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@wiseagent
@wiseagent (81)
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274d
Movie · on Donnie Darko
CineTV Contest: “Donnie Darko”, one of the most intriguing time travels ever made in the history of the Seventh Art.
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

There's no doubt that cinema (especially American cinema) has some truly well-known classics when it comes to time travel (and I could have chosen any of them to write about in this edition of the competition, but I preferred to think outside the box and deliver something different). However, some gems remain unknown to the general public and deserve greater recognition (and appreciation). Therefore, it is precisely about Donnie Darko that I decided to write, not only because it is a controversial movie about time travel, but because it is one of my favorites from that era (which in itself is quite complex and generates excellent conversations, and since this is one of the essences of the Seventh Art, it's impossible not to think of this movie when discussing "time loops").

Looper

The Guardian

Here's a movie that explores time travel in a way never before seen in cinematic history (and the boldness of the project speaks for itself, delivering something incredibly complex that continues to be discussed in countless movie forums to this day). Released in the early 2000s (2001, to be precise), the plot centers on a young man (Donnie Darko) who, after escaping a bizarre accident, finds himself trapped in a mental trap that causes him to have constant visions of a man in a bunny suit, and which also leads him to commit numerous crimes. What could have been "just" another thriller becomes something greater because it's a project that invites you to ask different kinds of questions about the logic of even the most trivial things.

L’Opinione

FilmInk

Unfortunately, I can't delve deeply into the issues surrounding time travel in this text (because they are the driving force behind the entire plot), but I can assure you that to this day, cinema (at least within the segment of movies dealing with this same type of theme that I've had the opportunity to see) has never managed to produce something as bold, complex, profound, thought-provoking, and philosophical as what we see in this project. Even after almost 25 years (during which countless movies with unique approaches to time travel have been made), Donnie Darko remains intact as a project that "defies" time itself, not only because of the physical and psychological aspects of time travel, but also because of the drama that "envelops" its entire context.

Riot Material

IMDb

Dealing with two distinct universes (in this case, the primary and the tangent), the script thrusts an intricate and powerful narrative upon the audience about how changing past events directly impacts the more recent era (the time that delimits all human actions in the current timeline). Although it has a very slow pace (perhaps its only "negative" point... but which, in my opinion, perfectly fits the development of what's being constructed on screen within a very insightful psychology), the movie never becomes boring (or irrelevant) because all the events are so compelling within their own complexity. Time travel in this movie is like jumping off a "cliff" without seeing where the end is (if there even is one).

MUBI

The Mirror

Donnie Darko delivers an effective blend of science fiction, romance, horror, and suspense that defies the limits of logic. This is a credit to Richard Kelly, who worked double time to make this movie happens, directing and writing (a dual role he masterfully performed). The cast includes Jake Gyllenhaal, Jena Malone, Drew Barrymore and Maggie Gyllenhaal. They all deliver decent performances, but there's no denying that Jake is the one who steals every scene with his introspective and enigmatic aura, building a character that's (almost) impossible to decipher. It's also worth mentioning the excellent technical aspects (above average for low-budget movie standards), which enhance a very skillful "confusion".

This post is my entry for the CineTV Contest #145, which is being promoted by the CineTV community.

Concurso CineTV: “Donnie Darko”, uno de los viajes en el tiempo más intrigantes jamás realizados en la historia del Séptimo Arte.

No cabe duda de que el cine (sobre todo el estadounidense) cuenta con clásicos muy conocidos en cuanto a viajes en el tempo (y podría haber elegido cualquiera para escribir sobre él en esta edición del concurso, pero preferí pensar fuera de la caja y ofrecer algo diferente). Sin embargo, algunas joyas permanecen desconocidas para el público general y merecen un mayor reconocimiento (y aprecio). Por lo tanto, decidí escribir precisamente sobre Donnie Darko, no solo por ser una película controvertida sobre viajes en el tiempo, sino porque es una de mis favoritas de esa época (lo cual, de por sí, es bastante complejo y genera excelentes conversaciones, y dado que esta es una de las esencias del Séptimo Arte, es imposible no pensar en esta película cuando se habla de bucles temporales).

Aquí tenemos una película que explora los viajes en el tiempo de una forma nunca antes vista en la historia del cine (y la audacia del proyecto habla por sí sola, ofreciendo algo increíblemente complejo que sigue debatiéndose en innumerables foros de cine hasta el día de hoy). Estrenada a principios de la década del 2000 (2001, para ser precisos), la trama se centra en un joven (Donnie Darko) que, tras escapar de un extraño accidente, se ve atrapado en una trampa mental que le provoca visiones constantes de un hombre con un traje de conejo, lo que también lo lleva a cometer numerosos crímenes. Lo que podría haber sido "solo" un thriller más se convierte en algo más grande porque es un proyecto que invita a plantearse diferentes tipos de preguntas sobre la lógica incluso de las cosas más triviales.

Lamentablemente, no puedo profundizar en los problemas que rodean los viajes en el tiempo en este texto (ya que son el motor de toda la trama), pero puedo asegurarles que, hasta la fecha, el cine (al menos dentro del segmento de películas que abordan este mismo tipo de temática que he tenido la oportunidad de ver) nunca ha logrado producir algo tan audaz, complejo, profundo, sugerente y filosófico como lo que vemos en este proyecto. Incluso después de casi 25 años (durante los cuales se han realizado innumerables películas con enfoques únicos sobre los viajes en el tiempo), Donnie Darko se mantiene intacto como un proyecto que "desafía" al tiempo mismo, no solo por los aspectos físicos y psicológicos del viaje en el tiempo, sino también por el drama que "envuelve" todo su contexto.

Al abordar dos universos distintos (en este caso, el primario y el tangente), el guion presenta al público una narrativa compleja y poderosa sobre cómo los cambios en los eventos del pasado impactan directamente en la era más reciente (el tiempo que delimita todas las acciones humanas en la línea temporal actual). Aunque tiene un ritmo muy lento (quizás su único punto "negativo"... pero que, en mi opinión, encaja a la perfección con el desarrollo de lo que se construye en pantalla dentro de una psicología muy profunda), la película nunca se vuelve aburrida (ni irrelevante) porque todos los eventos son tan cautivadores dentro de su propia complejidad. Viajar en el tiempo en esta película es como saltar de un precipicio sin ver dónde está el final (si es que lo hay).

Donnie Darko ofrece una eficaz mezcla de ciencia ficción, romance, terror y suspenso que desafía los límites de la lógica. Esto es mérito de Richard Kelly, quien trabajó a destajo para hacer realidad esta película, dirigiendo y escribiendo (una doble función que desempeñó con maestría). El reparto incluye a Jake Gyllenhaal, Jena Malone, Drew Barrymore y Maggie Gyllenhaal. Todos ofrecen actuaciones decentes, pero es innegable que Jake es quien se roba cada escena con su aura introspectiva y enigmática, construyendo un personaje (casi) imposible de descifrar. También cabe destacar los excelentes aspectos técnicos (superiores a la media para películas de bajo presupuesto), que potencian una hábil "confusión".

Esta publicación es mi entrada para el Concurso CineTV #145, que está siendo promovido por la comunidad CineTV.

Concurso CineTV: “Donnie Darko”, uma das mais intrigantes viagens no tempo que já foram feitas na história da Sétima Arte.

Não há dúvidas de que o cinema (em especial, o estadunidense) tem verdadeiros clássicos muito conhecidos quando o tema é viagem no tempo (e eu poderia ter escolhido qualquer um deles para escrever à minha participação nesta edição do concurso, mas eu preferi pensar fora da caixa e entregar algo diferente). No entanto, algumas gemas seguem sendo desconhecidas do grande público e precisam ser mais reconhecidas (e apreciadas). Sendo assim, é justamente sobre Donnie Darko que eu decidi escrever, não apenas por ser um filme controverso sobre viagem no tempo, mas por ser um dos meus favoritos dentro desse tempo (que por si só é algo bastante complexo e rende excelentes conversas, e sendo essa uma das essências da Sétima Arte, não há como não lembrar deste filme ao falar de “loopings temporais”).

Eis aqui um filme que se debruça sobre a viagem no tempo de uma maneira como antes nunca havia sido feita dentro da história do cinema (e a ousadia do projeto fala por si própria ao entregar algo muito complexo e que até hoje segue sendo discutido em inúmeros fóruns de cinema). Lançado no início dos anos 2000 (mais precisamente no ano de 2001), a trama é centrada em um jovem (Donnie Darko) que após ter escapado de um acidente de circunstâncias bizarras, se vê “preso” de uma “armadilha mental” que o faz ter constantes visões de um homem usando uma fantasia de coelho, e que também o faz cometer diversos crimes. O que poderia ter sido “só” outro filme de suspense, se torna algo maior porque é um projeto que te convida a fazer diferentes tipos de questionamentos sobre a lógica das coisas mais triviais.

Infelizmente eu não posso mergulhar fundo neste texto para explicar sobre as questões envolvendo as viagens através do tempo (porque são nelas que residem a “força motriz” de toda à trama principal), mas eu posso te garantir que até hoje o cinema (ao menos dentro do segmento dos filmes que lidam com esse mesmo tipo de temática que eu já tive a oportunidade de assistir) nunca conseguiu fazer algo tão ousado, complexo, profundo, instigante e filosófico quanto o que é visto neste projeto. Mesmo após quase 25 anos (onde inúmeros filmes com diferentes abordagens únicas sobre viagens temporais já foram feitos por aí), Donnie Darko segue intacto como um projeto que “desafia” o próprio tempo, não apenas pela questão física e psicológica da viagem no tempo, mas pelo drama que “envelopa” todo o seu contexto.

Lidando com dois tipos diferentes de universos (neste caso, o primário e o tangente), o roteiro joga na cara do público uma narrativa intrincada e poderosa sobre como mudar os eventos do passado impactam diretamente no tempo mais recente (que é o tempo que delimita todas as ações dos seres humanos na linha temporal vigente). Embora tenha uma dinâmica muito lenta (sendo talvez esse o seu único ponto “negativo”... mas que no meu ponto de vista cai como uma luva no desenvolvimento do que está sendo construído na tela dentro de uma psicologia bem perspicaz), o filme nunca se torna entediante (ou irrelevante) porque todos os eventos são muito atraentes dentro da sua própria complexidade. Viajar no tempo dentro deste filme é pular de um “precipício” sem enxergar onde é o final dele (se é que existe algum).

Donnie Darko trás uma mistura eficiente de ficção científica, romance, horror e suspense que desafia o limite da lógica. Esse é um mérito de Richard Kelly, que trabalhou dobrado para fazer esse filme acontecer, sendo ele o diretor e também o roteirista do mesmo (uma função dupla que ele desempenhou com maestria, aliás). No elenco, há nomes como Jake Gyllenhaal, Jena Malone, Drew Barrymore e Maggie Gyllenhaal. Todos eles entregam performances decentes, mas não há como negar que é Jake o responsável por roubar todas as cenas com sua aura introspectiva e enigmática ao construir um personagem (quase) impossível de ser decifrado. Vale à pena mencionar também os seus ótimos aspectos técnicos (algo acima da média para os padrões de filmes com baixo orçamento), que engrandecem uma “confusão” muito hábil.

Este post é a minha participação para o Concurso CineTV #145, que está sendo promovido pela comunidade CineTV.

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@marabuzal
@marabuzal (71)
210 followers
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274d
Movie · on Banshee
"BANSHEE" | Marabuzal Review (ENG-ESP)

Source/Fuente

Remember that show everyone was talking about, the one about "that guy who pretends to be a sheriff and gets his face kicked in every two minutes"? I approached Banshee with skepticism, expecting only a dose of well-choreographed violence to unwind. Friends, what I found was a trip that doesn't prepare you for what it is: a brutal and bloody meditation on identity, redemption, and the cages we build for ourselves.

Let me start with the chaos, because chaos is the very essence of this Pennsylvania town. The premise is, in and of itself, insane: a nameless ex-convict (literally, he's known as Lucas Hood) steals the identity of Banshee's new sheriff just as he arrives in town. Absurd? Maybe. Does it work? Impressively. But this isn't just an identity-theft thriller. It's the perfect canvas to ask ourselves: who would you be if you could erase your past? Banshee's response is liberating. Hood doesn't escape his life; he enters a more gilded cage, but a cage nonetheless.

¿Recuerdan esa serie de la que todo el mundo hablaba, la de "ese tipo que se hace pasar por un sheriff y se parte la cara cada dos minutos"? Yo llegué a Banshee con escepticismo, esperando solo una dosis de violencia bien coreografiada, para desconectar. Amigos, lo que encontré fue un viaje que no te prepara para lo que es: una reflexión brutal y sangrienta sobre la identidad, la redención y las jaulas que nosotros mismos construimos.

Permítanme empezar por el caos, porque el caos es la esencia misma de este pueblo de Pennsylvania. La premisa es, de por sí, una locura: un ex-presidiario sin nombre (literalmente, se le conoce como Lucas Hood) usurpa la identidad del nuevo sheriff de Banshee justo cuando este llegaba al pueblo. ¿Absurdo? Quizá. ¿Funciona? De una manera impresionante. Pero esto no es solo un thriller de identidad robada. Es el lienzo perfecto para preguntarnos: ¿quién serías si pudieras borrar tu pasado? La respuesta de Banshee es liberadora. Hood no escapa de su vida, se mete en una jaula más dorada, pero una jaula al fin y al cabo.

Source/Fuente

I remember one episode in particular, one from the third season, after a fight so grueling I could almost taste the blood and mud on the screen. It left me so mentally exhausted I had to pause and go for a walk. Not because of the graphic violence (which there is, and in industrial quantities), but because of the emotional weight each blow exuded. Every fight in Banshee isn't just spectacle; it's narrative. The language through which these characters communicate, destroy, and redefine each other.

These characters are masterful narrative tools. They're not "deep" in the classic sense of a drama of manners; they're archetypes taken to the extreme, forces of nature that collide to explore the central themes. Hood, the personification of instinct and trauma; Carrie Hopewell, his former partner and lover, who represents the longing for a normal life and the terrible consequences of not being able to achieve it; the villain, Kai Proctor. God, Kai Proctor! An Amish businessman who abandoned his community to build a criminal empire. He's not a bad guy for the sake of being bad; he's a philosophical treatise on free will, power, and the betrayal of his roots. His internal struggle between respect for his origins and contempt for its restrictions is as fascinating as any criminal plot.

Recuerdo un episodio en particular, uno de la tercera temporada, tras una pelea tan extenuante que casi podía sentir el sabor a sangre y barro en la pantalla. Me dejó tan agotado mentalmente que tuve que pausar y salir a caminar. No por la violencia gráfica (que la hay, y en cantidades industriales), sino por el peso emocional que destilaba cada golpe. Cada combate en Banshee no es solo espectáculo; es narrativa. El lenguaje mediante el cual estos personajes se comunican, se destruyen y se redefinen.

Estos personajes son herramientas narrativas magistrales. No son "profundos" en el sentido clásico de dramas costumbristas; son arquetipos llevados al extremo, fuerzas de la naturaleza que chocan entre sí para explorar los temas centrales. Hood, la personificación del instinto y el trauma. Carrie Hopewell, su ex-compañera y amante, que es el anhelo de una vida normal y las terribles consecuencias de no poder alcanzarla. El villano, Kai Proctor. ¡Dios, Kai Proctor! Un empresario amish que abandonó su comunidad para construir un imperio criminal. Él no es un malo por ser malo; es un tratado filosófico sobre el libre albedrío, el poder y la traición a sus raíces. Su guerra interna entre el respeto por sus orígenes y el desprecio hacia sus restricciones es tan fascinante como cualquier plan criminal.

Source/Fuente

The series weaves a puzzle where every piece of violence, every act of desire, every morally murky decision fits into a larger mosaic of human nature. Are we our actions? Or are we the story we tell ourselves? Banshee laughs at the idea of easy redemption. Every time a character tries to do the right thing, the Banshee universe, itself a grim and oppressive one, exacts a heavy toll.

Let's talk about the ending. No, I won't spoil it. But the ending of Banshee is simply... necessary. It's the only logical conclusion to this journey into the personal hell of its characters. It's not happy, nor sad; it's just. It's cathartic in a way few series dare to be. It closes thematic arcs with a precision that leaves you speechless, reflecting on the cost of freedom and the weight of wearing a mask for so long that it fuses with your skin.

La serie teje un rompecabezas donde cada pieza de violencia, cada acto deseo, cada decisión moralmente gris, encaja en un mosaico más grande sobre la naturaleza humana. ¿Somos nuestras acciones? ¿O somos la historia que nos contamos a nosotros mismos? Banshee se ríe de la idea de la redención fácil. Cada vez que un personaje intenta hacer lo correcto, el universo de Banshee, un personaje en sí mismo lúgubre y opresivo, se lo cobra caro.

Hablemos del final. No, no voy a spoilear. Pero el final de Banshee es simplemente… necesario. Es la única conclusión lógica para este viaje al infierno personal de sus personajes. No es feliz, ni triste; es justo. Es catártico de una manera que pocas series se atreven a ser. Cierra los arcos temáticos con una precisión que te deja boquiabierto, reflexionando sobre el costo de la libertad y el peso de llevar una máscara durante tanto tiempo que se funde con tu piel.

Source/Fuente

On a technical level, everything serves this atmosphere. The photography, with blues and grays that paint the town with a melancholic palette and violence. The fight choreography, which is legendary for a reason: it's raw, dirty, and makes you believe every punch really hurts. It's an aesthetic that doesn't seek to be pretty; it seeks to be true within its own brutal exaggeration.

Banshee is more than an action series. It's an experience. One that hits you and shakes your soul. It leaves you with uncomfortable questions about your own identity and the chains you drag. It's not a gem, it's a diamond in the rough, with sharp edges and a dangerous beauty. If you have the stomach for it, delving into Banshee is one of the most rewarding and emotionally draining television adventures you'll ever experience. Crazy, in the best sense of the word.

A nivel técnico, todo está al servicio de esta atmósfera. La fotografía, con azules y grises que pintan el pueblo con una paleta melancólica y violencia. Las coreografías de pelea, que son legendarias por una razón: son crudas, sucias y te hacen creer que cada puñetazo duele de verdad. Es una estética que no busca ser bonita, busca ser verdadera dentro de su propia y brutal exageración.

Banshee es más que una serie de acción. Es una experiencia. Una que te golpea y te zarandea el alma. Te deja con preguntas incómodas sobre tu propia identidad y las cadenas que arrastras. No es una joya, es un diamante en bruto, con aristas cortantes y una belleza peligrosa. Si tienes el estómago para ello, adentrarte en Banshee es una de las aventuras televisivas más gratificantes y emocionalmente agotadoras que podrás vivir. Una locura, en el mejor sentido de la palabra.

Written by @marabuzal|Escrito por @marabuzal

_{Traducción al inglés Google Translation}

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Roberto
@nameless16 (75)
📍 Venezuela
1,027 followers
666 following
Conocedor de Futbol y las MMA pero malo practicando deportes, me gusta las peliculas y series por eso ahora..."Soy critico de Cine". Viviendo en Venezuela
274d
Movie · on Sinners
Sinners - Movie Review [ES - EN]

Ha comenzado octubre lo cual oficializa el inicio del Hivelloween 25'; por todo este mes y como ha ocurrido en los últimos años, en mi blog de Hive, solamente haré reseñas de películas, series, animes y demás, en donde cada una de las producciones elegidas sean netamente del género del terror o que utilice elementos del terror en sus relatos; la primera elegida "Sinners", film dirigido y escrito por Ryan Coogler y protagonizado por Michael B. Jordan, que nos hace viajar a 1932, específicamente a Mississippi, en dónde vemos a dos hermanos gemelos, veteranos de la Primera Guerra Mundial y ex empleados de las Mafias de Chicago, regresar a lo que fue su hogar, un lugar que ahora es "libre" de la esclavitud y del KKK, lo cual le permite comenzar un negocio en dónde los placeres y vicios estarán a la orden del día o mejor dicho de la noche y justamente, la fiesta liderada por el Blues hará que entes malignos les acechen por una noche que podrá ser la última de sus vidas.

October has begun, which marks the official start of Hivelloween 25. Throughout this month, as in previous years, my Hive blog will only feature reviews of movies, series, anime, and other content, with each of the selected productions being strictly from the horror genre or using elements of horror in their stories. The first one chosen is Sinners, a film directed and written by Ryan Coogler and starring Michael B. Jordan, which takes us back to 1932, specifically to Mississippi, where we see two twin brothers, veterans of World War I and former employees of the Chicago Mafia, return to what was once their home, a place that is now "free" from slavery and the KKK, allowing them to start a business where pleasures and vices will be the order of the day, or rather the night. However, the party led by the Blues will cause evil entities to stalk them for a night that could be the last of their lives.

Fuente / Source

Esta película es considerada no solamente como un éxito taquillero, sino una de las mejores del año y justamente ese nombramiento me hizo generar expectativas que trate de disminuir al momento de por fin ver "Sinners", pero desde el primer momento, es notorio que Coogler quería no solamente relatar una historia muy ligada a los orígenes de la comunidad afroamericana, sino en mostrar o mejor dicho recrear imágenes en lugares donde existió el verdadero terror como lo fue la esclavitud; justamente en esta película, su director y guionista, tuvo la necesidad de usar el término de la libertad para ser la base y el motivo principal no solo de sus protagonistas, sino de todos personaje que hacen apariencia. Coogler, muy lejos de la parafernalia que impone Marvel Studios, se nota que él también tuvo libertad para realizar un gran trabajo, esto lo digo por las tomas en dónde demuestra escenografías que a pesar de su hermosura, esconde historias de terror, traumas que serán difíciles de borrar; la necesidad de mostrarnos el lugar, de relatar su historia es lo que aprecio y me hizo pensar que este film se desarrolla en dos largos actos y cierra con un excelente epílogo; el gran trabajo de este director no solo se basa en mostrar el pasado, sino también demostrar la influencia que genera en el futuro tanto para bien como para mal y eso lo aprecio porque no convierte a su película en una propaganda victimista de su comunidad, sino una crítica de lo malo, pero también hay que señalar que existe una celebración de lo bueno.

This film is considered not only a box office success, but one of the best of the year, and it was precisely this reputation that raised my expectations, which I tried to lower when I finally saw "Sinners." However, from the very beginning, it is clear that Coogler wanted not only to tell a story closely linked to the origins of the African American community, but also to show, or rather recreate, images in places where true terror existed, such as slavery. In this film, the director and screenwriter felt the need to use the term "freedom" as the basis and main motive not only for his protagonists, but for all the characters who appear. Far from the trappings imposed by Marvel Studios, it is clear that Coogler also had the freedom to do a great job. I say this because of the shots where he shows settings that, despite their beauty, hide stories of terror and traumas that will be difficult to erase. The need to show us the place, to tell its story, is what I appreciate and made me think that this film unfolds in two long acts and closes with an excellent epilogue. This director's great work is not only based on showing the past, but also on demonstrating the influence it has on the future, both for good and for bad, and I appreciate that because it does not turn his film into victimizing propaganda for his community, but rather a critique of the bad, while also celebrating the good.

Fuente / Source

Mientras veía está película no dejaba de pensar en la gran experiencia que debió ser verla en una pantalla IMAX, lo amplío y lo hermoso de cada toma realizada, sea entre los campos de algodón o en un pueblo sin ley o dentro de un bar de música Blues, debió ser algo muy emocionante y eso en parte es un punto altamente positivo de esta película lo cual está aunado al guion que considero perfecto; Coogler no solamente se enfoca en la población que después de obtener su libertad, siguió apresado a la recolección de algodón para poder sustituir; en esta historia se trata temas del uso de la religión o de otras creencias, así como también las adicciones y el uso y abuso del poder, pero también se hace un homenaje a la cultura afroamericana, en especial a la música en especial al Blues que influyó a generaciones sin importar el color de la piel, un acierto del director y guionista porque si existe una demostración o expresión de libertad, justamente es la música lo que puede generar esa libertad; personalmente creo que el guion de este film es sumamente inteligente y muy correcto.

While watching this film, I couldn't stop thinking about what a great experience it must have been to see it on an IMAX screen, the grandeur and beauty of each shot, whether in the cotton fields, in a lawless town, or inside a blues bar. It must have been very exciting, and that is one of the film's strong points, along with the script, which I consider perfect. Coogler not only focuses on the population that, after gaining their freedom, continued to be trapped in cotton picking in order to make ends meet; this story deals with issues such as the use of religion or other beliefs, as well as addiction and the use and abuse of power, but it also pays tribute to African-American culture, especially music, particularly the blues, which influenced generations regardless of skin color. This was a wise decision by the director and screenwriter because if there is one demonstration or expression of freedom, it is music that can generate that freedom. Personally, I think the script for this film is extremely intelligent and very accurate.

Fuente / Source

Es cierto que está película tiene mucha relevancia la historia afroamericana y eso es algo inevitable por el lugar y la época en dónde se desarrolla, pero al momento de anexar otro tipo de terror, la decisión del uso de Vampiros, fue una característica que consideré perfecta porque estás criaturas de la noche no discriminan al momento de alimentarse y su representación en esta película es excelente y es debido a la actuación de Jack O'Connell quien interpreta al manipulador, vil y hambriento "Remmick"; quien es excelente depredador; es uno de mis personajes favoritos en el film y me gustó que él esté alejado de esa imagen de ser el villano solamente por el hecho de ser blancos, lo cual hubiera sido una completa decepción, pero en este caso, su personaje se aleja de la discriminación y se acerca a la admiración, ya que es la música, el Blues quien lo atrae y se convierte en un principal motivo a un gran lugar para alimentarse; en mi opinión es un gran villano. Otro aspecto positivo de este film, es el trabajo actoral de Michael B. Jordan; su doble interpretación de los gemelos: Elijah "Smoke" Moore y Elias "Stack" Moore; el actor cumple con la necesidad de demostrar las diferencias entre ambos hermanos, principalmente su manera de ver y aceptar la vida, en donde uno es o intenta ser un alma libre y el otro tiene la dura tarea de llevar en sus hombros duros e imborrables traumas, ambos son presos de deseos y añoranzas lo cual no les deja ser completamente libres y eso es perfecto, ya que encaja en el tema principal del film.

It is true that African American history plays a significant role in this film, which is inevitable given the setting and time period in which it takes place. However, when it came to adding another type of horror, the decision to use vampires was a feature that I considered perfect because these creatures of the night do not discriminate when it comes to feeding, and their representation in this film is excellent thanks to the performance of Jack O'Connell, who plays the manipulative, vile, and hungry "Remmick," an excellent predator and one of my favorite characters in the film, and I liked that he is far from the image of being the villain simply because he is white, which would have been a complete disappointment. But in this case, his character moves away from discrimination and closer to admiration, as it is music, the Blues, that attracts him and becomes a main reason for him to go to a great place to feed. In my opinion, he is a great villain. Another positive aspect of this film is the acting work of Michael B. Jordan; his double performance as the twins: Elijah "Smoke" Moore and Elias "Stack" Moore; The actor successfully demonstrates the differences between the two brothers, mainly their way of seeing and accepting life, where one is or tries to be a free spirit and the other has the difficult task of carrying heavy and indelible traumas on his shoulders. Both are prisoners of desires and longings that prevent them from being completely free, which is perfect, as it fits in with the main theme of the film.

Fuente / Source

Estoy completamente seguro que para muchos, Sinners no es la película más terrorífica del año y estoy de acuerdo, pero de igual manera también debo decir que nombrarla como una de las mejores películas del año, es un gran acierto porque el film dirigido y escrito por Coogler es perfecto, es un drama cuando necesita serlo, así sea de una manera breve, también sirve como una película que ofrece parte de la historia afroamericana, muchas veces relatada desde muchos puntos de vista en otros filmes, pero personalmente no había visto uno en donde sea la música un gran protagonista y la máxima expresión para demostrar libertad, el tema principal del film, el motivo que genera todo suceso en esta historia, sea en su primer largo acto o en los acontecimientos finales en donde el caos y terror sobrenatural se hace presente y del cual he disfrutado mucho; está es sin ninguna duda y por ahora mi película favorita del año.

I am completely sure that for many, Sinners is not the scariest movie of the year, and I agree, but I must also say that naming it one of the best movies of the year is a great choice because the film directed and written by Coogler is perfect. It is dramatic when it needs to be, even if only briefly, it also serves as a film that offers a part of African-American history, often told from many points of view in other films, but personally, I had not seen one where music is a major protagonist and the ultimate expression of freedom, the main theme of the film, the motive that generates all the events in this story, whether in its first long act or in the final events where chaos and supernatural terror are present, which I enjoyed very much. This is without a doubt my favorite film of the year so far.

Sinners - Official Trailer

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

I have used deepl.com as a translator

----

Frank Córdova

@franz54 (76)

📍 Ciudad Bolívar, Venezuela.

510 followers

216 following

Ingeniero Geólogo. Amante de Hive ❤️. Me encantan los deportes 🏎️🏍️ y los videosjuegos 🎮🕹️

274d

Movie · on The Song of Names

The Song of Names // La canción de los nombres olvidados

Cover created in Canva. Source of images || Portada creada en Canva. Fuente de las imágenes

The Song of Names is a 2019 Canadian film directed by François Girard, adapted from the novel written by Norman Lebrecht. This drama reflects the suffering endured by Jewish children during World War II, and the use of music as a means of remembrance and mourning is deeply authentic. I came across this film by chance, and its story caught my attention, so I didn't hesitate for a second to watch it. Today, I bring you my personal opinion on the film.

As I mentioned earlier, The Song of Forgotten Names is a drama set during World War II. It tells the story of Dovidl, a Jewish boy who is forced to leave his family and travel from Poland to Great Britain. The boy was a talented violinist, a true prodigy with the instrument, whose immense talent was evident in his performances. He was taken in by a British family, where he lived with his great friend and adoptive brother, Martin. Dovidl was supposed to play at a big concert in London, with a large audience, including royalty, but he suddenly disappeared, so the performance had to be canceled. This film is a transition between the present and the past. It tells us how Martin searches for Dovidl 35 years after his disappearance, as well as showing memories of when they were children to understand what really happened and why Dovidl made the decision to leave.

I must say that I love movies about music, especially when they deal with a child's talent for playing a classical instrument, as referenced in the film. Combined with a theme such as the Jews, what they experienced during World War II, known as the Holocaust, how the Nazis committed cruel crimes against the Jews of Europe, and how many children lost their families, drastically changing their lives. This is a theme that I really like, and I think it's one of the main reasons why I connected with the film from the beginning. It also made me curious to find out why Dovidl left without giving any explanation. The film shows us the lives of Dovidl and Martin as children, teenagers, and adults.

La canción de los nombres olvidados es una película canadiense del 2019, dirigida por François Girard, una adaptación de la novela escrita por Norman Lebrecht. Este es un drama que refleja el drama que vivieron los niños judíos durante la Segunda Guerra Mundial, y el uso de la música como medio de memoria y duelo es profundamente auténtico. Una película que me la encontré por casualidad, me llamó la atención su historia, así que no dudé un segundo en verla y el día de hoy les traigo mi opinión personal sobre la película.

Como les dije anteriormente, La canción de los nombres olvidados es un drama que se desarrolló durante la segunda gran guerra. Nos habla sobre Dovidl, un niño judío que es obligado a separarse de su familia, yendo desde Polonia hacia Gran Bretaña. El niño poseía un gran talento con el violín, un auténtico prodigio con el instrumento musical, un talento inmenso que lo reflejaba con sus presentaciones. Este fue acogido por una familia Británica, donde estuvo con un gran amigo y hermano adoptivo, Martin. Dovidl debía tocar en un gran concierto en la ciudad de Londres, con un gran público, incluso de la realeza, pero este desaparece sorpresivamente, por lo que la presentación se debió cancelar. Esta película es una transición del presente y el pasado, nos cuenta como Martín busca a Dovidl luego de 35 años de su desaparición, además de mostrar recuerdos de cuando estos eran niños para entender lo que realmente pasó y porque este (Dovidl), tomó la decisión de irse.

Debo decir que me encantan las películas que trata sobre música y más cuando se habla del talento de un niño al tocar un instrumento de música clásica, tal como se hace referencia en el filme. En combinación con un tema como es los judíos, lo que vivieron durante la Segunda Guerra Mundial, lo que se conoce con el Holocausto, como los Nazis cometieron crímenes crueles judíos de Europa y como muchos niños perdieron a sus familias, cambiando drásticamente sus vidas. Un tema que realmente me gusta y creo que es una de las razones principales para decir que conecté con la película desde un principio, que además me daba la intriga de conocer cuál fue la razón por la cual Dovidl se fue sin dar ningún tipo de explicación. La película nos muestra la vida de Dovidl y Martin tanto de niños, adolescentes y adultos.

Source

The central theme of this film is to show the suffering endured by Jewish children during World War II. It is a way of remembering those who were wiped out by the war, if you will. I found Dovidl to be a rather strange child, but I was still able to connect with his character in all his facets, as a child, teenager, and adult. On the other hand, Martin was a boy raised in a good family. At first, he didn't like our protagonist, but then he came to love him like a brother. This film conveys several messages, such as grief, that as people we must find a way to heal our wounds, but that it is better to know the truth, to understand what really happened in order to move forward. The film also reflects how war leads people to make decisions that are often controversial, especially given the pain that many children around the world have experienced. It is a film that makes us reflect on events that are happening in our own times.

One of the things I would criticize about the plot is that there are certain things that weren't entirely clear to me. I was left wanting more details to understand the central characters in this story more deeply. Despite this detail, I must say that in terms of the story, I liked this movie. The cast was well chosen, from Dovidl to Martin at different ages, and I would like to highlight Jonah Hauer-King, who played Dovidl as a teenager, and Luke Doyle, who brought the Jewish boy between the ages of 9 and 13 to life. The film The Song of the Forgotten Names has a great cast, with actors and actresses who do a magnificent job in their different roles. Remember that this is an opinion based on my personal experience, according to the connection with what they want to show us with the different characters.

Esta película tiene como tema central mostrar el dolor que pasaron los niños judíos durante la Segunda Guerra Mundial, Es una forma de recordar a quienes fueron borrados por la guerra, si se podría decir de esta manera. Dovidl me pareció un niño bastante un poco extraño, pero de todas formas pude conectar con su personaje, en cada una de sus facetas, tanto de niño, adolescente y adulto. Por otro lado, Martín era un chico criado de buena familia, al principio no quería a nuestro protagonista, pero luego lo quiso como un hermano. Esta película nos muestra varios mensajes, el duelo, que como personas debemos buscar la forma de cerrar las heridas, pero que mejor de conocer la verdad, de entender lo que realmente pasó para poder continuar adelante. También el filme refleja como la guerra lleva a las personas a tomar decisiones que suelen ser controversiales y más por el dolor que han vivido muchos niños en el mundo. Un filme para reflexionar incluso de sucesos que están pasando en nuestros tiempos.

Una de las cosas que criticaría de la trama es que hay ciertas cosas que no me quedaron totalmente claras, me quedé con ganas de más detalles para entender a más profundidad a los personajes centrales de esta historia. A pesar de este detalle, debo decir que en cuanto a la historia, esta película me gustó. El cast del filme fue bien elegido, desde Dovidl hasta Martín en sus diferentes edades, donde quiero destacar a Jonah Hauer-King que interpretó a Dovidl de adolescente y a Luke Doyle por darle vida al niño judío entre la edad de 9 y 13 años. La película La canción de los nombres olvidados, tiene un gran reparto, actores y actrices que hace un magnífico trabajo en la interpretación de sus diferentes papeles. Recordar que esta es una opinión basada en mi experiencia personal, de acuerdo a la conexión con lo que nos quieren mostrar con los diferentes personajes.

Source

The cinematography is one of the most outstanding elements of this film; David Franco did a magnificent job. The story is shown in great detail in the different places and times, both in London, Warsaw, and other places where the story of The Song of the Forgotten Names unfolds. It even shows scenes during the German bombing of London, how people lost their lives during these acts, and how others took shelter to survive. Visually, this is a very well-crafted film. The same could be said of the soundtrack, which features classical music, but my favorite was the last piece, as it reflects the story of this production, honoring those who lost their lives and are not remembered by many.

The Song of the Forgotten Names is a very good story, perhaps not one of the best I've seen, as there are some (films) that I consider to be epic, but this film is definitely worth watching, with a good plot, dialogue, cinematography, and soundtrack that are all up to par. I recommend you watch this film; I don't think you'll regret it. This story is not based on real events, but it is inspired by Jewish children and what they experienced during World War II, as well as talented people who went through many calamities. It's a story you can't miss.

La fotografía es uno de los elementos más destacados de este filme, David Franco hizo una labor grandiosa. La historia se muestra de manera muy detalla en los diferentes lugares y época, tanto en Londres, Varsovia y otros lugares donde se desarrolla la historia de La canción de los nombres olvidados. Incluso se muestran escenas durante los bombardeos que los alemanes le hicieron a Londres, como las personas perdían la vida durante estos actos y como otros se resguardaban para lograr y sobrevivir. Un filme que en lo visual está muy bien trabajado. Lo mismo podría decir de la banda sonora, se compusieron músicas clásicas, pero las que más me gustó fue la última, pues refleja la historia de esta producción, de hacerles honor a estas personas que perdieron sus vidas y muchos no recuerdan.

La canción de los nombres olvidados es una muy buena historia, tal vez no de las mejores que he visto, pues hay algunas (películas) que considero que son épicas, pero este filme sí que vale la pena, una buena trama, diálogos, fotografía y banda sonora que están a la altura. Les recomiendo que vean este filme, creo que no se van a arrepentir. Esta historia no es basada en hechos reales, pero sí que está inspirada en niños judíos y lo que vivieron durante la Segunda Guerra Mundial, además de personas con talento que pasaron por muchas calamidades. Una historia que no se pueden perder.

Source

Data sheet 🎟
Original title 📼: The Song of Names
Year: 2019
Length ⏱️: 111 minutes
Country: Canada
Direction 🎥: François Girard
Screenplay 📃: Jeffrey Caine, Novel: Norman Lebrecht

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

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Cajiro
@cajiro (73)
📍 Aragua- Venezuela
195 followers
208 following
Mi pasión por el arte de leer y escribir son mi mayor fuente de alegría e inspiración. Disfruto la vida desde los más sutiles matices que te puede brindar un...
274d
Movie · on Aftersun
Aftersun (Reseña/ Review)

Hace mucho tiempo que una película no tenía un impacto tan profundo en mí, quizás por el tema en general por el cual se desarrolla la trama entre unas vacaciones que una hija comparte con su padre. Dos vidas que se trazan en una sola experiencia, donde una niña empieza a abrir los ojos al mundo mientras un hombre va perdiendo el poco brillo y sentido que tiene por la vida. Sophie y Calum son los personajes principales de una historia conmovedora y muy triste, de esas películas que nunca deberías ver estando solo.

Todo gira principalmente en los recuerdos de Sophie, quien ya adulta empieza a enlazar todos los momentos que compartió junto a su padre en unas vacaciones. La película ya de entrada asoma un ambiente nostálgico que a medida que va avanzando empieza a mover más nuestras emociones. De plano parece que es la típica historia de ese padre que da lo mejor por su hija, pero aquí vemos a un padre que desde un gran y profundo vacío está librando una feroz batalla dentro de sí mismo para brindarle días felices.

It's been a long time since a film had such a profound impact on me, perhaps because of the general theme of the plot between a vacation that a daughter shares with her father. Two lives that are traced in a single experience, where a girl begins to open her eyes to the world while a man is losing the little luster and sense he has for life. Sophie and Calum are the main characters of a touching and very sad story, one of those movies you should never watch alone.

Everything revolves mainly around the memories of Sophie, who as an adult begins to link all the moments she shared with her father on vacation. The film already has a nostalgic atmosphere that as it progresses begins to move our emotions more and more. At first glance it seems to be the typical story of a father who gives his best for his daughter, but here we see a father who from a great and deep emptiness is fighting a fierce battle within himself to give her happy days.

Filmaffinity

Esta película me dejó con esa sensación de cómo la vida puede verse desde dos ángulos totalmente diferentes. Sophie, tratando de asimilar ese camino que ya pronto la conducirá a la adolescencia, mientras Calum ya es un hombre maduro que desde hace mucho parece haber renunciado a vivir. Por un lado vemos a una niña en pleno vuelo y con ganas de soñar, mientras que por el otro vemos a un padre dando lo mejor de sí para no mostrar su lado más triste: una lucha con la depresión. En lo particular me parece algo triste que todo esto sea bajo el marco de unas vacaciones familiares en las que deseas disfrutar de plena felicidad.

Detrás de una sonrisa puede haber el dolor más grande que puedes imaginar, y en el caso de Calum vemos a un padre esforzándose para que su hija tenga las vacaciones deseadas. En este aspecto pienso en esos padres que a base de esfuerzo y sacrificio están dispuestos a dar todo por sus hijos, aunque tengan que cargar con heridas demasiado profundas. Por eso entiendo que todo se basa en como ya Sophie de adulta empieza a rememorar esos momentos, porque es así como al meditar en las cosas del pasado notamos el valor que tenían cuando estaban presentes.

This film left me with that feeling of how life can be seen from two totally different angles. Sophie, trying to assimilate that path that will soon lead her to adolescence, while Calum is already a mature man who seems to have given up on living. On the one hand we see a girl in full flight and wanting to dream, while on the other we see a father doing his best not to show his saddest side: a struggle with depression. In particular, I find it sad that all this is under the framework of a family vacation in which you want to enjoy full happiness.

Behind a smile there can be the greatest pain you can imagine, and in Calum's case we see a father struggling to make sure his daughter has the vacation she desires. In this aspect I think of those parents who, based on effort and sacrifice, are willing to give everything for their children, even if they have to carry wounds that are too deep. That's why I understand that everything is based on how Sophie as an adult begins to remember those moments, because that's how when meditating on the things of the past we notice the value they had when they were present.

Filmaffinity

Filmaffinity

Me gusta que al final de la película se haya dejado esa ventana abierta a un posible final. Aunque hay un planteamiento obvio que nos lleva a imaginar un trágico desenlace, también lo considero como una palmada para quienes hoy están sumergidos en la depresión, y que sí se puede superar aunque el escenario adentro sea el más horrible de todos. Ante un enemigo silencioso lo mejor es hablar, y eso es lo que nos debe mover ante una triste realidad que a muchos les atormenta la vida sin ninguna contemplación.

En síntesis pienso que Aftersun es una película con un mensaje contundente, bastante triste pero para nada alejado de lo que muchos ahora viven. Es de esas películas que no recomendaría ver si estás algo sensible o tocado de manera sentimental, pero con esto la película no deja de ser buena. Y es que a veces las historias más tristes son las que nos mueven a reflexionar y meditar en el valor de nuestra existencia, y también de lo que estamos haciendo para valorar la vida de nuestros seres queridos.

I like the fact that at the end of the film that window has been left open to a possible ending. Although there is an obvious approach that leads us to imagine a tragic outcome, I also consider it as a clap for those who today are immersed in depression, and that it can be overcome even if the scenario inside is the most horrible of all. In the face of a silent enemy, the best thing to do is to speak, and that is what should move us in the face of a sad reality that torments the lives of many without any contemplation.

In summary, I think that Aftersun is a film with a strong message, quite sad but not at all far from what many now live. It is one of those movies that I would not recommend to see if you are a little sensitive or touched in a sentimental way, but with this the movie is still good. And sometimes the saddest stories are the ones that move us to reflect and meditate on the value of our existence, and also what we are doing to value the lives of our loved ones.

Filmaffinity

Filmaffinity

Gracias por darle valor a esta publicación con tu tiempo y atención.

Hasta pronto.

Thank you for adding value to this publication with your time and attention.

See you soon.
Drax
@drax (77)
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Blogger, film critic, columnist (writes in Croatian and English)
274d
TV · on The Wire
Television Review: Moral Midgetry (The Wire, S3X08, 2004)

Moral Midgetry (S03E08)

Airdate: November 14th 2004

Written by: Richard Price Directed by: Agnieszka Holland

Running Time: 58 minutes

One of the defining characteristics that elevated The Wire beyond mere television into the realm of cultural and artistic embodiment of its era was its creators’ unparalleled ability to deliver plot twists that detonate with initial, visceral shock, yet, upon reflection, resonate with an almost terrifying inevitability. Few moments exemplify this mastery more devastatingly than the earth-shattering cliffhanger that concludes Season 3, Episode 8, Moral Midgetry. What appears, in the fleeting seconds before the screen cuts to black, as a sudden, brutal rupture is, in truth, the logical, horrifying culmination of every thematic thread and character flaw meticulously laid bare throughout the season – a moment where the show’s core thesis about systemic failure and individual moral compromise crystallises into irreversible, bloody consequence.

Prior to Richard Price’s script delivering this narrative sledgehammer, the episode masterfully misdirects the viewer, suggesting its primary concern lies elsewhere. It presents itself as an exploration of ambition run amok, focusing on two major characters whose grand, poorly conceived schemes – each pushing far beyond their station and comprehension – spiral into catastrophic, unintended consequences. The first of these is Major Howard "Bunny" Colvin’s audacious, radical experiment: the creation of "Hamsterdam," designated zones within the Western District where illicit drug trade and associated activities are tacitly tolerated by police. On the surface, Colvin’s gamble appears spectacularly successful. Crime statistics in his jurisdiction plummet so dramatically that higher-ups, steeped in institutional cynicism, immediately suspect cooked books rather than revolutionary policing. Yet, the episode swiftly dismantles this superficial triumph. When Colvin, seeking validation, escorts the respected community elder The Deacon on a tour of Hamsterdam, the anticipated commendation for innovation and safety evaporates. Instead, The Deacon is rendered speechless with horror. Colvin’s solution has not eradicated misery but merely concentrated it. The open-air drug markets thrive alongside rampant prostitution, transforming these zones into grotesque, hyper-visible microcosms of societal collapse. The grim irony is underscored by the opening scene: disarmed dealers become victims of opportunistic stick-up boys, their complaints to police met with dark, bureaucratic indifference – a microcosm of the system’s inherent absurdity. Even Omar Little, the ultimate stick-up artist, wisely avoids the scene, recognising the density of eyes and the precariousness of the arrangement; for him, Hamsterdam isn’t a goldmine but a potential death trap disguised as opportunity, likely to trigger a massive, career-ending drug bust.

This moral vacuum horrifies not only The Deacon but also members of Colvin’s own command. Officer Anthony Colicchio (Benjamin Busch) embodies the institutional conscience Colvin has deliberately bypassed. Colicchio cannot reconcile police tolerance, even encouragement, of mass lawlessness. His discussions with peers reveal the profound ethical fissure within the unit; he explicitly contemplates leaking Hamsterdam’s existence to higher authorities or the media – a single, devastating act that would instantly collapse Colvin’s entire house of cards. Becoming acutely aware of The Deacon’s profound moral condemnation, Colvin attempts damage control, enlisting other activists to mitigate the visible suffering. Children are deputised as informal "police," while supplies, clean needles, and condoms flow in. Cutty Wise, witnessing this fragile ecosystem, finds his own redemption path, sparking the idea for his youth boxing gym – a genuine, human-scale positive emerging from the moral quagmire.

Simultaneously, the episode tracks the parallel, equally doomed ambition of Stringer Bell. His dream of transitioning from ruthless drug kingpin to legitimate businessman continues to founder on the jagged rocks of his fundamental misunderstanding of power structures. Where he excelled at dealing with the brutal logic of the streets, he flounders when confronting the smooth, deeply entrenched corruption of figures like State Senator Clay Davis. His latest scheme – securing a lucrative federal grant – hits another snag, one Davis will inevitably exploit to his own advantage. However, Stringer’s far greater peril stems from the widening chasm with Avon Barksdale and, catastrophically, his cold-blooded decision to silence Avon’s nephew, D’Angelo Barksdale, in prison. The fake suicide, while unlikely to ever be investigated as murder (a reality McNulty bitterly acknowledges), becomes the instrument of Stringer’s downfall. McNulty uses D’Angelo’s death to confront his grieving mother, Briana, forcing her complicity in her son’s life choices into the open. Briana, in turn, confronts Stringer. His denials ring hollow; he knows the jig is up, that Avon’s suspicions will soon crystallise into lethal certainty. In a moment of fatal miscalculation, Stringer confesses the murder to Avon, triggering a physical altercation.

Herein lies one of the episode’s most profound ironies: Stringer’s victory in this fight – overcoming the physically dominant Avon – is itself the direct result of another critical blunder. His ill-advised attempt to broker peace with the ruthless newcomer Marlo Stanfield was perceived by Marlo as weakness, provoking a devastating war. During a botched trap set by Avon using the young woman Devonne (Tiara Harris) as bait, Marlo’s enforcers, Chris Partlow and Snoop, reverse the ambush, killing one of Avon’s men and critically wounding Avon himself in the shoulder. It is Avon’s injury, limiting his mobility and strength, that allows the "softer" Stringer to prevail in their subsequent confrontation. Victory, in this world, is often born of prior, unacknowledged failure. While the Major Crimes Unit (MCU) diligently traces burner phone purchases to Bernard, laying groundwork for future cases, the true narrative tension builds relentlessly towards the fracture at the heart of the Barksdale organisation.

The episode also offers moments of levity that underscore the show’s thematic depth. The most darkly humorous sequence involves McNulty’s cringe-inducing attempt to ingratiate himself with a rural Virginia sheriff. Assuming stereotypical redneck racism, McNulty clumsily plays to these supposed prejudices, only to be spectacularly humiliated when the sheriff reveals his Black wife and deputy. It’s a masterclass in exposing McNulty’s own ingrained biases and the absurdity of his self-perceived cleverness. Similarly, Tina d’Agostino’s coaching of Tommy Carcetti to downplay his intellect and adopt a "folksy" persona, referencing JFK, Reagan, and Clinton, inadvertently sketches Carcetti as a nascent political archetype – a proto-Obama figure navigating the performative demands of modern politics – a subtle foreshadowing of the political season to come.

Written by the incomparable Richard Price – whose daughter Genevieve Hudson-Price appears in a fleeting cameo as a drug buyer in Hamsterdam – "Moral Midgetry" culminates in a cliffhanger of unparalleled narrative weight, echoing the seismic impact of All Prologue from the previous season (where Price himself made a cameo). The resolution of the Stringer-Avon confrontation isn’t reconciliation, but the creation of an insurmountable, blood-soaked chasm between the two men. Their partnership, the bedrock of the Barksdale organisation, is shattered not by external force, but by Stringer’s own hubris, his fatal misreading of the streets, and his catastrophic moral midgetry in believing he could operate outside the brutal code that governed them.

This devastating conclusion is rendered with exceptional craft under the direction of Agnieszka Holland, the highly respected Polish filmmaker whose distinct visual style and profound understanding of human drama brought a unique gravitas to this pivotal episode (she would return to direct another crucial instalment later in the series). Further anchoring the episode in the gritty reality that defined The Wire, Fran Boyd – the real-life subject whose harrowing experiences formed the basis of David Simon’s book The Corner, widely regarded as the spiritual precursor to The Wire – appears in a poignant cameo as a needle exchange worker within Hamsterdam. Her presence is a silent testament to the show’s unwavering commitment to grounding its fictional narrative in the brutal, unvarnished truth of Baltimore’s struggles.

Moral Midgetry stands as a towering achievement not merely for its shocking climax, but for the meticulous, unsparing way it constructs the inevitability of that climax. It dissects the fatal hubris of Colvin’s well-intentioned but morally bankrupt social experiment and Stringer Bell’s delusional belief in transcending the streets through half-understood business logic. Both men, in their distinct spheres, attempt to bend reality to their will, ignoring the fundamental, often brutal, rules of their respective systems. The episode refuses easy judgments, instead forcing the viewer to confront the uncomfortable truth that the path to hell is often paved with pragmatic intentions and ambitious, yet fatally flawed, reasoning.

RATING: 8/10 (+++)

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Nattosheru
@nattosenpai (73)
📍 Neverland
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Newbie at everything, expert at nothing.
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Movie · on A Nightmare on Elm Street
A Nightmare on Elm Street (1984) | Nattosheru Review [ENG/SPA]

Hello, horror fans. Let's continue with more classics from this beloved genre, very appropriate for this Month of Horror, with a film that terrified more than one generation with nightmares of a madman in a striped shirt, a clawed glove, and a hat. That's right, we're talking about the same film that created one of the most famous franchises in the genre and in popular culture. Written and directed by the legendary Wes Craven, A Nightmare on Elm Street stars Heather Langenkamp, John Saxon, Ronee Blakley, Robert Englund, and Johnny Depp. I invite you to remember one of the great classics that caused insomnia for more than one person.

SPANISH VERSION

Hola, fanáticos del terror. Sigamos con más clásicos de este querido género, muy adecuado para este Mes del Terror, con una película que aterró a más de una generación con pesadillas de un loco con camiseta de rayas, un guante con garras y un sombrero. Así es, estamos hablando de la misma cinta que creó una de las franquicias más famosas del género y de la cultura popular. Escrita y dirigida por el mítico Wes Craven, A Nightmare on Elm Street cuenta con el protagonismo de Heather Langenkamp, John Saxon, Ronee Blakley, Robert Englund y Johnny Depp. Te invito a recordar uno de los grandes clásicos que les causó insomnio a más de uno.

Source: FilmAffinity

Plot

The film begins by showing us a guy wearing a red long-sleeved T-shirt assembling what appears to be a leather glove with a kind of blade on each finger. Later, we see a girl wandering around what appears to be a room with boilers around her while listening to a horrible noise of blades slashing the iron pipes. Terrified, she tries to escape from what appears to be the guy with the knife glove, who also wears a hat and has a completely disfigured face. When he finally catches her, the girl wakes up from what seemed to be a simple nightmare all along. However, on her way to school, she learns that she is not the only one who had a horrible nightmare last night and asks her best friend to keep her company so they can sleep together at her house that night.

SPANISH VERSION

Trama

La película inicia mostrándonos a un tipo con una camiseta roja de mangas largas armando lo que parece ser un guante hecho de cuero con una especie de navajas en cada dedo. Posteriormente, vemos a una chica vagando por lo que parece ser una sala con calderas a su alrededor mientras escucha un horrible ruido de cuchillas rajando el hierro de las tuberías. Aterrada, ella intenta escapar de quien parece ser el tipo con el guante de navajas que también tiene un sombrero y su cara está completamente desfigurada. Cuando al fin la atrapa, la chica despierta de lo que pareció ser una simple pesadilla todo este tiempo. Sin embargo, de camino a la escuela se entera de que no es la única que ha tenido una horrible pesadilla anoche y le pide la compañía de su mejor amiga para que duerman juntas esa noche en su casa.

Trailer & Review

Next, I will leave you with the movie trailer:

By: Rotten Tomatoes Classic Trailers

When talking about horror, Halloween, and those kinds of things, it's easy to think of this movie and its iconic antagonist, Freddy Krueger, a character who has caused both terror and amusement for more than one generation. This film was a total success both at the box office and with critics in its day, something that sounds surreal today given the state of the horror genre. Personally, I admit that I have no memory of seeing this film when I was little. The oldest thing that comes to mind is the famous crossover they made called Freddy vs. Jason. From there, what I remember most is a remake of this great 80s classic made back in the 2010s.

So, the version of Freddy Krueger that I came to know as a preteen doesn't compare to this classic or original version of the iconic character. Honestly, I have nothing against either version, but I think what characterizes him quite well is the personality and dark humor that his creator gave him in this first installment. Let's remember that, in the 1980s, A Nightmare on Elm Street became a major reference point in the horror genre, but more so in the slasher subgenre that exploded in the last century (as well as at the beginning of this century). But not only that, it revolutionized the way horror movies were made by playing with the theme of dreams and how this can completely distort reality itself.

SPANISH VERSION

Cuando se habla de terror, Halloween y esas cosas es fácil pensar en esta película y en su icónico antagonista, Freddy Krueger, un personaje que ha causado tanto terror como diversión a más de una generación. Esta cinta fue un éxito total tanto en taquilla como para la crítica en su época, algo que al día de hoy suena surrealista por como son las cosas con el género del terror en la actualidad. En lo personal, admito que no tengo ningún recuerdo de haber visto esta cinta cuando era pequeño, lo más viejo que me llega a la mente es el famoso crossover que hicieron llamado Freddy vs Jason. A partir de allí, lo que más recuerdo es un remake de este gran clásico ochentero hecho por allá en los 2010.

Así que la versión de Freddy Krueger que llegué a conocer desde preadolescente no se compara con esta versión clásica u original del icónico personaje. Sinceramente no tengo nada en contra de ambas versiones, pero considero que lo que lo caracteriza bastante bien es la personalidad y el humor negro que le dió su creador en esta primera entrega. Recordemos que, para los años 80, A Nightmare on Elm Street se convirtió en un gran referente del género del terror, pero más del subgénero slasher que explotó bastante en el siglo pasado (como también al principios de este siglo). Pero no solo es eso, sino que llegó a revolucionar la forma de hacer películas de terror al jugar con el tema de los sueños y de cómo esto puede hacer que la misma realidad sea distorsionada por completo.

Source: Tenor

This is ultimately what fascinated critics, and personally, I find it interesting that, for that era, they knew how to handle such complex themes in such a unique and entertaining way. But let's not get confused, this is not a film that blows your mind with complicated plots. Let's remember that we are talking about a slasher film, the most clichéd and simplistic version of horror that has ever been seen in the history of cinema. That's why, perhaps, the film's creator and director decided to give this iconic antagonist a touch of humor and mischievous personality so as not to make this classic a blatant copy of other classic slashers such as Friday 13th and Halloween. And the theme of dreams also provides us with a variety of surreal scenes in this film.

In this regard, I think it was a masterful feat for Wes Craven to tackle the theme of dreams and the human mind. Creating a terrifying character who makes your worst nightmares come true while stalking you every time you fall asleep is something that would traumatize anyone, at least those of that era. Now the new generation has more than enough with the internet and mobile devices to distract them from reality and take away their dreams. But anyway, back to the film, another interesting detail about dreams is their connection to the real world. I think this is a double-edged sword that, I suppose, they knew how to exploit very well in sequels, remakes, and even crossovers of this same franchise.

SPANISH VERSION

Esto en definitiva fue lo que fascinó a la crítica y en lo personal es algo interesante que, para aquella época, supieran manejar este tipo de temas complejos de una forma tan única y a la vez entretenida. Pero no nos confundamos, no es una película que te haga volar la mente con tramas complicadas de seguir, recordemos que estamos hablando de un slasher, la versión más cliché y sencilla del terror que se ha llegado a conocer en la historia del cine. Es por eso que, tal vez, al mismo creador y director de la película se le ocurriera darle ese toque de humor y personalidad traviesa a este icónico antagonista para no hacer de este clásico una copia descarada de otros clásicos slashers como lo son Viernes 13 y Halloween. Y el tema de los sueños también da para ofrecernos una variedad de escenas surrealistas en esta película.

Con respecto a esto último, considero que fue una hazaña magistral para Wes Craven meterse con el tema de los sueños y la mente humana. El crear a un personaje aterrador que haga realidad tus peores pesadillas mientras te acecha cada vez que te duermes es algo que llegaría a traumar a cualquiera, al menos a los de aquella época. Ahora la nueva generación ya tiene más que suficiente con el internet y los dispositivos móviles para distraerse de la realidad y quitarles sus sueños. Pero bueno, volviendo a la película, otro detalle interesante con respecto a los sueños es su conexión con el mundo real. Considero que esto es un arma de doble filo que, supongo, supieron aprovechar muy bien en secuelas, remakes y hasta crossovers de esta misma franquicia.

Source: Tenor

Just imagine that you are going through a traumatic experience and that a certain person with a disfigured face, wearing a glove with razor blades on the fingers and a hat, is chasing you, stabbing you to death along the way. For a moment, you think it's just a dream, that none of it is real, but when you wake up, you realize that every wound and everything you dreamed about still feels real. What is the difference between dreams and reality? How can we be sure that what we are experiencing is just a bad dream from which we can never wake up? Many of us might wish that what we are experiencing were just a bad dream, but at least we don't have a psychopath and child murderer hunting us down every night.

Returning to the main topic, another detail I liked about the film was the ways in which each of Freddy Krueger's victims is killed. I think that's what stands out the most and what people who have seen this classic since it was released in theaters remember the most. And how could they not, with such graphic and blood-filled scenes? At least two of these scenes are literally a recreation of the very definition of gore. It also has its jump-scares, screams, and moments of tension like any horror classic, but the most interesting thing of all is the way Freddy plays with his victims and transcends from the world of dreams to the real world at the expense of these young people we meet in this film.

SPANISH VERSION

Solo imagínate que estás viviendo una experiencia traumática y que cierta persona con el rostro desfigurado, con un guante con navajas en los dedos y un sombrero te persiga hasta matarte a cuchilladas por el camino. Por un momento piensas que solo es un sueño, que nada de lo que sucede es real, pero al despertar te das cuenta de que cada herida o cada cosa que soñaste lo sientes aún en la vida real. ¿Qué es lo que diferencia los sueños de la realidad? ¿Cómo estar seguros de que lo que vivimos es solo un mal sueño del que nunca podremos despertar? Muchos quizá quisiéramos que lo que vivimos sea un mal sueño, pero al menos no tenemos a un psicópata y asesino de niños haciéndonos cacería cada noche.

Regresando al tema principal, otro detalle que me gustó de la película fueron las maneras en las que cada víctima de Freddy Krueger es asesinada. Creo que es lo que más se destaca y lo que más recuerda la gente que ha visto este clásico desde que se estrenó en cines. Y cómo no hacerlo con tales escenas gráficas y repletas de sangre. Al menos dos de dichas escenas son literalmente una recreación de la misma definición del gore. También tiene sus jumpscares, gritos y momentos de tensión como cualquier clásico de terror, pero lo más interesante de todo es la forma en la que Freddy juega con sus víctimas y trasciende del mundo de los sueños al mundo real a costa de estos jóvenes que conocemos en esta película.

Source: Tenor

But not everything is rosy or crimson red for this film, as there are certain things that I don't really like. For starters, I don't know if it's because of the difference in eras or cultures, but some of Freddy's jokes in this film are literally absurd to the point of absurdity. I don't know if it was scary or terrifying at the time, but personally, the "look how I cut my fingers" bit is just stupid. I don't know, it's like watching a horror satire rather than a classic in itself. Also, the part about his origin and the lack of development given to the antagonist doesn't quite convince me. There's even a moment in the movie where I felt partially disappointed to see Freddy lose in such a pathetic way, but his final scene changed my mind.

We also have the typical slasher movie clichés, such as the secondary characters who are always there until they disappear or do nothing useful when it's most needed. Or those chase scenes that are just absurd, to be honest. The good thing about this movie is that it's very short, only an hour and a half, which means you don't have to suffer through these clichés for very long. As for the cast, I don't have anything in particular to say, except that they did a good job, especially Johnny Depp as the typical cool guy of the 80s. The actor who plays Freddy isn't bad either; he fulfills the role of the typical antagonist of any slasher movie, but with the supernatural power to manipulate things and even his own body.

SPANISH VERSION

Pero no todo es color de rosas o rojo carmesí para esta película, ya que hay ciertas cosas que no me terminan de agradar. Para empezar, no sé si es por la diferencia de épocas o de culturas, pero algunos de los chistes que Freddy hace en esta película son, literalmente, absurdos hasta más no poder. No sé si dió miedo o terror en su momento, pero en lo personal el “mira como me corto los dedos” es algo estúpido. No sé, es como ver una sátira del terror más que un clásico en sí. También que la parte de su origen y el poco desarrollo que le dan al antagonista como que no me termina de convencer. Incluso hay un momento en la película en la que me sentí parcialmente decepcionado al ver a Freddy perder de una forma tan patética, pero su escena final me hizo cambiar de opinión.

También tenemos los típicos clichés de los slasher como lo son los personajes secundarios que siempre están hasta que desaparecen o no hacen nada útil en el momento más necesario. O esas escenas de persecución que son simplemente absurdas, la verdad. Lo bueno de esta película es que dura muy poco, solo hora y media, lo cual significa que no hay que sufrir tanto de este tipo de clichés por un largo tiempo. En cuanto al elenco de actores no tengo nada que opinar en especial, solo admito que hicieron un buen trabajo, sobre todo Johnny Deep como el típico chico cool de los 80. El actor que hace de Freddy tampoco lo hace mal, cumple con ser el típico antagonista de cualquier slasher, pero con el poder sobrenatural de manipular las cosas y hasta su propio cuerpo.

Source: Tenor

To be honest, I don't think this movie scared me per se. I repeat, for the time it was released, it's not bad at all, and its story is quite creative compared to other slasher movies. But something about the antagonist and what he represents doesn't really scare me or anything like that. Maybe it's because of his humor or personality, or maybe it's because I was more traumatized by the 2010 remake, which literally features a pedophile, rapist, and psychopathic killer with supernatural powers. I don't know, I think that with everything I've seen in the genre since I was a kid, I feel like I've become pretty desensitized to horror. As I said before, I see this 80s film more as a satire of the genre than a classic in itself, imagine that.

Last but not least, let's talk about the audiovisual aspect of this film. For a budget of only a million dollars, I admit that it's very well made, to be honest. The use of practical effects, as well as the makeup, photography style, and recreations are particularly noteworthy. The same goes for its neutral color palette, the good use of light and shadow, and the absurd amount of fake blood and somewhat grotesque details for a simple slasher film. Sure, it's fine for the time, but watching this film with those effects today is almost funny. Just remembering some scenes where these practical effects are quite noticeable and how simple they look makes me laugh. Anyway, this horror classic is perfect for all lovers of the genre and especially of the golden age of the 80s.

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

SPANISH VERSION

Para ser honesto, no considero que esta película me haya dado miedo en sí. Repito, para la época en la que se estrenó no está nada mal y es bastante creativa su historia en comparación con otros slashers. Pero algo del antagonista y de lo que representa no me termina de causar pavor ni nada por el estilo. Tal vez y sea por su humor o personalidad, tal vez y sea porque me traumó más la versión del remake del 2010 que es literalmente un pedófilo,violador y asesino psicópata con poderes sobrenaturales. No sé, creo que con todo lo que he visto del género desde pequeño y hasta ahora siento que me he insensibilizado bastante con lo que respecta al terror. Como ya les dije antes, esta cinta ochentera la veo más como una sátira al género que un clásico en sí, imagínense.

Por último, pero no menos importante, hablemos del apartado audiovisual de esta película. Para tener un presupuesto de tan solo un millón de dólares, admito que está muy bien hecha, la verdad. Tanto el uso de los efectos prácticos como también el maquillaje y el estilo de fotografías y recreaciones son de lo más destacable. Lo mismo sucede con su paleta de colores neutros, el buen uso de luces y sombras y la cantidad absurda de sangre falsa y detalles un tanto grotescos para ser un simple slasher. Claro, para la época está bien, pero actualmente ver esta película con dichos efectos es hasta gracioso. Tan solo el recordar algunas escenas donde se notan bastante dichos efectos prácticos y lo simples que se ven me dan risa incluso. En fin, este clásico del terror es perfecto para todo amante del género y más de la época dorada de los 80.

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

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

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.
Splid Dash
@spliddash (71)
📍 Venezuela.
138 followers
80 following
Diseñador Gráfico-Fotógrafo-Productor Visual- Artista-Poesía y Literatura-entretenimiento.
274d
TV · on Sangre azul
LA TELENOVELA EN VENEZUELA: SANGRE AZUL (1979).
Hola mi gente feliz viernes y feliz fin de semana para todos, la ediciòn de este dia es sobre una novela que tambien marco una epoca, con grandes actores en sus papeles. Que sea de su agrado.

Portada Realizada por mi.

INTRODUCCIÒN.
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Sangre Azul fue una telenovela de época venezolana, producida por RCTV en 1979. Fue escrita por los reconocidos dramaturgos Julio César Mármol y José Ignacio Cabrujas, y dirigida por César Bolívar.

Se pretende ambientarla en la Venezuela del siglo XIX, en pleno contexto de la Guerra Federal, como marco histórico que influye en la vida de los personajes principales.

Protagonistas de la telenovela

FICHA TECNICA.
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-Título: Sangre Azul. -Canal & Productora: RCTV. -Año de emisión: 1979, desde el 5 de marzo hasta el 13 de mayo. -Número de episodios: 56 capítulos. -Guionistas & Adaptación: Julio César Mármol y José Ignacio Cabrujas. -Director: César Bolívar. -Protagonistas: Pierina España (Mariana), José Luis Rodríguez (“El Puma”) (José Antonio), Jean Carlo Simancas (Álvaro), Carmen Julia Álvarez (María Teresa). -Otros miembros del elenco destacado: Grecia Colmenares, Hugo Pimentel, Tomás Henríquez, Zulay García, María Teresa Acosta, entre otros.

Protagonistas Principales de la telenovela.

SINOPSIS.
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La novela sucede en medio de la Guerra Federal venezolana, una guerra civil de mediados del siglo XIX.

La protagonista es Mariana, hija mayor del Marqués de Granados. Mariana tiene fama de superficial y coqueta, disfruta de la vida social de la aristocracia y desea casarse con Álvaro, su novio ideal.

Entra en escena José Antonio, un militar al que Mariana atrae por su carácter fuerte y recio, pero que no tolera sus desplantes y altivez. Aunque Mariana lo desdeña, él también comienza a sentirse atraído por ella.

Por un motivo de lealtad y compasión, José Antonio termina casándose con María Teresa, la antigua novia embarazada, lo que provoca el sufrimiento de Mariana.

Luego de tragedias familiares (como la muerte de la madre de Mariana) y caída económica del padre, Mariana tiene que asumir responsabilidades. Se transforma: de ser una joven alegre y despreocupada, a una mujer fuerte, decidida, que lucha por salvar la hacienda familiar con el apoyo de José Antonio, aunque los caminos del amor estén llenos de obstáculos.

María Teresa muere al dar a luz, y antes de partir le pide a Mariana que cuide de José Antonio y del hijo que quedó. Con esto, se permite un desenlace donde Mariana y José Antonio finalmente pueden aspirar a la felicidad juntos.

escena de la telenovela sangre azul.

BREVE RESEÑA.
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Sangre Azul tiene particular interés porque utiliza el marco histórico de la Guerra Federal para entrelazar elementos de romance, tragedia, conflicto social y caída familiar, lo cual le da mayor profundidad que una novela de época simplemente romántica.

La novela fue ambiciosa en producción, vestuario y ambientación, dado el esfuerzo de recrear épocas del siglo XIX, lo que no siempre era común en muchas telenovelas de la época.

A pesar de su calidad, parece que Sangre Azul no alcanzó los objetivos de audiencia esperados para RCTV, lo que provocó que su emisión fuera relativamente breve.

Fue reconocida críticamente más tarde: nominaciones y premios internacionales. Por ejemplo, ganó varios premios en la Asociación de Cronistas de Espectáculos de Nueva York (ACE), incluyendo Mejor Actriz para Pierina España y mejor actuación de reparto para Jean Carlo Simancas.

Primer actor Jean Carlos Simanca parte de la telenovela.

CONCLUSIÒN.
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Sangre Azul (1979) es una telenovela que representa un momento de madurez en el género venezolano de época: no solo se interesa por romances apasionados, sino también por el contexto histórico, las responsabilidades sociales, la caída del privilegio y el crecimiento personal.

Mariana es un personaje con arco importante (de frivolidad a responsabilidad), lo que permite un desarrollo dramático significativo. Los escritores Cabrujas y Mármol logran usar el conflicto histórico como telón de fondo que empuja los conflictos personales a ser más intensos.

Aunque no fue un éxito de audiencia extraordinario, su valor artístico perdura: ambientación, vestuario, actuaciones y estructura narrativa. Para tu archivo histórico es muy importante: es una novela de época que dio pasos en complejidad narrativa y mostró que las telenovelas podían aspirar a un mayor nivel de producción y de reflexión.

Portada de la telenovela.

Entrada Sangre Azul 1979.

Bueno mi gente esta ediciòn espero que sea de su agrado y que les traiga muchos recuerdos, una novela de epoca que marco un tiempo y una epoca en el pais.
Vicky Story
@vickystory (58)
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Let me mesmerize you with my words
274d
Movie · on Once upon a Crime
Once upon a Crime --- Everyone is a Suspect 😲 | My Review

The movie kicks off with Little Red Riding Hood, but not the innocent girl we’ve always known. This Red is curious, smart, and way more observant than anyone around her gives her credit for. She literally stumbles into Cinderella’s life right before the iconic ball, and from that moment, things start twisting in ways you don’t expect. Cinderella isn’t just the sweet, abused girl desperate to meet her prince — she’s layered, vulnerable, and even a little manipulative in her own way. Red instantly spots this, and instead of staying quiet, she starts pulling at the threads of everyone’s stories, almost like she can’t help herself.

One of the first scenes that stuck with me was when they meet the Fairy Godmother. Usually, she’s portrayed as this kind, guiding figure, but here she feels different — more like someone with her own agenda, someone who knows more than she’s letting on. It made me realize how unsettling it is when a character you’ve always trusted suddenly feels… off. And Red notices it too, that uneasy energy, and I felt like I was seeing things through her eyes. That was the moment I knew this wasn’t going to be a comfortable retelling; it was going to mess with me.

Then comes the ball itself. Oh God, what a scene is so dripping with glamour and tension. Everyone is dressed to kill, both literally and metaphorically, and it is like you are in a room of masks, beautiful people smiling, dancing and whispering secrets behind each other. Red is visiting that space like a detective who is a guest and her eyes are flying everywhere taking note of those details that no one wants to bother noticing. My blood ran cold when the camera tracks her though, it seems almost like it would have been suspicious, too. I was keeping my breath, and was waiting till the first crack would show.

And then — the murder. That twist drops like a bomb. You know one minute it is all glittering gowns and waltzes, and the next somebody is dead. The entire mood changes and in a moment it is not a colorful fairy-tale any more, it is a crime scene. The manner in which the guests respond had me laughing and gasping simultaneously, since all of them are either overdramatic, totally clueless or trying to seem innocent too hard. And here the bit that came to me-- Red is not diffident. She bends over, as though this is what she has been waiting for. And she begins to assemble them together right in the ballroom reading faces, seeing contradictions.

I liked that the film made her the detective that we never knew we needed. She makes no display of it, she is simply insistent; she follows her instincts, and raises questions that no one else has the courage to ask. And in her we have the advantage of peeling off the layers of all these fairy-tales characters that we thought we were familiar with. The prince, to take but one instance-- he is not only charming, but vain, insecure, nearly desperate in holding his own image together. Cinderella herself, not completely naive, trapped in her own lies. The Fairy Godmother, too, who was apparently innocent, now struck with suspicion, and whose magic was now appearing more of a curse than a blessing.

The scene when Red begins to question people in an indirect manner by seemingly talking to them like she was just chatting was one of the most amusing and yet the scariest scenes to me. Her act of catching them in lies, and in a way where she contrasts the characters was so crisp and gratifying. But I also found it uncomfortable, as it reminded me of situations in real life where I have been lied to in the face, where someone represented something, and was actually another, as all. That pangs, that clumsiness of realizing that a person is not, who he claims to be — the film struck that.

The more Red dug the more perverted it became. Confidences concerning debts, betrayals, love affairs-- all at once the fairy-tale kingdom resembled a crime-infested little village with everybody having a motive. There is this one scene when Cinderella cries but not in a dramatical, glass-slipper manner, but in a rough, human manner. She comes out with admissions that pained me about her, how much of her naivete is merely survival, how she is shaping her truth to get people to support her. That hit me hard, because haven’t we all done that in some way? Played a role to survive, to get by, to be seen in a way that makes people help us instead of ignoring us? That scene made me stop laughing for a bit and just sit with the discomfort of how true it felt.

Then the movie pulled the rug out once again just when I thought I had figured out who the killer was. All evidence was pointing to the one direction, but Red had an instinct that pointed to the contrary, and I was fascinated, attempting to keep pace with her keenness, attempting to detect what she perceived which I overlooked. And when the truth eventually broke loose, when the murderer was uncovered it was not only shocking, it was chilling. It was not a great, oratorical maniacal motive but a human, vulgar, panhandling one. That’s what made it hit harder. Since the villains in fairy tales are always conspicuous ugly, jealous, wicked. But here? The villain was standing in open view smiling, blending, faking it to be good. And is that so like real life?

At the climax, when Red finally gets everything and reveals the truth, I experienced this urge of satisfaction and at the same time this weird melancholy. Since yes, justice was meted, but innocence was lost. Suddenly these tales we had always swore to magic and happily-afterwards suddenly seemed delicate, threatening, even deadly. And I understood that that was what the film was attempting to convey to us that in the most beautiful worlds, there are shadows.

It is not even the murder or the clever twists that I found more interesting but Red herself. She reminded me of this in all of us which is unwilling to believe the narrative that is given to us, which insists on digging, at the time that all other people would prefer to turn a blind eye. She is untidy, inquisitive, insistent and at times too fat but she is real. I felt like watching her that I have questioned myself several times in my own life and dug at lies until they crumbled even when someone told me to forget it.

And honestly, it made me proud — proud of that messy, stubborn part of me that doesn’t settle for surface-level truths.

So yeah, Once Upon a Crime wasn’t just a quirky murder mystery wrapped in fairy-tale glitter. It was a mirror, showing me how often we live surrounded by masks, how easy it is to hide darkness under beauty, and how much courage it takes to look deeper. It was hilarious, yes. It was wild, yes. But it was also haunting in a way I didn’t expect.

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Drax
@drax (77)
893 followers
106 following
Blogger, film critic, columnist (writes in Croatian and English)
275d
TV · on Star Trek: The Next Generation
Television Review: The Neutral Zone (Star Trek: The Next Generation, S1X26, 1988)

The Neutral Zone (S01E26)

Airdate: May 16th 1988

Written by: Maurice Hurley Directed by: James L. Conway

Running Time: 46 minutes

The inaugural season of Star Trek: The Next Generation remains widely regarded as the series’ most uneven and dramatically inert chapter, a perception cemented by its finale, The Neutral Zone. While later seasons would redefine television sci-fi with multi-part cliffhangers, this 1988 episode epitomises Season One’s struggles: a narrative that feels structurally adrift, burdened by half-formed ideas and a palpable sense of the creative team still finding its footing. Viewed against the sophisticated geopolitical tapestries of subsequent finales, The Neutral Zone appears underwhelming—a tentative step rather than a bold leap into the franchise’s future. Yet, to dismiss it entirely would be to overlook its quiet, indispensable role in rebuilding Star Trek’s shattered universe.

Its significance begins with the title itself—a deliberate signal to hardcore Trekkies that the Romulans, absent since The Original Series, would finally re-enter the 24th Century narrative. For decades, the Neutral Zone had been a ghostly presence in Trek lore, a demilitarised buffer established after the past brutal conflict. By invoking it, the episode promised to resurrect one of sci-fi’s most compelling antagonists. This wasn’t mere fan service; it was a vital act of continuity restoration. Gene Roddenberry had initially resisted reintroducing TOS-era aliens, fearing it would undermine TNG’s fresh start, but fan demand—and the narrative vacuum left by the Romulans’ absence—forced a reckoning. The Neutral Zone thus serves as a bridge, dragging the Federation’s oldest rival back from obscurity and setting the stage for the nuanced Romulan arcs of Deep Space Nine and Picard.

The plot itself unfolds with textbook procedural pacing. Captain Picard attends a Starfleet emergency conference after Federation outposts along the Neutral Zone vanish without trace. The Romulans, who severed all contact with the Federation following a prior incident, complicate matters: any investigation risks igniting war. Before the Enterprise departs, it discovers ancient Earth space probe with thre cryogenically preserved 20th-century humans—homemaker Claire Raymond (Gracie Harrison), financier Ralph Offenhouse (Peter Mark Richman), and musician L.Q. “Sonny” Clemonds (Leon Rippy). Revived by 24th-century medicine, they face profound culture shock. Picard and his crew treat them as living artefacts, yet the episode squanders this rich premise. Claire’s grief over lost family leads to a maudlin session with Counselor Troi that reduces her to a weeping stereotype of femininity—a scene that would draw ire from contemporary feminist critique for its regressive framing. Sonny adapts with New Age nonchalance, his substance-fuelled past making him oddly suited to the future’s openness. Worst of all is Offenhouse, a grotesque caricature of 1980s Wall Street excess. Obsessed with reclaiming his centuries-accumulated treasures, he pesters Picard with demands about corporate control, embodying everything Gene Roddenberry’s utopian vision rejected: greed, hierarchy, and the corrosive myth of hyper-capitalism. His sole moment of redemption—crashing onto the bridge to advise Picard during Romulan negotiations—feels unearned, a clumsy attempt to grant depth to a one-dimensional villain of Reaganomics.

Structurally, the cryo-trio subplot functions as distracting filler, diluting the Romulan mystery that should drive the episode. The parallel to Space Seed (where Kirk revived Khan) is unavoidable, yet The Neutral Zone lacks TOS’s thematic heft. Here, the time-displaced humans aren’t catalysts for exploring humanity’s evolution but narrative speed bumps. Maurice Hurley’s script leans into lazy stereotypes: Claire as the fragile homemaker, Sonny as the “enlightened” bohemian, Offenhouse as the embodiment of capitalist depravity. The trio’s revival could have dissected 24th-century society through outsider eyes—exposing its contradictions, its unspoken tensions—but instead, it reinforces Roddenberry’s often-sanitised idealism. Offenhouse’s fury at a moneyless society isn’t interrogated; it’s ridiculed, denying the audience a nuanced clash of ideologies.

Acting quality compounds these flaws. Harrison’s Claire is forgettable, a cipher of sorrow. Richman invests Offenhouse with gravitas but remains trapped in his caricature. Only Leon Rippy, as Sonny, brings warmth and authenticity, his laid-back charisma hinting at the adaptability Trek’s future supposedly demands.

When the Enterprise finally encounters the Romulan Warbird—a stunning visual debut for the era—the episode briefly ignites. Marc Alaimo, a Trek veteran even before making his mark as Gul Dukat in DS9, delivers a masterclass in restrained menace as Commander Tebok. His entrance is palpable with tension; the crew urges a pre-emptive strike, but Picard’s insistence on diplomacy pays off. Tebok reveals Romulan outposts were also destroyed, forcing both powers to confront a common, terrifying threat. This moment crackles with potential—the birth of an uneasy alliance, a genuine Trek staple. Yet it’s undermined by Tebok’s infamous sign-off: “We’re back.” Delivered with Alaimo’s gravitas, it still rings hollow, a comic-book quip that reduces geopolitical nuance to a bumper sticker. It’s hard not to read this as Roddenberry’s reluctant capitulation to fan pressure—a wink acknowledging the necessity of revisiting old myths, however clumsily.

Historically, The Neutral Zone is important for two reasons. Firstly, it explicitly dates the narrative to 2364 AD, the first time Star Trek anchored itself to a specific year. This seemingly minor detail became foundational, allowing fans and writers to construct the intricate chronologies of the Trek universe. Secondly, it resurrects the Romulans not as mustache-twirling villains but as a complex power facing existential threat—a blueprint for their later, more sophisticated portrayals.

Much of the episode’s weakness, however, traces back to the 1988 Writers Guild of America strike. Hurley’s script, reportedly drafted in days, lacks the polish of later seasons. Crucially, the strike forced producers to abandon plans revealing the attackers’ identity. Early ideas linked the destruction to the parasitic hive-mind from Conspiracy (one of Season One’s strongest episodes), but the mystery remained unresolved—only to be spectacularly answered in Season Two with the Borg’s debut in Q Who?. What The Neutral Zone presents as an ominous cliffhanger becomes, in hindsight, a narrative placeholder. The strike didn’t just hinder rewrites; it left the episode structurally orphaned, its central threat feeling less like foreshadowing and more like a dangling thread.

Ultimately, The Neutral Zone is a transitional artifact—flawed, inconsistent, yet indispensable. Its cryo-trio subplot is dramatically inert, its stereotypes cringe-inducing by modern standards, and its Romulan payoff undercut by cheesy dialogue. Yet without it, TNG might never have reclaimed the Romulans or established the temporal framework that let its universe breathe. Like Season One itself, it is the necessary awkward adolescence before maturity. For Trekkies, it offers a fascinating glimpse into Trek’s rebirth: a moment when the franchise tentatively reached back to its past while stumbling toward a future it couldn’t yet imagine.

RATING: 5/10 (++)

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Empress
@empress6 (58)
12 followers
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Quiet and alluring
275d
Movie · on Home Sweet Home Rebirth
MOVIE REVIEW - HOME SWEET HOME: REBIRTH
I have a thing for movies with a little horror and action, something to keep me really entertained and occupied. Home Sweet Home: Rebirth is a Thai-English movie, released on the 11th day of April, 2025 and directed by Steffen Hacker. Played by William Moseley, Urassaya Sperbund and Michele Morrone, I’m sure many of us know him.

I tried out this movie because my roommate recommended it to me, she knows the kind of movies I like. So I was like, there’s no harm in trying.

THE PLOT

From the very beginning, the movie looked interesting. Jake, his wife Prang and their daughter Loo were on a normal family holiday to Bangkok. The family went to a shopping mall, and suddenly there was an attack by a man named Mek.

One moment, you are enjoying a normal relaxing holiday, and the next moment you are facing death and things you can’t even explain. Jake dies in the attack and wakes up in a strange place called ‘The Hindrance’. Its like a world between life and death. Jake finds out he’s the only one who can stop the evil that’s about to open the gates of hell.

Jake tries to save his wife and daughter, but there’s really not much a person can do if he’s dead. The gates opened and people started getting possessed. Prang did very well without her husband, you could actually feel the fear and zeal of a mother trying to save her child.

MY THOUGHTS:

At the end of it all, I actually enjoyed the movie, it wasn’t bad but its not perfect. If you like horror and you don’t really mind a little confusion here and there, you will surely enjoy it.

There are times where the acting did not feel real, it was like they were talking with zero emotions as if they were being voiced or something. Like a scene where a character is supposed to be scared but it didn’t really show.

If I were to rate this movie. Maybe a 6/10. But that’s just my thought.
𝙿𝚊𝚗𝚗𝚊𝚟¡ 💜
@pannavi (73)
📍 ✨ Anaco ✨
332 followers
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Antiguo Blog
275d
TV · on Alice in Borderland
Alice in Borderland (S1) and its Vertiginous Labyrinth【 🇪🇸 - 🇺🇸 】

Saludos cinéfilos de #CineTV. Hace unos días se estrenó en Netflix la tercera temporada de Alice in Borderland, sin embargo, yo no había visto ni la primera parte, por eso en este post les vengo a comentar un poco mis primeras impresiones de esta serie luego de haber culminado en 2 días los primeros 8 episodios.

Greetings #CineTV moviegoers. A few days ago, the third season of Alice in Borderland premiered on Netflix; however, I hadn't even seen the first part, so in this post, I'm going to tell you a little about my first impressions of this series after having finished the first 8 episodes in 2 days.

**𝔼𝕤𝕡𝕒ñ𝕠𝕝**
![sepmin.png](https://files.peakd.com/file/peakd-hive/pannavi/23tbRfkrpvd8THgJwEU8ZrY9pFP7TwotCERSYbD7D26AjZkjgHnYRyShpuL2decZwNLtK.png)
La verdad es que le estaba sacando el cuerpo a esta serie desde que escuché hablar de ella porque por el título me dio a entender de que se trataba de una versión de Alicia en el País de las Maravillas, pero enfocado en una chica que quería escapar de su realidad al saber que estaba loca.

**𝔼𝕟𝕘𝕝𝕚𝕤𝕙**
![sepmin.png](https://files.peakd.com/file/peakd-hive/pannavi/23tbRfkrpvd8THgJwEU8ZrY9pFP7TwotCERSYbD7D26AjZkjgHnYRyShpuL2decZwNLtK.png)
The truth is that I was really looking forward to this series since I heard about it because the title gave me the impression that it was a version of Alice in Wonderland, but focused on a girl who wanted to escape her reality when she found out she was crazy.

Pero nunca me imaginé que el protagonista fuera un hombre llamado Alice y que la trama de la serie se tratara de un tema bastante maquiavélico, oscuro y cruel. Y es que se trata de una serie de juegos que debes librar exitosamente y de manera obligatoria o si no mueres.

But I never imagined the protagonist would be a man named Alice and that the series' plot would be a rather Machiavellian, dark, and cruel story. It's a series of games that you must complete, or you'll die.

Cuando empecé a verla me recordó un poco a la serie El Juego del Calamar pero en esta versión no ganas un suculento premio en millones de dólares sino que te permiten vivir unos días más hasta que logres completar todos los juegos y así poder salir de esa realidad alterna en la que están actualmente.

When I started watching it, it reminded me a bit of the series Squid Game, but in this version, you don't win a succulent prize of millions of dollars, but rather you are allowed to live a few more days until you manage to complete all the games and thus be able to escape from that alternate reality in which they are currently.

La serie carece de sentido en ciertos aspectos. Lo que no me ha gustado hasta ahora es que dejan espacios en blanco donde no se explica nada de nada, dando a entender que las cosas ocurren porque así deben ocurrir. Pero estas fallas son compensadas al plasmar una intriga que no te deja despegar la mirada de la pantalla e infundarte ganas intensas por saber qué pasará a continuación.

The series lacks meaning in certain aspects. What I haven't liked so far is that they leave blank spaces where nothing is explained, implying that things happen because they're supposed to. But these flaws are made up for by the intrigue that keeps you glued to the screen and instills an intense desire to find out what will happen next.

¿Quién morirá? ¿Quién vivirá? Son preguntas que no te puedes responder en toda la serie. ¿También te intrigan con otros enfoques, como querer saber quién creó el juego? ¿son humanos? ¿son aliens? ¿quién sabe la verdad realmente?

Who will die? Who will live? These are questions you can't answer throughout the entire series. Do you also find yourself intrigued by other angles, like wanting to know: Who created the game? Are they humans? Are they aliens? Who really knows the truth?

La serie también muestra el lado oscuro que poseen cierto tipo de personas, así como también las fortalezas de cada quien. En cada episodio te invitan a reflexionar sobre lo correcto e incorrecto. ¿Quién dice que está mal hacer lo que haces y quién dice que sí está bien?

The series also shows the dark side of certain types of people, as well as the strengths of each individual. In each episode, you're invited to reflect on right and wrong. Who says what you do is wrong, and who says it's right?

Es una serie de supervivencia pura, sin escrúpulos, sin moral. Aquí todo es válido y ambas caras de la moneda se entrelazan para dejarle al espectador tomar la decisión de qué haría él en el lugar de estas personas que experimentan el juego de Alice in Borderland.

It's a pure survival series, unscrupulous and without morals. Here, anything goes, and both sides of the coin intertwine to let the viewer decide what they would do in the place of these people experiencing the game of Alice in Borderland.

Las preguntas que más me intrigan hasta el momento y las cuales temo por saber su respuesta son: ¿Qué les pasa a los que mueren? ¿Regresan a su realidad o mueren realmente? Lo que me lleva a cuestionar si hay vida después de la muerte y también me hace cuestionar la vida de las personas que protagonizan la serie. ¿Tienen esperanza?

The questions that intrigue me most so far, and the ones I'm most afraid to know the answers to, are: What happens to those who die? Do they return to their reality, or do they really die? Which leads me to question whether there is life after death, and also makes me question the lives of the people who star in the series. Do they have hope?

Es dificil obtener una respuesta para todas estas preguntas. Y de lo que estoy segura es que no sabrás nada hasta que la serie llegue a su final. Es por eso que actualmente estoy por el episodio 2 de la segunda temporada pero no creo que haga una reseña de ella sino del restante de la serie en sí.

It's hard to get answers to all these questions. And what I'm sure of is that you won't know anything until the series comes to an end. That's why I'm currently on episode 2 of the second season, but I don't think I'll review it, just the rest of the series itself.

Pero como ven, no me aguanté y quise traerles esta primera parte porque la serie en sí es buenísima y me ha gustado bastante. Si no he podido verla completa en un día es porque tengo cosas por hacer o porque se me ha ido la luz en donde vivo por varias horas, pero eso no me impide seguirla disfrutando cuando puedo. De mi parte le otorgo sus bien merecidas:

But as you can see, I couldn't hold back and wanted to bring you this first part because the series itself is fantastic and I really enjoyed it. If I haven't been able to watch it completely in one day, it's because I have things to do or because the power went out where I live for several hours, but that doesn't stop me from continuing to enjoy it when I can. For my part, I give it its well-deserved:

𝕋𝕣𝕒𝕚𝕝𝕖𝕣

𝐂𝐨𝐧𝐬𝐢𝐝𝐞𝐫 𝐣𝐨𝐢𝐧𝐢𝐧𝐠 𝐨𝐮𝐫 𝐓𝐫𝐚𝐢𝐥 𝐨𝐫 𝐃𝐢𝐬𝐜𝐨𝐫𝐝 𝐆𝐫𝐨𝐮𝐩. 𝐖𝐞 𝐚𝐩𝐩𝐫𝐞𝐜𝐢𝐚𝐭𝐞 𝐞𝐯𝐞𝐫𝐲 𝐜𝐨𝐧𝐭𝐫𝐢𝐛𝐮𝐭𝐢𝐨𝐧 𝐭𝐨 𝐭𝐡𝐞 𝐟𝐮𝐥𝐥𝐞𝐬𝐭, 𝐞𝐯𝐞𝐧 𝐢𝐟 𝐢𝐭 𝐢𝐬 𝐥𝐢𝐭𝐭𝐥𝐞, 𝐢𝐭 𝐜𝐨𝐮𝐧𝐭𝐬 𝐚 𝐥𝐨𝐭!

𝐂𝐨𝐧𝐬𝐢𝐝𝐞𝐫𝐚 𝐮𝐧𝐢𝐫𝐭𝐞 𝐚 𝐧𝐮𝐞𝐬𝐭𝐫𝐨 𝐓𝐫𝐚𝐢𝐥 𝐨 al 𝐆𝐫𝐮𝐩𝐨 𝐝𝐞 𝐃𝐢𝐬𝐜𝐨𝐫𝐝. 𝐀𝐠𝐫𝐚𝐝𝐞𝐜𝐞𝐦𝐨𝐬 𝐚𝐥 𝐌á𝐱𝐢𝐦𝐨 𝐂𝐚𝐝𝐚 𝐀𝐩𝐨𝐫𝐭𝐞, 𝐪𝐮𝐞 𝐚𝐬í 𝐬𝐞𝐚 𝐩𝐨𝐜𝐨, 𝐜𝐮𝐞𝐧𝐭𝐚 𝐲 𝐦𝐮𝐜𝐡𝐨!

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Recursos 【Resources】
| |-| |[Imagen de Portada 【Cover Image】](https://www.filmaffinity.com/ve/filmimages.php?movie_id=359155)| |[Imágenes Usadas a lo Largo del Post 【Images Used Throughout the Post】](https://www.sensacine.com/series/serie-27439/fotos/)| |Edición hecha con 【Edited with】[Canva](https://www.canva.com/)| |Traducción hecha con 【Translation made with】[Traductor Google Translate](https://translate.google.com/?hl=es&tab=TT)|

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