A few months ago, I wrote about how much I loved Thunderbolts* after seeing it on opening night in the theaters. I then saw it again two days later. Yesterday, I watched for a third time. I'll most likely watch it again at some point this month. I seem to love it even more every time I watch it. In that post, I also said I would wait before I wrote about the underlying meaning of the move. Well it has been 4 months and it is available on streaming now so if you haven't seen it yet, go watch right now and then come back.

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Thunderbolts* is fun, exciting, action-packed and hilarious Marvel movie. It is also one of the best allegories for mental health that I have ever seen. That is why I will keep coming back to it. The United States is going through a mental health crisis right now. It is especially bad for teenagers... who happen to be the group that I teach. I see kids suffering every day. I do my best to support them but I only see them for 48 minutes a day while I am teaching 20 something other students. These kids 9and many adults) need to seek treatment for their mental health they way we have been accustomed to seek treatment for our physical health. But sadly, there is still a stigma surrounding mental health and effective treatment. Too many people suffer in silence. That is why movies like Thunderbolts* are so important right now. This movie not only shows that strong people (even some who are super human) have mental health needs, but that there is hope. Kids need to see those two things. They are not weird, stupid or broken for needing help with their mental health, just like they are not weird, stupid or broken if they need help treating a broken bone. And just like their are casts for broken bones, there are things one can do to treat their mental health issues.

The movie is chock full of scenes and quotes that scream "It's OK not to be OK... but it is not OK to suffer in silence." In fact the opening scene (in between cracking jokes and kicking ass) shows Yelena, portrayed by Florence Pugh, talking about how lost she feels. She then seeks out her father for support. It goes incredibly poorly but she does not give up.

Later, Yelena delivers a monologue that hit home with many people who suffer from depression and anxiety. She tells her father "Daddy, I'm so alone. I don't have anything anymore. All I do is sit, and look at my phone, and think of all the terrible things that I've done, and then I go to work, and then I drink, come home to no-one, and I sit and think about all the terrible things I've done again and again and I go crazy!" We have all made mistakes in our lives. Sadly many of us relive those things far more often than reliving the good things we have done. That takes a toll and it takes time and effort to stop. But it can be done. Bucky echoes this sentiment when he says, "Look, I've been where you are. The past doesn't go away. So you can either live with it for ever, or do something about it.".

Perhaps the best example of mental health issues in Thunderbolts* is that the real villain is the darkness who lives in side of Bob... or inside of all of us. Many of us have a tiny little voice in us that tells us we are not good enough or that we will fail. Some people have learned to challenge and silence that voice. Unfortunately, some have a voice that is gigantic and too monstrous to silence on their own. But as Yelena says, "We can't stop him alone. No one can. But we can find a way together." And this is what people suffering from metal illness need to hear. They need to hear that darkness can be defeated, but they need help to do so. They need to surround themselves with people who are good for their mental health rather than toxic people.

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The movie is so full of mental health allegories that I could probably write for days. I mean the entire villain is an allegory for bipolar disorder. Every character has suffered from PTSD. They are all trying to mask the pain of their pasts. And they are all in a different phase of healing. Some have just started and others are making it through one day at a time. But they keep pushing. This is never more obvious than in the final act in Bob's "House of bad memories". There is an old saying that goes, "When you are going through Hell... keep going." It means that when your life is the hardest, you don't give up. You keep going to push through and get out of that Hell. And that is literally what the characters do in that house. I was simply blown away.

I love sci-fi, comic book and adventure movies. Every once in a while there is a scene that transcends the popcorn eating joy I feel while watching. When Captain Kirk's dad saves the ship while he hears his newborn son James Tiberius Kirk being born is one of them. My favorite is when Han Solo walks out onto the ledge, without his blaster, in an attempt to to save his son Ben. Both of those show heroes being vulnerable. They aren't saving the day with strength and weapons. They are using their hearts. One of the final scenes of Thunderbolts* has now been added to that list. Yelena asks her dad to make a final push to set her free. She leaps, spins, and flips to avoid a ton of deadly obstacles so she can reach the villain and... hug him. Was it cheesy? Yep. But it was also beautiful. And I would imagine that many people who have been supported through their trials with mental health issues would agree.

I freaking love this movie!

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For more details about the film you can visit the link that I leave you of Filmaffinity | Para más detalles sobre el filme puedes visitar el link que te dejo de Filmaffinity

In case you were wanting more | Por si quedaste con ganas de más

Cover photo, Logo, Crane, Hand with pen, Yugi, Edward chibi, Edward Child, Edward young, Edward bleeding, Naruto chibi, Goku chibi, Jesper, Hand with a tablet, Sound system & Trigun

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Bueno está secuela de Freakier Friday la hicieron como veinte años después y la verdad no sabía que iba a salir hasta que una de las veces que fui al cine vi el tráiler y después me comenzó ese bombardeo de noticias por todos lados, entonces me dije tengo que verla de hecho me recordó a mi jueventud así que no podía perdérmela. Tampoco es que esperaba la gran cosa solo quería entretenerme y recordar viejos tiempos jajaja no sabía si iba a ser otro desastre de Disney tratando de sacar dinero facil de la nostalgia, pero como no tenía ninguna expectativa me sorprendió bastante. La verdad es que me dio mucho gusto ver a Lindsay Lohan de vuelta en una película de grande y actuando decentemente otra vez. Jamie Lee Curtis obviamente sigue siendo una leyenda y se nota que se divirtió un montón haciendo esta peli y la química entre ella y Lindsay sigue ahí después de tanto tiempo y creo que esa es una de las cosas que hace que la película funcione, cuando están juntas en pantalla uno siente esa magia que tenían en la original aunque ahora con ese toque de madurez que viene con la edad y la experiencia, más las dos muchachas nuevas que interpretan a las hijas también hacen un trabajo bastante bueno considerando que tenían que competir con dos actrices con tanta experiencia. Julia Butters como Harper y Sophia Hammons como Lily logran sostener sus partes de la historia sin verse opacadas completamente, y esto no es nada fácil cuando estás en escenas con Curtis y Lohan. El concepto de ahora tener cuatro personajes intercambiando cuerpos en lugar de solo dos complica todo pero tambien hace que la trama sea más dinámica, aunque te confieso que a veces es confuso seguir quien es quien exactamente, más en las primeras escenas después del cambio cuando todos están tratando de adaptarse a sus nuevos cuerpos y personalidades.

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La trama es bastante familiar pero no lo digo en mal sentido, sino más bien como regresar a casa después de mucho tiempo, Anna ahora es madre soltera y está por casarse con Eric que es interpretado por Manny Jacinto quien está perfecto en el papel, se nota que el tipo tiene carisma natural y funciona muy bien como el padrastro que trata de mantener unida una familia mezclada, pero las niñas obviamente no se soportan y no quieren que sus padres se casen porque eso significa que una de ellas se va a tener que mudar a Londres y dejar todo su vida atras, lo que es una preocupacion muy válida para cualquier adolescente. No es como en la original donde el conflicto era mas simple de madre e hija que no se entienden, aquí el tema es mas complejo porque involucra dos familias diferentes tratando de unirse y todas las complicaciones que eso conlleva, especialmente cuando las niñas deciden sabotear la boda de sus padres usando sus cuerpos de adultos, esto lleva a situaciones bastante divertidas aunque predecibles, una cosa que me gustó es como la película no trata a ninguno de los personajes como completamente buenos o malos sino que todos tienen sus razones y sus defectos, Anna es sobreprotectora pero por experiencia propia, Tess trata de ayudar pero a veces se mete donde no le imprta y las niñas son egoístas pero también están asustadas de perder sus vidas como las conocen, Eric es paciente pero a veces no entiende todo este rollo en el que se está metiendo, me parece que es mas realista de lo que uno esperaría de una comedia familiar de Disney.

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Visualmente la película se ve bien, nada espectacular pero como debe lucir una peli familiar con los colores brillantes y alegres, nada muy innovador lo que si es que cumple su proposito de mantener el tono ligero y divertido que necesita la historia, las locaciones en Los Angeles se ven auténticas y le dan un buen contraste entre el mundo de Anna como madre trabajadora y el mundo de las adolescentes con sus problemas típicos de la edad. La direccion de Nisha Ganatra es buena aunque nada del otro mundo, se nota que entendió la tarea y respetó el material original sin tratar de hacerlo demasiado moderno o diferente, algo que se agradece porque muchas secuelas fallan al tratar de reinventar algo que ya funcionaba bien, aquí mantuvieron esa esencia de lo que hacía especial la primera película pero le agregaron suficientes cosas nuevas para quen o se sienta una copia. La transformacion sigue siendo mágica y misteriosa sin explicaciones innecesarias y eso hace que se mantenga ese elemento fantasioso que es esencial para que la trama funcione, el ritmo se mantiene constante durante las casi dos horas que dura la película, aunque honestamente pienso que hubiera funcionado mejor como una película de la mitad del tiempo de lo qeue duró porque hay algunas subtramas que son como un relleno innecesario, más en las escenas con algunos personajes secundarios que aparecen solo para hacer chistes rápidos o referencias a la película original.

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El humor funciona la mayor parte del tiempo aunque a veces si es un poco forzado en las partes cuando tratan de hacer chistes sobre la diferencia generacional entre las abuelas y las nietas, algunos de estos momentos son muy artificiales como si hubieran tenido que decidir que iba a ser graciosos y que no, pero cuando el humor sale natural de las situaciones es algo relamente divertido, esas escenas donde las adultas tratan de actuar como adolescentes y las adolescentes tratan de ser adultas responsables tienen momentos brillantes, como cuando Jamie Lee Curtis está en el cuerpo de una de las niñas y tiene que lidiar con tecnología moderna o redes sociales, esos momentos son auténticos y graciosos sin ser crueles. Lindsay Lohan también tiene sus momentos destacados especialmente cuando está en el cuerpo de su hija y tiene que actuar como adolescente rebelde otra vez, se nota que la actriz se está divirtiendo y eso es algo que contagia aunque a veces se ve que stá un poco oxidada después de tantos años alejada del cine, pero nada que arruine la experiencia de hecho me gustó ver como poco a pco va encontrando su ritmo mientras avanza la película. Los actores de apoyo también funciona bien Mark Harmon regresa como Ryan y aunque su papel es mas pequeño esta vez se siente natural dentro de la historia, Chad Michael Murray aparece como Jake y su cameo es pura nostalgia es algo forzado como otros regresos de personajes en secuelas reciente.

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Lo que mas me gustó de Freakier Friday es que logra ser una secuela que respeta su material original sin verse como una repetición barata, claro que sigue la misma formula básica pero le agrega suficientes cosas nuevas y relevantes para la época actual, los temas sobre familias mezcladas, adolescentes enfrentando cambios grandes en sus vidas y adultos tratando de buscar un euqilibrio entre sus propios deseos con las necesidades de sus hijos es algo que nunca pasa de moda, la película no trata de ser mas profunda de lo que es pero tampoco es que nos trata como idiotas sobre tod a los adultos que crecimos con la original y ahora tenemos nuestros propios hijos. Tiene momentos bastante emotivos que funcionan sin parecer algo manipulador, sobretodo en el final cuando todas las familias tienen que confrontar sus miedos sobre el futuro y aprender a comunicarse mejor entre ellas. Yo le doy un 7.5/10, como secuela creo que cumple su proposito de entretener tanto a los fans originales como a una nueva generación, no va a ganar premios pero es una buena película que se puede ver con la familia sin que los adultos se aburran completamente, definitivamente la recomiendo para una tarde de domingo o una noche de película familiar y más si disfrutaste con la original o si eres fan de Lindsay Lohan, es bonito verla de vuelta haciendo lo que mejor sabe hacer.

[ENGLISH VERSION]

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Well this sequel to Freakier Friday was made about twenty years later and the truth is I didn't know it was going to come out until one of the times I went to the movies I saw the trailer and then I started that bombardment of news everywhere, then I said I have to see it in fact it reminded me of my youth so I couldn't miss it. I wasn't expecting much either, I just wanted to be entertained and remember old times hahaha I didn't know if it was going to be another Disney disaster trying to get easy money from nostalgia, but since I didn't have any expectations I was quite surprised. I was actually very happy to see Lindsay Lohan back in a big movie and acting decently again. Jamie Lee Curtis is obviously still a legend and you can tell she had a lot of fun making this movie and the chemistry between her and Lindsay is still there after so long and I think that's one of the things that makes the movie work, when they are on screen together you feel that magic they had in the original although now with that touch of maturity that comes with age and experience, plus the two new girls playing the daughters also do a pretty good job considering they had to compete with two actresses with so much experience. Julia Butters as Harper and Sophia Hammons as Lily manage to hold their parts of the story without being completely overshadowed, and that's no easy feat when you're in scenes with Curtis and Lohan. The concept of now having four characters swapping bodies instead of just two complicates everything but also makes the plot more dynamic, although I confess it's sometimes confusing to follow who exactly is who, more so in the first scenes after the switch when everyone is trying to adjust to their new bodies and personalities.

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The plot is quite familiar but I don't mean that in a bad way, but more like coming home after a long time, Anna is now a single mother and is about to marry Eric who is played by Manny Jacinto who is perfect in the role, you can tell the guy has natural charisma and works very well as the stepfather trying to keep a blended family together, but the girls obviously can't stand each other and don't want their parents to get married because that means one of them is going to have to move to London and leave her whole life behind, which is a very valid concern for any teenager. It's not like in the original where the conflict was more simple of mother and daughter not understanding each other, here the issue is more complex because it involves two different families trying to unite and all the complications that entails, especially when the girls decide to sabotage their parents' wedding using their adult bodies, this leads to some pretty funny yet predictable situations, one thing I liked is how the movie doesn't treat any of the characters as completely good or bad but they all have their reasons and their flaws, Anna is overprotective but from her own experience, Tess tries to help but sometimes gets in over her head and the girls are selfish but also scared of losing their lives as they know them, Eric is patient but sometimes doesn't understand all this mess he's getting into, I find it more realistic than you would expect from a Disney family comedy.

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Visually the movie looks good, nothing spectacular but as a family movie should look with bright and cheerful colors, nothing too innovative, but it fulfills its purpose of maintaining the light and fun tone that the story needs, the locations in Los Angeles look authentic and give a good contrast between the world of Anna as a working mother and the world of teenagers with their typical problems of the age. Nisha Ganatra's direction is good but not great, you can tell she understood the task and respected the original material without trying to make it too modern or different, something that is appreciated because many sequels fail when trying to reinvent something that already worked well, here they kept the essence of what made the first film special but added enough new things to make it not feel like a copy. The transformation is still magical and mysterious without unnecessary explanations and that keeps that fantasy element that is essential for the plot to work, the pace remains constant during the almost two hours that the movie lasts, although honestly I think it would have worked better as a movie of half the time it lasted because there are some subplots that are like unnecessary filler, more in the scenes with some secondary characters that appear just to make quick jokes or references to the original movie.

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The humor works most of the time although sometimes it is a bit forced in the parts when they try to make jokes about the generational difference between the grandmothers and the granddaughters, some of these moments are very artificial as if they had to decide what was going to be funny and what not, but when the humor comes naturally out of the situations it is really funny, those scenes where the adults try to act like teenagers and the teenagers try to be responsible adults have brilliant moments, like when Jamie Lee Curtis is in the body of one of the girls and has to deal with modern technology or social media, those moments are authentic and funny without being cruel. Lindsay Lohan also has her highlights especially when she is in the body of her daughter and has to act as a rebellious teenager again, you can tell that the actress is having fun and that is something that is contagious although sometimes you can see that she is a little rusty after so many years away from the movies, but nothing that ruins the experience in fact I liked to see how little by little she is finding her rhythm as the film progresses. The supporting actors also work well Mark Harmon returns as Ryan and although his role is smaller this time it feels natural within the story, Chad Michael Murray appears as Jake and his cameo is pure nostalgia is something forced like other character returns in recent sequels.

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What I liked most about Freakier Friday is that it manages to be a sequel that respects its source material without feeling like a cheap rehash, of course it follows the same basic formula but it adds enough new and relevant things for today's times, the themes of blended families, teenagers facing big changes in their lives, and the fact that it's a sequel to the original material without feeling like a cheap rehash, The themes of blended families, teenagers facing big changes in their lives and adults trying to balance their own desires with the needs of their children is something that never gets old, the movie doesn't try to be any deeper than it is but it doesn't treat us as idiots either, especially the adults who grew up with the original and now have children of our own. It has some pretty emotional moments that work without seeming manipulative, especially at the end when all the families have to confront their fears about the future and learn to communicate better with each other. I give it a 7.5/10, as a sequel I think it fulfills its purpose of entertaining both the original fans and a new generation, it's not going to win awards but it's a good movie that you can watch with the family without the adults getting completely bored, I definitely recommend it for a Sunday afternoon or a family movie night and more if you enjoyed the original or if you are a fan of Lindsay Lohan, it's nice to see her back doing what she does best.

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Fuente de imagen Para una persona como yo que en realidad no es fan de la fórmula 1 nascar o casi nada que tenga que ver con los autos, debo decir que esta película me dejó una grata sorpresa me recordó mucho cuando tuve la oportunidad de ver la película de Gran turismo y también la de need for speed, porque no son películas al estilo rápido y furioso que se enfocan en el humor en la acción que tienen una dinámica diferente, estas películas literalmente están enfocadas en la conducción están enfocadas en los motores estan enfocadas para los verdaderos fanáticos de los autos, Y la verdad es que puedo decir que sí ciertamente es una película que es un total 10 a nivel de historia a nivel de lo que está puesto en escena con los efectos especiales es increíble.

For someone like me who isn't really a fan of Formula 1, NASCAR, or almost anything to do with cars, I must say that this movie was a pleasant surprise. It reminded me a lot of when I had the opportunity to see the movie Gran Turismo and also Need for Speed, because they aren't Fast and Furious-style movies that focus on humor and action. They have a different dynamic. These films are literally focused on driving, they are focused on engines, they are focused on true car enthusiasts, and the truth is that I can say that it is certainly a film that is a total 10 in terms of story and in terms of what is staged with the special effects, it is incredible.

Un punto negativo que de repente yo podré añadirle a la película es que si la ves de repente en tu casa y no tienes un sonido adecuado para verla de repente no te vas a sentir como tan atrapado por la trama si es verdad que escucharle un cine con el sonido de los carros El sonido del motor es muy impactante y automáticamente te sumerge en la trama, esta es una de esas películas que se popularizó muchísimo verla en 4dx por toda la cuestión del movimiento pero no lo veo tan necesario porque de hecho tiene bastantes momentos de dramas los cuales podría decir que ocupan el 50% de la película que no es malo porque está muy bien escrito, pero sí creo que un sonido envolvente ayuda bastante a sumergirte en la trama y si es una de las mejores actuaciones que tiene la oportunidad de ver de Brad Pitt.

One negative point I might add about the film is that if you watch it at home and don't have the right sound system, you won't feel as caught up in the plot as you would if you were listening to it in a movie theater with the sound of the cars. The sound of the engine is very impressive and automatically immerses you in the plot. This is one of those films that became very popular to watch in 4DX because of all the movement, but I don't see it as necessary because it actually has quite a few dramatic moments, which I would say make up 50% of the film. That's not a bad thing because it's very well written, but I do think that surround sound helps a lot to immerse you in the plot, and it's one of the best performances you'll ever see from Brad Pitt.

Creo que es una de esas películas que si de repente eres como yo que no eres muy fan de los autos puedes dejar pasar completamente a un lado pero si decides dar una oportunidad te puedes sorprender muchísimo es una de estas películas Que vuelvo a decir que no me esperaba que me gustara tanto pero la recomiendo muchísimo son ese estilo películas como Gran turismo, top gun maverick que les recomiendo con los ojos cerrados no importa si eres o no eres fan de este género el caso de totcoin maverick de la aviación pero de verdad recomiendo muchísimo verlas si tienes la oportunidad de verlas con unas buenas cornetas y un buen sonido creo que te va a maravillar todavía más.

I think it's one of those movies that if you're like me and not really a fan of cars, you might completely pass it by, but if you decide to give it a chance, you might be very surprised. It's one of those movies that, again, I didn't expect to like so much, but I highly recommend it. It's in the same vein as movies like Gran Turismo and Top Gun Maverick that I recommend with my eyes closed. It doesn't matter if you're a fan of this genre or not, in the case of Top Gun Maverick, but I really recommend watching them if you have the opportunity to see them with good speakers and good sound. I think you'll be even more amazed.

Well, there it is. How do you recover from this?

Spoiler Alert: I think the writers of this show are on drugs or getting inspired by the Indian TV soap opera.

No, really, if you know a person who can delete the monsters out of nightmares, just run. I dont know what happened, maybe the monsters got cold after shooting episode 1 of season 3 in the snow. Because they were missing from the rest of the season. I was scared the entire time watching the show. I was afraid that if all of a sudden somebody wanted to talk about their feelings, like ‘I’m scared,’ or ‘We can’t go home.’ It takes special skills to turn a horror series into a talk show. Yup! That's what it feels like. Somebody be like, “You dont know the things I’ve seen” The other guy will be like Select one dialogue from this default list “Please talk to me. I am here for you. You are not alone in this. We will get through this. This place… it changes you.” Source You may think I'm overreacting to it. But hear me out. They spent the entirety of season 1 making the forest a scary place. Monsters live there, and they come at night. By season 3, they turned the nightmare forest into a picnic spot. People are going in without any fear. And use that as a camping site now. They go there, harvest, stay the night there and return the next day. It really pisses me off. The Ethan kid and poor Julie go deep into the forest, and Julie gets hit by a seizure. The little kid ran back to the village and got help. Waaaahhhhhtttt!!!

Another issue I can see. All the key characters were just boring in this season. Boyd was very reactive; he was acting without much clarity all the time. Shouting and picking fights. Donna got the same treatment as Julie, forgotten and just in the background. They killed the sweet lady Tian-Chen, Tillie, and I think Jim begged the writers to write him off the show after hearing the reincarnation story. The only characters that made progress but in the wrong direction, were Jade and Tabitha. Also, the visions It was so common that people stopped reacting to them and telling others..

And sorry if it feels like I am hating on the show or the writers. But that's not the case. I love watching movies and series as they are a form of storytelling. And I also know how difficult it is to keep the story engaging and at the same time make progress. I know the writers are trying their best to make the story move forward (Or stalling, as per the instruction from the guy who is paying). As for the actors, they are doing an awesome job with what they've been assigned. I guess we have to wait for another season to find out the ending. I know very well that if I were in that town, I would be completely useless. I wouldn't be able to help anyone as I'd be busy changing pants 6 times a day, 7 days a week

Hi Folks, So, I powered up 101 Hive today. And touched 3.5K HP, looking forward to reaching and fulfilling my 5K by the year-end. Thanks for your time.

There is no formula for successfully hunting “Oscars”. Should such a formula exist by some chance, it certainly would not include a positive portrayal of the part of America situated between New York and Los Angeles. Hollywood’s antipathy towards this region, now commonly referred to as “Flyover Country”, is nothing particularly new, and its echoes could be discerned long before the sharpening of economic, political, and ideological divides in American society during the Trump era. Every time a film was set in some provincial town, there was a high likelihood that its inhabitants would be portrayed as religious fundamentalists, primitive racists, bloodthirsty thugs, or some other form of human trash with which the enlightened, civilized, and “cool” parts of the must have no association. Three Billboards Outside Ebbing, Missouri, the film with which Irish-British screenwriter and director Martin McDonagh sought to capture “Oscars”, makes little effort to deviate from such stereotypes, yet this did not prevent it from delivering a good, indeed refreshingly compelling film to audiences.

McDonagh drew the plot idea, according to his own words, while travelling through the American South in the 1990s and noticing billboards where an aggrieved father criticised the local police for failing to bring his daughter’s murderer to justice. His fictional alter ego is Mildred Hayes (Frances McDormand), a souvenir shopkeeper in the town of Ebbing, Missouri, whose life is permanently scarred by the brutal murder and rape of her teenage daughter. After the local police, led by Chief Willoughby (Woody Harrelson), fail to find the perpetrator, Mildred decides to rent three billboards accusing them of incompetence. Her move, however, sparks deep discontent among her fellow townsfolk, particularly from Dixon (Sam Rockwell), a racist and violent officer who attempts to have the billboards removed by systematically harassing Mildred and her loved ones. Mildred is, however, stubborn, and this will escalate the conflict into violent, even apocalyptic proportions.

McDonagh firmly adheres to the parameters of “political correctness” in the film, making the positivity of characters proportional to their distance from the WASP heterosexual male archetype. Mildred can thus expect help only from members of minorities such as African Americans, homosexuals, or disabled individuals, who, despite having formally won their rights, must still endure abuse or at the very least open disdain from their bigoted fellow citizens. What, however, makes Three Billboards different from typical Hollywood agitprop is that McDonagh populates the film with a series of memorable characters and employs an exceptionally skilful genre-blending of socially engaged drama, thriller, and black comedy. Even more impressive is how the film utilises plot twists, which due to their unpredictability, yet credibility, represent quite a rarity in contemporary Hollywood. Three Billboards also boasts an exceptionally impressive and spirited cast, including veteran McDormand, who won an “Oscar” for her performance, as well as Rockwell, who managed to craft a complex and convincing character from something that in any other film would have been a pathetic caricature. This, of course, does not mean that Three Billboards is a perfect film. This primarily concerns certain superfluous scenes (such as a dentist visit that reads like a poorly written farcical sketch) and some underdeveloped characters (such as Willoughby’s wife, portrayed by the rather unconvincing Abbie Cornish). The film’s greatest flaw, however, is its ending, which with its openness and unconventionality was meant to lend an “artistic” touch. It seems, though, that this is more a result of McDonagh’s indecision—whether the film intended to conclude in an old-fashioned “Hollywood” fashion but then remembered at the last moment that this would clash with the ideological orthodoxy of today’s Hollywood salon liberals. Despite these criticisms, the “Oscars” for this film were well-earned, and, unlike many films of the same ilk, McDonagh’s work can be recommended even for less demanding viewing.

RATING: 7/10 (+++)

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

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

The series starrts to explore more Wendy's abilities to communicate with the aliens, Boy Cavaliere was flipping and absolutely obsessed with this discovery and you can tell he thinks has found the key to everything he has been searching for, a superior species to talk to and revolutionize the era they living in. It would be just easier if she started to talk to the Xenomorphs but they didnt handle it this way, it was interesting they put some stones in the way to build up more drama and thats good, Wendy can actually make the same sounds that the Xenomorphs use to communicate and its not just some random noise, its happening across multiple frequencies which shows these creatures are way more advanced than anyone realized. The scene where she practices making these alien sounds was both fascinating and creepy as hell, watching everyone in the room get uncomfortable when she pulls it off perfectly. Boy Cavaliere gets so excited about this breakthrough that he basically dismisses everything else, including Curly who was trying so hard to be his favorite but now realizes she has zero chance against Wendys new abilities, he even put her down saying "yeah you can talk French but can you do this..." that was a low blow but thats reality too. Meanwhile Kirsh is watching all this unfold and you can tell hes planning something, Timothy Olyphant does this cold calculating thing so well that you know hes up to no good, the guy knows about Morrow manipulating Slightly and hes just letting it play out for reasons we dont fully understand yet, my first impression is that he will handle this in favor of Boy Cavaliere but Im not so sure of that, although after all Kirsh do follow orders.

#skiptvads, #inleo, #hive, #alien, #earth, #observation, #xenomorph, #wendy, #communication, #corporations, #kersh, #morrow, #slightly, #manipulation, #prodigy, #cavaliere, #chest, #burster, #embryo, #government, #five, #companies, #world, #building, #psychological, #horror, #hybrid, #evolution

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There are profound sensory experiences that mark us and, despite the passage of time, remain with us. For me, seeing "The Piano" was exactly that. Something like a visual poem branded by fire into the viewer's memory.

Fuente

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This monumental, multi-award-winning film is set in the misty and wild New Zealand of the 19th century. The movie is an intimate and heartbreaking study of isolation, silence, the desire born from lack of communication, and the fierce struggle for personal autonomy in a rigid, patriarchal world.

This film, directed by Jane Campion, does not tell a conventional love story, but rather a complex exploration of power and liberation through voice, or in this case, the music through the piano.

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The protagonist, Ada McGrath (Holly Hunter), is a Scottish woman who has chosen not to speak since the age of six, for reasons known only to her. Her only means of communication with the world is through her piano, a monumental instrument that is the extension of her soul, her true voice, and her emotional refuge.

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And so it all begins: Ada and her young daughter, Flora (Anna Paquin), are sent to a remote coast of New Zealand for an arranged marriage with Alisdair Stewart (Sam Neill), a British settler she has never met.

From the moment they arrive on the beach, soaked and covered in mud, Campion establishes a tone of harshness and disconnection. Stewart, a practical man of restrained emotions, is uncomfortable with Ada's peculiarity and completely underestimates the importance of the piano, leaving it abandoned on the beach, considering it an unnecessary burden. This initial act of contempt marks the irreparable fracture in their relationship. The piano, Ada's soul, lies stranded, between the sea and the land, like a metaphor for its owner herself, trapped between two worlds.

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The true connection emerges with George Baines (Harvey Keitel), charged with a dangerous and visceral electricity. He is a neighbor who has adopted Māori customs and who, though rough, possesses a sensitivity that Stewart lacks. Baines rescues the piano from the beach and, fascinated by the intensity with which Ada plays it, devises a perverse and sensual deal; he will return the keys to her in exchange for piano lessons. These "lessons" soon transform into a barter of intimacy; Baines doesn't want to learn to play, he wants to witness Ada's passion. In exchange for playing specific pieces, she can reclaim her instrument note by note, key by key.

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What begins as a coercive agreement gradually transforms into a genuine and passionate relationship. Baines is the first person who not only listens to her music but sees her. He doesn't want to change her or tame her; he wants to understand her language. Desire between them is communicated through glances, through touch on the piano keys, and through the gasping sound of breathing in the cabin. Campion films these encounters with a rawness and realism that are both uncomfortable and deeply moving. There is no sugary romanticism here, but a transaction that becomes a mutual and liberating necessity.

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The plot of the film reaches its climax with a devastating act of violence by Stewart, a desperate attempt to regain the control he has lost. The consequent mutilation, the amputation of one of Ada's fingers, is one of the most shocking scenes in cinema, a brutal physical metaphor for the way society silences and severs female expression. However, it is from this brutality that Ada's final rebirth is triggered. Far from breaking her, the experience liberates her from the bonds of her husband and, curiously, from Baines's possessive obsession.

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The ending is ambiguous and dreamlike. Ada, having chosen a life with Baines, is reinventing herself. She is learning to speak, although her voice sounds fragile and strange to her own ears. In a powerful image, she imagines her piano at the bottom of the sea, anchored by a rope tied to her foot, choosing to submerge herself in her past before emerging to breathe. It is an ending about the weight of memory and the conscious choice to surface towards a new existence.

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The Piano is a timeless masterpiece. The cinematography by Stuart Dryburgh paints a world where the vegetation is as lush as it is oppressive, and the soundtrack, composed by Michael Nyman, is another character in the story. The music is Ada's voice, pulsating, romantic, sad, and triumphant. Jane Campion weaves a story that defies easy categories, inviting us to listen not with our ears, but with our souls, reminding us that the deepest desire and the strongest will are often expressed in the most eloquent silence.

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Hay experiencias sensoriales profundas que nos marcan y pese al devenir del tiempo permanecen con nosotros. Para mi ver "El Piano" fue exactamente eso. Algo así como un poema visual que se graba con fuego en la memoria del espectador.

Fuente

Fuente

Este filme descomunal, multipremiado, está ambientado en la brumosa y salvaje Nueva Zelanda del siglo XIX, la cinta es un estudio íntimo y desgarrador sobre el aislamiento, el silencio, el deseo que nace de la escasa comunicación y la lucha feroz por la autonomía personal en un mundo rígido y patriarcal.

La pelicula, dirigida por Jane Campion, no es una historia de amor convencional, sino una compleja exploración del poder y la liberación a través de la voz, o en este caso, a través de la musica que emana de un piano.

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La protagonista, Ada McGrath (Holly Hunter), es una mujer escocesa que ha elegido no hablar desde los seis años, por razones que solo ella conoce. Su único medio de comunicación con el mundo es a través de su piano, un instrumento monumental que es la extensión de su alma, su voz verdadera y su refugio emocional.

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Y así comienza todo: Ada y su joven hija, Flora (Anna Paquin), son enviadas a una remota costa de Nueva Zelanda para un matrimonio arreglado con Alisdair Stewart (Sam Neill), un colono británico al que nunca ha conocido.

Desde el momento en que llegan a la playa, empapadas y cubiertas de lodo, Campion establece el tono de crudeza y desconexión. Stewart, un hombre práctico y de emociones contenidas, se muestra incómodo con la peculiaridad de Ada y subestima por completo la importancia del piano, dejándolo abandonado en la playa por considerarlo una carga innecesaria. Este acto de desprecio inicial marca la fractura irreparable en su relación. El piano, el alma de Ada, yace varado, entre el mar y la tierra, como una metáfora de su propia dueña, atrapada entre dos mundos.

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La verdadera conexión surge con George Baines (Harvey Keitel), cargada de una electricidad peligrosa y visceral. Él es un vecino que ha adoptado las costumbres maoríes y que, aunque rudo, posee una sensibilidad que Stewart no tiene. Baines rescata el piano de la playa y, fascinado por la intensidad con la que Ada lo toca, urde un trato perverso y sensual; le devuelve las teclas a cambio de lecciones de piano. Estas "lecciones" pronto se transforman en un trueque de intimidad; Baines no quiere aprender a tocar, quiere ser testigo de la pasión de Ada. A cambio de tocar piezas específicas, ella puede recuperar su instrumento nota a nota, tecla a tecla.

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Lo que comienza como un acuerdo coercitivo se transforma gradualmente en una relación genuina y apasionada. Baines es el primero que no solo escucha su música, sino que la ve a ella. Él no quiere cambiarla ni domarla; quiere entender su lenguaje. El deseo entre ellos se comunica a través de miradas, del tacto sobre las teclas del piano y del jadeante sonido de la respiración en la cabaña. Campion filma estos encuentros con una crudeza y un realismo que son a la vez incómodos y profundamente conmovedores. No hay romanticismo edulcorado aquí, sino una transacción que se convierte en una necesidad mutua y liberadora.

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La trama del filme alcanza su clímax con un acto de violencia devastador por parte de Stewart, un intento desesperado por recuperar el control que ha perdido. La consecuente mutilación, la amputación de un dedo de Ada, es una de las escenas más impactantes del cine, una metáfora física brutal de la forma en que la sociedad silencia y cercena la expresión femenina. Sin embargo, es a partir de esta brutalidad la que detona el renacimiento final de Ada. Lejos de quebrarla, la experiencia la libera de las ataduras de su marido y curiosamente, de la obsesión posesiva de Baines.

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El final es ambiguo y onírico. Ada, habiendo elegido la vida con Baines, se está reinventando. Aprende a hablar, aunque su voz suena frágil y extraña para sus propios oídos. En una imagen potentísima, ella imagina su piano en el fondo del mar, anclado por una cuerda atada a su pie, eligiendo sumergirse en su pasado antes de emerger para respirar. Es un final sobre el peso de la memoria y la elección consciente de salir a flote hacia una nueva existencia.

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El Piano es una obra maestra que supera el tiempo. La fotografía de Stuart Dryburgh pinta un mundo donde la vegetación es tan exuberante como opresiva, y la banda sonora, compuesta por Michael Nyman, es un personaje más en la historia. La música es la voz de Ada, pulsante, romántica, triste y triunfal. Jane Campion teje una historia que desafía las categorías fáciles, invitándonos a escuchar no con los oídos, sino con el alma, recordándonos que el deseo más profundo y la voluntad más férrea a menudo se expresan en el silencio más elocuente.

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Hola mi gente, un feliz inicio de semana para todos, les mando un gran abrazo para todos, en esta nueva ediciòn del dia de hoy hablaremos de una de las telenovelas mas famosas y exitosas del pais y de latino america porque de ella se han realizado muchas versiones. Espero les guste.

Doña Bárbara fue una de las telenovelas más ambiciosas de la época: adaptada por José Ignacio Cabrujas y Salvador Garmendia y dirigida por Juan Lamata, se convirtió en la primera producción grabada en color para la televisión venezolana, elevando el género hacia estándares más cinematográficos y “culturales”.

-Título: Doña Bárbara. -Canal: RCTV. -Emisión original: 1974–1975. -Origen & Adaptación: Novela de Rómulo Gallegos, adaptada por José Ignacio Cabrujas y Salvador Garmendia. -Dirección: Juan Lamata. -Protagonistas: Marina Baura (Doña Bárbara), Elio Rubens (Santos Luzardo), Marisela Berti (Marisela Barquero). -Tema musical Interpretado por "El Carrao del Palmarito" (“Doña Bárbara”). -Formato técnico: Primera telenovela venezolana en color. -Elenco adicional Tomás Henríquez (Melquíades “El Brujeador”), Rafael Briceño (Lorenzo Barquero), Carlos Márquez (Balbino Paiva), Edmundo Valdemar (Ño Pernalete), Enrique Benshimol (Mr. Danger) y otros.

La trama gira en torno a Doña Bárbara, una mujer forjada por la violencia desde su juventud: tras sobrevivir a una brutal agresión durante su juventud, se convierte en la poderosa "devoradora de hombres" de los llanos, dueña de un extenso hato. Con métodos brutales, domina la región y se enfrenta a los ideales de civilización representados por Santos Luzardo, quien vuelve a su tierra para restablecer la justicia. Paralelamente, surge un triángulo amoroso donde Marisela, hija de Bárbara, se convierte en el eje de la redención y el choque entre civismo y barbarie.

Esta producción marcó un antes y después en la telenovela venezolana:

Innovación tecnológica: Fue la primera en producirse en color, lo cual permitió aprovechar los escenarios naturales y darle un valor estético realista a los llanos venezolanos.

Calidad dramática: La interpretación de Marina Baura como Bárbara fue poderosa y perturbadora, logrando que el espectador sintiera empatía con un personaje tan complejo.

Narrativa cultural: Adaptar una obra literaria emblemática como Doña Bárbara transformó el melodrama televisivo en un medio digno del legado cultural nacional, impulsando lo que se llamó posteriormente “telenovela cultural”.

Realismo estético: Las locaciones reales en los llanos y una dirección enfocada en la experiencia sensorial del paisaje ampliaron el impacto emotivo y visual de la narrativa.

Doña Bárbara (1974–1975) es una de las producciones más legendarias del melodrama venezolano. Con su poderosa historia, su puesta en escena pionera en color y actuaciones memorables, se consolidó como un hito cultural de la televisión nacional. Esta telenovela superó el plano melodramático para convertirse en una obra que fusiona literatura, arte y memoria colectiva.

Bueno mi gente, esta aqui la ediciòn del dia de hoy, es una de las telenovelas mas exitosas del mundo, un libro de romulo gallegos que es todo un clasico de la literatura convertida en imagenes a la tv, y que mas que la original es realizada aqui en Venezuela, de las cuales ha salido muchas versiones, asi que espero sea de su agrado y nos vemos en una nueva ediciòn. Bendiciones.

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