Hello movie lovers and friends of the CineTv community. This week's contest we are to talk about a movie that we think is too much. Now, what do I mean by too much before I selected the movie I am about to talk about? "See You Yesterday" Image source

It has been a very long time since I watched this movie, but when I say watched it, I mean I have seen this movie more than four times now. One thing I love about this movie is that it carries too much truth, emotions, science, society rules, and so much. This is not a movie that you would watch once time and get all the themes that were hidden in plain sight.

Well, before I hype it too much, let me tell you why I feel this movie is overwhelming. You know how you discover a hidden knowledge or something anyone hasn't seen before, and you try to use it to change the fate of a person or someone's destiny.

You see, in this movie, it was shown to us that the pursuit of trying to have a God like power, which is "Time Traveling," and at the same time, trying to change the fate of a person is very dangerous.

In this movie, we also see how bad the black community has been looked down upon, stereotyped, and how teenagers are killed almost every day because of their skin color. How a mother lost her husband and kid because the white police felt anyone who is black in a white neighborhood is a criminal, a suspect, or about to commit a crime.

What you need to know (The Review)

"See You Yesterday" is a story about two black smart students (C J and Sabastine)

Image source They were building a time machine for their science day project which will land them in a better university to further their education. The truth was that they only had everything in theory, but as time went on, they gave it a test run, and it was a success (Not on the first trailer though)

They were successfully able to travel to the past, and it was fun. It project was successful and everything was going fine until C J offended some guys, and on her way, trying to run away from them, she met her big brother, who drove those guys away and started walking her home while giving her the sermon of "You are a lady, you should stay away from guys like that"

While they were still on their way home, two guys ran past them, and they were like "who the hell are these guys running anyhow" Just a few steps taken by C.J.'s brother, his friend, and C J, some cops pulled up on them and started asking them questions. They were like, "some guys just ran past us" but the cops were not buying it.

It was simple; they could have checked the identity on their phone or in their car, but they didn't. Just as C.J. Bother was about to bring out his ID or phone, the cop shot him, and he ended up dead. It was then that he went to confirm the ID and discovered they had the wrong person shot.

Remember, C.J and Sebastian already discovered the secret to time travel. C.J begged Sebastian to help her so she could change her brother's fate, but Sebastian was skeptical about it. As long last, he helped her and they both traveled back to Yesterday before the C.J brother was shot, in the process of helping C.J brother, Sabastian was shot.

After C.J went back to the future, because they only had 15 minutes to stay in the past. Sabastian was the one buried, and she couldn't do the project without him. So she went back to try saving Sebastian, but the time she came back to the future, her brother was dead. She went back and repeated the same thing, but Sebastian was dead again when she was back.

In a nutshell, she couldn't change the fate of death for either Sebastian or her brother. She told her brother everything, and he told her to go back to correct her wrong. If it was his time to move on to the afterlife, then she should let him. Sebastian was the only child left to his grandparents after his parent died.

After the long conversation, she wore her time-traveling machine, then told her brother, "See You Yesterday."

One lesson I learnt just now after writing the review is that, no matter who you try to save, another person will be a victim of the fate you want to change. This is what has been happening in the black community that lives on white man's land. That was ages ago. I don't think things like that are as rampant as they used to be. The movie has a lot a people can learn from and I would recommend it to anyone any day.

Here is a trailer.

Thanks for reading. My name is Fashtioluwa.

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Greetings ALL😊⚡! Today we’re talking about Predator: Badlands, a title that has rekindled my hope that the franchise still has something to say. If you’re a fan of the Predator universe, then you probably felt the same thrill as I did when the trailer for Badlands was released.

I almost jumped out of my chair when i saw the first trailer. I could describe it in hundreds of words, but the essence is concentrated in six: “First hunt. Last chance.” It’s a motto that speaks directly to the heart of any fan of the Predator franchise, and it seems I’m not the only one, considering that the trailer has surpassed 18 million views in just a few weeks. For me, a fan who has watched every film, every attempt to resurrect the legend, this trailer is a signal that Dan Trachtenberg, the director who achieved the impossible with Prey, has done another miracle.

And alongside him, we have a central character who is not just another victim. Thia, played by the talented Elle Fanning, seems to be a key figure in a much larger conflict, a confrontation that seems to redefine not only who survives, but also why. She is not a simple soldier or a desperate survivor; she seems to have a much deeper connection to this world and this hunt, something that sets her apart from all the human protagonists so far.

I remember 2010’s Predators, where a group of mercenaries and criminals were dropped onto a sanctuary planet that had been turned into a hunting ground. It was a brilliant idea that brought the concept of alien hunting back to its brutal essence. But Badlands seems to take that idea to another level, putting the spotlight not just on the victim, but also on the hunter. In a similar world, devoid of law and hope, this time we are not just witnesses to a hunt, but participants in a story about a Predator who chose to break with tradition.

As someone who grew up with the 1987 original, i can say that my expectations are as high as my fear of being disappointed. Badlands doesn’t just feel like a sequel, but a challenge. An invitation to reexamine what “hunting” and “survival” really mean. I sincerely hope that the film manages to deliver on its promise. If so, then not only will the franchise be redefined, but also the way we relate to the heroes and monsters in the film universe.

What do you think this film will achieve? Will it truly be a revival or just a new attempt to exploit an old franchise?

Wednesday: Season 2 | Official Trailer

Alien Earth episode one release a couple of days ago and honestly I wasnt expecting much from another Alien prequel after the mess we got from some of the recent movies but I gotta say this first episode had me hooked for most of it with some really nostalgic sound effects and soundtracks, for anyone who is from 80s this series will be so familiar, for me been a lifelong Alien fan who thinks nothing beats the first two movies, I went into this expecting disappointment but hoping for something that could at least expand the universe in interesting ways and for the most part thats what we got here, nothing revolutionary but I think its going to be fun watch an hour; half movie, every week. The opening scenes immediately grab you with that familiar Nostromo vibe, the same green computer text, the crew waking up from cryo sleep around the breakfast table talking about their mission, its all very trademark of Ridley Scotts original masterpiece and thats both a good and bad thing depending on how you look at it.

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

What really impressed me was how they managed to recreate that claustrophobic spaceship atmosphere while adding their own spin with the whole specimen collection mission, how much danger the added to the classic Space Ship corridors with all this new Aliens is what really spice things up a bit, these Wayand Utani crew members are transporting five different alien species back to Earth including our beloved face huggers and you know from the start that things are going to go sideways real quick. The cast does a solid job of making you care about them in the short time we spend with the crew, considering how fast they all going to die and this is no secret if you have seen most of the franchise movies, they feel like real people dealing with corporate bullshit and dangerous cargo, talking about which mega corporations control different parts of the world now. The world building aspect really gets the spot light through these conversations where they explain how Wayand Utani controls North and South America while other companies like Prodigy and Dynamic have got a hold up the rest of the planet, I doubt now days this could be our future because before that happens democracy has to be out of the window but lets not get political or sentimental here. I like how the series decides to kill off this entire interesting crew in favor of focusing on what I can only describe as children in adult robot bodies and this is a cool twist because you might think they didnt let the characters develop but they cool part is that they get totally diposable and replace by better and more interesting ones, like the children turn into hybrids.

The whole hybrid concept with kids consciousness being downloaded into synthetic adult bodies is not revolutionary at all as a sci fi concept although its a new addition to the franchise but the execution feels off and could have been way better than it is, Sydney Chandler does her best with the role of Wendy and many times it feels so dangerous in both ways for her and anyone around her watching what is essentially a ten year old girl in a grown woman body, she can actually be psychologically abuse or snap and kill everyone she feels like, they literally playing with fire and gasoline, not to say they playing been God because we are past that point. Timothy Olyphant brings his usual commanding presence as Kirsh the sintethic, not to be confuse with an android, this are simulated humans while on the series androids are referred to enhance humans. During the episode there is this philosophical discussions about humanity versus artificial intelligence that for the most part provide some of the episodes stronger moments, especially when Kirsh talks about how humans used to be food until they built tools and convinced themselves they werent prey anymore. For some reason I didnt catch up the Peter Pan references until latter on the episode, at first when they group of kids were called The Lost Boys, I immediately thought about the vampire movie from the 90s but the started connecting the dots between the cartoon they played for Wendy and the name they all took, including the island called Neverland, there is also Boy Cavalier reading from the actual book. There were some cringe moments during the episode specially from Boy Cavalier during his obsession to meet a higher been, a very cartoonish villain.

The technical aspects of this episode are where things get really frustrating, the cinematography is absolutely gorgeous when theyre on the spaceship with all that moody lighting and practical sets that look fantastic, but then we switch to Earth there is this huge contrast that Im not sure how to describe but I have to say it looks very Godzilla Minus One type of scenario, where some sets look very real and others like a Japanese Monster movie with the city and everything else looking out of size and dimension, there are also this long takes that were clearly stitched together in post production, particularly during the sequence where multiple sick children are being transformed into hybrids one after another, how they jump from their conception and never allow their characters do develop or even had any kind of teaching or training, its also the case of Wendy as they only show a single therapy session, it would be more interesting if they dedicated more time to the hybrids development. These story slip ups really bothered me because they pulled me out of what should have been emotional moments and made me think about the production process instead of the story, I understand that creating seamless transitions is difficult but when they fail this obviously it becomes distracting. The xenomorph reveal at the end felt underwhelming compared to the build up, we barely see the creature and most of the violence happens off camera which might be a budget thing but it leaves the horror elements feeling a bit toothless with lack of reach.

Despite my complaints about the technical and story issues with some other questionable creative choices, I very very interested in where this story is taking from here, it doesn't look like this series is getting much attention and I suppose for been an FX series. The relationship between Wendy and her brother Hermit who works as a medic for Prodigy Corporation has real emotional weight even everything happens through creepy surveillance scenes. The crash of the ship promises some interesting action scenes between the escaped specimens and the hybrid characters, and I like how Noah Hawley is not trying to recreate the exact same scenario as the original movie. The production quality is clearly high with impressive sets and costumes that feel authentic to the Alien universe, even if the CGI some times leaves a lot on the table, like almost hiding the Xenomporh. The sound effects and music is one of the strongest parts of the show, going heavy on the original films but in ways that enhance rather than distract from the new story being told. Overall this first episode sets up a lot of intriguing elements and does feel like part of the Alien universe while trying to come up with its own identity, if they can fix the story patches and lean more into the horror elements I think this series could be something special for viewers who appreciate world and character building over pure nostalgia, I give this episode a solid 7 out of 10 and Im definitely coming back for more next week.

#skiptvads, #inleo, #hive, #alien, #earth, #xenomorph, #prequel, #hybrid, #synthetic, #wayand, #utani, #prodigy, #neverland, #spaceship, #corporation, #android, #specimen, #crash, #survivors, #horror, #scifi, #television, #disney, #noah, #hawley, #immortality, #consciousness, #future

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The Target (S01E01)

Airdate: June 2nd 2002

Written by: David Simon Directed by: Clark Johnson

Running Time: 62 minutes

Before the fragmented landscape of the streaming era, where prestige drama feels almost ubiquitous, HBO held an almost exclusive monopoly on American high-quality television drama. The cable network, liberated from the suffocating constraints of broadcast censorship and the relentless pressure for mass-market appeal, masterfully exploited the peculiarities of its medium. It carved out a crucial sweet spot: marrying the cinematic production values and narrative ambition of feature films with the expansive, character-driven potential of the episodic television format. The result was a string of series that transcended mere entertainment to become deeply embedded institutions within popular culture, shaping discourse and redefining what television could achieve. Among these, The Wire stands as perhaps the most rigorously constructed and intellectually formidable achievement of early 21st-century American television, a reputation that finds its startlingly potent, albeit nascent, justification in its very first episode, The Target. This opening salvo doesn't merely introduce a story; it meticulously lays the groundwork for a decade-spanning, multi-layered autopsy of an American city, revealing systemic rot with a journalist's precision and a poet's despair.

The architect of this monumental work, David Simon, brought a unique pedigree to the HBO table. A Baltimore-based journalist whose 1991 non-fiction masterpiece, Homicide: A Year on the Killing Street, offered an unvarnished, often brutal look at the city's homicide unit, Simon had already successfully translated his gritty realism to the small screen with Homicide: Life on the Street. That NBC police procedural, despite suffering significant creative dilution in its final seasons as network executives sought broader ratings, remained one of the most critically lauded and influential dramas of the 1990s, celebrated for its unconventional rhythms, moral ambiguity, and refusal to sanitise the grim realities of urban policing. The Wire, set in the same decaying Baltimore crucible and tackling a broader, yet intrinsically linked, set of societal pathologies – the drug trade, the port system, city government, the education system, the media – functions, in many profound ways, as the spiritual successor and intellectual evolution of Homicide. Where Homicide focused intensely on the microcosm of the murder investigation, The Wire promised a macrocosmic dissection of the entire ecosystem that produced those murders.

This lineage is palpable from The Target's opening frames. We are thrust not into a procedural puzzle, but into the immediate, visceral aftermath of senseless street violence in West Baltimore – a scene echoing the very anecdotes that populated Simon’s 1991 book. The camera lingers on the mundane horror: the body on the pavement, the indifferent passersby, the procedural scramble. It is within this grim tableau that we meet the series' nominal protagonist, Baltimore Police Homicide Division detective Jimmy McNulty (Dominic West), already radiating a potent mix of intelligence, arrogance, and simmering frustration. McNulty is no heroic archetype; he is a flawed, deeply human instrument through whom Simon will channel the audience into the city's labyrinthine dysfunction.

Crucially, it is McNulty, propelled less by noble intent and more by a volatile cocktail of professional pride, personal grievance, and accidental circumstance, who inadvertently ignites the central narrative engine of the entire series. The catalyst is a courtroom verdict that exposes the terrifying efficiency of the emerging Barksdale organisation. A Baltimore jury, to the palpable fury of Judge Daniel Phelan (Peter Gerety), acquits the young drug dealer D'Angelo Barksdale (Larry Gillard, Jr.) after a crucial witness recants. Phelan, politically connected and deeply disturbed by this miscarriage, demands answers from McNulty, a detective he respects. McNulty, seizing the moment, outlines the chilling reality: D'Angelo is part of a ruthless, ascendant drug empire run by his cousin Avon Barksdale (Wood Harris) and his cerebral lieutenant, Russell "Stringer" Bell (Idris Elba). This organisation, McNulty explains, has seized vast territory in West Baltimore's African American communities through a campaign of extreme violence – at least ten murders in a year – and a sophisticated strategy of witness intimidation that has already sabotaged three murder convictions, mirroring D'Angelo's escape.

McNulty’s revelation triggers a chain reaction within the Baltimore Police Department that lays bare its own internal fractures. Judge Phelan, incensed, leverages his political clout to demand action from city authorities. This demand lands like a grenade in the BPD’s command structure. McNulty’s immediate superior, Homicide Division commander William Rawls (John Doman), embodies institutional inertia; he prefers the quiet life, avoiding the "ruffle feathers" of a complex, high-risk investigation against a powerful gang, and delivers a thinly veiled threat to McNulty about career consequences. In stark contrast stands Narcotics Division Major Cedric Daniels (Lance Reddick), who approaches the Barksdale threat with professional seriousness and strategic acumen. As the Homicide and Narcotics units tentatively discuss forming a joint task force, the narrative delivers its first brutal punctuation: William Gant (Larry Hull), the one witness who didn’t recant D'Angelo’s trial testimony, is gunned down on the street. The message from the Barksdale organisation is unequivocal: defiance means death. The stakes are lethally clear.

Visually and tonally, The Target bears a strong familial resemblance to the earlier seasons of Homicide: Life on the Street, a connection underscored by the presence of familiar faces. Peter Gerety, who played the middle-aged Detective Stuart Gharty in Homicide, now embodies the frustrated Judge Phelan. Even more significantly, the episode is directed by Clark Johnson, who portrayed the sharp Detective Meldrick Lewis on Homicide and had already directed several of its episodes. This continuity provides a comforting anchor for fans of Simon’s previous work. Yet, The Target simultaneously announces a decisive evolution. The camera deliberately shifts focus beyond the police precinct walls, venturing onto the streets and into the very heart of the criminal enterprise it seeks to depict. This is most evident in the subplot following D'Angelo Barksdale’s return to the drug trade after his acquittal. Far from being rewarded, he faces demotion – punished by Avon and Stringer for a murder that brought unwanted heat and costly legal complications. Instead of overseeing the lucrative high-rises of Franklin Terrace, D'Angelo is exiled to the squalid, low-rise housing projects known as "The Pit," working under the volatile corner boy Preston "Bodie" Broadus (J.D. Williams). This scene is pivotal; it instantly establishes the Barksdale organisation not as chaotic thugs, but as a ruthlessly efficient, bureaucratically structured business with its own internal rules, hierarchies, and consequences.

This dual perspective – police and criminal – is further deepened by the introduction of characters occupying the absolute bottom rung of Baltimore’s socio-economic ladder: the addicts. Reginald "Bubbles" Cousins (Andre Royo), in a performance of heartbreaking vulnerability, and his desperate friend Johnny Weeks (Leo Fitzpatrick) attempt a pathetic scam using counterfeit bills on the Pit crew. The brutal beating Johnny suffers – a savage, unflinching depiction of street justice – is not merely shocking violence; it’s a stark illustration of the human cost ignored by both the police bureaucracy and the drug lords. Weeks’ subsequent hospitalisation, clinging to life, becomes the catalyst for Bubbles’ pivotal decision: volunteering to become an informant for Daniels’ sharp narcotics detective, Shakima "Kima" Greggs (Sonja Sohn). Bubbles’ introduction is arguably The Target’s most significant contribution to the series’ enduring power; he embodies the collateral damage, the human wreckage upon which the entire edifice of the drug trade and the city’s neglect is built.

The episode also efficiently sketches the supporting ensemble within Homicide. Sergeant Jay Landsman (Delaney Williams), a careerist cynic whose very name was lifted from a real detective in Simon’s 1991 book, provides dark humour and institutional perspective. McNulty’s closest confidant, Detective William "Bunk" Moreland (Wendell Pierce), exudes weary wisdom and loyalty. While their roles in The Target are primarily atmospheric, establishing McNulty’s world and the precinct’s culture, their significance will blossom magnificently in the episodes to come.

Perhaps the most startlingly prescient element woven into The Target, given its production mere days after the September 11th attacks, is Simon’s exploration of shifting national priorities and the redirection of state power. McNulty visits his friend, FBI Agent Terrance "Fitz" Fitzhugh (Doug Olear), who casually demonstrates the staggering surveillance capabilities the federal government employs against the drug trade – monitoring the most intimate details of criminal operations with chilling ease. Fitzhugh wryly notes, however, that such resources will now be overwhelmingly redirected towards the nascent "War on Terror," leaving the domestic drug war, and organisations like Barksdale’s, dangerously under-scrutinised. McNulty, observing this technological might, grasps a dangerous idea: could Baltimore’s meagre resources be leveraged in a similar, targeted surveillance operation against the Barksdales? Simon’s thesis – that the post-9/11 security apparatus would siphon focus and resources away from entrenched urban crises like the drug epidemic – has proven tragically, undeniably accurate, lending The Target an uncomfortable weight of foresight that many critics only fully appreciated years later.

Inevitable comparisons to Homicide will persist, but The Target leverages its HBO platform to achieve a level of verisimilitude impossible for broadcast television. The violence is more explicit, the language authentically profane and rhythmic, and fleeting nudity appears without exploitation. Crucially, none of this feels gratuitous. The colourful vernacular is the language of the street and the precinct; the violence is the brutal reality of the drug trade and policing it. This isn't sensationalism; it’s the necessary texture of Simon’s uncompromising vision. The Target presents a raw, unfiltered slice of Baltimore life, refusing to look away from the ugliness or offer false redemption. It establishes the city itself as the true protagonist – a complex, decaying organism where institutions perpetuate their own dysfunction, individuals struggle against impossible systems, and the "war" on drugs is revealed as a self-perpetuating cycle of failure.

While The Target operates with the structural familiarity of a police procedural – the murder, the investigation launch – it simultaneously transcends the genre. It is less concerned with who pulled the trigger in the opening scene (a detail almost immediately overshadowed) and far more invested in why such violence is endemic, ho* the systems meant to address it are compromised, and who ultimately bears the cost. It sets the thematic table for everything to come: the clash between individual ambition and institutional inertia, the parallels between the criminal organisation and the police department, the crushing weight of the streets on the most vulnerable. It is not merely the first chapter of The Wire; it is the laying of bedrock. The episode’s power lies in its refusal to offer easy answers or heroic resolutions. It presents a city broken not by evil masterminds, but by the slow, grinding corrosion of systems designed to serve, yet failing those they purport to protect. In this stark, uncompromising realism, devoid of broadcast television’s comforting illusions, The Target announces the arrival of a television drama that wouldn’t just reflect America, but dissect it with the cold, clear eye of a pathologist. The autopsy had begun, and television would never be the same.

RATING: 8/10 (+++)

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Bring Jessica back, dead or alive

A Different Superman on the Big Screen

Un Superman Diferente en la Gran Pantalla

Hace unos días tuve la oportunidad de ir al cine luego de tanto tiempo, y qué mejor para aprovechar el estreno de la nueva película de Superman, así que me vi en la tarea de ir y disfrutar de lo nuevo de DC en la pantalla grande, a decir verdad, aunque esperaba un poco más, fue una película que cumplió con su cometido y no se apega a lo realista si no que se va mas por el tipo de historia que representa, ficción. A continuación, vendrán algunos cuantos spoilers así que, si siguen leyendo, que sea bajo su responsabilidad, conste que le dije.

Superman, nos centra en la vida de un Clark Kent que ya lleva tres años como Superman en Metrópolis y digamos tiene ya algo de experiencia en el área siendo superhéroe y periodista. En los trailers vemos a muchos personajes introducidos en escena, y es que en este universo ya existen los meta humanos y hasta vemos en salón de la Justice Gang y varias representaciones de los mismos, muchos habrán creído que por tener tantos personajes incluidos en la historia más que una historia de Superman iba a ser como una especie de liga de la justicia prematura pero la es verdad es que no.

Superman, a pesar de presentar tantos personajes, es una película de Superman. El personaje principal no pierde nada de protagonismo sin descuidar a los otros personajes (más a delante hablaremos de ellos). En esta película exploraremos el conflicto moral de Superman, y veremos un lado más humano del personaje, alguien más vulnerable y confianzudo con las personas lo cual me parece un enfoque distinto al que el anterior Superman nos tenía acostumbrados y su visión más en una deidad que cualquier otra cosa. Esta película no roza en la línea realista en la representación de los personajes, sino que va más a su propio terreno, la ficción, sin la necesidad de buscarle tanta explicación realmente lógica a las cosas.

El cast de David Corenwet como el nuevo Superman me parece genial, hizo un buen trabajo representando al superhéroe y a la vez al periodista medio torpe, en ambas facetas cumple bien con su trabajo. Por otro lado, Nicholas Hoult como Lex Luthor es un cast impresionante, no estoy muy familiarizado con todos los personajes de Superman ya que es el superhéroe que menos he visto a lo largo de toda mi vida pero puedo decir que vi algunas que otras películas y series animadas, y esta actuación como Lex Luthor me gustó muchísimo hasta llegar al punto de atreverme a decir que brilla por el ello.

A pesar de no dejar de lado a Superman como personaje principal siento que a la vez quiso abarca un poco de todo y termina haciendo casi nada. Para mí la película está bien balanceada en cuanto al tiempo en pantalla o la participación de cada personaje, pero me habría gustado ver un poco más de Superman en la pantalla, la Justice Gang tiene gran participación y ayudan a Superman en medio de todo el conflicto. Green Lantern, Mr. Terrific y Hawk Girl brillan cuando hacen acto de presencia sin opacar por completo a Superman cuando están junto a él. Krypto simplemente es Krypto y es genial, usado con el poder del guion cuando es necesario, pero sin parecer tan obvio.

La película no es lenta pero tampoco es rápida, mantiene un ritmo consistente y eso lo aprecio mucho, no me aburrí en ningún momento en el cine mientras veía la película, logró sacarme unas cuantas risas y casi hacerme llorar de la emoción en algunas escenas. Superman entretiene, tiene un balance entre historia, acción, desarrollo de personajes, cuenta con el grandioso punto de no contar la típica historia de origen de los personajes (bueno para algunos y malo para otros) y muestra una faceta diferente del personaje.

Los efectos veo que también son un punto a tener en cuenta, por lo general están muy bien pero en algunas partes se nota el CGI aunque el hecho de que sea una buena película lo compensa pero igual visualmente pega un poco, hace algo de ruido, esta vez se lo paso por ser buena película (tu no The Flash eres caso completamente aparte). El soundtrack es muy pegajoso, había escuchado algo ante de verla en el cine y la verdad es que es bastante divertido, podría decirse, las canciones que seleccionaron para la película, en especial PunkRocker y el tema clásico de Superman con ligeros cambios.

La decisión de cambiar el origen de Superman con eso del mensaje dañado y su verdadero significado me parece algo drástico que hacer, pero a la vez aporta al arco narrativo de este Superman y funciona como punto de inflexión sobre el rumbo que debe tomar, si hacerle caso a sus verdaderos padres o hacer lo correcto. El diseño del traje me parece otro punto a favor, aunque no termino de acostumbrarme a que lleve los calzones para la estética que maneja la película es un traje que funciona bastante bien.

En términos generales, Superman es una buena película, logra entretener con sus personajes, buen ritmo y escenas de acción a pesar de que mayormente sea viendo como le dan una paliza a Superman son bastantes entretenidas. Superman no es nada parecida a las anteriores (Man of Steel) lleva al personaje por un camino diferente y explora facetas que el Superman de Snyder no las tenía o las veíamos muy muy poco. Esta película también en lo que resalta es lo mismo que cojea, al tener tantos personajes debe tener un balance entre lo principal, Superman, y los demás personajes que salen del círculo del mismo héroe.

En ocasiones puede parecer que no estás viendo una película de Superman sino más bien como una mini Liga de la Justicia, da la sensación de que querer abarcar mucho pero perderse en el camino por lo mismo. Después de todo, Superman es una película entretenida, ideal para ver con amigos o perfectamente solo y disfrutarla igual.

Como es de costumbre recomiendo verla aunque también me atrevería a decir que si no la vez tampoco pasa nada, por el momento no te pierdes de nada a menos que en un futuro alguna película de universo de DC sea un continuación directa de Superman pero hasta entonces puedes vivir en paz. Pero recuerde, esta es mi opinión al respecto de Superman y me gustaría saber qué tal te pareció, te invito a comentar en la parte de abajo y así poder intercambiar diferentes puntos de vista.

Gracias por llegar hasta aquí, hasta una nueva oportunidad!!!

Trailer

Hello everyone,

I am excited to inform you that I started a new series last night. Being a fan of law dramas, right from Suits, How to get away with Murder, and The Lincoln Lawyer, I have always admired the attention and smart moves that come with defending a client against charges. I recall watching Suits twice, and even not too long ago, probably last month, I watched it again.

They even tried to make a Suits rerun called Suits L.A. But I guess it was not a total success, since it did not get renewed for another season. Anyways, I stumbled upon Matlock through a clip on TikTok where an old woman infiltrated her way into a board meeting at a law firm, and that was all it took for me to become interested.

Being an old individual, Matlock knows that the firm is never going to hire her or even give her the opportunity of an interview, so she devises a scheme that gets her into the conference room. She plans to follow up on a settlement case that the law firm is about to close. The firm listens to the offer of their junior partner, Julian, which is $19 million dollars but Matlock speaks up by saying the opposing side is willing to offer more than that. The sound of her voice brings everyone to a shock, and it is more surprising when they ask her if she works for the firm; her answer is not yet.

With how unconventional the character is, not your typical young and aspiring wannabe lawyer, they sure made use of a couple of other young characters to keep the series alive and show how Matlock adapts to modern ways of doing things, since it has been a long time since she practiced law. I still suspect that the series is a remake of the 90s TV show Matlock, but the difference is that it is a woman who is playing the lead role.

Kathy Bates truly brought her A-game on this one, and the remaining actors are nothing but a complement to good action. Serious scenes are portrayed with so atom of unserious and so much witty talk in every scene. No wonder I spent all night watching the series and only fell asleep this morning.

Matlock is a must-watch if you have not started on it already. Also, I did my best not to give a groundbreaking spoiler for this series because I would like you to discover it for yourself.

♟♟♟♟♟♟♟♟♟

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This is a cross post of @naath/film-review-our-friend-or-a-story-that-beyond-the-pain-shows-that-there-are-unbreakable-bonds-esp-eng by @naath.

My opinion about this film | Our Friend 🎥💫

Hola amigos cinéfilos, feliz comienzo de semana para todos ✨. Desde hace tiempo había querido ver Our Friend una película dirigida por Gabriela Cowperthwai y dónde los protagonistas son Casey Affleck, Dakota Johnson y Jason Segel. No solo por el buen elenco que además debo admitir que me gusta mucho, sino la manera en la que actúa Casey sobre todo en el género del drama cómo lo hizo en Manchester by the sea una de mis películas favoritas de drama y dónde hace un increíble papel como protagonista también. Está historia es es fuerte pero deja un mensaje maravilloso sobre el amor, el poder de la gratitud y el ejemplo de una buena amistad. Así que los invito a leer mi reseña 🥲.

Hello cinephile friends, happy start of the week to all ✨. For a long time I wanted to see Our Friend a movie directed by Gabriela Cowperthwai and where the main characters are Casey Affleck, Dakota Johnson and Jason Segel. Not only because of the good cast that I must admit I like a lot, but the way Casey acts especially in the drama genre as he did in Manchester by the sea one of my favorite drama movies and where he plays an incredible role as the main character as well. This story is strong but leaves a wonderful message about love, the power of gratitude and the example of a good friendship. So I invite you to read my review 🥲.

La trama nos cuenta la historia de una familia casi perfecta, Matt (Casey Affleck) un hombre sumamente trabajador que da todo por su familia incluyendo la falta de tiempo que tiene producto de su trabajo como periodista. Tenemos a Nicole (Dakota Johnson) una mujer de espíritu libre que ama con locura a su familia y que tiene dos hijas increíbles que la llenan de fuerza para vivir a plenitud. Pero no solo es una familia de cuatro, también está incluído el mejor amigo de ambos Dane (Jason Segel) un hombre que tiene un corazón inmenso y que aunque tiene sus momentos de tristeza, es leal al cariño que le tienen tanto Matt cómo Nicole.

The plot tells us the story of an almost perfect family, Matt (Casey Affleck) a hard working man who gives everything for his family including the lack of time he has due to his job as a journalist. We have Nicole (Dakota Johnson) a free-spirited woman who madly loves her family and has two incredible daughters who give her the strength to live life to the fullest. But not only is it a family of four, it also includes their best friend Dane (Jason Segel) a man who has a huge heart and although he has his moments of sadness, he is loyal to the affection that both Matt and Nicole have for him.

Las cosas se complican cuando a Nicole le diagnóstican cáncer de forma inesperada, lo que hace que la relación entre ella y Matt se fortalezca y que Dane sea como el angel guardian de la familia. Podemos ver el proceso doloroso de una persona que sabe que va a morir, en el caso de Nicole ella decide escribir cartas para los momentos importantes que vivirán sus hijas a futuro en el cual ella ya no estará para acompañarlas o darles un consejo como madre. Pero lo más difícil es mantener la enfermedad a escondidas de sus hijas y de su propias familia y amigos, porque así lo decidió ella y tanto Matt cómo Dane respetaron su decisión.

Things get complicated when Nicole is unexpectedly diagnosed with cancer, which strengthens the relationship between her and Matt and makes Dane the guardian angel of the family. We can see the painful process of a person who knows she is going to die, in Nicole's case she decides to write letters for the important moments that her daughters will live in the future in which she will no longer be there to accompany them or give them advice as a mother. But the most difficult thing is to keep the disease hidden from her daughters and her own family and friends, because that is what she decided and both Matt and Dane respected her decision.

Casey Affleck demuestra una vez más que no es más que un actor de películas no tan populares, él tiene ese don de transmitir mediante las películas que hace sobre todo las más dramáticas, el sentimiento de la perdida, el vacío del sufrimiento humano, la cara de una persona que lucha con sus propios problemas y lo hace de manera impecable. Esa es una de las cosas que más disfruto al verlo en escena, su expresión corporal y su mirada te deja el corazón hecho añicos. En cuánto a Dakota Johnson realmente no soy muy fan de su forma de actuar pero debo admitir que me gustó en esta historia, interpretó a una mujer luchando contra esta terrible enfermedad de manera muy humana y pude sentir la sensación de esperanza que tenía a pesar de su diagnóstico. A Jason Segel me parece haberlo visto en películas de comedia, pero en esta se lució mostrando cómo es un verdadero amigo, alguien que deja de lado su propia vida cuando ve que sus amigos lo necesitan, su personaje me dió mucha tristeza y me hizo entender que hay amistades que se convierten en familia.

Casey Affleck proves once again that he is not just an actor of not so popular movies, he has that gift of transmitting through the movies he makes especially the most dramatic ones, the feeling of loss, the emptiness of human suffering, the face of a person struggling with his own problems and he does it in an impeccable way. That's one of the things I enjoy the most when I see him on stage, his body expression and his look leaves your heart shattered. As for Dakota Johnson I'm not really a fan of her acting but I must admit I liked her in this story, she played a woman fighting this terrible disease in a very human way and I could feel the sense of hope she had despite her diagnosis. Jason Segel seems to me to have seen him in comedy movies, but in this one he shined showing how he is a true friend, someone who leaves his own life aside when he sees that his friends need him, his character gave me a lot of sadness and made me understand that there are friendships that become family.

Gabriela Cowperthwaite, conocida por documentales como Blackfish, lleva su estilo realista a esta película. No hay efectos especiales ni escenas espectaculares; todo se centra en las emociones y las relaciones entre los personajes. La forma en que maneja los saltos en el tiempo es magistral. La película no sigue una línea cronológica tradicional, sino que va y viene entre el pasado y el presente, mostrando cómo la amistad entre Matt, Nicole y Dane se fue construyendo a lo largo de los años. Esto le da profundidad a la historia y te ayuda a entender por qué Dane está dispuesto a hacer tanto por ellos.

Gabriela Cowperthwaite, known for documentaries like Blackfish, brings her realistic style to this film. There are no special effects or spectacular scenes; everything is focused on the emotions and relationships between the characters. The way he handles the jumps in time is masterful. The film doesn't follow a traditional timeline, but goes back and forth between the past and present, showing how the friendship between Matt, Nicole and Dane built up over the years. This gives the story depth and helps you understand why Dane is willing to do so much for them.

El mensaje de esta película no es solo sobre la enfermedad del cáncer y lo que ocurre en la persona que lo padece y en quienes son sus cuidadores, también habla del amor inmenso entre parejas y el valor de vivir mientras exista una oportunidad. Además tambien la amistad es el símbolo de lo que de verdad significa contar con una persona que no es tu familia ni lleva tu sangre, pero que encuentras en ella un consuelo, alguien que entiende hasta tus silencios y una persona que sabes que puedes contar con ella en las buenas y en las malas. Ese sentimiento de ver a Dane darlo todo por la familia, cuidar a las niñas como si fueran sus propias hijas, cuidar de Matt mientras batalla con la idea de la muerte del amor de su vida y además tener tanta fuerza para estar junto a Nicole, es de lo más bonito y te deja con la enseñanza de que muchas veces hay personas que llegan a tu vida con un propósito y que se convierten en seres especiales.

The message of this film is not only about the disease of cancer and what happens to the person who suffers from it and those who are their caregivers, it also speaks of the immense love between couples and the value of living while there is a chance. In addition, friendship is also the symbol of what it really means to have a person who is not your family and does not carry your blood, but you find in him a comfort, someone who understands even your silences and a person you know you can count on in good times and bad. That feeling of seeing Dane give everything for the family, taking care of the girls as if they were his own daughters, taking care of Matt while he battles with the idea of the death of the love of his life and also having so much strength to stand by Nicole, is the most beautiful and leaves you with the teaching that many times there are people who come into your life with a purpose and who become special beings.

Cuando terminé de ver Our Friend, me quedé un rato pensando en las luchas internas que cada uno de nosotros lleva y que la vida es bastante corta para perder el tiempo en cosas que no valen la pena. No lloré pero si que me causó ese sentimiento de vacío y de dolor por ver el deterioro de una persona que parecía tenerlo todo en la vida, pero así es como sucede en la realidad muchas veces pensamos que siempre tendremos salud cuando en realidad todo puede cambiar de un momento a otro, nada es para siempre ni los malos momentos ni los buenos, por eso hay que saber apreciar lo que si tenemos y la posibilidad de ver salir el sol una vez más.

When I finished watching Our Friend, I stayed for a while thinking about the internal struggles that each of us carries and that life is short enough to waste time on things that are not worth it. I did not cry but it did cause me that feeling of emptiness and pain to see the deterioration of a person who seemed to have everything in life, but that is how it happens in reality many times we think we will always have health when in reality everything can change from one moment to another, nothing is forever neither the bad times nor the good, so we must know how to appreciate what we do have and the possibility of seeing the sun rise once again.

Trailer Oficial

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}