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Hello friends, it's been a while since I last posted here, but that's because I haven't seen a movie that I thought was interesting enough to share, something that was really new to me or that I felt I could share with you. I'm a big fan of horror and science fiction movies, and lately I've seen a few series and movies, but I felt like they were more of the same, or maybe I've just become a little more demanding with these genres.
The thing is, I stumbled upon it on social media because people were recommending it and saying it was good, so I took a chance and decided to watch it yesterday, Saturday night. It's the movie “Together” from 2025, starring James Franco's well-known brother, actor Dave Franco, and an actress I'd never seen before named Alison Brie. They're both very good actors, and I found out that they're a couple in real life, which explains the great chemistry in the movie. It has a fairly standard running time of one hour and forty-two minutes, which I liked, as I'm not a big fan of long movies.
I always like to talk about what I think of movies in my reviews. The thing is, I liked that this movie offered something a little different. I must confess that it can be a little uncomfortable to watch because it has some pretty grotesque scenes, but if you're not too sensitive, this movie is definitely for you. As I said at the beginning, I'm a fan of the horror and supernatural genre. I liked the atmosphere from the start, but I have to say that I saw things that were very similar to some movies that I've mentioned here before.
It's about a couple who explore a small forest where they live. They love each other very much, but they have some normal problems, like all couples, and that adds a bit of extra drama to the film. They visit this place where an accident occurs, falling into a strange cave where there are very scary things, some kind of cult, and they spend the night there because it's raining heavily.
From this point on, something they did inside the cave changes them completely, their lives and their bodies. But I don't want to give away the whole movie, because I think the point is to just give you a taste or an impression of what I thought.
TOGETHER | Official Trailer
The film is good, I can't say it's one of the best, but it does have some interesting aspects, although there are a couple of things that I felt were similar to the film Annihilation, which I recommend if you haven't seen it, as I consider it a 10/10, or also the film Color Out of Space, both of which are great. It's just that the one I'm bringing you is more supernatural, from what they imply. I didn't like the void they leave at the end, how someone disappears, there are no police, no investigation, or someone who is very different working, living their life, and no one says anything. That really made me think.
I do recommend it despite these gaps, or questions that will never be answered, if you want to see something new and have a good time, as long as you like this genre, of course. It's a pleasure to share. Hugs and happy Sunday.
Fight or Flight seemed to me a good movie is pretty solid and entertaining, especially when Josh Hartnett is on screen but I had heard that it was like John Wick on a plane, the truth is that I think it is quite exaggerated to dare to compare this movie with John Wick is one of the best saga of action movies and second because the truth is that this one does not reach it even by a little bit. It's not that it's a bad movie but lately a lot of people promote the movies and put them in such a high standard that when you see them you are rather disappointed because you always end up expecting more than you should, but in the end Josh Hartnett rarely disappoints and this one is no exception, yes it's a little silly but it's also fun, action packed and there was even a good amount of gore as well which was a very pleasant surprise, the only question that really matters is of course, was it entertaining and that's definitely a yes for Fight or Flight, it's one of those movies that you simply have to turn your brain off for, do that and sit back, relax and enjoy the ride.
Fight or Flight me pareció una buena peli es bastante sólida y entretenida, sobretodo cuando Josh Hartnett está en pantalla pero había escuchado que era como John Wick en un avión, la verdd esto me parece bastante exagerado atreverse a comparar esta peli con John Wick es una de las mejores saga de pelis de acción y segundo porque la verdad esta no le llega ni por un poco. No es que sea una peli mala sino que últimamente mucha gente se encarga de promocionar las pelis y poneras en un estándar tan alto que cuando uno las ve más bien se decepciona porque uno siempre termina esperando más de la cuenta, pero al final Josh Hartnett rara vez decepciona y este no es la excepción, sí es un poco tonta pero también es divertida, llena de acción y hubo incluso una buena cantidad de gore también lo cual fue una sorpresa muy agradable, la única pregunta que realmente importa es claro, fue entretenida y eso definitivamente es un sí para Fight or Flight, es una de esas películas para las que simplemente tienes que apagar tu cerebro, haz eso y siéntate, relajate y disfruta el viaje.
James Madigan is the director of this interesting story about this mercenary who has to find a hacker known only as the Ghost on an international flight, but realizes that the plane is full of assassins assigned to kill them both, so they have to work together in a fight for their lives, Josh Hartnett plays Lucas who gets this call from his ex-boss played by Katee Sackhoff after two years of no contact and she needs him to find this famous ghost hacker who is causing trouble all over the world, he accepts the mission because he is promised that if he captures the Ghost all will be forgiven and he can go back to his normal life, but when the guy gets to the plane he realizes that there are many, many other assassins on board and they are all hunting the same target, which makes everything turn into a total mess where he has no choice but to fight for his survival while trying to find out who the Ghost really is. I think the premise works pretty well and Josh Hartnett does a great job selling the whole thing, from the beginning you can see that this guy is a professional and knows what he's doing but also that he has a moral side that gets him into trouble, the acting is very good with plenty of energy and even funny, the guy throws the whole movie on his shoulders and he doesn't do it badly.
James Madigan es el director de esta historia interesante sobre este mercenario que tiene que encontrar a un hacker conocido solo como el Ghost en un vuelo internacional, pero se da cuenta de que el avión está lleno de asesinos asignados para matarlos a ambos, entonces tienen que trabajar juntos en una pelea por sus vidas, Josh Hartnett interpreta a Lucas quien recibe esta llamada de su ex jefa interpretada por Katee Sackhoff después de dos años sin contacto y ella necesita que el encuentre a este famoso hacker fantasma que está causando problemas por todo el mundo, el acepta la misión porque le prometen que si captura al Ghost todo le será perdonado y así podrá volver a su vida normal, pero cuando el tipo llega al avión se da cuenta de que hay muchísimos otros asesinos a bordo y que todos están cazando al mismo objetivo, lo que hace que todo se vuelva un desastre total donde no le queda más remedio que pelear por su supervivencia mientras trata de descubrir quien es realmente el Ghost. Me parece que la premisa funciona bastante bien y Josh Hartnett hace un gran trabajo vendiendo todo esto, desde el principio se ve que este tipo es un profesional y que sabe lo que hace pero también que tiene un lado moral que lo mete en problemas, la actuación es muy buena con bastante energía y hasta diveritda, el tipo se lanza toda la peli en sus hombros y no lo hace mal.
The action scenes are pretty good although sometimes it seemed to me that the camera moved too much and I don't like that because I can't see well what's going on, there are fights with broken plates, glass bottles, a guy who gets stabbed in the eye and Josh buries it deeper with a headbutt to kill him that was too good hehehe, he also uses seat belts as weapons, he fights three guys using broken bottles and stabs them in the neck, everything is too brutal when he wants to be because he also has his moments of humor that work most of the time, I liked that part where he thinks he's on adrenaline but it turns out it's toad poison and he starts hallucinating crazy things and a girl with weird pupils appears talking like she's a dangerous assassin and then artificail fires start shooting out of Josh's head as he smiles, but when they cut to reality he just stabbed something in the head and there's blood dripping everywhere splattering the passengers that I found unexpected and funny at the same time, I also really liked the chainsaw sequence at the end because I wasn't expecting this movie to have a chainsaw massacre on a plane but it does, Josh starts cutting people in half and throws the chainsaw at a guy's head, maybe it's a bit over the top but it works within the crazy tone the movie is trying to achieve.
Las escenas de acción están bastante bien aunque a veces me pareció que la cámara se movía demasiado y eso no me gusta porque no puedo ver bien lo que está pasando, hay peleas con platos rotos, botellas de vidrio, un tipo que recibe una puñalada en el ojo y Josh se la entierra más profundo con un cabezazo para matarlo eso fue demasiado bueno jejeje, también usa los cinturones de seguridad como armas, pelea con tres tipos usando botellas rotas y los apuñala en el cuello, todo es demasiado brutal cuando quiere serlo porque también tiene sus momentos de humor que funcionan la mayoría del tiempo, me gustó esa parte donde el piensa que está tomando adrenalina pero resulta que es veneno de sapo y empieza a alucinar cosas locas y aparece una chica con pupilas raras hablando como si fuera una asesina peligrosa y entonces empiezan a salir fuegos artificailes de la cabeza de Josh mientras sonríe, pero cuando cortan a la realidad el le acaba de clavar algo en la cabeza y hay sangre chorreando por todos lados salpicando a los pasajeros eso me pareció inesperado y divertido al mismo tiempo, también me gustó mucho la secuencia de la motosierra al final porque no esperaba que esta película tuviera una masacre con motosierra en un avión pero la tiene, Josh empieza a cortar gente por la mitad y lanza la motosierra a la cabeza de un tipo, quizás es un pco exagerado pero funciona dentro del tono loco que la película está tratando de lograr.
Now the main problem I see with the movie is that it doesn't know exactly what it wants to be, sometimes it tries to be serious and dramatic and this is more noticeable with Katee Sackhoff's scenes and her organization, other times it wants to be a crazy comedy and other times it tries to be a tense thriller, and in my iopnion all these tones clash with each other and make it kind of inconsistent, another thing is that the scenes in the organization's bunker look cheap and the dialogues are bad, that change in the plot that they are not working for the government but for a technology company is stupid and it seemed to me that the writers wanted to be clever but it didn't work for them at all, there are also too many characters that show up for no apparent reason like these Chinese kung fu women who show up at the end dressed as Power Rangers and are supposed to protect Ghost because he saved their ancestral lands or something, all of this was kind of out of place as if it wasn't part of the original plan ah and that gay stewardess thing I found annoying and didn't add anything to the story, the pilots have conversations that go nowhere, there are assassins that appear and disappear without explanation, the movie just tries to do too many things at once and that to me was a big flaw.
Ahora el principal problema que veo con la peli es que no sabe exactamente qué quiere ser, a veces trata de ser seria y dramática y esto se nota más con las escenas de Katee Sackhoff y su organización, otras veces quiere ser una comedia loca y otras veces intenta ser un thriller tenso, y en mi iopnión todos estos tonos chocan entre sí y hacen que sea como algo inconsistente, otra cosa es que las escenas en el bunker de la organización se ven baratas y los diálogos son malosss, ese cambio en la trama de que no están trabajando para el gobierno sino para una compañía de tecnología es estúpido y me pareció que los escritores quisieron lanzársela de inteligentes pero no les funcionó para nada, también hay demasiados personajes que aparecen sin razón aparente como estas mujeres de kung fu chinas que llegan al final vestidas como Power Rangers y que se supone protegen al Ghost porque les salvó sus tierras ancestrales o algo así, todo esto estuvo como fuera de lugar como si no era parte del plan original ah y eso de los azafatos gay me parecieon molestos y que no le daban nada a la historia, los pilotos tienen conversaciones que no llevan a ningún lado, hay asesinos que aparecen y desaparecen sin explicación, la película simplemente trata de hacer demasiadas cosas a la vez y esot para mí fue un gran fallo.
Josh Hartnett definitely does a great job here and pulls the legs out of the mud with his charisma and presence you can tell he can act and can do action, and the truth is who holds most of the movie just with his acting, all the scenes where he is fighting or solving problems are good, the problem is everything around him like Katee Sackhoff who is ok but doesn't have much to do, the actress who plays Ghost does what she can but the character is poorly written, the bad guys in the movie are too boring and that thing about Ghost wanting to fight against child labor is ok but I think they made it look stupid, the ending that sets up a sequel is too obvious and overconfident considering that the movie is not the smash hit that it is, maybe it is because of this kind of thing that they make so much publicity to open the way for the second part, in the end Josh wakes up in a hospital in the middle of a war zone and the Ghost comes running in saying that they are not finished yet, he says shit and that's where it ends, here they are screaming that they want to bring out another part but the truth is I think this movie didn't sell much so I don't know if that will come true, which is a shame because I would like to see Josh Hartnett in more action movies but of course make it lake better. I give it a 6.5/10 the acting was good, the effects good, the sound good, there really isn't much to complain about but they have a lot of other problems that sometimes you can't let go and maybe I was expecting something more from this movie and not having to settle for turning my brain off to enjoy it, I don't know I would have liked something more intelligent.
Josh Hartnett definitivamente hace un gran trabajo aquí y saca las patas del barro con su carisma y presencia se nota que puede actuar y puede hacer acción, y la verdad es quien sostiene la mayor parte de la película solo con su actuación, todas las escenas donde el está peleando o resolviendo problemas son buenas, el problema es todo lo que lo rodea como Katee Sackhoff que está bien pero no tiene mucho que hacer, la actriz que interpreta al Ghost hace lo que puede pero el personaje está mal escrito, los malos del asunto son demasiado aburridos y eso de que el Ghost quiere luchar contra el trabajo infantil está bien pero me parece que lo hicieron ver como algo estúpido, el final que prepara una secuela es demasiado obvio y confiado considerando y más tomando en cuenta que la peli no es el exitazo quiza´s por este tipo de cosad es que le hacen tanta publicidad para abrirle camino a la segunda parte, en el final Josh se despierta en un hospital en medio de una zona de guerra y el Ghost entra corriendo diciendo que no han terminado todavía, el dice mierda y ahí termina, aquí están diciendo a gritos que quieren sacar otra parte pero la verdad creo que esta peli no vendió mucho así que no se si eso se cumpla, lo cual es una pena porque me gustaría ver a Josh Hartnett en mas películas de acción pero por supuesto que sea lago mejor. Yo le doy un 6.5/10 la actuación estuvo bien, los efectos buenos, el sonido bueno, realmente no hay mucho de qué quejarse pero tienen muchos otros problemas que a veces no se puede dejar pasar y quizás esperaba algo más de esta peli y no tener que conformarme con apagar el cerebro para poder disfrutarla, no sé me hubiese gustado algo más inteligente.
Mi año en Oxford es una película que sin duda se cautivó mi corazón, por la trama tan cargada de sentimientos entre los protagonistas, esta no es una historia de amor como cualquier otra, aquí se tocan temas más profundos que hace que no nada más se hable de amor, sino que se demuestre el verdadero amor a la pareja cuando se está pasando por dificultades, esta película se estrenó este mismo año y está dirigida por Iain Morris y protagonizada por dos excelentes actores Sofía Carson, y Corey Milchreest quienes trasmiten una química perfecta en cada una de sus escenas juntos.
My Year in Oxford is a film that undoubtedly captured my heart, thanks to the plot so full of feelings between the protagonists. This is not a love story like any other; it touches on deeper issues that go beyond just talking about love, showing true love for your partner when you are going through difficult times. This film was released this year and is directed by Iain Morris and stars two excellent actors, Sofia Carson and Corey Milchreest, who convey perfect chemistry in each of their scenes together.
Aunque el film inicia como una historia de comedia romántica, al momento que Anna de la Vega(Sofía Carson) y Jamie Davenport(Corey Milchreest) se conocen de una forma un poco chistosa, Anna revela su personalidad desafiante ante Jamie reclamándole cuando él la moja al pasar con su auto, ella se venga cuando coinciden en una cafetería mientras él trataba de esconderse de una exnovia, ella sin dudarlo lo descubre ante esta chica, sintiéndose más que complacida de verlo en aprietos calificándolo de don juan.
Anna de la Vega es una estadounidense que viaja a Inglaterra para estudiar poesía en la universidad de Oxford por un año, cátedra que le apasiona desde pequeña, sin imaginarse que en su primer día de clases se reencontraría con Jamie, quien sería su profesor asignado de poesía por todo ese año, ella no sale de su asombro y se decepciona un poco en saber que la anterior profesora a quien ella admiraba y deseaba ver clases, había sido ascendida quedando su pasante Jamie como encargado de la clase. Por lo que ellos tendrán que verse cada día conversando sobre diferentes poemas que harán que se conozcan poco a poco.
What is this film about?
Although the film begins as a romantic comedy, when Anna de la Vega (Sofia Carson) and Jamie Davenport (Corey Milchreest) meet in a somewhat humorous way, Anna reveals her defiant personality to Jamie by complaining when he splashes her as he drives by in his car. She gets her revenge when they meet at a coffee shop while he is trying to hide from an ex-girlfriend. Without hesitation, she exposes him to this girl, feeling more than pleased to see him in trouble and calling him a womanizer.
Anna de la Vega is an American who travels to England to study poetry at Oxford University for a year, a subject she has been passionate about since childhood, without imagining that on her first day of class she would meet Jamie, who would be her poetry professor for the entire year. She is astonished and a little disappointed to learn that the previous professor, whom she admired and wanted to see in class, had been promoted, leaving her intern Jamie in charge of the class. So they will have to see each other every day, discussing different poems that will allow them to get to know each other little by little.
Anna una noche decide conocer un bar de Inglaterra junto a sus compañeros de clases y se mete en aprietos con un chico que se propasa con ella porque está tomado, Jamie está ahí también e interviene ofreciendo acompañarla hasta su casa, no sin antes llevarla a conocer un verdadero bar de Inglaterra para demostrarle que no todos los ingleses son así de mal educados, llevándola además a comer la comida rápida de esa ciudad, terminando la noche de forma mágica, ya que se dan cuenta lo bien que la pasan juntos.
Anna empieza a sentirse atraída por Jamie, pero ella siempre lo ve en compañía de otras chicas, por lo que decide darle celos con otro chico en una fiesta donde asisten logrado llamar su atención y posteriormente es inevitable que estén juntos porque ambos se atraen mucho, iniciando un romance, al que él le advierte que es solo para divertirse, que no le puede ofrecer nada más, a pesar de que ya tienen intimidad él se vuelve frío con ella e indiferente, sintiéndose que ya no es de su interés, por lo que cuando va a reclamarle lo encuentra con una chica en una habitación atendiéndolo mientras él está acostado recibiendo un tratamiento médico, él se molesta y la hecha de la habitación.
One night, Anna decides to check out a bar in England with her classmates and gets into trouble with a guy who gets too handsy with her because he's drunk. Jamie is there too and intervenes, offering to walk her home, but not before taking her to a real bar in England to show her that not all English people are that rude. He also takes her to eat fast food in that city, ending the night in a magical way, as they realize how much fun they have together.
Anna begins to feel attracted to Jamie, but she always sees him in the company of other girls, so she decides to make him jealous with another guy at a party they attend. She manages to get his attention, and later it is inevitable that they will be together because they are very attracted to each other, starting a romance, which he warns her is just for fun, that he cannot offer her anything more. even though they are already intimate, he becomes cold and indifferent towards her, feeling that she is no longer of interest to him. So when she goes to confront him, she finds him with a girl in a room attending to him while he is lying down receiving medical treatment. He gets angry and kicks her out of the room.
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Luego él la busca y termina la relación diciendo que él está condenado a morir de cáncer y no va a permitir que ella se enamore de él ni que este con él en esas circunstancias, esta escena fue bastante conmovedora porque demuestra que Jamie a pesar de su enfermedad estaba pensando en no hacerle daño a Anna, ya que eventualmente ella terminaría sufriendo, sin importarle que al momento de separarse también le estaba haciendo daño a ambos, ella le responde con unos de sus poemas y con esa frase él entendió que ella era la indicada, y corrió a sus brazos y jamás se separaron.
Then he seeks her out and ends the relationship, saying that he is doomed to die of cancer and will not allow her to fall in love with him or be with him under those circumstances. This scene was quite moving because it shows that Jamie, despite his illness, was thinking of not hurting Anna, since she would eventually end up suffering, regardless of the fact that by separating, he was also hurting both of them. She responds with one of her poems, and with that phrase, he understands that she is the one, and he runs into her arms, and they are never apart again.
A este punto de la trama podemos ver a Anna relacionarse con la familia de Jamie sirviendo como un puente de comunicación entre él y su padre, ya que ambos no se hablaban desde que decidió no seguir el tratamiento, su padre quería que luchara por su vida, pero él prefería vivir el tiempo que le quedaba sin sufrir en un hospital como le paso a su hermano que los médicos no pudieron salvarlo. Siendo estas escenas bastante dramáticas porque, por un lado, tenemos a los padres sufriendo porque su hijo no quiere ir más al médico, sintiéndose completamente devastados y sin esperanza, y, por otro lado, Jamie que no quería pasar por tratamientos dolorosos para siempre morir. Les cuento que literalmente llore con estas escenas, ya que poniéndonos en los zapatos de ambos es un dilema que muchos enfermos de cáncer tienen con sus familiares porque lamentablemente hay que entender que finalmente la decisión es del paciente, ya que es su vida y tienen el derecho de decidir lo que se sienta más cómodo.
At this point in the plot, we see Anna interacting with Jamie's family, serving as a bridge of communication between him and his father, since the two had not spoken since he decided not to continue treatment. His father wanted him to fight for his life, but he preferred to live out the time he had left without suffering in a hospital, as had happened to his brother, whom the doctors were unable to save. These scenes are quite dramatic because, on the one hand, we have the parents suffering because their son does not want to go to the doctor anymore, feeling completely devastated and hopeless, and, on the other hand, Jamie, who did not want to go through painful treatments only to die in the end. I must admit that I literally cried during these scenes, because putting ourselves in both their shoes, it is a dilemma that many cancer patients have with their families because, unfortunately, we must understand that ultimately the decision is up to the patient, as it is their life and they have the right to decide what they feel most comfortable with.
Anna y Jamie conversan en su lecho de muerte de un viaje anhelado que harán juntos por Europa, visualizándose ambos conociendo distintos lugares tomando fotos, agarrados de la mano, haciendo pícnics, paseando en góndolas, entre otros, pero al final Anna está sola en ese viaje, comprendiendo el triste desenlace que estoy segura de que todos los que tenemos la oportunidad de ver este film nos afectara de una u otra manera la forma de ver la vida, ya que esta película nos hace ver lo efímera que es nuestra presencia en este planeta, por lo que tenemos que vivir nuestra vida al máximo haciendo lo que nos gusta sin arrepentimientos, valorando a los seres que tenemos a nuestro lado en los momentos de difíciles que es cuando se miden los verdaderos afectos. Si ya vistes esta película me gustaría saber tus apreciaciones y si aún no las has visto te invito a que lo hagas, hasta una nueva oportunidad.
Anna and Jamie talk on her deathbed about a long-awaited trip they will take together through Europe, imagining themselves visiting different places, taking photos, holding hands, having picnics, riding in gondolas, among other things. but in the end Anna is alone on that trip, understanding the sad outcome that I am sure will affect all of us who have the opportunity to see this film in one way or another, as it makes us see how fleeting our presence on this planet is, so we have to live our lives to the fullest, doing what we love without regrets, valuing the people we have by our side in difficult times, which is when true affection is measured. If you have already seen this film, I would like to know your thoughts, and if you haven't seen it yet, I invite you to do so. Until next time.
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Trailer oficial del Sitio || Official Movie Trailer taken from YouTube
Portada hecha con || Cover made with Canva
Capturas de Pantalla de imágenes del sitio || Screenshots images of the site www.IMDb.com
Escritor de poesía y ensayo - Docente universitario en literatura y semiótica - Investigador de la literatura - Empedernido lector y aficionado a la fotografía
Siendo un cinéfilo empedernido desde mi juventud, en estos años de “adulto mayor” (como nos califican), tengo dificultades para acceder al cine, no solamente por la situación de muy limitadas ofertas cinematográficas desde hace muchos años en mi país (Venezuela), y mis “dólares”, sino también por cómo el tiempo de vida apremiante que vivimos, lamentablemente, nos restringe para otras opciones deseadas.
De vez en cuando, tengo la posibilidad de acceder a ciertos filmes recientes, en alguna red de las que llaman “streaming”. Esa fue la oportunidad experimentada ayer: un filme español recientemente estrenado, Tras el verano. De él hare una modesta reseña crítica.
Con gratitud a las circunstancias azarosas, pues no tenía información de este filme, lo descubrí anoche, y eso me hizo sentir bien. Reconozco que hacía mucho tiempo no veía un filme español que me gratificara, desde ciertas películas de Saura, Erice, Cuevas, Almodóvar, Amenábar, Coixet, por nombrar los más representativos para mí desde los años 60 del XX. Disculpen mi desactualización.
Tras el verano resultó ser para mí una satisfactoria obra, el primer largometraje de la directora española Yolanda Centeno, que solamente hasta ahora había realizado tres cortometrajes.
No es nada fácil abordar el asunto (más que tema) de la relación entre paternidad, maternidad y relación de pareja, y creo que ese reto lo asume muy bien la directora y su acompañante guionista, Jesús Luque.
Intentando una sinopsis, sin mucho espóiler. Tenemos una relación, en primer lugar, de un marido separado (Raúl) y una mujer (Paula), a la que no se sabe exactamente cómo conoció (aunque pueden hacerse inferencias). De la relación anterior (matrimonio) de Raúl, es hijo Dani, un niño de 5 años, que hará una conexión emocional profunda con Paula, en una suerte de sustitución maternal. Esta tiene una relación homosexual (poco definida en el filme, pero lo cual no es necesario). Su distanciamiento de Raúl, de quien se separa, en conflicto de incomprensión mutua, acendrará la necesidad de la relación sentimental entre Paula y Dani. Y será esta la que definirá la historia, y cerrará el filme.
Entre los valores de <i<Tras el verano, destacaría varios aspectos, que me parecen de relevancia.
Comenzaría por el guion, sin conocerlo, vemos que logra una correlación muy apropiada entre historia y narrativa. Pero, sin la dirección de Yolanda Centeno, no creo que hubiese sido posible alcanzar la calidad narrativa del filme; siendo su primer largometraje, logra en él una coherencia y motivación temática y narrativa de reconocible factura.
Sin pretender hacer una reseña de precisión, resumiría aquí el alma de lo que nos comparte: la dificultad de alguien —en este caso, un hombre (podría haber sido una mujer)— para asumir la relación con su hijo nacido en una relación marital no existente; la complejidad de sus relaciones (la del padre) con una mujer diferente, la cual establece una vinculación vital con el hijo de su amante; la posibilidad de la reconciliación, aunque sea solo circunstancial; la reiniciación emocional del hijo ante la posibilidad de una “madre" real.
Luego, las actuaciones, pocas conocidas para mí, pero vale destacar las de Alexandra Jiménez (Paula), Juan Diego Botto (Raúl), Alejandro López Infantes (el niño). Las actuaciones de ambos adultos es muy efectiva, sobre todo en lo emocional, con gestos y expresión verbal; pero creo que la más relevante es la del actor que hace de Dani, de una gran versatilidad emotiva, que sorprende.
El trabajo cinematográfico de este filme me pareció no solo muy bien logrado, sino más: eficiente. A continuación, una muestra.
"After the Summer," a Spanish film worthy of our attention
"After the Summer," a Spanish Film Worthy of Our Attention
Being an avid cinephile since my youth, in these "older adult" years (as we are called), I have difficulty accessing the movies, not only because of the very limited film offerings in my country (Venezuela) for many years, and because of my "dollars," but also because the pressing life we live unfortunately restricts us from other desired options.
From time to time, I have the opportunity to access certain recent films on one of those so-called "streaming" networks. That was the opportunity I experienced yesterday: a recently released Spanish film, After the Summer. I will write a modest critical review of it.
With gratitude for the fortuitous circumstances, as I had no information about this film, I discovered it last night, and that made me feel good. I admit it's been a long time since I've seen a Spanish film that has truly gratified me, not since certain films by Saura, Erice, Cuevas, Almodóvar, Amenábar, and Coixet, to name the most representative for me since the 1960s. Please excuse my outdatedness and ignorance.
After the Summer turned out to be a satisfying work for me, the debut feature film by Spanish director Yolanda Centeno, who until now had only made three short films.
It's not at all easy to approach the subject (more than the theme) of the relationship between fatherhood, motherhood, and relationships, and I think the director and her screenwriter, Jesús Luque, rise to that challenge very well.
Specific comments follow.
Attempting a synopsis, without too many spoilers. We have a relationship, first, between a separated husband (Raúl) and a woman (Paula), whose exact meeting point is unknown (although inferences can be made). From Raúl's previous relationship (marriage), he has a 5-year-old son, Dani, who will form a deep emotional connection with Paula, in a sort of maternal surrogate. Paula has a homosexual relationship (vaguely defined in the film, but unnecessary). Her distancing from Raúl, from whom she separates, in a conflict of mutual misunderstanding, will intensify the need for the romantic relationship between Paula and Dani. And this will define the story and bring the film to a close.
Among the strengths of After the Summer, I would highlight several aspects that I find relevant.
I would start with the script. Without knowing it, we see that it achieves a very appropriate correlation between story and narrative. However, without Yolanda Centeno's direction, I don't think it would have been possible to achieve the film's narrative quality; being her first feature film, she achieves a coherent and recognizable thematic and narrative motivation.
Without intending to give a precise account, I would summarize here the essence of what it shares with us: the difficulty of someone—in this case, a man (it could have been a woman)—in coming to terms with his relationship with his son born into a nonexistent marital relationship; the complexity of his relationship (that of the father) with a different woman, who establishes a vital bond with her lover's son; the possibility of reconciliation, even if only circumstantial; the son's emotional resumption in the face of the possibility of a real "mother."
Then, the performances, little known to me, but worth highlighting are those of Alexandra Jiménez (Paula), Juan Diego Botto (Raúl), and Alejandro López Infantes (the boy). The performances of both adults are very effective, especially emotionally, with gestures and verbal expression; but I think the most relevant is that of the actor who plays Dani, with a great emotional versatility that is surprising.
The cinematographic work of this film seemed to me not only very well done, but more: efficient. Below is a sample.
And Sophie — God, Sophie broke my heart. Her descent into Evil wasn’t just about being corrupted by Rafal; it was about feeling like no one ever truly believed in her dream….
Instead of being lulled by the sweetness of magic, you’re jolted awake by how sharp and twisted everything really is? That’s exactly what The School for Good and Evil felt like to me. I went in expecting a colorful, maybe cheesy fantasy about princesses, villains, and magic schools, but what I got was this layered, messy, and strangely emotional ride about friendship, identity, and how blurry the line between “good” and “evil” can actually be. It wasn’t just a story about spells and gowns — it felt like watching people wrestle with who they truly are versus who the world wants them to be, and honestly, it made me reflect on my own life more than I thought it would.
It all starts with Sophie and Agatha, two girls who couldn’t be more different but somehow belong to each other. Sophie is the dreamer — blonde, bright-eyed, obsessed with fairy tales, convinced she’s destined to be a princess. She’s the kind of girl who writes her story before life even hands her the pen. Agatha, on the other hand, is darker, misunderstood, living on the edge of town with her witchy vibe, not really fitting into anybody’s idea of “beautiful” or “pure.” And yet, their friendship feels so raw and grounding — they’re each other’s escape from a world that keeps putting them into boxes. I loved that from the very beginning because it reminded me of those odd friendships we sometimes form, the ones that don’t make sense to anyone else but feel like home to us.
The next trick takes them into this fantasy of the world of Good and Evil. They are swept off into this magic land where children are made into heroes or villains, who will be the main characters in all fairy-tales. It is a crazy idea in itself, but the true mess starts when Sophie, who was so sure that she would fit in Good, is dumped in the School for Evil and Agatha, who, since her childhood, could only dream of something to mock her, appears in the School of Good. That inversion hit me hard. As though the movie meant, What you are, and what you really are, are not always the same thing. And God, how often has it been the case with all of us in life?
It was funny and sad to see Sophie attempt to adapt to the School of Evil. They are filled with witches, snakes, and this gothic charge, and she is continually attempting to smile herself out of this predicament, to pretend that she can princess herself into the proper category. However, the harder she tries, the more we begin to perceive that her appearance of a perfect girl has cracks in it. And then there is Agatha, in the School where one goes to get good, is treading on her heels in her all-black clothes, her sniping, her contempt of glitter and pink, so out of place among all these polished, dainty princesses. It seemed that she continued rolling her eyes at their rules as she did, and it was like watching a person drag him or herself through life, which does not suit his or her skin.
The deeper the narrative, the more twisted it became. Sophie begins to be drawn into the circles of darkness, Rafal, the villain who in allurements offers her the idea that perhaps she is not lost at all, perhaps it is all she is supposed to be. And here the movie really got my attention. Since it is not a mere goofy fairy tale, but this adventure of power and self-image. Sophie is not simply becoming evil, she is learning how good it is to be noticed, to be strong, after decades of being looked down upon. And Agatha, at the same time, is understanding that perhaps good does not have to be about dresses and smiles, perhaps it has to be about decisions and devotion and keeping the people you love safe, even though they are making you hurt.
A scene which I found memorable was the one in which Sophie transforms in the process of accepting her position in Evil. This kind of cold, clean beauty of how she is coming out of her past self, the blonde curls, the pink dresses, and into something cold and hard that is darker and sharper, there is something in that. Not only the costume, but it was as though a girl was taking off her mask and was telling you, That is me, like it or not. And yet despite the power with which she looked, I could feel this ach of sadness, as though she was losing that side of herself which had giggled in the woods with Agatha. The fact of that struggle--to see her grow and wither simultaneously--was hypnotic.
Then there is the confusion of the schools colliding. The fights between Good and Evil are not mere magical flash-fights, although, to be honest, the visuals were marvelous; the fights are symbolic. The friendship of the girls is being threatened. Everybody is tugging at them, telling them what they are, and, so, the question is not, do they choose the labels which the world places over them, but do they choose one another. It is that emotional core that kept me attached to the screen.
The development of Agatha was getting on my nerves. She switches between despising everything about the School of Good to accepting that perhaps goodness is in fighting on behalf of Sophie even when she continues to drive her away. It reminded me of the times of my life when a friend was out of control and was caught up in something that was eating them alive and all I could do was be there even though they might not want me to be there. The helpless devotion-- that was what Agatha represented.
And Sophie — God, Sophie broke my heart. Her descent into Evil wasn’t just about being corrupted by Rafal; it was about feeling like no one ever truly believed in her dream. How many times have we bent ourselves into shapes, trying to prove to people that we’re more than what they see? Her “evil” was born out of longing, and that’s what made her so human.
The last confrontation between the forces of Good and Evil was exciting, yes, but what nauseated me was when the friendship to its utmost extent between Sophie and Agatha was put to the test. Was that to fight on opposite sides as enemies? Or would they not recall that, despite all the magic, crowns and curses, they were two girls once in a small town who used to hold hands against the world? And that decision, that weak hour, was greater than all bodiless explosions of spells. And when they discovered their distance home to one another, after all the betrayals and hurt, I had this rush of relief, as though I saw a friend you think you have lost returned.
When the dust cleared, and the movie had ended, I could not get my mind off how this movie was similar to the real life. Sometimes we are all thrown into schools, which we do not belong in, which have been judged by appearances, and thrust into categories. Others of us struggle to prove we are good, others of us are sucked into bitterness, yet all of us, at the bottom of it, are just trying to be recognized as we actually are. And perhaps, perhaps, the perfection or the power does not save us in the end, but rather the people who retain in us our own best selves.
It is what The School for Good and Evil made me feel: I was laughing, awe, a few chills, but this weird ache in my chest. As much as it was an illusion it was also a reflection. A reminder that there are no fairy tale good and evil. This is because they exist within us and coexist. And sometimes the bravest thing we may have to do, is to cling to that which sees in us and loves us still.
At times I do wonder why some people especially scientists are wicked or they just don't know they are wicked and not really doing things the right way, they think they are considering humanity at large while endangering certain people and along the way covering their own secret benefit, I finally got to watch this particular movie titled "The Terminal List", the movie was intense and it is based on a revenge mission. A Navy seal platoon was sent on a deadly mission without them knowing the real intention and they were killed in the mission but two managed to survive but weren't the same again, one survivor was killed and the last man standing developed a brain tumor but wasn't since the master planners want all of them dead, so in an attempt to kill him again, they killed his wife and daughter and that triggered the beast in him and he promised himself to avenge his family and all other 8 navy they killed. It turned into a David vs Goliath war and he was the most wanted man and also they painted him as a psychotic who was ill and needed to be killed or put in jail.
Reece had to confide in his best friend Ben Edward who was a CIA and both of them made a full list of the perpetrator which they named the terminal list, from their top navy commanders, to their puppet messengers even to the government in the pentagon villa. I really pity the guy especially when his wife and only daughter were murdered in their home yet these people were present at the funeral with no emotions, firstly of all, he figured this messengers to murder his family and I love the way he killed the guy without pity, then he kill a top officer with a deadly syringe, by that time he was the most wanted man. A journalist who was interested in the case, use every means in her power to locate Reece just to know the real story because he was painted as a psychotic man, she never believed him until she saw the assassin sent to kill him, since she was in contact with him, she had to go into hiding and also team up with Reece so she can get the full story. Along the line the FBI started looking for Reece and he still managed to kill the 3 commander (who attended his family funeral) just in one night.
That was when they knew he was serious with the mission. He needed to kill two more people to complete the list, Secretary Hartley who had good intention but played deaf to the killings and another beneficiary who they are yet to figure out because he decided to stay hidden, Reece hunted Hartley down and nearly died on that particular mission but Hartley killed herself before Reece could, along the line, the hidden beneficiary got revealed and I was surprised who it was, Reece best friend and confidant Ben was actually the culprit who killed all Reece team on the battle field. It pained me and at the same time I was emotional, he got $20m to kill his friend and after he survived and the perpetrator went behind his back to kill his family, you now team up with Reece to kill them so that your secret will die with them, at some point, I was wishing Reece won't kill him because without Ben, his revenge mission won't be successful, but it is what it is, he had to make a decision to kill Ben and complete his Terminal list, Find Out what happened in the movie?
Marvel is one of the biggest franchises in terms of films due to the number of them released over the years. They've even created new villains and superheroes to extend the saga and thus continue releasing films, although the latest ones have been more of the same and have achieved the same impact as the first ones they released, being original and with a quality of another level. Beyond that, there are also Marvel comics, something that is much older and where this whole adventure practically began, as they served as inspiration and were able to change many aspects. So, once again, a director managed to work and bet on something short and thus be able to release a miniseries that is causing a stir worldwide. Once again, Marvel is doing its job.
This four-episode miniseries is known as Marvel Zombies, which caught my attention since all the films I've seen in the franchise haven't mentioned, much less the presence of zombies. That's why I couldn't pass up this miniseries and seeing all that work, which is based on Marvel comics. In this way, I can relive many interesting things and secrets from that entire world. Therefore, we will see a new generation of heroes who will have to work as a team and form a large group with the idea of being able to defeat a zombie invasion. This is something very interesting, and here we wonder: Will they be able to defeat all the zombies? Will it be a preview of the next Marvel movie? And many other things in this short production.
Marvel una de las franquicias más grandes en cuanto a películas por la cantidad que han sacado durante años e incluso han creado nuevos villanos y superhéroes para así poder extender dicha saga y de esa manera poder seguir sacando películas, a pesar de que las últimas han sido más de los mismo y los han logrado el impacto como las primeras que sacaron al ser originales y con una calidad de otro nivel. Más allá de eso también existe los cómics de Marvel algo que es mucho más viejo y allí es donde prácticamente dio inicio a toda esta aventura ya que sirvió como inspiración y poder cambiar muchos aspectos por eso una vez más un director logró trabajar y apostar en algo corto y así poder sacar una mini serie la cual está dando mundo de que hablar y una vez más Marvel haciendo su trabajo.
Esta mini serie de solamente cuatro episodios es conocida como Marvel Zombi, la cual me llamo mucho la atención ya que en todas las películas que he visto de la franquicia no han mencionado y muchos menos la presencia de zombi, por eso no podía dejar pasar esta mini serie y ver todo ese trabajo, la cual esta basada en los cómics de Marvel y de esa manera poder revivir muchos cosas interesantes y secreto de todo ese mundo. Por ende veremos a una nueva generación de héroes que tendrán que trabajar en equipo y formar un gran grupo con la idea de poder derrotar a una invasión de zombis, siendo algo muy interesante y es aquí donde nos preguntamos ¿Podrán derrotar a todos los zombi?, ¿Será un adelanto de la próxima película de Marvel? y muchas otras cosas en esta corta producción.
With only four episodes, everything develops very quickly, which allows the story to be fun, entertaining and to end the zombie invasion as quickly as possible. It also has a great twist in that it can involve many heroes and villains to be part of the miniseries but this time being zombies and that is why it will be a great adventure full of action, blows, strategies and even more so because it is an animated film it gives much more value to it. Another thing that I liked is explaining how this zombie infection originates and it is practically the fault of the human being and a simple mistake ends up being a disaster for an entire city, which has to survive and avoid being infected, that is why each episode has something new and of great impact.
Al contar con solamente cuatro episodios todo se va desarrollando de una manera muy rápida, la cual permite que la historia sea divertida, entretenida y poder acabar lo más rápido esa invasión de zombi, además cuenta con un gran giro por el mismo de hecho de poder involucrar a muchos héroes y villanos para que forme parte de la miniserie pero esta vez siendo zombis y por eso será una gran aventura cargada de mucha acción, golpes, estrategias y más aún ser por ser una película animada le da mucho más valor a la misma. Otra de las cosas que me gusto es explicar cómo se origina esa infección de zombis y prácticamente es por culpa del ser humano y un simple error termine siendo un desastre para toda una ciudad, la cual les toca sobrevivir y evitar ser infectados, por eso cada episodio cuenta con algo nuevo y de gran impacto.
Each of the scenes is very well crafted, colorful, and that same style of Marvel movies by telling a clear format that always works in the best way and thus be able to enjoy a good production and everything goes directly without so much filler and conversations because it is something very short. It has a wide variety of characters that each contribute a lot of value to be able to put together an entire plot, in addition to new heroes that will surely be the new generation of this franchise, which has very good powers, high-level abilities and in this way can face an enormous amount of zombies, whose only objective is to destroy everything in their path, therefore it will be a team effort and being able to unite powers.
Cada una de las escenas muy bien trabajada, coloridas y ese mismo estilo de las películas de Marvel al contar un formato claro que siempre resulta de la mejor manera y así poder disfrutar de una buena producción y está todo va directamente si tanto relleno y conversaciones al ser algo muy corto. Cuenta con una amplia variedad de personajes que cada uno aporta mucho valor para así poder armar toda una trama, además héroes nuevos que seguro serán la nueva generación de esta franquicia, la cual cuenta con poderes muy buenos, habilidades de alto nivel y de esa manera poder enfrentar una enorme cantidad de zombis, que su único objetivo es destruir todo lo que esté por su camino, por ende será un trabajo en equipo y poder unir poderes.
A production that was a great surprise and perfect for giving a new perspective to this great Marvel franchise. Despite being very short, there were still many unanswered questions, which is why it has an open ending that could surely lead to more episodes. This new generation of heroes has a lot to prove and do in order to become good, and most importantly, they have to create new powers, giving more excitement to this great franchise, both in terms of movies and comics. So, friends, if you're looking for something fun and short to watch, don't pass up this Marvel zombies opportunity.
Una producción que fue una gran sorpresa y perfecta para poder darle otro enfoque a esta gran franquicia de Marvel, a pesar de ser muy corta aun quedaron muchas cosas por responder y por eso cuenta con un final abierto que seguramente pueden salir más episodios, además esta nueva generación de héroes tiene mucho que demostrar y hacer para así poder llegar a ser buenos y lo más importante tener que crear poderes nuevos y así poder darle más emoción a toda esa gran franquía tanto películas como los cómics. Por eso amigos si buscas algo divertido y corto para ver nos dejas pasar esta oportunidad de Marvel zombies.
Hello, everyone! Today, I'm back with a review of a movie that's supposed to be a romantic comedy. It's called Materialists, which has a stellar cast and a slightly peculiar plot.
Spanish
¡Hola a todos! Hoy vengo nuevamente con una reseña de una película que se supone que es una comedia romántica. Se trata de Materialistas, que tiene un elenco estelar con una trama un poco peculiar.
Lucy is a highly successful matchmaker in New York, played by Dakota Johnson. Her job is to find partners for successful people so that they can not only start a relationship, but also end up getting married. During one of the weddings, she meets Harry, a very wealthy man played by Pedro Pascal, who is the groom's brother and also Lucy's client. He listens to her talk about her business and they exchange numbers. That same day, Lucy reunites with someone from her past, her ex-boyfriend John, a frustrated actor who earns money as a waiter in a catering company, played by Chris Evans.
You can probably guess where the story is going: will Lucy stay with the multimillionaire or with the poor guy who, even at 37, still has roommates and no money?
I found it a little difficult to connect with this story. Because the reasons why the story ends the way it does seemed unconvincing to me. There was no story, the plot seemed like an empty shell with no depth. And at least half of the movie was very interesting to me.
Spanish
Lucy es una casamentera bastante exitosa en New York, está interpretada por Dakota Johnson. Su trabajo consiste en conseguirle parejas a personas exitosas con el fin de que puedan, no solo, crear una relación, sino terminar en una boda. Durante una de las bodas conoce a Harry, un hombre muy rico, encarnado por Pedro Pascal, quien es el hermano del novio y también el cliente de Lucy. Él la escucha hablar de su negocio e intercambian números. Ese mismo día, Lucy se reencuentra con alguien de su pasado, su exnovio John, un actor frustrado que gana dinero como mesero en una empresa de catering, interpretado por Chris Evans.
Ya se imaginarán por donde va la historia: ¿Lucy se queda con el hombre multimillonario o con el pobre que aun a sus 37 años tiene roomies y no tiene nada de dinero?
Se me hizo un poco complicado conectar con esta historia. Porque las razones por las cuales la historia termina como termina se me hizo poco convincente. No hubo ninguna historia, la trama me pareció un cascarón vacío sin nada de profundidad. Y por lo menos la mitad de la película se me estaba haciendo muy interesante.
Here they show us that marriages are a financial transaction, in which finding a partner and improving ourselves are investments to get the best deal. We're talking about cosmetic surgery, clothes, hair, nails, teeth, etc. And I agree with this; everyone invests in whatever way they can get the partner they can get. Just as we like to see that the man is confident when it comes to paying, without hesitation. I thought that whole part of the movie was very good. However, I feel that there was a total disconnect when it came to the romantic part.
There was no thread connecting one part to another, no chemistry that showed me the reasons why we would choose someone just for love. And it's not that I'm against it, I have to separate what I think from what the movie shows us. It's just that in this movie, they don't show us in any way, there is no story that teaches us how there is love or how they got it.
Spanish
Aquí nos muestran que los matrimonios son una transacción financiera, en que buscar pareja y hacernos mejoras son inversiones para conseguir la mejor transacción. Hablamos de operaciones estéticas, ropa, cabello, uñas, dientes, etc. Y yo estoy de acuerdo con esto; cada quien invierte de la manera que puede para tener la pareja que puede conseguir. Así como nos gusta ver que el hombre está seguro a la hora de pagar, sin titubear. Toda esa parte de la película me pareció muy buena. Sin embargo, siento que hubo una desconexión total cuando tocó hablar de la parte romántica.
No hubo ningún hilo que conectara una parte con otra, no hubo química que me señalara las razones por las cuales escogeríamos a alguien solo por amor. Y no es que esté en contra, debo separar lo que pienso de lo que nos muestra la película. Es que en esta no nos muestran de ninguna manera, no hay una historia en la que nos enseñen de qué manera hay amor o como lo consiguieron.
Something to keep in mind when making future cords is that the thickness and length depend on what you need and the thickness of the yarn you are using. So, you need to see what you need and decide whether to increase the number of initial chain stitches. What you do need to consider is that there must be at least three for this tubular pattern to work.
I hope you liked it and I hope to bring you more projects in the near future. Hugs to all.
Spanish
Al finalizar, quedé con una sensación de que la historia estaba incompleta. Es un fallo gigante de guion y de edición, porque nos pudieron dar más. En cuanto al género, no es una comedia romántica. Solo hay un intento de romance bastante desabrido y entiendo el descontento de público con el final de la película. Exijo una explicación.
En cuanto a mí, siento que debe haber un balance entre el romance y la parte monetaria, porque bien dice el dicho: amor con hambre no dura. Pero tampoco creo que dure una relación en donde lo único que haya sea dinero. ¿Qué opinan ustedes? ¿Vieron la película? ¿Qué les pareció? Gracias a todos por leerme y nos seguimos leyendo por acá.
Nicolas Cage is an actor with a surprising personality who manages to bring to life characters that I thought were impossible castings for Cage, but he manages to show how versatile he is. After seeing him as Dracula and laughing positively at his performance, I will always think that he could have been Superman with the good Nicolas Cage, haha.
Renfield is a film you can enjoy watching on Netflix, and believe me, you'll laugh your head off because the synopsis is to take that pathetic assistant with destroyed self-esteem named Renfield and make him the protagonist to develop a narrative about the toxic relationship between master and servant.... But the expressions and reactions on Nicolas Cage's Dracula's face end up enchanting you with his funny vampiric magic, making the film his own.
Just look at the gif... it's hilarious haha, and in fact, seeing that classic reference to the classic of classics, Dracula, in this film, which I'm sharing with you in the YouTube link, makes me want to watch the movie again because the story has the added bonus of being able to be watched several times and still be enchanting.
Nicolas Cage es un actor con una personalidad que sorprende logrando dar vida a personajes que pienso eran castings imposibles para Cage pero logra demostrar lo versátil que es y luego de haberlo visto como Dracula y reír positivamente con su interpretación, me hará pensar por siempre que fuese sido de Superman con el buen Nicolas Cage jaja.
Renfield es un film que pueden disfrutar de ver en Netflix y créanme que se reirán a mas no poder porque la sinopsis es tomar a ese ayudante patético y con autoestima destruida llamado Renfield y colocarlo como protagonista para desarrollar una narrativa en la relación toxica entre Amo y sirviente.... pero las expresiones y reacciones en el rostro del Dracula de Nicolas Cage terminan encantando con su magia vampirica graciosa para hacer la película como suya.
Solo vean el gif.... es para morir de risa jaja y de hecho al ver esa referencia clásica al clásico de clásicos de Dracula en este film el cual les comparto en el link de youtube, pues me dan ganas de volver a ver la película porque la historia tiene el añadido de poder verse varias veces y seguir encantando.
The film is a trinity that works well in terms of comedy, and in fact, I would have loved to see this story as a series and follow it to the end because it's not only funny, it's also grotesque to a point that reminds me of Mortal Kombat with its Fatalities, haha.
Dracula and Renfield are great. My only criticism of the narrative is the fact that it gave powers to the female character of Rebecca, played by Awkwafina, since she totally fulfills the funny aspect, but when it comes to being a strong character, I find it difficult to believe in her strength in front of the other two monsters, Renfield and Dracula. As a character, she wants to be strong, but she ends up being a damsel in distress that the story constantly tries to force as if she were strong.
Go see this movie if you like the twisted humor in this modern take on the toxic relationship between Renfield and the good Dracula.
El film es una trinidad que en el aspecto cómico funciona y de hecho como me fuese encantado ver esta historia como serie, la fuese seguido hasta el final porque no solo es graciosa, también es grotesca a un punto que me recuerda a Mortal Kombat por sus Fatalitys jaja.
Dracula y Renfield geniales, mi única critica seria para la narrativa el hecho de que le diera poderes a la personaje femenino de Rebecca interpretada por Awkwafina ya que cumple totalmente con el aspecto gracioso pero al momento de ser un personaje fuerte me es difícil el creerme su fortaleza ante el otro par de monstruos que son Renfield y Dracula, ella como personaje quiere ser fuerte pero termina siendo una damisela en peligro que la historia constantemente trata de forzar como si fuese fuerte.
Anímense a ver esta película si les agrada el humor retorcido en esta versión moderna en la relación toxica de Renfield y el buen Dracula.
I dedicate each and every one of my posts and videos to my little dog named princess, we called her chiquito, she is no longer with us but from heaven she will see that her existence was valuable and the most beautiful thing that will exist in my heart and soul.
David Simon’s masterstroke in The Wire lay not only in his own incisive vision but in his deliberate curation of literary talent to dissect Baltimore’s rot. Barely a week after showcasing Richard Price’s formidable skills in Season 3’s All Due Respect, Simon handed the reins to Dennis Lehane, the Boston-bred novelist whose gritty narratives – Mystic River, Gone, Baby, Gone – had already cemented his reputation and would soon fuel major cinematic adaptations throughout the early 2000s. Lehane’s debut, Dead Soldiers, proved an immediate and potent addition to the series’ tapestry. Far from a tentative step, it demonstrated a profound understanding of Simon’s core thesis: the systemic decay of institutions and the human cost of dealing with them. Lehane embedded himself within the show’s DNA, establishing him as a vital voice in The Wire’s unparalleled exploration of urban America.
The episode’s title, "Dead Soldiers," operates with chilling duality, embodying the show’s signature linguistic precision. Literally, it’s street slang for an empty liquor bottle – a discarded vessel, a spent resource. Yet, metaphorically, it pierces the heart of the narrative, referring to two pivotal deaths: one within the criminal underworld, the other within the police department. These aren’t grand, heroic falls, but sudden, ignominious extinguishments that ripple through the fragile ecosystems of both sides of the law, exposing the brutal randomness and profound consequences of lives lived on the edge. The first death erupts from Omar Little’s fatal miscalculation. Disregarding Kimmy’s pragmatic counsel – that Baltimore teems with easier targets than the recently torched and hyper-vigilant Barksdale organisation – Omar insists on another stash house raid. Kimmy’s scepticism is catastrophically vindicated. The Barksdales, paranoid and heavily armed after their previous losses, have transformed the location into a death trap. What should have been Omar’s trademark surgical strike descends into a chaotic, close-quarters street battle. In the smoke and confusion, Dante’s stray bullet claims Tosha, Kimmy’s old partner. Kimmy’s immediate, visceral retaliation – gunning down Barksdale soldier Tank (Jonathan B. Wray) – is pure, unvarnished street justice. Omar, however, is shattered. He doesn’t revel in the violence; he internalises Tosha’s death as a personal failure, a devastating consequence of dragging others into his solitary, vendetta-driven war. The "dead soldier" here is Tosha – a casualty of Omar’s hubris, his misplaced loyalty to a personal code that bleeds innocents.
The second death arrives off-screen: Ray Cole, McNulty’s former Homicide colleague, has collapsed and died in the police gym. What follows isn’t a formal funeral, but the raw, extended ritual of the bar wake – a space where police grief, cynicism, and dark humour collide. Jay Landsman’s drunken, emotional eulogy is the episode’s soul. He doesn’t mythologise Cole as a flawless detective; instead, he mourns the humanity beneath the flawed cop – the man who wasn’t the best, yet got it right sometimes. This scene transcends mere plot; it’s a deeply meta-textual homage. Roland F. Collesbery, the actor who played Cole and a crucial executive producer instrumental in The Wire’s authenticity (having worked on Mississippi Burning and After Hours), suffered an identical sudden death months after Season 2 wrapped. Landsman’s specific, seemingly throwaway references to those very projects are not coincidental. They are Simon and Lehane’s direct, poignant tribute to their fallen colleague, embedding real-world loss into the fictional narrative. Cole’s death, and the wake, become a vessel for the show’s own grief, blurring the lines between art and life in a manner few series dare attempt.
While the streets and bars process death, the corridors of power within the Baltimore Police Department churn with the living death of careers. Major Marvin Taylor (Barnett Lloyd), commander of the Eastern District, faces the brutal consequences of reaching desired crime statistics. Chastised by the ruthlessly pragmatic Deputy Commissioner Rawls for poor numbers – a metric prioritised over actual public safety – Taylor is summarily demoted and relieved of duty. His fate hangs like a spectre over Howard "Bunny" Colvin. Unlike Taylor and his peers, who readily falsify statistics to appease superiors, Colvin refuses. His defiance, however, manifests not in passive resistance but in the audacious, morally fraught experiment: forcibly relocating Western District drug trade to three isolated zones, allowing open-air markets in exchange for reduced violence elsewhere. To sell this radical, potentially career-ending scheme to his bewildered troops, Colvin resorts to the institutional lingua franca – lies. He frames it as a complex, long-term "sting operation," manipulating his men just as the system manipulates the statistics. This juxtaposition – Taylor destroyed for not lying, Colvin potentially saved by telling a massive lie – lays bare the perverse incentives poisoning the entire institution.
Lying, of course, is the lifeblood of politics, embodied perfectly by Councilman Tommy Carcetti. He publicly shifts blame for police funding shortfalls onto Mayor Royce, positioning himself as the reformer while ensuring Acting Commissioner Burrell takes the political bullet to protect the Mayor’s interests. Carcetti’s hypocrisy reaches its zenith at a fundraiser. He presents the flawless image: the devoted family man with his picture-perfect wife Jen (Megan Anderson) and children. The moment the family departs, the mask slips. Carcetti seizes the opportunity to engage in a crudesexual encounter with a woman met at the event. The jarring shift from calculated domesticity to base opportunism reveals the hollow core of his ambition – a microcosm of the systemic corruption Simon relentlessly exposes.
Lehane’s script is a masterclass in narrative economy and thematic resonance, seamlessly weaving these major arcs with quieter, equally potent subplots. McNulty’s dawning realisation that D’Angelo Barksdale was murdered, not a suicide, adds another layer to the unsolvable puzzle of institutional indifference, though his pursuit seems destined for oblivion. Kima Greggs confronts the personal cost of her dedication, recognising how her job has alienated her from Cheryl and her child, paradoxically drawing her closer to the similarly damaged McNulty. Cutty Wise experiences a glimpse of a redeemed life through Grace Sampson (Dravon James), an old flame who escaped the projects to become a schoolteacher. Her palpable discomfort around the former gangbanger and ex-convict is honest, yet her promise to leverage connections for legitimate work offers a fragile, hard-won hope – a stark contrast to the surrounding despair.
The episode’s most significant plot development, however, is the coldly efficient escalation of the Barksdale-Stanfield war. Observing Fruit’s dwindling profits, blamed on Barksdale encroachment, Marlo Stanfield doesn’t hesitate. He orders a pre-emptive strike, dispatching Barksdale soldiers with brutal, silent efficiency using baseball bats. This isn’t chaotic street violence; it’s corporate warfare, chilling in its precision and lack of emotion, signalling Marlo’s ruthless ascent and the inexorable hardening of the drug trade.
Dead Soldiers stands as one of The Wire’s most potent episodes, largely due to Lehane’s exceptional script. Rob Bailey’s direction is largely superb, capturing the show’s signature naturalism and emotional weight. However, a rare stumble mars the pivotal shootout sequence. Simon’s insistence on hyper-realism – avoiding clear choreography to mimic the confusion of actual gunfights – backfired. The circumstances of Tosha’s death became frustratingly ambiguous on screen, requiring Simon to later explain the sequence in interviews. It’s a minor, almost pedantic flaw in an otherwise flawless hour, a testament to how high the show’s storytelling bar was set. Yet, this single stumble cannot diminish the episode’s power. Lehane didn’t just write for The Wire; he wrote as The Wire. He understood that the true "dead soldiers" are not just Tosha or Ray Cole, but the ideals, the loyalties, and the very souls slowly extinguished within the crushing machinery of the Game – whether played on street corners, in police stations, or in the polished halls of City Hall. It’s a brutal, necessary elegy, and a near-perfect debut from a writer who belonged in Baltimore all along.
For the over two weeks, I've been under treatment. Always on my bed as I'm not supposed to stress myself because of the cuts and medications. That gave me a lot of free time to see movies, play games and rest more. I had a lot of Korean series downloaded so I've been seeing them one after the other to keep me busy.
"Red Swan" is not the first but I think, the third out of five series I've seen so far. But I'm reviewing it first for so many reasons which I'll share. First of all, it's a short thriller that had me hooked from start to finish, especially with the male lead who gave just the right level of charisma in his role even with his non smiling but handsome looks.
"Red Swan" is a 10 episode thriller Korean series released in the year 2024 starring Kim Ha-neul and Rain as main characters. The series explores the thrills in politics, inheritance, assassination and romance. It has a very good blend of powerful cast that makes the story interesting with no boring episode until the closing scene.
Oh Wan-soo, a world-class golfer gets married to a chaebol heir and starts a foundation that supports less privileged children. As she grows bigger in the foundation plans, her enemies plan to stop her. After narrowly escaping an assassination attempt in Manila, her life changes as she falls in love with her rescuer, a bodyguard.
Kim Ha-neul is not a new face to me, I don't think I'll forget her subtle yet powerful role as a mother in "18 Again". I thought it would be definitely refreshing to see her play a main role in a thriller and my expectations didn't fall short in anyway. She still had the subtle effect in the story and I liked how she handled her husband's infidelity.
"Rain" (Do-yoon) plays the role of the bodyguard who in his mission to find out the truth behind his friend's death, rescues an ambassador from an assassination attempt in Manila. To get closer to finding out the truth, he becomes the bodyguard to Kim Ha-neul, an unhappy married woman who prioritised her foundation and her own safety.
I've been a huge fan of Rain since his role as a ghost in "Ghost Doctor". I have to say, he's the main reason I had this series downloaded as it's been a while I saw him play any role. Acting all serious, strong and calculative in this series was just the excitement I needed to see. Though, a few times, I wish he didn't act the way he did.
There were memorable scenes but Do-yoon playing his bodyguard roles in the face of death threats to save his madam twice and where they realize their feelings for each other were the most memorable for me. Even though his role was a kinda spoilt chaebol heir, Jung Gyu-woon who played as the husband got me hooked too.
I had a great time on this series for the twists, suspense, action and most especially, how it turned out for the villain in the story. It didn't feel like a 10 episode series as it felt longer and slow paced but I enjoyed it more that way. I have to mention that the mother of the house was the only person who got me to laugh in this story.
It's a good one to recommend if you want a thriller with good action and twist, I'll give it a rating of 8.5/10 and that's because I wish they gave more scenes for the romance between the bodyguard and his madam lol. So will you see it?
Hello everyone, fans of good stories, I hope you are all doing super well, this time, I want to share a new review, after a long time, I started watching Silo on Apple TV+.. I know, I know, another blessed platform, but believe me, this one IS worth every damn second.. I had already heard things around there, some friends mentioned it to me months ago, and I finally got into it with everything, and I still can't believe it was that good.. let's see, imagine the panorama: humanity, or what little is left of it, lives in a GIANT underground bunker, a silo, like 144 floors down. And why is that? Well, because, supposedly, the outside world is a toxic, unlivable mess.. or well, that's the official version, the joke is that nobody really knows what's up with the world, or why the hell they are in there.. generations have passed, huh?
The information is super-controlled, the story is told in parts, and honestly, from the very first minute, you get the feeling that asking too many questions is asking for trouble. Remember the saying "curiosity killed the cat"? Well, it seems to be the Silo's unofficial motto... you can feel it in the air, that wave of mystery that overwhelms you... the world-building, so well done! You really feel the silo; it's a massive, cylindrical structure, and watch this: there are NO elevators! Just a GIANT spiral staircase that connects the 144 floors... can you imagine having to go up and down that stairs every single day?
People literally pack their lunches to travel between levels; you see that they have their own areas for everything: agriculture, engineering, the generators way down at the bottom, living quarters, even their local government and their mayor... it's a whole society, but at the same time, it gives you brutal claustrophobia! The way it's filmed, the set design, the raw, functional vibe of it all... it screams confinement and control from every angle... and you quickly understand the social hierarchy: the people at the top live a little more comfortably, while the workers in the depths, those at the "bottom," are the driving force, but are often underestimated... it's subtle, but it's there, adding more flavor to this already messy society.
Hola a todos, fanáticos de las buenas historias, espero que estén super bien, en esta ocasión, les quiero compartir una nueva reseña, luego de mucho tiempo, empecé a ver Silo en Apple TV+.. ya sé, ya sé, otra bendita plataforma, pero créanme, esta SÍ vale cada maldito segundo.. ya había oído cositas por ahí, unos amigos me la mencionaron hace meses, y por fin le entré con todo, y todavía estoy que no me creo que fuera tan buena.. a ver, imagínense el panorama: la humanidad, o lo poquito que queda de ella, vive en un búnker subterráneo GIGANTESCO, un silo, de como 144 pisos para abajo. ¿Y eso por qué? Pues porque, se supone, el mundo de afuera es un cochinero tóxico, invivible.. o bueno, esa es la versión oficial, el chiste es que nadie sabe bien bien qué onda con el mundo, ni por qué diablos están metidos ahí.. ya pasaron generaciones, ¿eh?
La información está súper controlada, la historia te la cuentan a medias y, sinceramente, desde el minuto uno, te da esa vibra de que preguntar demasiado es buscarte problemas. ¿Ubican el dicho de "la curiosidad mató al gato"? Pues parece el lema no oficial del Silo.. se siente en el aire, esa onda de misterio que te apachurra.. la construcción del mundo, qué cosa tan bien hecha! De verdad sientes el silo, es una estructura masiva, cilíndrica, y ¡ojo con esto!: ¡NO hay elevadores! Solo una escalera de caracol GIGANTESCA que conecta los 144 pisos.. se imaginan tener que echarse esa subida y bajada todos los santos días?
La gente literal empaca su lonche para viajar entre niveles, ves que tienen sus zonas para todo: agricultura, ingeniería, los generadores bien abajo en el fondo, viviendas, hasta su delegación y su alcalde.. es toda una sociedad, pero al mismo tiempo te da una claustrofobia ¡brutal! La forma en que lo filman, el diseño de los sets, esa onda medio cruda y funcional de todo… te grita encierro y control por todos lados.. y rapidamente entiendes la jerarquía social: la gente de los niveles de arriba vive un poquito más cómoda, mientras que los trabajadores de las profundidades, los del "fondo", son el motor, pero seguido los hacen de menos.. es sutil, pero ahí está, poniéndole más sabor a esta sociedad que ya de por sí es un enredo.
But the mystery, the one that truly grabs you by the neck and won't let go, is obvious: what the hell is really going on with the outside world? What are those in charge at the Silo up to? Because you KNOW that they are hiding something... this is where the series gets super clever and visually, wow!, it leaves you speechless, there's like a ritual... if someone says they want to leave the Silo (which is basically sending them to die, right?, because "it's toxic outside!"), or if they are sentenced for a really serious crime, they are taken out... they put one of those protective suits on them, and their only task before they supposedly die, is to "clean" the sensor of the camera outside, the one that shows the people in the Silo that ugly, grey and, supposedly, poisonous landscape... EVERYONE who comes out, without fail, does that cleaning, it's a moment that takes you out of the loop, almost like a ceremony, and then you see them take a few steps and boom!, they collapse.
Visually it's extremely powerful, it leaves you thinking a lot of ugly things, and it screams at you that there's something fishy going on here, that things aren't that simple... why do they always clean? What the hell do you see? You're hooked, desperate for answers! Now, right in the middle of this whole mess is our protagonist, Juliette Nichols, played by Rebecca Ferguson, who is a GENIUS, for real! Juliette starts out as this super-capable, hands-on engineer, working in the very mechanical guts of the Silo, down there, keeping that awesome generator running... she's really tough, resourceful, and has a knack for fixing broken things, a skill that, believe me, becomes KEY.
Pero el misterio, el que de verdad te agarra del pescuezo y no te suelta, es obvio: ¿qué carajos está pasando realmente con el mundo de afuera? qué se traen entre manos los que mandan en el Silo? Porque uno SABE que algo están ocultando.. aquí es donde la serie se pone súper inteligente y visualmente, ¡uff!, te deja con la boca abierta, hay como un ritual… si alguien dice que se quiere ir del Silo (que es básicamente mandarlo a morir, ¿eh?, ¡porque "afuera es tóxico!"), o si lo sentencian por un crimen bien fuerte, lo sacan.. le ponen un traje de esos protectores, y su única tarea antes de que, se supone, muera, es "limpiar" el sensor de la cámara de afuera, la que le muestra a los del Silo ese paisaje todo feo, gris y, dizque, venenoso.. TODA la gente que sale, sin falla, hace la limpieza esa, es un momento que te saca de onda, casi como una ceremonia, y luego los ves dar unos pasos y ¡pum!, se desploman.
Visualmente es potentísimo, te deja pensando un montón de cosas feas, y te grita que aquí hay gato encerrado, que la cosa no es tan simple.. por qué siempre limpian? ¿Qué diablos ven? Ahí ya estás enganchadísimo, ¡desesperado por respuestas! Ahora, en el mero centro de todo este desmadre está nuestra protagonista, Juliette Nichols, que la interpreta la Rebecca Ferguson, ¡que es una GENIA, de verdad! Juliette arranca siendo esta ingeniera súper capaz, muy práctica, que trabaja en las meras entrañas mecánicas del Silo, allá abajo, manteniendo el generadorzote ese funcionando.. es bien ruda, ingeniosa y tiene como un don para arreglar cosas rotas, una habilidad que, ¡créanme!, se vuelve CLAVE.
And look, she's not your classic action heroine; she's a character with her problems, a little broken inside by things that happened to her, but with a determination that, why should I tell you about! Due to a series of things that happen, which I won't spoil for you so as not to spoil the plot, they end up getting her involved in an investigation that grows bigger and bigger, and she begins to uncover the darkest and most closely guarded secrets of the Silo... seeing her move from the lowest and dirtiest to the highest spheres of power and mystery, ugh! It captivates you; you go with her every step of the way, feeling her anger, her small triumphs, and how fear creeps in.
Rebecca Ferguson plays it brilliantly; she's the one who sustains the whole vibe of the series... although the whole theme is dystopian science fiction, the plot often feels like a detective thriller, one of those really raw ones; there are mysteries to solve, clues to find, and that growing feeling that there's a conspiracy, which makes you doubt even your own shadow. It’s not just about surviving the apocalypse; it’s about uncovering lies and fighting for the truth in a system that is designed to silence it. That mix of genres works really well, it keeps things fresh and interesting, even when they deliberately slow things down a bit to create tension and develop the characters well. And speaking of pacing, the series starts off spectacularly!
That first episode? My respect! It makes the world, the rules, the main mysteries crystal clear, and introduces you to the key characters in a way that hooks you from the start. I’ll be honest, the middle part of the season takes its time, it’s more of a slow burn, carefully building the world, developing the characters and weaving in all these complicated plots. Some may find it a bit slow, but honestly, I felt like all of that was the necessary foundation. Because when you get to that season finale... Oh my God, the reward is HUGE! The ending doesn’t just wrap things up; It gives the whole series a boost, it gives you some answers that really leave you cold and then, just when you think you’ve got the hang of it, boom! It throws a ton of new questions at you that blow your mind… I swear I screamed at the screen, the production quality, from start to finish, is next level! The design of the Silo itself is insane: it feels huge but at the same time you feel super closed in… the sets, the clothes that subtly mark the class differences, that old but futuristic technology, even the effects when we take a look at the outside world… everything, everything, is great.
Y miren, no es la clásica heroína de acción, es un personaje con sus problemas, un poquito rota por dentro por cosas que le pasaron, pero con una determinación que para qué les cuento! Por una serie de cosas que pasan, que no les voy a spoilear para no quemarles la trama, la terminan metiendo en una investigación que se va haciendo más y más grande, y empieza a destapar los secretos más oscuros y guardados del Silo.. verla moverse desde lo más bajo y sucio hasta las altas esferas del poder y el misterio, ¡uff!, te atrapa, uno va con ella en cada paso, sintiendo sus corajes, sus pequeños triunfos y cómo le va entrando el miedo.
Rebecca Ferguson, lo hace genial, es la que sostiene toda la onda de la serie.. aunque todo el tema es de ciencia ficción distópica, la trama muchas veces se siente como un thriller de detectives, de esos bien crudos, hay misterios que resolver, pistas que encontrar y esa sensación que va creciendo de que hay una conspiración, que te hace dudar hasta de tu sombra. No es nada más de sobrevivir al apocalipsis; es de descubrir mentiras y pelear por la verdad en un sistema que está hecho para callarla.. esa mezcla de géneros les quedó muy bien, hace que la cosa se mantenga fresca e interesante, incluso cuando le bajan un poquito la velocidad a propósito para crear tensión y desarrollar bien a los personajes. Y hablando del ritmo, la serie arranca ¡espectacular!
Ese primer capítulo? ¡Mis respetos! Te pone clarísimo el mundo, las reglas, los misterios principales y te presenta a los personajes clave de una forma que te clava desde el inicio.. les voy a ser sincero, la parte de en medio de la temporada se toma su tiempecito, es más a fuego lento, construyendo con cuidado el mundo, desarrollando a los personajes y tejiendo todas esas tramas complicadas.. algunos puede que se les haga un poco lento, pero, la verdad yo sentí que todo eso era el cimiento necesario. Porque cuando llegas a ese final de temporada... ¡Ay, Dios mío, la recompensa es INMENSA! El final no solo cierra cosas; le da un subidón a toda la serie, te da unas respuestas que de verdad te dejan frío y luego, justo cuando crees que ya le agarraste la onda, ¡pum!, te avienta un montón de preguntas nuevas que te vuelan la cabeza.. les juro que le grité a la pantalla, la calidad de producción, de principio a fin, es ¡de otro nivel! El diseño del Silo en sí es una locura: se siente gigante pero a la vez te sientes súper encerrado.. los escenarios, la ropa que te marca bien sutil las diferencias de clases, la tecnología esa medio viejita pero futurista, hasta los efectos cuando echamos un ojo al mundo de afuera… todo, todo, está genial.
It creates an atmosphere that draws you in, you really believe in this world and what those who live there are going through... you can tell that they put a lot of love and detail into creating it, honestly, the ending kind of gives a twist to a lot of things you’ve already seen... it makes you doubt EVERYTHING you thought you knew, especially that “view” from the outside camera, the way it plays with what you believe you are and the truth, no, no, what geniuses! It’s one of those endings that makes you come up with a million theories and makes the wait for the second season feel ETERNAL! I’m already eating my nails to find out what happens next... what does all this mean, in the end? If I had to give it a rating, I’d easily give it an 8.5/10.
It’s not perfect, like I said, the mid-season pacing does test some people’s patience, but the world-building is outstanding! The main mystery really grabs you, Rebecca Ferguson is a beast at her best, and that opening and closing are absolutely stunning! The sheer atmosphere that grips you and that constant feeling that something isn’t right are absolutely stunning, so if you’re a fan of smart sci-fi, dystopian stories, mysteries that keep you hooked, or just well-crafted dramas with well-developed characters, you HAVE to watch Silo. It’s the kind of show that stays in your head, that makes you think, and you’ll be desperate to find out what happens next… and well, that’s all for today, I hope you liked this review, take care! Bye!
Logra una atmósfera que, te mete de lleno, de verdad te crees este mundo y la que están pasando los que viven ahí.. se nota que le metieron un montón de cariño y detalle al crearlo, sinceramente, el final como que le da un giro a un montón de cosas que ya habías visto.. te hace dudar de TODO lo que creías saber, especialmente de esa “vista” desde la cámara de afuera, la manera en que juega con lo que uno cree que es y la verdad, ¡no, no, qué genios! Es de esos finales que te sacan un millón de teorías y hacen que la espera por la segunda temporada se sienta ¡ETERNA! Ya estoy que me como las uñas por saber qué onda después.. qué significa todo esto, al final? Si tuviera que ponerle calificación, fácil le doy un 8.5/10.
No es perfecta, como les dije, el ritmo a mitad de temporada sí le pone a prueba la paciencia a algunos, pero la construcción del mundo es ¡excepcional!, el misterio principal te atrapa, Rebecca Ferguson es una bestia actuando, y ese arranque y ese final son ¡potentísimos! La pura atmósfera que te apachurra y esa sensación constante de que algo no está bien están logradísimas, así que, si ustedes son fans de la ciencia ficción inteligente, de esas historias distópicas, de misterios que te enganchan, o simplemente de dramas bien hechos y con personajes con buen desarrollo, TIENEN que ver Silo. Es el tipo de serie que se te queda ahí, dando vueltas en la cabeza, que te pone a pensar y que vas a estar desesperado por averiguar que pasa después.. y bueno, esto es todo por hoy, espero que les haya gustado esta reseña, cuidense mucho! Byebye!
Tell me... have you seen this series? Has it caught your attention? Tell me what you thought of this review with my opinion, and tell me if it has made you want to watch this series. You can leave me in the comments your recommendations for future publications! 😊
Cuéntame.. ¿Has visto esta serie? Te ha llamado un poquito la atención? Dime que te pareció esta reseña con mi opinión, y dime si te han dado ganas de ver esta series. Puedes dejarme en los comentarios tus recomendaciones para las próximas publicaciones!! 😊
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