Longform reviews of films, TV, anime, books, and audiobooks, written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 51,246 reviews and counting.
Hello dear friends at @MoviesTvShows, greetings and happy day! Today I'm here to talk to you about a story that really resonated with me, not in the sense of being a mangaka because I can't draw very well haha, but rather as an otaku. It's about My Otaku Girlfriend, in which fulfilling your duty as a professional or wanting to follow your dreams of what you love and appreciate alongside the person you love will be a difficult but important decision to make.
This is the story of Manuel (Miguelangel Hidalgo), a young man who is really good at drawing manga. He likes it and knows how to do it. the story, the drawing, the way he expressed himself—he was very good at it, but at the time, his mother didn't think so, as she wanted him to study at Oxford and have a more promising career, thinking that just drawing was a hobby and that it didn't motivate him to continue with it, as he should have higher expectations and seek money that was more sustainable than through manga, or so she thought.
But the only thing that happened was that Manuel grew up feeling that something was missing, that his manga El Rey de Fuego (The Fire King), his most popular and recognized work on the internet, could not continue because he was focused solely on studying to get a prestigious scholarship to a prestigious university. His social life was also cut short by the simple fact that he had to focus on his responsibilities and put everything else aside, until he met Eugenia (Karla Vieria), a young model, otaku, fan of his work, and delighted to motivate him to continue it.
So Eugenia enters Manuel's life to turn it upside down and show him that what he really likes is drawing, that he should continue with his manga and give others the opportunity to continue appreciating it, understanding that these works can not only help financially, but can also help save lives, motivate him to continue, and feel better about himself. It's not just a simple drawing you made with your imagination, but a story that captivated you and helped you through difficult times or good times.
That is what Manuel must understand and make the most of his talent, realizing that some things take time and that you must not give up on your dreams. In life, what you love, what makes you happy, and what ultimately does not harm anyone—on the contrary, it helps you feel better and helps them—cannot be stopped by anything or anyone. You have to fight for them.
Director: Edio Raven
Artistic Directors: Luis Salas and María Corina Andriollo
Facts and figures
Country: Venezuela
Year: 2023
Genre: Thriller, Drama
Language(s): Spanish
Production companies: Despertar Films Corp.
Distribution: Amazon.
Thank you very much for reading. I hope you enjoy it. I will be happy to respond to any comments, and if you would like to know more about me, here are my details:
Translated Using Deepl
ESPAÑOL
Hola queridos amigos de @MoviesTvShows, saludos y feliz día, en esta oportunidad vengo para hablarles sobre una historia en el que me sentí muy reflejado no al punto de ser una mangaka porque no se dibujar nada bien jaja, pero si en ser una otaku, se trata de Mi novia Otaku, en el que cumplir con tu deber como profesional o querer seguir tus sueños de aquello que te gusta y aprecias junto a la persona que amas será realmente una decisión algo difícil pero importante tomar.
Se trata de la historia de Manuel ( Miguelangel Hidalgo) un joven realmente bueno en lo que es dibujando mangas, le gusta y sabe cómo hacerla, la historia, el dibujo, la manera de expresarlo se le daba muy bien pero en su momento su mamá no le parecía que ello ya que quería que estudiara en Oxford y tuviera una carrera más prometedora, pensando que el solo dibujar era una afinación y que no venía al cabo motivarlo a continuar con ello, ya que debía tener más expectativas y buscar dinero que fuese más sustentable que por medio de las mangas o eso pensaba ella.
Pero lo único que se generó es que Manuel creciera con un sentimiento de que algo le faltaba que su manga el Rey de fuego, su obra más popular y reconocida en internet no pudiera continuar por pensar en solo estudiar y estudiar para conseguir la grandiosa beca en tan prestigiosa universidad, así como su vida social se veía truncada por el simple hecho de pensar que solo tenía que enfocarse en su responsabilidad y dejar a un lado todo lo demás, hasta que conoce a Eugenia (Karla Vieria) una joven modelo, otaku, fanática de su obra y encantada con motivarlo para continuarla.
Por lo que Eugenia ingresa a la vida de Manuel para volverla patas arriba, y mostrarle que lo que realmente le gusta es dibujar, que debe continuar con su manga y darle oportunidad que otros sigan apreciándola, entendiendo que no solo estas obras pueden ayudar en la parte económica, sino que también pueden ayudar a salvar vidas, a motivar a continuar y a sentirse mejor consigo mismo, no es solamente un simple dibujo que hiciste con tu imaginación sino una historia que te cautivo y te ayudo en los momentos difíciles o pasar buenos momentos.
Eso es lo que Manuel deberá entender y aprovechar al máximo su talento, comprendiendo que hay cosas que llevan su tiempo y que no hay que dejar los sueños aun lado, que en la vida lo que te gusta, lo que te hace feliz y que a la final no le hace daño a nadie, lo contrario, le ayuda a sentirse mejor y ayudarlas, no puede ser detenido por nada ni nadie, hay que luchar por ellos.
Dirección: Edio Raven
Dirección artística: Luis Salas Y María Corina Andriollo
Datos y cifras
País: Venezuela
Año: 2023
Género: Suspenso, Drama
Idioma(s): Español
Compañías Productora: Despertar Films corp
Distribución: Amazon.
Muchas gracias por leerlo. Espero sea de su agrado. Cualquier comentario con gusto estaré para responder y si quieren saber más de mi les dejo mis:
I just finished watching this Spanish film, and I'm actually glad I watched it in the order I did because, even though "Sister Death" was filmed later, it's actually a prequel. I was glad I saw it first; it gave me a better context to better understand and analyze the film.
Acabo de terminar de ver esta película española y la verdad es que me complace haberla visto en el orden que lo hice porque, a pesar de que "Hermana Muerte" se filmó después, en realidad es una precuela, y me agradó haberla visto primero, eso me dio un mejor contexto para poder entender y analizar mejor este film.
Overview/Resumen
After an Oija session with friends, a girl becomes possessed by an evil entity during a solar eclipse. This creepy being begins to harass her and her family, and from that moment on, everyone will try to do something to help her.
Tras una sesión de Oija entre amigas, una chica queda poseída por una entidad maligna durante un eclipse solar, este ser espeluznante comienza a acosarla a ella y a su familia, y a partir de ese momento todos intentarán hacer algo para poder ayudarla.
Trailer
My Opinion/Mi Opinión
First of all I must say that I hated the ending of the film (although I won't give any spoilers in case you haven't seen it yet) however I can't complain because the plot is inspired by real events, in the case of Estefanía Gutiérrez Lázaro, a young woman from Madrid back in the 90s, and well, in real life the outcomes can be satisfactory or not, so I'm not going to be demanding in that sense, but speaking of other aspects of the film I would like to highlight the realism with which it is made: the scenery, the photography and the acting (in my opinion) were great.
En primer lugar debo decir que detesté el final de la película (aunque no haré spoiler al respecto en caso de que aún no la hayan visto) sin embargo no puedo quejarme porque la trama está inspirada en hechos reales, en el caso de Estefanía Gutiérrez Lázaro, una joven de Madrid por allá en los años 90, y bueno, en la vida real los desenlaces pueden ser satisfactorios o no, por eso no voy a ser exigente en ese sentido, pero hablando de otros aspectos de la película me gustaría resaltar el realismo con el que está hecha: la escenografía, la fotografía y las actuaciones (a mi juicio) estuvieron geniales.
The plot, although a little slow at times, I consider that in general terms it was good, in fact I liked that they highlighted themes such as losses and responsibilities acquired at an early age, all these conflicts can unbalance a person and lead them to take drastic measures, especially during adolescence, which is when care and supervision are most needed.
La trama, aunque un poco lenta en algunas ocasiones, considero que en términos generales estuvo bien, de hecho me gustó que resaltaran temas como las pérdidas y las responsabilidades adquiridas a una edad temprana, todos estos conflictos pueden llegar a desequilibrar a una persona y conducirla a tomar medidas drásticas, en especial durante la adolescencia, que es cuando más se necesita cuidados y supervisión
As for the resources to generate terror, I consider that the director, Paco Plaza did a good job, he created a creepy atmosphere through the use of shadows or dim lighting, of course on some occasions he resorted to the infallible resource of jump scares or sudden noises, which, as we already know, are clichés of the horror genre, however I think that all the pressure in terms of general fear fell on the performance of Sandra Escacena (Verónica) and the truth is that I consider that she achieved the objective.
En cuanto a los recursos para generar terror, considero que el director, Paco Plaza hizo un buen trabajo, creo una atmosfera espeluznante mediante el uso de sombras o iluminación tenue, claro que en algunas ocasiones recurrió al recurso infalible de los jumpscare o ruidos repentinos, los cuales, como ya sabemos, son clichés del género de terror, sin embargo creo que toda la presión en materia de general miedo recayó en la actuación de Sandra Escacena (Verónica) y la verdad es que considero que logró el objetivo.
I honestly recommend it, but I'd recommend watching "Sister Death" first, as it's undoubtedly a good introduction that helps you understand many things. Without further ado, I'll sign off for now, hoping for another opportunity to bring you a new review.
Honestamente la recomiendo, pero recomendaría más ver primero "Hermana Muerte" ya que sin dudas es un buen preámbulo que te ayuda a entender muchas cosas. Sin más que añadir por ahora me despido esperando una próxima ocasión para traerles una nueva review.
I watched season one of Wednesday back in 2022 when I was still in the university. Just picture me in my tiny off-campus room, dodging classes, eating noodles, and watching Jenna Ortega glare her way into my soul. Fast forward three whole years and we finally get season two in 2025. Why is Netflix like this? Why are we in a generation where you watch season one today and season two after giving birth to your second child? Lmao. The gap was ridiculous, but honestly? I forgive them. The new season ate.
This time, I wanted to go character by character because everyone, even Thing, pulled their weight. And since my brain is never linear (you already know), I’ll share my POV, little side rants, and finally rank them from my personal faves to the ones who annoyed me the most.
Wednesday Addams (Jenna Ortega)
Let’s start with the obvious: Jenna Ortega was born for this role. Season one already showed us her deadpan, savage humor, but season two? Her powers are heavier, her visions scarier, and for the first time, we see cracks in that cold marble statue. She’s still sarcastic as hell, but you can feel the loneliness leaking through.
I actually didn't "necessarily" like the humanization of Wednesday as I'll like to call S2. It was unnecessary but yeah, I get it.
Enid Sinclair (Emma Myers)
My sunshine wolf. Enid is still the rainbow explosion to Wednesday’s eternal night sky, but she’s grown so much. Season one Enid was insecure; season two Enid is stronger, braver, and not afraid to call Wednesday out. I loved watching her own her power instead of chasing it.
Their friendship this season? Gold. Pure gold. I smiled so hard at their little sisterly bickering moments. Wednesday will roll her eyes, Enid will just grin and hug her anyway. She’s basically the friend who drags you outside when you’d rather rot in bed, annoying, yes, but you secretly love it.
And when they switched bodies? It just further emphasizes their acting prowess, because Enid killed those scenes acting as Wednesday.
Morticia Addams (Catherine Zeta-Jones)
Morticia said, “let me remind y’all who the real queen is.” This season gave her more presence, and I was living for it. Her little duels with Grandmama cracked me up, elegant shade only. But what touched me was her relationship with Wednesday. That awkward mix of “I want you to be me” vs. “I know you’ll never be me.” This was the only touch of emotions to Wednesday that I loved. Yeah, this and the friendship with Enid.
Also, I had a little bit of a hard time recognizing Morticia at first. Perhaps it's the time span between filming seasons 1 and 2, perhaps something else?
Gomez Addams (Luis Guzmán)
Sweet chaotic Gomez. He didn’t get tons of screen time, but when he did, the warmth was as expected of Gomez. You can tell he adores his family. And while Morticia brings the grace, Gomez brings the heart. He’s the type of dad who embarrasses you in public but would fight the whole world for you.
Thing (Victor Dorobantu)
Listen. I did not expect to cry over a disembodied hand, but here we are. Thing is, honestly, the most loyal character on this show. Wednesday could be spiraling, and there’s Thing, no words, just presence. Sometimes that’s all you need in life, someone who just shows up.
And to have discovered his past? Honestly, that was 100% the story arc for me. I'd never been curious to uncover who Thing really was, but that addition to the story was the last piece of the puzzle we never even knew was missing.
Grandmama
She came in like a storm. Messy, hilarious, chaotic energy. I love how she pokes at Morticia, their rivalry is so deliciously petty. But under all that madness, you can tell she cares. She reminded me of that one auntie who says inappropriate things at family gatherings but will also slip you money when no one’s looking.
Xavier Thorpe (Percy Hynes White)
Okay, Xavier. Season one Xavier was giving “broody artist background love interest.” Like the type of character in a dark romance you helplessly fall in love with.
So, imagine my shock when there was no Xavier in season two. Can someone tell me what happened? Coz I was really looking forward to seeing him again.
Bianca Barclay (Joy Sunday)
Let me just scream this: Bianca deserves more screen time! She’s layered, complex, and probably the most realistic teen on this show. Season two gave us more of her backstory, her struggles with her family and her siren identity. She’s fierce but vulnerable, confident but lonely. I lowkey want a Bianca spinoff.
Ranking the Characters (from fave to “eh”)
Wednesday – Because duh. She’s the show.
Thing – Yes, a hand outranks humans. Don’t @ me.
Morticia – Timeless, dramatic, emotional. Queen.
Bianca – Slept-on but powerful. Her arc made me care so much.
Grandmama – Pure chaos and comedy gold.
Enid – My heart. The bestie we all secretly need.
Gomez – Lovable, warm, but needs more screen time.
Final Thoughts
Watching season two felt like reuniting with old friends after years apart. I laughed, I got emotional, I even yelled at my screen (mostly at Wednesday’s stubbornness). The wait was long, unnecessarily long, but once the episodes started rolling, it didn’t matter anymore.
Wednesday season two was darker, deeper, funnier, and somehow more human. And if Netflix wants to make me wait another three years for season three, fine. By then, maybe I’ll actually have two kids, but I’ll still be there, ready to watch Jenna Ortega glare at the world.
Oh yes, I didn't mention the hyde and zombie story because that's the twist I need you to find out yourself (wink).
And lastly, they actually introduced a couple new characters this season and I absolutely love every single one of them.
After finishing a romantic comedy (well, to be fair, it had more drama than I could handle - Love Happens with Jennifer Aniston, and let me know if you’d like me to review that one too- ), I was ready for something completely different. With the weekend about to start, I wanted a thriller to switch the mood.
I scrolled through some decent-looking options, but most of them were part of a series, and I was really in the mood for a movie. Preferrably a short one (not 2 hour long!))
That’s when I came across Kidnapping Stella.
The title sounded promising, so I decided to give it a try.
The movie starts in ... silence. For the first few minutes, you see two guys getting ready for something bad, but they do not talk. There are no voices at all, and this really gives the film a different vibe. You do not know what will happen, so you anticipate it... The film is evidently a not-so-high-budget movie, but I said to my self... Lets go on!
As soon as the characters began talking, I realized the film was in German. Honestly, one of the reasons I continued watching it was the fact they spoke in German, because the last few years I barely have the opportunity to talk or listen to it.
Before I went on with the movie, I also decided to check IMDb, where I saw that it had a 4.9/10 rating (so I thought: okay, it might not be that bad). That gave me another reason to keep watching.
https://www.imdb.com/title/tt8613876/
Story: Snatched off the street and held for ransom, a bound and gagged woman uses her limited powers to derail her two masked abductors' carefully-laid plans.
Two guys kidnap a woman, and the reason is one - ransom. One of them looks like a real criminal, strict and bad, while the other one looks innocent, kind of cute and that he really cares.
With only three actors carrying the entire film, the focus is on the dynamics between them, the kidnappers’ conflicting motives and the victim’s desperate attempts to outsmart them.
It is an interesting story unfolded between those characters, both the friendship of the criminals and also between them and their victim. Secrets are revealed but also hidden (at least for sometime)
The actors were unknown to me, but they did a good job in their roles, believable, honest, and solid enough to keep me engaged. There are a few interesting plot twists and secrets revealed along the way, which pull the viewer back in and make you wonder what will happen next.
Would I recommend it? I’m not entirely sure. It’s not a masterpiece, but if you enjoy thrillers with mystery, tension, twists (and don’t mind watching in German), then you could check this out.
For me, it lands somewhere around a 4 to 4.5 out of 10.
Not terrible, definitely watchable, and maybe even a good choice if you’re with friends and want something you can watch and discuss during the slower-paced moments.
If you need spoilers, come find me on discord or on twitter and ask me :)
>
>Esta publicación es mi participación en el [Concurso CineTV #144](https://www.cinetv.blog/@cinetv/cine-tv-contest-144-favorite-movie-that-s-black-and-white), que promueve esta semana la comunidad de [CineTV](https://www.cinetv.blog/trending/hive-121744).
"Sin City"
Has a visual choice ever stayed in your memory to the point of defining an entire film? It happens to me with black and white. Not the classic kind, but one that breathes and bleeds in a completely different way. That's why today I want to talk to you about a piece that broke all the molds: "Sin City" (2005), the ferocious visual creation by Frank Miller and Robert Rodriguez, with a helping hand from Quentin Tarantino.
I chose it because the use of black and white is anything but a retro whim. It's the backbone of the entire experience. The film is such a faithful adaptation of Miller's graphic novels that it doesn't feel like a film, but rather as if the comic book pages have come to violent, pulsating life. It's neo-noir in its purest and rawest form. Yes, sir.
"Sin City"
¿Alguna vez una elección visual se quedó en su memoria hasta el punto de definir una película completa? A mí me pasa con el blanco y negro. No el clásico, sino uno que respira y que sangra de una manera totalmente distinta. Por eso, hoy quiero hablarles de una pieza que rompió todos los moldes: "Sin City" (2005), la feroz criatura visual de Frank Miller y Robert Rodríguez, con una mano amiga de Quentin Tarantino.
La elegí porque el uso del blanco y negro es todo menos un capricho retro. Es la columna vertebral de toda la experiencia. La película es una adaptación tan fiel de las novelas gráficas de Miller que no se siente como una filmación, sino como si las páginas del cómic hubieran cobrado una vida violenta y pulsante. Es neo-noir en su estado más puro y crudo. Sí, señor.
What I enjoy most is that there's no nostalgic black and white here. It was filmed in color and then digitally deconstructed, pixel by pixel, to create a world of brutal contrast. Shadows so deep they seem to swallow your gaze, and flashes of light that can blind you with such beauty. And then, those strategic touches of color: the scarlet red of a woman's blood and lips, the sickly yellow of a monster, the icy blue of a murderous gaze.
All of this, of course, creates a dreamlike and brutal atmosphere: Basin City isn't a real place. It's the nightmare of rotten morals, a stylized hell. Black and white, with its lack of nuance, exaggerates the violence and sensuality, transforming them into something simultaneously grotesque and poetic. Violence in realistic color would have been unbearable; here it becomes a macabre dance, almost abstract.
Lo que más disfruto es que aquí no hay un blanco y negro nostálgico. Se filmó en color y luego se deconstruyó digitalmente, pixel a pixel, para crear un mundo de un contraste brutal. Sombras tan profundas que parecen tragarte la mirada, y destellos de luz que pueden dejarte ciego de tanta belleza. Y luego, esos toques de color estratégicos: el rojo escarlata de la sangre y los labios de una mujer, el amarillo enfermizo de un monstruo, el azul gélido de una mirada asesina.
Todo esto, por supuesto crea una atmósfera onírica y brutal: Basin City no es un lugar real. Es la pesadilla de una moral podrida, un infierno estilizado. El blanco y negro, con su falta de matices, exagera la violencia y la sensualidad, transformándolas en algo, que a la vez es, grotesco y poético. La violencia en color realista hubiera sido insoportable; aquí se vuelve una danza macabra, casi abstracta.
The use of black and white is pure narrative: Each frame is a vignette. Shadows don't just hide; they delineate the contours of anguish and revenge. The characters emerge from absolute darkness like ghosts of their own traumas. It forces you to focus on texture, movement, and those flashes of color that are a pure visual feast. That red isn't just blood; it's revenge, passion, and life screaming in a morally gray world.
The yellow of Nick Stahl's character, for example, isn't just a color; it represents his corruption and cowardice. The red of Nancy's dress is like a beacon of humanity in the darkness. In a full-color world, these elements would lose all their power. Here, they work spectacularly.
El uso del blanco y negro es narrativa pura: Cada fotograma es una viñeta. Las sombras no solo esconden; delinean los contornos de la angustia y la venganza. Los personajes emergen de la oscuridad absoluta como fantasmas de sus propios traumas. Te fuerza a concentrarte en la textura, el movimiento y en esos destellos de color que son pura fiesta visual. Ese rojo no es solo sangre; es venganza, pasión y vida gritando en un mundo moralmente gris.
El amarillo del personaje de Nick Stahl por ejemplo, no es solo un color; es la representación de su corrupción y cobardía. El rojo del vestido de Nancy es como un faro de lo humano en la oscuridad. En un mundo a todo color, estos elementos perderían todo su poder. Aquí, funcionan de manera espectacular.
The characters of Sin City, created by Frank Miller, are distorted archetypes in a hyperbolic noir universe. They are not men, but shadows and scars; they are not women, perhaps angels or demons of ambiguous morality.
Marv, a titan with a fractured psychology, or Hartigan, a dying policeman with an anachronistic code of honor, are forces of nature rather than people. Their brutality is a logical response to a world that has lost its mercy. They don't fight for good, they do so out of personal revenge or to protect the last vestiges of innocence, embodied by Nancy Callahan, whose only sin is purity.
The femmes fatales are as lethal as they are seductive, masters of their will in a world that tries to possess them. They live in a labyrinth of rain, blood, and neon that shapes and devours all who walk the streets of a cursed city.
Los personajes de Sin City, creados por Frank Miller, son arquetipos distorsionados en un universo de noir hiperbólico. No son hombres, sino sombras y cicatrices; no son mujeres, acaso ángeles o demonios de ambigua moralidad .
Marv, un titán con una psicología fracturada, o Hartigan, un policía agonizante con un código de honor anacrónico, son fuerzas de la naturaleza más que personas. Su brutalidad es una respuesta lógica a un mundo que perdió la piedad. No luchan por el bien, lo hacen por una venganza personal o por proteger los últimos vestigios de inocencia, encarnada en Nancy Callahan, cuyo único pecado es la pureza.
Las femmes fatales, son tan letales como seductoras, dueñas de su voluntad en un mundo que intenta poseerlas. Viven en un laberinto de lluvia, sangre y neón que moldea y devora a todos los que caminan por las calles de una ciudad maldita.
The cast is undoubtedly stellar, and while these words may seem like clichés, they aren't gratuitous this time. Bruce Willis embodies the honorable determination of Detective Hartigan, while Mickey Rourke achieves a sublime physical and acting transformation as the brutal but loyal Marv, practically stealing the film.
Jessica Alba embodies the fragility and trauma of Nancy Callahan, and Rosario Dawson is the embodiment of power and authority as Gail, the leader of Old Town. Jamie King, Brittany Murphy, and Devon Aoki (as the lethal Miho) complete a mosaic of women who are much more than objects of desire.
The villains are disturbingly perfect: Nick Stahl as the sadistic, yellow scoundrel Roark, Benicio del Toro as the corrupt officer Jackie Boy, and a sinister Rutger Hauer as Senator Powers.
Sin dudas el elenco es estelar y aunque parezcan palabras gastadas, en esta ocasión no son gratuitas. Bruce Willis encarna la honorable determinación del detective Hartigan, mientras que Mickey Rourke logra una transformación física y actoral sublime como el brutal pero leal Marv, robándose prácticamente la película.
Jessica Alba representa la fragilidad y el trauma de Nancy Callahan, y Rosario Dawson es la encarnación de poder y autoridad como Gail, la líder de Old Town. Jamie King, Brittany Murphy y Devon Aoki (como la letal Miho) completan un mosaico de mujeres que son mucho más que objetos de deseo.
Los villanos son inquietantemente perfectos: Nick Stahl como el sádico y amarillo canalla Roark, Benicio del Toro como el corrupto oficial Jackie Boy, y un siniestro Rutger Hauer como el senador Powers.
"Sin City" is like the emotional roller coaster of monochrome. Black and white evokes a palette of intensely contradictory emotions. There's a modern nostalgia for the film noir of yesteryear, but it feels alienating and fresh. It provokes a deep melancholy for the hopelessness of its characters, trapped in a world of light and darkness with no middle ground. And, in the strangest way, it generates an aesthetic admiration for its cold, geometric beauty. You're horrified by what you see, but you can't help but marvel at how it's filmed.
Would it have worked in color? A question with a clear answer.
Absolutely not.
Taking away the black and white from "Sin City" would be like stripping a Western of its desert or a musical of its songs. The film is its aesthetic.
Without it, it would just be another ultra-violent action movie. The violence, far from being stylized, would be shocking and gratuitously gory. The city would lose its dreamlike quality and become a dirty set. And, most importantly, it would lose its unique identity, its visceral connection to the comic, and all the symbolic power that makes it so memorable.
"Sin City" es como la montaña rusa emocional del monocromono. El blanco y negro evoca una paleta de emociones intensamente contradictorias. Hay una nostalgia moderna por el film noir de antaño, pero se siente alienante y fresco. Provoca una melancolía profunda por la desesperanza de sus personajes, atrapados en un mundo de luz y oscuridad sin términos medios. Y, de la manera más extraña, genera una admiración estética por su belleza fría y geométrica. Te horroriza lo que ves, pero no puedes dejar de maravillarte en cómo está filmado.
¿Habría funcionado en color? Una pregunta con una respuesta clara.
Rotundamente no.
Quitarle el blanco y negro a "Sin City" sería como despojar a un western de su desierto o a un musical de sus canciones. La película es su estética.
Sin ella, sería simplemente otra película de acción ultraviolenta. La violencia, lejos de ser estilizada, sería chocante y sangrienta de manera gratuita. La ciudad perdería su cualidad onírica y se convertiría en un set sucio. Y, lo más importante, perdería su identidad única, su conexión visceral con el cómic y todo el poder simbólico que la hace tan memorable.
"Sin City" is a masterclass in how black and white isn't a filter, but the most powerful narrative tool. It's a visual masterpiece that couldn't, and shouldn't, exist any other way.
"Sin City" es una maestra clase de cómo el blanco y negro no es un filtro, sino la herramienta narrativa más poderosa. Es una obra maestra visual que no podría, ni debería, existir de ninguna otra manera.
🌱 For the visual design of the post I have used the following tools: my Samsung phone's camera, free versions of Canvas, Nano Banana and Banner Maker/Para el diseño visual del post he utilizado como herramientas: cámara de mi teléfono Samsung, versiones libres de Canvas, Nano Banana y Banner Maker
🌱 Mi idioma nativo es el español, traduzco al inglés con Google Translation /My native language is Spanish, I translate to English with Google Translation
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Written by: Maurice Hurley & D. C. Fontana
Directed by: Rob Bowman
Running Time: 45 minutes
With long-running episodic television series, particularly those achieving the enduring legacy of Star Trek: The Next Generation, significant variance in episode quality is an almost inevitable reality. This fluctuation was especially pronounced during the show's notoriously uneven first season, a period where flashes of brilliance – such as the tightly plotted and conceptually intriguing 11001001 – were frequently juxtaposed against entries that struggled to find their footing. Too Short a Season, airing shortly after that high point, suffered considerably from this unfavourable comparison. While the shadow of a superior predecessor undoubtedly amplified its shortcomings, rendering it feel even weaker than it might have standalone, the episode ultimately represented a profound disappointment in its own right. It squandered a potentially compelling political narrative with a distracting, poorly executed sci-fi conceit and a series of critical execution failures that undermined its thematic ambitions.
The plot centres on the USS Enterprise-D being dispatched to the planet Mordan IV, a world only recently emerged from four decades of brutal civil war. Despite the nominal cessation of hostilities, instability persists. A faction of terrorists has seized the Federation ambassador and other officials, refusing to negotiate their release with Karnas (Michael Pataki), the planet's current governor. Karnas informs Starfleet that the terrorists demand negotiation with a specific Federation official: Admiral Mark Jameson (Clayton Rohner), whose legendary diplomatic skills supposedly resolved a near-identical hostage crisis on Mordan forty-five years prior. Jameson, accompanied by his wife Anne (Marsha Hunt), is brought aboard the Enterprise. We discover he is an 85-year-old man, ravaged by the incurable, degenerative Iverson's disease, confined to a wheelchair. Despite his frailty, Jameson is resolute in undertaking the mission. Dr. Crusher, however, becomes immediately suspicious upon noting his medical records are inexplicably two months old, not the standard two days. During the journey to Mordan, Jameson astonishingly begins to walk and appears significantly younger. He later confesses to Captain Picard that years earlier, during a diplomatic mission to Cerberus II, he received a previously mythical but very real de-aging agent as a reward. He has secretly self-administered it, heedless of potentially dangerous side effects, solely to regain his youth and physical capability for this critical mission.
The narrative takes its crucial turn when Jameson, now restored to apparent middle age, reveals the devastating truth: there are no terrorists. The hostage-taking was orchestrated by Karnas himself, solely to lure Jameson into a trap and enact decades of pent-up vengeance. Forty-five years prior, Karnas, then a tribal leader, had seized hostages and demanded Federation weapons. Jameson, perceiving no alternative to save lives, acceded to the demand. However, to avoid breaching the Prime Directive's core tenet of non-interference, he secretly supplied equivalent weaponry to Karnas's enemies, attempting to preserve a balance of power. This calculated intervention, intended as a stabilising measure, instead ignited and prolonged the devastating forty-year civil war. Karnas holds Jameson directly responsible for the carnage that consumed his world and seeks retribution. As a revitalised man, Jameson insists on leading the away team to rescue the hostages, but the mission ends in failure. Jameson, succumbing to the de-aging agent's fatal backlash, is dying. Picard agrees to beam down with Jameson, Anne, and Dr. Crusher when Karnas threatens execution. Karnas, initially sceptical of Jameson's youthful appearance, ultimately releases the hostages upon Jameson's death, his vengeance rendered meaningless by the admiral's demise.
Developed by Michael Michaelian and co-written by the legendary Star Trek veteran D.C. Fontana, Too Short a Season exemplifies a recurring issue within TNG's first season: a distinct whiff of The Original Series (TOS) rather than a confident stride into its own future. The shadow of TOS looms large, not only through the presence of Michael Pataki – who had previously played the boisterous Klingon Korax in Trouble with Tribbles and here delivers a performance bordering on caricature as the vengeful Karnas – but also through a plot structure heavily reminiscent of TOS's A Private Little War, which also dealt with Federation intervention inadvertently escalating a planetary conflict through arms supply. Furthermore, the writers explicitly cited contemporary resonance, drawing parallels to the then-recent Iran-Contra Affair. The episode attempts to mirror the Reagan administration's controversial, covert arms sales to Iran (ostensibly to secure hostage releases but also to fund Contra rebels in Nicaragua), thereby prolonging the Iran-Iraq War, much like Jameson's arms deal prolonged Mordan's civil war. This real-world parallel offered fertile ground for a serious exploration of diplomatic ethics, accountability, and the profound, often unintended, consequences of intervention – core Star Trek themes ripe for TNG's more mature treatment.
Alas, the script commits a critical, self-sabotaging error by burdening this politically charged narrative with the utterly distracting and poorly realised de-aging subplot. This conceit does not merely shift the episode's focus away from the intriguing ethical dilemma of Jameson's past actions; it actively shatters the audience's suspension of disbelief. The makeup effects employed to depict Jameson's rapid rejuvenation are lamentably unconvincing, appearing more like ill-fitting rubber masks than a plausible biological transformation. Clayton Rohner, while a capable actor, struggles immensely to portray the elderly Jameson convincingly; his physicality and vocal delivery lack the authentic frailty and weight required, making the initial premise difficult to accept. Consequently, the entire de-aging gambit feels like a cheap, unnecessary gimmick rather than a meaningful narrative device. Compounding this waste of potential is the underutilised presence of Marsha Hunt, a genuine Classic Hollywood veteran (and one of the few Star Trek alumni to reach her centenary). Her character, Anne Jameson, is relegated to a near-silent, emotionally hollow shell – a devoted wife with no discernible personality, backstory, or agency beyond fretting over her husband. Her significant legacy is utterly squandered on a role that feels entirely superfluous. The final confrontation between Jameson and Karnas further drags the episode down; Karnas's eventual, grudging acceptance of Jameson's youthful appearance feels rushed and psychologically unconvincing, while the prolonged dialogue exchange that follows becomes tedious rather than cathartic, failing to deliver the emotional or thematic payoff the setup demanded.
Director Rob Bowman does inject one moment of genuine vitality: the mid-episode hostage rescue attempt. This sequence is dynamic, well-paced, and features a genuinely tense, action-packed gunfight. It serves the valuable purpose of re-establishing both Tasha Yar and Worf as formidable martial presences within the crew, a necessary reminder early in the series. However, this single, competently executed set piece is woefully insufficient to salvage the episode. It stands as a lone bright spot in an otherwise muddled and frustrating narrative. The fundamental flaws – the jarring de-aging plot, the unconvincing performances in the central roles, the wasted potential of the political allegory, and the underdeveloped characterisation – collectively overwhelm any merits. While the intention to grapple with the complex fallout of the Prime Directive and real-world political scandals was commendable, the execution is fatally compromised. Too Short a Season ultimately fails to transcend its TOS echoes or deliver the nuanced, character-driven drama TNG aspired to. Instead, it remains firmly entrenched as one of The Next Generation's more forgettable and disappointing early missteps, a cautionary tale of how a promising premise can be utterly derailed by a reliance on gimmickry and superficial storytelling.
Making animated movies aimed at adults is truly no easy task, because, unlike what many people still insist on thinking, delivering these products (especially those based on comedy, as is the case here) requires a very assertive understanding of the chosen themes, as well as the production techniques involved in the script. In the case of Haunted Hotel, everything works very well, because from its first minute, this animated TV series already shows the audience its reason for existence (with a pretty nice cast).
The plot centers on a mother and her two children, who end up inheriting a hotel from their brother (who now lives adrift somewhere between heaven and earth). As they attempt to start a new life in that place, what they didn't expect is that they will have to find amicable ways to coexist with the other ghosts who also inhabit the same premises. Therefore, managing the hotel becomes a completely unexpected challenge, because everything that happens demands increasing attention from this family... who must face their own differences.
Each episode is approximately 25 minutes long. So far, I've only watched the first one, but I believe the project's core idea was well executed. There's a bit of everything here: the comedy has sharp jokes (some quite daring, in fact), the horror has some specifically gory moments (with physical violence and bloody scenes), and the blend of these two genres ended up being very well balanced within the "anarchy" that was chaotically introduced in the first episode, mainly because it maintains a very satisfying pace.
Matt Roller is the creator of this animation (he's also responsible for the acclaimed Ricky and Morty), and he's also the showrunner. Alongside him are Chris McKenna, Dan Harmon and Steve Levy (the latter three acting as executive producers). The team is very conscious of what they're doing and what they're promoting, joining forces with Netflix in an attempt to launch a new successful animation for adult audiences. If, like me, you're also a fan of Ricky and Morty, here's an animation you should watch (and you don't need to think twice about it).
I hope I'm not wrong, but Haunted Hotel (one of the most recent products from the animation studio Titmouse) is a very promising project, because it is an animated TV series that seems to have "everything" that pleases the adult audience who likes this kind of frenetic approach that mixes elements of the adult world (such as the relationship between dysfunctional family members, as well as the way they live with each other) with a visual that is "peculiar", and played within a huge color palette of countless quantities that is fed by very characteristic drawing lines.
Primeras impresiones sobre “El hotel embrujado”.
Hacer películas de animación dirigidas a adultos no es tarea fácil, ya que, a diferencia de lo que muchos aún insisten en creer, la producción de estos productos (especialmente los basados en la comedia, como es el caso aquí) requiere una comprensión muy profunda de los temas elegidos, así como de las técnicas de producción involucradas en el guion. En el caso de Haunted Hotel, todo funciona a la perfección, ya que desde el primer minuto, esta serie animada de televisión muestra al público su razón de ser (con un elenco muy bueno).
La trama se centra en una madre y sus dos hijos, quienes terminan heredando un hotel de su hermano (quien ahora vive a la deriva en algún lugar entre el cielo y la tierra). Mientras intentan comenzar una nueva vida en ese lugar, lo que no esperaban es que tendrían que encontrar formas amigables de coexistir con los otros fantasmas que también habitan las mismas instalaciones. Por lo tanto, gestionar el hotel se convierte en un desafío completamente inesperado, ya que todo lo que sucede exige una atención cada vez mayor de esta familia... que debe afrontar sus propias diferencias.
Cada episodio dura aproximadamente 25 minutos. Hasta ahora, solo he visto el primero, pero creo que la idea central del proyecto está bien ejecutada. Hay un poco de todo: la comedia tiene chistes ingeniosos (algunos bastante atrevidos, de hecho), el terror tiene momentos especialmente sangrientos (con violencia física y escenas sangrientas), y la mezcla de estos dos géneros resultó muy bien equilibrada dentro de la "anarquía" que se introdujo caóticamente en el primer episodio, principalmente porque mantiene un ritmo muy satisfactorio.
Matt Roller es el creador de esta animación (también es responsable de la aclamada Ricky y Morty) y también es el showrunner. Junto a él están Chris McKenna, Dan Harmon y Steve Levy (este tres ultimos como productores ejecutivos). El equipo es muy consciente de lo que hace y de lo que promociona, y ha unido fuerzas con Netflix para intentar lanzar una nueva animación exitosa para el público adulto. Si, como yo, también eres fan de Ricky y Morty, aquí tienes una animación que deberías ver (y no hace falta que lo pienses dos veces).
Espero no equivocarme, pero El hotel embrujado (uno de los productos más recientes del estudio de animación Titmouse) es un proyecto muy prometedor, pues se trata de una serie animada para televisión que parece tener "todo" lo que agrada al público adulto que gusta de este tipo de planteamientos frenéticos que mezclan elementos del mundo adulto (como la relación entre familiares disfuncionales, así como la forma de convivencia entre ellos) con un visual "peculiar", y jugado dentro de una enorme paleta de color de incontables cantidades que se alimenta de trazos de dibujo muy característicos.
Primeiras impressões sobre “Hotel Assombrado”.
Fazer animações voltadas para o público adulto realmente não é uma tarefa fácil, porque totalmente diferente do que muitas pessoas ainda insistem em pensar, entregar estes produtos (em especial, tendo como base a comédia, como é o caso desta aqui) exige uma percepção muito assertiva sobre a abordagem dos temas escolhidos, bem como sobre as técnicas de produção que estão envolvidas dentro do roteiro. No caso de Hotel Assombrado, tudo funciona muito bem, porque desde o seu primeiro minuto esta série de TV animada já consegue mostrar ao público a razão da sua existência (com um elenco muito bom).
A trama está centrada em uma mãe e seus dois filhos, que acabam herdando um hotel do seu irmão (que agora vive à deriva em algum lugar entre o céu e a terra). Na tentativa de começar a viver uma nova vida naquele lugar, o que eles não esperavam é ter que encontrar maneiras amigáveis de conviver com os outros fantasmas que também habitam as mesmas dependências. Sendo assim, gerenciar o hotel se torna um desafio totalmente inesperado, porque tudo o que vai acontecendo exige uma atenção cada vez maior dessa família... Que precisa enfrentar as suas próprias divergências.
Cada episódio tem aproximadamente 25 minutos. Até este momento eu assisti apenas o primeiro, mas acredito que a ideia do projeto foi bem executada dentro da sua proposta central. Aqui tem de tudo um pouco: a comédia tem piadas afiadas (algumas bem ousadas, aliás), o horror tem alguns momentos especificamente “gore” (fazendo uso de violência física e cenas “sanguinolentas”) e a mistura desses dois gêneros acabou sendo muito bem dosada dentro da “anarquia” que foi caoticamente introduzida dentro do primeiro episódio, principalmente por manter um ritmo muito satisfatório.
Matt Roller é o criador desta animação (ele também é responsável pela aclamada Ricky e Morty), e além disso, também é o showrunner. Ao lado dele, estão Chris McKenna, Dan Harmon e Steve Levy (mas estes trabalhando como produtores executivos). O time é muito consciente do que está fazendo e do que está promovendo, unindo forças com a Netflix na tentativa de emplacar uma nova animação de sucesso para o público adulto. Se assim como eu, você também é um fã de Ricky e Morty, eis aqui uma animação que você deve acompanhar (e você não precisa pensar duas vezes sobre isso).
Espero não estar errado, mas Hotel Assombrado (um dos produtos mais recentes do estúdio de animação Titmouse) é um projeto muito promissor, porque é uma série de TV animada que parece ter “tudo” o que agrada ao público adulto que gosta desse tipo de abordagem frenética que mistura elementos do mundo adulto (como a relação entre familiares disfuncionais, além do modo como eles convivem entre eles) com um visual que é “peculiar”, e jogado dentro de uma enorme paleta de cores de quantidades incontáveis que é alimentada por traços de desenhos bastante característicos.
Welcome my dear travelers opponents of Sauron and thank you very much for making a temporary stop in my post, I recently uploaded a review of Tolkien's best-known work and today it's time to continue that by bringing "The Lord of the Rings: The Two Towers" with the promise of more epic combats. Without further ado, get ready to entrench yourselves in an abyss because we are about to begin.
Bienvenidos mis queridos viajeros opositores a Sauron y muchas gracias por haber hecho una parada temporal en mi post, hace poco subí una reseña sobre la obra más conocida de Tolkien y hoy toca darle continuación a eso al traer "The Lord of the Rings: The Two Towers" con la promesa de combates más épicos. Sin más que agregar, prepárense para atrincherarse en un abismo pues estamos por comenzar.
Property by @Jrjaime
Property by @Jrjaime
The Lord of the Rings: The Two Towers was released in 2002, based on the novel of the same name written by J.R.R. Tolkien, was directed by Peter Jackson and produced by Wingnut Films, has a duration of 2 hours and 59 minutes. It is an adventure and fantasy film, the story takes place just after the dissolution of the Fellowship of the Ring, despite the fact that its members take different paths their goal of defeating Sauron still stands, Frodo and Sam have Mordor as their destination with the aim of destroying the ring without realizing that a strange and unpleasant being is chasing them. On the other hand, Aragorn, Legolas and Gimli are chasing the orcs who took Merry and Pipin, all this happens while the claws of Sauron and Saruman extend to different kingdoms.
The Lord of the Rings: The Two Towers fue estrenada en 2002, basada en la novela homónima escrita por J.R.R. Tolkien, fue dirigido por Peter Jackson y producida por Wingnut Films, cuenta con una duración de 2 horas y 59 minutos. Es un filme de aventuras y fantasía, la historia se desarrolla justo después de la disolución de la comunidad del anillo, pese a que sus integrantes tomen caminos diferentes su objetivo de derrotar a Sauron sigue en pie, Frodo y Sam tienen por destino Mordor con el objetivo de destruir el anillo sin percatarse que un extraño y desagradable ser los persigue. Por otro lado, Aragorn, Legolas y Gimli se encuentra persiguiendo a los orcos que se llevaron a Merry y Pipin, todo esto sucede mientras las garras de Sauron y Saruman se extienden hacia diferentes reinos.
For more details about the film you can visit the link that I leave you of Filmaffinity | Para más detalles sobre el filme puedes visitar el link que te dejo de Filmaffinity
Property by @Jrjaime
Many of the sections are just as good as in the previous installment, this is one of them, in fact, at times it feels even more epic by giving an adrenaline touch to the combat scenes, its role as an environmental accompaniment in the rest of the film is also remarkable.
Muchos de los apartados son igual de buenos que en la anterior entrega, este es uno de ellos, es más, por momentos se siente incluso más épico al darle un toque adrenalínico a las escenas de combate, su papel como acompañamiento ambiental en el resto de la cinta también es destacable.
Property by @Jrjaime
The construction of the world is also expanded in a good way, the above is achieved through the inclusion of the society of the Ends and the exploration of various kingdoms of men, both elements give greater value to the world by making it feel more alive and striking. In addition to the above, there are the interactions between the different races, it presents an organic evolution compared to the past delivery to the point of joining forces to repel a terrible threat, it should be noted that although the elves do not have a great presence it is very successful that they are also delved into, their culture and their way of acting.
La construcción del mundo también se amplía de buena forma, lo anterior se logra mediante la inclusión de la sociedad de los Ends y la exploración de diversos reinos de los hombres, ambos elementos le dan mayor valor al mundo al hacerlo sentir más vivo y llamativo. Aunado a lo anterior, se encuentran las interacciones entre las diferentes razas, está presenta una evolución orgánica a comparación con la entrega pasada al punto de unir fuerzas para repeler una amenaza terrible, cabe destacar que pese a que los elfos no tengan una gran presencia es muy acertado que también se ahonde en ellos, su cultura y su forma de actuar.
Property by @Jrjaime
The plot is fully loaded with all kinds of wonderful moments, ranging from fierce battles to crying over the death of a comrade. Its narrative becomes complex at times, we are talking about a film that can have dense situations such as having to face the possibility of the annihilation of the people in your charge, mental manipulations, reflections on promises from the past, and, in general, at all times something happens that has a direct or indirect impact on the objectives of the protagonists, All this makes the film much more enjoyable and that it does not feel boring under any circumstances, special mention to the final battle that is completely epic and is loaded with feelings on the part of those who oppose the forces of evil.
La trama se encuentra totalmente cargada de toda clase de momentos maravillosos, que van desde batallas encarnizadas hasta llorar por la muerte de un camarada. Su narrativa se torna compleja por momentos, hablamos de un filme que puede tener situaciones densas como el tener que afrontar la posibilidad de la aniquilación de la gente a tu cargo, manipulaciones mentales, reflexiones sobre promesas del pasado, y, en general, en todo momento sucede algo que tiene incidencia directa o indirecta en los objetivos de los protagonistas, todo esto hace que la película sea mucho más disfrutable y que la misma no se sienta aburrida bajo ningún concepto, mención especial a la batalla final que es completamente épica y se encuentra carga de sentimientos por parte de los que se oponen a las fuerzas del mal.
Property by @Jrjaime
There is a pleasant job in the already known characters, in the case of Frodo, the fact that present moments of doubt about the parcel they gave him is striking, this had already been seen before but it is in this installment where it is truly shown that he is about to fall and presents a mental decline comparable to the responsibility so great in his men, in addition, it is very pleasant to see how Sam becomes an indispensable support point. For its part, the Aragorn group does not have so much relevance in this aspect, the one that highlights is Aragorn himself of which his past is explored and the responsibilities that he has decided not to attend, but that they chase it anyway. The rest of the characters have no greater exploration or anything that resembles them, they remain as mostly flat individuals with interesting interactions with each other such as Legolas with Gimli, the same happens with some elves that intervene directly and indirectly in the events. Finally, it is necessary to make an honorable mention to Gollum as a character that is not only used as a plot drive but also as a reflection of the destiny that holds them for those who fall into the networks of the ring, in addition, it is admirable that such a simple character has such striking nuances that even allow the feeling pity for him. Out of it, there is not much more to stand out from the villains because they remain inconsequential and with basic motivations, although it should be noted that they have an excellent presence.
Existe un trabajo agradable en los personajes ya conocidos, en el caso de Frodo es llamativo el hecho de que presente momentos de duda sobre la encomienda que le dieron, esto ya se había visto con anterioridad pero es en esta entrega donde verdaderamente se muestra que está a punto de caer y presenta un declive mental equiparable a la responsabilidad tan grande que lleva en sus hombres, además, es muy agradable el ver cómo Sam se vuelve un punto de apoyo indispensable. Por su parte, el grupo de Aragorn no tiene tanta relevancia en este aspecto, el que más destaca es el propio Aragorn del cual se explora su pasado y las responsabilidades que este ha decidido no atender, pero que de todas formas lo persiguen. El resto de personajes no tiene mayor exploración ni nada que se le asemeje, se mantienen como individuos mayormente planos con interacciones interesantes entre sí como la de Legolas con Gimli, lo mismo sucede con algunos elfos que intervienen de forma directa e indirecta en los acontecimientos. Por último, es menester hacer una mención honorífica a Gollum como un personaje que no solo se emplea como un impulsador de la trama sino también como un reflejo del destino que les depara para quienes caen en las redes del anillo, además, es admirable que un personaje tan simple tenga matices tan llamativos que incluso permitan el sentir lástima por él. Fuera de ello, no hay mucho más para destacar de los villanos debido a que siguen siendo intrascendentes y con motivaciones básicas, aunque cabe destacar que tienen una presencia excelente.
The Lord of the Rings: The Two Towers is a sequel no less than excellent, it knows how to maintain the level established by its predecessor and even manages to surpass it in things such as combats or in the exploration of some of its characters. It is for all of the above that it deserves 4.5 stars out of 7, it is admirable that it knows how to manage itself well enough so that in its almost 3 hours of duration it never feels bored under any circumstances.
The Lord of the Rings: The Two Towers es una secuela no menos que excelente, sabe mantener el nivel que estableció su predecesora e incluso logra superarla en cosas como los combates o en la exploración de alguno de sus personajes. Es por todo lo anterior que merece 4.5 estrellas de 7, es de admirar que sepa gestionarse lo suficientemente bien como para que en sus casi 3 horas de duración nunca se sienta aburrida bajo ningún concepto.
Property by @Jrjaime
My dear travelers opponents of Mordor we have reached the end of another review, if it was to your liking I would appreciate it very much if you left your positive vote and made use of the reblog button, I upload content daily so if you don't want to miss it I invite you to start following me so that you are aware of all my updates. If you want me to review something specific you can leave the suggestion below in the comment box and I will gladly dedicate a post to it as soon as I can. Without further ado, I thank you for having reached this point and I send you a big hug from a distance, I remind you that you have the strength of your greatness giving you its support, you just have to take the helm and set a course, I hope we meet again when you decide to make another temporary stop in one of my future posts.
Mis queridos viajeros opositores de Mordor hemos llegado al final de otra reseña, si fue de tu gusto agradecería mucho que dejases tu voto positivo e hicieses uso del botón reblog, subo contenido de forma diaria por lo que si no quieres perdértelo te invito a que comiences a seguirme para que estés al tanto de todas mis actualizaciones. Si deseas que reseñe algo en concreto puedes dejar la sugerencia abajo en la caja de comentarios y con gusto le dedicaré una publicación apenas pueda. Sin más que agregar te doy las gracias por haber llegado hasta este punto y te mando un fuerte abrazo desde la distancia, te recuerdo que tienes la fuerza de tu grandeza dándote su apoyo solo tienes que tomar el timón y fijar un rumbo, espero que nos topemos de nuevo cuando decidas hacer otra parada temporal en uno de mis futuros posts.
Property by @Jrjaime
In case you were wanting more | Por si quedaste con ganas de más
All the images used to make this post that have no source are my property being taken, created and / or edited partially or totally by me using the Gimp program, those that are not of my authorship will have their respective source at the end. The screen shots shown in the post were taken by me while watching the series, however, these remain with their respective authors.
Todas las imágenes utilizadas para hacer este post que no tienen fuente son de mi propiedad siendo tomadas, creadas y/o editadas parcial o totalmente por mi utilizando el programa Gimp, aquellas que no son de mi autoría tendrán al final su respectiva fuente. Las capturas de pantalla mostradas en el post fueron tomadas por mi mientras veía la serie sin embargo estas siguen perteneciendo a sus respectivos autores.
Den of Thieves 2 Pantera la verdad no fue lo que esperaba despues de ver la primera película hace un tiempo, definitivamente no he tenido mucha suerte con las secuelas empezando porque dura más de dos horas y sentí que fue bastante larga para lo que en realidad es al final y eso es algo que a mí me molesta bastante. Y ojo no estoy diciendo que la película sea completamente mala porque tiene sus momentos buenos pero tampoco es que me voló la cabeza, hay escenas que están intensas pero la mayor parte del tiempo es puro bla bla bla o sea solo dialogo tras dialogo y esto en lo particular a mi me parece muy aburrido porque yo esperaba más acción en este tipo de película. Gerard Butler regresa como Nick pero esta vez se ve más veterano y más cansado, tu puedes notar que han pasado varios años desde la primera película porque físicamente el tipo se ve diferente, está así como más pesado pero su personaje mantiene esa intensidad y esa agresividad que fue característica en la anterior, aunque aquí es más un pez fuera del agua porque está en Europa y no en las calles de Los Ángeles. O'Shea Jackson Jr también vuelve como Donnie pero ahora es el protagonista principal después de la revelación del final de la primera parte donde descubrimos que el era el verdadero cerebro detrás de todo, aqui lo vemos operando en Francia con un grupo llamado los Panteras que se dedican a hacer robos de diamantes de alto nivel.
La trama básicamente es que Donnie está planeando el robo más grande de su vida en el Centro Mundial de Diamantes en Francia, pero tiene problemas porque anteriormente robó un diamante que pertenecía a la mafia europea y ahora estos tipos lo están persiguiendo para recuperar su propiedad. Nick aparece de la nada en Francia porque aparentemente está trabajando con la policía francesa como oficl adjunto y reconoce a Donnie en las cámaras de seguridad, pero en lugar de arrestarlo decide que quiere formar parte de su siguiente trabajo porque su vida personal se fue al carajo completamente, acaba de firmar el divorcio, perdió la custodia de sus hijos y casi que no tiene nada que perder así que piensa que unirse a los criminales puede ser su única opción para conseguir dinero. El problema es que esta decisión de Nick de querer unirse al equipo no es nada natural porque el carajo se aparece en la casa de Donnie cocinando un bistec como si nada hubiera pasado y le dice que quiere participar en el próximo robo, Donnie obviamente desconfía pero acepta llevarlo con el resto del equipo para que lo evalúen y vean si puede ser útil.
En este punto es que la peli tiene algunos problemas serios porque el grupo de los Panteras realmente no son personajes muy interesantes, están Marco y su primo calvo que desde el principio muestran una actitud muy hostil hacia Donnie y honestamente les digo que me pareceió que es por razones raciales que por lógica de la historia, estos tipos simplemente no quieren trabajar con el y buscan cualquier excusa para crear conflicto. La única integrante mujer del grupo es Cleopatra que está interpretada por Evin Ahmad y aunque se ve bien tampoco tiene mucha profundidad como personaje, más que nada esta ahí para crear una tensión romántica entre ella y Nick mientras que Marco se pone celoso porque anteriormente habían tenido algo, ese es todo el rollo. La película trata de crear esa relación de compañeros entre Nick y Donnie pero para mí no es algo ue parezca natural y menos después de todo lo que paso en la primera película donde estos dos eran enemigos mortales, aqui de repente están echando broma juntos y compartiendo momentos personales como si fueran viejos amigos y eso simplemente no funciona. Hay una escena en un club donde les dan drogas a Nick para supuestamente probarlo y ver si realmente esta dispuesto a dejar su vida de policía atrás, pero todo es muy forzado y artificial, como si no supieran como hacer creíble esa transición de Nick de ser un policía corrupto a ser un criminal completo.
El atraco en si mismo está bien hecho a nivel visual, tienen algunas cosas que son interesantes como esa vara extensible que usan para cruzar entre edificios y también hay momentos donde tienen que moverse sin hacer ruido para evitar las cámaras y sensores de movimiento, eso está chevere y puede sentir la tensión cuando finalmente sucede. El problema es que no hay suficiente construcción que pueda llrvar hasta ese momento, en la primera película uno sabe exactamente cuando va a empezar el gran robo y uno va sientiendo como la tensión va creciendo y está esperando a que llegue el momento, aqui no es así aquí de repente ya estan en medio del robo y uno se queda así como ah ya empezó esto, no hay esa construcción de suspenso que hace que te emociones por lo que va a pasar. Una vez que consiguen los diamantes viene una persecución en carro que está bastante bien filmada con esas carreteras angostas de Francia y barrancos a los lados, Gerard Butler colgando de un Porsche con un rifle de asalto disparando a los otros carros, esa parte si que estuvo intensa y se sintió como esas películas de acción de los noventas donde todo era más práctico y menos CGI. Pero después de eso viene todo el cambio en la trama ya para la parte del final donde descubres que Nick estuvo trabajando de encubierto todo el tiempo para la policía y que nunca realmente se había vuelto criminal, lo cual les digo sinceramento esto no es sorprendente para nada porque nunca me creí el cuiento de que realmente el se hubiera cambiado de lado, esto es alfo que se veía venir desde el principio.
El final trata de ser emotivo mostrando como Donnie termina en prisión pero luego es rescatado por la mafia que aparentemente ahora quiere que trabaje para ellos de manera permanente, y Nick manejando hacia el atardecer como si hubiera encontrado la paz interior o algo así, pero me pareció super equis y vacío porque no hay nada de peso o caracter para ninguno de los dos protagonistas. La película quiere ser una versión como más sofisticada y europea de la primera parte pero pierde toda esa energía que hacia que la priemra fuera original, aqui todo se ve muy bonito con esos lugares de Francia no lo voy a negar pero no tiene alma, me dio la impresión de que gastaron el presupuesto en eso en lugar de concentrarse en hacer una historia más interesante. Para mí esta secuela existe solo porque la primera hizo suficiente dinero y no porque tuviera una historia realmente buena que contar, y eso se nota en cada escena donde se ve que están estirando el material para llenar las dos horas y media que dura. Yo le doy un 6/10 porque tiene momentos decentes y se ve bien a nivel vidual pero no es nada del otro mundo.
Den of Thieves 2 Pantera, to be honest, wasn't what I expected after seeing the first movie a while ago. I definitely haven't had much luck with sequels, starting with the fact that it's over two hours long, which I felt was quite long for what it actually is in the end, and that's something that really bothers me. Mind you, I'm not saying the movie is completely bad because it has its good moments, but it didn't blow my mind either. There are some intense scenes, but most of the time it's just blah blah blah, meaning dialogue after dialogue, and I find that particularly boring because I expected more action in this type of movie. Gerard Butler returns as Nick, but this time he looks more seasoned and tired. You can tell that several years have passed since the first movie because he looks different physically; he's heavier, but his character maintains the intensity and aggressiveness that was characteristic in the previous film, although here he's more like a fish out of water because he's in Europe and not on the streets of Los Angeles. O'Shea Jackson Jr. also returns as Donnie, but now he is the main character after the revelation at the end of the first film where we discover that he was the real mastermind behind everything. Here we see him operating in France with a group called the Panthers who are dedicated to high-level diamond theft.
The plot basically involves Donnie planning the biggest heist of his life at the World Diamond Center in France, but he has problems because he previously stole a diamond that belonged to the European mafia, and now these guys are after him to get their property back. Nick shows up out of nowhere in France because he's apparently working with the French police as a deputy officer and recognizes Donnie on security cameras, but instead of arresting him, he decides he wants to be part of his next job because his personal life has completely fallen apart. He just signed his divorce papers, lost custody of his children, and has almost nothing to lose, so he thinks joining the criminals may be his only option to get money. The problem is that Nick's decision to join the team is not at all natural because he shows up at Donnie's house cooking a steak as if nothing had happened and tells him he wants to participate in the next robbery. Donnie is obviously suspicious but agrees to take him to the rest of the team so they can evaluate him and see if he can be useful.
At this point, the film has some serious problems because the Panthers group are not really very interesting characters. There's Marco and his bald cousin, who from the beginning show a very hostile attitude towards Donnie, and honestly, I think it's for racial reasons rather than the logic of the story. These guys simply don't want to work with him and look for any excuse to create conflict. The only female member of the group is Cleopatra, played by Evin Ahmad, and although she looks good, she doesn't have much depth as a character either. She's mostly there to create romantic tension between her and Nick, while Marco gets jealous because they had something before. That's the whole story. The film tries to create a buddy relationship between Nick and Donnie, but to me it doesn't seem natural, especially after everything that happened in the first film where these two were mortal enemies. Here, suddenly they're joking around together and sharing personal moments as if they were old friends, and it just doesn't work. There's a scene in a club where Nick is given drugs to supposedly test him and see if he's really willing to leave his life as a cop behind, but it all feels very forced and artificial, as if they didn't know how to make Nick's transition from corrupt cop to full-fledged criminal believable.
The heist itself is well done visually, with some interesting elements such as the extendable pole they use to cross between buildings, and there are also moments where they have to move quietly to avoid cameras and motion sensors, which is cool and you can feel the tension when it finally happens. The problem is that there isn't enough build-up to get you to that moment. In the first movie, you know exactly when the big heist is going to start, and you feel the tension growing as you wait for the moment to arrive. Here, that's not the case. Suddenly, they're in the middle of the robbery, and you're left thinking, “Oh, it's already started.” There's no build-up of suspense to get you excited about what's going to happen. Once they get the diamonds, there's a car chase that's pretty well filmed with those narrow French roads and ravines on either side, Gerard Butler hanging off a Porsche with an assault rifle shooting at the other cars. That part was intense and felt like those action movies from the nineties where everything was more practical and less CGI. But after that comes the whole plot twist towards the end where you find out that Nick was working undercover for the police the whole time and never really became a criminal, which, I'll be honest, isn't surprising at all because I never believed the story that he had really switched sides. This is something that was obvious from the beginning.
The ending tries to be emotional, showing how Donnie ends up in prison but is then rescued by the mafia, who apparently now want him to work for them permanently, and Nick driving into the sunset as if he had found inner peace or something, but I found it super bland and empty because there is no substance or character for either of the two protagonists. The film wants to be a more sophisticated, European version of the first part, but it loses all the energy that made the first one original. I won't deny that everything looks very nice with those locations in France, but it has no soul. I got the impression that they spent the budget on that instead of focusing on making a more interesting story. For me, this sequel only exists because the first one made enough money, not because it had a really good story to tell, and that's evident in every scene where you can see that they're stretching the material to fill the two and a half hours it lasts. I give it a 6/10 because it has some decent moments and looks good visually, but it's nothing to write home about.
JohnCena and Aquafina, I never thought'il see them in a movie together
Let me gist you about Jackpot! the way I would if we were sitting side by side, maybe late at night, and I just finished watching it—because honestly, this movie isn’t just about luck or money, it’s about that dangerous, messy mix of greed, desperation, and survival that makes you ask yourself: “If life dangled a shortcut to everything I ever wanted, would I take it?” The movie pulls you in slowly, like it’s just teasing you with an easy win, but before you know it, you’re tangled in lies, betrayals, and chaos that feels way too close to real life.
The plot begins in the most common manner of a lottery winner. You know that thrill, right? That dream of winning a lottery ticket and you are going to forget about all your troubles in a second? That’s the hook. The protagonist abruptly ends up having this golden key, this ticket that offers him freedom, comfort and respect. It is here, however, that it becomes juicy--since, in this world, no one is permitted to get something so cheap, without paying a price.
Since the moment the winning ticket emerges, the movie ceases to be about happiness and becomes survival. He is now a threat to people who did not notice him previously, a stepping stone or an opponent. The transition of the story is so seamless that you do not even need to notice when things begin to go in a downward spiral. One minute you are having fun with him and you are thinking, Ah, me, and someone deserves a rest. The following instant you are holding your seat amidst betrayals, ruses and struggles over that ticket making it all a battlefield.
One of the scenes had been with me--the sort of scene that causes you to suspend your breath. The change of hands in the purchase of the ticket is rather inhuman, as though fate itself were playing a jest. This was frightening and intriguing because of the desperation of all the faces, because of the real natures of people appearing when it comes to money. You begin to understand that the lottery was not the jackpot, the jackpot was the mess it has created in the hearts of people. It was at that point I realized that money does not make people, it only brings them out.
The film is overlaid with characters that present a different facet of human hunger. Friends that fail to be reliable at the moment and strangers that pretend as family and family that makes you realize they have never been with you. Every having, in that neighborhood, makes its own little trial--as of morals, love, and loyalty. And if I may tell you, the majority of them do fail. It brought me back to life when you come across someone that you believed to know him and then realize that the moment has come and he makes him act in a totally different manner when money, power or opportunity is involved. Painful, but so real.
The paranoia is another of the most insane twists that happiness transforms into in a very short time. The victor that previously had a mere dream to live freely is cloaked in the trap, he searches behind his back, wonders the intent of everyone, he cannot even trust those he loves most. The irony of it all is heartbreaking as the one who has always wanted something gets the peace that he had imagined the money would purchase. That sadistic reminder, it is: sometimes the thing we work the most to attain destroys us.
The movie does not merely cease at depicting the dark side of greed, it rolls with the excitement of it as well. At times you actually endorse the machinations, the witty wiles, the small triumphs over those who seek to steal the prize. In certain spots I laughed, in others I gasped and in others just shook my head and said, This is too much. The energy is addictive, it is a rollercoaster you do not notice has so many drops.
The cinematography adds to it—the bright, almost celebratory vibe of the lottery scenes clashing with the darker, grittier tones once the fights for the ticket begin. It felt like a metaphor for life itself: things look shiny when you’re dreaming, but when reality sets in, the shine turns into shadows. And that hit me because how many times have I thought, “If I just had this one thing, life would be perfect,” only to realize the “one thing” came with a whole new set of problems?
My weakness was the most felt when the movie was exploring the issue of betrayal. It is a specific instance when the one that is close to the main character makes a move not only to the main character but to us, the viewers as well. It was not just about losing money but it was about the understanding that once trust is broken, it never comes back. I started reflecting on my own life and how I have been disappointed by the people who I thought I could rely on, and the sting came back. The film made me sit there with that pang, so as to not forget that sometimes that loss is not necessarily the money, but rather the people you lose on the way.
When the story rolls at the conclusion, you are almost feeling tired of the tension. It is not about who wins the jackpot but who will manage to survive. And that to me was the genius of the movie: it puts the entire definition of winning on its head. You begin to think, is it a blessing or a curse to win the ticket? Due to the fact that, that is part of your soul, part of your peace, part of your people that you are losing in the process, what good is wealth?
The concluding act is outrageous and disheartening. I will not ruin all the details, but I will mention that it makes you doubt whether the pursuit was justified. It wasn’t very sweet to win that way, that you can call that. And having said that, I knew that the film was not about fortune but decisions. Of the latitude with which we readily sell our humanity in the hope of a shot at ease, and how we do not always get the jackpot, the one we already possess but waste.
I sat and did nothing when the credits rolled. It was not the type of film that you applaud and then forget about at once, it was the one that causes you to shut down, to reflect. I would repeat the scenes over and over, posing the question, in case I were in his situation, what would I have done. Would I have lost my life in the guard of the ticket, or would I have walked away over it till it destroyed me? And the frightening thing about it is that I could not easily answer.
That is what made Jackpot! a memory to me. It was not just entertainment, it was a reflection, and it reflected on me about the fine line between surviving and greed, trust and betrayal, luck and curse. It was fresh, shocking, even ghostly. And possibly, that is what it is all about, the jackpot is not the win, but the lesson you have learned after having lost everything.
Hello, cinema fans. Today I'm going to talk about a film that I practically grew up watching since I was a child. It's the first film adaptation made entirely by Hollywood of the iconic monster of the last century: Godzilla. It was supposedly dedicated to one of the first creators and producers of this famous franchise, Tomoyuki Tanaka, who died a year before its release. Co-written and directed by Roland Emmerich, this film stars Matthew Brotherick, Jean Reno, Maria Pitillo, Hank Azaria, among others. Learn about the film that brought Kaiju culture to the rest of the Western world.
SPANISH VERSION
Hola, fanáticos del cine. Hoy les hablaré de una película con la que prácticamente nací y crecí viéndola desde pequeño. Es la primera adaptación cinematográfica hecha completamente por Hollywood del icónico monstruo de este último siglo: Godzilla. Supuestamente estuvo dedicada a uno de los primeros creadores y productores de esta famosa franquicia, Tomoyuki Tanaka, quien murió un año antes de su estreno. Coescrita y dirigida por Roland Emmerich, esta cinta está protagonizada por Matthew Brotherick, Jean Reno, María Pitillo, Hank Azaria, entre otros. Conoce la película que terminó de traernos la cultura Kaiju al resto de occidente.
The film begins with a sequence of recordings from one of the islands of French Polynesia where nuclear tests are carried out. There is a family of iguanas, among which only one egg survived the tests. Then we see a japanese ship in the middle of the ocean at night that is suddenly attacked by a huge creature that manages to tear it apart and sink it completely. Later, we see a young scientist named Niko "Nick" Tatopoulos arriving by car at the Chernobyl exclusion zone to collect earthworms. A military helicopter lands and a couple of officers get out to take Dr. Nick on a special mission. That mission is to find and identify the creature that is crossing the ocean towards the United States.
SPANISH VERSION
Trama
La película inicia con una secuencia de grabaciones de una de las islas de la Polinesia Francesa donde se realizan pruebas nucleares. En ella se encuentra una familia de iguanas, de entre las cuales solo un huevo logró sobrevivir a dichas pruebas. Luego nos muestra una embarcación japonesa que está en medio del océano durante la noche y que es atacada de repente por una enorme criatura que logra desgarrar y hundir el navío por completo. Posteriormente vemos a un joven científico llamado Niko “Nick” Tatopoulos llegando en auto a la zona de exclusión de Chernobyl para recolectar gusanos de tierra. Un helicóptero militar aterriza y bajan un par de oficiales para llevarse al Dr. Nick a una misión especial. Dicha misión es buscar e identificar aquella criatura que está cruzando todo el océano con dirección a Estados Unidos.
Talking about this film is like talking about my childhood and adolescence. What's more, an interesting fact about it is that it was released shortly before I was born, which means it's practically the same age as me. I grew up watching Roland Emmerich's films, which over time became classics of cinema and the science fiction genre. I've already told you about Independence Day, Universal Soldier, The Day After Tomorrow, and 2012. Interestingly, the ones that dealt most with catastrophes are the ones I've seen most often on television since then. Now, with his version of Godzilla, it was no exception, even though I had no idea how bad it actually is. Of course, as a child, I didn't care if a movie was a success or not, I just watched it because it looked entertaining, and that's how it was until I grew up.
Today, to say that Roland's version of the "King of Monsters" is the best is to mock everything Godzilla has represented throughout this century of film history. While they are light years away from achieving what the japanese achieved with this icon in the East, the 2014 adaptation of the First Kaiju completely banished this 1990s version. I admit that the MonsterVerse is worth watching, especially if you are more of a fan of the original franchise and the whole kaiju theme. But personally, I believe that we should not completely forget what this film, which I am bringing you today, generated at the time, as I have a certain fondness and nostalgia for it, of course.
SPANISH VERSION
Hablar de esta película es como hablar de mi infancia y adolescencia. Es más, un dato curioso de esto es que la misma se estrenó poco antes de que yo naciera, o sea, que tiene mi edad prácticamente. Crecí viendo las películas de Roland Emmerich que con el tiempo se convirtieron en clásicos del cine y del género de la ciencia ficción. Ya les he hablado anteriormente de Independence Day, Universal Soldier, The Day After Tomorrow y 2012. Curiosamente las que más se trataban de catástrofes fueron las que más veces he visto en la televisión desde entonces. Ahora, con esta versión suya de Godzilla no fue la excepción, a pesar de que no tenía idea de lo pésima que es en sí. Claro, de niño me daba igual si una película era un éxito o no, solo la veía por lo entretenida que se veía y así fue hasta ya después de grande.
Actualmente, decir que esta versión de Roland del “Rey de los Monstruos” es la mejor es una burla a todo lo que representa Godzilla durante todo este siglo de historia cinematográfica. Si bien están a años luz de lograr lo que los japoneses lograron con dicho ícono en oriente, la adaptación de 2014 del Primer Kaiju desterró por completo a esta versión de los 90s. Admito que el MonsterVerse es un trabajo que merece la pena ver, sobre todo si eres más fan de la franquicia original y todo el tema de los kaijus. Pero personalmente considero que, al menos, no se debe de olvidar por completo lo que en su momento generó esta película que les traigo hoy, la cual le tengo cierto cariño y nostalgia, claro.
That's why you're here, isn't it? To find out what it meant to me personally, despite all its flaws. Don't worry, although I'll be completely honest—as always—I'm sure I'll have something good to say about this movie in the end. For example, the story begins by showing us the origin of Godzilla, which appears to be the result of various nuclear tests carried out in French Polynesia. This radiation created a huge creature that swam across the Pacific to reach the port of New York City and wreak havoc as soon as it emerged from the sea. How does the US Army respond to this? By hiring just a couple of scientists, including one who studies earthworms.
Honestly, it's not my intention to constantly criticize these types of plots that reflect the "intelligence" of the US government in response to such threats, but they don't make it easy for me, as is the case with this film. Obviously, as a child, I didn't care about these details, but now that I'm in the business of reviewing classic films, it's hard not to notice these things in the plots of every feature film I watch. Although, to no one's surprise, this is nothing compared to what follows. Starting with the constant incompetence of the US military every time they try to stop or kill Godzilla, or the incredible luck that a cameraman, an aspiring journalist, a scientist, and a French agent have throughout the film.
SPANISH VERSION
Es por eso que están aquí, ¿no? Para saber qué fue lo que me generó personalmente, a pesar de todos los defectos que tiene. No se preocupen, si bien seré completamente sincero -como siempre- seguramente habrá algo bueno que pueda decir de esta película al final. Por ejemplo, en el caso de su historia inicia mostrándonos el origen de Godzilla con lo que parece ser el producto de diversas pruebas nucleares que hubo en la Polinesia Francesa. Dicha radiación creó a una criatura enorme que nadó todo el Pacífico para llegar al puerto de la gran ciudad de Nueva York y causar estragos apenas emergiendo del mar. ¿Cómo responde el Ejército de los Estados Unidos a esto? Contratando a solo un par de científicos, entre ellos uno que estudia gusanos de tierra.
De verdad, no es intencional que critique constantemente este tipo de tramas donde se refleja la “inteligencia” del gobierno estadounidense en respuesta a este tipo de amenazas, pero es que tampoco me la ponen fácil como es el caso de esta película. Obviamente de pequeño me daba igual estos detalles, pero ahora que me dedico a esto de criticar películas clásicas es difícil no ver estas cosas en las tramas de cada largometraje que veo. Aunque, para sorpresa de nadie, esto no es nada en comparación con lo que le sigue. Empezando con la incompetencia constante del ejército estadounidense cada vez que intentan detener o acabar con este Godzilla o la increíble suerte que tiene un camarógrafo, una aspirante a periodista, un científico y un agente francés durante toda la película.
It is surprising that, from the middle of the film onwards, every time this group of characters finds themselves closer and closer to death, they manage to escape in a way that is almost absurd. What many describe as "the power of the script" is more like an incredible ability that these people have to survive every situation. From one chase after another with a giant monster capable of crushing them with a single stomp, to an exercise of Mini-Godzillas chasing them all over Madison Square Garden. Up to this point in the film, it is clear that what Roland was looking for with this version of the King of Monsters is more of a well-simulated comic parody than an adaptation as such.
Or at least that's what I would hope now, because if that weren't the case, what a pathetic and compact adaptation of the great Godzilla they have made, to be honest. Personally, I have nothing against this version of the famous monster from the East, but rather the fact that they have failed to properly adapt the iconic Kaiju and destroyer of Tokyo, even though they had sufficient resources to do so. But hey, let's not expect too much from the director who is currently better known as the "Destroyer of Worlds" than for anything else. It's as if Roland himself took advantage of the opportunity that one of the creators of the original Godzilla had died to make yet another movie where he could blow up a large part of New York City.
SPANISH VERSION
Es sorprendente que, desde la mitad de la película en adelante, cada vez que este grupo de personajes se encuentran cada vez más cerca de la muerte logran escapar de una manera que es hasta absurda. Lo que muchos catalogan como “el poder del guión”, es más bien como una habilidad increíble que tiene esta gente para poder sobrevivir a cada situación. Desde una persecución tras otra con un monstruo gigante capaz de aplastarlos con un solo pisotón, hasta un ejercicio de Mini-Godzillas persiguiéndolos por todo el estadio Madison Square Garden. Hasta esta parte de la película es definitivo que lo que buscaba Roland con esta versión del Rey de los Monstruos es más una parodia cómica bien simulada que una adaptación como tal.
O eso esperaría ahora que fuera, ya que si no fuera el caso, vaya adaptación más patética y compacta del gran Godzilla han hecho, la verdad. En lo personal, no tengo nada en contra de esta versión del famoso monstruo de oriente, sino del hecho de que no hayan conseguido adaptar de forma correcta al icónico Kaiju y destructor de Tokio, a pesar de que tenían los recursos suficientes para esto. Pero bueno, tampoco esperemos mucho del director que actualmente es más conocido por ser el “Destructor de Mundos” que por cualquier otra cosa. Es como si el mismo Roland haya aprovechado la oportunidad de que uno de los creadores del Godzilla original ha muerto para así hacer otra película más donde pueda hacer explotar una gran parte de la Ciudad de Nueva York.
As for my opinion of this little Godzilla, it's clear that since it's nothing like the original version, I can't really classify it as one of the best film versions. What I did like, on the other hand, is the special way Roland constructed this monster so that it wasn't an implacable destroyer in itself. Instead, what we see is the survival of a dangerous new species that seeks to reproduce and grow in order to dominate the world. Beyond being a threat to humanity itself, this compact Godzilla is more like the result of all the evil that humanity has caused on the planet. The theme of nuclear testing and everything related to the mutation of species exposed to radiation is something that can convince any child who sees this film.
Clearly, the same is not true for someone like me, who knows the official (or canonical) origin of Godzilla, when I see Roland's version, and it is impossible not to be embarrassed by how absurd it all sounds. I think that if they had at least changed the origin of this Godzilla a little bit to make it look more like an unknown species that has inhabited planet Earth for millennia and functions as a force of nature, it would sound ten thousand times better than what they tell us in this movie. Yes, I just described exactly what they did with the current Godzilla that everyone knows thanks to the new MonsterVerse franchise. But hey, that's just my obsession that every adaptation must be 100% faithful to the original work.
SPANISH VERSION
Con respecto a lo que opino de este pequeño Godzilla, es evidente que al no ser para nada igual a la versión original no me hace bien catalogarlo como una de sus mejores versiones cinematográficas. Lo que sí me gustó, por otro lado, es la forma tan especial en la que Roland construyó a este monstruo para que no fuera en sí un destructor implacable de por sí. En cambio, lo que vemos es la supervivencia de una nueva especie peligrosa que busca reproducirse y crecer para luego dominar este mundo. Más allá de ser una amenaza para la misma humanidad, este Godzilla compacto es más como el resultado de todo el mal que la misma humanidad ha causado en el planeta. El tema de las pruebas nucleares y todo lo referente a la mutación de las especies expuestas a radiación es algo que puede convencer a cualquier niño que vea esta película.
Claramente, no ocurre lo mismo con uno como conocedor del origen oficial (o canónico) de Godzilla cuando ve esta versión de Roland y es imposible no avergonzarse de lo absurdo que suena todo esto. Creo que si hubieran al menos cambiado un poco el origen de este Godzilla para que se vea más como una especie desconocida que ha habitado el planeta tierra desde hace milenios y funciona como una fuerza de la naturaleza; sonaría diez mil veces mejor que esto que nos cuentan en esta película. Si, acabo de contar lo que exactamente hicieron con el Godzilla actual que todo el mundo conoce gracias a la nueva franquicia del MonsterVerse. Pero bueno, así es solo mi obsesión de que toda adaptación debe de ser 100% fiel a la obra original nomás.
Let's talk now about another detail in this film that didn't quite convince me, to be honest. I'm referring to the "subplot" or alternate story involving the protagonist and the aspiring journalist. I understand and accept that they add some drama and romance to this work, but I find it a bit exaggerated that part of the first and second arcs of the film deal with how a scientist is deceived by his ex-girlfriend from college, again, and then tries to resolve everything while regaining the trust he lost due to his obsession with getting the job as a journalist. All this while New York City is invaded and destroyed by a giant monster capable of rapid reproduction.
I like that they have given the characters in this film their own development and everything, and it feels like we can identify with them or feel somehow familiar with them at some point. But when it comes down to it, all this is useless if in the end it all boils down to a series of fortuitous events thanks to the "power of the script". With all that said, I'm not saying that this movie is entirely bad, as it has moments and scenes that are simply unforgettable, but this is all thanks to Roland's ability to produce an audiovisual spectacle that deafens and hypnotizes the audience so that they don't see all the flaws in his story.
SPANISH VERSION
Hablemos ahora de otro detalle que tiene esta película que no me terminó de convencer del todo, la verdad. Me refiero a la “subtrama” o historia alterna relacionada con el protagonista y la aspirante a periodista. Entiendo y acepto que le metan algo de drama y romance a esta obra, pero ya me parece algo exagerado que parte del primer y segundo arco de la película trate de cómo un científico es engañado por su ex de la universidad, de nuevo, para luego intentar resolverlo todo y a la vez recuperar dicha confianza que perdió por su obsesión por conseguir el puesto de periodista. Todo esto mientras la ciudad de Nueva York es invadida y destruida por un monstruo gigante capaz de reproducirse rápidamente.
Me gusta que le hayan dado su desarrollo y todo a los personajes en esta película y se siente que podemos identificarnos o sentirnos de alguna manera familiarizados con ellos en algún momento. Pero a la hora de la verdad todo esto no sirve de nada si al final todo se resume en una serie de eventos fortuitos gracias al “poder del guión”. Con todo esto no digo que esté del todo mal esta película ya que posee momentos y escenas que son simplemente inolvidables, pero todo esto es gracias a que Roland supo producir todo un espectáculo audiovisual que lograra ensordecer e hipnotizar al público para que así no vean todo estos errores que tiene su historia.
Mind you, I'm not saying that the cast of this film did a bad job. I remember the main characters quite well now thanks to the excellent performances of the actors in their respective roles. The dilemma lies more in the way the script ruins an excellent introduction and development of these characters with a couple of clichés and a soap opera happy ending. I mean, we're talking about Godzilla, the King of Monsters, a creature that is practically invincible and that throughout film history has fought even intergalactic creatures, and you're telling me they defeat him with a feint of ropes and a few rockets? I mean, come on.
It's not enough that they turn him into a female for some absurd excuse about migration and stuff just to imitate the chase scene from Jurassic Park in this movie, but instead of Velociraptors, there are computer-generated Mini-Godzillas running all over the Madison Square Garden. And getting to this part of the movie, I'd rather not describe the number of mistakes it has from this point to the end, just so that the four usual characters survive without a scratch, even though they're surrounded by an army of hungry monsters that could devour each one in a single bite. Ah, but they're the main characters, they can't die, unlike the rest of the soldiers who were with them from the beginning. Anyway, I think you get my point.
SPANISH VERSION
Ojo, no digo que el elenco de esta película haya hecho un mal trabajo, los personajes principales los recuerdo bastante bien ahora gracias al excelente trabajo de interpretación que hicieron los actores con sus respectivos papeles. El dilema recae más en la forma en la que el guión arruina una excelente introducción y desarrollo de dichos personajes por un par de clichés y un final feliz de telenovela. O sea, estamos hablando de Godzilla, el Rey de los Monstruos, una criatura que es prácticamente invencible y que durante la historia del cine ha combatido hasta con criaturas intergalácticas, ¿y me dices que lo vencen con un amague de cuerdas y unos cuantos cohetes? O sea, por favor.
No es suficiente que lo conviertan en hembra por una excusa absurda de migración y cosas por el estilo nomás para imitar la escena de persecución de Jurassic Park en esta película, pero en vez de ser Velociraptors son Mini-Godzillas hechos por computadora corriendo por todo el Madison Square Garden. Y llegando a esta parte de la película prefiero mejor no describir la cantidad de errores que tiene desde esta parte hasta el final nomás para que sobrevivan los cuatro personajes de siempre y sin ningún rasguño teniendo a un ejército de monstruos hambrientos que pueden devorar a cada uno de un solo mordisco. Ah, pero son los personajes principales, no pueden morir, no como el resto de militares que andaban con ellos desde el principio. En fin, creo que ya se entendió a qué quiero llegar con todo esto.
Well, with Matthew Brotterick starring in a film of this kind, it's hard to take it seriously, especially when the script itself doesn't help with its abundance of absurd scenes, double entendres, racial jokes, and unnecessary ironic comments. If I had to choose one actor from the entire cast who I think did an excellent job, I would say Jean Reno, who plays the french secret agent brilliantly, which doesn't particularly surprise me given his experience in the action movie genre. Another case would be Hank Azaria, who plays the cameraman who practically risks his own life to get the best shots of Roland's Mini-Godzilla (and yes, I say "mini" because compared to the others, this Godzilla is very small) in this film.
Last but not least, let's talk about the audiovisual aspect of this film. With a huge budget of over $120 million, this film was a box office flop. And that amount doesn't surprise me, considering the amount of production that went into this film in terms of shots, camera styles, aerial and moving shots, and the enormous amount of practical effects and CGI that was used. The only good thing about Roland Emmerich is his talent for blowing up huge buildings in such a realistic way that it still amazes me today. I also like how dynamic he made this Godzilla, allowing us to see him in different environments and locations throughout the two-hour film. The sound effects are excellent too, but I like the soundtrack even more. In short, this version of Godzilla is not for fans of the original franchise, but for those looking for something different.
Personally, I give it a rating of 8/10 in terms of action and science fiction.
SPANISH VERSION
Y bueno, con Matthew Brotterick de protagonista de una película de este estilo es difícil verlo de forma seria y más aún cuando el mismo guión no ayuda con la cantidad de escenas absurdas, chistes de doble sentido, bromas raciales y comentarios irónicos e innecesarios que tiene. Si es de escoger a un actor de todo el elenco que considero ha hecho un excelente trabajo diría que es Jean Reno quien hace un excelente papel de agente secreto francés, algo que no me sorprende particularmente conociendo su experiencia en el género del cine de acción. Otro caso sería el de Hank Azaria quien hace del camarógrafo que prácticamente arriesga hasta su propia vida para grabar los mejores planos del Mini-Godzilla (y si, le digo “mini” a este Godzilla porque en comparación con los demás es muy pequeño) de Roland en esta película.
Por último, pero no menos importante, hablemos del apartado audiovisual de esta película. Con un enorme presupuesto de más de 120 millones de dólares, esta película se convirtió en un fracaso en taquilla. Y es una cantidad que no me sorprende tomando en cuenta la cantidad de producción que tiene esta película en cuanto a planos, estilos de cámaras, tomas aéreas y en movimiento, la enorme cantidad de efectos prácticos y CGI que se ha utilizado. Lo único bueno de Roland Emmerich es ese talento que tiene de hacer explotar edificaciones enormes de una forma tan realista que sorprende aún al día de hoy. También me gusta lo dinámico que hizo a este Godzilla para poder verlo en diferentes ambientes y lugares durante las dos horas de película. Los efectos de sonido son excelentes también, pero me gusta más la banda sonora que tiene. En fin, esta versión de Godzilla no es para los fans de la franquicia original, sino para los que buscan algo diferente.
Personalmente, le doy una calificación de 8/10 en lo que respecta a acción y ciencia ficción.
Tell me, have you seen the movie yet? What did you think of it? You can leave me your answer in a comment.
Dime, ¿ya has visto la película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en un comentario.
GIF Editing: InShot.
Cover Image, Banners & Separators: Canva.
Traslated by: DeepL Translate.
Character Art by: @/ushiro.snow.
Character Source: Bing Image Creator.
Korean dramas are always so filled with great dramatic experience and suspense that one can imagine. I am not talking about movie series that are very common with the Korean movie industry but the dramas that does not require episode. I haven't to watch a recently released movie titled 'YADANG THE SNITCH '(2025), a South Korean crime-thriller.
This movie is about a young man LEE KANG SU who was implicated of doing drugs but along the line while he was arrested and in prisoned he met a prosecutor KOO GWAN HEE Who promise to shorten his sentence by working for him as an Insider in the prison. The young man was brilliant and did his part by gathering information of drug dealers who were still carrying out businesses by contacting druggies outside of the prison. The prosecutor caps to his promise and he was released, he continued to work as a snitch who would reveal the identity of drug dealers in the community and would go through every means to catch the culprit before the police does so as to elevate his status in the society and gain more power.
Along the line, this prosecutor got greedy and decided not to be involved with a young man who has nothing to offer by setting him up and ingesting two dosage of drugs into his system. The idea was to kill him and making a junkie but his friend helped him and isolated him because when you start doing hard drugs you become an addict. To avoid this, he was isolated and locked up till he accepted his reality and got better and free from drugs.
After all this was accomplished, he sought out to seek revenge alongside the prosecutor that was framed for bribery by a cartel, together they gathered evidence to destroy the prosecutor and some prominent politicians who were engaged in fraudulent activities.
One of the Themes evidence in this movie is that of corruption, greed and power. It was so bad that they we ready to implicate and kill their friends and loyal associates just to climb up the ladder of success. Even prosecutors that were supposed to uphold the law of the city became puppets in the hands of politicians and their families all because greed so as to get to the top position.
The issue of revenge was also evident, it is funny how some people think they can use others and get away with it, forgetting that they are away of their secrets. This was the case when the two men forged a cooperation to expose the corrupt men.
Note: images used here were obtained as screenshots from the downloaded movie.
