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. 51,252 reviews and counting.
I have to be honest, religious films usually don’t grab me. The few I’ve seen, if I did see at all, either felt too preachy, too distant, or just plain dull. But this one? It surprised me. This is the first one that had me hooked and unblinking from the very beginning. I give it to the director, Edward Berger, for not making it a sermon dressed up as cinema. It is a political thriller in holy robes and I just couldn’t look away.
One of the first things that caught my eye was the cardinals smoking. It made me pause for a second and I thought, Wait, are cardinals even allowed to smoke? Maybe allowed isn’t the right word. Are cardinals ‘supposed’ to be seen smoking? Isn’t smoking considered a sin amongst these high priests? Watching these men of faith puffing away while deciding the next Pope was so jarring, yet so human, that it pulled me deeper into the story.
I’m not Catholic, but I’ve always found their rituals fascinating. The incense, the chanting, the weight of tradition. This film doesn’t shy away from showing all of that, and honestly? It’s mesmerizing. The Vatican setting is magnificent: grand halls drenched in candlelight, I had the feeling of being inside walls that have held centuries of secrets and for a second I felt unworthy. The atmosphere is both sacred and suffocating, like the walls themselves are listening.
And then there are the costumes, scarlet robes, gold-trimmed vestments, each detail making the cardinals look less like men and more like players in some ancient ritual. It’s beautiful but also intimidating, like power made visible in fabric.
Performance-wise, Ralph Fiennes carries the film with quiet brilliance. His Cardinal Thomas Lawrence, isn’t loud or flashy, he’s conflicted, cautious and merely human in a world that demands perfection. The supporting cast (Stanley Tucci, John Lithgow, Isabella Rossellini) add layers of intrigue, making it feel less like a religious ceremony and more like a chess match where every piece has its own agenda.
had to look up the real names of the supporting casts
What makes Conclave standout to me is the tension that simmers beneath its silence. Those whispered confessions, subtle glance, felt loaded. This isn’t about saints and sinners, but about ambition, guilt, faith and survival, all locked in the same room.
Would I recommend it? With a hand to my chest, I absolutely do. Even if you’re not into religious films (like me), this one grabs you with its atmosphere and drama. It’s slow, sure, but it’s the kind of slow burn that makes you lean forward, not tune out.
I am yet to find out if this film won an Oscars because it is absolutely deserving of it in my honest opinion.
Lo primero que puedo decir de esta serie basada en los videojuegos salidos para PlayStation 1 y 2, Es que la serie consigue transmitir completamente la esencia alocada del videojuego sobre todo en su segunda temporada, la primera temporada es como una especie de presentación de los personajes pero lo consigue hacer de manera muy acertada la historia la verdad es que siendo bastante simple logra conectar rápidamente con nosotros sobre todo porque los episodios duran media hora y no sientes que están estirando de más la trama para llegar a la hora, Hasta cierto punto cada episodio puede tener una especie de autoconclusión pero sí la primera temporada es una sola con una trama continua lo mismo pasa con la segunda.
The first thing I can say about this series based on the video games released for PlayStation 1 and 2 is that it completely captures the crazy essence of the video game, especially in its second season. The first season is like a kind of introduction to the characters, but it does so very successfully. The truth is that, despite being quite simple, it manages to connect with us quickly, especially because the episodes last half an hour and you don't feel like they're stretching the plot to fill the time. To a certain extent, each episode can have a kind of self-conclusion, but the first season is a single season with a continuous plot, and the same goes for the second.
Lo curioso de esta serie es que tiene ese estilo de serie de los 90 O sea a nivel de presupuesto pero no deja de ser una serie sumamente entretenida en todo momento casi que cada episodio es esencial y y casi necesario verlo para reírte y disfrutar de un buen momento, Eso sí es una ser extremadamente violenta y si no eres muy fan del gore y la violencia extrema la verdad no te recomendaría verla porque sí en todo momento la serie hará chistes de humor negro bastante pesados y chistes bastante fuertes con respecto a la violencia incluso tocando temas como el canibalismo.
The interesting thing about this series is that it has that 90s style, in terms of budget, but it's still a highly entertaining series throughout. Almost every episode is essential viewing, and you almost have to watch it to laugh and enjoy yourself. However, it is extremely violent, and if you're not a big fan of gore and extreme violence, I wouldn't recommend watching it because the series constantly makes pretty heavy black humor jokes and pretty strong jokes about violence, even touching on topics like cannibalism.
Qué puedo decir con la salida de estas dos temporadas debo decir que la serie simplemente logra maravillosamente brillar y ojalá que Bueno sigan sacando más temporadas de esta serie Porque pienso que tiene un potencial bastante enorme en especial porque sus personajes tienen el suficiente carisma para continuar la historia.
What can I say about these two seasons? I must say that the series simply manages to shine wonderfully, and I hope they continue to release more seasons of this series because I think it has enormous potential, especially since its characters have enough charisma to continue the story.
The show begins engaging you in this nightmare (and, yes, Emily, you're a syntax-bending Nightmare) when a spaceship crashes into Prodigy City with Xenomorphs aboard. This isn't just an Aliens rip-off, it's based in real, palpable fear. I remember how the creatures began to slither out, alien bodies writhing in dark corridors, and I almost jumped out of my seat. It was not just the visuals rendering fear, but the fear seeped into my bones.
And this twist, Wendy, a child with a synthetic adult form, but a child's mind, leading a team of hybrids called the Lost Boys to investigate the crash. There's that scene where a hybrid called Nibs gets attacked by a parasite crawling out of a cat's skull. It was vile and interesting, and made me feel so helpless when I watched through my fingers.
I couldn't reconcile Wendy's sugary sweet voice with her horrific power. There was an innocence in the way she moved under that robotic shell like watching your child grow up too quickly and it caught in my throat as a mixture of longing and fear. And when she finds her brother, Hermit, who doesn't even know she's a hybrid, I felt that ache for connection, for a sibling bond, twisted by reality into something I could never hope to understand.
But it's not just alien monsters in the show--it's about the cruelty of humanity. The Xenomorphs were never truly the villains; those responsible were the corporate titans, creating hybrids out of desperation, using consciousness as a product. Watching the pajama-clad Boy Kavalier strut through the corporate corridors worshiping Peter Pan was like being led through a funhouse of self-reflective mirrors, each one reflecting our own distorted priorities.
And yet in between the monstrous and the corrupt there are moments of surprising tenderness. I sank with the Lost Boys as they played catch with manufactured bodies and my heart sank, too, when Morrow the cyborg was torn up over what it means to be human. Because it's not just horror-it's the break-up of identity.
There was one episode where a horror creature comes out of a sheep (yes, a sheep), and the actual sheep runs off as if it's trying to get away from that nightmare. That shot? Chilling. It wasn't merely the representation of a creature, it was fear so raw it jumped into me.
Metal or rock songs such as Black Sabbath's "The Mob Rules" and Metallica's "Wherever I May Roam" are used as the cliffhangers at the end of each episode. You're left not only on a cliffhanger but with guitars screaming inside your chest - the soundtrack of your fear and wonder.
When I finished Alien: Earth, I was more haunted than scared. It’s one thing to face monsters; it’s another to question whether the monsters you should fear are the ones dressed in flesh—or those in suits.
Steven Spielberg enjoys the reputation of being the most successful and influential American filmmaker in recent years not so much because his films have broken box office records as due to his exceptional ability to recognise and harness new trends, thereby paving the way for those who follow. Thanks to this, Spielberg can boast not only an exceptionally prolific but also a diverse filmography, meaning his contemporary films bear little resemblance to those he made several years ago. Naturally, this has been aided by his practice of offsetting every ultra-commercial summer blockbuster aimed at children and teenagers with a serious, ‘engaged’ autumn drama designed to chase ‘Oscars’. Ready Player One, which was released in 2018, belongs to Spielberg’s ‘summer’ repertoire but is particularly intriguing due to its utmost efforts to be ‘hip’—that is, in line with everything the youngest generations supposedly love, or at least what older generations believe they love.
The film is based on Ernest Cline’s eponymous 2010 novel, one of the first to draw inspiration and subject matter from the phenomenon of MMORPGs—multiplayer online video games in which millions of players create vivid avatars and virtual identities, and around which an impressive virtual economy has already emerged. The plot, meanwhile, is set in the relatively distant future—2045—when the world has become a polluted, overpopulated, and increasingly inhospitable place, making it understandable that most of its inhabitants have turned to Oasis, a virtual reality game where they can do almost anything they desire and become what they can only dream of in the real world. One such player is the narrator and protagonist, Wade Watts, alias Parzival (Tye Sheridan), a teenager from Columbus, Ohio. Like many players, Wade becomes obsessed with the grand hunt initiated by Oasis’s creator, James Halliday (Mark Rylance), shortly before his death. The goal is to find the so-called Easter eggs—keys that will grant the winner not only unimaginable material wealth in the real world but also control over Oasis. Wade is aided in his quest by a group of colourful virtual friends, though he becomes far more captivated by a player named Art3mis (Olivia Cooke), whose avatar he falls for. Complicating matters, the quest is infiltrated by the corporation IOI, whose director, Nolan Sorrento (Ben Mendelsohn), dreams of seizing control of Oasis to dominate the world, stopping at nothing to achieve this in both the online and real worlds.
The extent to which Spielberg and the film industry have evolved over the past few decades is best illustrated by the fact that during filming, Spielberg scarcely needed to set foot on set. Scenes shot in the traditional manner—with live actors, physical sets, and conventional cameras—last approximately 11 minutes, while everything else was recreated using CGI and animation at Industrial Light and Magic studios. By comparison, Jurassic Park, which left audiences awestruck a quarter of a century earlier with its revolutionary special effects, featured only eight minutes of CGI. Considering Spielberg had already mastered CGI-driven filmmaking with the animated Adventures of Tintin several years prior, it is entirely understandable that Ready Player One emerges as one of the most visually impressive Hollywood films in recent times. However, the numerous scenes reconstructing the fantastical virtual worlds inhabited by the protagonists will hold even greater appeal for viewers well-versed in popular culture, particularly that of the 1980s, as the film teems with pop-culture references (explicitly acknowledged by characters as integral to the plot), encompassing films, TV series, pop music, and, of course, video games. Perhaps the most impressive of these scenes is Spielberg’s homage to his friend and colleague Stanley Kubrick, using CGI technology to guide the protagonists almost literally through Kubrick’s iconic horror film The Shining. Cynics, on the other hand, might argue that Ready Player One is at least partially autobiographical—that Spielberg attempts to present his own self-image to the audience through certain characters. This applies both to the character of Halliday, portrayed by the unrecognisable yet brilliant British actor Mark Rylance (drawing inspiration from Steve Jobs), and to Wade, played by the far more pallid Tye Sheridan, likely cast due to his relative physical resemblance to a young Spielberg. The rest of the cast is largely up to standard, though some of the finest talents, such as Simon Pegg, are relegated to near-forgotten cameos. Mendelsohn, meanwhile, excels as Sorrento, delivering one of the most striking yet oddly plausible villain portrayals in contemporary Hollywood cinema.
Despite the exceptional talents both in front of and behind the camera, Ready Player One falls far short not only of perfection but also of Spielberg’s highest standards. Despite efforts to diversify characters in today’s ‘politically correct’ context—such as casting Black lesbian actress Lena Waithe as Wade’s virtual friend Aech—the usual moral guardians have identified what they deem unacceptable sexism by today’s standards of champagne socialist sensibility, complaining that the protagonist’s heroic quest is motivated by heterosexual impulses toward a female character, thereby reducing Art3mis, despite being portrayed as a ‘strong, kick-ass female heroine’, to a mere ‘trophy’. However, Ready Player One suffers more profoundly from another form of disconnect with modern generations and their perspectives. This primarily stems from its foundation in 1980s nostalgia, meaning the film will be most appreciated and enjoyed by the fathers and grandfathers of its target audience. Even more problematic is the unanswered question of whether the 2045 world is a utopia or dystopia—that is, the ambiguous stance on whether a virtual world controlled by capitalist oligarchs, even those as likable as the geeky Halliday and his young heirs, represents part of the solution or part of the problem in the future world. Ready Player One, of course, attempts to depict the future optimistically, much as Spielberg’s Hollywood did with the present during the Obama era, giving the world a thumbs-up. Yet this may reflect less Spielberg’s faith in a better future than, at least within the context of this film, an unjustifiably rose-tinted nostalgia for a better past.
Joachim et Anne désespèrent d'avoir un enfant, au vu de leur âge qui avance. Alors que Joachim marche dans le désert du Sinaï, l'ange Gabriel lui apparaît et le rassure : une fille naîtra de leur union, mais elle devra vouer son existence à Dieu.
Ses parents l'ont appelée Marie et, le moment venu, ils l'ont accompagnée au temple, à Jérusalem.
Le roi de Judée, Hérode (Anthony Hopkins), est tyrannique et fait volontiers couler le sang quand quelqu'un ou quelque chose ne lui plaît pas. Il estime que le temple lui appartient et y fait installer l'aigle romain sur le fronton. Il n'est pas conseillé de fixer Hérode dans les yeux, il faut baisser les yeux, en signe de soumission.
Marie (Noa Cohen), sans le faire exprès, a regardé fixement le roi lorsque celui-ci paradait à l'entrée du temple. Depuis ce moment, elle était en danger. Ses supérieures, sa famille et certains citoyens l'ont protégée, parfois au péril de leur vie.
Marie aimait se promener parfois le long de l'eau et c'est ainsi qu'elle rencontra Joseph.
Il était annoncé qu'elle serait la mère du Sauveur, ensuite, que cet enfant naîtrait à Bethléem.
Hérode ne croyait pas à toutes ces prophéties, mais décida tout de même de faire tuer tous les nouveau-nés mâles de Bethléem le jour J et demanda de lui ramener l'enfant en question en son palais/temple.
Mon avis et petites infos :
Noa Cohen est une mannequin (et actrice) israélienne, elle a représenté les marques Estée Lauder et Bar Rafaeli.
Anthony Hopkins a un mauvais rôle ici, en interprétant Hérode, mais il est théâtral.
Le réalisateur tenait à ce que les acteurs soient, dans leur majorité, israéliens pour conserver une certaine authenticité (à la place d'acteurs palestiniens), même si cela a provoqué quelques critiques sur les réseaux sociaux.
Comme je l'avais remarqué, en regardant le film, le tournage a eu lieu au Maroc, notamment à Ouarzazate. Je n'ai jamais été au Maroc, mais j'en vois régulièrement des photos, lors de mes recherches sur internet.
Comme il date de 2024, peut-être avez-vous déjà eu l'occasion de le visionner. Qu'en avez-vous pensé ?
J'ai trouvé qu'il n'était pas mal fait et même s'il y a déjà eu des films consacrés à Marie, je n'en ai pas encore vu beaucoup. En général, on parle surtout de l'après-naissance de Jésus, en s'attaquant rapidement au Massacre des Innocents, à Bethléem.
N'hésitez pas à regarder ce film, il est bien fait et bien joué.
Even in the worse movie storylines, there are lessons to learn from them. I was going to stop seeing this series in the first two episodes but somehow I got hooked and finished it, I realized what I could have missed if I had let the boring or confusing start drive me away. Nobody told me about this series but I was interested in the story.
A story about body swapping? I thought it's be a good thriller series to check out and the male lead turned out to be one I liked his role in "Revenge of others", the first and only series I've seen him in before this one. I got interested in both reasons but right now, I have even more reasons to recommend this series to you all.
"Branding In Seongsu" is a 2024 Korean series that covers the Romance and Thriller genres starring Kim Ji-eun, Park Solomon, Yang Hye-Ji and Kim Ho-young as the main cast. It's a story that explores the marketing/branding world, betrayal and revenge. The series is made of 24 episodes (each episode is for about 30 minutes).
Kang Na-eon, a marketing brand manager and presumably evil personality lady accidently swaps souls with So Eun-ho, a free spirited young man with hidden agenda, through a kiss and both have to live each other lives until they are able to swap back. Both work in the same marketing company, Na-eon becomes free spirited while Eun-ho becomes the strict one after their swap.
So Eun-ho, before and after the swap gave me all the comedy I needed to lighten up in this story. At a point, it got confusing with their swap but I could still figure out who the other is because of their very distinct character display. The workers knew Eun-ho to be free spirited so it was a funny one to watch how they try to adjust around a now strict Eun-ho who actually is Na-eon, really funny.
Because of a past event, Eun-ho hold grudges towards Na-eon but the body swap which happened to them unexpectedly made things both easy and difficult for him as he slowly understands and began to fall in love with her. It's worth mentioning how he acted out two personalities so well, being himself and Na-eon.
Kang Na-eon is the female character I honestly didn't like from the beginning of the story but thankfully, the story gave me time to fall in love with her slowly like the male lead did. Her role is one that blends well with "slow burn" and I like her personality switch when she became Eun-ho.
I'm not familiar with how marketing works but after this series and watching her role closely, it's a really interesting world for business persons. She is a star in the branding business even after the swap and there were good display of her works, from rebranding big hotels to small shops.
I think the supporting characters especially the face behind the rabbit mask from the first scene were the main reason for calling the story a thriller. It was hard to figure out who could be behind the mask or behind the murder attempt on the female lead, Kang Na-eon but that made the whole experience very exciting and thrilling.
Towards the end of the movie, I kinda felt the whole purpose of the tension wasn't worth it because of what the truth turned out to be but for what it's worth, I had a good time in the suspense it gave. There's good comedy, romance wasn't as romantic as many other stories but still good and I'll recommend this series with a rating of 7/10.
Hello everyone, I hope you are all doing great, dear Hive community, this time I want to talk a little about a movie I saw a few weeks ago, today I will give you my opinion of: Sonic 3. When I was going to see it I was incredibly hyped, we all knew who was coming, and oh my God, the wait felt eternal... first of all, let me tell you... wow! Just like that... many say it's the best of the three, and the truth is I think I agree, let's see, it's not perfect, of course not! There were a couple of moments where I felt the story was a bit fast, or some jokes didn't make me laugh that much... but how funny is it? I really liked it, it's ridiculously entertaining, you really laugh in many parts, and you simply have a good time from beginning to end... any little detail that doesn't fit is completely forgotten with all the good things it has. Now, the million-dollar question we all had: how much of Sonic Adventure 2 does it have?
Well, let me tell you, they went ALL IN, they based a lot on it, the main story, how they introduced certain new characters, the conflicts... it's super based on SA2, you're going to recognize a lot of things! It was like a really weird but cool nostalgia, seeing those key moments of the story there on the screen, but –and this is key, mind you– it's not an exact copy, they definitely moved things around, mixed elements and adapted it to fit well with the universe they already built in the other two movies, it feels like something of their own, with their own touch.
Hola a todos, espero que estén super bien, querida comunidad de Hive, en esta ocasión les quiero hablar un poco de una película que ví hace unas semanas, hoy les daré mi opinión de: Sonic 3. Cuando la iba a ver iba con el hype por los cielos, todos sabíamos quién venía, y ¡ay, Dios mío!, la espera se me hizo eternaaa.. primero que nada, déjenme decirles... ¡wow! Así nomás... muchos dicen que es la mejor de las tres, y la verdad creo que sí estoy de acuerdo, a ver, no es perfecta, ¡claro que no! Hubo un par de momentos donde sentí la historia medio rápida, o algún chiste como que no me dio tanta risa... ¿pero lo divertida que está? me gustó mucho, es ridículamente entretenida, te ríes de verdad en muchas partes, y simplemente te lo pasas bien de principio a fin.. cualquier detallito que no cuadre se te olvida por completo con todo lo bueno que tiene. Ahora, la pregunta del millón que todos teníamos: ¿qué tanto de Sonic Adventure 2 trae?
Bueno, déjenme decirles que le metieron CON TODO, se basaron un montón, la historia principal, cómo meten a ciertos personajes nuevos, los conflictos... está súper basada en SA2, van a reconocer ¡muchísimas cosas! Fue como una nostalgia bien rara pero chida, ver esos momentos clave de la historia ahí en la pantalla, pero –y esto es clave, ojo– no es una copia exacta, definitivamente le movieron cosas, mezclaron elementos y lo adaptaron para que encajara bien con el universo que ya armaron en las otras dos pelis, se siente como algo propio, con su toque.
If you’re a lifelong Sonic fan, get ready! Because you’re going to be showered with nostalgia over and over again. There are visual nods everywhere, little sounds hidden here, some things that perhaps in Adventure 2 were more part of the main plot, here they put them in as those great little details, but be careful, it never felt like a distraction, more like those good-natured greetings to the people who grew up with these games. But let’s talk about the elephant –or well, the hedgehog– in the room: Shadow! The moment he appeared on screen... it was great, they got the design right! He looks incredible, they nailed that iconic look but in the style of the movie... and his entrance? It changes the entire energy of the movie, you feel a weight, a true threat, that we hadn’t seen like before... he’s not just a cartoon villain; he’s intense, he has his reasons and, honestly, he’s even a little scary at times... the atmosphere whenever he’s around becomes dense, pure tension! And they didn't hold back on his story, his motivation, the loss of Maria, it's there, very present... you feel that pain, that rage that drives him, and that gives a super interesting layer to his character.
He's not just cool; he's complex, seeing how they explored that tragic side was something I was really hoping for, and they delivered! And then there's Jim Carrey! Just when you think he can't top what he did as Dr. Robotnik, he returns and somehow turns it up a notch, and he also plays Robotnik's grandfather, Dr. Gerald Robotnik! And seeing him play both characters, sometimes even interacting in really clever ways? It made me laugh so hard, he completely steals the movie, maybe even more than in the other two! The physical comedy, that crazy energy, the sheer presence he has... he's a magnet, you can't stop watching him, every time any of the Robotniks appeared, I was glued to the screen... he makes Gerald feel different from Ivo, but you see his air, it's brilliant work, you burst out laughing, and honestly, one of the strongest points of the entire film.
Si eres fan de Sonic de toda la vida, ¡prepárate!, porque te van a estar lloviendo con nostalgia una y otra vez, hay guiños visuales por todos lados, soniditos escondidos por ahí, algunas cosas que tal vez en el Adventure 2 eran más de la trama principal, aquí las meten como esos detallitos geniales, pero ojo, nunca se sintió que distrajera, más bien como esos saluditos buena onda para la gente que creció con estos juegos. Pero hablemos del elefante –o bueno, del erizo– en la sala: ¡Shadow! El momento en que salió en pantalla... fue genial, le atinaron perfecto al diseño! Se ve increíble, clavaron ese look icónico pero en el estilo de la peli.. y su entrada? cambia toda la energía de la película, sientes un peso, una amenaza de verdad, que no habíamos visto así antes.. no es nomás un villano de caricatura; es intenso, tiene sus motivos y, la verdad, hasta da miedito a veces.. el ambiente cada que él anda cerca se pone denso, ¡pura tensión! Y tampoco se cortaron con su historia, su motivación, la pérdida de María, está ahí, bien presente.. sientes ese dolor, esa rabia que lo mueve, y eso le da una capa súper interesante a su personaje.
No nomás es cool; es complejo, ver cómo exploraban esa parte trágica era algo que yo esperaba un montón, y ¡cumplieron! Y luego está Jim Carrey! justo cuando piensas que ya no puede superar lo que hizo como Dr. Robotnik, regresa y de alguna forma le sube otra rayita, y también hace del abuelo de Robotnik, el Dr. Gerald Robotnik! ¿Y verlo haciendo los dos personajes, a veces hasta interactuando de formas bien ingeniosas? Me dió mucha risa, se roba la película por completo, ¡quizás hasta más que en las otras dos! La comedia física, esa energía de loco, la pura presencia que tiene... es un imán, no puedes dejar de verlo, cada que salía cualquiera de los Robotnik, yo estaba pegadísimo a la pantalla.. logra que Gerald se sienta diferente a Ivo, pero le ves el aire, es un trabajo brillante, te partes de risa, y la verdad, uno de los puntos más fuertes de toda la peli.
From very early on, it's full of action, action, and more action... the scenes with Sonic, Tails, Knuckles, and yes, Shadow... are great, people! Some brutal, truly impressive stuff, the choreography, the speed, the creativity in how they use their powers... they raised the bar a lot, you really feel the impact, the speed... I was really attentive in some of the chases and fights, it's fast, it looks fluid, and it's super exciting to see these characters giving it their all... and it's not just crazy action, there's a clear change in tone this time. It feels... heavier... more serious than the first two, and well, it makes sense because of the original story and because they included Shadow. The movie does delve into darker themes: revenge, anger, how it hits you when you lose someone, what drives people (or hedgehogs, hehe) to do crazy things... you see this in Shadow's story, but you also see it in Robotnik because of his grandfather Gerald, it gives him a deeper layer that I really appreciated.
For a family movie, it hits on some important messages about dealing with grief and anger, and it does it really well, without losing Sonic’s fun and heart. It’s a difficult balance, but I think they pulled it off. One thing that helps this work, and helps focus on the main characters and themes, is that the humans, Tom and Maddie, are featured much less this time around. They’re still around, they have their moments, but all the attention is on Sonic, Tails, Knuckles, Shadow, and Robotnik, and I think that was the best decision for this story. Letting the animated characters and their stories, especially the new vibe with Shadow, really have their space and be the main focus, felt like the next logical step for the series.
Desde bien temprano, está llena de acción, acción y más acción.. las escenas con Sonic, Tails, Knuckles y, sí, Shadow... ¡son geniales, gente! Unas cosas brutales, impresionantes de verdad, la coreografía, la velocidad, la creatividad de cómo usan sus poderes... e subieron un montón el nivel, de verdad que sientes el impacto, la velocidad.. yo estaba súper atento en algunas persecuciones y peleas, es rápida, se ve fluida y es súper emocionante ver a estos personajes dándolo todo.. y no es nomás acción a lo loco, hay un cambio claro en el tono esta vez. Se siente... más pesada.. más seria que las dos primeras, y pues tiene lógica por la historia original y porque metieron a Shadow, la peli sí le entra a temas más oscuros: la venganza, el enojo, cómo te pega perder a alguien, lo que lleva a la gente (o a los erizos, jeje) a hacer locuras.. ves esto en la historia de Shadow, pero también se ve en Robotnik por lo de su abuelo Gerald, le da una capa más profunda que la verdad agradecí.
Para ser una peli familiar, toca mensajes importantes sobre cómo lidiar con el dolor y la rabia, y lo hace súper bien, la verdad, sin perder la diversión y el corazón de siempre de Sonic, es un balance difícil, pero creo que lo lograron.. algo que ayuda a que esto funcione, a que se enfoquen en los personajes principales y los temas, es que los humanos, Tom y Maddie, salen mucho menos esta vez.. todavía andan por ahí, tienen sus momentitos, pero toda la atención está en Sonic, Tails, Knuckles, Shadow y Robotnik y creo que fue la mejor decisión para esta historia. Deja que los personajes animados y sus historias, sobre todo la onda nueva con Shadow, de verdad tengan su espacio y sean lo principal, se sintió como el siguiente paso lógico para la saga.
The effects seemed super good to me, the CGI team deserves a huge applause, the characters look better than ever, the detail in the hair, the spikes, their faces, how fluidly they move, especially in the super-fast action scenes... it's a luxurious job! Sonic has never looked so alive, Knuckles more massive and textured, Tails more tender, and Shadow? With a perfect and super imposing style, it's great to see a product with a high level of quality... and so, what's the final verdict? Look, I went in with sky-high expectations, and I was still happy when I left the theater that time, it wasn't just good, it was great! It delivered on the action, the humor, the heart, and they included Shadow, it paid off nicely with homage to Sonic Adventure 2 but felt like something new.
Jim Carrey was incredible, the visual effects were impressive, and that slightly darker and more complex touch was perfect, it gave it more depth. Did it have its minor flaws? Maybe one or two plot points felt a bit contrived, and since everything moves so fast, it barely gives you a chance to catch your breath, but those are minor complaints compared to how incredibly fun it is. For me as a fan, it hit the nail on the head! But honestly, I think even people who aren't that big of a fan are going to have a blast. My rating? I give Sonic 3 a solid 9/10... I'm taking a point off for those minor flaws, maybe the super-fast pace at times, but it earns every one of those nine points with pure fun, great characters, impressive action, and an emotional depth that's almost surprising... it's fun, it's exciting, it has heart, and it's full of great moments... if you haven't seen it, watch it as a family with the little ones, I'm sure they'll love it... and well, that's all for today, see you in the next reviews! Take care! Bye!
Los efectos me parecieron súper buenos, el equipo del CGI se merece un aplauso gigante, los personajes se ven mejor que nunca, el detalle en el pelo, las púas, sus caras, cómo se mueven de fluido, sobre todo en las escenas de acción rapidísimas... es un trabajo ¡de lujo! Sonic nunca se había visto tan vivo, Knuckles más macizo y con textura, Tails más tierno, ¿y Shadow? Con un estilo perfecto y súper imponente, es genial ver un producto con gran nivel de calidad.. y entonces, ¿cuál es el veredicto final? Miren, yo entré con las expectativas hasta el cielo, y aun así salí termine contento cuando sali del cine esa vez, no fue nomás buena, ¡fue genial! Cumplió con la acción, el humor, el corazón y metieron a Shadow, le hizo un homenaje bien chido al Sonic Adventure 2 pero sintiéndose como algo nuevo.
Jim Carrey estuvo increíble, los efectos visuales impresionantes y ese toque un poquito más oscuro y complejo quedó perfecto, le dio más profundidad. ¿Tuvo sus detallitos? Tal vez una o dos cositas de la trama se sintieron medio convenientes, y como todo va tan rápido, apenas te da oportunidad de agarrar aire, pero son quejas mínimas comparado con lo increíblemente divertida que es. Para mí como fan, ¡le atinó perfecto!, pero la verdad creo que hasta la gente que no es tan fan se la va a pasar bomba. ¿Mi calificación? Le doy a Sonic 3 un sólido 9/10.. le quito un puntito por esos detallitos, quizás el ritmo súper acelerado a ratos, pero se gana cada uno de esos nueve puntos con pura diversión, unos personajes geniales, acción impresionante y una profundidad emocional que hasta sorprende.. es divertida, es emocionante, tiene corazón y está llena de momentos geniales.. si no la han visto, veanla en familia con los más pequeños, seguro la amaran.. y bueno, esto es todo por hoy, nos veremos en las próximas reseñas! Cuidense! Byebye!
Tell me... have you seen this series? Has it caught your attention? Tell me what you thought of this review with my opinion, and tell me if it has made you want to watch this series. You can leave me in the comments your recommendations for future publications! 😊
Cuéntame.. ¿Has visto esta serie? Te ha llamado un poquito la atención? Dime que te pareció esta reseña con mi opinión, y dime si te han dado ganas de ver esta series. Puedes dejarme en los comentarios tus recomendaciones para las próximas publicaciones!! 😊
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At a time when the term ‘golden age of television’ has been credited to the hitherto unimaginable figure of 500 original scripted TV series aired annually on US television channels, it is no surprise that some of them look or attempt to resemble copies of Hollywood blockbusters, exploiting the very trends that have proven profitable at the box office. This, among other things, applies to the rather irritating trend of dystopian post-apocalyptic science fiction aimed at young adults, in which teenagers are, for various reasons, tasked with saving the world. This trend has made its way to the small screen in the form of The 100, a TV series based on Kass Morgan’s novel series. Evidently, the source material left a very favourable impression on The CW network’s executives, as the series was launched just a few months after the original novel appeared in bookstores. The series lasted for seven seasons, aptly ending with the 100th episode.
The action begins in a vaguely defined future, less than a century after a thermonuclear war devastated Earth and destroyed civilisation. The only remnants of humanity are the descendants of those who happened to be aboard orbital stations at the time, which they have transformed into a vast ‘Ark’. Humanity thus survived, but due to limited space and resources, draconian laws were enacted, mandating the death penalty for every offence. The only exceptions are minors, which Chancellor Jaha (Isaiah Washington) exploits by sending a group of 100 of them on a suicidal reconnaissance mission to the Earth’s surface—a place whose habitability remains uncertain. When the group of reluctant colonists finally lands on Earth, they discover that survival is indeed possible, but they still face an uneven struggle for existence. In addition to confronting previously unimaginable challenges such as hunger, thirst, and cold, they must also contend with deadly mutated creatures lurking in this new and unfamiliar world, as well as the descendants of survivors who regard the unusual newcomers as enemies. Clarke Griffin (Eliza Taylor) and Bellamy Blake (Bob Morley), who have by circumstance emerged as leaders, must also deal with internal conflicts within the group, while simultaneously, aboard the Ark, it becomes apparent that the expedition of a hundred adolescents was a desperate move.
The 100 could be most succinctly described as a somewhat ‘slow-starter’ series, as it takes considerable time to get going and will, particularly in the first few episodes, demand a great deal of patience from viewers, especially more discerning ones. At this stage, it is quite difficult to avoid the impression that it is a rather cheap and utterly uninspired combination of Lost and Battlestar Galactica. Serving as a constant reminder of these series—undeniably superior to The 100—are several familiar faces from the cast, including Kate Vernon and Alessandro Juliani (who portrayed Ellen Tigh and Lieutenant Gaeta in Galactica) and Henry Ian Cusick (who played Desmond Hume in Lost). The irritating sense of déjà vu is further amplified by the use of picturesque forests surrounding Vancouver as filming locations, overly familiar to fans of cult sci-fi series like The X-Files or Stargate SG-1. What sets The 100 apart from these shows, however, is its use of youth as protagonists. Yet, particularly at the beginning, these characters are portrayed not only as immature but also unintelligent and criminally irresponsible, leading viewers to eventually wish for them to meet the same fate as similar characters in Friday the 13th and other slasher films.
The 100 begins to resemble a serious series only when viewers’ wishes start to be fulfilled, and in a manner previously difficult to imagine on television, especially for shows nominally aimed at a younger audience. After a few episodes, the titular hundred begins to rapidly dwindle, typically through methods involving bladed weapons and rather explicit bloodshed; those who survive are often subjected to severe injuries and even torture. By the end of the season, the characters are forced to make some difficult and deeply unpleasant decisions regarding survival. Were it not for a couple of obligatory and ultra-clichéd romantic subplots, The 100 would more closely resemble classic sci-fi actioners like Mad Max, Alien, and Predator, rather than a teenage melodrama.
Those viewers who remain patient will, among other things, be rewarded with rather good acting. Although at first glance it appears that the cast is dominated by actors chosen for their good looks (which, partly due to her slightly curvy physique, cannot be said of Australian actress Eliza Taylor), one can discern talent or at least considerable effort among them to compensate for the script’s shortcomings through their performances. The writers themselves have also performed a heroic feat, at least according to literary reviews claiming that the source material was indescribably worse. Although the first season concludes with a rather unconvincing cliffhanger, viewers who have placed their trust in The 100 have reason to believe that the series could be significantly better in subsequent seasons.
RATING: 5/10 (++)
(Note: The text in the original Croatian version was posted here.)
Cuando vi Night Always Comes lo hice sin mucha expectativa porque mucha gente no ha sido amable con la película pero yo la disfruté bastante, me tuvo pegada a la pantalla con cada escena, con cada giro inesperado, no es la típica película de suspenso sino un recorrido largo con un personaje que es verdad que es un desastre humano pero también alguien por quien te preocupas un poco, la vibra de la película te agarra desde el principio y no te suelta de hecho staba que me quería hacer unas cotufas para ver la peli y no me fue posible ponerle pausa para hacerlas porque de verdad la peli te mete demasiado en la trama. Es una noche caótica para Lynette una mujer que lucha por mantener su casa y cuidar a su hermano, y aunque la mayoría del tiempo la ves haciendo cosas que parecen una locura o malas decisiones, hay algo en esa historia que realmente te hace querer seguir viendo qué va a pasar después. Lo primero que me enganchó fue la forma natural en que el director Benjamin Caron maneja la tensión sin hacer cosas exageradas, no hay música de fondo que intente manipular tus emociones pero sí un trabajo de cámara que te mete en esa ciudad oscura, lluviosa y con poca esperanza, se siente esa miseria y la necesidad constante de avanzar, como si el tiempo corriera en contra, la verdad que no ves a muchos personajes desarrollados como Lynette, con sus fallos y contradicciones, una mujer cansada pero a la vez fuerte, también aparece su mama que no parece muy buena ayuda que digamos y el hermano que sufre de una condición especial que la pone en una posición de sacrificio y responsabilidad extrema.
La película se toma su tiempo para mostrar cada pequeño paso que Lynette tiene que dar para conseguir dinero para pagar la hipoteca, y cada encuentro que tiene con gente que no está en su mejor momento ni conocidos para nada son una ayuda, hay escenas donde ella pasa por lugares oscuros y se topa con personas que son peligrosas como Eli Roth que representa un mundo mucho más sucio y complicado que el que ella quiere dejar atrás, uno se va dando cuenta que para Lynette las opciones son poquísimas y cada vez más peligrosas, desde trabajos agotadores hasta actos ilegales que la podrían llevar a la cárcel, pero la actuación de Vanessa Kirby es lo que realmente lleva toda la película, porque transmite la desesperación pero también el temple que necesita para no romperse, eso si a veces sentí que la actuación estaba un poco inflada, como si no encontrara del todo el punto medio en algunas escenas pero bueno igual logra atraparte. Un punto positivo es el hermano, que aunque no tiene mucha participación es algo que da ternura y esperanza entre tanto caos y la química entre Vanessa y él se siente real y da algo de humanidad a la historia, las escenas en que van por la ciudad intentando hacer de todo para ganar un poco de dinero son tan locas pero también reales, es una total desesperación.
Otra cosa que tengo que decir es que más allá del supuesto suspenso clásico que la trama puede dar juega con la idea de la culpa, la lucha interna y lo que le pasa por la cabeza a alguien al borde del abismo, no es una película que te de respiro ni hay momentos de lucidez completa ni de felicidad solamente siempre hay mucha presión, el guion no trata de poner bonita la tragedia ni de justificar acciones sino mostrar la realidad dura y cruda, hay un cambio o dos que no te ves venir y eso le un plus a toda la historia, lo que si es que el final es algo ambiguo pero para mi eso tiene sentido porque es así como funciona la vida cuando uno está en el foso. Los personajes secundarios, como Randall Park y Julia Fox sirven para mostrar diferentes facetas del mundo en el que se mueve Lynette, su relación con personajes como Cody también da bastante tensión porque no sabes si en verdad le están tendiendo una mano o la van a traicionar, es una red de relaciones interdependientes llenas de desconfianza y abuso, los diálogos son crudos bastante reales y a veces incómodos pero nunca irreales.
La peli no tiene muchos efectos especiales sino que juega mucho con la luz y la oscuridad, lo que crea un ambiente sombrío, cada escena parece hecha como para que se respire ese aire de que todo es urgente y de que nada está a salvo parece que uno está viendo a una persona que tiene que pelear su lugar en un mundo indiferente, eso genera empatía y frustración al mismo tiempo, los momentos en los que Lynette se encuentra sola y reflexiona sobre lo que ha hecho y cmo va a salir de eso son bastante reales sin caer en clichés de víctima, no es que sea una historia grandiosa aquí no hay héroes o malo sólo son humanos intentando sobrevivir y es esa humanidad imperfecta lo que hace que quieras seguir viendo, por eso recomendarla no es decir que va a ser del gusto de todos pero para quien busque una historia humana, intensa y desafiante va a tener su valor.
Hasta la música me pareció buena porque acompaña todas las escenas y no es algo invasivo, sino que se integra y los silencios se aporvechan para crear tensión, la película fue estrenada en Netflix y a pesar de la crítica variada a muchos les gustó, yo entiendo que haya gente que la vea y no conecte tanto tal vez por la intensidad o la violencia implícita, pero para mi la película cumple su misión más allá de los fallos, el final es abierto y prueba que la vida a veces no da respuestas fáciles ni buenos finales cerrados, la actuación de Vanessa Kirby es muy buena y maniene el interés. En resumen tyo le doy a Night Always Comes un 7/10 me parece que vale la pena para quien quiera algo más cercano a la cruda realidad de lucha diaria, con un personaje central fuerte y un ambiente que no te deja respirar tranquilo, no es para ver con expectativas de suspenso puro ni para buscar acción pero si para sentir y pensar en lo dura que puede ser la noche que siempre viene.
When I saw Night Always Comes I did it without much expectation because many people have not been kind to the movie but I enjoyed it a lot, it had me glued to the screen with every scene, with every unexpected twist, it is not the typical thriller but a long journey with a character that is true that he is a human disaster but also someone for whom you care a little, the vibe of the movie grabs you from the beginning and doesn't let go, in fact I was trying to make myself some cotufas to watch the movie and I couldn't pause to make them because the movie really gets you too much into the plot. It's a chaotic night for Lynette a woman struggling to keep her house and take care of her brother, and even though most of the time you see her doing things that seem crazy or bad decisions, there's something about that story that really makes you want to keep watching to see what's going to happen next. The first thing that hooked me was the natural way director Benjamin Caron handles the tension without doing exaggerated things, there is no background music trying to manipulate your emotions but there is a camera work that puts you in that dark, rainy city with little hope, you feel that misery and the constant need to move forward, The truth is that you don't see many characters developed as Lynette, with her failures and contradictions, a tired but at the same time strong woman, also appears her mother who doesn't seem very good help and the brother who suffers from a special condition that puts her in a position of sacrifice and extreme responsibility.
The film takes its time to show every little step Lynette has to take to get money to pay the mortgage, and every encounter she has with people who are not at their best or known at all are a help, there are scenes where she goes through dark places and meets people who are dangerous as Eli Roth who represents a much dirtier and complicated world than the one she wants to leave behind, one realizes that for Lynette the options are very few and increasingly dangerous, from exhausting jobs to illegal acts that could lead her to jail, but the performance of Vanessa Kirby is what really carries the whole film, because it conveys the desperation but also the mettle she needs to not break, that if sometimes I felt that the performance was a little inflated, as if she did not quite find the middle ground in some scenes but still manages to catch you. A positive point is the brother, that although he doesn't have much participation is something that gives tenderness and hope among so much chaos and the chemistry between Vanessa and him feels real and gives some humanity to the story, the scenes where they go around the city trying to do everything to earn a little money are so crazy but also real, it's a total desperation.
Another thing I have to say is that beyond the supposed classic suspense that the plot can give it plays with the idea of guilt, internal struggle and what goes through the head of someone on the edge of the abyss, it is not a film that gives you a break nor are there moments of complete lucidity or happiness only there is always a lot of pressure, the script doesn't try to make the tragedy pretty or to justify actions but to show the hard and raw reality, there is a change or two that you don't see coming and that's a plus to the whole story, the ending is a bit ambiguous but for me that makes sense because that's how life works when you're in the pit. The secondary characters, like Randall Park and Julia Fox serve to show different facets of the world in which Lynette moves, her relationship with characters like Cody also gives enough tension because you don't know if they are really reaching out to her or they are going to betray her, it is a web of interdependent relationships full of distrust and abuse, the dialogues are raw quite real and sometimes uncomfortable but never unrealistic.
The film does not have many special effects but plays a lot with light and darkness, which creates a somber atmosphere, each scene seems to be made to breathe that air that everything is urgent and that nothing is safe, it seems that one is watching a person who has to fight his place in an indifferent world, that generates empathy and frustration at the same time, the moments in which Lynette is alone and reflects on what she has done and how she is going to get out of it are quite real without falling into victim clichés, not that it is a great story here there are no heroes or bad guys just humans trying to survive and it is that imperfect humanity that makes you want to keep watching, so recommending it is not to say that it will be to everyone's taste but for those looking for a human, intense and challenging story it will have its value.
Even the music seemed good to me because it accompanies all the scenes and is not something invasive, but it is integrated and the silences are aporvechan to create tension, the film was released on Netflix and despite the mixed reviews many liked it, I understand that there are people who see it and do not connect so much perhaps because of the intensity or the implied violence, but for me the film fulfills its mission beyond the flaws, the ending is open and proves that life sometimes does not give easy answers or good closed endings, Vanessa Kirby's performance is very good and keeps the interest. In summary I give Night Always Comes a 7/10 I think it's worth it for those who want something closer to the harsh reality of daily struggle, with a strong central character and an atmosphere that does not let you breathe easy, it is not to see with expectations of pure suspense or to look for action but to feel and think about how hard it can be the night that always comes.
Who hasn't felt the desire to have special powers as a child? I think we've all dreamed of that crazy idea at some point. Imagine being able to serve yourself cereal without having to move your hands, just by thinking. That would be the best! And it's something that one of my favorite childhood movies, Matilda, that extraordinary girl, which became a '90s classic, gives us.
Quien no sintió el deseo de tener poderes especiales cuando eramos niños, creo que todos en algún momento hemos soñado con esa loca idea, te imaginas poder servirte el cereal sin necesidad de mover las manos, solo usando el pensamiento, ¡seria lo máximo! y es algo que nos regala una de mis películas favoritas de mi infancia, Matilda esa niña extraordinaria que se convirtió en un clásico de los 90.
These days I was analyzing it and what a surprise you get when you grow up, mature and you realize that many of the cartoons or children's movies that we enjoyed in our childhood were something more than a simple comedy that sought to entertain, but that behind those humorous tones and musical effects, a sad and harsh reality was hidden that hundreds of children have experienced, in thousands and thousands of families around the world, something like rejection, humiliation and physical and emotional abuse that they suffer within their homes and that due to their vulnerability and innocence they do not know how to defend themselves from the great tyrants who take care of them.
Estos días la analizaba y que sorpresa te llevas cuando creces, maduras y te das cuenta que muchas de las comiquitas o películas infantiles que disfrutamos en nuestra infancia eran algo más que una simple comedia que buscaba entretener, sino que detrás de esos tonos y efectos musicales humorísticos, se escondía una triste y cruda realidad que han vivido cientos de niños, en miles y miles de familias alrededor del mundo, algo como el rechazo, la humillación y el maltrato físico y emocional que sufren dentro de sus hogares y que debido a su vulnerabilidad e inocencia no saben como defenderse de los grandes tiranos que los cuidan.
Captura tomada por mi mientras veía la película
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Beyond the great performances of that time, the great work that Danny De Vito did as director and actor and Mara Wilson as the small and spectacular actress who gave life to the protagonist of this story, beyond the ease with which you could create such a simple story in the 90s and without so many arrangements or special effects and still it became a classic that we could continue enjoying all our lives regardless of our age, I want to highlight the message behind the story of Matilda.
Más allá de las grandes actuaciones de ese momento, el gran trabajo que hizo Danny De Vito como director y actor y Mara Wilson como la pequeña y espectacular actriz que le dio vida a la protagonista de esta historia, más allá de la facilidad con la que creabas una historia tan sencilla en los años 90 y sin tantos arreglos o efectos especiales y aún así se convertía en un clásico que podríamos seguir disfrutando toda la vida sin importar nuestra edad, quiero resaltar el mensaje detrás de la historia de Matilda.
Matilda tells the story of a gifted girl who, from a very young age, showed signs of intelligence that was above most children her age. She loved to read, and more than anything, it was her way of escaping the real world she lived with her family. From the moment she was born, they were very indifferent toward her, and didn't give her the attention, affection, or respect that any child deserves. But because it's a comedy film, we sometimes don't pay attention to those little details.
Matilda nos cuenta la historia de una niña superdotada que desde muy pequeña mostró signos de una inteligencia que estaba por encima de la mayoría de niños de su edad, a ella le encantaba leer y más que todo era su forma de escapar del mundo real que vivía junto a su familia, ya que desde que nació fueron muy indiferentes con ella, y no le dieron ni la atención ni el cariño ni el respeto que cualquier niño merece. Pero por ser una película de humor, a veces no le prestamos atención a esos pequeños detalles.
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Matilda's parents were the graphic representation of superficiality and greed, they cared about nothing but themselves, their image and making a lot of money even if it was illegally, therefore their lack of intellect and humility did not allow them to see the brilliant mind that their daughter had, but when they felt that Matilda confronted them with the truth, they did the only thing they knew how to do, humiliate, reject and diminish Matilda's intellect calling her stupid and small.
Los padres de Matilda, eran la representación gráfica de la superficialidad y codicia, no les importaba nada más que ellos mismos, su imagen y hacer mucho dinero así fuera de forma ilegal, por lo tanto su falta de intelecto y humildad no les permitía ver la brillante mente que tenia su hija, si no que cuando sentían que Matilda los enfrentaba con la verdad, hacían lo único que sabían hacer, humillar, rechazar y disminuir el intelecto de Matilda llamandola tonta y pequeña.
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And because of that rejection, Matilda took refuge in something as valuable and powerful as books, something that nourished her intellect and knowledge. And as a consequence of the pressure exerted by your father in the television scene, Matilda uttered her first cry. She didn't say it verbally, but the profound helplessness she felt inside at not being able to feel heard or valued awakened her inner strength and gave birth to her powers, with which she could control the things around her.
Y debido a ese rechazo Matilda se refugiaba en algo tan valioso y poderoso como los libros, algo que alimentaba su intelecto y conocimiento. Y como consecuencia de la presión ejercida por tu padre en la escena del televisor, es cuando Matilda hace su primer grito, no lo dice de manera verbal, pero la impotencia tan grande que sentía por dentro de no poder sentirse escuchada ni valorada, despertó su fuerza interior y dio nacimiento a sus poderes con los cuales podría tener el control de las cosas a su alrededor.
Captura tomada por mi mientras veía la película
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That's why Matilda's story is a cry for freedom. Her powers reflect the feeling we have when we can't do anything around us to control a situation like the one she was experiencing. She hasn't felt the urge to take flight and escape oppression. So when she was finally able to attend school and fulfill her greatest dream, she felt a little relieved; she felt free. But she found herself up against yet another tyrant: the school authority figure who took advantage of the children's vulnerability to mistreat and dominate them at will simply because she didn't like children. And since their parents would never believe all the things she did at school, she used that to do whatever she wanted with them. But Matilda knew how to defeat her, intelligently using her powers to her advantage.
Por eso la historia de Matilda es un grito de libertad, sus poderes son el reflejo de ese sentimiento que tenemos cuando no podemos hacer nada a nuestro alrededor para controlar una situación como la que vivía ella, quien no ha sentido las ganas de salir volando y escapar de la opresión. Así que cuando pudo asistir finalmente a la escuela y cumplir así su mayor sueño sintió un pequeño alivio, se sintió libre pero, se encontró con otra tirana más, era aquella autoridad del colegio que se aprovechaba de la vulnerabilidad de los niños, para maltratarlos y dominarlos a su antojo simplemente porque no le agradaban los niños, y ya que sus padres jamás creerían todas las cosas que hacia en el colegio, se valía de eso para hacer lo que quisiera con ellos. Pero Matilda supo como derrotarla de forma inteligente y usando sus poderes a su favor.
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How many children live day after day with their parents' contempt, disrespect, lack of love and affection, lack of support for their dreams, not encouraging their skills or applauding their abilities, but on the contrary, humiliating them, rejecting them and minimizing them as if they were worthless, there are many children living that reality, and in the long run it is something that has a very big impact on them, and ends up affecting their mental and emotional development, there are many who manage to endure it and get out of there, but others do not even reach them.
Cuantos son los niños que día a día viven el desprecio de sus padres, el irrespeto, la falta de amor y de cariño, la falta de apoyo a sus sueños, no impulsar sus habilidades ni aplaudir sus capacidades, si no por el contrario, humillarlos, rechazarlos y minimizarlos como si no valieran nada, existen muchos niños viviendo esa realidad, y a la larga es algo que tiene un impacto muy grande en ellos, y termina afectando su desarrollo mental y emocional, hay muchos que logran soportarlo y salir de ahí, pero otros no llegan ni alcanzarlos.
That is why Matilda teaches us how important it is to not stop being yourself, nor stop believing in your abilities, it does not matter if nobody believes in you, and even more so the most important people in your life, the important thing is what you believe about yourself, and that you will always find people who see your abilities and support you because many perhaps were in the same situation as you, just like teacher Miel did, who was like her fairy godmother and savior at the end of the story.
Por eso Matilda nos enseña lo importante que es no dejar de ser uno mismo, ni dejar de creer en sus capacidades, no importa si nadie cree en ti, y más aún los seres más importante de tu vida, lo importante es lo que crees tu de ti mismo, y que siempre encontrarás personas que vean tus habilidades y te apoyen porque muchos quizás, estuvieron en la misma situación que tu, así como lo hizo la maestra Miel, quien fue como su hada madrina y salvadora al final de la historia.
Thanks for reading this far and taking the time to read. Let me know in the comments if you've seen this classic and what you thought of the story.
¡Gracias por llegar hasta aquí y haber tomado de tu tiempo para leerme, déjame saber en los comentarios si ya viste este clásico y que te pareció la historia.
** Los separadores y cintillo son de mi autoria, para uso exclusivo de Hive.
** Para la traducción utilice https://www.deepl.com/
¡Gracias por su apoyo, por leerme y votar, GRACIAS!
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One series I was eagerly awaiting was the second season of My Life with the Walter Boys, two years after its first season. This is a Netflix production in the romance and teen drama genre. Jason Priestley and Jerry Ciccoritti returned as directors for this season, bringing maturity, visual cohesion, and narrative rhythm to the production. Meanwhile, Monika Mitchell, Audrey Cummings, and Felipe Rodriguez joined the cast this season to bring something different to the series for the entertainment of fans. Did they succeed? I'll discuss this and much more below.
Melanie Halsall returns as the head writer for the second season of the series My Life with the Walter Boys, with the collaboration of Becky Hartman Edwards and the Netflix writing team. This story is based on the novel written by Ali Novak. The second season of the series consists of ten episodes lasting approximately 44 minutes each, but in reality this can vary, give or take a few minutes. The plot of the production tells us about Jackie Howard's love triangle with Cole and Alex, members of the Walter family, a large family of 14, including twelve young people, two of whom the protagonist of the story falls in love with.
I have to say that I like these kinds of stories, teen drama and romance, but on the other hand, I feel that most productions have become repetitive. This series is similar to When I Fell in Love in the Summer, a production that premiered a new season this year, but to be honest, I was disappointed and I don't know if I'll actually watch it again. As for the series I'm talking about today, I like it better than the previous one. It's a cliché, but I was still able to connect with the story. Often when we are teenagers, we don't know what we want, we can fall in love several times, and this is the case with Jackie. But the series also talks about emotional attachment and how we should seek autonomy in this regard. But it doesn't stop there. Every action has a consequence, and our protagonists in the story must face up to it.
Una serie que estaba esperando con ansias, era la segunda temporada de Mi vida con los chicos Walter, luego de dos años desde su primera temporada. Esta es una producción de Netflix, del género de romance y drama juvenil. Para esta temporada repitieron en la dirección Jason Priestley y Jerry Ciccoritti, aportando a la producción madurez, cohesión visual y el ritmo narrativo de la historia. Mientras que Monika Mitchell, Audrey Cummings y Felipe Rodriguez se unieron esta temporada, para darle un aporte a la serie algo distinto para el entretenimiento de los fanáticos. ¿Será que lo lograron? Esto y mucho más se los voy comentar a continuación.
Melanie Halsall repirte como la encargada del guion de la segunda temporada de la serie Mi vida con los chicos Walter, con la colaboración de Becky Hartman Edwards y el equipo de guionistas de Netflix. Esta historia está basada en la novela escrita por Ali Novak. La segunda temporoda de la serie consta de diez episodios de una duración apróximada de 44 minutos cada uno, pero en realidad esto puede variar, minutos abajo o arribas. La trama de la producción nos habla sobre el triángulo amoroso de Jackie Howard con Cole y Alex, integrantes de la familia Walter, una númerosa familia de 14 integrantes, entre lo que están doce jovenes, entre ellos los dos de las cuales la protagonista de la historia se llega a enomorar.
Dedo decir que este tipo de historias me gusta, los drama y romance de adolecentes, pero por otro lado siento que la mayoría de las producciones se han vuelto repetitivas. Esta serie tiene algo similar a En el Verano en que me Enamoré, producción que este año se estrenó una nueva temporada pero para ser sincero me decepcionó y no se si realmente la vuelva ver. En cuanto a la serie de la cual les estoy hablando hoy, me gusta más que la anterior, una historia que si es un cliché pero aun así pude conectar con la historia. Muchas veces cuando somos adolecentes no sabemos lo que queremos, nos podemos enomar varias veces y este es el caso de Jackie. Pero también la serie nos habla sobre el apego emocional y como debemos buscar la autonomía en este aspecto. Pero no queda nada más allí, sino que toda acción tiene una consecuencia y nuestro protagonistas de la historia lo debe afrontar.
Jackie is a good girl who is confused and doesn't want to hurt the family that took her in when her parents died in a traffic accident. This character left me with mixed feelings. There are moments when I like her, but there are others when I really don't want to see the story anymore, but then I remember that she is a fictional character so I don't end up hating her. Then we have the brothers Walter, Alex, and Cole, the typical good guy and the not-so-good guy, but clearly girls always end up falling in love with characters like Cole, at least in the productions I've seen on Netflix and other platforms. The family is really close-knit; the Walters are there for each other, where the parents have a great responsibility with 12 children, plus Jackie, to take care of.
The season begins with Jackie in New York, after leaving Colorado because she didn't want to hurt the Walter family, as she had feelings for both brothers. This new season tells us new things, but the feeling it leaves me with is that it's more of the same as the first season. Yes, we know that everything is based on the love triangle, but at least we want a season that isn't so predictable. This doesn't mean I had a bad experience, but the truth is that I didn't. It's an entertaining series to pass the time and it delivers in terms of story and dialogue, although I repeat, I would like a little more depth in the story and character development, as I feel the story gets a little stuck in this regard.
Jackie es una buena chica que está confundida y que no le quiere hacer daño a la familia que la acogió cuando sus padres murieron en un accidente de tránsito. Este personaje me dejo sentimientos encontrados, hay momentos que me cae bien, pero hay otros donde realmente no quiero ver más la historia, pero luego me acuerdo de que es un personaje ficticio para no llegar a odiarla. Luego tenemos a los hermanos Walter, Alex y Cole, el típico chico bueno y el otro que no lo es tanto, pero claramente siempre las chicas se terminan enamorando de personajes como Cole, al menos en las producciones que me he visto de Netflix y otras plataformas. La familia es realmente unida, los Walter están allí uno para los otros, donde los padres tiene una gran responsabilidad a tener 12 hijos, más Jackie y quien tener que cuidar.
La temporada comienza con Jackie en Nueva York, luego de haberse ido de colorado tras no querer dañar a la familia Walter, por sentir cosas por ambos hermanos. Esta nueva temporada se nos cuenta cosas nuevas, pero la sensación que me deja es que es más de lo mismo de la primera temporada. Sí, se sabe que todo se basa en el triángulo amoroso, pero al menos queremos una temporada que no sea tan previsible. Esto no quiere decir que haya tenido mala experiencia, pero la verdad es que no, una serie entretenida para pasar un rato agradable y que cumple bastante en cuanto a historia y diálogos, aunque vuelvo y repito, me falta un poco más de amplitud en la historia y el desarrollo de los personajes, pues considero que la historia se queda un poco atascado en este sentido.
In terms of photography, I think the story is well captured, drawing us deep into the plot and what they want to show us. The series features beautiful locations, as it is set in rural Colorado, so we encounter animals and places that are quite beautiful to behold. The photography reflects the warm and emotional visual style that characterizes the series. This series explores themes such as nostalgia, growth, and the emotional conflicts experienced by the characters. In this regard, I think the work was quite flawless. The cast of the series includes Nikki Rodriguez as Jackie Howard, Noah LaLonde as Cole Walter, and Ashby Gentry as Alex Walter, each of whom does an excellent job, which is quite an achievement in recently released series of this genre.
The series' soundtrack is quite good, with compositions that fit the moments we are watching, reinforcing what is being shown to us, which is appreciated. The second season of My Life with the Walter Boys is quite good. Many episodes are entertaining, but it still has its flaws and things that could be better. But despite these details, the series is good for spending a pleasant day and enjoying moments that can be fun, apart from the nostalgia and romance that we can appreciate in the story.
En lo que respecta a la fotografía, creo que la historia está bien plasmada, nos adentra mucho a la trama y lo que nos quieren mostrar. La serie cuenta con grandes lugares, pues la serie se desarrolla en un ambiente rural de Colorado, por lo que nos encontramos con animales y lugares bastante hermosos que dan gusto apreciar. La fotografía refleja el estilo visual cálido y emocional que caracteriza a la serie. Una serie que nos muestra temas como la nostalgia, crecimiento y conflicto emocional que atraviesan los personajes en cuestión. Creo que en este sentido el trabajo fue bastante impecable. El cast de la serie se mantiene Nikki Rodríguez como Jackie Howard, Noah LaLonde como Cole Walter y Ashby Gentry como Alex Walter, haciendo cada uno un excelente trabajo y esto es bastante decir en las series que se estrenan recientemente del género.
La banda sonora de la serie está bastante bien, escuchamos composiciones que van acorde con los momentos que estamos viendo, convenciendo de lo que se nos está mostrando y esto se agradece. La segunda temporada de Mi vida con los chicos Walter está bastante bien, muchos episodios son entretenidos, pero no deja de tener sus fallos o cosas que pudieran ser mejores. Pero a pesar de los detalles, la serie está bien para pasar un día agradable y disfrutar incluso de momentos que pueden ser divertidos, aparte de la nostalgia y el romance que podemos apreciar en la historia.
One of the biggest franchises in the world of cinema is Pixar and for no one is a secret that over many years they have released films as a very good level as others that have not exceeded expectations, however, always with a good message that characterizes this great animated film franchise. Beyond that a very recognized director who has released films of this style returned to bet on something new and that involves issues that are very relevant and both children and adults are always mentioning it even though it is not yet known if it is true as are the aliens and it is here where in this new animated installment we will see a story full of action and imagination to know what lies beyond our world.
This is a movie that has very few weeks of its release called Elio, being something that called my attention as a fan of this genre, to enjoy the story of a little boy of 11 years, which is in one of the most important stages of his life and we've all been there and we want to be inventing all the time, That is why this little boy has a great obsession with aliens to know more and that is why he is suddenly transported into space and that is where the real adventure of this film begins in getting carried away by the imagination and we wonder, will Elio be able to return to every time again? , Will his dream of meeting aliens come true? And many other things as we watch a very naughty boy.
Una de las más grandes franquicias del mundo del cine es Pixar y para nadie es un secreto que a lo largo de muchos años han sacado películas como un nivel muy bueno como otras que no han superado las expectativas, sin embargo, siempre con un buen mensaje que caracteriza a esta gran franquicia de películas animadas. Más allá de eso un director muy reconocido que ha sacado películas de este estilo volvió apostar en algo nuevo y que involucra temas que son muy relevantes y tanto niño como adultos siempre lo están mencionando a pesar de que aún no se sabe si es verdad como lo son los extraterrestres y es aquí donde en esta nueva entrega animada veremos una historia cargada de mucha acción y la imaginación de saber qué hay más allá de nuestro mundo.
Esta es una película que tiene muy pocas semanas de su estreno llamada Elio, siendo algo que me llamo mucha la atención como fanático de este género, poder disfrutar de la historia de un pequeño niño de 11 años, la cual está en una de las etapas más importantes de su vida y todos hemos pasado por eso y queremos estar inventando a cada rato, por eso este pequeño tiene una gran obsesión por los extraterrestres en saber más y por eso es transportado repentinamente al espacio y es allí donde comienza la verdadera aventura de esta película en dejarse llevar por la imaginación y nos preguntamos ¿Podrá Elio regresar a cada nuevamente?, ¿Su sueño de encontrar extraterrestre se cumplirá? Y muchas otras cosas al ver un niño muy travieso.
Elio is a movie that adapts to all ages by the same fact of being a great animated adventure loaded with many things that are important in life and at the same time beliefs to know about aliens, since there are many theories and the truth is not known, however, including it in this type of film adds value by the fact of creating something different and at the same time know that beyond the planet can see life and this is where science fiction takes a big role and even more when we are children we get carried away by the imagination, videos and many other things. Another important point of this animated film is the way they managed to design each of the aliens and thus present them in a way that they are bad, horrible and has a style to carry things, although the humor and comedy for that part was the best.
Elio es una película que se adapta a todas las edades por el mismo hecho de ser una gran aventura animada cargada de muchas cosas que son importantes en la vida y a la vez creencias al saber de los extraterrestres, ya que existen muchas teorías y no se sabe la verdad, sin embargo, incluirlo en este tipo de películas le aporta valor por el hecho de crear algo distinto y a la vez saber que más allá del planeta puede ver vida y es aquí donde la ciencia ficción toma un gran papel y más aún cuando somos niños nos dejamos llevar por la imaginación, los videos y muchas otras cosas. Otro de los puntos importantes de esta película animada es la manera como lograron poder diseñar cada uno de los extraterrestres y de esa manera presentarlos de una manera que son malos, horribles y tiene una estilo de poder llevar las cosas, a pesar de que el humor y la comedia para esa parte fue lo mejor.
Each of the scenes of this film is very well elaborated, loaded with lots of color that at first glance are very striking and fit very well, since they are not exaggerated and above all do not cause fear to children who see this great movie. Every minute of this production is very funny, by the same fact that we realize that great relationship that can create humans with aliens and there where the great character of Elio enters as the main child of all this great adventure, which is that little restless and going through an age where rebellion is present and not listening to parents and leaving his world, he realizes that reality is different and he has to go through many things that one of those is chosen as ambassador of a galactic earth.
Cada una de las escenas de esta película está muy bien elaborada, cargada de mucho color que a simple vista son muy llamativas y encajan muy bien, ya que no son nada exageradas y sobre todo no causar ese miedo a los niños que vean esta gran película. Cada minuto de esta producción es muy divertida, por el mismo hecho de que nos vamos cuenta de esa gran relación que puede crear los seres humanos con los extraterrestres y allí donde entra el gran personaje de Elio como niño principal de toda esa gran aventura, la cual es ese pequeño inquieto y pasando por una edad donde está presente la rebeldía y no escuchar a los padres y al salir de su mundo, se da cuenta de que la realidad es otra y le toca pasar por muchas cosas que una de esas es elegido como embajador de una tierra galáctica.
A great result and in a few minutes they put together a great animated production that once again exceeded all expectations and thus to enjoy something new and different in this great animated franchise, also as the final message of this film focuses on the loneliness that many children can have today and the only way to deal with that by changing places and find that sense of belonging to a place, which is something that Elio has to go through and his fate is another poses with aliens, being something that fills us with much emotion and at the same time sadness for what he has to go through. So friends, if you are looking for something new to see do not miss this opportunity.
Un gran resultado y en pocos minutos armaron una gran producción animada que una vez más superó todas las expectativas y de esa manera poder disfrutar de algo nuevo y distinto en esta gran franquicia animada, además como mensaje final de esta película se centra en la soledad que puede llegar a tener muchos niños hoy en día y la única manera de poder afrontar eso cambiándose de lugar y encontrar ese sentido de pertenecer a un lugar, la cual es algo que tiene que pasar Elio y su destino es otro plantea con extraterrestres, siendo algo que nos llena de mucha emoción y a la vez tristeza por lo que tiene que pasar. Por eso amigos, si están buscando algo nuevo para ver no dejes pasar esta oportunidad.
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