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After the comments I got when sharing my review about Elite Force · GIGN (2026), I decided to write a review of another series, a Nordic noir called Young Wallander that I liked and maybe you can consider adding to your waiting list, if you haven't watched it.
It is called Young Wallander, as there's another series, called Wallander and I've seen bad reviews, complaining about Young Wallander not being what they had expected as the original series was filmed between 2005 and 2013 and the new series is featuring the times when it was filmed. I'm not sure if there's a connection between the two at all, don't really care either as when you do, you already have expectations that most of the times lead to disappointment. I watched the series as it was and loved it.
The country of origin is United Kingdom, but the series revolves around the young Kurt Wallander, a young (obviously) police officer in Malmö, Sweden. Most of the actors are Brits, but the lead actor, Adam Pålsson is Swedish and I appreciate that as it gives some kind of authenticity to the series.
So the series starts with Kurt Wallander (Adam Pålsson), a uniform officer witnessing a brutal crime in the neighborhood, where he lives and no one knows he's a police officer. After the crime, as he was an eye witness basically, coordinating the crowd, he's asked to give a hand to the investigating detectives. This would be a dream of every uniform officer, but Kurt being promoted to major crimes means his best friend is dropped from the list. Kurt has no choice but to accept it.
We have the chance to get a glimpse into the Swedish crime life during two seasons of the series. Life of a detective is never easy, Kurt finds himself in all kinds of situations, is forced to make split second decisions, that have consequences and can be questionable after. You as a viewer, have the chance to think about what you'd have done in Kurt's place.
What I loved about the series is that the writes made sure to give time to the story, didn't rush it and also focused on the moral aspect of the action as well. They kept the story as close to reality as possible, no one wanted to play Rambo and there was no need to count the corpses either. The cases are not something you don't see in real life and this is a good thing here, as well as you see Wallander getting experience and growing as a person.
The cast is really good, Adam Pålsson is perfect for the role, his Swedish accent is a huge plus, even though so many had a problem with it. There are a couple of names I have to mention, among which Leanne Best, playing Frida Rask, a senior detective partnering with Wallander and Ellise Chappell playing Mona, who's running a charity and not only.
If you're looking for a detective series, that is focusing on the cases, the private life of the characters and it is slow paced as well, give this a try.
When it comes to Nordic noir, I have two series to recommend to you. This is one and the other one is coming as I need to watch it again first. Not because I forgot what was about, but because it's good and worth watching.
Eileen is one of those films that starts off very well, gradually building its story with very interesting characters and dualities in their behavior, but it doesn't quite tie up all the loose ends. That's what bothered me after watching it. It kept me interested in the characters and the story, but I wasn't entirely satisfied with the director's decision regarding the ending.
In any case, it's a film worth watching because the two leads do an excellent job. My only issue is that I was perhaps expecting a different ending, but I have to accept it and enjoy the film. That said, some of the characters' decisions seemed a bit far-fetched to me, but the chemistry between the actresses and the execution of the scenes were so good that I didn't mind some situations that seemed somewhat incoherent.
The protagonist is Eileen, who gives the film its title. A young woman with a very boring life, she works at the town jail, where the older women she works with don't treat her very well. She's one of those completely insignificant people. Furthermore, she lives with her father, a former police chief, who is a hopeless alcoholic. Eileen's life is a nightmare: trapped in a dead-end job, with a drunken father, and in a horrible town.
With the arrival of Rebecca, the prison's new psychologist, her life begins to change. Rebecca is a very attractive woman, successful in a man's world, independent, and elegant. She is everything Eileen dreams of being, and there is also a certain sexual tension between them.
Eileen's character has quite a few complexes, traumas, and insecurities. Shy and with little sexual experience, she resorts to masturbation and fantasies. She is the kind of character who is a ticking time bomb, because as soon as she feels rejected, yearning for a new life, she can become impulsive in her decisions, even committing reckless acts.
Although we reach a point where we don't know who's crazier, Eileen or Rebecca, because the story's climax occurs when Rebecca crosses a line she shouldn't, and Eileen gets caught in the middle of it all. At this point, I felt the story improved; everything became more tense and pushed the protagonists to their limits.
The director had already received praise for his first film, an adaptation of Lady Matbeth, where the psychological aspect of the characters plays a significant role. In Eileen, he tackles this again convincingly, but as I said at the beginning, I feel that in the end it's not entirely satisfying.
Thomasin McKenzie is a young actress who does an impeccable job as Eileen. She manages to convey the character's duality, her shyness and, at the same time, that touch of madness. In this film, she is joined by the great star Anne Hathaway, who also doesn't disappoint in the role of Rebecca. There's great chemistry between the two, and the uncertainty surrounding the latter's true intentions adds a layer of nuance to the story.
A psychological thriller I highly recommend. Share your thoughts in the comments.
Eileen es una de esas películas que empieza muy bien, construyendo gradualmente su historia con personajes muy interesantes y dualidades en su comportamiento, pero no termina de cerrar todas las tramas. Eso fue lo que me molestó después de verla. Me mantuvo interesada en los personajes y la historia, pero no quedé del todo satisfecha con la decisión del director respecto al final.
En cualquier caso, es una película que vale la pena ver porque las dos protagonistas hacen un trabajo excelente. Mi único problema es que quizás esperaba un final diferente, pero tengo que aceptarlo y disfrutar de la película. Dicho esto, algunas decisiones de los personajes me parecieron un poco inverosímiles, pero la química entre las actrices y la ejecución de las escenas fueron tan buenas que no me importaron algunas situaciones que parecían algo incoherentes.
La protagonista es Eileen, que da título a la película. Una joven con una vida muy aburrida, trabaja en la cárcel del pueblo, donde las mujeres mayores con las que trabaja no la tratan muy bien. Es una de esas personas completamente insignificantes. Además, vive con su padre, un exjefe de policía, que es un alcohólico empedernido. La vida de Eileen es una pesadilla: atrapada en un trabajo mediocre, con un padre borracho y en un pueblo horrible.
Con la llegada de Rebecca, la nueva psicóloga de la prisión, su vida empieza a cambiar. Rebecca es una mujer muy atractiva, exitosa en un mundo de hombres, independiente y elegante. Es todo lo que Eileen sueña ser, y también existe cierta tensión sexual entre ellas.
El personaje de Eileen tiene bastantes complejos, traumas e inseguridades. Tímida, con poca experiencia sexual, recurre a la masturbación y a las fantasías. Es el tipo de personaje que es una bomba de relojería, porque en cuanto se siente rechazada, anhelando una nueva vida, puede volverse impulsiva en sus decisiones, incluso cometiendo actos descabellados.
Aunque llegaremos a un punto en el que no sabremos quién está más loca, Eileen o Rebecca, porque el clímax de la historia se producirá cuando Rebecca cruce una línea que no debería cruzar, y en medio de todo, Eileen se verá envuelta en ello. En este punto, sentí que la historia mejoraba; todo se volvía más tenso y llevaba a las protagonistas al límite.
El director ya había recibido elogios por su primera película, una adaptación de Lady Matbeth, donde el aspecto psicológico de los personajes juega un papel importante. En Eileen, lo aborda de nuevo de forma convincente, pero como dije al principio, siento que al final no resulta del todo satisfactorio.
Thomasin McKenzie es una joven actriz que hace un trabajo impecable como Eileen. Logra transmitir esa dualidad del personaje, su timidez y, al mismo tiempo, ese toque de locura. En esta película, la acompaña la gran estrella Anne Hathaway, quien tampoco decepciona en el papel de Rebecca. Hay buena química entre ambas, y la incertidumbre sobre las verdaderas intenciones de esta última añade una capa de matices al desarrollo de la historia.
Un thriller psicológico que recomiendo ver. Comparte tu opinión en los comentarios.
Hello, blog friends! I’m back with a review of a film that really made a strong impression on me—a drama featuring incredibly talented actresses like Michelle Pfeiffer and Renée Zellweger. Inspired by a novel, this movie is a real gem. Let me tell you a bit about it: the plot revolves around a mother, Ingrid, and her daughter, Astrid—two solitary women living in a state of intense symbiosis until Ingrid kills yet another one of her boyfriends. Ingrid is not an easy person to deal with; she is a mercurial, self-centered artist. Her daughter harbors conflicting feelings toward her, torn between admiration, anger, and a sense of abandonment, as her mother is rarely there for her. When Ingrid is arrested for murder, Astrid is left alone and at the mercy of the foster care system—which is where the story takes a truly dramatic turn. Initially, Astrid is placed with a large family, but problems soon arise; the foster mother is neurotic and religious, yet also unstable. Astrid manages to form a bond with her foster father—viewing him as the dad she never had—but this sparks intense jealousy in the foster mother, who accuses her of being a seductress. Her biological mother levels the same accusation against her during prison visits. Caught between two complicated women, Astrid is left confused and heartbroken until she is cast back into the foster care system.
¡Hola, amigos del blog! Vuelvo con la reseña de una película que realmente me impactó: un drama protagonizado por actrices de enorme talento como Michelle Pfeiffer y Renée Zellweger. Inspirada en una novela, esta película es una verdadera joya. Permítanme contarles un poco sobre ella: la trama gira en torno a una madre, Ingrid, y su hija, Astrid; dos mujeres solitarias que viven en un estado de intensa simbiosis hasta que Ingrid mata a otro de sus novios. Ingrid no es una persona fácil de tratar; es una artista de carácter volátil y egocéntrica. Su hija alberga sentimientos encontrados hacia ella, dividida entre la admiración, la ira y una sensación de abandono, ya que su madre rara vez está presente para ella. Cuando Ingrid es arrestada por asesinato, Astrid queda sola y a merced del sistema de acogida, momento en el que la historia da un giro verdaderamente dramático. Al principio, Astrid es acogida por una familia numerosa, pero pronto surgen problemas; la madre de acogida es neurótica y religiosa, pero también inestable. Astrid logra establecer un vínculo con el padre de acogida —viéndolo como el padre que nunca tuvo—, pero esto despierta unos celos intensos en la madre, quien la acusa de ser una seductora. Su madre biológica le lanza la misma acusación durante las visitas en prisión. Atrapada entre dos mujeres complicadas, Astrid queda confundida y desconsolada hasta que es devuelta al sistema de acogida.
She is placed in a group home where her situation fails to improve—amidst arguments, angry youths, and chaos—though she does manage to make a friend there. She is then reassigned to another family; once again, her biological mother tries by every means to slander her and destroy the bond Astrid has formed with her new foster mother—a sad, lonely, and fragile woman who nonetheless offers her unconditional love and treats her with kindness. Astrid finally feels loved and accepted for who she is, until tragedy shatters this dream, sending her back to a group home and then into yet another placement—this time with a Russian woman who exploits the girls for labor. There, Astrid’s personality shifts; her hatred for her biological mother becomes absolute, to the point where she refuses to see her again—though fate has one final encounter in store for them both.
Es trasladada a un hogar de acogida grupal donde su situación no mejora —en medio de discusiones, jóvenes irascibles y caos—, aunque logra entablar amistad con alguien allí. Posteriormente es asignada a otra familia; una vez más, su madre biológica intenta por todos los medios difamarla y destruir el vínculo que Astrid ha creado con su nueva madre de acogida: una mujer triste, solitaria y frágil que, no obstante, le ofrece amor incondicional y la trata con amabilidad. Astrid por fin se siente querida y aceptada tal como es, hasta que una tragedia hace añicos este sueño, devolviéndola a un hogar grupal y luego a otra ubicación más: esta vez, con una mujer rusa que explota a las chicas haciéndolas trabajar. Allí, la personalidad de Astrid cambia; su odio hacia su madre biológica se vuelve absoluto, hasta el punto de negarse a volver a verla, aunque el destino les reserva un último encuentro.
In my view, this film perfectly explores the relationship between a daughter and her dysfunctional mother—capturing that blend of affection, disgust, and anger. It portrays a mother who is far from ideal; instead, she is a complex woman who seems to harbor feelings toward her daughter that are anything but maternal—feelings of jealousy, envy, and a pathological possessiveness. She is terrified that her daughter might find happiness without her—or perhaps simply find happiness at all. The film flawlessly examines the toxic dynamics of this mother-daughter bond, as well as the suffering and hardships of a girl in the foster care system who is constantly shuffled between families. It offers a glimpse of America that is perhaps overly bleak—certainly far removed from the idyllic American Dream or the perfect American family. It is a dark, dramatic film—even its cinematography relies on a somber color palette—yet it is beautiful and intense; I absolutely loved it.
En mi opinión, esta película explora a la perfección la relación entre una hija y su madre disfuncional, captando esa mezcla de afecto, rechazo e ira. Presenta a una madre que dista mucho de ser ideal; por el contrario, es una mujer compleja que parece albergar hacia su hija sentimientos que nada tienen de maternales: celos, envidia y una posesividad patológica. Le aterra la idea de que su hija pueda encontrar la felicidad sin ella, o tal vez simplemente que llegue a ser feliz. La cinta examina impecablemente la dinámica tóxica de este vínculo materno-filial, así como el sufrimiento y las penurias de una joven dentro del sistema de acogida, constantemente trasladada de una familia a otra. Ofrece una visión de Estados Unidos quizá excesivamente sombría, ciertamente alejada del idílico «sueño americano» o de la familia estadounidense perfecta. Es una película oscura y dramática —incluso su fotografía recurre a una paleta de colores lúgubre—, pero a la vez hermosa e intensa; me encantó.
For the last few days I looked for something to watch and after people mentioned the Divergent movies a few times I decided to watch the whole trilogy so I watched Divergent (2014) Insurgent (2015) also Allegiant (2016) one after the other. I did not know much about them before starting. I knew they were based on popular novels.
So I finished all three movies & thought I would share my thoughts here with a spoiler free review since these are the kind of movies you enjoy more without knowing what is coming next.
The first thing that caught my eye was in modern times building and the story happening in a future society divided into groups, each showing a particular personality trait. At first, I thought it sounded strange. The movie explains the idea. It is easy to understand. It creates a setting distinct from other sci fi movies.
The first movie gets right into the story without much waiting before things start happening. It introduces the main characters. It explains the rules the space of. It builds tension. It does not confuse.
The action scenes were enjoyable but they aren't just random fights for entertainment. Most of them move the story forward. I appreciate this. Some scenes were intense. They kept me watching. I did not check my phone. Not once.
I liked the characters because most of them had their own personalities and didn't just feel like background. The main character goes through many difficult situations. These situations force her to make hard decisions. Even if I did not agree with every choice, I still understood why she made them.
I also enjoyed the relationships between different characters because there is romance friendship trust betrayal and, teamwork mixed together in a way that is balanced. The romance never fully takes over the story. The film stays connected to the main plot.
So the acting was solid, everyone played their roles well, I stayed invested throughout the trilogy. Some supporting characters became my favorites. They were memorable. They did not get a huge amount of screen time.
Visually I think all three movies looked quite good the futuristic tech costumes as well as environments were kind of impressive without really feeling too unrealistic. I liked the locations in the trilogy. They expanded the field of from the beginning.
The visual effects have aged well and you can tell these movies came out about ten years ago but they still look nice I think. Some action sequences and, simulations were creative.
So the soundtrack's music fits the scene's mood at times. Background music can make a difference. I think these movies handled it. It worked.
Now let's talk about each movie individually.
Divergent (2014)
This one was my favorite of the three, it does a great job introducing in today's society and still tells an exciting story. Everything felt fresh. I was learning about this universe for the first time. The pacing is good. The action entertains. It leaves me wanting the next movie rights away.
Insurgent (2015)
The second movie gets bigger in scale with more action higher stakes and more mysteries. I enjoyed this one nearly as much as the first movie. Some parts moved fast. It kept the momentum going.
Allegiant (2016)
People have mixed opinions about this movie but I still liked watching it. I will admit it feels different compared to the first two films The direction of the story changes. Some ideas worked well while others could have been explored more.
It wasn't a bad movie for me, but I do think it was the weakest of the trilogy.
Throughout the trilogy I really appreciated that it constantly asks interesting questions about identity, freedom, leadership, and how society should function, but it is not just an action series with explosions every few minutes, it keeps that going. There are ideas behind the story. They make you think after the movie ends.
The trilogy is not perfect.
So sometimes certain events happen a bit too conveniently and a few characters do not receive as much development as I would have liked there were moments where I wished the movies slowed down and spent more time explaining certain things. Some plot points felt rushed. That was especially true in the later parts of the series.
I also understand why some viewers were disappointed with how everything progressed across the trilogy I will not go into details because of spoilers but can see both sides of the discussion.
Still I never felt bored while watching these movies that is one of the biggest compliments I can give. Every movie kept me interested. I wanted to go to the next one. I did not want long breaks.
So if you like science fiction mixed with action mystery and a bit of romance then the Divergent trilogy is worth a look it might not be everyone's favorite but it has all things related to and, characters that stick with you.
CONCLUSION
Overall, I enjoyed watching all three films the first one is definitely my favorite the second keeps the excitement going and the third isn't quite as strong but I don't regret spending my time on it. Sometimes it feels nice to watch a movie series. It entertains you. It also makes you think about the choices people make. It shows the kind of society people want to live in.
My Ratings
Divergent: 9/10
Insurgent: 8/10
Allegienat: 7/10
So have you watched the Divergent trilogy? I want to hear what you thought about it. Remember to keep comments spoiler free. Everyone who hasn't seen the movies should still enjoy them. They shouldn't know what happens.
I believe the most famous plumber in the world needs no introduction: Mario has been an icon for more than one generation; I think he can be considered a celebrity (a fictional one), and his movie is proof of why he is a Superstar.
In recent years, video game adaptations to film have sparked much discussion, with opinions divided. And in this case, there hasn't been a Super Mario movie since the strange 1993 live-action experiment.
The animated movie directed by Aaron Horvath and Michael Jelenic, "The Super Mario Bros. Movie" (2023), was produced thanks to the collaboration between Illumination Entertainment and creator Shigeru Miyamoto. It’s a film made for fans of the Mario games developed by Nintendo. It’s a movie to evoke nostalgia and reignite the desire to play a Mario video game again.
This film marked a difference from recent adaptations seen in cinemas (for example: Detective Pikachu, Sonic, etc.), as most have brought those beloved video game characters into the real world. But Mario couldn’t be like the rest; he is Nintendo’s icon, as famous as Mickey Mouse.
His last live-action adaptation didn’t work for fans of the red plumber. So turning to 3D animation seems like a great decision, since modern Mario games look roughly like this.
They knew exactly how it had to look so that all the elements of Mario’s fantastical world would be instantly recognizable to the audience. And that leads me to the next point: this film is not simply an adaptation of a single video game but of an entire video game franchise. If you’ve ever played 5 or 6 Super Mario games, in one way or another, you’ll understand the thousands of references to those games.
The visual aspect of its animation is the magic and heart of the movie itself. Illumination has recreated the Mushroom Kingdom and the various biomes of the fantastic world of "Super Mario" with an impressive level of detail. The landscapes filled with floating blocks, Piranha Plants, and green pipes feel familiar to any child who has played the games. Certainly, the art direction did not skimp on saturated colors for dynamic action sequences like the race on the iconic Rainbow Road.
What’s incredible is that the fantastical world in which the movie takes place is designed so that any element seen across all the video games appears plausible, like mystery boxes that provide items from the classic games or the racing cars from Mario Kart. Everything that has appeared in the Super Mario universe can be seen on screen (not everything, but certainly the most relevant to the plot).
Regarding the narrative, the film slightly reinvents what is already known: the origin of Mario and Luigi. Two plumbers from Brooklyn struggling to keep their new business afloat are absorbed by a magical pipe and separated in this new fantastical universe. Mario must ally with Princess Peach to stop the fearsome Bowser and rescue his brother.
I must admit I had doubts about the quality of this movie knowing it would be in Illumination’s hands; their animations are excellent, but their weak point is relying on the silly humor they've used since creating the Minions. I thought that might reflect in the Toads, but fortunately, it didn’t. I suspect that was thanks to Nintendo’s influence. The humor is perfectly balanced without becoming tedious or ridiculous; simply put: it’s on point.
The movie leaves little room for deep character development, focusing more on being concise and direct, prioritizing constant stimuli over emotional pause moments. However, for its target audience, families, children, and lifelong fans, this approach works entirely in its favor, preventing the story from dragging and getting straight to the point.
The voice cast has been very well chosen. Anya Taylor-Joy presents us with a somewhat different Princess Peach than many imagined, moving away from the classic damsel-in-distress trope.
Meanwhile, Chris Pratt and Charlie Day’s performances as Mario and Luigi are acceptable. But who truly steals the show is Jack Black as Bowser; crowned by the absurdly catchy piano ballad "Peaches," I believe this is the film’s highest comedic point.
This movie could be the start of something huge. Its sequel, "Super Mario Galaxy," was recently released, and everything seems to indicate that Nintendo is building a cinematic universe based on its most famous characters. With appearances from Donkey Kong and Fox McCloud, it has been hinted that Mario’s incredible world can perfectly share the screen with other characters.
Perhaps, just perhaps, all this is leading toward the long-desired "Super Smash Bros." movie, but that is just my speculation.
"The Super Mario Bros. Movie" is, in its purest essence, a roller coaster ride meant to make the viewer smile. It’s an adaptation that immensely pleases its audience because it’s packed with clever references and Easter eggs. It more than fulfills its goal: delivering a fun, family-friendly adventure and establishing the starting point for Nintendo’s cinematic future.
Last night I had a movie night with my boyfriend, my brother, and my brother-in-law. We watched two wonderful films that I want to share here. Obviously, this post will be dedicated to just one of the movies, and the next one will be about the second. The first one is available on HBO Max, where you can find a huge selection of truly unique movies and series, and since I just subscribed, I'm so excited. I was even more excited when I saw this gem there, remembering how much everyone was talking about it when it came out.
Anoche tuve una noche de películas con mi novio, mi hermano y mi cuñado. Y vimos dos maravillosas películas que quiero compartir acá. Obviamente, esta publicación estará dedicada solo a una de las películas, y en la próxima, la segunda. La primera está disponible desde HBO Max, en donde puedes encontrar una gran cartelera de películas y series que son verdaderamente únicas, y como lo acabo de pagar, estoy tan emocionada, y más me emocioné cuando vi que allí se encontraba esta maravilla, recordando lo mucho que hablaban de ella en su momento.
Weapons is a horror and suspense film that captivates you from the very beginning with its fantastic introduction. It tells the story of 17 children from the same classroom who have disappeared. At 2:17 am, some were seen running strangely into the darkness. This film presents different points of view to make sense of everything, starting with the children's teacher, who is heavily criticized because they were her students. While this is the longest storyline, as you move on to the others, you begin to notice all the details that connect the dots.
Weapons es una película de terror y suspenso que te envuelve desde el principio con su fantástica introducción. En donde nos cuentan que 17 niños pertenecientes a un mismo salón de clase están desaparecidos, pues en la noche (a las 2:17 am exactamente) algunos fueron vistos corriendo de una forma extraña hacia la oscuridad. Esta película es de la que te cuentan diferentes puntos de vista para que todo tenga sentido, comenzando por la maestra de los niños, quien es altamente acusada porque ellos eran sus alumnos y aunque esta en sí es la historia más larga, cuando pasas a las demás, empiezas a darte cuenta de todos los detalles que van uniendo todo.
Without a doubt, this film boasts exceptional writing. The writer himself is a genius. I love it when a film tells a story like this, with an ending that leaves everyone with a satisfying feeling. Worthy performances like Amy Madigan's, who won an Oscar for her role in this film, have restored hope for the recognition of horror cinema. She gave a marvelous portrayal of Aunt Gladys, a witch who drains the life out of others, and who undoubtedly captivated me in every scene, culminating in a wonderful ending.
Sin duda, esta película tiene un gran trabajo en su escritura. Su escritor en sí es un genio. Me encanta cuando una película cuenta una historia así, con un desenlace que deja a todos con un rato de sabor de boca. Actuaciones dignas como la de Amy Madigan, ganadora de un Oscar por su papel en esta película, devolviendo la esperanza en el reconocimiento al cine de terror. Esta tuvo una maravillosa interpretación de la tía Gladys, una bruja que consume la vida de los demás, quien sin duda me fascinó en cada una de sus escenas, y con un final maravilloso.
I remember when, during Oscar season, this film generated a lot of buzz on social media. Everyone was so excited about this award, which recognized true talent. It was a huge hit worldwide and widely celebrated. Honestly, it's one of the best films I've seen lately. I hardly ever watch horror movies because they usually bore me and put me to sleep, but this one knew how to captivate me in every scene.
Recuerdo cuando, en la temporada de los Óscar, esta dio mucho de qué hablar en redes sociales. Todos mostraron su contento con este premio en donde se reconocía el verdadero talento, siendo un boom total en el mundo y altamente celebrado. De verdad, de las mejores películas que he visto últimamente. Casi no veo cine de terror porque estos mayormente me aburren y me duermo, pero esta supo cómo atraparme en cada escena.
This film essentially presents six points of view, offering answers to each of the events that connect the tragedy of the missing children. Among them, I must say there are a number of disturbing events, such as the life of the only child in the class who didn't disappear. And although many things point to him, uncovering the truth his aunt is hiding is more dangerous than it seems. A wicked woman, driven only by self-interest, who ultimately pays the price. And, as the ending, which I loved, shows, everyone is scarred by this woman, as are some who have passed away because of her.
En sí, en esta película hay 6 puntos de vista en donde se nos presentan las respuestas a cada uno de los sucesos que unen la tragedia de los niños desaparecidos. Y entre todos, debo decir que hay una serie de eventos que son incómodos, como la vida del único niño del salón que no desapareció. Y aunque muchas cosas lo apuntan a él, saber la verdad que oculta su tía es más peligroso de lo que se sabe. Una mujer malvada buscando solo su beneficio, y que a pesar de todo paga sus consecuencias, y como su final, que me encantó, todos quedaron marcados por esta mujer, al igual que algunos que definitivamente pasaron a mejor vida por culpa de ella.
This movie is currently available on HBO Max or for rent on Prime Video. If you'd like to watch it, I highly recommend it, as it offers some of the best scenes modern horror cinema has to offer. I hope you enjoy it, and if you've already seen it, let me know what you thought.
Esta película actualmente está disponible en HBO Max o para alquilar en Prime Video. Si gustas verla, realmente te la recomiendo, ya que te dará las mejores escenas que el cine de terror moderno tiene. Espero la disfrutes, y si ya la has visto, dime qué te pareció.
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Why would anyone want to know when they would die? That question came to my mind when I came across the movie “Countdown” while scrolling on social media. After watching the clips contained in the post, I decided to find the trailer and watch it to have a better glimpse of it. It had the elements of horror. Well, I don't seem to back down from that.
If you're familiar with themes of horror movies you would know that some ancient elements are involved, not technological tools. It's different here, though still some link to ancient elements. Countdown was an app that could tell a person when they would die. The movie started with a house party, and a group of friends seated around a table playing games and drinking. One of them wanting to download an app came across the Countdown app. Seeing what it was about, she told the others.
They found it ridiculous that something like that would actually be true, so they decided to use it for a game, where whoever had the least time to die would drink the whole cups of drink on the table. It's funny how this is one of the times when one's instincts could deter them from doing something but peer pressure could say otherwise. That was the case with Courtney who lost the game as the app revealed she had 3 hours to live. She had to drink up, but her boyfriend, Evan stepped in to help.
Time's counting down and Evan was drunk. Courtney who was sceptical about the app from the beginning is now being cautious. She insisted he shouldn't drive which he refused, saying he was good to go. She decided to walk home and he angrily drove off. It looked like Courtney averted her demise because he had an accident that would have eventually killed her. However, one can try to change but not escape their death when they use the app, accepting the terms and conditions.
Courtney met a mysterious death in her apartment. Evan, who was in the hospital was rattled because the app showed he had about 17 hours to live. Yes, he used the app too. He told the nurse taking care of him about it when she realised he was unsettled. She found it unbelievable and tried to make him ignore it. Scheduled for surgery in a few hours, he knew death awaited him there. Trying to elude it, he met a mysterious death as well in the hospital’s dark stairway.
The nurse, Quinn had initially downloaded the app out of curiosity and checked hers too. She had about 2 days to live. Finding out about his death, she did a little poking, got his phone and discovered the app had counted down to zero. It meant that was real. She was now concerned. After much concern she tried deleting the app but to no avail. She then proceeded to a phone store and purchased a new phone, but even before she stepped out, the app appeared on the new phone, counting down.
Into the picture comes Matt, a young man in the same situation and with similar time to live as Quinn. Their predicament formed them into a team on a quest to find answers and help. They sought the help of a priest who wasn't just willing to help, but found the subject of demons interesting. He revealed that this curse from long ago and in a different scenario, now transferred into the modern day in the form of an app. They tried to hack the app and extend their time through the help of the phone store owner, which worked.
Thinking they had rest, it reverted that night. It got more complicated when Quinn found out her sister had used the app too and had similar time to live. They experienced some hauntings after which they ended up at the priest’s place again. He suggested a way they could beat the time which would break the curse. After prayers and some measures, they waited. The demon however got into Matt’s head, deceived him and drew him away from the protection. That was his end. The sisters were now fighting for their lives.
In the final minutes when Quinn’s sister was almost dying, she had a wise plan. When a person dies before their time, the curse will break. So rather than that, the demon protects its victims till their time is due. Quinn injected herself with a fatal dose of morphine to save her sister. With the curse broken, the demon vanished. But it was all a trick. She had naloxone in her hand closed tight which fell off. The sister saw it and the direction in Quinn’s arm to inject and revive her. That worked out and they both survived.
It didn't seem like it was over because in the end, when they visited their mom's grave, the app appeared on the phone, reading “Countdown 2.0.” I must say that I didn't really have high expectations of the movie. They used cheap jump scares and loud noises to bring the feeling which didn't really do much. The idea of a killer app was also silly and weak. For a low-budget movie, it probably tried, especially with the efforts of the main actors.
In the world of cinema, there are characters who, as they appear in movies, eventually become very special to us—characters we’ll always remember—and that’s exactly what has happened with Robin Hood. Ever since I was a child, I’ve heard the story of this character, and every movie that’s been released has always revealed another detail of the story, allowing us to enjoy it anew. That’s why The Death of Robin Hood was released this year—a film that surprised everyone. This time, the story takes a different turn, since it doesn’t focus on his exploits, but rather shows us a man who has lived too long, who bears the weight of his past, and who must face the final moments of his life—a stage that every human being goes through.
En el mundo del cine existen personajes que a medida que van saliendo en las películas llega un momento donde se vuelven muy especial y siempre lo vamos a recordar y eso ha pasado con Robin Hood. Desde pequeños he escuchado la historia de este personaje y cada película que han sacado siempre muestran un detalle más de la historia que permite que uno siempre la disfrute y por eso este año se estrenó La muerte de Robin Hood, la cual sorprendió a todos y esta vez la historia toma otro camino, ya que no muestras sus hazañas, si no nos muestra a un hombre que ya ha vivido demasiado, que carga con el peso de su pasado y que debe afrontar los últimos momentos de su vida, siendo una etapa que todo ser humano pasa.
Each version offers something different, and I liked this new one because it doesn’t try to copy the previous ones but instead creates something unique from the beginning to the end of the movie, as it combines those emotions, decisions, and the final moments this great hero must go through and face. However, for those who have never seen any of the previous films, it might feel confusing, and it comes across as just another action-packed movie; but if you’re familiar with the series, it’s perfect, because this installment serves as the finale—it goes beyond simply portraying a hero to reveal his human side.
The film also excels at creating stunning scenes, making the landscapes, forests, and cinematography feel very real and conveying the sense that we’re witnessing the conclusion of a story that, for many years, was told in a completely different way. Another valuable aspect is the presence of actor Hugh Jackman, as he knew how to make every second of the film truly compelling simply by portraying the weariness of a man who no longer seeks to be a hero but simply wants peace of mind—while also showing us that anyone can feel fear, regret, and doubt when the time comes to look back.
Cada versión cuenta con algo distinto y está nueva me gusto, ya que no intenta copiarse de las anteriores, sino crear algo distinto desde el inicio hasta el final de la película, puesto que combina esas emociones, decisiones y los últimos momentos que tiene que pasar y enfrentar este gran héroe. Sin embargo, para los que nunca han visto ninguna de las películas puede llegar a sentirse perdido, y se convierte en una nueva película llena de acción, pero si la conoces es perfecta, por el hecho de que está parte sería el final, puesto que más allá de mostrar a un héroe es poder mostrar ese lado humano.
La película también apuesta en crear grandes escenas, consiguiendo que los paisajes, los bosques y la fotografía se sientan muy real y transmiten esa sensación de que estamos viendo el cierre de una historia que durante muchos años fue contada de una manera completamente distinta. Otra de las cosas valiosas es la presencia del actor Hugh Jackman, ya que supo cómo hacer que cada segundo de la película sea muy buena por el mismo hecho de que demuestra ese cansancio de un hombre que ya no busca convertirse en un héroe, sino poder estar tranquilo, además demostrarnos que toda puede llegar a sentir miedo, arrepentimiento y dudas cuando llega el momento de mirar hacia atrás.
I liked this new version of the movie, because among all the ones I’ve seen, this one makes it clear that there are stories that will never go out of style and that everyone will have their own take on them. However, with its small cast, understated approach, and authentic essence, the film perfectly reminds us that behind every hero there’s always a person with feelings. So if you’re looking for a movie with a simple, moving, and unique story that shows that even legends have a final chapter, this one’s for you.
Me gusto esta nueva versión de la película, ya que entre todas las que he visto esta deja clara qué hay historia que nunca pasarán de modas y cada quien tendrá su versión, sin embargo, la película con pocos personajes, sin exagerar y con esencia, es perfectamente para recordarnos que detrás de un héroe siempre habrá una persona con sentimientos. Por eso si estás buscando una película con una historia sencilla, emotiva y diferente, que demuestra que incluso las leyendas también tienen un último capítulo, esta es para ti.
Hello, fellow movie and TV lovers! Lately, I’ve been watching random movies, and I’ve noticed that most of them have been from A24. I feel like the way they produce stories is somewhat bizarre, but they almost always have a unique way of telling plots—especially when it comes to genres like suspense, mystery, and drama. For days, I had been wanting to watch If I had legs I'd kick you, directed by Mary Bronstein. The title caught my attention, but I mostly watched it because it sounded like a psychological drama, and I really enjoy those types of stories, especially when they delve into the mysteries of the human mind.
The plot introduces us to Linda (Rose Byrne), a therapist and mother of a young girl with very serious health issues. Throughout the story, we see Linda balancing her job—which requires immense physical and mental effort, particularly with one specific patient who pushes her nerves to the limit—and her maternal role. Her role as a mother is in a critical state due to her only daughter's strange illness; based on what we hear in the film (since they never show the child's face, only parts of her body), it is quite complicated, and she has a feeding tube connected to her stomach that basically keeps her alive.
Amidst all this, she has a relationship with her daughter's father, but he is quite distant due to his job. He hardly ever appears in the movie; there are only complicated phone calls to Linda where he tells her she needs to do things right so their daughter can be healthy. However, all of this only adds a heavy burden to Linda's shoulders, leading her to secretly attend therapy sessions with a therapist at her own workplace. There is a lot of guilt inside her, but it isn't until near the end that we truly understand what drives Linda's self-destructive behavior.
I love stories that explore characters from a deeply human perspective. Linda is a woman trying to save everyone, including herself, but she must first be a wife, a mother, a therapist, and only then—if absolutely necessary—does she get to be a woman and a human being. The cinematography is truly incredible, and the actress is phenomenal in her role as Linda, clearly portraying what many people carrying heavy responsibilities can feel. While her self-destructive actions or oversights aren't justified, if I were in her shoes, I think I would lose my mind, too.
It's a fairly long story, running at about two hours, and I feel this movie is one of the best in its genre that I’ve seen so far this year. The performances are great; there are even actors in the cast who hadn't done drama films before, focusing more on comedy, such as Rose Byrne and Conan O'Brien. Plus, there are special appearances by A$AP Rocky and Danielle Macdonald. Even though it might seem wild to include people outside the drama genre, there is a great synergy in the film's development, and I think it was the perfect cast to tell this story.
Key highlights include the extreme close-up shots of the protagonist and the way they almost completely hid her daughter from view. This created constant tension throughout the movie—to the point where I even thought the sick child might just be a figment of her imagination. I really didn't expect Linda to be going through something so harsh that caused her such overwhelming guilt. Additionally, the performances were great, the background sound design built a much tenser atmosphere, and the scenes where she envisioned things tied to her internal turmoil all make it a story truly worth watching if you enjoy these kinds of dramatic plots.
I invite you to watch the movie; it's really not something you can predict. You can't imagine what is truly going through Linda's mind until you reach the end and everything comes together. You can find this movie on various streaming platforms in English or with subtitles. 🫨🎬
Spanish Version
Hola amigos amantes del cine y la televisión. He estado últimamente viendo películas al azar y me llama la atención que la mayoría han sido de A24. Siento que la forma en la que producen las historias son algo bizarras pero casi siempre tienen una manera única de contar las tramas sobre todo si se trata de géneros como el suspenso, misterio y el drama. Tenía días queriendo ver If I had legs I'd kick you dirigida por Mary Bronstein, y me parecía interesante el nombre de la película, más que todo la vi porque sonaba como un drama psicológico y a mi me gustan ese tipo de historias, sobre todo cuando se adentran en los misterios de la mente del ser humano.
La trama nos lleva a conocer a Linda (Rose Byrne) una terapeuta y madre de una niña con problemas de salud bastante graves. En toda la historia vemos a Linda pasar de su trabajo que conlleva un gran esfuerzo físico y mental sobre todo con una paciente en específico que hace que sus nervios afloren. Y su lado maternal, que está bastante crítico debido a una extraña enfermedad que tiene su única hija donde según lo que se escucha en la película —por que no muestran el rostro de la niña, solo partes de su cuerpo—, es bastante complicada y tiene un tubo conectado a su estómago que básicamente la mantiene con vida.
En medio de todo esto tiene una relación con el padre de su hija pero éste es bastante distante debido a su trabajo. Casi nunca aparece en la película, solo hay escenas complicadas de llamas a Linda donde le dice que debe hacer las cosas bien para que su hija esté sana. Pero todo esto solo hace que Linda lleve un gran peso sobre sus hombros que incluso toma terapia sin que nadie lo sepa con un terapeuta del mismo lugar donde ella trabaja. Hay mucha culpa dentro de ella pero no es si no hasta casi llegar al final que entendemos mejor que es lo que hace que Linda tenga ciertas actitudes destructivas.
A mi me gustan las historias que hablan de los personajes desde el punto de vista más humano, Linda es una mujer que intenta salvar a todos incluyéndose a ella misma, pero primero debe ser esposa, madre, terapeuta y luego si es extremadamente necesario, queda ella como mujer y ser humano. Realmente la captación de las escenas es increíble, además que la actriz es muy buena en su papel como Linda, muestra claramente lo que muchas personas que llevan responsabilidades pesadas pueden llegar a sentir. No se justifican las acciones autodestructivas o los descuidos, pero si estuviera en su lugar creo que también caería en la locura.
Es una historia bastante larga de aproximadamente dos horas, esta pelicula siento que es de las mejores del género que he visto hasta ahora en este año. Las actuaciones son muy buenas, incluso hay actores dentro de la historia que nunca habían hecho películas de drama sino más de comedia como es el caso de Linda Rose Byrne y Conan O'Brien, además hay apariciones especiales de A$AP Rocky y Danielle Macdonald. Y aunque puede parecer descabellado que estén personas que no son de géneros del drama, existe una buena alineación en cuanto al desarrollo de la película y creo que fue el elenco perfecto para contar esta historia.
Cosas que hay que destacar son la manera en la que grabaron tan de cerca a la protagonista y la forma en la que ocultaron casi por completo a su hija, esto generaba una tensión durante toda la película, incluso yo llegué a pensar que era una imaginación lo de la niña enferma. Pero no me esperaba que Linda estuviera realmente pasando por algo tan duro que le generaba una culpabilidad muy grande. Ademas las actuaciones fueron muy buenas, los sonidos de fondo para crear una atmósfera mucho más tensa y las escenas donde ella veía ciertas cosas que tienen relación con el drama que lleva por dentro la protagonista, todo hace que sea una historia que realmente vale la pena ver si te gustan este tipo de historias dramáticas.
Los invito a ver la película, realmente no es algo que puedas predecir, no te imaginas que es lo que realmente pasa por la mente de Linda hasta llegar al final y cerrar con la conclusión. Pueden encontrar esta película en diferentes plataformas de streaming con idioma inglés o subtitulada. 🫨🎬
Espero que les gustara este post, también me gustaría que me dejen sus comentarios; con gusto los leeré y responderé. Un abrazo grande. 🤗
I hope you liked this post, and I would also like you to leave me your comments; I will gladly read them and will respond to them. Big hugs. 🤗
Todo el texto de esta publicación es de mi autoría - All the text in this publication is my own.
Los banners y el separador de texto fueron editados con la versión gratuita de Canva y PicsArt - The banners and the text separator were edited with the free version of Canva and PicsArt.
La traducción del texto fue realizada con la versión gratuita de Deepl - The translation of the text was made with the free version of Deepl
Okay so. This movie should not work. It's a very thin line as it should be on paper: two college roommates take a homemade drug and the whole story is about how they are trying to walk down two flights of stairs and get a pizza delivery. That's it. That's it for the whole movie. Then, against all odds, it totally dominates!
the world's most mismatched pair of college roommates (one a disgraced former mascot clinging to a reputation he can never completely justify while the other is the shy one who can't talk to his crush without exploding), dose themselves with a homemade concoction called M.I.N.T.S. just before their pizza arrives, the movie takes off and never really lands until the credits roll. In what should've been 5 minutes, I find myself hallucinating, having to watch a whole host of mad, increasingly deranged side characters, and a few twists that had me rolling my eyes and bursting into laughter in a manner that not many comedies evoke anymore.
That's the key to this being a one-joke success instead of a disaster: the commitment. Gaten Matarazzo and Sean Giambrone dive into this, no holding back, no wink-wink at the camera and "we know this is dumb.Gaten Matarazzo and Sean Giambrone go all in, no-half-way-jobs, no wink-wink at the camera "we know this is dumb. They are playing all the stupid things with complete sincerity, which is why they're so funnier. Lulu Wilson is a scene-stealer, too, and just about the entire cast, including Peyton Elizabeth Lee, Marcus Scribner, Caleb Hearon, and Sarah Sherman, all seem to get it: go bigger, go weirder, commit harder. Oh, there's even a wonderful and rather unexpected appearance by Daniel Radcliffe that had the entire theater in splits.
But I was most impressed by the meta change in the second half. The film doesn't get too much more confusing about what's "real" in its own world, but without getting too much into the specifics of exactly what happens, it is not a cheap trick, but a very clever one that recontextualizes everything preceding it. It's a type of swing that would have thrown the whole film off, but somehow it does.
There's a nice, down-to-earth friendship story here, too, underneath all the hallucination gags and slapstick fueled by drugs. The emotional moments aren't simply ignored after the trip is over, though: Montgomery finally realizes who he wants to be with, one of the friends throws an unhinged hanger-on in the trash, and the friends are once again reunited in their dorm room, wiser for the experience, but much more connected than they were at the beginning of the night, and back to their tabletop-gaming selves. It's a simple and humble act, but it provides a real emotional place to land off the entire absurd journey instead of just finishing with a punchline.
Is this high art? No, if it did the world would not have been able to endure it. It knows exactly what it is and it is a fast, loose, gleefully stupid stoner comedy and it is that kind of comedy from frame one to frame last. The gags strike home again and again, the action never flattens out with its thin plot, and there's a bit of love in the bedlam that makes you feel sorry for these fools by the end.
Pizza Movie spins the most laugh-out-loud, joyfully ridiculous material that's held together by a cast that can't help but roll their eyes at their own jokes and a surprisingly brilliant structural trick that makes it more than just stoner-comedy filler. It's moronic in the best sense of the word. It is Ridiculous, hilarious, and certainly smarter than any pizza movie.
Faceless Men might be the best episode of the season so far because it finally makes Criston Cole pay for the bad decisions that got him here, instead of giving him the death he thinks he deserves, its just crazy how on Seasons 2 he had everything he wanted for this war but probably never pull the trigger on time, Aegon getting burned really affect him too. He walks his exhausted army into a trap chasing the honorable last stand he has been picturing in his head, but Once Oscar Tully and Rodrik Dustin surround him, Cole asks for his men to be spared and tries to turn it into a duel, like his own skill with a sword still matters. Black Aly does not let that happen and puts three arrows in him before there was even a fight, I loved how little respect the show gives his fantasy since Cole spent this whole war acting like honor belonged only to him and he just start loosing it after the Rooks Rest fight and then with the River Man and the Gray Wolfs, it was just too much for him to handle. Instead he dies holding the favor Alicent gave him while the men he led there get cut down around him for nothing. He is still brave got to give him that but that does not erase that he marched his own soldiers toward a death he set up and his attempt to save them only comes after the damage is done once he wa against the wall, itt ends fast and ugly for him, I never saw that coming, always thought they were going to keep him as a prisoner similar to what happen to Jamie Laninster in GOT.
Im starting to notice that the most realistic person on this series has to be Gwayne Hightower, if only Criston had heard him, because he is the only one paying attention to danger everybody else keeps ignoring and that gap shows the moment he gets back to Tumbleton. Gwayne has seen what this war does to soldiers, knows the army under Criston was never going anywhere good and knows Rhaenyra has too many dragons for Ormund to be this confident. Ormund just insults him, acts like the great houses will eventually fall in line and treats Daeron like a future king without caring what Daeron actually wants. He is really smart and has no need to give out a speech to prove he is right, he just notices things and when the fake Baratheon delegation shows up he clocks that the man does not match the real relative and attacks before the assassins reach Daeron and Ormund, for a second I and also Ormund thought Gwayne was wrong but then the rest of the assassin attack too, like this fucking ninja, how can he be that tired and that sharp. Ormund look happy and even flatered that great house supposedly joined him that he almost hands Daeron over without checking anything, then freezes and gets sick the second real violence starts while Gwayne and Jon Roxton handle it, which makes how confident Ormund acts look ridiculous. Gwayne later tells him straight up he is risking other lives to protect his own pride and Gwayne is just sick of all this so he has plans to head back to Oldtown since he is next in line there and Ormund says he will not stand in his way, Gwayne knows Ormund wont win this war at least under current circumstances, though Daeron begs him to stay, admits Ormund controls him and asks if he saw Alicent while he was gone. I wonder why he is now asking for his mother and if Gwayne might stay for Daeron, because he knows that after all this is over, Oldtown would still stand and will need someone to pick up the pieces.
I bet the closer we get to the end of this season Rhaenyra is harder to root for because every time she avoids one terrible decision she replaces it with another. She is right to shut down Daemon wanting to burn Tumbleton, since the people there already bent the knee to her and killing them just to get Ormund would make her as cruel as her enemies say she is. The problem is her backup plan, an assassination attempt using stolen Baratheon clothing falls apart because Gwayne is paying attention, Ormund was so damn lucky Gwayne was there and had to eat up his words for insulting him, treat him like a fool. Rhaenyra is trying to protect her reputation while using a method that hands Ormund more proof she is coming after Daeron, so she ends up looking careful in public and desperate in private, she basically working based on appearance and that is just too fragile, it wont get her anywhere and its time for her to start showing some strength. Her scene on the Iron Throne make it worse, people bring her real problems, missing supplies, kidnappings, the city falling apart and all she offers is blame and distant sympathy, then the throne cuts her and you can see how scared she is even while she hides the wound, not sure if she might even suffer from the same illness as her father getting cut by the throne and hot healing back his wounds. Rhaenyra is loosing so much grip and I wonder if it will be too late for when we get to that "this is finish" scene from one of the trailers, where she will probably go too far at Tumbleton, Alicent even tells her "I warn you...", about the things the throne will make her do. Then there are The Gold Cloaks quitting because they are unpaid and getting killed, so not only Rhaenyra but also Daemon loosing grip on his man, its just a shit storm everywhere the Targaryens go, considering they running the Throne, it suppose to be backwards. Daemon barely gets useful information before killing a Hightower man running the assassination of the Golden Cloaks, then takes his anger out on Ulf in front of everyone, big big mistake in my opinion giving another unhappy dragon rider reason to turn on them.
The episode was so well balance as everyone gets enough screen time, this time Alicent and Helaena had some really good moments because it shows how most of their problems came from choices Alicent already made, even though she still talks like freedom can be negotiated but Rhaenyra just shuts her down once again, I know its very unlikely Rhaenyra kills Alicent, they got a lot of history together. Her escape attempt fails, the news Helaena is pregnant becomes another threat Rhaenyra can use against them and their confinement gets stricter, but the worst part is that Helaena knows Alicent lie to her about Jaehaera during their escape and that was a very fucked up moment between the two. Helaena confronts her about leaving Jaehaera behind and asks why she ever allowed the marriage to Aegon, simple questions Alicent really cannot answer, for the most part during those times it was Otto who was making all this decisions for her. She says she wants to save Helaena, but Helaena has every reason to wonder if her mother is just saving herself again. Rhaenyra makes it worse by forcing Alicent to go to Harrenhal and help get Aemond killed by one of her assassins or who knows if Alicent will kill him herself in a moment of desperation, after all she already reconize most of her shield are monsters. I liked that the show does not pretend this is a clean deal between old friends, it is another forced choice by people who spent too long believing they could control what happens next. Aemond makes his own bad call at Harrenhal too, since Alys kills the stable boy to protect where he is hiding, shows him the hidden dragon eggs and offers him a way out of the throne fight. He knows she is dangerous and stays anyway because he does not have many options, which makes sense for his character but is not smart.
I never felt the episode gets crowded and but not every piece gets the same attention, still feels like one of those full of context, preparing everything for the next big episode full of action. Hugh sneaking into Tumbleton to find Kat should be a happy reunion, I really thought it would but she sees his claiming a dragon as the moment he left her alone during the worst part of her life, since he believes he earned a better future for them while she believes he just chose power for himself. The problem is that during that time she suffers way too much, they lost their daughter, then she had to take that long trip to Tumbleton where she probably got abbused based on her description, at the end makes Hugh felt like it was worthless to get such status and that he has lost more than he has earned. Ulf has a similar problem, he finally has the dragon and status he wanted but lost his freedom and Daemon treats him like like shit everytime he can, makes both men now have enough power to become dangerous if that resentment keeps building, which makes how carelessly everyone treats them look stupid. Aegon choosing Larys over Tyland also works, since he has finally figured out a useful adviser is someone willing to tell him an ugly truth. The parts that I felt they were too short or rushed it was Baela and Alyn kissing shows almost no context and got out of nowhere and the Vale section mostly repeats that Rhaena got a dragon while losing the life she wanted. The attack on Corlys gives the episode real consequence, his men were finally marching back to help Rhaenyra hold the capital when soldiers loyal to Ormund cut them off and Corlys ends up captured giving you more reason to want to know what happens next, this also makes me think if Ormund really has the advantage as he says, while Rhaenyra is still reacting from behind the whole time. Faceless Men is not the cleanest episode of the season but it might be the most satisfying one so far because pride, delay and reckless choices finally start costing everyone, and Gwayne stands out the most because he is the only one who understands that surviving this means noticing the danger before it becomes impossible to stop.
I entered this one expecting an action movie and a heist/suspenseful one at that, and I left with one of the more enjoyable heist thrillers that I have seen in quite a while. Based on the novella by Don Winslow, Director Bart Layton's adaptation manages to capture something classic, even if it's a refreshingly honest heist film that relies as much on its characters as its set pieces.
The premise is simple yet deceptive... a jewel thief that has successfully made a series of heist with an unbroken string of unsolvable crimes for the past three years along the 101 freeway in Los Angeles is determined to make one more before he walks away permanently. A disillusioned insurance broker, whose own life is also at a turning point, also falls into his life, and the two are thrown into an uneasy, dangerous partnership. In the meantime, a persistent detective who believes he's discovered the modus operandi of the thief comes increasingly close and closer to both of them, and the film slowly tightens this net, frame-by-frame, until the hunter and the hunted are virtually indistinguishable from one another.
The only thing that makes this more than just a typical “one last job” heist is the amount of character attention that Layton gives to the characters that orbit around the crime instead of just how the crime is done. The thief, played by Chris Hemsworth, is doing some of the best work of his career here, not given the movie star charm he's so known for, but instead playing this character coiled and watchful, with every scene that seems one step from falling apart. It's a real understated production and it's a good reminder of what he can do when he's not in a blockbuster franchise.
The other half of the film's emotional heart is Halle Berry, whose weary, quiet desperation with regard to the insurance broker is the same character that's not the "woman pulled into a criminal's orbit" type. Her character is not merely a foil for the thief, but is also in the midst of a fragile and chaotic situation of her own, and the fact that she is now on the same side makes their partnership feel earned rather than convenient. Then there's Mark Ruffalo, playing the detective, with a less flashy but every bit as compelling performance who seems to be filling some void in his own unraveling personal life with his obsession in cracking this case. Ruffalo gives the part a tiredness that turns the cat and mouse game into something more than a genre device and more akin to watching two people who perhaps in a different life, understood each other just fine.
The rest of the cast contributes well, too: Barry Keoghan's slightly off-center, often unhinged presence is a perfect fit for the part, Jennifer Jason Leigh and Nick Nolte provide texture and gravity in supporting roles, and Monica Barbaro and Corey Hawkins both make strong impressions on the periphery of the story.
On the level of aesthetics, what you're looking at is a beautiful movie. Cinematographer Erik Wilson embraces the sun-kissed, slightly dingy charm of L.A., the 101 freeway almost a character the endless, continuous blood vessel winding through the entire narrative, creating a sense of place. The heist scenes are tight and well calculated, but not the kind of over-done performances that many modern-day heist films indulge in, and the heist itself is quite real and dangerous, not some kind of highlight reel. It's also a score well done to Blanck Mass, a score that is moody, propulsive, but never overwrought, and only used when it is needed to add to the tension, rather than when it isn't.
The slow pace which is a major strength of the film, allowing some character work to take the time it deserves before the action gets to the next set-piece at times drags a bit too long in the second half of the film, especially during some of the detective's personal subplot scenes, that don't always get the time they deserve. It's a minor blip on the radar in an otherwise tightly wound film and it certainly never slows the pace down.
Final Thoughts:
It's a heist thriller with a lot of confidence in its actors, and its atmosphere, as well as its heist.It's a heist thriller that has a lot of trust in its actors and its atmosphere as well as its heist, and it rewards that trust handsomely. Hemsworth, Berry and Ruffalo all hit some of their most understated and effective performances of the year, Layton's direction doesn't get showy, and it has a real sense of place and consequence that many heist films would miss out on without all the showmanship. It doesn't walk in loud and obtrusive like genre fans might imagine, but that's exactly what supports its success.
I think it's a very well directed, suspenseful, and surprisingly moving heist-thriller that is driven by career-best performances from the three leads.
Hello, blog friends! I’m back with a review of a film that really made a strong impression on me—a drama featuring incredibly talented actresses like Michelle Pfeiffer and Renée Zellweger. Inspired by a novel, this movie is a real gem. Let me tell you a bit about it: the plot revolves around a mother, Ingrid, and her daughter, Astrid—two solitary women living in a state of intense symbiosis until Ingrid kills yet another one of her boyfriends. Ingrid is not an easy person to deal with; she is a mercurial, self-centered artist. Her daughter harbors conflicting feelings toward her, torn between admiration, anger, and a sense of abandonment, as her mother is rarely there for her. When Ingrid is arrested for murder, Astrid is left alone and at the mercy of the foster care system—which is where the story takes a truly dramatic turn. Initially, Astrid is placed with a large family, but problems soon arise; the foster mother is neurotic and religious, yet also unstable. Astrid manages to form a bond with her foster father—viewing him as the dad she never had—but this sparks intense jealousy in the foster mother, who accuses her of being a seductress. Her biological mother levels the same accusation against her during prison visits. Caught between two complicated women, Astrid is left confused and heartbroken until she is cast back into the foster care system.
