planned strike, Major Crime Unit receives Stringer's final tip about the Barksdale Organisation's safehouse and weapons stash, courtesy of McNulty's connection with Major Colvin. Lieutenant Daniels and his team raid the location, arresting Avon and his men on weapons charges and parole violations, effectively dismantling his entire organisation. Marlo Stanfield appears genuinely stunned by this unexpected windfall, though his underlings like Snoop quickly claim credit for Stringer's demise and its aftermath—foreshadowing the seamless transition of power that will define the series' conclusion.

Another death—though symbolic—occurs with Major Colvin, whose bold Hamsterdam experiment publicly unravels, creating a political scandal of monumental proportions. Colvin pays the full price for his fiasco, suffering a humiliating demotion, forced early retirement on a reduced pension, and the loss of a lucrative security position at Johns Hopkins University. Deputy Commissioner Burrell, ever the political survivor, manages to save his own skin, while Carcetti, sensing opportunity, forces the closure of Hamsterdam by inviting television crews to document the "crisis." The subsequent police raid proves swift and brutal, despite Mayor Royce's clumsy attempts to recruit progressive experts to preserve the experiment—only to be advised that such a move would be politically untenable. Royce, desperate to secure his base before upcoming primaries, agrees to have Marla Daniels take Eunetta Perkins' city council seat, while her husband continues his affair with Rhonda Pearlman, demonstrating how personal and political betrayals intertwine in Baltimore's power structure.

In the episode's most surprising development, Jimmy McNulty attempts to use these seismic events to transform both his career and personal life. He voluntarily leaves Major Crime Unit to return to uniformed patrol duty in the Western District, seemingly finding genuine satisfaction in the work. He begins moderating his drinking and even visits Beadie Russell, suggesting they might begin a relationship as kindred spirits—one far healthier and more stable than McNulty's previous entanglements. This glimmer of personal redemption stands in stark contrast to the institutional failures surrounding him, suggesting that while systems may be broken beyond repair, individual transformation remains possible, however fragile.

As a season conclusion, Mission Accomplished succeeds precisely because it adheres to David Simon's unsentimental, gritty realism in depicting Baltimore. The city and its institutions remain fundamentally dysfunctional, with those who attempted to make a difference suffering defeat and paying heavy prices—Stringer with his life, Colvin with personal disgrace. The city at episode's end is demonstrably worse off than when the season began: Hamsterdam, despite Johnny Weeks' tragic heroin overdose representing one of its few failures, showed genuine promise in reducing street-level violence, yet is abandoned, allowing dealers to return to street corners now dominated by the more vicious and violent Marlo Stanfield. Yet the ending isn't entirely bleak; glimmers of hope emerge through Cutty's successful boxing gym and McNulty's apparent personal turnaround, suggesting that meaningful change, however limited, remains possible at the individual level even when institutions fail.

There exists a palpable sense of finality in Mission Accomplished that would have made it function admirably as a series finale. References to the unfortunate Frank Sobotka from the previous season create narrative closure while acknowledging the show's cyclical nature. This approach was partly pragmatic; Simon and his team were aware of HBO's reservations about continuing the series, a hesitation that would ultimately result in a two-year gap before the fourth season. Given the show's consistently low ratings during the early cable era—when HBO was not yet the powerhouse it would become—the cult status The Wire enjoys today developed primarily through social media and internet memes in subsequent years. The episode's structure suggests the creators prepared for potential cancellation while leaving enough narrative threads open should renewal occur—a testament to their professional foresight.

Mission Accomplished also functions as a product of its specific historical moment, with the entire third season serving as Simon's allegory for America's frustrating experiences in Iraq. The episode's title directly references George W. Bush's infamous "Mission Accomplished" banner, displayed prematurely before the actual carnage in Iraq intensified. Simon, a known critic of the War on Drugs, clearly drew parallels between America's jingoistic, militaristic policies and Baltimore's futile attempts at urban reform. The final raids ending the Hamsterdam experiment, accompanied by Wagner's "Ride of the Valkyries"—an obvious nod to Apocalypse Now and the Vietnam War fiasco—can be viewed as commentary on the 2003 US invasion of Iraq: spectacular and superficially successful, yet ultimately achieving nothing while exacerbating underlying problems.

This dimension gains an inadvertently prophetic quality through the character of Carcetti, who emerges in this episode as a proto-Obama figure. His passionate, eloquent speech criticising Royce's Hamsterdam fiasco cements his unlikely but plausible political ascent, mirroring Obama's "Hope and Change" rhetoric that would later propel him to the White House. Carcetti's ability to capitalise on others' failures while promising reform without substance anticipates the post-Obama political landscape. As we now know, both in Simon's Baltimore and in the wider American context, flowery rhetoric rarely translates to meaningful institutional change—systems remain stubbornly dysfunctional regardless of who occupies positions of power.

Despite its many strengths, Mission Accomplished is far from perfect. Ernest Dickerson struggles at times with pacing, particularly in the final scenes which feel unnecessarily drawn out. The episode also includes questionable "fan service" in the form of two explicit nude scenes featuring Sonja Sohn (Kima Greggs) and Lance Reddick (Cedric Daniels)—moments that could have been easily excised without damaging the narrative. While some might argue these scenes humanise the characters, they feel gratuitous within the episode's otherwise restrained aesthetic. The inclusion of these scenes suggests a momentary lapse in Simon's otherwise rigorous commitment to realism—a rare misstep in an otherwise masterful conclusion.

What ultimately elevates Mission Accomplished beyond a mere season finale to potential series endpoint is its thematic completeness. The episode demonstrates how power structures perpetuate themselves regardless of individual actors: Avon's arrest merely creates space for Marlo's more brutal regime; Colvin's experiment fails not because it lacked merit but because it threatened established power dynamics; Carcetti's rise confirms that political success depends more on opportunism than genuine reform. This cyclical nature—where meaningful change remains elusive despite individual efforts—is the series' central thesis, articulated with devastating clarity in this episode.

The montage that closes the episode—showing Herc and Colicchio arresting young dealers, Gray campaigning for mayor, Carver and a contented McNulty at roll call, Hamsterdam reduced to rubble, Cutty training boxers, Crutchfield cutting Bunk's tie, Donette grieving lost men, and Omar discarding his weapons—functions as a perfect encapsulation of The Wire's worldview. Each image tells a micro-story of institutional failure and individual resilience, suggesting that while systems may be broken, life continues with its mixture of tragedy and hope.

In retrospect, while The Wire benefited from continuing through five seasons to explore schools, media, and politics with equal depth, Mission Accomplished stands as a remarkably self-contained conclusion that could have served as the series' endpoint without diminishing its artistic achievement. The episode's power lies in its refusal to offer easy answers or false hope while simultaneously acknowledging the persistent human capacity for resilience and connection.

RATING: 7/10 (+++)

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Oluchukwu
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Is it wrong to be amazingly unique?
270d
Movie · on Jurassic World
Jurassic World : A Poor Rebirth (Movie Review)
There’s this feeling of dread that nags at me, everytime I find that there’s a sequel to a film I enjoyed watching. Maybe it’s because I’ve had my fair share of disappointments with sequels or it’s my fear of having my favorite movies spoilt due to poor pacings, but I can’t seem to write off that feeling most of the time. I’ve always been a huge fan of Jurassic World, from childhood. So when I saw a new one was released this year, I just had to watch it, notwithstanding the tingling feeling that came with just discovering the sequel.

Source

Jurassic World Rebirth is a 2025 adventure horror movie starring Scarlett Johansson, Jonathan Bailey and Luna Blaise. It follows covert operations expert, Zora Bennet, and Martin Krebs, teaming up to recruit a team of operatives to a dangerous island inhabited by the most vicious dinosaurs known to mankind. Their mission is simply to extract DNA from the three largest dinosaurs, to produce a drug that will be a breakthrough in the health sector. They embark on the journey, excited for what the success of the operation holds for each of them, but how long will the excitement last, before they’re transported to death staring them in the face?

Everytime I watch this series, I can’t help but think of the possibility that these producers are trying to pass a message to the general public. What if this is their way of telling us that something we all think is extinct, actually exists? What is the possibility that dinosaurs exist but are being kept hostage somewhere far from the eyes of the general public? I enjoy the storylines of films like this but what if? Just what if it?

At this point, I think these producers should start coming up with new ideas, other than trying to create spin offs of existing masterpieces. It’s becoming annoying because they rarely keep up with the pace, thereby destroying what we once held dear. This was the least satisfying of all the Jurassic worlds I’ve watched. There were loopholes in the storylines, leaving you with lingering questions rather than pure satisfaction. There were so many things that were introduced in this film, that were quite pointless because while their appearance made sense, the writers couldn’t keep up with them for the entirety of the film, and left them MIA. What did they expect us to do with bits and pieces?

The CGI was where this movie triumphed. The dinosaurs were more realistic than the four legged creatures we’d been seeing in its predecessors. They seemed realer here, and I liked that. There’s also the scenery, the graphics and the cinematography, it was impressive. The suspense in this drama was also another aspect i liked. There were scenes that had me holding my phone farther away, because I couldn’t bear to see what would happen next. This also, was worthy of commendation.

The acting was what you’d describe as basic. It wasn’t spectacular in anyway, nor was it downright bad. It felt like their main goal was to ensure the script was brought to live, and not the character’s emotions. This made the viewing experience feel somewhat shallow, seeing that the characters didn’t act like they experienced what they ought to have experienced being in such situation.

I’ll rate this movie a 5.5/10, thanks to its amazing visuals. This is the typical drama you watch to while away time, and not because you want to actually enjoy a movie. I wouldn’t recommend if you’re the type that watches movie for entertainment.

Thanks for reading.

Unsourced images are screenshots taken by me while watching.

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Nattosheru
@nattosenpai (73)
📍 Neverland
191 followers
159 following
Newbie at everything, expert at nothing.
270d
Movie · on Halloween
Halloween (1978) | Nattosheru Review [ENG/SPA]
Hello, horror fans. Let's talk about another classic in this terrifying genre and one of the pioneers (if not the first) of the famous slasher subgenre. A film that many will surely know because of how iconic it is today for the film industry and popular culture. Co-written, directed, and orchestrated by the legendary John Carpenter, Halloween stars Jamie Lee Curtis, Donald Pleasence, PJ Soles, and Nancy Loomis. I invite you to remember the film that founded an entire subgenre at the end of the 20th century and the beginning of the 21st century.

SPANISH VERSION

Hola, fanáticos del terror. Hablemos de otro clásico de este aterrador género y uno de los pioneros (sino es que el primero) del famoso subgénero slasher. Una película que seguramente muchos conocerán por lo icónica que es actualmente para la industria del cine y la cultura popular. Co-escrita, dirigida y orquestada por el mítico John Carpenter, Halloween cuenta con el protagonismo de Jamie Lee Curtis, Donald Pleasence, PJ Soles y Nancy Loomis. Te invito a recordar la película que fundó todo un subgénero completo para finales del siglo XX y principios del siglo XXI.

Source: FilmAffinity

Plot

The film begins by showing us, in close-up (POV), a young Michael Myers lurking in his own home on Halloween night, just when his parents are away and his older sister, Judith, is alone with her boyfriend. Michael looks for a large knife in the kitchen and waits for his sister's boyfriend to leave before going up to her room and stabbing her to death. When he leaves the house, his parents find him with the bloody knife, a mask, and a clown costume. This takes place in Haddonfield, Illinois, on October 31, 1963. However, fifteen years later, a grown and dangerous Michael escapes from the mental institution where he has been confined all this time to revive the killing ritual he performed as a child.

SPANISH VERSION

Trama

La película inicia mostrándonos, en primer plano (POV), a un pequeño Michael Myers acechando en su propia casa en la noche de Halloween justo cuando sus padres no están y su hermana mayor, Judith, está con su novio a solas. Michael busca un cuchillo grande en la cocina y espera a que el novio de su hermana se vaya para subir a su cuarto y apuñalarla hasta morir. Al salir de su casa, sus padres lo encuentran con el cuchillo ensangrentado, una máscara y un disfraz de payaso. Esto sucede en Haddonfield, Illinois, un 31 de octubre de 1963. Sin embargo, quince años después, un Michael más grande y peligroso escapa del sanatorio donde se encontraba todo este tiempo para buscar revivir el ritual de matanza que hizo de pequeño.

Trailer & Review

Next, I will leave you with the movie trailer:

By: Rotten Tomatoes Classic Trailers
Well, before giving you my opinion about this classic, I would first like to clarify what I meant at the beginning when I referred to "the film that founded an entire subgenre". And yes, by this I mean the famous slasher subgenre which, as I mentioned before, is one of the most commercial and least terrifying of the horror genre as a whole. Obviously, when I say it founded it, I don't mean it literally, since before Halloween was released, there were already other great classics such as Psycho (1960)—which could be said to be the father of slasher films—and The Texas Chainsaw Massacre (1974). However, what sets these great classics apart from what John Carpenter tried to offer us here is the style of making this type of slasher movie without much ingenuity.

Don't get me wrong, by this I don't mean that Halloween is a bad movie, just that it's so absurd and simple that it's more laughable than scary. Both the character of Michael Myers and the rest of the cast, the plot, and the slow suspense sequences in this hour-and-a-half-long feature film are, for me, like going to an amusement park but not riding any of the rides (you know what I mean, right?). If you're one of those who have recently told me that you find it difficult to watch or read about horror movies, this time you don't have to worry because this is a film that will surely be easier for you to watch because it's not very scary, honestly. Take advantage now... because what's coming in the next few weeks will be even scarier.

SPANISH VERSION

Bueno, antes de darles mi opinión acerca de este clásico, quisiera aclarar primero a lo que me refería al principio sobre “la película que fundó todo un subgénero”. Y si, con esto me refiero al famoso subgénero slasher que, como ya les mencioné antes, es de los más comerciales y menos aterradores del género del terror en su totalidad. Obviamente, cuando digo que lo fundó no lo decía literalmente ya que antes de estrenarse Halloween ya habían otros grandes clásicos existiendo como lo fue Psycho (1960) -que se podría decirse es el padre del slasher- y The Texas Chainsaw Massacre (1974). Sin embargo, en lo que se diferencian estos grandes clásicos con lo que intentó ofrecernos John Carpenter aquí es el estilo de hacer este tipo de películas slasher sin mucho ingenio.

No me malentiendan, con esto último no me refiero que Halloween sea una mala película, solo que es tan absurda y sencilla que da más risa que miedo, siquiera. Tanto el personaje de Michael Myers como el resto del elenco, la trama y las secuencias lentas de suspenso que tiene este largometraje de apenas hora y media de duración es, para mí, como ir de paseo a un parque de diversiones, pero sin subirse a ningún juego (ya me entienden, ¿no?). Si eres de los que me han comentado recientemente que les cuesta ver o leer sobre películas de terror, esta vez no tienes que preocuparte ya que esta es una cinta que seguramente te será más fácil de ver por lo poco aterradora que es, sinceramente. Aprovechen ahora… porque lo que se viene en las siguientes semanas será más aterrador aún.

Source: Tenor

Continuing with the film itself, I like how John Carpenter's creativity is evident from the beginning of the feature film with the uninterrupted sequence of little Michael stalking and murdering his older sister. We can also see how he manages to give us a certain impression of how dangerous this psychopath is, especially with a rubber mask. Even the doctor who was supposedly in charge of his care all this time portrays Michael as if he were a monster straight out of hell. But what I find most striking is the pattern Carpenter created with this antagonist for future slasher films with the same plot and structure.

In many cases that I have seen, I have noticed this pattern:

A mysterious man stalks and harasses a group of young people in a certain place.

These young people have fun drinking, smoking, and having sex. The stalker attacks and murders each young person individually.

In the end, the killer survives inexplicably, and only one person from the group of young people is left alive.

SPANISH VERSION

Continuando con la película en sí, me gusta que se vea la creatividad de John Carpenter desde el principio del largometraje con la secuencia ininterrumpida del pequeño Michael acosando y asesinando a su hermana mayor. También podemos ver cómo se las ingenia para darnos cierta impresión de cuán peligroso es este psicópata y más con una máscara de hule. Incluso el doctor que se supone estuvo a cargo de su cuidado todo este tiempo pone a Michael como si fuera un monstruo salido del mismo infierno. Pero lo que considero que llama más la atención es el patrón que creó Carpenter con este antagonista para futuras películas slasher con la misma trama y estructura.

Y es que en muchos casos que he visto me he dado cuenta de dicho patrón:

Un hombre misterioso que acecha y acosa a un grupo de chicos en cierto lugar.

Estos jóvenes se divierten bebiendo, fumando y teniendo sexo. El acosador ataca y asesina a cada joven de manera individual.

Al final, el asesino sobrevive de manera inexplicable y solo una persona del grupo de jóvenes queda con vida.

Source: Tenor

Those who have seen slasher movies in their lives will recognize this pattern as well, which comes as no surprise to anyone how the story unfolds and ends. Unfortunately, as simple and unoriginal as all this may sound, it is the most effective and commercial method for creating a film that is successful at the box office, and the huge Halloween franchise is proof of that. Even two decades ago, they tried to do something more creative and profound with the story of Michael Myers with their second remake (if I'm not mistaken). However, to my surprise, no one liked it, and it was a critical failure.

Personally, I don't understand how the hell people can enjoy watching the same old villain murder young people nonstop in such a surreal way, without them having at least one functioning brain cell to defend themselves. To top it all off, when they do manage to kill the murderer, it turns out that the bastard is immortal. They come up with one thing after another without explanation, logic, or any sense at all. Ah, but when a director tries to give an interesting development to the mythical killer in the rubber mask, it turns out that now they are "humanizing" him and that doesn't look good. Anyway, I complain a lot about this because, personally, I grew up watching the 2007 remake of Halloween (produced and directed by Rob Zombie).

SPANISH VERSION

Los que han visto películas slasher en su vida reconocerán este patrón también, lo cual no es una sorpresa para nadie cómo transcurre y cómo termina dicha historia. Lamentablemente, por muy simple y poco original que suene todo esto, es el método más efectivo y comercial para crear una película que tenga éxito en taquilla y la enorme franquicia de Halloween es prueba de ello. Incluso hace dos décadas atrás intentaron hacer algo más creativo y profundo con la historia de Michael Myers con su segundo remake (si no me equivoco). Sin embargo, para mi sorpresa, a nadie le gustó y fue un fracaso para la crítica.

Yo en lo personal no entiendo cómo rayos les puede gustar a la gente ver al mismo villano de siempre asesinar a jóvenes sin parar de una manera tan surrealista y sin que estos tengan al menos una neurona funcional para poder defenderse. Para colmo, cuando lo hacen y logran acabar con la vida del asesino resulta que es inmortal el desgraciado. Sacan una cosa tras otra sin explicación ni lógica y ni sentido alguno. Ah, pero cuando un director intenta darle un desarrollo interesante al mítico asesino de la máscara de hule, resulta que ahora lo están “humanizando” y que eso no se le ve bien. En fin, me quejo bastante con esto porque, yo en lo personal, crecí viendo el remake de Halloween de 2007 (producida y dirigida por Rob Zombie).

Source: Tenor

That remake where they gave Michael a better story and development, and which everyone hated from the start. But anyway, since I prefer to familiarize myself with the original works before even talking about them, I watched this classic and it was like reliving several memes and a story I saw many times on TV. Again, I'm not saying it's a bad movie, but I just can't watch a scene where Michael is staring into the distance with his mask on and the legendary soundtrack playing in the background without laughing because I remember the satirical clip they made about that character. Of course, I understand that the theme of bullying and all that stuff would give any young person or teenager at that time the creeps. But anyway, one thing that must be appreciated is that, if it weren't for this classic, we wouldn't have such good slasher movies as we do now.

Last but not least, let's talk about the audiovisual aspect of this film. I'm definitely surprised that this film only cost $300,000 to make. You can tell from the photography, the makeup, the practical effects, the almost non-existent blood (which looks more like tomato sauce) and the very few murder scenes. Obviously, being an independent film, it's normal to see certain details and very low quality, unlike films made by film industry production companies. But honestly, it's not that bad for its time. What caught my attention above all else is its soundtrack, which is very typical of John Carpenter. Fascinating for connoisseurs and fans, but a little overwhelming for those with sensitive ears.

Personally, I give it a rating of 8/10 in terms of the horror and suspense genre.

SPANISH VERSION

Ese remake donde le dieron una mejor historia y desarrollo a Michael y que todo el mundo detestó desde el principio. Pero bueno, como yo soy más de fiarme en conocer las obras originales antes de hablar siquiera de ello, vi este clásico y fue como revivir varios memes y una historia que vi muchísimas veces en la tele. Repito, no digo que sea una mala película, pero es que simplemente no puedo ver una escena donde está Michael mirando a lo lejos con su máscara y con la mítica banda sonora de fondo y reírme por recordar el clip de la sátira que le hicieron a dicho personaje. Claro, entiendo que el tema del acoso y todo eso da un mal rollo a cualquier joven o adolescente de aquella época. Pero bueno, algo que sí hay que valorar es que, si no fuera por este clásico, no tendríamos tan buenas películas slashers como las que hay ahora.

Por último, pero no menos importante, hablemos del apartado audiovisual de esta película. Definitivamente me sorprende que esta cinta haya costado tan solo 300.000 dólares. Y es que se nota tanto por la fotografía como también por el maquillaje, los efectos prácticos, la casi escasa sangre que se ve (que pareciera ser salsa de tomate nomás) y las poquísimas escenas de asesinatos que tiene. Obviamente, al ser una cinta independiente es normal ver ciertos detalles y muy poca calidad, a diferencia de las cintas hechas por productoras de la industria del cine. Pero sinceramente no está tan mal para su época. Lo que sí me llamó la atención, por encima de todo, es su banda sonora la cual es muy típica de John Carpenter. Fascinante para los conocedores y fanáticos, pero un poco aturdidora para los sensibles de los oídos.

Personalmente, le doy una calificación de 8/10 en lo que respecta al género del terror y suspenso.

Tell me, have you seen this movie yet? What did you think of it? You can leave your answer in the comments.

Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.

Cover Image, Banners & Separators: Canva. GIF Edited by: InShot. Traslated by: DeepL Translate. Character Art by: Ushiro Snow Character Created by: Bing Image Generator.

All the best.

By: Nattosheru.
Beysy
@beysyd (73)
📍 Venezuela
273 followers
285 following
Personal life stories, movie reviews and recipes.
270d
Movie · on The Wrong Paris
Review of the romantic comedy The Wrong Paris [ENG-ESP]

English

Hello friends, welcome to my blog

These weeks have not been easy and I have had little desire to write, I just want to lie down, maybe I’m depressed although I don’t think there is anyone to blame me. But when I feel like watching a movie or TV series I look for a production that makes me have a good time, that entertains me and makes me laugh, with which I can clear my mind and so I found this movie that although it is not the most sophisticated, it fulfilled its purpose.

Miranda Cosgrove actress who we met as Carly in the youth series Icarly, plays Dawn, a plastic artist who dreams of going to study in Paris – France but her economy is not enough to afford the two years of stay in the big city, so she enters a contest in the style of The Bachelor, where a handsome and rich bachelor looking for love choosing between twenty women, this program supposedly will be recorded in the city of his dreams where he can stay studying after having won money in the program.

Español

Hola amigos, bienvenidos a mi blog

Estás semanas no han sido fáciles y son pocas las ganas que he tenido de escribir, solo quiero estar acostada, tal vez esté deprimida aunque no creo que haya alguien que me culpe. Pero cuando me dan ganas de ver una película o serie de televisión busco una producción que me haga pasar un buen rato, que me entretenga y me haga reír, con la que pueda despejar la mente y así encontré esta película que aunque no es la más sofisticada cumplió cabalmente con su propósito.

Miranda Cosgrove actriz que conocimos como Carly en la serie juvenil Icarly, encarna a Dawn, una artista plástica que sueña con ir a estudiar en París – Francia pero su economía no le alcanza para costear los dos años de estadía en la gran ciudad, por lo que entra a un concurso al muy estilo del The Bachelor, donde un apuesto y rico soltero busca el amor escogiendo entre veinte mujeres, este programa supuestamente será grabado en la ciudad de sus sueños donde podrá quedarse estudiando después de haber ganado dinero en el programa.

The film is a romantic comedy that has no great aspirations nor presents great conflicts or mysteries, it turns out to be basic and it can be said that it is full of common stereotypes in this type of genre, yet it is quite funny and manages to get a few laughs with scenes where the caricatured personalities of the secondary characters are put in evidence so they do not seem real. The main characters overflow with beauty and chemistry from the first moment they meet and after that in every scene where they appear together which is in almost the entire film, so it’s nice to see them because their interaction and dialogue are not boring or full of cheesiness.

The secondary characters are peculiar, because just as they are presented in reality shows, in the auditions you see all kinds of personalities and the most controversial are the ones selected, since they are the ones that will increase the audience to the program, all the girls are there with a different reason (money, fame, love, fun) although the main reason should be to stay with the coveted bachelor and the top prize of $250,000.

La película es una comedia romántica que no tiene grandes aspiraciones ni presenta grandes conflictos o misterios, resulta ser básica y se puede decir que está llena de estereotipos comunes en este tipo de género, con todo y eso es bastante divertida logrando sacar unas cuantas risas con escenas donde se ponen en evidencia las personalidades caricaturescas de los personajes secundarios por lo que no parecen reales. Los protagonistas desbordan belleza y química desde el primer momento en que se conocen y luego de eso en cada escena donde aparecen juntos que es en casi toda la película, por eso da gusto verlos pues su interacción y diálogo no son aburridos ni llenos de cursilerías.

Los personajes secundarios son peculiares, pues tal cual como se presentan en los reality show, en las audiciones se ve todo tipo de personalidades y las más controversiales son las seleccionadas, ya que son las que aumentarán la audiencia al programa, todas las chicas están allí con una razón diferente (dinero, fama, amor, diversión) aunque la razón principal debería ser quedarse con el soltero codiciado y el premio mayor de 250.000$.

The setting where the pageant takes place is very nice, country style but with all the luxuries required to make the movie look like a fairy tale. I have nothing bad to say about the movie, it’s a Netflix production that totally delivers as well as bringing back the memory of the reality show it references, showing that not everything is as seen on camera and that it’s more important what happens behind the scenes. I recommend this movie if what you want is to have a nice time without paying attention to details rather than watching a visually beautiful movie with a predictable development and ending but that you still want to watch until the final scene.

El escenario donde se lleva a cabo el concurso es muy bonito, tipo campestre pero con todos los lujos que se requiere para que la película parezca de cuento de hadas. No tengo nada malo que decir de la película, es una producción de Netflix que cumple totalmente su cometido además de traer el recuerdo del reality show al que hace referencia, mostrando que no todo es como se ven en las cámaras y que es más importante lo que ocurre tras bastidores. Yo recomiendo está película si lo que quieres es pasar un rato agradable sin prestar atención a los detalles más que ver una película visualmente bonita con un desarrollo y un final previsible pero que de igual manera quieres ver hasta la escena final.

Thank you for visiting, reading and commenting

Gracias por visitar, leer y comentar

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💎 Purrix 💎
@purrix (74)
📍 Caracas, Venezuela
844 followers
318 following
Welcome to my blog. Here you will find a little bit of everything. From tutorials, recycling and recipes to poems and personal experiences. Life is just one 🥰.
270d
Movie · on The Family Plan
🎬Plan Familiar | The Family Plan (Review) [ESP-ENG]

¡Hola queridos cinéfilos!

El domingo pasado, estaba buscando qué ver en Prime Video y me encontré con esta película con Mark Wahlberg, quien es uno de mis actores favoritos. Así que, con un buen cuenco de cotufas y un gran vaso de té helado, me dispuse a ver esta película.

Película:Plan Familiar. Género: Comedia, acción. Estreno: Diciembre 2023.

Reparto principal y nombre de su personaje:

Mark Wahlberg, como Dan Morgan. Michelle Monaghan, como Jessica Morgan. Zoe Colletti, como Nina Morgan. Van Crosby, como Kyle Morgan. El bebé Max, interpretado por las gemelas Iliana y Vienna Norris.

English Version

Hi, movie lovers!

Last Sunday, I was looking for something to watch on Prime Video and came across this movie starring Mark Wahlberg, who is one of my favorite actors. So, with a big bowl of popcorn and a large glass of iced tea, I settled in to watch this movie.

Movie: Family Plan. Genre: Comedy, action. Release date: December 2023.

Main cast and character names:

Mark Wahlberg as Dan Morgan. Michelle Monaghan as Jessica Morgan. Zoe Colletti as Nina Morgan. Van Crosby as Kyle Morgan. Baby Max, played by twins Iliana and Vienna Norris.

Reseña:

La película nos presenta a Dan Morgan (Mark Wahlberg), quien es un dedicado y amoroso esposo, padre de tres hijos (una adolescente, un chico gamer y un bebé divertido y adorable). Dan no tiene RRSS, porque dice que odia la exposición y le gusta mantener su vida en privado.

Dan también es un sagaz y exitoso vendedor de autos. Sin embargo, esta vida de tranquila rutina, dará un giro inesperado, cuando Dan es expuesto en las RRSS, por un altercado con unos hombres en un parque de diversiones. Es entonces cuando un gran secreto sale a la luz: Dan, en el pasado, fue en realidad un asesino de élite del gobierno.

Cuando su pasado lo alcanza y sus antiguos enemigos logran dar con él, Dan no tiene más remedio que llevarse a su familia en una minivan a hacer un viaje improvisado a Las Vegas, sin decirles la verdadera razón de este repentino plan. Su misión es doble: proteger a su familia usando sus antiguas habilidades sin revelar su verdadera identidad, y al mismo tiempo, hacerles creer que están teniendo las vacaciones de su vida, algo que Jessica siempre había deseado. Su esposa y sus hijos ignoran por completo el peligro en el que están envueltos, así como la verdadera identidad de Dan. Pese a que la familia no se caracteriza por ser unida, este viaje por carretera y las experiencias que están a punto de vivir, los hace unirse y amarse sin límites.

English Version

Review:

The film introduces us to Dan Morgan (Mark Wahlberg), a devoted and loving husband and father of three children (a teenager, a gamer boy, and a fun and adorable baby). Dan doesn't use social media because he says he hates exposure and likes to keep his life private.

Dan is also a savvy and successful car salesman. However, this quiet, routine life takes an unexpected turn when Dan is exposed on social media for an altercation with some men at an amusement park. That's when a big secret comes to light: Dan was actually an elite government assassin in the past.

When his past catches up with him and his old enemies track him down, Dan has no choice but to take his family on an impromptu trip to Las Vegas in a minivan, without telling them the real reason for this sudden plan. His mission is twofold: to protect his family using his old skills without revealing his true identity, and at the same time, to make them believe they are having the vacation of a lifetime, something Jessica had always wanted. His wife and children are completely unaware of the danger they are in, as well as Dan's true identity. Although the family is not known for being close-knit, this road trip and the experiences they are about to have bring them together and make them love each other unconditionally.

Puntos fuertes:

📌La película se destaca por sus escenas de acción, que son enérgicas y están bien hechas, especialmente un encuentro violento en el supermercado, con uno de sus enemigos. Esta escena, para mí, fue extremadamente divertida.

📌La química entre Wahlberg y Michelle Monaghan, es uno de sus puntos fuertes, haciendo que la dinámica familiar, especialmente durante la primera parte del escape, sea más agradable de ver.

Si lo que buscas, es una película para "apagar el cerebro" y simplemente disfrutar de acción y una trama divertida, esta película cumple su cometido. Es la típica cinta de plataforma de streaming que funciona como distracción.

Plan Familiar es una "road movie" de acción que se apoya en el encanto de Mark Wahlberg y en buenas secuencias de pelea que hacen reír y mantienen el interés del espectador, de principio a fin. Si eres, como yo, fan de Wahlberg o buscas una cinta de acción ligera que te haga reír, esta es la perfecta para ti.

Acá te dejo el tráiler oficial de esta divertida comedia de acción 👇

English Version

Strengths:

📌The film stands out for its action scenes, which are energetic and well done, especially a violent encounter in the supermarket with one of his enemies. I found this scene extremely entertaining.

📌The chemistry between Wahlberg and Michelle Monaghan is one of its strengths, making the family dynamic, especially during the first part of the escape, more enjoyable to watch.

If you're looking for a movie to “turn off your brain” and simply enjoy the action and a fun plot, this movie does the job. It's your typical streaming platform film that works as a distraction.

Family Plan is an action-packed road movie that relies on Mark Wahlberg's charm and good fight sequences that make you laugh and keep you interested from start to finish. If you're, like me, a fan of Wahlberg or looking for a light-hearted action movie that will make you laugh, this is the perfect one for you.

Here's the official trailer for this fun action comedy 👇

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Las fotografías son capturas de pantalla de mi cuenta Prime Video. // The photographs are screenshots from my Prime Video account.

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Traductor utilizado DeepL, versión gratuita. // Translator used: DeepL, free version.
Diego
@presidentx (68)
📍 Lima, Perú
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Aficionado a variados temas: cine, anime, manga, videojuegos, juegos de mesa, lectura, dibujo, etc. Solo sé que no sé nada.
270d
Movie · on Cabrini
Reseña: Cabrini // Review: Cabrini
Fuente

No soy mucho de ver películas cristianas, pero si van a salir títulos parecidos al que reseño hoy, me animaré a ver muchos más. Su estreno se dio en el 2024, siendo su director Alejandro Monteverde.

I'm not much of a fan of Christian films, but if there are more titles like the one I'm reviewing today, I'll be encouraged to watch many more. It was released in 2024 and directed by Alejandro Monteverde.

Sinopsis: En el siglo XIX, Francesca Cabrini es una mujer italiana, con una vocación al cuidado de niños y pobres. En su deseo de crecer su organización, el mismo Papa Leon XIII le da como misión administrar un orfanato en Nueva York, donde muchos inmigrantes italianos, y en especial niños, lo están pasando mal. Con ello, vendrán un suceso de eventos y retos para llevar a cabo esa empresa.

Synopsis: In the 19th century, Francesca Cabrini is an Italian woman with a vocation for caring for children and the poor. In her desire to grow her organization, Pope Leo XIII himself gives her the mission of running an orphanage in New York, where many Italian immigrants, especially children, are suffering. With this comes a series of events and challenges to carry out this undertaking.

Fuente

La trama muestra como Cabrini, quien tuvo una vida en donde siempre parecía estar limitada por su cuerpo, por su género o por su origen; sin embargo, ella lucha contra ello para llevar a cabo sus objetivos, enlazando con un deseo noble, que es apoyar a los desfavorecidos de la vida, en especial a infantes.

The plot shows how Cabrini, who had a life in which she always seemed to be limited by her body, her gender, or her origin, nevertheless fought against this to achieve her goals, linked to a noble desire to support the disadvantaged in life, especially children.

Se muestra también los retos que los inmigrantes de esa época, eran tratados con prejuicios, tratándolos como parásitos y dándoles poca ayuda. Sin duda, se siente como un símil a la situación actual en USA, y en muchas partes del mundo, donde poco se busca comprender y nos apresuramos en juzgar.

It also shows the challenges faced by immigrants at that time, who were treated with prejudice, treated as parasites, and given little help. Without a doubt, it feels like a parallel to the current situation in the US, and in many parts of the world, where little effort is made to understand and we are quick to judge.

He de decir que fui con poco conocimiento al comenzar a ver esta película, así que el final me sorprendió, pues no sabía de la relevancia que llegaría a tener esa mujer; al punto, que sería nombrada santa, años después de su muerte.

I must say that I went into this film with little knowledge, so the ending surprised me, as I did not know how important this woman would become, to the point that she would be named a saint years after her death.

Sobre la producción, he de decir que se siente limitada en ciertos momentos. Un ejemplo es el final, en donde usan fotografías para mostrar lo que pudo ser hecho con personas; sin embargo, cumple lo necesario. La actuación de la protagonista, hecha por Cristiana Dell'Anna, me parece excelente. La música es un gran acompañante en diversos pasajes de la historia.

Regarding the production, I must say that it feels limited at times. One example is the ending, where they use photographs to show what could have been done with people; however, it does what it needs to do. I think Cristiana Dell'Anna's performance as the protagonist is excellent. The music is a great accompaniment to various passages in the story.

Si logran replicar lo hecho en este título con otros santos contemporáneos, puede hacerse un tipo de película bastante interesante. Recomendable.

If they manage to replicate what they have done in this title with other contemporary saints, it could make for a very interesting film. Recommended.

Calificación personal: 7.5 de 10.

Personal rating: 7.5 out of 10.
@wiseagent
@wiseagent (81)
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270d
Movie · on Materialists
MOVIE REVIEW: “Materialists” (2025)
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

Synopsis: Lucy works for a dating agency as a sort of "matchmaker," and she's usually very good at it. However, when she finds herself emotionally torn between an imperfect ex-boyfriend and a perfect future husband, everything in her life begins to get more complicated and take on new meaning.

If someone asked you what love is, would you know how to answer? If you can, would you know how to love someone? This topic tends to become much more challenging when we delve into the more incisive layers, such as the set of "elements" that directly attract us to a person (such as physical attributes, psychological behavior, artistic preferences in various fields, political or religious alignments, and a whole other infinite series of much more expansive requirements). This is just the starting point for this movie, which, despite having a very promising idea (and a lot of potential for development), ends up losing its strength and succumbing to clichés.

Sortiraparis

Lifestyle Asia

"Liquid love" (which here finds its proper place within the narrative, set in a dating agency where the protagonist works as a famous and sought-after "matchmaker") is portrayed within a script that divides two types of love: true love and materialistic love. In the midst of this "emotional chaos" are Lucy, Harry, and John. While Harry enters Lucy's life as her wealthy future husband (who is older and richer), John (since they are ex-boyfriends) returns to Lucy's life as an imperfect ex-boyfriend trying to show her that he has changed. Lucy thus finds herself in a kind of "love triangle," as she deals with her personal and professional dilemmas.

Discussing materialism within the concept of romantic love (and supposedly true love in many people's eyes) becomes a very promising theme for any type of movie, especially romantic comedies with robust touches of drama throughout their development. This project could easily have been a great example of what I just mentioned, but the script's entire "pretense" of being something much bigger and deeper than it actually is becomes its worst enemy. The script has consistent problems, the main one being a glaring lack of cohesion in the characters' behavior (who, incidentally, humiliate themselves among themselves even for "crumbs of pure love").

Metrópoles

The Goods: Film Review

Using New York City as a backdrop (and here it is worth highlighting that in terms of technical aspects, photography is the movie's greatest highlight, this being its most noticeable quality compared to the other elements of highly reasonable content that fill the entire script), the plot mixes Lucy's professional life within a "comfort zone" that she supposedly should know very well (but which in fact she doesn't, and all she does is just work in "pilot mode" following a behavior guide that makes her seem like the experienced professional that everyone imagines her to be), with the dilemmas of her life outside of her "trendy" job.

Unaware that she is - in fact - entering a romantic dilemma with two completely different (and quite contradictory) paths to follow, we have a protagonist who is very inconsistent with everything she "thinks" and believes herself to be. This works against her (whether professionally or personally) and directly affects those "competing" for her love (which ends up turning Harry and John into "puppets" awaiting the decision of the "manipulative" woman who seems to have "stolen" both their hearts, in different ways). Love, freedom, money, limits, and the fear of loneliness, combined with self-knowledge, intertwine and even promise good times, but everything is quite shallow.

Medium

Reel Advice

A strong indication of how shallow the script really is (even though it brings up a very current and controversial theme in society around the world, which is the world of online dating, and how people are looking for their “soulmates”... who seem to be “repelling” each other and, therefore, becoming increasingly distant from each other) is using a supporting character as the central link in the worst dramatic event of the entire plot (and what in fact ends up being the heaviest representation of “liquid love”) as the basis for supporting the movie because the protagonists were really reduced to countless apathetic and “soulless” interactions with each other (moving too far from the initial proposal).

I remember seeing the trio of Dakota Johnson, Chris Evans and Pedro Pascal used (exhaustively) during the marketing campaign for this project, and the chemistry between the three seemed to radiate a convincing synergy, enough to spark sparks. Absolutely none of this is seen in the movie, where they all act on automatic, without any kind of authenticity in their respective roles. The inertia in the delivery of words, a constant lack of charisma (which gave the characters a notable apathy), and a lack of more substantial action make this cast seem like a mix of oil and water. Nothing converges to work positively among them.

Black Company

REEL GOOD

Celine Song not only wrote this movie, but also directed it... And what a disappointment compared to her previous movie. It's impossible not to make a proper comparison, because my expectations for this new project were high, and she ended up throwing cold water on me here. There's no depth to the themes addressed, no escalation in the urgent events (where the plot should have gained more weight and shape, as well as robust narrative contours), not even decent comedic moments (where a few ironic jokes should have worked to provide a kind of "counterpoint" to the more serious themes)... After a relatively promising start, the movie becomes pure cliché.

There's a very noticeable sense of cynicism in Materialistis, which casts the search for true love in a highly questionable light, tinged with superficial elements or social conventions from the dawn of time (the plot, which takes place in the Paleolithic era, demonstrates this with foresight... perhaps the funniest "joke" and also the most reflective aspect of the entire movie), revealing the conclusion that perhaps love, as an absolute emotional truth between two people (or perhaps even more than two), doesn't really exist. Narrative nuances make the project more interesting, but the "stifling" of the themes to their essence is brutal.

[ OFFICIAL TRAILER ]

CRÍTICA DE PELÍCULA: “Materialistas” (2025)

Sinopsis: Lucy trabaja en una agencia de citas como una especie de "celestina", y suele ser muy buena en ello. Sin embargo, cuando se encuentra emocionalmente dividida entre un exnovio imperfecto y un futuro esposo perfecto, todo en su vida comienza a complicarse y a cobrar un nuevo significado.

Si alguien te preguntara qué es el amor, ¿sabrías responder? Si pudieras, ¿sabrías cómo amar a alguien? Este tema tiende a volverse mucho más desafiante cuando profundizamos en los aspectos más incisivos, como el conjunto de "elementos" que nos atraen directamente de una persona (como atributos físicos, comportamiento psicológico, preferencias artísticas en diversos ámbitos, afiliaciones políticas o religiosas, y toda una serie infinita de requisitos mucho más amplios). Este es solo el punto de partida de esta película, que, a pesar de tener una idea muy prometedora (y mucho potencial de desarrollo), termina perdiendo fuerza y sucumbiendo a los clichés.

El "amor líquido" (que aquí encuentra su lugar dentro de la narrativa, ambientado en una agencia de citas donde la protagonista trabaja como una famosa y solicitada "casamentera") se presenta en un guion que divide dos tipos de amor: el amor verdadero y el amor materialista. En medio de este "caos emocional" se encuentran Lucy, Harry y John. Mientras Harry entra en la vida de Lucy como su futuro esposo adinerado (mayor y más rico), John (ya que son exnovios) regresa a la vida de Lucy como un exnovio imperfecto que intenta demostrarle que ha cambiado. Lucy se encuentra así en una especie de "triángulo amoroso", mientras lidia con sus dilemas personales y profesionales.

Hablar del materialismo dentro del concepto de amor romántico (y, supuestamente, del amor verdadero para muchos) se convierte en un tema muy prometedor para cualquier tipo de película, especialmente para las comedias románticas con fuertes toques de drama a lo largo de su desarrollo. Este proyecto podría haber sido fácilmente un gran ejemplo de lo que acabo de mencionar, pero la pretensión del guion de ser algo mucho más grande y profundo de lo que realmente es se convierte en su peor enemigo. El guion presenta problemas constantes, siendo el principal una flagrante falta de cohesión en el comportamiento de los personajes (quienes, por cierto, se humillan entre sí incluso por "migajas de amor puro").

Utilizando la ciudad de Nueva York como telón de fondo (y aquí cabe destacar que en cuanto a aspectos técnicos la fotografía es el mayor punto fuerte de la película, siendo esta su cualidad más destacable frente al resto de elementos de contenido más que razonable que pueblan todo el guion), la trama mezcla la vida profesional de Lucy dentro de una "zona de confort" que supuestamente debería conocer muy bien (pero que en realidad no conoce, y se limita a trabajar en "modo piloto" siguiendo una guía de comportamiento que la hace parecer la profesional experimentada que todos imaginan), con los dilemas de su vida fuera de su trabajo "muy popular".

Sin darse cuenta de que - de hecho - se encuentra en un dilema romántico con dos caminos completamente diferentes (y bastante contradictorios), tenemos a una protagonista muy inconsistente con todo lo que "piensa" y cree ser. Esto la perjudica (tanto profesional como personalmente) y afecta directamente a quienes "compiten" por su amor (lo que termina convirtiendo a Harry y John en "títeres" a la espera de la decisión de la mujer "manipuladora" que parece haberles "robado" el corazón a ambos, de diferentes maneras). El amor, la libertad, el dinero, los límites y el miedo a la soledad, combinados con el autoconocimiento, se entrelazan e incluso prometen buenos momentos, pero todo es bastante superficial.

Un fuerte indicio de lo superficial que es realmente el guion (pese a que toca un tema muy actual y controvertido en la sociedad de todo el mundo, que es el mundo de las citas online, y cómo las personas buscan a sus “almas gemelas”… que parecen “repelerse” entre sí y, por tanto, distanciarse cada vez más entre sí) es utilizar a un personaje secundario como nexo central del peor acontecimiento dramático de toda la trama (y lo que de hecho acaba siendo la representación más pesada del “amor líquido”) como base para sostener la película porque los protagonistas quedaron realmente reducidos a innumerables interacciones apáticas y “sin alma” entre sí (alejándose demasiado de la propuesta inicial).

Recuerdo haber visto al trío formado por Dakota Johnson, Chris Evans y Pedro Pascal (exhaustivamente) durante la campaña de marketing de este proyecto, y la química entre los tres parecía irradiar una sinergia convincente, suficiente para despertar la chispa. Nada de esto se aprecia en la película, donde todos actúan de forma automática, sin ningún tipo de autenticidad en sus respectivos papeles. La inercia en la forma de hablar, la constante falta de carisma (que daba a los personajes una notable apatía) y la ausencia de acción más sustancial hacen que este reparto parezca una mezcla de aceite y agua. Nada converge para funcionar positivamente entre ellos.

Celine Song no solo escribió esta película, sino que también la dirigió... ¡Y qué decepción en comparación con su anterior película! Es imposible no hacer una comparación adecuada, porque tenía altas expectativas para este nuevo proyecto, y terminó echándome un jarro de agua fría. Carece de profundidad en los temas abordados, no hay escalada en los sucesos urgentes (donde la trama debería haber cobrado más fuerza y forma, así como una narrativa sólida), ni siquiera momentos cómicos decentes (donde algunos chistes irónicos deberían haber servido para ofrecer una especie de "contrapunto" a los temas más serios)... Tras un comienzo relativamente prometedor, la película se convierte en un cliché puro.

Hay un cinismo muy perceptible en Materialistas, que presenta la búsqueda del amor verdadero bajo una luz muy cuestionable, teñida de elementos superficiales o convenciones sociales de la antigüedad (la trama, ambientada en el Paleolítico, lo demuestra con gran previsión... quizás el chiste más divertido y también el aspecto más reflexivo de toda la película), revelando la conclusión de que quizás el amor, como verdad emocional absoluta entre dos personas (o quizás incluso más de dos), no exista realmente. Los matices narrativos hacen el proyecto más interesante, pero la “supresión” de los temas en su esencia es “brutal”.

CRÍTICA DE FILME: “Amores Materialistas” (2025)

Sinopse: Lucy trabalha para uma agência especializada em encontros como uma espécie de “casamenteira”, e costuma ser muito boa no que faz. No entanto, quando ela se vê emocionalmente dividida entre um ex-namorado imperfeito e um futuro marido perfeito, tudo na vida vela começa a ficar mais complicado e ganhar um novo significado.

Se alguém te perguntasse o que é o amor, você saberia responder? Caso consiga responder, saberia dizer como se deve amar alguém? Esse assunto costuma ficar bem mais desafiador quando vamos adentrando nas camadas mais incisivas, como, por exemplo, o conjunto de “elementos” que nos atrai diretamente para alguma pessoa (como atributos físicos, comportamento psicológico, preferências artísticas em diversos segmentos, alinhamentos políticos ou religiosos e uma outra série infinita de exigências bem mais expansiva). Esse é apenas o ponto de partida deste filme, que apesar de ter uma ideia muito promissora (e muito potencial para desenvolvê-la), acaba perdendo sua força e se rendendo a clichês.

O “amor líquido” (que aqui encontra o seu devido espaço dentro da narrativa em uma agência de encontros na qual a protagonista trabalha como uma famosa e requisitada “casamenteira”) é retratado dentro de um roteiro que se divide em dois tipos de amores: o amor verdadeiro e o amor materialista. No meio desse “caos emocional” estão Lucy, Harry e John. Enquanto Harry entra na vida de Lucy como o futuro marido rico (que é mais velho e rico), John retorna (já que eles são ex-namorados) na vida de Lucy como ex-namorado imperfeito que está tentando mostrar a ela que ele mudou. Lucy se vê então em uma espécie de “triângulo amoroso”, enquanto lida com os seus dilemas pessoais e profissionais.

Discutir materialismo dentro da ideia do amor romântico (e supostamente verdadeiro aos olhos de muitas pessoas) se torna um tema muito promissor para qualquer tipo de filme, em especial, as comédias românticas com toques robustos de drama ao longo do seu desenvolvimento. Este projeto poderia ter sido facilmente um ótimo exemplo disso que eu acabei de falar, mas toda a “pretensão” do roteiro em ser algo muito maior, e mais profundo do que ele realmente é, se torna o seu pior inimigo. O roteiro tem problemas consistentes, sendo o principal deles uma falta de coesão notória no comportamento dos próprios personagens (que aliás, se humilham entre eles mesmo por “migalhas de amor puro”).

Usando a cidade de Nova York como cenário de fundo (e aqui vale à pena destacar que em termos de aspectos técnicos, a fotografia é o maior ponto alto do filme, sendo esta à sua qualidade mais perceptível diante os demais elementos de teor altamente razoável que preenche todo o roteiro), a trama faz uma mistura entre à vida profissional de Lucy dentro de uma “zona de conforto” que ela supostamente deveria conhecer muito bem (mas que de fato não conhece, e tudo o que ela faz é apenas trabalhar no “modo piloto” seguindo uma cartilha de comportamentos que a fazem parecer a profissional experiente que todos imaginam que ela seja), com os dilemas da sua vida fora do seu trabalho “badalado”.

Sem se dar conta de que está - de fato - entrando em um dilema amoroso com dois caminhos totalmente diferentes (e bastante contraditórios entre si) a serem seguidos, temos uma protagonista muito incoerente em relação a tudo o que ela “pensa” e acredita “ser”. Isso corrobora contra ela (seja no lado profissional ou pessoal), e afeta diretamente quem está “disputando” pelo amor dela (o que acaba tornando Harry e John em “fantoches” esperando a decisão da mulher “manipuladora” que parece ter “roubado” o coração dos dois, de maneiras distintas). Amor, liberdade, dinheiro, limites e o medo da solidão aliado ao autoconhecimento se misturam e até prometem bons momentos, mas tudo é bem raso.

Um forte indício do quanto o roteiro é realmente muito raso (mesmo trazendo uma temática muito atual e controversa na sociedade mundo à fora, que é o mundo de encontros on-line, e como as pessoas estão procurando por suas “almas gêmeas”... que parecem estar se “repelindo” e, com isso, se mantendo cada vez mais distantes umas das outras) é usar uma personagem coadjuvante como elo central do pior evento dramático de toda à trama (e o que de fato acaba sendo a representação mais pesada do “amor líquido”) como a base de sustentação do filme porque os protagonistas foram realmente resumidos a inúmeras interações apáticas e “sem alma” entre si (se distanciando demais da proposta inicial).

Lembro de ter visto o trio Dakota Johnson, Chris Evans e Pedro Pascal ser usado (exaustivamente) durante a campanha de marketing deste projeto, e a química entre os três parecia irradiar uma sinergia muito convincente a ponto de soltar algumas faíscas. Absolutamente nada disso é visto no filme, onde todos eles estão atuando no modo automático, sem imprimir qualquer tipo de autenticidade em seus respectivos papéis. A inércia na projeção das palavras, uma constante falta de carisma (que trouxe uma apatia notável aos personagens) e uma omissão em termos de ação mais substanciais fazem desse elenco uma mistura de água com óleo aparente. Nada converge para funcionar positivamente entre eles.

Celine Song não apenas escreveu este filme, como também o dirigiu... E que decepção em relação ao seu filme anterior. Não há como não fazer uma devida comparação, porque as minhas expectativas com relação a este novo projeto eram altas e ela acabou me jogando um balde de água fria aqui. Não há profundidade nos temas abordados, não há escalas nos eventos de urgência (onde a trama deveria ganhar mais peso e mais forma, além de contornos narrativos robustos), nem mesmo momentos cômicos decentes (onde algumas piadas irônicas deveriam ter funcionado para fazer um tipo de “contraponto” aos temas mais sérios)... Depois de um começo relativamente promissor, o filme se torna puro clichê.

Há um senso de cinismo muito perceptível em Amores Materialistas, que coloca à busca pelo amor verdadeiro dentro de uma ótica altamente questionável, e que é banhada pelos elementos superficiais ou pelas convenções sociais desde o início dos tempos (o enredo que traz época paleolítica, mostra isso muito com previsão... sendo talvez a “piada” mais engraçada, e também o aspecto mais reflexivo de todo o filme), escancarando a conclusão de que talvez o amor como uma verdade emocional absoluta entre duas pessoas (ou quem sabe até mais de duas) realmente não existe. Nuances narrativas tornam o projeto em algo mais interessante, mas o “engessamento” dos temas em suas essências é “brutal”.

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ydaiznfts🌷
@ydaiznfts (73)
📍 Argentina, Buenos Aires.
449 followers
282 following
Those who remain silent are not morally better.
270d
Movie · on Happy Gilmore 2
A review of "Happy Gilmore 2": The return of the most rebellious golfer - [ESP/ENG]

Source Imagen

Source Imagen 2

⚠️ Atencion SPOILER ⚠️

⚠️ Attention SPOILER⚠️

Bienvenidos a un nuevo post para los amantes del cine y de las series, hoy hare una "review" de la pelicula "Happy Gilmore 2" o también titulada dependiendo de la traducción "Terminagolf 2", espero que la disfruten como yo 😆 dejare a continuación el link para que la encuentren en su plataforma

Welcome to a new post for cinema and series lovers, today I will make a "review" of the movie "Happy Gilmore 2" or also titled depending on the translation "Fininagolf 2", I hope you enjoy it as I 😆 I will leave the link below to find it on your platform

Source Link Film Netflix

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Hay películas que quedan grabadas en la memoria, no por sus grandes efectos ni por historias profundas, sino porque nos hicieron reír sin culpa. En 1996, Adam Sandler se metió en la piel de uno de esos personajes imposibles de olvidar: Happy Gilmore, un jugador de hockey frustrado que descubre, casi por accidente, que tiene una fuerza brutal para el golf. La película, dirigida por Dennis Dugan, fue una locura divertida que con el tiempo se convirtió en un clásico del humor absurdo.

There are movies that stick in our memory, not because of great effects or deep stories, but because they made us laugh without guilt. In 1996, Adam Sandler stepped into the shoes of one of those unforgettable characters: Happy Gilmore, a frustrated hockey player who discovers, almost by accident, that he has an incredible swing for golf. The film, directed by Dennis Dugan, was a fun, chaotic comedy that over time became a classic of absurd humor.

Casi treinta años después, llega la noticia que nadie esperaba pero todos celebran: Happy Gilmore 2 es una realidad. Y más allá del golpe de nostalgia, este regreso promete ser una mirada fresca al personaje que convirtió la rabia y el descontrol en una forma de encanto. En su estreno, Happy Gilmore no enamoró a los críticos. Muchos la calificaron de exagerada y ridícula. Pero el público la adoptó enseguida. Sandler logró que un tipo violento y torpe se ganara el cariño de todos, justamente porque no encajaba en el mundo elegante del golf.

Almost thirty years later, the news that no one expected but everyone celebrates arrives: Happy Gilmore 2 is real. And beyond the wave of nostalgia, this comeback promises a fresh look at the character who turned anger and chaos into something charming. When it premiered, Happy Gilmore didn’t win over the critics. Many called it silly and over the top. But the audience embraced it instantly. Sandler managed to make a violent and clumsy guy lovable precisely because he didn’t fit into the polished world of golf.

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La historia era tan simple como efectiva: un tipo sin modales ni técnica se mete de lleno en un deporte elitista y, a fuerza de golpes (literalmente), termina cambiando las reglas del juego. La nueva película promete mostrarnos qué fue de Happy tantos años después. ¿Maduró? ¿Sigue siendo el mismo con palo de golf? ¿O la vida lo cambió un poco sin quitarle el humor? Por ahora no hay detalles del guion, pero se habla de una historia que combine nostalgia, situaciones disparatadas y una mirada actual sobre el deporte.

The story was simple but effective: a man with no manners or technique dives into an elite sport and, through sheer force (literally), ends up changing the rules of the game. The new film promises to show us what became of Happy all these years later. Has he matured? Is he still the same with his golf club in hand? Or has life changed him just enough to make him wiser without losing his humor? For now, there are no script details, but it’s said to mix nostalgia, wild situations, and a modern look at the sport.

En los 90, Adam Sandler era “el chico gracioso” de Saturday Night Live. Hoy es un actor que demostró poder hacer de todo: desde comedias familiares hasta dramas intensos. Por eso, esta secuela llega en un momento especial de su carrera. La gran pregunta es cómo trasladará esa evolución a un personaje tan descontrolado como Happy. Y a su vez pensar en una próxima secuela: Qué podríamos ver en la historia aunque todavía no hay confirmación oficial podemos tener varias aristas; El regreso a las canchas: Happy, ya retirado, vuelve para jugar un último torneo contra una generación obsesionada con las redes y la perfección técnica. Un sucesor inesperado: tal vez un hijo o un aprendiz herede su talento (y su mal genio), con Happy como mentor.

In the 90s, Adam Sandler was “the funny guy” from Saturday Night Live. Today he’s an actor who has proven he can do it all — from family comedies to intense dramas. That’s why this sequel arrives at a special moment in his career. The big question is how he’ll translate that evolution into such a chaotic character like Happy. And if we think ahead to what could be next, there are several possible angles: the return to the field, with a retired Happy joining one last tournament against a generation obsessed with social media and technical perfection; or perhaps an unexpected successor — a son or apprentice who inherits his talent (and bad temper), with Happy as his mentor.

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Más allá de la trama, lo importante es que siga viva la esencia: ese contraste entre el tipo más fuera de lugar del golf y un mundo que se toma demasiado en serio, y el humor como refugio. Lo que siempre distinguió a Happy Gilmore fue su corazón. Detrás de los golpes y las rabietas había un motivo simple: salvar la casa de su abuela. Y esa sinceridad es lo que lo hacía entrañable. En una época donde las secuelas muchas veces solo apelan a la nostalgia vacía, esta historia tiene la oportunidad de recordarnos algo básico: reírse también puede ser una forma de sanar.

Beyond the plot, the important thing is to keep the essence alive — that contrast between the most out-of-place guy in golf and a world that takes itself too seriously — and humor as his refuge. What always made Happy Gilmore special was his heart. Behind the punches and tantrums was a simple reason: saving his grandmother’s house. That honesty made him endearing. At a time when sequels often rely only on nostalgia, this story has the chance to remind us of something simple: laughing can also be a way to heal.

El anuncio del regreso de Happy explotó en redes sociales. Los fans más veteranos revivieron sus escenas favoritas, mientras que las nuevas generaciones —que conocieron a Sandler por Netflix— mostraron curiosidad por descubrir a este loco del golf. Esa mezcla de nostalgia y descubrimiento puede ser la fórmula justa para un éxito inesperado.

The announcement of Happy’s return blew up on social media. Longtime fans revisited their favorite scenes, while younger audiences —who discovered Sandler through Netflix— showed curiosity about this wild golfer. That mix of nostalgia and discovery might be the perfect recipe for an unexpected hit.

Claro que no todos están convencidos. Hay quienes temen que el humor noventero no encaje del todo hoy, o que la secuela dependa demasiado del recuerdo. Y es verdad: no todas las continuaciones tardías logran capturar la magia original. Pero Sandler tiene algo a su favor: nunca dejó de hacer reír. Puede que el mundo haya cambiado, pero su estilo sigue encontrando público.

Of course, not everyone is convinced. Some fear that 90s humor might not fit today’s audience, or that the sequel could rely too heavily on nostalgia. And it’s true: not every late sequel manages to recapture the original magic. But Sandler has something on his side — he never stopped making people laugh. The world may have changed, but his style still finds its audience.

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Happy Gilmore fue una burla cariñosa al mundo del deporte de etiqueta. Mostró que el humor podía meterse para molestar hasta en los lugares más rígidos. Quizás esta nueva entrega repita esa jugada, pero en un escenario distinto con un golf moderno lleno de influencers, sponsors y marketing. Ver a Happy chocar con eso puede ser tan divertido como en los 90.

Happy Gilmore was a playful jab at the overly formal world of professional sports. It showed that humor can sneak into even the most rigid places. This new chapter might pull the same trick, but in a different setting — a modern golf world filled with influencers, sponsors, and marketing deals. Watching Happy clash with all that could be just as fun as it was in the 90s.

Good Will Hunting nos enseñó a sanar; Happy Gilmore, a reírnos de lo solemne. Con esta secuela, Adam Sandler no solo revive a uno de sus personajes más queridos, sino que también trae de vuelta un tipo de comedia que hacía falta dentro de las grandes celebridades: espontánea, caótica y con alma. Si logra equilibrar la nostalgia con ideas nuevas, Happy Gilmore 2 puede ser más que una simple continuación: un recordatorio de que, a veces, volver al pasado también es una forma de disfrutar el presente.

Good Will Hunting taught us to heal; Happy Gilmore taught us to laugh at the serious stuff. With this sequel, Adam Sandler not only revives one of his most beloved characters but also brings back a kind of comedy that’s been missing among big stars — spontaneous, chaotic, and full of heart. If it manages to balance nostalgia with new ideas, Happy Gilmore 2 could be more than just a sequel: a reminder that sometimes, going back to the past is the best way to enjoy the present.
Richard Alexis
@richardalexis (72)
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Abogado, fan de los superheroes y el hip hop.
270d
Movie · on Licorice Pizza
Licorice Pizza... Better with a rewatch
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All the screenshots in this post were taken directly from the movie by me.

I saw "Licorice Pizza" a couple of years ago, as an introduction to the filmography of Paul Thomas Anderson (who has been on everyone's lips these days thanks to the release of "One Battle After Another"), and I found it to be a visually interesting film, but honestly, not much happened. It was packed with good performances and brilliantly crafted dialogue, but it got a bit boring, save for a couple of quality moments.

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However, seeing that it was at the top of the list for the filmmaker's fans, I thought it was the perfect time to give it another chance... Where, obviously, I was pleasantly surprised.

And although "Licorice Pizza" is seemingly about nothing, and at times feels like a period piece with snippets of real life (no pun intended), it is one of the most brilliant explorations of platonic young love I've seen, deeply rooted in its setting (1970s California), yet with elements that practically anyone can relate to.

Starring two relatively unknown actors (Alana Haim and Cooper Hoffman), accompanied by cameos from Hollywood legends like Sean Pennk and Bradley Cooper, the film possesses an indescribable honesty that permeates every moment. Despite its visual refinement, it doesn't feel like it was directed by one of the greatest directors of the 21st century (in a good way).

Licorice Pizza has a slow pace, but it's chaotic and keeps you hooked.

Thematically, it's quite dense and perfectly contrasts the mindsets of its protagonists: Alana, a girl in her 30s who feels she's wasted her life, while 15-year-old Gary feels he has an eternity ahead of him to do whatever he wants, something that instills confidence and drives him to get involved in all kinds of crazy things.

Even if you can't connect with its loose plot, Licorice Pizza is visually appealing (and nostalgic) enough to warrant a visit, while also being packed with brilliant musical tracks from artists like David Bowie and Paul McCartney, which certainly help make the whole experience more immersive.

This score was taken from my Letterboxd account.

Twitter/Instagram/Letterbox: Alxxssss
Katerina
@katerinaramm (78)
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270d
Movie · on Stoker
Stoker (2013), A thriller with secrets but also with style - Movie Review
I wanted to take a break from a few not-so-successful movie choices I had recently made, and I decided to check out this thriller that somehow had escaped me all these years. As I saw it was released in 2013

I looked up the cast and story, and it immediately caught my attention. With names like Nicole Kidman, Mia Wasikowska, and Matthew Goode, and a plot wrapped in mystery, Stoker seemed like a promising pick. (The title also made me think of someone who is 'stalking' from the sound of the name)

You know how thrillers are, rarely full of action, instead, they play with the viewer’s mind, expectations, tension, and emotions.

That’s exactly what Stoker does from the very beginning. It opens with a funeral scene, setting a haunting and melancholic tone starting in a cemetery, with the funeral of a little girl's father.

https://www.imdb.com/title/tt1682180/

The story

After India's father dies, her Uncle Charlie, who she never knew existed, comes to live with her and her unstable mother. She comes to suspect this mysterious, charming man has ulterior motives and becomes increasingly infatuated with him.

India had a very loving and caring relationship with her father while we cannot say the same thing about her distant mother. In the movie you will seen several of these daughter-mother scenes. When India loses her father suddenly, she gets to meet his brother for the very first time and a lot of dark moments start to take place, while secrets start to unfold...

Suddenly, the line between curiosity and danger has become too thin. Will it break?

Acting & Atmosphere

The performances are really good. The protagonists act as they were the movie characters and never really felt they were acting.

Nicole Kidman’s cold elegance contrasts perfectly with Wasikowska’s quiet intensity, while Matthew Goode delivers a certain charm

My Impressions

There are a few plot twists that keep you engaged, some may be unexpected. A couple of scenes made me a bit uncomfortable, but that’s part of what a good thriller should do, provoke emotions. Overall, the movie fits its genre perfectly.

The IMDb rating is 6.7/10. It received several award nominations and even a few wins. Dont expect an Oscar-level masterpiece, but it’s a solid, stylish psychological thriller that deserves a watch.

If you generally enjoy thrillers, Stoker is worth your time. But if you’re new to the genre, maybe don’t start with this one. It’s subtle, dark, with a few slow moments and a bit unconventional.

As for my personal rating? 6.5–7/10, and the reason it doesn’t go higher is something I can’t reveal… because that would be a spoiler. 😉

I would really like to know your opinion on this if you have seen it or plan to watch it. I watched it on Netflix.

Let me know :)

Community Reviews

Source: FilmAffinity

Plot

Trama

Trailer & Review

Source: Tenor

Source: Tenor

Source: Tenor

Personally, I give it a rating of 8/10 in terms of the horror and suspense genre.

Personalmente, le doy una calificación de 8/10 en lo que respecta al género del terror y suspenso.

Tell me, have you seen this movie yet? What did you think of it? You can leave your answer in the comments.

Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.

All the best.

By: Nattosheru.

The story

Acting & Atmosphere

My Impressions