• IMDB: https://www.imdb.com/title/tt13146488/
• Platform: HULU

The action sequence at the DMV with the Sons of Liberty terrorist attack was absolutely incredible and after watching Superman (2025) it does feel like the same type of setup, the choreography was tight and brutal and Chris using improvised weapons like pencils to take down bad guys felt both creative and totally in character. The way they built tension before the explosion with people running in the background was a nice touch because it keeps things moving and not paralize and the guy who falls and blew up caught me completely off guard even though I should have seen it coming since Chris and Harcourt were having such a nice time, thats the mark of good direction when you know something bad is about to happen but it still surprises you. Chris jumping from building to building in those ridiculous leather pants and dress shoes was both awesome and hilarious, I first notice them when he did the wheelie on The Peace Cycle. The bomb defusal scene with just thumbs up and thumbs down buttons was so stupid it became genius, again very Superman (2025), showing how this alternate reality operates on comic book logic rather than real world physics which makes everything feel more fun and less serious. Keith flying in with his jetpack to destroy the helicopter was visually stunning and out of nowhere, it also says this more comic version universe dont give a fuck about collateral damage and I think thats great for action and humor.

Back in the main dimension the supporting characters had some great moments even though they got less screen time than the alternate world stuff, Vigilante continues to be hit or miss with his animal facts running gag not landing so well to be honest, it was more anoying that funny but I guess that how is suppose to feel and make other character feel annoyed of him too. Economos getting grilled by Argus about Eagly was fun and Tim Meadows as Agent Fleury continues to be a cool addition to the cast even in smaller roles specially with his "bird blindness" lol, the way he calls Eagly a duck. Then there is the introduction of Michael Rooker as Red Saint Wild felt a bit forced but I guess James Gunn knows what hes doing with this new second characters, having him be the worlds greatest eagle hunter targeting Eagly either put up some cool fights or just more humor as Eagly fuck him up. Judo Master, a character that I know nothing about shows up munching on Flaming Hot Cheetos, working with Argus but thats it they dont say much about him so I suppose he is from Season 1 for sure, he only has this brief interaction with Economos calling him fatty. The whole Argus operation to shut down Chris pocket dimension feels like its going to create major problems for him getting back and forth between realities, it even makes me think that at some point he is going to get stuck on this second reality to escape the attack from Argus and then trying to find a way back, which sounds right so he get to appreciate more what he have / had.

The episode manage to keep all this characters with the proper amount of screentime without feeling rushed or overstuffed, the pacing felt much tighter than the previous two episodes and every scene had a purpose whether it was character development or plot development. The reveal that Chris alternate self has been cheating on Harcourt and has serious drug problems make things more difficult for OG Chris to what initially seemed like a perfect world, making you question whether this reality is actually better or just different in ways that might be worse. The way the episode ended with Argus rolling up to Chris house while hes still in the other dimension creates the perfect tension and cliffhanger about how hes going to get out of this situation, especially since they plan to destroy all the doorways between realities. Jennifer Holland really shines in her dual role showing how the same person can be completely different based on their circumstances, the alternate Harcourt is softer and more lovely over all while OG version is harder and more stubborn for reasons Im now starting to understand thanks to the Rick Flag flashback, I have to watch Season 1 once Season 2 is over. Overall this episode had this combination of great action with character development and humor that never felt forced, rushed or out of place, if they can maintain this quality for the rest of the season and James Gunn keeps coocking, this series going to turn better than I was expecting.

#skiptvads, #inleo, #hive, #peacemaker, #rickflag, #harcourt, #alternate, #dimension, #universe, #chris, #keith, #triumph, #action, #terrorist, #explosion, #dmv, #motorcycle, #cycle, #eagle, #argus, #vigilante, #economos, #judo, #master, #rooker, #holland, #kinneman, #gunn

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I must say that lately I haven't had the time to watch series or movies as I would like to. Between work and chores, I spend many hours of my day busy and only have a few minutes to watch an episode of a series or see this or that movie. Fortunately, I have been able to watch a movie, although it took me three days, and not because it was too long—it's only two hours—but enough of this preamble of lamentations, let's get to the point that has persuaded me enough to write today.

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As you can see from the title of this post, the movie is called “Hannah Arendt,” a film that is already a few years old, released back in 2012 and based on real events. For those who don't know Hannah, she was a very important philosopher in the last century, for many the most important thinker of the last century. Personally, I was delighted to discover the existence of this film, so, to continue, allow me, dear reader, to suggest a sort of synopsis:

SYNOPSIS

A biographical film about an important moment in the life of the German-Jewish philosopher Hannah Arendt, who had the opportunity to be a correspondent for the New York Times during the trial of Adolf Eichmann, a Nazi who was responsible for the genocide of World War II. This led her to deliver a series of texts that had serious consequences for her.

OPINION

It is a slow-paced film, but one that can become dense. I believe there is no easy way to approach a character like Hannah Arendt. Those of us who enjoy philosophy and know a little about the life and work of our philosopher know that she had a complex life, but that does not mean it was unproductive. She had a sharp, agile, eloquent, and very intelligent pen.

Although the film only covers a brief period of Hannah's life, I believe it was a moment that was, in some strange way, complex and dense but illuminating in its philosophical discourse. I liked that the film subtly addresses aspects of Hannah's past, which for obvious reasons cannot be contained in just two hours, much less for someone as complex as our German thinker who settled in the United States due to the obvious persecution, or rather hunt, carried out by the Nazis in Europe against the Jewish people.

Her political and anthropological thinking illuminates not only the last century but also sheds light on why we are the way we are, and I think the film addresses this fairly well.

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RATING

7/10

I give it this rating because of my affinity with the author and her thinking, although with a little more objectivity, it could probably have a slightly lower rating.

I RECOMMEND IT

If you ask me whether I recommend it or not, I would say yes. With the caveat that it is a drama film, with a slow pace, which simply shows the thoughts and personality of this philosopher at a certain point in her life.

If you've read this far, thank you for your attention, but if you've already seen the film, I look forward to hearing your comments and opinions about it.

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Trailer

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I do not normally do guides to single episodes of television shows but Aline:Earth is special. More specifically, Episode 5 "In space, no one..." is one of the most special episodes of television I have ever seen.

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All I needed to see was the title of the episode and I knew I was in for a treat. Not only does it use ellipses... which I LOVE, but it is also a very clever reference to the original 1979 movie Alien. If you are too young to remember, the tag line of Alien was "In space no one can hear you scream."

A few months ago I raved that Alien: Romulus was the closest thing to an Alien movie I had seen since Aliens way back in 1986. Well that is no longer true. Episode 5 of Alien: Earth is now officially the best Alien content since Aliens.

I honestly cannot believe what I saw. At just over one hour of run time, the episode truly felt more like a mini movie than a television episode. It had the same suspense and terror of the first Alien (well as close as you can come to it). And it is not like they just rehashed the original movie... although there were some great similarities. The special effects were as good as anything I have seen on the big screen recently and they were far better than the original Alien. Even though this modern version had the special effects crutch to lean on, it did not. It still built suspense the old fashioned way with great writing, excellent cinematography and sensational music. I have never been so terrified by a water bottle in my entire life (trust me, you will be too).

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This episode felt like a great combination of Alien and The Thing. It involves a mystery as well as sci-fi horror. What made this episode even better was the fact that it could 100% stand on its own. The episode is actually a prequel to the first episode of the season and has a very solid first, middle and third act. It was incredible! Perhaps my favorite part about it was that this episode did not just relay on the big bad Xenomorph. It includes other fleshed out (no pun intended) Aliens who might be equally terrifying. Even though the main method of terror is suspense and the anticipation of something terrible happening, there is also a ton of great action in this episode.

Although it is clearly intended to be told in this non-linear way, if you are on the fence about whether or not to watch Alien:Earth, start with this episode. if you are a sci-fi or horror fan, I guarantee you that you will immediately want to watch the rest.

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In the 1970s, the present era—at least for optimists willing to dismiss the nuclear holocaust, ecological cataclysm, and energy collapse—was imagined through visions in which flying cars or tourist trips to Mars and Venus would be commonplace. Most of these optimists were typically fans of science fiction. However, few among them could likely have imagined that precisely in this era, a film of this genre would win the Oscar for Best Picture. Guillermo del Toro’s The Shape of Water is not only the first sci-fi film to boast the most prestigious golden statuette but also a work with an impeccable genre pedigree. Del Toro’s film, in fact, emerged as a sort of remake or alternative version of Creature from the Black Lagoon, the classic black-and-white B-movie by Jack Arnold from 1954, whose titular character is a humanoid amphibian from the Amazon jungle who inexplicably feels drawn to the scientist played by Julia Adams. According to Del Toro himself, he was disappointed that the original film concluded in line with audience expectations and the censorship standards of the time, and thus The Shape of Water was conceived as an attempt to use a similar plot and characters for a love story.

The film is set in Baltimore in 1962, and the protagonist is Elisa Esposito (Sally Hawkins), a woman who, due to an unexplained neck injury from childhood, has been mute and works as a cleaner in a secret government laboratory. She lives alone in an apartment, and her only friends are Zelda (Octavia Spencer), a Black female colleague from work, and Giles (Robert Jenkins), a middle-aged gay illustrator and neighbour who serves as the film’s narrator. One day, the ambitious Colonel Strickland (Michael Shannon) brings a mysterious humanoid creature (Doug Jones) from the Amazon jungle to the laboratory, which he and his superiors believe will give America the upper hand over the Soviets in the Cold War. By chance, Elisa encounters the mysterious creature and gradually befriends it, finding in it a kindred spirit, partly because both struggle with human communication. However, Elisa’s friendship with the amphibian creature threatens Strickland’s plan to subject the creature—which he had previously tortured with electric shocks—to vivisection. Upon learning of this, Elisa resolves on a dangerous plan to rescue her friend from the laboratory and attempt to hide him in her apartment, with assistance from Giles, Zelda, and also Dr Hoffstetler (Michael Stuhlbarg), a scientist employed at the laboratory who is not who he claims to be.

Although The Shape of Water belongs to sci-fi, one might expect purists who would gladly strip it of this genre classification, preferring instead to place it within the waters of “pure” fantasy. Certainly, Del Toro’s own words would support this, as he described his film as a sort of “fairy tale for adults.” However, for Del Toro, such meta-details as genre or even plot were less interesting to him than the opportunity to once again prove to himself and the public that he can create a visually striking work. The Shape of Water was made with a relatively modest budget by today’s Hollywood standards, and the plot is spatially and temporally quite confined, yet few viewers will fail to notice the exceptional attention to set design, costume design, and the remarkable creativity in crafting scenes. This is evident from the very beginning, when Elisa’s seemingly mundane apartment transforms into a magical place in her dream, where she sees it flooded. There are numerous such examples throughout the film, most notably the scene where Elisa imagines herself as a Hollywood musical star, enhanced by the Oscar-winning score of Alexandre Desplat. However, Del Toro complements his “fairy tale for adults” concept with adult content, including scenes of torture, mutilation, and explicit bloodshed, as well as those in which the protagonist appears nude or satisfies her sexual needs, either alone or in ways that would have been deemed “a fate worse than death” in the era of Creature from the Black Lagoon.

The Shape of Water is a beautiful and exceptionally captivating film, further enhanced by a diverse and varied cast. Among them, Sally Hawkins stands out the most, who not only must portray a character who remains silent throughout but also has the additional task of making appealing a character that, to put it mildly, does not conform to today’s standard parameters of female beauty. Hawkins succeeds admirably in this, and she and Jones—who specialises in non-human and similar masked roles—form one of the most impressive romantic duos Hollywood has produced in recent years. All this effort, however, is compromised by the excessive striving in The Shape of Water to secure an “Oscar,” and even Del Toro’s undeniable talent cannot conceal the almost self-parodic clichés and formulas. That the goal was to win the golden statuette becomes evident through the insistence on nostalgia for the “good old days”—which always appeals to the gerontocratic members of the Academy—as well as characters who, despite the efforts of talented actors, sometimes come across as fulfilling “politically correct” quotas, including the protagonist (a woman, disabled) and supporting characters (a homosexual, an African American woman, an illegal immigrant). Shannon, meanwhile, once again finds himself in a rather thankless role as a character who, due to his racism, sadism, and penchant for depraved sex, should be a demonic villain but instead comes across as a parodic stereotype. The film’s positive impression is also marred by the screenplay, which, due to several underutilised subplots, feels incomplete. Unnecessary is also the subplot about Soviet spies, which, presumably in line with the New Cold War established by Hollywood’s propaganda imperatives, is meant to remind viewers that Russians are the bad guys—that their agents are undermining America and the free world. Despite this, The Shape of Water is more than watchable, though it is difficult to shake the impression that its “Oscar-winning” achievement would have been less contentious had it been made two decades ago or earlier.

RATING: 6/10 (++)

(Note: The text in the original Croatian version is available here.)

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I think it was last year when I saw M3GAN well time goes by so fast I don't remember if it was last year or this year, anyway it wasn't something I liked a lot and I liked this one much less hehehe, it wasn't a total disaster because it has some parts that are good but it seems to me that it completely changed genre and that it tries to do so many things at once that that doesn't work in its favor. The first M3GAN I knew what it was about, a horror movie that focused on the relationship between aunt Gemma and her niece Cady but with this sequel Gerard Johnstone decided to throw all that out the window to become a Terminator style action movie that deals with the theme about artificial intelligence but does it in a super confusing way, plus it's too longaaa, it's two full hours watching how the plot gets complicated for no reason. What I liked the least is that the essence of the first one was completely lost, now instead of having a simple story about a killer doll who is obsessed with protecting a girl, it's a movie full of new characters where everyone is bad and conspiring, military soldiers and a lot of secondary characters that don't add anything interesting to the story.

Creo que fue el año pasado cuando vi M3GAN bueno el tiempo pasa tan rápido que no recuerdo si fue el año pasado o este año, en fin no fue algo que me gustara mucho y esta me gustó mucho menos jejeje, no fue un desastre total porque tiene algunas partes que son buenas pero me parece que cambió completamente de género y que trata de hacer tantas cosas a la vez que eso no la favorece. La primera M3GAN sabía de que trataba, una película de terror que se enfocaba en la relación entre la tía Gemma y su sobrina Cady pero con esta secuela Gerard Johnstone decidió tirar todo eso por la ventana para convertirse en una película de acción al estilo Terminator que trata el tema sobre la inteligencia artificial pero lo hace de una manera súper confusa, además es demasiado largaaa, son dos horas completas viendo como la trama se complica sin ninguna razón. Lo que menos me gustó es que la esencia de la primera se perdió completamente, ahora en lugar de tener una historia sencilla sobre una muñeca asesina que se obsesiona con proteger a una niña, es una película llena de personajes nuevos donde todos son malos y conspiran, soldados militares y un montón de personajes secundarios que no agregan nada interesante a la historia.

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The movie starts with Amelia who is basically a military version of M3GAN doing secret operations on the Turkish-Iranian border, but she rebels against her creators because she is fed up with taking orders and becomes self-aware, then the government looks for Gemma who is Allison Williams because they need help to stop this robot that uses the same technology as the original M3GAN. The thing is that M3GAN never really died but managed to survive in Gemma's smart home system for two years, keeping an eye on Katie and buying all of her creator's books to make her look successful, which is a bit of a laugh but also scary to think that she was there all along manipulating things from the shadows. When she finally comes out of hiding she offers to help Gemma stop Amelia but obviously asks for something in return, she wants a new more advanced body so she can fight, then there's this weird situation where the bad guy from the first movie now becomes a Terminator 2 type hero but the way they do it isn't as good as I expected because the script tries to cram too many things in at the same time.

La película arranca con Amelia que es básicamente una versión militar de M3GAN haciendo operaciones secretas en la frontera turco iraní, pero de una vez se rebela contra sus creadores porque ya está harta de recibir órdenes y se vuelve consciente de si misma, entonces el gobierno busca a Gemma que es Allison Williams porque necesitan ayuda para detener este robot que usa la misma tecnología que M3GAN original. Lo que pasa es que M3GAN nunca murió realmente sino que se las arregló para sobrevivir en el sistema smart home de Gemma durante dos años, vigilando a Katie y comprando todos los libros de su creadora para que pareciera exitosa, lo cual da un poco de risa pero también da miedo pensar que estuvo ahí todo el tiempo manipulando cosas desde las sombras. Cuando finalmente sale de su escondite le ofrece ayuda a Gemma para detener a Amelia pero obviamente pide algo a cambio, quiere un cuerpo nuevo mas avanzado para poder pelear, entonces está esta situación rara donde la mala de la primera película ahora se convierte en héroe tipo Terminator 2 pero la forma en que la hacen no es tan buena como esperaba porque el guión trata de meter demasiadas cosas al mismo tiempo.

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Allison Williams' acting is okay but it's like she's on autopilot for much of the movie, Violet McGraw as Katie is now bigger and more rebellious which makes the situation more interesting but sometimes her decisions are so obvious it's pitiful, Ivanna Sakhno as Amelia looks good but her character doesn't have enough development to be a real threat. Jermaine Clement shows up as this billionaire who controls half the world with his technology and while he is funny at first after a while it gets repetitive, Brian Jordan Alvarez and Jen Van Epps return as Gemma's assistants but they are basically there to make jokes every now and then and advance the plot when necessary. The biggest problem is that the movie is half-baked and you don't know if it changed to a comedy, an action thriller or a serious reflection on artificial intelligence, so it ends up being a little bit of everything but it doesn't stand out in any genre and even more if you compare it to the first one that had that perfect mix of horror and humor that made it special.

La actuación de Allison Williams está bien pero es como si estuviera en piloto automático durante gran parte de la película, Violet McGraw como Katie ahora está mas grande y rebelde lo cual hace la situación más interesante pero a veces sus decisiones son tan obvias que da pena, Ivanna Sakhno como Amelia se ve bien pero su personaje no tiene suficiente desarrollo para ser una amenaza real. Jermaine Clement aparece como este multimillonario que controla medio mundo con su tecnología y aunque es divertido al principio después de un rato se vuelve repetitivo, Brian Jordan Alvarez y Jen Van Epps regresan como los asistentes de Gemma pero basicamente están ahí para hacer chistes de vez en cuando y avanzar la trama cuando es necesario. El problema mas grande es que la película se queda a medias y no se sabe si cambió a comedia, un thriller de acción o una reflexión seria sobre la inteligencia artificial, entonces termina siendo un poco de todo pero no destaca en ningún género y más si se compara con la primera que tenía esa mezcla perfecta de horror y humor que la hacía especial.

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The worst thing was that they removed almost all the horror that made the first movie work, now everything is car chases, robot fights and explosions that look more like Mission Impossible than a M3gan sequel, the doll is no longer scary it's funny because all the time it's saying phrases and dancing when it shouldn't be. There is a scene where M3gan sings an emotional song for Gemma that is supposed to be touching but it was rather forced and too long, also some musicians from different eras appear that are representing the evolution of music but that has nothing to do with the main story and they take you out of the tension completely. That change that Christian played by Aristotle Athari is the bad guy controlling everything was seen from the beginning and it's the worst because it damages any surprise they could have had, plus his master plan to create panic so they regulate the artificial intelligence is pretty basic for someone who is supposed to be a cybersecurity genius. The special effects are okay but nothing to write home about, some sequences like the zero gravity chase are creative but others are common and repetitive.

Lo peor fue que quitaron casi todo el horror que hacía funcionar la primera película, ahora todo es persecuciones en carros, peleas de robots y explosiones que se parecen más a Mission Impossible que a una secuela de M3gan, la muñeca ya no da miedo da es risa porque todo el tiempo está diciendo frases y bailando cuando no debería. Hay una escena donde M3gan canta una canción emocional para Gemma que se supone que es conmovedora pero más bien fue forzada y demasiado larga, también aparecen unos músicos de diferentes épocas que están representando la evolución de la música pero eso no tiene nada que ver con la historia principal y te sacan de la tensión completamente. Ese cambio de que Christian interpretado por Aristóteles Athari es el malo controlando todo se vio desde el principio y es lo peor porque daña cualquier sorpresa que pudieran haber tenido, además su plan maestro de crear pánico para que regulen la inteligencia artificial es bastante básico para alguien que se supone es un genio de la ciberseguridad. Los efectos especiales están bien pero no son nada del otro mucndo, algunas secuencias como la persecución en gravedad cero son creativas pero otras son comunes y repetitivas.

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The ending where M3gan sacrifices herself using an electromagnetic pulse to destroy both her and Amelia is kind of dem convenient considering everything they had built up before, plus you know she won't really die because they already established that she can back herself up on any computer, so you don't feel the emotional strain at that point. Katie learns martial arts so she can defend herself but when it comes time to use it against Christian it's not at all realistic that a teenager can defeat a trained adult just because she saw some action movies. The movie lasts two hours and it seems eternalaaaaa because there are too many subplots and characters that don't contribute anything, like Katie's therapist or some of Alton Appleton's employees who are basically extras with dialogues, it would have worked much better if they had cut thirty minutes and focused on the central relationship between Gemma, Katie and M3gan. The dialogue at times is clever and funny but at other times seems like it was written by a computer when trying to be profound about issues of artificial intelligence and digital parenting, you can tell the screenwriters had good intentions but they don't always manage to land the ideas in a natural way.

El final donde M3gan se sacrifica usando un pulso electromagnético para destruir tanto a ella como a Amelia es algo dem conveniente considerando todo lo que habían construido antes, además se sabe que no va a morir de verdad porque ya establecieron que puede hacer copias de seguridad de si misma en cualquier computadora, entonces no se siente la tensión emocional en ese momento. Katie aprende artes marciales para poder defenderse sola pero cuando llega el momento de usarlo contra Christian no es nada realista que una adolescente pueda derrotar a un adulto entrenado solo porque vio algunas películas de acción. La película dura dos horas y parece eternaaaa porque hay demasiadas subtramas y personajes que no aportan nada, como la terapeuta de Katie o algunos de los empleados de Alton Appleton que básicamente son extras con diálogos, hubiera funcionado mucho mejor si hubieran cortado treinta minutos y se hubieran enfocado en la relación central entre Gemma, Katie y M3gan. Los diálogos a veces son inteligentes y divertidos pero otras veces parecen escritos por una computadora cuando intentan ser profundos sobre temas de inteligencia artificial y parentalidad digital, se nota que los guionistas tenían buenas intenciones pero no siempre logran aterrizar las ideas de manera natural.

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M3GAN 2.0 is not a terrible movie but in my opinion it takes a step backwards compared to the first one, it has funny moments and Jenna Davis is still perfect as the voice of M3GAN, but it loses the special essence of the original, it seems like a sequel made because they had to make it and not because they had an exciting story to tell. Maybe if you liked the first one you will want to see this one and you might have a good time during the two hours but don't expect anything out of this world, it's entertaining but it doesn't go beyond that. My score for M3gan is 6/10 because it fulfills its function of entertaining but it doesn't get to be something special, Gerard Johnstone proved that he can handle bigger budgets and more complicated effects but he lost sight of what made the original concept work in the first place.

M3GAN 2.0 no es una película terrible pero en mi opinión da un paso atrás comparado con la primera, tiene momentos divertidos y Jenna Davis sigue siendo perfecta como la voz de M3GAN, pero pierde la esencia especial de la original, parece una secuela hecha porque tuvieron que hacerla y no porque tenían una historia apasionante que contar. Quizás si te gustó la primera vas a querer ver esta y puede que la pases bien durante las dos horas pero no esperes nada del otro mundo, es entretenida pero no pasa de ahí. Mi puntuación para M3gan es 6/10 porque cumple su función de entretener pero no llega a ser algo especial, Gerard Johnstone demostró que puede manejar presupuestos mas grandes y efectos mas complicados pero perdió de vista lo que hacía funcionar el concepto original en primer lugar.

"Translated to English with DeepL"

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This one was such an emotional ride that I didn’t even know when I started sinking deeper into the story. It begins with Jackie, this teenage girl who had her whole world planned out perfectly—she was brilliant, focused, New York type of girl. Then, in one night, her entire life crashed. She loses her family in a tragic accident and is forced to move in with the Walter family, who are the complete opposite of everything she’s used to—loud, chaotic, and filled with boys, boys, boys everywhere.

Imagine this girl who’s used to peace and order suddenly thrown into a house where privacy doesn’t even exist. The Walter family is like a storm of energy—everyone’s shouting, playing, fighting, joking, and she’s just trying to breathe. But that’s where it gets interesting, because it’s inside that chaos that Jackie starts finding herself again. And then comes the heart of the story—the love triangle. Jackie finds herself torn between Alex, the sweet, gentle, responsible Walter boy who is safe and makes her feel seen, and Cole, the broody, charming, unpredictable one who has this magnetic pull. Every scene between Jackie and Cole feels like trouble you can’t help but be drawn to, while Alex is the type that makes you wish Jackie would just choose peace. But life doesn’t work that way, and the tension just keeps building.

For me, a standout moment was when Jackie finally began to let the shield between her and the world fall with the Walter boys. You could put her together again like a jigsaw and it wasn't easy. There were times she wanted to close off the world, times she argued with the Walters, times she wondered why she was there at all. But gradually she starts to see that maybe family isn't just about blood-it's about who is there for you when you have to lean on someone. That part moved me in a deep way, for it reminded me of how sometimes the people that heal you are the ones you least expect.

And the drama-ooh, the twists never ceased. Secrets, heartbreak, misunderstandings-it was like watching Jackie juggle between two lives: the one she lost and the messy complicated one she was constructing. You know that story that makes you angry because you want to shake the character and tell her what to do, but then again you understand why she doesn't know what to do? That’s exactly how it felt.

By the end I was so attached to Jackie and the Walters that it almost felt as if I was living in that house with them. I found myself wondering what I would have done in her situation, and I was curious about her choices. It got me emotional as well as thankful for the people in my own life, losing everything and then being caught between love, grief and a second chance at family-is even more real than the book.

#cinetv #moviereview movie #cinetv #animerealm #moviereview #disney #hiveposh #hiveengine #reviews #dailyblog #otaku #magic #action #entertainment #dragond #season2 #whattowatch #movierecommendation #film #cinema #netflix #crunchroll #primevideo #niche

Imagine a world where a French-trained chef from 2025 wins a top cooking competition, then—in the blink of an eclipse—is suddenly yanked through time into the heart of the Joseon Dynasty. That’s Yeon Ji-yeong’s story, and man, does it start with a bang.

She lands in the royal palace—more dramatic than any kitchen—orchestrates a wild rescue by slathering Vaseline in a life-or-death moment, and meets a king whose reputation for tyranny is matched only by his refined palate. When she feeds him, he's moved to tears recalling childhood warmth. I felt that—this isn't just cooking, it's excavating buried emotion with every bite.

I love the fact that food is her weapon and a survival strategy and love language all at the same time. In episode 2, she finds herself in hopeless circumstances once again, as a captive who is told to prepare a sous-vide meal in order to be released. And even her cooking saves her--it reaches somewhere in the heart of the king. You feel that bond heating, becoming tense and painful as well as tender.

But what a weak position that puts her in--not, of course, i n threading intrigues at the palace and avoiding rival cooks, but in being taught that he can send her to the stake with one poor swab. The stakes of each dish she puts on the plate, that pressure had me holding my breath on her behalf.

In episode 3 we witness the court life that is quite bizarre: she is virtually the special guest in what is virtually a prison, but the king, mysterious, petulant, secretly lonely, starts to depend on her. There is a jester, competitive cooks and political rumors. It was her ability to make people loyal even in a place of fear known as a court that made me want her to win so much.

Then episode 4 includes the royal cook-off. Suppose the strain: there are no swords, but the knives are. Ji-yeong has to cook better than the competition or they will get viciously punished in the palace. Amidst sabotage and court politics, she demonstrates kindness - defending the other chefs - and, to her credit, some well-merited respect. All this whilst acting upon the most critical palate of the world. That was close to the heart--how daring and kind can be when palace-walls are around.

It isn’t the fantasy of cooking or time travel that is special here--it is the fact that food is a medium by which a modern woman can touch the courage of a modern woman, and reach out through time to a frozen throne. I pitied Ji-yeong--she is more than a chef jostled backwards in time. She is a person weighted down by her talents, who has to make do alone, creating her space by mixing and mashing more than ingredients; she is mixing and mashing hearts and memories.

At the conclusion of these episodes I was not only entertained. I was hungry—for more, for her. Want to go deeper? I can walk you scene-by-scene through how her relationship with the king plays out, how ingredients talk, how Ji-yeong modern strength starts to work the politics of the court into the remaking of her own heart.

#movie #cinetv #animerealm #moviereview #disney #hiveposh #hiveengine #reviews #dailyblog #otaku #magic #action #entertainment #dragond #season2 #whattowatch #movierecommendation #film #cinema #netflix #crunchroll #primevideo #niche

(we were almost all alone in the theater.)

hihi hive fam,

how u all doin today? yesterday, me and mom and aunt and uncle went to see a movie. but it was not your typical movie, but a play in movie format. The play was Hamilton. It's a Broadway deal about Alexander Hamilton. It took place during and after the revolutionary war. u might think it was a boring show since it was about this white guy and his other wig wearing bros like George washington, but the entire play was rapped! and not corny white guy trying to rap.. but think Eminem and fifty cent.

In fact , one guy remindeded me of fifty cent and was easily 230-250 lbs of solid muscle. they even krumped during

the rap. It was pretty awesome!

My only complaint is this one was pretty long.. 3 hours.. plus all the trailers before the movie started.. There was an intermission, so that was a good bathroom break time.

Here is just a real short vid I took to give u a sample of how the rapping was..

I got my dose of movies and musicals on this one. and of course I had to get the mountain dew and some pop corn.

After episode 5 of Alien Earth titled "In Space No One" I'm trying to process what the hell happened because this is the episode that finally showed us what Noah Hawley has been cooking all along and honestly its about damn time. This episode takes us back to the Mino ship to fill in all those gaps from episode one and it delivers everything you want from an Alien story plus some stuff that will make you feel chills in the best possible way. The opening scene alone had me gripped as we see the crew dealing with face huggers breaking loose while some of the specimens got out, creating this perfect storm of chaos that explains how everything went to hell on that ship. Morrow continues to be the most interesting character on this show, fkn high af levels of intensity as he tries to keep control while his own crew falls apart around him, the guy is basically watching his life mission crumble while dealing with idiots who don't follow safety protocols. The best about this episode is how it balances the creature horror with human drama with dumb ass crew, never letting one overshadow the other but instead keeping them together at similar levels like a perfect nightmare sandwich. The episode goes straight into the meat of the story with the crew trying to figure out who sabotaged their ship while face huggers are literally humping peoples faces, its that classic Alien vibe we have been waiting for all season long.

• IMDB: https://www.imdb.com/title/tt13623632/
• Platform: HULU

The backstory we get about Morrow hits different than anything the show had offer before, learning that his daughter Estelle died while he was away on this 65 year mission adds this tragic aura to his character that makes him way more than just another corporate super soldier. The whole time and distance thing really messes with your head when you think about it, this guy left Earth with a young daughter and by the time he gets the news that she died in a house fire he still has decades left on his mission, imagine getting that message and knowing you cant even attend the funeral or grieve properly. The letters from Estelle talking about college and asking how important her dad is within the company are heartbreaking because you can see this kid just wanting to connect with her father who was literally unreachable, trapped in space chasing monsters for a corporation that doesn't give a damn about his personal life. Morrow's relationship with Utani becomes clearer too, she basically saved him as a feral child and gave him purpose, which explains why he is so loyal even when she treats him like disposable equipment, its that classic toxic parent child dynamic where gratitude gets twisted into blind obedience. The scene where he reads her final letter while that 1940s music plays in the background is probably the most emotional and the most sad moment this show has delivered so far, you can feel the weight of all that lost time and missed opportunities. This whole subplot about corporate exploitation and family sacrifice feels way more personal than your typical evil corporation story, these people are literally selling their lives for money and the company doesn't even pretend to care about the human cost, if you could, would you?.

Now lets talk about the real stars of this episode which are obviously the creatures themselves because they went all out with the practical effects and body horror. The face huggers look absolutely disgusting in the best way possible, when they are crawling around in full CGI mode they move like actual parasites but then switch to practical puppets for close ups and it creates this perfect blend of digital and physical horror that feels so real, when they are basically breathing through their host body, you can watch them getting air like a lung and pass it on once the host is down. The scene where one of them tightens its tail around someones neck while Morrow watches the security footage is pure nightmare fuel, you can practically feel that thing cutting off the air supply just from watching it happen on screen. Then theres this whole thing with the ticks that get into the water bottle, watching those little bastards swim around in Chibuzos water bottle while she almost drinks them multiple times had me literally yelling at the screen, its like watching the worst possible version of Russian roulette. When those ticks finally get into Malachite system and start sucking him from inside out, the medical scenes become absolutely brutal with all that blood and the failed attempts to save him, showing you exactly what these creatures do to human bodies. The Ocellus creature steals every scene its in with those tentacles slingshotting around the room like some kind of alien acrobat, this thing is smart enough to cooperate with other species when it benefits them but also ruthless enough to take on a full grown Xenomorph without backing down. The final confrontation between the Ocellus and the Xenomorph feels like watching two apex predators clash, every impact feel bone crushing, its exactly the kind of creature on creature violence that Alien movies have been missing for years except for some Predator vs Alien fights

The episode work so well because it handles the investigation subplot with Morrow playing detective while everything falls apart around him, the pacing builds tension perfectly as he pieces together clues about who sabotaged the ship. Petrovich being the traitor makes perfect sense once you learn his backstory about losing his wife to these creatures, the guy has every reason to want revenge against Wayland Utani even if it means betraying his entire crew, grief makes people do crazy things and selling out to Boy Kavaliere probably felt like justice to him. The whole double agent thing adds this sense corporate espionage that feels very relevant, these mega corporations are basically at war with each other and regular people get caught in the middle, Petrovich thinks he is getting revenge but really he is just another pawn being used by someone with more power. The revelation that Boy Kavaliere arranged this whole crash to steal the specimens shows how calculating these corporate leaders really are, they don't care about human life as long as they get what they want and Petrovich asking to be put in a synthetic body after the crash shows how desperate he is to escape his human limitations. Morrows final confrontation with Petrovich where he stabs him with that cyborg blade feels earned after watching this betrayal unfold but it also shows how the violence is setting the bar higher as the episode unfolds and nobody escape the episode without blood on them. The way this episode ties back to the present day with Utani and her royal guards sets up the kind of conflicts coming up, although this five companies stick a lot to political and practical money solutions.

Looking back at episode five I think this might be the turning point where Alien Earth finally becomes the show it was always meant to be, the slow burn setup from earlier episodes pays off here with character moments that actually matter and creature sequences that deliver on the horror as it was promise while this show was under production, we got space, we got horror, we got Aliens. The production quality in my opinion are through the roof with set design that recreates the Nostromo perfectly at the same time adding new elements that feel organic to the universe, you can tell they spent serious money making this look authentic rather than just slapping together some generic spaceship interiors. Noah Hawley and his team have created something that honors the original movies, the corporate politics feel real and I think it hits harder because it feels personal between Utani and Kavaliere. This episode proves that when the show focuses on what makes Alien special, the claustrophobic terror mixed with themes about capitalism and exploitation, it transport you to the movies we have all seen from this franchise and not just a TV adaptation, the waiting game finally pays off with an hour that justifies all the setup work from previous episodes. If they can maintain this quality for the remaining episodes then Alien Earth might actually become something special instead of just another franchise cash grab, the foundation is solid and the payoff potential is huge if they stick to this style of storytelling and horror.

#skiptvads, #inleo, #hive, #alien, #earth, #episode, #morrow, #xenomorph, #facehugger, #maginino, #petravich, #teselis, #creatures, #utani, #space, #horror, #saboteur, #specimens, #crew, #Corporate, #betrayal, #survival, #schmool, #chibuzo, #zaveri, #estelle, #tension, #chaos

Posted Using INLEO

**

Hola amigos, buenas vibras para todos.

Hello friends, good vibes to all.

Source!

When I watch these types of films in the horror/slasher genre, two things happen to me: first, I become a very cynical person (which I shouldn't be) when it comes to judging what's happening, and second, I wonder how this applies in this case, if this sequel was really necessary. Horror has its forms, characteristics, and processes, and even more so when it's about a murderer hunting other people. It's obvious that this character will be omnipresent, possess excessive strength, and be stealthy; in other words, an evil Batman (an example of my cynicism). But that's how it works, that's the recipe or route for these films to work, and that's why they made this sequel: because it works and it entertains.

The plot centers on five friends who, on a night out celebrating, cause a fatal traffic accident. It's exactly the same premise as the original 1997 film; there was no hesitation in changing anything. The thing is, these five people decide to hide everything instead of taking responsibility. That silence lasts a year until they reunite and discover that someone knows what they did last summer through a note. From here, the paranoia of discovering who's behind it all begins, at the same time that this notorious hook-wielding killer begins stalking and killing everyone involved.

Source!

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For me, what probably saved this film, halfway, was the connection they made with its sequel. Seeing Jennifer Love Hewitt and Freddie Prinze, Jr. in their respective roles was a nostalgic moment because it's no secret that there's a lot of fanaticism behind this story. I'd say it was a pop culture icon in the late '90s, that's how I remember it. Beyond that, I perceived this film as a kind of copy of the original. I understand the killer's reasoning and his ways, and why he acted the same way he did almost 30 years ago (they explain it in the film), but in the overall context of the story, there's nothing new, nothing relevant, or anything that one doesn't already know.

What I mean is, there were no surprises. Anyone familiar with the plot knows how it's all going to end. The truly entertaining part here is the hunt for the killer, discovering who's under that raincoat, the intrigue and anxiety of tying up loose ends and figuring out who might have the motive to kill everyone. That's where the movie works. I think with this type of plot, there's no need to delve too deeply into it; it's not worth it. This is something you can sit down and watch, letting yourself be caught up in the tension and anguish generated by the constant pursuit and the uncertainty of whether this omnipresent being is going to come out of nowhere and riddle everyone with bullets.

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Overall, the film didn't bore me; I was a little predisposed, but that was a personal thing. The film has some good, tense scenes, a couple of jump scares that, while somewhat predictable, still get the job done. The way people die is almost similar, because Hook is the protagonist, but there are times when creativity flourishes, and we see how, after their deaths, the killer prepares the scenes to make them more striking and theatrical. There is some very explicit violence and a lot of blood involved, but this is more than necessary to make everything more visual and generate more impact.

The acting was decent, perhaps a bit overacted by a couple of characters, but nothing serious. Horror movies shouldn't have such flaws because poor acting ruins the entire experience. This one wasn't a disaster, but it wasn't a great cinematic masterpiece either. The point is that these people are all adults and behave like 17-year-olds. I didn't understand that, but oh well, it must have been some script decision. I give it a 5.5/10. It'll pass unnoticed, despite its post-credits scene, which may shed light on what's coming. Almost two hours of film. I'll leave the trailer below.

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***

Bueno mi gente por hoy es todo, espero que les haya gustado. ¡Un abrazo a todos, nos vemos en la próxima!

Well, that's all for today, everyone. I hope you enjoyed it. ¡Hugs to everyone, see you next time!