In recent weeks, I've had a lot of trouble finding a series that I consider worthwhile; it seems that little by little, the options are running out. Beyond a few series that have returned with a new season, there are few new offerings that have arrived to make a lasting impression. However, there is one that has not disappointed so far, and that is Alien: Earth. Just by reading the name, you can guess that this is a series derived from the well-known Alien universe, a franchise that has given us several good movies, as well as others that have been unfortunate.

This series takes place in the timeline after Alien: Covenant, so compared to the vast majority of movies, the series takes us quite far back, which is why we can consider it a prequel. This is the first time we've seen a series related to this universe, as all the previous material has been films. Alien: Earth was created by Noah Hawley, who also directs some episodes. As for the genre, we all know we'll be seeing a lot of science fiction and horror. The cast is not very well known, but there are some faces we will recognize, such as Timothy Olyphant and Essie Davis.

The name of the series already leads us to imagine that the events will mainly take place on Earth, and indeed, after a ship carrying several rare specimens crashes in a city, a bidding war breaks out between two large corporations dedicated to technology and research to obtain the specimens. But, as we are accustomed to seeing in this type of scenario, the specimens will wreak havoc before they can be captured or controlled.

On the other hand, the series also focuses on synthetic beings created by the Prodigy corporation, one of the technological rivals of Weyland-Yutani, a company that appears in practically every film in the Alien universe. These beings are created from the consciousness or minds of children, which makes them easy to manipulate, impulsive, and prone to making poor decisions. Thus, between the two aforementioned plots and the technological battle between two corporate giants, turbulent events will unfold in which the Xenomorph will undoubtedly play a fundamental and, therefore, catastrophic and terrifying role.

Now, while it is true that the vast majority of science fiction series have had little sustainability over time, since sooner or later they run out of ideas, I believe that Alien: Earth has many advantages considering the entire universe behind it, which has been systematically built since the late 1970s. It is no coincidence that there are so many films right now and that there will surely be more. I think the creators just need to maintain a good drama or storyline accompanied by mysteries and secrets throughout the series so that it can have several good seasons. Personally, I hope this is the case, as I have honestly liked what I have seen so far.

There is much to develop and weave together, considering that new creatures other than the Xenomorph can be added and that there are other corporations in different parts of the universe that can play a fundamental role in a technological battle that can make everything much more interesting. For now, we'll have to wait and see what's left of the season and hope that it stays on the same track. I have no doubt that this series can be very worthwhile.

Synopsis: What was supposed to be a pleasant evening during a reunion for eight friends ends up becoming the worst collective experience they've ever had, and all of this can be explained by the passage of a comet past the planet, which can cause controversial changes in human behavior.

One of the things I love most about watching a movie is how much it can surprise me, and that's exactly what this project manages to do (which, by the way, does so intentionally, right from its very title... because this story can have absolutely everything, except coherence within its rather chaotic essence). In a genuine and intriguing way, the script peels back narrative layers, inviting the audience to pay attention to every detail of the plot, even the simplest (and seemingly trivial) details.

It all begins when a group of eight friends reunite over dinner. What was supposed to be another fun and enjoyable evening turns into something completely unexpected when the proximity of a celestial body (a comet) orbiting Earth becomes the focus of their attention, triggering unexplained behavior that will confront them with some previously unimaginable surprises. The narrative unfolds slowly, but gradually gains weight (and form) within a rhythm driven by paranoia.

The script's "narrative mountaineering" flirts with different ideas to explain the "quite psychedelic and astrophysical journey" that gradually builds into the plot. The dramatic bias is interesting, although it is not something that is very well-developed (being just a backdrop to try to “stretch” the pages of the script a little, which by the way... do not reach 85 minutes of movie), but fortunately the script has other aspects that maintain the viewer's interest in what is being developed, and the strongest of them is the climate of tension and lack of answers.

Just like the characters in this movie themselves, I think (at least initially) it's difficult for the audience to buy into what's happening. Everything is incredibly absurd, but at the same time, it's made believable by the historical and physical insertions mentioned within the script. Therefore, once everything starts to make sense, it's possible to have a better experience watching this movie unfold before our eyes, with situations that defy all logical explanations (and this is precisely where the project finds its greatest strength: provoking the audience).

The dinner begins to become truly chaotic as unexplained events become increasingly recurrent, bringing about situations that expose the characters to previously hidden realities. The suspense remains latent, and the psychological aspect gains more relevance whenever the plot relies on the expansion of parallel subplots (although this is used only as a device to accommodate all the characters within the same dense narrative). Immersed in the search for explanations, the characters are drawn into a claustrophobic plot.

Technically, the budget is very low, and ironically, this makes the visual aspect of the project much more interesting. The filming style creates a somewhat voyeuristic atmosphere, where the audience becomes a part of the movie, but without actually being part of it (although always on the lookout for events, acting as a third party, essential to creating a sense of immersion). The editing is raw (very sharp cuts, by the way), the soundtrack is minimalist, the photography is simple, and the set design is limited to a few settings.

The cast doesn't feature any well-known names, but it's very effective within the project's scope. The development of their respective characters isn't very well distributed, and the greatest weight falls on a single character, who ends up being the "key" to unraveling what's really going on. Between painful and very bitter truths tied to reflections of our daily lives, the plot makes a kind of “case study” about social relations, which is not bold enough to be more relevant (although in essence it is great and really quite thought-provoking).

Coherence is the kind of movie that uses an unusual plot device for the genre it represents, because using quantum physics to create an immersive narrative that blends drama and suspense is atypical. This uniqueness is explored by director James Ward Byrkit (who wrote the screenplay alongside Alex Manugian), and although there are many situations without further explanation, the movie truly piques viewers' curiosity because there's a frightening element of surprise involved, and it's related precisely to human behavior.

Sinopsis: Lo que se suponía que sería una velada agradable durante una reunión de ocho amigos termina convirtiéndose en la peor experiencia colectiva de su vida, y todo esto se explica por el paso de un cometa cerca del planeta, que puede causar cambios controvertidos en el comportamiento humano.

Una de las cosas que más me gusta de ver una película es lo mucho que puede sorprenderme, y eso es precisamente lo que este proyecto consigue (y, por cierto, lo hace intencionadamente, desde su mismo título... porque esta historia puede tener absolutamente todo, menos coherencia dentro de su esencia bastante caótica). De forma genuina e intrigante, el guion desvela las capas narrativas, invitando al público a prestar atención a cada detalle de la trama, incluso a los más simples (y aparentemente triviales).

Todo comienza cuando un grupo de ocho amigos se reúne para cenar. Lo que se suponía que sería una velada divertida y placentera se convierte en algo completamente inesperado cuando la proximidad de un cuerpo celeste (un cometa) orbitando la Tierra se convierte en el centro de su atención, desencadenando un comportamiento inexplicable que los enfrentará a sorpresas inimaginables. La narrativa se desarrolla lentamente, pero gradualmente gana peso (y forma) a un ritmo impulsado por la paranoia.

El "alpinismo narrativo" del guion coquetea con diferentes ideas para explicar el "viaje psicodélico y astrofísico" que se desarrolla gradualmente en la trama. El sesgo dramático es interesante, aunque no está muy bien desarrollado (siendo solo un telón de fondo para intentar "estirar" un poco las páginas del guion, que por cierto... no llegan a los 85 minutos de película), pero afortunadamente el guion tiene otros aspectos que mantienen el interés del espectador en lo que se está desarrollando, y el más fuerte de ellos es el clima de tensión y la falta de respuestas.

Al igual que los propios personajes de esta película, creo (al menos al principio) que al público le cuesta comprender lo que sucede. Todo es increíblemente absurdo, pero a la vez, resulta creíble gracias a las inserciones históricas y físicas mencionadas en el guion. Por lo tanto, una vez que todo empieza a tener sentido, es posible disfrutar de una mejor experiencia viendo cómo se desarrolla la película ante nuestros ojos, con situaciones que desafían toda explicación lógica (y es precisamente aquí donde el proyecto encuentra su mayor fortaleza: provocar al público).

La cena se vuelve verdaderamente caótica a medida que los sucesos inexplicables se vuelven cada vez más recurrentes, dando lugar a situaciones que exponen a los personajes a realidades previamente ocultas. El suspense permanece latente, y el aspecto psicológico cobra mayor relevancia cada vez que la trama se apoya en la expansión de subtramas paralelas (aunque esto se utiliza solo como un recurso para acomodar a todos los personajes dentro de la misma narrativa densa). Inmersos en la búsqueda de explicaciones, los personajes se ven arrastrados a una trama claustrofóbica.

Técnicamente, el presupuesto es muy bajo, lo que, irónicamente, hace que el aspecto visual del proyecto sea mucho más interesante. El estilo de rodaje crea una atmósfera algo voyerista, donde el público se convierte en parte de la película, pero sin serlo realmente (aunque siempre atento a los acontecimientos, actuando como un tercero, esencial para crear una sensación de inmersión). El montaje es crudo (cortes muy precisos, por cierto), la banda sonora es minimalista, la fotografía es sencilla y la escenografía se limita a unos pocos escenarios.

El reparto no incluye nombres conocidos, pero resulta muy efectivo dentro del alcance del proyecto. El desarrollo de sus respectivos personajes no está muy bien distribuido, y el mayor peso recae en un solo personaje, que termina siendo la "clave" para desentrañar lo que realmente está sucediendo. Entre verdades dolorosas y muy amargas ligadas a reflexiones de nuestra vida cotidiana, la trama constituye una especie de "caso de estudio" sobre las relaciones sociales, que no es lo suficientemente audaz como para ser más relevante (aunque en esencia es genial y realmente bastante provocador).

Coherence es el tipo de película que utiliza un recurso argumental inusual para el género que representa, ya que usar la física cuántica para crear una narrativa inmersiva que combina drama y suspenso es atípico. Esta singularidad es explorada por el director James Ward Byrkit (quien escribió el guion junto a Alex Manugian), y aunque hay muchas situaciones sin mayor explicación, la película realmente despierta la curiosidad del espectador porque implica un elemento de sorpresa aterrador, relacionado precisamente con el comportamiento humano.

Sinopse: O que era apenas para ser uma noite agradável durante um reencontro de oito amigos, acaba se tornando na pior experiência coletiva que eles já tiveram, e tudo isso pode ser explicado pela passagem de um cometa pelo planeta, que pode causar mudanças controversas nos comportamentos dos seres humanos.

Uma das coisas que eu mais gosto de sentir quando eu estou assistindo a um filme, é o quanto ele pode me surpreender e isso é exatamente o que este projeto consegue fazer (que por sinal, faz isso de maneira proposital desde o seu próprio título... porque essa história pode ter absolutamente tudo, menos uma coerência dentro de toda sua essência bastante caótica). De uma maneira genuína e intrigante, o roteiro vai descascando camadas narrativas que convidam o público a prestar atenção em todos os detalhes da trama, até mesmo naqueles detalhes mais simples (e aparentemente fúteis).

Tudo começa quando um grupo de oito amigos se reencontram durante um jantar, mas o que era para ser outra noite divertida e agradável, acaba se tornando em algo totalmente inesperado quando a proximidade de um corpo celestial (um cometa), que está na órbita do planeta Terra, se torna o foco da atenção deles, despertando comportamentos de tons inexplicáveis, e que vão colocá-los frente à frente com algumas surpresas antes nunca imaginadas. A narrativa se apresenta de um jeito lento, mas gradualmente vai ganhando peso (e forma) dentro de um ritmo pautado na paranoia.

O “alpinismo narrativo” no qual o roteiro se apoia, flerta com diferentes tipos de ideias para explicar a “viagem bastante psicodélica e astrofísica” que, pouco a pouco, vai construído à trama. O viés dramático é interessante, embora não seja algo tão bem aprofundado (sendo apenas um pano de fundo para tentar “esticar” um pouco as páginas do roteiro, que por sinal... não chegam a 85 minutos de filme), mas felizmente o roteiro tem outros aspectos que mantém o interesse do telespectador sobre o que está sendo desenvolvido, e o mais forte deles é o clima de tensão e ausência de respostas.

Assim como os próprios personagens deste filme, eu penso que (ao menos inicialmente) é difícil para o público comprar a ideia do que está acontecendo. Tudo é muito absurdo, mas ao mesmo tempo, se torna crível pelas inserções histórias e físicas que são mencionadas dentro do roteiro. Sendo assim, uma vez que tudo começa a fazer sentido, é possível ter uma melhor experiência ao assistir este filme acontecendo diante dos nossos olhos com situações que desafiam todos os aspectos de explicações lógicas (e é precisamente aqui que o projeto encontra à sua maior força: provocar o público).

O jantar começa a ficar realmente caótico à medida em que eventos inexplicáveis vão sendo cada vez mais recorrentes, trazendo situações que vão fazendo os personagens serem expostos a realidades até então escondidas. O suspense se mantém como algo latente, e o aspecto psicológico ganha mais relevância sempre que à trama aposta na expansão de subtramas paralelas (ainda que use isso apenas como um artifício para poder usar todos os personagens dentro dessa mesma narrativa densa). Imersos na busca por explicações, os personagens são tragados por uma trama claustrofóbica.

Tecnicamente, o orçamento é muito baixo, e ironicamente isso faz com que o aspecto visual do projeto seja muito mais interessante. O estilo da filmagem traz uma atmosfera um tanto quanto “voyeur”, onde o público fica sendo uma parte do filme, mas sem de fato estar dentro dele (mas sempre à espreita dos acontecimentos, atuando como uma terceira pessoa que é essencial para trazer a sensação de imersão dentro dos eventos). A edição de cenas é “crua” (cortes bem secos, por sinal), a trilha sonora é bem minimalista, a fotografia é simples e a cenografia é “restrita” a poucos cenários.

O elenco não traz nenhum nome muito conhecido, mas é muito eficiente dentro da proposta do projeto. A construção dos seus respectivos personagens não é muito bem distribuída, e o peso maior fica apenas com uma única personagem, que acaba sendo a “chave-metra” para desvendar o que realmente está acontecendo. Entre verdades dolorosas e bem amargas amarradas a reflexos do nosso cotidiano, a trama faz uma espécie de “estudo de caso” sobre relações sociais, que não é ousado o suficiente para ser mais relevante (embora à sua essência seja ótima e realmente bem provocante).

Coerência é o tipo de filme que faz uso de um argumento pouco comum para o gênero que representa, porque usar a física quântica para criar uma imersão narrativa que mistura drama e suspense é algo atípico. Toda essa peculiaridade é explorada pelo diretor James Ward Byrkit (que escreveu o roteiro ao lado de Alex Manugian), e ainda que haja muitas situações sem maiores explicações, o filme realmente desperta a curiosidade de quem o está assistindo porque há um elemento surpresa assustador no meio dessa equação, e ele está relacionado justamente ao comportamento humano.

Hello again, series lovers!

I hope you are all well. Today I'm here to talk to you about a K-drama that was recently released and that I particularly liked. It's a period K-drama, set in the Joseon Dynasty, with romance, comedy and plenty of drama.

This K-drama is called Bon Appetit, Your Majesty and tells the story of Yeon Ji-yeong, a young professional chef who won a cooking competition in Paris, earning her a large sum of money and a job as a chef in a three-Michelin-star restaurant. Euphoric over her triumph, she travels to Korea at the request of her father, a famous historian, who asked her to bring him an ancient book from the Joseon Dynasty that had recently been discovered so that he could examine it. On the plane to Korea, the passenger next to Ji-yeong spills coffee on her and the book, which we soon discover is called Mangoruk. Afraid of ruining the book, she decides to go to the bathroom to try to clean it. At the same time, a predicted eclipse is taking place. She opens the book and realises that, strange as it may seem, it is a cookbook, but despite dating from the Joseon Dynasty era, it contains dishes that do not correspond to that period. As she continues to look through the book, she reads a message at the end, a sad message full of longing, unaware that the eclipse and the book will transport her to the Joseon Dynasty.

Ji-yeong would fall into the hands of the dreaded King Lee Heon, a young, feared and rather tyrannical king who harbours deep resentment and hatred after witnessing the death and humiliation of his mother as a child, and who would mistake Ji-yeong for an evil spirit. But the king has one weakness he cannot resist, and that is food. Lee Heon has a refined sense of taste, which makes him very demanding when it comes to food, so when he tries the protagonist's "exotic and rare" dishes, he is delighted. This, coupled with the defiant and "modern" attitude that the protagonist displays, makes him keep her by his side, despite the opposition of many. But our protagonist, who knows the future, knows that Lee Heon's story will not end very well.

I don't usually watch K-dramas regularly, only from time to time, and yes, at first glance, the story appeals to me, and that's what happened with this one. Although it has a concept seen in other K-dramas, I think it stands out from the rest very well. It's funny, romantic and, of course, has a lot of drama. One thing I like is the preparation of the dishes and how, of course, Ji-yeong has to use rudimentary techniques to prepare each dish (very elaborate, by the way) that didn't exist at that time and based on ingredients that were sometimes unknown. But I like the tasting time even more. It's very funny because the king, among other members of the court, seem to have a kind of epiphany when they taste the food. Some are transported to meadows and others to a river of fruit. Hahaha, those scenes make me laugh.

Of course, the relationship between the protagonists is tense at first, mainly due to Lee Heon's arrogant and possessive behaviour towards Ji-yeong, but it progresses naturally, especially when the protagonist realises that the story she read did not tell the whole story.

The villains are, of course, very evil, being presented as various members of the king's court and especially one of Lee Heon's concubines, Concubine Kang Mok-ju, who, according to Ji-yeong, was the cause of many misfortunes and horrors that happened during that time. Fortunately, our protagonist knows that the best way to get to a man is through his stomach, so she knows she has to keep Lee Heon's favour so that the concubine doesn't cut off her head. She may fall in love in the process.

This K-drama is currently airing, and you can find it on Netflix. I think it's a very good and entertaining story, with laughter and romance, but also moments of tension and suffering. I think it's ideal for entertaining yourself for a while, especially for K-drama lovers.

If you've made it this far, I hope you liked the recommendation and that you'll be encouraged to watch this K-drama!

¡Hola otra vez, amantes de las series!

Espero que se encuentren bien. Hoy les vengo a hablar de un k-drama que estrenaron hace poco y que en lo particular me gustó bastante. Es un k-drama de época, ambientado en la Dinastía Joseon, con romance, comedia y bastante drama.

Este K-drama se llama Bon Appetit, Su Majestad y nos cuenta la historia de Yeon Ji-yeong una joven chef profesional que ganó un concurso de cocina en París, lo que le valió una gran cantidad de dinero y un puesto de trabajo como chef en un restaurante de tres estrellas Michelin. Eufórica por su triunfo, viaja a Corea a petición de su Padre, un famoso historiador, quien le pidió que le trajera un antiguo libro perteneciente a los tiempos de la Dinastía Joseon descubierto hace poco y lo trajera a Corea para que él lo examinara. En el avión de ida a Corea, el pasajero al lado Ji-yeong derrama café sobre ella y sobre el libro, que pronto descubrimos, se llama Mangoruk. Temerosa de arruinar el libro, decide ir al baño a tratar de limpiar el libro. Al mismo tiempo, un eclipse ya pronosticado sucedía en ese momento. Ella abre el libro y se da cuenta de que por extraño que parezca es un libro de cocina, pero que a pesar de datar de la época de la Dinastía Joseon dicho libro contiene platillos que no concuerdan con dicha época, al continuar revisando el libro, lee un mensaje al final de este, un mensaje triste y lleno de anhelo, sin saber que el eclipse junto con el libro la terminarían transportando a la dinastía Joseon.

Ji-yeong caería en manos del temido rey Lee Heon, un rey joven, temido y bastante tiránico que guarda un profundo rencor y odio al presenciar de niño la muerte y humillación de su madre y que confundiría a Ji-yeong con un espíritu maligno. Pero el rey tiene algo a lo que no se puede resistir y eso es la comida. Lee Heon posee un refinado sentido del gusto, lo que lo hace muy exigente con la comida, por lo que al probar los “exóticos y raros” platillos de comida de la protagonista queda encantado, esto acompañado de la desafiante y "moderna" actitud que la protagonista exhibe, hace que la mantenga a su lado, a pesar de la oposición de muchos. Pero nuestra protagonista, que conoce el futuro, sabe que la historia de Lee Heon no terminará muy bien.

Yo no suelo ver K-drama con regularidad, solo de vez en cuando y sí, a los primeros instantes la historia me atrae y eso me sucedió con esta. Que, aunque tiene un concepto visto en otros K-dramas, creo que se sabe diferenciar del resto muy bien. Es cómica, es romántica y tiene por supuesto mucho drama. Un punto que me gusta, es la preparación de los platillos y como, por su puesto, Ji-yeong tiene que ingeniárselas usando técnicas rudimentarias para lograr preparar cada plato (muy elaborados, por ciertos) que para esa época no existían y a base de ingredientes, a veces no conocidos. Pero me gusta más la hora de la degustación, es muy graciosa, porque el rey, entre otros miembros de la corte al probarla, parecen caer en una especie de epifanía por los sabores, algunos son transportados a praderas y otros a un río de frutas, jajaja, esas escenas me causan risa.

Por supuesto, la relación entre los protagonistas es tensa al principio, sobre todo por el comportamiento arrogante y posesivo de Lee Heon con Ji-yeong, pero avanza con naturalidad, sobre todo cuando la protagonista se da cuenta de que la historia que ella leyó no lo dijo todo.

Los villanos son, por supuesto, muy malvados, siendo presentados en varios miembros de la corte del rey y en especial una de las concubinas de Lee Heon, la concubina Kang Mok-ju, quien según Ji-yeong fue la causante de muchas desgracias y horrores que pasaron durante esa época. Por suerte, nuestra protagonista sabe que la mejor forma de llegar a un hombre es a través de su estómago, por lo que sabe que tiene que mantener el favor de Lee Heon para que la concubina no le corte la cabeza. Puede que en el proceso se enamore.

Este K-drama está actualmente en emisión y se encuentra en Netflix y me parece una historia muy buena y entretenida, con risas y romance, pero con momentos de tensión y sufrimiento, se me hace ideal para entretenerse un rato, sobre todo para los amantes de los K-dramas.

¡Si llegaste hasta aquí, espero que te haya gustado la recomendación y que te animes a ver este k-drama!

Hello, cinema fans. This time, I bring you a science fiction film that took the genre to its peak in the last decade. With a premise that sounds absurd today, its success and popularity precede it; although, honestly, it's more of a well-produced piece of nonsense than a masterpiece of cinema. Written and directed by Luc Besson (who also directed The Fifth Element), Lucy it's a movie stars by Scarlett Johansson, Morgan Freeman, Choi Min-sik, and Amr Waked. Get to know one of those films that are only meant to entertain and completely disconnect your mind.

Plot

The film begins with a monologue by our protagonist talking about what humans have achieved in their lives during thousands of years on Earth. After a sequence of images of the Earth then and now, we see Lucy rambling as she meets her new partner, Richard, in front of the Regent Taipei with a briefcase. Richard insistently asks Lucy to carry the briefcase for him and deliver it to Mr. Jang, who is actually the leader of a South Korean drug trafficking organization. Lucy refuses at first, as she is just getting to know him, but after a while of insisting, Richard hits her with the briefcase, forcing her to go and make the delivery. Everything will change for our protagonist after this moment.

Trailer & Review

Next, I will leave you with the movie trailer:

I'm not a big fan of watching modern movies. The most recent film I've seen is from Marvel Studios, and that's because it was about Spider-Man, a character I've been a big fan of since I was a kid. But otherwise, I'm not very interested in seeing new releases, even from this decade, that aren't to my liking. However, despite constantly being clear about my taste for films from the 90s and 2000s, I must admit that I have also seen many films from the past decade. One of the films I have seen and rewatched the most thanks to cable television is Lucy, the film I am bringing you today.

While it's true that I've seen dozens of science fiction films, Lucy is a unique case that I've never seen before. This film is one of those works that, despite being very well produced, lacks a lot of meaning in terms of its story and script, even bordering on the absurd. Until recently, I had no idea how to categorize this film because it is so polarizing. And I'm not just saying that because it mixes the most popular elements of the action genre from a decade ago with the most popular and transcendental elements of science fiction from the last century. Rather, the plot itself constantly revolves around a theory that is now considered a myth in science.

When I saw it recently for the last time, I remembered why this film is so famous, especially in today's popular culture. And I don't mean that in a good way, as a reference to a masterpiece, but rather the opposite, as one of the funniest and most absurd films to have been seen in cinemas around the world over the last decade. Obviously, the fact that this film is so well produced and has become such a commercial success clearly shows the absurd tastes of this generation when it comes to what is released on the big screen. But anyway, I'm not looking to criticize people or their tastes, just this particular film.

Talking about Lucy is like talking about three different movies in one. Luc Besson didn't bother to hide his clear inspiration for this film, starting with a typical action thriller story (like Taken) and then turning it into a science fiction story about people with mental powers and mental journeys through space/time. All this to end in such a surreal way, throwing what little sense and logic the film had completely out the window. People dressed in black with sunglasses, powers to control matter, scenes with references to iconic films of the genre, and Morgan Freeman talking about what man can do when he manages to free up a certain percentage of his brain.

All this and more is what we see in this film, a film that Besson clearly wrote during one of his psychedelic trips while reading about the myth of the ten percent of the human brain on Wikipedia. Honestly, I don't want to sound too mocking in this review, but with The Fifth Element, made by the same director, as my only reference, it's clear that Luc's approach to science fiction stories is so... unique that we certainly understand why he chose to move more towards action and drama rather than continuing with these works today. I'm not saying that Luc Besson is a terrible director because, when it comes to entertaining and fascinating audiences with a great audiovisual spectacle, he clearly has a knack for it.

But it's clear that his strength lies more in action movies than science fiction stories, to be honest. Because turning Scarlett Johansson into a being who can control space/time through an excessive dose of a psychedelic drug doesn't make much sense, to be honest. Obviously, we must admit that when it comes to science fiction, many of the famous works representing this genre do not have completely logical stories; but in the case of Lucy, it is clear that the director's main objective is to entertain with a premise pulled out of thin air and without any sense when it comes to developing his story or characters.

I may sound quite negative with everything I'm saying, even taking into account that the protagonist does have decent development, at least at the beginning of the film. But after a certain point, everything loses its meaning. The story continues and concludes with a bunch of typical clichés and an absurd mix of references to other science fiction and action films that more than one viewer will surely notice when watching it. And again, I'm not saying it's a bad movie overall, as it has a style and pace that at least serves to entertain and pass the time. Obviously, there are scenes where it's hard not to laugh, such as the famous moment when Morgan Freeman's character is asked, "What would happen if someone could unleash 100% of their brain power?"

But anyway, I think it's worth watching Scarlett Johansson escape from a dangerous organization while gaining mental powers and becoming omnipresent just by activating 100% of her brain capacity after ingesting several kilograms of a concentrated psychedelic drug. I'm not one to criticize movies that have usually entertained me quite a bit, as is the case with Lucy, but it's hard not to do so when there are so many other examples within the science fiction genre. Personally, I believe that for a movie to be perfect, it has to have a compelling story that makes sense, as well as good characters, and not just good visual effects or impressive production values.

But not everything is bad in this film, as I said before, because among its cast and memorable performances is the character played by Choi Min-sik, who I think manages to show us a bloodthirsty, emotionless, and quite dangerous leader. Scarlett Johansson, despite the absurd script and her questionable acting at certain points in the film, I don't think she does a bad job after all. I have no opinion on Morgan Freeman other than what I already said above about the iconic scene with his speech on the "theory" of the ten percent of the human brain. In general, what hooked me the most was the mix of action and suspense at the beginning, to be honest.

Last but not least, let's talk about the audiovisual aspect. What surprises me about this film is its low budget compared to current american productions, which usually exceed $100 million, especially if they are science fiction. However, in this case, with less than fifty million, an excellent audiovisual work was achieved, especially in terms of photography, camera positions, movement styles, transitions, and visual effects. The CGI is very well done, as are the action scenes, chases, and the use of practical effects. The sound effects are good, but nothing like the soundtrack, which manages to convey what is sought in each scene. In short, this is a film for those who like to see Scarlett Johansson become a cosmic entity, more than anything else.

Personally, I give it a rating of 7.5/10 in terms of the science fiction and action genres.

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.

All the best.

By: Nattosheru.

A couple of years ago, I had the opportunity to start watching a comedy series called "What We Do in the Shadows." Inspired by a 2014 film of the same name directed by Taika Waititi, it used a mockumentary format to tell the story of four vampires living on Staten Island. As the episodes progressed, we became familiar with their conflicts, everyday problems, and the adventures they had faced in their pasts.

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Inspired by series like The Office and Arrested Development, "What We Do in the Shadows" used the most representative elements of vampires in popular culture and fiction to contrast them with the behaviors and lifestyles of mortals as its main source of comedy, something refreshing in a current landscape that seems more focused on reinventing them than respecting their historical origins.

And today, after six wonderful seasons, I finally had the chance to watch its final episode, a fitting conclusion to one of the most creative projects I've ever seen. This project, moreover, knew how to make the most of its format, breaking the fourth wall and acknowledging that its ingenious premise didn't have the fuel to last much longer.

Nando, Nadja, Lazslo, and Colin Robinson are masterfully written characters, and often, despite their paranormal nature, they ended up being much more human and interesting than the mortal beings who surrounded them.

With an acerbic and apathetic style, What We Do in the Shadows not only proved to be a solid heir to the film directed by Taika, but also expanded its concept in brilliant directions, parodying the legacy of vampires in film, literature, and television, while also criticizing the illogical nature that often accompanies the way the human race operates.

It was a project with a tremendous range, capable of moving from the typical slice-of-life of any sitcom to terrifying action and violence sequences, accompanied by well-placed moments of humorous relief.

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What We Do in the Shadows had a conclusion worthy of a series of its quality, and I appreciate that the creative minds behind it knew the perfect moment to conclude it.

Feliz domingo, queridos cinéfilos, amantes del buen cine, les cuento que esta semana he disfrutado de varias películas, ya que estoy aún de vacaciones, aunque en cuenta regresiva para volver a mis labores. He optado por buscar films de acción y aventura que me mantuvieran despierta y animada porque usualmente las veo por las noches, sorprendiéndome gratamente una película en especial llamada Formula 1, la cual fue del agrado de mis hijos que se incorporaron también a verla cuando vieron que se trataba de carreras de carros.

Happy Sunday, dear cinephiles, lovers of good movies, I tell you that this week I have enjoyed several movies, since I am still on vacation, although I am counting down to get back to work. I have chosen to look for action and adventure films that kept me awake and lively because I usually watch them at night, and I was pleasantly surprised by a special movie called Formula 1, which my children liked and they also joined in watching it when they saw that it was about car racing.

Esta cinta está dirigida por Joseph Kosinski y protagonizada por Brad Pitt, quien también forma parte del equipo de producción al igual que el piloto de Fórmula 1 Lewis Hamilton, quien tienen una participación especial en algunas escenas de la película, aportando mucho a la parte técnica de la historia para hacerla más realista. También participan los actores Javier Bardem y Damson Idris. Este elenco en su conjunto tuvo una buena química a mi parecer haciendo de esta película una buena opción para ver en familia.

This film is directed by Joseph Kosinski and stars Brad Pitt, who is also part of the production team as well as Formula 1 driver Lewis Hamilton, who has a special participation in some scenes of the film, contributing a lot to the technical part of the story to make it more realistic. Also participating are actors Javier Bardem and Damson Idris. This cast as a whole had a good chemistry in my opinion making this movie a good choice for family viewing.