Community Reviews

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it’s the Korean fantasy-action series “Twelve” (트웰브). I did not think Twelve would appeal to me as much as it did when I was watching it. I was afraid it would be another colorful fantasy-action film, but the manner in which it incorporates myth, grit, and bare human burden impressed me even after the end-credits. It was not only the spectacle- the fights and the visuals were crazy, but it was the small moments that got under my skin.

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There is this opening scene when Tae-san, the tiger amongst angels, moves through the city as a man who is burdened with centuries of battles. He does not say much, but you can feel the fatigue in him, that heavy kind of silence which tells you that he has lost more than he will ever admit. And when he gazes at the mural of the fallen four--the ones that sacrificed all to entomb the darkness--you could nearly hear the whispers of the ghosts around him. That scene slapped me in the face Not that it was dramatic, but that his guilt was eating him alive.

What confused me was the coming back of O-gwi. Park Hyung-sik portrays him in this dark and cold manner as someone who smiles before he kicks you out in the dark. There is the scene where he finds himself in a busy street in contemporary Seoul and nobody notices that he is there, but somehow it feels like Seoul is aware that evil is passing through it. I remember being there with a racing heart even though nothing very big was on the screen. It was nothing more than his presence, his stillness, the way the camera lingered on his eyes which made me feel that something dreadful is about to engulf everything.

There is Won-seung, the monkey, spouting off with the sharpest lines and the slyest grins as though he is too smart for himself. He even made me laugh at something that I did not anticipate. There is one moment when the angels are debating whether they should even be in this fight anymore and he makes this half-serious/half-sarcastic remark that broke the tension and it felt like you were watching old friends argue at a bar as opposed to warriors deciding the fate of the world. I needed that laugh because the entire climate was so serious.

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But the scene that cut me to the quick was when the angels fell down under the storm--their powers blazing like real constellations--and you felt in their faces the burden of what was coming. It was not only about overcoming some evil power, it was about accepting the fact that not everyone would walk away. My chest tightened up It made me think of that awful sinking feeling you get when you realize the night out with your mates could be the last time that group will ever be complete. That combination of love and dread and inevitability broke me open.

At least by the end I was not considering the CGI or the epicness of the battles. What I remembered was the sadness in the eyes of Tae-san, the sharpness of the smile of O-gwi, the hints of humor that made humans seem so vulnerable even when they are trying to play deities. Twelve was not only entertaining but it left me with a sense of being haunted as I felt, I had touched something bigger than myself. And perhaps that is why I keep having it replaying in my head.

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Thumbnail is designed by me on pixelLab and other images are screenshot from the movie

Dales una moneda de oro y se alegrarán. Dales una de cartón, y te clavarán los dientes...

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HBO arriesgó su pellejo con la puesta en marcha de una serie basada en un videojuego, en tiempos en los que las adaptaciones suelen ser más acribilladas que alabadas por los públicos enardecidos. The Last of Us fue una de esas franquicias jugables que encendió la mecha y elevó los dólares, con una aclamación que le costó la fama mundial y, posteriormente, el fracaso y el repudio. Algo no entendieron los productores de dicho videojuego: un fan espera que su historia favorita siempre vaya a mejor, no peor. Hazlos enojar, y será tu fin.

Cuando se adaptó el videojuego y HBO dio a luz a una serie de televisión con ligeros cambios hacia la inclusión racial, muchos (incluyéndome) tuvimos miedo. Ver a una Sarah interpretada por Nico Parker fue algo que me sorprendió, sobre todo porque el aspecto de dicho personaje en el videojuego es muy diferente. Sin embargo, admito que el guión fue tan bueno, y el despliegue en escena tan limpio, que esos detalles pasaron (al menos para mí) desapercibidos.

Supuse que la incorporación de Bella Ramsey era más por el impacto que dejó en su actuación en Game of Thrones. No creí que, tiempo después, la actriz fuera víctima de tantas críticas por sus rasgos faciales, además de su incompatibilidad física con la Ellie del videojuego. La actriz es sin duda muy buena, pero simplemente no encaja bien. Algo faltó...

Claro que, más allá de un cambio u otro, mi miedo más grande era la segunda temporada... porque si en el videojuego la historia fracasó, y HBO estaba siendo fiel en la adaptación... ¿al fin de cuentas no se toparían con un deja vu?

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La primera temporada fue muy buena. Pedro Pascal (otro que participó en Game of Thrones) se metió bastante bien en el papel, y de hecho, creo que después de su participación en esta serie las puertas a otros proyectos estuvieron más abiertas para él. Más allá de eso, la inclusión (podría decir yo que forzada) estuvo allí, ligera y aceptable por la calidad del guión. Todo bien hasta allí.

Lo que vino después rayó en una especie de garabato que todavía sigo reflexionando. Si bien ya sabía que la segunda parte del videojuego era mala, no esperé que en la serie de Tv fuera aún peor. De alguna forma pensé que, al tener un historial de fracaso previo, los guionistas harían algunos ajustes para evitar repetir el ciclo. No fue así. Sin Pedro Pascal, y con una Bella Ramsey que no simpatizaba con la gente, era poco probable que el resultado fuera igual de bueno que el anterior.

Para terminar empeorando el asunto, los showrunner (Craig Mazin y Neil Druckmann, si bien recuerdo) terminaron ablandando y estereotipando al personaje de Ellie. El asunto se volvió absurdo. Algunos elementos no encajaron, y todo se volvió mas Woke.

No, no terminé de ver la segunda temporada. La abandoné apenas escuché ese diálogo de Ellie, diciendo sorprendida que iba a ser "papá".

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Señor HBO, ¿usted está consciente de lo que hizo?

O sea, lo arruinaste aún sabiendo que estabas adaptando un videojuego cuya segunda parte tuvo un fracaso argumental, que podría generar repudio en los fans que se sumaban al frente de sus televisores para recordar lo que obviamente fue malo. Estoy muy decepcionado de usted, ojalá haya aprendido la lección.

Eso le diría a HBO si tan solo fuera una persona, pero okay, al final del día, Craig Mazin y Neil Druckmann decidieron lanzarse al abismo aplaudiendo y sonriendo como los zombis que aparecen en su propia serie.

The Last of Us es memorable... solo en la primera parte del videojuego y la serie. Lo que viene después es semejante a los caballos torcidos que se reflejan en los memes caricaturescos.

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English Version

Give them a gold coin and they'll rejoice. Give them a cardboard one, and they'll sink their teeth into you...

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HBO risked its neck by launching a series based on a video game, at a time when adaptations tend to be more criticized than praised by enthusiastic audiences. The Last of Us was one of those playable franchises that lit the fuse and raised dollars, with acclaim that cost it worldwide fame and, subsequently, failure and repudiation. The producers of said video game didn't understand something: a fan expects their favorite story to always get better, not worse. Make them angry, and it's your end.

When the video game was adapted and HBO gave birth to a television series with slight changes toward racial inclusion, many (including me) were afraid. Seeing Sarah played by Nico Parker was something that surprised me, especially since that character's appearance in the video game is very different. However, I admit that the script was so good, and the stage setting so clean, that those details went (at least for me) unnoticed.

I assumed the addition of Bella Ramsey was more due to the impact her performance had on Game of Thrones. I didn't think that, later on, the actress would be the victim of so much criticism for her facial features, in addition to her physical incompatibility with the Ellie from the video game. The actress is undoubtedly very good, but she simply doesn't fit well. Something was missing...

Of course, beyond one change or another, my biggest fear was the second season... because if the story failed in the video game, and HBO was being faithful in the adaptation... wouldn't they end up with deja vu?

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The first season was very good. Pedro Pascal (another who participated in Game of Thrones) got into the role quite well, and in fact, I think that after his participation in this series, the doors to other projects were more open for him. Beyond that, the inclusion (I could say forced) was there, light, and acceptable due to the quality of the script. So far, everything was fine.

What came next bordered on a kind of scrawl that I'm still reflecting on. While I already knew the second part of the video game was bad, I didn't expect the TV series to be even worse. Somehow, I thought that, given their history of previous failure, the writers would make some adjustments to avoid repeating the cycle. That wasn't the case. Without Pedro Pascal, and with a Bella Ramsey who didn't resonate with people, it was unlikely the result would be as good as the previous one.

To make matters worse, the showrunners (Craig Mazin and Neil Druckmann, if I recall correctly) ended up softening and stereotyping Ellie's character. The whole thing became absurd. Some elements didn't fit, and everything became even more woke.

No, I didn't finish watching the second season. I abandoned it as soon as I heard that line from Ellie, surprised to say she was going to be a "dad."

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Mr. HBO, are you aware of what you did?

I mean, you blew it even though you knew you were adapting a video game whose second part had a plot failure, which could generate revulsion in fans who gathered in front of their televisions to remember what was obviously bad. I'm very disappointed in you. I hope you've learned your lesson.

That's what I would say to HBO if it were just a person, but okay, at the end of the day, Craig Mazin and Neil Druckmann decided to jump into the abyss clapping and smiling like the zombies that appear in their own series.

The Last of Us is memorable... only in the first part of the video game and the series. What comes after is similar to the crooked horses reflected in cartoonish memes.

Algo que me encanta de esta serie, es que inicia cada capítulo con la narrativa de una metafora médica, así que iniciaré igual...

En medicina se sabe que el cuerpo siempre busca la forma de curarse, aún cuando no siempre lo consigue del todo. Sin embargo en la vida, a veces hacemos lo contrario: tocamos la herida una y otra vez, como pacientes que arrancan sus propios puntos de sutura. Y esto me lleva a pensar que tal vez no le tememos al dolor, sino a lo que significa realmente sanar...

English Version

Something I love about this series is that it starts each chapter with the narrative of a medical metaphor, so I'll start the same...

*In medicine it is known that the body always looks for a way to heal itself, even if it doesn't always succeed completely. In life, however, we sometimes do the opposite: we touch the wound over and over again, like patients tearing out their own stitches.

And this leads me to think that maybe we are not afraid of the pain, but of what it means to really heal...*

Por años he sido fanática de esta serie, no recuerdo la cantidad de veces que he visto algunos de sus capítulos. Sin embargo, hubo un momento en el cual decidí dejar sanar la herida, es decir, dejar de verla. Ya que cuando amas mucho una serie pero comienzan a sacar a tus personajes favoritos o los principales y los que mete luego de esos, realmente no logran conectar contigo, entonces sabemos que la producción ha fallado y que es hora de dejarlo ir.

La temporada 5 fue dura, lloré y hasta tenía pesadillas jajaja, porque es como la temporada de la muerte. Y asi hubieron otras, pero luego de muchos años, decidí volver a ver la serie, porque veia cortos de capitulos que no entendía ya que había dejado de verla. Sin embargo y aqui es donde hace eco mi metáfora inicial, fue darme otra vez en la misma herida. Comencé a verla desde la temporada 1 y comencé a sufrir de nuevo jajaja.

Lo mejor de volver a ver tu serie favorita, es que le puedes dar una segunda oportunidad a los personajes: amarlos más o de odiarlos. En mi caso, odié a Izzie, que papel tan equis tenía esa actriz, aunque se rumora que quiso quitar protagonismo, para mí su papel es pésimo. Fue egoísta, inmoral y con poca empatia. Por otra parte amé más que nunca a Cristina Yang y a Karev, mis 2 personajes favoritos y los cuales nunca debieron salir de la serie y menos Karev de la forma en la que salió, pero bueno producción, seguramente la idea era perder audiencia.

English Version

For years I have been a fan of this series, I can't remember how many times I have watched some of its episodes. However, there was a moment in which I decided to let the wound heal, that is to say, to stop watching it. Because when you love a show so much but they start to take out your favourite characters or the main ones and the ones they put in after those, don't really connect with you, then you know that the production has failed and it's time to let it go.

Season 5 was hard, I cried and even had nightmares hahaha, because it's like the season of death. And so there were others, but after many years, I decided to watch the series again, because I saw short chapters that I didn't understand since I had stopped watching it. However, and this is where my initial metaphor echoes, it was to hit me again in the same wound. I started watching it from season 1 and started to suffer again hahaha.

The best thing about re-watching your favourite series is that you can give the characters a second chance: love them more or hate them. In my case, I hated Izzie, what a crazy role that actress had, although it is rumoured that she wanted to take the limelight, for me her role is terrible. She was selfish, immoral and with little empathy. On the other hand I loved Cristina Yang and Karev more than ever, my 2 favourite characters and who should never have left the show and even less Karev the way he left, but well production, surely the idea was to lose audience.

Derek, lo amé la primera vez que vi la serie y lo odié esta segunda vez, pero no al punto de que saliera de la serie justo en el clímax del odio que sentía por su personaje jajaja. Sin embargo su salida fue necesaria, mas no la veo nada justa y fue un timpo después de eso que dejé de verla. En esta segunda oportunidad que le estoy dando a Grey's Anatomy, aún no llego a la muerte de Derek, pero ya solo me faltan 4 capitulos, así que me gusta sufrir eh jajaja. Porque seguiré viéndola.

Otra de las cosas que no me gusta de la serie, más allá de la muerte y salida de algunos personajes, es que prácticamente todos se acuestan con todos. Y es que sí, a parte de las operaciones, emergencias, pacientes random, amistades e historias detrás de cada médico, hay sexo y no necesariamente porno. Y es como feo eso de que por ejemplo: Karev, se acostara hasta con Callie, que luego se declaró lesbiana jajaja y luego todas decían que Karev apestaba, pero bien que acostaron con él y luego eran amigos como si nada. O son bien maduros esos médicos con este tema o en serio es importa nada con quien se acuestaban.

English Version

Derek, I loved him the first time I watched the show and hated him the second time, but not to the point that he left the show right at the climax of the hatred I felt for his character hahaha. However his exit was necessary, but I don't see it as fair at all and it was a while after that I stopped watching it. In this second chance I'm giving Grey's Anatomy, I still haven't reached Derek's death, but I only have 4 more episodes to go, so I like to suffer eh hahaha. Because I'll keep watching it.

Another thing I don't like about the series, beyond the death and departure of some characters, is that practically everyone sleeps with everyone. And yes, apart from the operations, emergencies, random patients, friendships and stories behind each doctor, there is sex and not necessarily porn. And it's kind of ugly that, for example, Karev even slept with Callie, who later declared herself a lesbian hahaha and then they all said that Karev sucked, but they slept with him and then they were friends as if nothing had happened. Either those doctors are very mature about this or it really doesn't matter who they slept with.

Muertes que no debieron suceder: La de Omally, hubieran dejado que su personaje se fuera al ejército y ya. La de Lexie, una muerte innecesaria, triste y sin darle un mejor desarrollo a su personaje. La de Slon, solo porque sacaron a Lexie, aunque igual a él ya se lo veía muy delgado y acabado, lo hubieran hecho irse a donde vivía antes. Y la de Derek por supuesto, porque mataron al esposo de nuestra protagonista quitándole a todas las personas que tanto amaba.

¿Lo más egoísta que vi en la serie?

Izzie metiéndose con George, ya él estando casado.

Izzie, robando un corazón para Denny, para que al final igual muriera, quitando la oportunidad de vivir con ese corazón a otro paciente.

Owen con Cristina en sus primeros años.

Derek con Meridith, cuando ya quiere viajar a DC.

Derek con su hermana Amelia, casi siempre.

Muchas actitudes, en varios capitulos de Miranda hacia los demás médicos.

En fin, una serie que es como la vida, no se mide en las veces que caemos, sino en las cicatrices que decidimos llevar como prueba de que sobrevivimos.

English Version

Deaths that shouldn't have happened: Omally's, they would have let his character go to the army and that's it. Lexie's, an unnecessary death, sad and without giving her character a better development. Slon's, just because they took Lexie out, even though he already looked very thin and finished, they would have made him go back to where he lived before. And Derek's of course, because they killed off our protagonist's husband by taking away all the people he loved so much.

The most selfish thing I've seen on the show?

Izzie messing with George, even though he's married.

Izzie stealing a heart for Denny, only to have him die anyway, taking away another patient's chance to live with that heart.

Owen with Cristina in her early years.

Derek with Meridith, when he wants to travel to DC.

Derek with his sister Amelia, almost always.

Many attitudes, in several chapters of Miranda towards the other doctors.

In short, a series that is like life, not measured in the times we fall, but in the scars we decide to carry as proof that we survived.

Cuatro jubilados que se dedican a resolver casos que no han sido resueltos, se enfrentarán al más difícil de su carrera cuando se produce una muerte muy cercana el asesinato de un promotor inmobiliario, que los afecta directamente. El club del crimen de los jueves, con excelente protagonistas: Helen Mirren, Pierce Brosnan, Ben Kingsley y Celia Imrie.

Es la novela debut del presentador de programas de concursos británico Richard Osman. Me gusto mucho no hay escenas a la vista de violencia, pero si bastante intriga. Esa búsqueda de quien será el asesino siempre nos atrapa desde el principio.

Saben que no hago recomendaciones muy a menudo y aunque veo muchísimas películas y series, espero hasta tener algo bueno para comentar.

Hay mucho misterio e intriga en ella pero poco a poco se irán atando los cabos y el menos esperado, será el que lo resuelva todo; aportando pruebas de quien lo hizo.

Four retirees who dedicate themselves to solving unsolved cases will face the toughest case of their careers when a death occurs very close to the murder of a real estate developer, which directly affects them. The Thursday Murder Club, with excellent protagonists: Helen Mirren, Pierce Brosnan, Ben Kingsley, and Celia Imrie.

It's the debut novel by British game show host Richard Osman. I really liked it; there are no obvious scenes of violence, but it is quite intriguing. This search for who the killer is always grips us from the beginning.

You know I don't make recommendations very often, and although I watch a lot of movies and series, I wait until I have something good to comment on.

There is a lot of mystery and intrigue in it, but little by little, the loose ends will be tied up, and the least expected person will be the one who solves everything by providing evidence of who did it.

Fuente/Source

El sitio oficial para verlo es Netflix hasta ahora.

Pero se espera que el Club del Crimen de los Jueves, continué con otras películas ya que Osman publicó una secuelas escritas; El Hombre que Murió Dos Veces, en 2021; luego, La Bala que Falló, en 2022; y El Último Diablo en Morir, en 2023, deleitando a los fans que esperaban con ansias estas entregas. La quinta entrega de la serie, La Fortuna Imposible, se estrenará el 23 de septiembre en libros, así que tendremos que esperar para las películas.

The official site for viewing is Netflix so far.

But Thursday Murder Club is expected to continue with other films, as Osman has already published written sequels: The Man Who Died Twice, in 2021; then The Bullet That Missed, in 2022; and The Last Devil to Die, in 2023, delighting fans who eagerly awaited these installments. The fifth installment in the series, The Impossible Fortune, will be released on September 23 in books, so we'll have to wait for the films.

Fuente/Source Youtuve

Al final las historias terminan enlazadas o los crímenes. Me gusta porque no hay mucha violencia explicita y todo termina relativamente bien.

In the end, the stories or crimes are intertwined. I like it because there isn't much explicit violence and everything ends relatively well.

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_{Photos with source identified Translated with google (free version)}

¡Gracias por tu visita/Thank you for your visit!

I’m honestly not in the mood to sugarcoat things this time so I’m hitting the nail right on the head with this one. And I may bring emotions into it too because why not? I’ve seen better survival thrillers to know that this one was executed poorly. It badly wants to be a tense survival thriller, but honestly, it feels like a low-budget B-movie trying way too hard.

The story follows Naomi (Madalina Ghenea), still grieving the death of her parents, who sets out sailing probably to declutter her mind, only to face drug traffickers and, you guessed it, a great shark. Sounds thrilling, right? Except the execution is off.

The acting just never really clicks. It felt forced. I mean they were giving me amateur vibes. Watching the guy who was meant to be Naomi’s boyfriend’s acting, made me chuckle, not out of excitement but great disappointment. In those moments of him showing anger, it felt so fake.

Ghenea is gorgeous, sure, but it feels like she was cast more for looks than range, and when most of the film rests on her shoulders, that becomes a problem. The performances around her don’t help either, everything feels stiff, like the actors are reading lines instead of living them. To make up for that, the soundtrack cranks up the “emotional” score. I felt like they were basically trying to blackmail me into feeling intensity that the acting itself doesn’t deliver. It’s manipulative rather than effective.

Visually, the film shows its budget. The shark shots are inconsistent, the action feels restrained, and long stretches of talking or drifting eat up the runtime instead of building tension. A survival thriller should make you bite your nails; this one mostly makes you check the freaking clock.

Would I recommend it? Honestly, not really. If you’re a die-hard shark-movie completist, maybe. But otherwise, it’s a forgettable splash in a genre already crowded with better films.

Rating: 4.5/10.

It’s got shaky acting, cheap thrills and a score that works harder than the cast.

Till next time.🌸

Hola mis queridos lectores de Hive y amantes del mundo del cine ❤️, hoy les quiero compartir una película que me vi el fin de semana pasado, buscaba una opción más relajante, de comedia, y desde hace días me había aparecido está recomendación en Netflix de la segunda parte de Happy Gilmore, y creo que ver y disfrutar del humor de Adam Sandler sería el plan perfecto para ver en familia, aunque la mayoría de sus películas sean para mayores de edad. La verdad es que no recordaba casi nada de la primera parte, aunque sinceramente ver ésta segunda sin recordar la primera no afecta ya que es como un nuevo comienzo.

Empezamos con un Adam Sandler interpretando a Happy, un viejo y famoso golfista que en su tiempo estuvo en la cima, con fama, dinero, familia, todo felicidad, tenía todo lo que deseaba, hasta que un día, un triste día algo trágico paso, su esposa, su media naranja y la madre de sus hijos falleció por "su culpa", en un momento en dónde desafortunadamente ella se encontraba en la misma dirección donde el lanzo la pelota. Ese suceso cambio su vida, causando su descenso y pérdida de todo lo que había logrado. Hundido en el alcohol, viviendo en un barrio de clase baja y muchos años después sus hijos ya se han independizado y tienen sus responsabilidades, excepto su hija con quién vive con él y tiene el gran sueño de convertirse en bailarina, pero es un sueño muy costoso que Happy no puede costear.

En una parte muy entretenida donde vemos a Happy luchando con su adicción al alcohol y tratar de volver a ser ese famoso y talentoso deportista para ganar un jugoso dinero como recompensa de un torneo de golf, aunque las cosas no serán tan fáciles, su pasión y las ganas por cumplirle el sueño a su hija estarán de su favor para lograrlo.

Hello my dear Hive readers and film lovers ❤️, today I want to share a movie I watched last weekend. I was looking for a more relaxing, comedic option, and a few days ago I saw this recommendation on Netflix for the second part of Happy Gilmore. I think watching and enjoying Adam Sandler's humor would be the perfect family plan, even though most of his films are for adults. The truth is, I didn't remember much about the first part, although honestly, watching this second one without remembering the first doesn't affect it, since it's like a new beginning.

We start with Adam Sandler playing Happy, an old and famous golfer who in his time was at the top of his game, with fame, money, family, happiness, everything he wanted, until one day, a sad day, something tragic happened. His wife, his better half, and the mother of his children died because of him, at a time when, unfortunately, she was in the same direction he hit the ball. That event changed his life, causing his downfall and the loss of everything he had achieved. Sunk into alcohol, living in a lower-class neighborhood, and many years later, his children have become independent and have their responsibilities, except for his daughter, who lives with him and has the great dream of becoming a dancer, but it is a very expensive dream that Happy cannot afford.

In a very entertaining part where we see Happy struggling with his alcohol addiction and trying to return to being that famous and talented athlete to win a juicy money as a reward from a golf tournament, although things will not be so easy, his passion and desire to fulfill his daughter's dream will be in his favor to achieve it.

Synopsis: When the underworld of credit card scams unexpectedly becomes an "easy way out" for Emily (a woman with a few blemishes on her criminal record and currently burdened with debt beyond her control), she has no idea what a dangerous game she's decided to play.

The American dream is literally shattered before the viewer's eyes. That would be a simple, self-contained sentence about everything I could say about this movie, but I really need to write a full text because this is the kind of project that needs to be recognized and valued as art within the cinematic universe (even though it has its occasional flaws, but they in no way diminish the brilliance of what has been constructed here). I decided to watch it after seeing the trailer, and I confess that I really didn't expect to encounter such a genuine (and thoughtful) plot. Here is an intriguing, provocative, and at times, quite sad (especially for poorer people).

Zavvi

In a reality that seems, and indeed is, very negative, the protagonist of this story must deal with several companies' repeated refusals to hire her as a registered employee (due to past crimes). Furthermore, she is financially indebted due to her student loan (which she had to take out to graduate from university) and shares a small apartment with strangers. Working as someone without any formal employment (as a simple service provider for a food service company), she decides to change careers. However, it is a radical change, and one that will bring her unimaginable problems.

Emily is "innocently" introduced by a friend from work to a group of people committing coordinated illicit acts based on scams using cloned credit cards. Once inside the scheme, everything that happens (from a first, minor crime to more complex scams) distorts her entire understanding (not initially, but gradually) about everything she needs to do to earn the money she so desperately desires to honor her commitments and have a better life. What she didn't expect to happen was her immersion into an underworld of countless scams operating in the city of Los Angeles.

Distractify

Alongside Youcef, an immigrant who built his life in the United States by running scams of this nature, Emily develops a physical (and emotional) attraction as they pull off new scams. However, it's Emily who spares no effort to advance further and further in this field, surprising her "tutor" in a world where crime seems to be just a "tool" to bravely fight against an oppressive system that crushes all those who try to go against its rules. Increasingly greedy, she ends up being easy prey for other scammers at times, but she quickly comes to understand how this game works.

Parallel to her life as a potential criminal, she also tries to find a path to redemption through more conventional means (experiencing another embarrassing moment during an interview, which a longtime friend of hers had arranged for her at the company where she works... and here the script makes a harsh critique of how some large companies exploit their interns). But once again, the oppressive system reminds her of her place in the food chain, where she will not rise through the traditional path (reinforcing her choice of the world of crime). A sad portrait of how this "arm" of capitalism operates within a society seduced by its promises.

CNY Central

The weight of the drama here is palpable, and I believe many viewers can easily relate to the reality Emily is experiencing. Beyond the drama, there's also an effective, suspense-driven approach to events that, while somewhat predictable, demonstrate that life within the criminal world can't bear fruit (and is ultimately a sneaky practice that ultimately backfires on those who choose it). There's only the corrosive (and persistent) process of massive self-destruction, "disguised" as momentary pleasures, which tend to satisfy all our most urgent needs (whether short-, medium-, or long-term).

In a powerful performance, Aubrey Plaza invites us to delve into a relentless reality, playing a character who, in her pursuit of financial freedom, ironically ends up becoming a prisoner of that desire. There's no doubt that this is, thus far, one of the best performances of her career (in dramatic forays). Alongside her, Theo Rossi embodies the immigrant dreamer in America, who sees his destiny crushed by those who are supposed to help him. Plaza and Rossi portray characters not far removed from the reality of many people (immigrants and otherwise), reinforcing a brutal and staggered reality.

Looper

John Patton Ford made his feature film directorial (and screenwriting) debut with this movie, and Emily the Criminal is a very consistent work that, within its scope, doesn't glamorize the criminal underworld in any way, avoiding the narrative clichés that could easily have been used here. The production is simple, yet sufficient to give weight and form to a sensitive (and at the same time powerful) project, without any intention of offering any moral lessons to the audience. The approach to this drama isn't complex and doesn't feature major twists, but it's effective in its realistic tone about an ordinary person who is "seduced" by a "mirage" of high destructive power.

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CRÍTICA DE PELÍCULA: “Emily la estafadora” (2022)

Sinopsis: Cuando el submundo de las estafas con tarjetas de crédito se convierte inesperadamente en una salida fácil para Emily (una mujer con algunos antecedentes penales y actualmente agobiada por deudas que escapan a su control), no tiene ni idea del peligroso juego al que ha decidido entrar.

El sueño americano se hace añicos ante los ojos del espectador. Esa sería una frase simple y completa sobre todo lo que podría decir de esta película, pero necesito escribir un texto completo porque este es el tipo de proyecto que debe ser reconocido y valorado como arte dentro del universo cinematográfico (aunque tiene sus defectos ocasionales, pero estos no disminuyen en absoluto la brillantez de lo que se ha construido aquí). Decidí verla después de ver el tráiler, y confieso que realmente no esperaba encontrarme con una trama tan genuina (y reflexiva). He aquí una historia intrigante, provocadora y, por momentos, bastante triste (sobre todo para la gente de bajos recursos).

En una realidad que parece, y de hecho es, muy negativa, la protagonista de esta historia debe lidiar con las reiteradas negativas de varias empresas a contratarla como empleada registrada (debido a delitos pasados). Además, está endeudada financieramente por su préstamo estudiantil (que tuvo que solicitar para graduarse de la universidad) y comparte un pequeño apartamento con desconocidos. Trabajando sin un empleo formal (como simple proveedora de servicios para una empresa de servicios de alimentación), decide cambiar de carrera. Sin embargo, es un cambio radical que le traerá problemas inimaginables.

Emily es presentada "inocentemente" por un amigo del trabajo a un grupo de personas que cometen actos ilícitos coordinados basados en estafas con tarjetas de crédito clonadas. Una vez dentro del esquema, todo lo que sucede (desde un primer delito menor hasta estafas más complejas) distorsiona por completo su comprensión (no inicialmente, sino gradualmente) de todo lo que necesita hacer para ganar el dinero que tanto desea para cumplir con sus compromisos y tener una vida mejor. Lo que ella no esperaba que sucediera era su inmersión en un submundo de innumerables estafas que operan en la ciudad de Los Ángeles.

Junto a Youcef, un inmigrante que se forjó la vida en Estados Unidos realizando estafas de este tipo, Emily desarrolla una atracción física (y emocional) a medida que cometen nuevas estafas. Sin embargo, es Emily quien no escatima esfuerzos para progresar cada vez más en este campo, sorprendiendo a su "tutor" en un mundo donde el crimen parece ser solo una "herramienta" para luchar con valentía contra un sistema opresivo que aplasta a quienes intentan contravenir sus reglas. Cada vez más avaricia, a veces termina siendo presa fácil de otros estafadores, pero pronto comprende cómo funciona este juego.

Paralelamente a su vida como delincuente en potencia, también intenta encontrar una vía de redención por medios más convencionales (viviendo otro momento embarazoso durante una entrevista que un viejo amigo suyo le había organizado en la empresa donde trabaja... y aquí el guion critica duramente cómo algunas grandes empresas explotan a sus becarios). Pero una vez más, el sistema opresivo le recuerda su lugar en la cadena alimenticia, donde no ascenderá por el camino tradicional (lo que refuerza su elección del mundo del crimen). Un triste retrato de cómo opera este "brazo" del capitalismo en una sociedad seducida por sus promesas.

La intensidad del drama es palpable, y creo que muchos espectadores se identifican fácilmente con la realidad que Emily vive. Más allá del drama, también hay un enfoque efectivo y lleno de suspense que, aunque algo predecible, demuestra que la vida en el mundo criminal no da frutos (y es, en última instancia, una práctica engañosa que termina siendo contraproducente para quienes la eligen). Solo existe el proceso corrosivo (y persistente) de autodestrucción masiva, "disfrazado" de placeres momentáneos, que tienden a satisfacer todas nuestras necesidades más urgentes (ya sean a corto, mediano o largo plazo).

En una actuación poderosa, Aubrey Plaza nos invita a adentrarnos en una realidad implacable, interpretando a un personaje que, en su búsqueda de la libertad financiera, irónicamente termina siendo prisionera de ese deseo. Sin duda, esta es, hasta el momento, una de las mejores actuaciones de su carrera (en el terreno dramático). Junto a ella, Theo Rossi encarna al soñador inmigrante en Estados Unidos, cuyo destino es destrozado por quienes se supone que deben ayudarlo. Plaza y Rossi retratan personajes no muy alejados de la realidad de muchas personas (inmigrantes y no inmigrantes), reforzando una realidad brutal y fragmentada.

John Patton Ford debutó como director (y guionista) de largometrajes con esta película, y Emily la estafadora es una obra muy consistente que, dentro de su alcance, no idealiza en absoluto el submundo criminal, evitando los clichés narrativos que fácilmente podrían haberse utilizado. La producción es sencilla, pero suficiente para dar peso y forma a un proyecto sensible (y a la vez contundente), sin intención de ofrecer lecciones morales al público. El enfoque de este drama no es complejo ni presenta grandes giros, pero resulta efectivo en su tono realista sobre una persona común que es "seducida" por un "espejismo" de gran poder destructivo.

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CRÍTICA DE FILME: “Emily, A Criminosa” (2022)

Sinopse: Quando o submundo dos golpes de cartões de créditos inesperadamente se torna uma “saída fácil” para Emily (uma mulher que tem alguns deslizes na sua ficha criminal, e que atualmente está sobrecarregada com muitas dívidas, em um nível no qual ela não consegue mais controlar), ela não faz ideia do perigoso jogo que ela decidiu jogar.

O sonho americano sendo literalmente despedaçado na frente do telespectador. Essa seria uma frase simples e contida sobre tudo o que eu poderia dizer sobre esse filme, mas eu realmente preciso escrever um texto completo porque esse é o tipo de projeto que precisa ser reconhecido e valorizado como arte dentro do universo cinematográfico (ainda que tenha as suas falhas pontuais, mas que em nada apagam o brilho do que foi construído aqui). Eu decidi assisti-lo depois que eu assisti o trailer, e confesso que eu realmente não esperava me deparar com uma trama tão genuína (e reflexiva). Eis aqui uma trama intrigante, provocativa e em certos momentos, bem triste (em especial para pessoas mais pobres).

Dentro de uma realidade que lhe parece, e de fato é, muito negativa, a protagonista desta trama precisa lidar com uma sucessiva recusa de algumas empresas em contratá-la como funcionária registrada (devido a alguns delitos cometidos no seu passado). Além disso, ela está financeiramente endividada com o seu empréstimo estudantil (que precisou fazer para poder se graduar na universidade) e divide um pequeno apartamento estranhos. Trabalhando então como alguém que não possuí nenhum vínculo empregatício (sendo uma simples prestadora de serviços numa empresa que fornece comida), ela decide mudar de ramo. No entanto, é uma mudança radical, e que vai lhe trazer problemas inimagináveis.

Emily é, “inocentemente apresentada” por um amigo do seu trabalho, a um grupo de pessoas que praticam atos ilícitos coordenados, que baseados em golpes aplicados com cartões de créditos clonados. Uma vez dentro do esquema, tudo o que vai acontecendo (desde um primeiro e pequeno delito até golpes mais complexos) deturpa todo o discernimento dela (não inicialmente, mas gradualmente) sobre tudo o que precisa ser feito para ela ganhar o tão sonhado dinheiro que deseja para conseguir honrar com os seus compromissos e ter uma vida melhor. O que ela não esperava acontecer era sua imersão dentro de uma vertente do submundo de inúmeros golpes que são aplicados na cidade de Los Angeles.

Ao lado de Youcef, um imigrante que construiu à sua vida nos Estados Unidos praticando golpes dessa mesma natureza, Emily desenvolve uma atração física (e emocional) enquanto eles vão aplicando novos golpes. No entanto, é Emily que não mede esforços para chegar cada vez mais longe dentro desse ramo, surpreendendo o seu “tutor” no mundo onde o crime parece ser apenas uma “ferramenta” para lutar bravamente contra um sistema opressor, que esmaga todas as pessoas que tentam ir de encontro ao que ele estabelece como regra. Cada vez mais gananciosa, ela acaba sendo uma presa fácil para outros golpistas em alguns momentos, mas rapidamente consegue entender como esse jogo funciona.

Em paralelo à sua vida de eventual criminosa, ela também tenta encontrar um caminho de redenção através de meios mais convencionais (vivenciando mais um momento bastante constrangedor durante uma entrevista, que uma amiga dela de longa data havia conseguido na empresa onde ela trabalha... e aqui o roteiro faz uma crítica ácida sobre como algumas grandes empresas exploram os seus estagiários), mas uma vez mais, o sistema opressor lembra qual é o lugar dela na cadeia alimentar, onde ela não ascenderá pelo viés tradicional (reforçando à sua escolha pelo mundo do crime). Um retrato triste de como esse “braço” do capitalismo opera dentro de uma sociedade seduzida pelas suas promessas.

O peso do drama aqui é latente, e eu acredito que muitos telespectadores podem facilmente se reconhecer dentro da realidade que Emily está vivendo. Além do drama, há também uma efetiva abordagem pavimentada pelo suspense de acontecimentos que, embora sejam um pouco previsíveis, evidenciam que à vida dentro do mundo criminoso não tem como trazer bons frutos (e eventualmente, é um tipo de prática sorrateira, e que acaba se voltando contra aqueles que a escolhem), existe apenas o corrosivo (e insistente) processo de autodestruição massivo, que “disfarçado” de prazeres momentâneos, que tendem a suprir todas as nossas necessidades mais urgentes (seja no curto, médio ou longo prazo).

Em uma atuação poderosa, Aubrey Plaza nos convida a mergulhar dentro de uma realidade implacável, na pele de uma personagem que na busca pela sua liberdade financeira, ironicamente acaba se tornando prisioneira desse desejo. Não há menor sombra de dúvidas de que esse é, até então, uma das melhores performances da carreira dela (em incursões dramáticas). Ao lado dela, Theo Rossi, trazendo a personificação do imigrante sonhador em terras americanas, que vê o seu destino ser esmagado por aqueles que supostamente deveriam ajudá-lo. Plaza e Rossi representam personagens não muito distantes da realidade de muitas pessoas (imigrantes ou não), reforçando uma realidade brutal e escalonada.

John Patton Ford fez sua estreia como diretor (e roteirista) de longas-metragens com este filme, e Emily, A Criminosa é um trabalho muito consistente, que dentro da sua proposta não traz nenhum tipo de “glamourização” sobre o mundo do crime, fugindo dos clichês narrativos que poderiam ter sido facilmente utilizados aqui. A produção é simples, porém, é suficiente para dar peso e forma a um projeto sensível (e ao mesmo tempo forte), sem qualquer intenção de oferecer nenhuma lição de moral ao público. A abordagem desse drama não é complexa e não traz grandes reviravoltas, mas é eficiente no seu tom realista sobre uma pessoa comum, que é “seduzida” por uma “miragem” de alto poder destrutivo.