Rating: 90/100

Hello, fellow movie and TV lovers! Lately, I’ve been watching random movies, and I’ve noticed that most of them have been from A24. I feel like the way they produce stories is somewhat bizarre, but they almost always have a unique way of telling plots—especially when it comes to genres like suspense, mystery, and drama. For days, I had been wanting to watch If I had legs I'd kick you, directed by Mary Bronstein. The title caught my attention, but I mostly watched it because it sounded like a psychological drama, and I really enjoy those types of stories, especially when they delve into the mysteries of the human mind.

The plot introduces us to Linda (Rose Byrne), a therapist and mother of a young girl with very serious health issues. Throughout the story, we see Linda balancing her job—which requires immense physical and mental effort, particularly with one specific patient who pushes her nerves to the limit—and her maternal role. Her role as a mother is in a critical state due to her only daughter's strange illness; based on what we hear in the film (since they never show the child's face, only parts of her body), it is quite complicated, and she has a feeding tube connected to her stomach that basically keeps her alive.

Amidst all this, she has a relationship with her daughter's father, but he is quite distant due to his job. He hardly ever appears in the movie; there are only complicated phone calls to Linda where he tells her she needs to do things right so their daughter can be healthy. However, all of this only adds a heavy burden to Linda's shoulders, leading her to secretly attend therapy sessions with a therapist at her own workplace. There is a lot of guilt inside her, but it isn't until near the end that we truly understand what drives Linda's self-destructive behavior.

I love stories that explore characters from a deeply human perspective. Linda is a woman trying to save everyone, including herself, but she must first be a wife, a mother, a therapist, and only then—if absolutely necessary—does she get to be a woman and a human being. The cinematography is truly incredible, and the actress is phenomenal in her role as Linda, clearly portraying what many people carrying heavy responsibilities can feel. While her self-destructive actions or oversights aren't justified, if I were in her shoes, I think I would lose my mind, too.

It's a fairly long story, running at about two hours, and I feel this movie is one of the best in its genre that I’ve seen so far this year. The performances are great; there are even actors in the cast who hadn't done drama films before, focusing more on comedy, such as Rose Byrne and Conan O'Brien. Plus, there are special appearances by A$AP Rocky and Danielle Macdonald. Even though it might seem wild to include people outside the drama genre, there is a great synergy in the film's development, and I think it was the perfect cast to tell this story.

Key highlights include the extreme close-up shots of the protagonist and the way they almost completely hid her daughter from view. This created constant tension throughout the movie—to the point where I even thought the sick child might just be a figment of her imagination. I really didn't expect Linda to be going through something so harsh that caused her such overwhelming guilt. Additionally, the performances were great, the background sound design built a much tenser atmosphere, and the scenes where she envisioned things tied to her internal turmoil all make it a story truly worth watching if you enjoy these kinds of dramatic plots.

I invite you to watch the movie; it's really not something you can predict. You can't imagine what is truly going through Linda's mind until you reach the end and everything comes together. You can find this movie on various streaming platforms in English or with subtitles. 🫨🎬

_{Todo el texto de esta publicación es de mi autoría - All the text in this publication is my own. Los banners y el separador de texto fueron editados con la versión gratuita de Canva y PicsArt - The banners and the text separator were edited with the free version of Canva and PicsArt. La traducción del texto fue realizada con la versión gratuita de Deepl - The translation of the text was made with the free version of Deepl}

Rating: 95/100

Okay so. This movie should not work. It's a very thin line as it should be on paper: two college roommates take a homemade drug and the whole story is about how they are trying to walk down two flights of stairs and get a pizza delivery. That's it. That's it for the whole movie. Then, against all odds, it totally dominates!

the world's most mismatched pair of college roommates (one a disgraced former mascot clinging to a reputation he can never completely justify while the other is the shy one who can't talk to his crush without exploding), dose themselves with a homemade concoction called M.I.N.T.S. just before their pizza arrives, the movie takes off and never really lands until the credits roll. In what should've been 5 minutes, I find myself hallucinating, having to watch a whole host of mad, increasingly deranged side characters, and a few twists that had me rolling my eyes and bursting into laughter in a manner that not many comedies evoke anymore.

That's the key to this being a one-joke success instead of a disaster: the commitment. Gaten Matarazzo and Sean Giambrone dive into this, no holding back, no wink-wink at the camera and "we know this is dumb.Gaten Matarazzo and Sean Giambrone go all in, no-half-way-jobs, no wink-wink at the camera "we know this is dumb. They are playing all the stupid things with complete sincerity, which is why they're so funnier. Lulu Wilson is a scene-stealer, too, and just about the entire cast, including Peyton Elizabeth Lee, Marcus Scribner, Caleb Hearon, and Sarah Sherman, all seem to get it: go bigger, go weirder, commit harder. Oh, there's even a wonderful and rather unexpected appearance by Daniel Radcliffe that had the entire theater in splits.

But I was most impressed by the meta change in the second half. The film doesn't get too much more confusing about what's "real" in its own world, but without getting too much into the specifics of exactly what happens, it is not a cheap trick, but a very clever one that recontextualizes everything preceding it. It's a type of swing that would have thrown the whole film off, but somehow it does. There's a nice, down-to-earth friendship story here, too, underneath all the hallucination gags and slapstick fueled by drugs. The emotional moments aren't simply ignored after the trip is over, though: Montgomery finally realizes who he wants to be with, one of the friends throws an unhinged hanger-on in the trash, and the friends are once again reunited in their dorm room, wiser for the experience, but much more connected than they were at the beginning of the night, and back to their tabletop-gaming selves. It's a simple and humble act, but it provides a real emotional place to land off the entire absurd journey instead of just finishing with a punchline.

Is this high art? No, if it did the world would not have been able to endure it. It knows exactly what it is and it is a fast, loose, gleefully stupid stoner comedy and it is that kind of comedy from frame one to frame last. The gags strike home again and again, the action never flattens out with its thin plot, and there's a bit of love in the bedlam that makes you feel sorry for these fools by the end.

Pizza Movie spins the most laugh-out-loud, joyfully ridiculous material that's held together by a cast that can't help but roll their eyes at their own jokes and a surprisingly brilliant structural trick that makes it more than just stoner-comedy filler. It's moronic in the best sense of the word. It is Ridiculous, hilarious, and certainly smarter than any pizza movie.

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_{Note AI-Free Content Thank you for reading and commenting. Until next time 💐}

Rating: 80/100

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Faceless Men might be the best episode of the season so far because it finally makes Criston Cole pay for the bad decisions that got him here, instead of giving him the death he thinks he deserves, its just crazy how on Seasons 2 he had everything he wanted for this war but probably never pull the trigger on time, Aegon getting burned really affect him too. He walks his exhausted army into a trap chasing the honorable last stand he has been picturing in his head, but Once Oscar Tully and Rodrik Dustin surround him, Cole asks for his men to be spared and tries to turn it into a duel, like his own skill with a sword still matters. Black Aly does not let that happen and puts three arrows in him before there was even a fight, I loved how little respect the show gives his fantasy since Cole spent this whole war acting like honor belonged only to him and he just start loosing it after the Rooks Rest fight and then with the River Man and the Gray Wolfs, it was just too much for him to handle. Instead he dies holding the favor Alicent gave him while the men he led there get cut down around him for nothing. He is still brave got to give him that but that does not erase that he marched his own soldiers toward a death he set up and his attempt to save them only comes after the damage is done once he wa against the wall, itt ends fast and ugly for him, I never saw that coming, always thought they were going to keep him as a prisoner similar to what happen to Jamie Laninster in GOT.

• IMDB: https://www.imdb.com/title/tt11198330/
• Platform: {{PLATFORM}}

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Im starting to notice that the most realistic person on this series has to be Gwayne Hightower, if only Criston had heard him, because he is the only one paying attention to danger everybody else keeps ignoring and that gap shows the moment he gets back to Tumbleton. Gwayne has seen what this war does to soldiers, knows the army under Criston was never going anywhere good and knows Rhaenyra has too many dragons for Ormund to be this confident. Ormund just insults him, acts like the great houses will eventually fall in line and treats Daeron like a future king without caring what Daeron actually wants. He is really smart and has no need to give out a speech to prove he is right, he just notices things and when the fake Baratheon delegation shows up he clocks that the man does not match the real relative and attacks before the assassins reach Daeron and Ormund, for a second I and also Ormund thought Gwayne was wrong but then the rest of the assassin attack too, like this fucking ninja, how can he be that tired and that sharp. Ormund look happy and even flatered that great house supposedly joined him that he almost hands Daeron over without checking anything, then freezes and gets sick the second real violence starts while Gwayne and Jon Roxton handle it, which makes how confident Ormund acts look ridiculous. Gwayne later tells him straight up he is risking other lives to protect his own pride and Gwayne is just sick of all this so he has plans to head back to Oldtown since he is next in line there and Ormund says he will not stand in his way, Gwayne knows Ormund wont win this war at least under current circumstances, though Daeron begs him to stay, admits Ormund controls him and asks if he saw Alicent while he was gone. I wonder why he is now asking for his mother and if Gwayne might stay for Daeron, because he knows that after all this is over, Oldtown would still stand and will need someone to pick up the pieces.

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I bet the closer we get to the end of this season Rhaenyra is harder to root for because every time she avoids one terrible decision she replaces it with another. She is right to shut down Daemon wanting to burn Tumbleton, since the people there already bent the knee to her and killing them just to get Ormund would make her as cruel as her enemies say she is. The problem is her backup plan, an assassination attempt using stolen Baratheon clothing falls apart because Gwayne is paying attention, Ormund was so damn lucky Gwayne was there and had to eat up his words for insulting him, treat him like a fool. Rhaenyra is trying to protect her reputation while using a method that hands Ormund more proof she is coming after Daeron, so she ends up looking careful in public and desperate in private, she basically working based on appearance and that is just too fragile, it wont get her anywhere and its time for her to start showing some strength. Her scene on the Iron Throne make it worse, people bring her real problems, missing supplies, kidnappings, the city falling apart and all she offers is blame and distant sympathy, then the throne cuts her and you can see how scared she is even while she hides the wound, not sure if she might even suffer from the same illness as her father getting cut by the throne and hot healing back his wounds. Rhaenyra is loosing so much grip and I wonder if it will be too late for when we get to that "this is finish" scene from one of the trailers, where she will probably go too far at Tumbleton, Alicent even tells her "I warn you...", about the things the throne will make her do. Then there are The Gold Cloaks quitting because they are unpaid and getting killed, so not only Rhaenyra but also Daemon loosing grip on his man, its just a shit storm everywhere the Targaryens go, considering they running the Throne, it suppose to be backwards. Daemon barely gets useful information before killing a Hightower man running the assassination of the Golden Cloaks, then takes his anger out on Ulf in front of everyone, big big mistake in my opinion giving another unhappy dragon rider reason to turn on them.

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The episode was so well balance as everyone gets enough screen time, this time Alicent and Helaena had some really good moments because it shows how most of their problems came from choices Alicent already made, even though she still talks like freedom can be negotiated but Rhaenyra just shuts her down once again, I know its very unlikely Rhaenyra kills Alicent, they got a lot of history together. Her escape attempt fails, the news Helaena is pregnant becomes another threat Rhaenyra can use against them and their confinement gets stricter, but the worst part is that Helaena knows Alicent lie to her about Jaehaera during their escape and that was a very fucked up moment between the two. Helaena confronts her about leaving Jaehaera behind and asks why she ever allowed the marriage to Aegon, simple questions Alicent really cannot answer, for the most part during those times it was Otto who was making all this decisions for her. She says she wants to save Helaena, but Helaena has every reason to wonder if her mother is just saving herself again. Rhaenyra makes it worse by forcing Alicent to go to Harrenhal and help get Aemond killed by one of her assassins or who knows if Alicent will kill him herself in a moment of desperation, after all she already reconize most of her shield are monsters. I liked that the show does not pretend this is a clean deal between old friends, it is another forced choice by people who spent too long believing they could control what happens next. Aemond makes his own bad call at Harrenhal too, since Alys kills the stable boy to protect where he is hiding, shows him the hidden dragon eggs and offers him a way out of the throne fight. He knows she is dangerous and stays anyway because he does not have many options, which makes sense for his character but is not smart.

I never felt the episode gets crowded and but not every piece gets the same attention, still feels like one of those full of context, preparing everything for the next big episode full of action. Hugh sneaking into Tumbleton to find Kat should be a happy reunion, I really thought it would but she sees his claiming a dragon as the moment he left her alone during the worst part of her life, since he believes he earned a better future for them while she believes he just chose power for himself. The problem is that during that time she suffers way too much, they lost their daughter, then she had to take that long trip to Tumbleton where she probably got abbused based on her description, at the end makes Hugh felt like it was worthless to get such status and that he has lost more than he has earned. Ulf has a similar problem, he finally has the dragon and status he wanted but lost his freedom and Daemon treats him like like shit everytime he can, makes both men now have enough power to become dangerous if that resentment keeps building, which makes how carelessly everyone treats them look stupid. Aegon choosing Larys over Tyland also works, since he has finally figured out a useful adviser is someone willing to tell him an ugly truth. The parts that I felt they were too short or rushed it was Baela and Alyn kissing shows almost no context and got out of nowhere and the Vale section mostly repeats that Rhaena got a dragon while losing the life she wanted. The attack on Corlys gives the episode real consequence, his men were finally marching back to help Rhaenyra hold the capital when soldiers loyal to Ormund cut them off and Corlys ends up captured giving you more reason to want to know what happens next, this also makes me think if Ormund really has the advantage as he says, while Rhaenyra is still reacting from behind the whole time. Faceless Men is not the cleanest episode of the season but it might be the most satisfying one so far because pride, delay and reckless choices finally start costing everyone, and Gwayne stands out the most because he is the only one who understands that surviving this means noticing the danger before it becomes impossible to stop.

#houseofthedragon, #facelessman, #hotd, #targaryen, #hightower, #gwayne, #cristoncole, #rhaenyra, #daemon, #alicent, #helaena, #aemond, #daeron, #ormund, #corlys, #aegon, #tumbleton, #westeros, #dragon, #dragons, #television, #episode, #review, #fantasy, #hbo

Rating: 80/100

Originally posted through scrobble.life/tv.

I entered this one expecting an action movie and a heist/suspenseful one at that, and I left with one of the more enjoyable heist thrillers that I have seen in quite a while. Based on the novella by Don Winslow, Director Bart Layton's adaptation manages to capture something classic, even if it's a refreshingly honest heist film that relies as much on its characters as its set pieces.

The premise is simple yet deceptive... a jewel thief that has successfully made a series of heist with an unbroken string of unsolvable crimes for the past three years along the 101 freeway in Los Angeles is determined to make one more before he walks away permanently. A disillusioned insurance broker, whose own life is also at a turning point, also falls into his life, and the two are thrown into an uneasy, dangerous partnership. In the meantime, a persistent detective who believes he's discovered the modus operandi of the thief comes increasingly close and closer to both of them, and the film slowly tightens this net, frame-by-frame, until the hunter and the hunted are virtually indistinguishable from one another.

The only thing that makes this more than just a typical “one last job” heist is the amount of character attention that Layton gives to the characters that orbit around the crime instead of just how the crime is done. The thief, played by Chris Hemsworth, is doing some of the best work of his career here, not given the movie star charm he's so known for, but instead playing this character coiled and watchful, with every scene that seems one step from falling apart. It's a real understated production and it's a good reminder of what he can do when he's not in a blockbuster franchise.

The other half of the film's emotional heart is Halle Berry, whose weary, quiet desperation with regard to the insurance broker is the same character that's not the "woman pulled into a criminal's orbit" type. Her character is not merely a foil for the thief, but is also in the midst of a fragile and chaotic situation of her own, and the fact that she is now on the same side makes their partnership feel earned rather than convenient. Then there's Mark Ruffalo, playing the detective, with a less flashy but every bit as compelling performance who seems to be filling some void in his own unraveling personal life with his obsession in cracking this case. Ruffalo gives the part a tiredness that turns the cat and mouse game into something more than a genre device and more akin to watching two people who perhaps in a different life, understood each other just fine.

The rest of the cast contributes well, too: Barry Keoghan's slightly off-center, often unhinged presence is a perfect fit for the part, Jennifer Jason Leigh and Nick Nolte provide texture and gravity in supporting roles, and Monica Barbaro and Corey Hawkins both make strong impressions on the periphery of the story.

On the level of aesthetics, what you're looking at is a beautiful movie. Cinematographer Erik Wilson embraces the sun-kissed, slightly dingy charm of L.A., the 101 freeway almost a character the endless, continuous blood vessel winding through the entire narrative, creating a sense of place. The heist scenes are tight and well calculated, but not the kind of over-done performances that many modern-day heist films indulge in, and the heist itself is quite real and dangerous, not some kind of highlight reel. It's also a score well done to Blanck Mass, a score that is moody, propulsive, but never overwrought, and only used when it is needed to add to the tension, rather than when it isn't.

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The slow pace which is a major strength of the film, allowing some character work to take the time it deserves before the action gets to the next set-piece at times drags a bit too long in the second half of the film, especially during some of the detective's personal subplot scenes, that don't always get the time they deserve. It's a minor blip on the radar in an otherwise tightly wound film and it certainly never slows the pace down.

Final Thoughts: It's a heist thriller with a lot of confidence in its actors, and its atmosphere, as well as its heist.It's a heist thriller that has a lot of trust in its actors and its atmosphere as well as its heist, and it rewards that trust handsomely. Hemsworth, Berry and Ruffalo all hit some of their most understated and effective performances of the year, Layton's direction doesn't get showy, and it has a real sense of place and consequence that many heist films would miss out on without all the showmanship. It doesn't walk in loud and obtrusive like genre fans might imagine, but that's exactly what supports its success.

I think it's a very well directed, suspenseful, and surprisingly moving heist-thriller that is driven by career-best performances from the three leads.

Rating: 80/100

So I finally finished Snowpiercer, the TV series, and I have to say , this one really got me, If you don't know the story, it is set after the world has frozen over, the only people left alive are on a train that never stops moving, going round and round the earth forever, the rich people are living well in the front cars, and the poor ones are packed together in the back, eating strange food and struggling to survive, It sounds simple, but the way the story is told, you feel every bit of the unfairness.

The most interesting thing for me was the set up itself, Every episode felt like it was a step up in the fight, and going car-by-car to the people in charge, and each car of the train had its own little world, an aquarium car, a night club car even an outdoor part where they grow plants, I just wanted to keep watching to see what the next car would be.

I know some people say that the middle of season one is slow, especially the murder part, but I didn't mind it, it allowed the show to develop the world properly and make us get to know the characters better than just rushing from battle to battle, some shows try to do exactly that, but this one takes its time to build the world properly, I respect that.

I also loved this show because the actors are great as well, I loved Jennifer Connelly as Melanie, the train owner, she acted really strong and in control, but you could tell she had something on her mind, even though she didn't say much, and Daveed Diggs as Layton, he was not a perfect hero in this show, he was tired, and doing what he had to, without a choice.

Visually, this show is beautiful, the back of the train looks dirty and hopeless, while the front looks bright and comfortable, almost like a different world entirely, you don't even need dialogue to understand the class difference you just see it in how each section looks.

People will compare it to the original movie, and yes, the movie is shorter and moves faster, but I think the show does something the movie couldn't it gives the story more space to grow, more characters to care about, more of the train to explore, that is what kept me hooked, honestly.

Overall, it is a show that will keep you engaged even if some parts are more slow-paced than others, the world they've created is beautifully made and the characters are excellently acted, so if you haven't seen it, I'd recommend it to you. I really liked this one.

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Rating: 96/100

Originally posted through scrobble.life/tv.

Rating: 50/100

I think there's someone down there

Hello hivers, this is the first review I wrote using scrobble and, sure, I'll write other reviews here from time to time! At first, you have to know I love so much to watch the crime drama tv series, especially the british ones. Maybe because one of my favorite writers since I was a girl is Agatha Christie (I'm a big fan of her novels) and I read a lot of crime books too, but at the end I think I like the mistery and the enigma inside every good crime fiction.

Today I decided to talk to you about "Vera", a British crime drama tv series based on the novels by Ann Cleeves. The main characters is the detective Vera Stanhope played by Brenda Blethyn, an excellent actress with a long long career. The series was broadcasted for the first time in the 2011 and there are 14 seasons (around 4-6 episodes for each season). The last episode was a special one in January 2025. In my opinion, the strength of this tv series is in the character of Vera Stanhope. She is a middle aged woman, a nearly retired DCI of the Northumberland Police, she has no family, she is very irascible (even if she has a good heart at the end) and very obsessive about her work . She doesn't take care about her look and plods along in a dishevelled state, ofeten wearing an old raincoat (this thing makes me think about the Lieutenant Columbo played by Peter Falk), but she is a very smart woman and thanks her skills every case is solved.

Every episode is about one crime case and this is good for me, because I don't love so much to wait more episode to know who is the guilty. Another thing I like about this tv series is that there are no romance, no sex, just a simple (but not simple) mistery to solve.

A curiosity: I watched it in the italian version and in our version Vera often tell "caro" (the italian word for "dear") when she talk with someone. Here it's common for an old woman (like me :D ) to start a conversation with that word "Caro", especially if you have to say something sad or bad. 😃

Rating: 100/100

Originally posted through scrobble.life/tv.

Saludos miembros de esta comunidad, espero se encuentren bien. Hoy les quiero compartir la reseña sobre la película Colombiana se estrenó en el año 2011, por lo general al ver una película de acción donde el tema sea cobrar venganza vemos la figura de masculina, pero en esta oportunidad Cataleya es el personaje principal.

Greetings to the members of this community; I hope you are all doing well. Today, I would like to share a review of the movie Colombiana, which was released in 2011. Typically, when watching an action movie centered on revenge, we see a male protagonist, but in this case, Cataleya is the main character.

Cataleya es una niña Colombiana de 9 años, vive en la ciudad de Bogotá con sus padres, al tratar de escapar de una mafia en la que sus padres se encuentran involucrados, le entrega un tarjeta de memoria con información importante, la misma le ayudará a ser su pasaporte para salir del país e ir con su tío si a ellos les pasara algo.

Cataleya is a nine-year-old Colombian girl living in Bogotá with her parents. While attempting to escape a criminal organization her parents are involved with, she is given a memory card containing important information; this card is intended to serve as her passport to leave the country and join her uncle should anything happen to her parents.

En una escena trágica y dramática Cataleya ve como asesinan a sus padres, escapa de la casa y se dirige directo a la embajada donde entrega la memoria, de allí pide protección pero escapa a la dirección que le dió su padre para encontrar a su tío. Para Cataleya en su mente solo hay una cosa, y es el deseo de venganza por lo que le dice a su tío que solo quiere una cosa, y es matar a los mafiosos que le quitaron a su familia, sabiendo que solo es una niña pequeña la inscribe en la escuela y ella sigue renuente de no querer ingresar.

In a tragic and dramatic scene, Cataleya witnesses her parents' murder; she escapes the house and heads straight to the embassy to hand over a memory drive. Although she seeks protection there, she instead flees to the address her father gave her to find her uncle. Cataleya is consumed by a single desire—revenge—and tells her uncle that she wants only one thing: to kill the mobsters who took her family away. Knowing she is just a young girl, he enrolls her in school, though she remains reluctant to attend.

Su tío Emilio, le da una lección en dónde le explica que para poder cobrar su venganza necesita estudiar y aprender cosas que él no puede enseñarle, para esto se necesita inteligencia, así que ella acepta. Aparece 15 años más tarde, en ese transcurso ella ha hecho el trabajo que se propuso años atrás, mantiene la identidad oculta a su novio, por mala suerte le toma una foto de su teléfono creyendo que sería un bonito recuerdo termina siendo faltal, ya que los organismos de seguridad logran identificarla.

Her uncle Emilio teaches her a lesson, explaining that to exact her revenge, she needs to study and learn things he cannot teach her—skills requiring intelligence—so she agrees. She reappears fifteen years later; in the interim, she has carried out the plan she set in motion years ago. She keeps her identity hidden from her boyfriend, but unfortunately, he takes a photo of her on his phone—thinking it will be a nice memento—which proves fatal, as security agencies manage to identify her.

La búsqueda comienza detrás de ella, hace lo imposible para salir ilesa, su familia corre peligro también pero no le hace caso a su tío, cuando regresa a la casa los encuentra a todos muertos por lo que aumenta su dolor y frustración de quedar desamparada y sin el amor de su familia. Cuando encuentra a los responsables de la muerte de sus padres no duda en acabarlos a todos, me fuese gustado ver esas escenas de disparos más reales pero creo que estuvo algo sobre actuado.

The quest begins; she does the impossible to escape unscathed. Her family is also in danger, yet she ignores her uncle's warnings; upon returning home, she finds them all dead, which deepens the pain and frustration of being left alone and bereft of her family's love. When she tracks down those responsible for her parents' deaths, she doesn't hesitate to finish them all off; I would have liked the shootout scenes to feel more realistic, though—I felt the acting was a bit over-the-top.

Si tío siempre tuvo razón en que debía usar su inteligencia, estudiar, y planear para lograr su objetivo, me pareció buena, nada fuera de lo común estamos acostumbrados a ver este tipo de películas donde el protagonista busca venganza, me parece que hay escenas muy exageradas como cuando toma ambas armas y dispara de forma perfecta a los mafiosos, o cuando en la pelea le gana a su oponente a pesar de recibir solo algunos golpes. Pero si hay momentos de acción y de suspenso, no es excelente pero te entretiene.

His uncle was right that he needed to use his intelligence, study, and plan to achieve his goal. I thought the movie was decent—nothing out of the ordinary; we’re used to seeing films where the protagonist seeks revenge. There are some very exaggerated scenes, though—like when he grabs both guns and shoots the mobsters with perfect accuracy, or when he beats his opponent in a fight despite taking only a few hits. Still, it has moments of action and suspense; it’s not excellent, but it’s entertaining.

Rating: 70/100

Rating: 90/100

Originally posted through scrobble.life/tv.