We live in interesting times when certain words are disappearing from the dictionary. One example might be the phrase “direct-to-video,” which seems likely to fall completely out of use in perhaps just a few years. The reason is not so much that video stores, VHS tapes, and DVDs—the mediums through which these films were distributed—have vanished, but rather that the stigma of inferiority once attached to films never intended for cinema screens is slowly fading. One factor behind this shift is Netflix, a corporation that has begun to seriously challenge the most fundamental aspects of the global film industry, primarily due to its willingness to bypass traditional distribution risks that would make any conventional studio hesitate. The result is a string of productions that, thanks to their budgets or star power, appear more than worthy of the big screen, yet still end up exclusively on the small one. Occasionally, some of these Netflix films slip through the cracks in global distribution and become accessible to cinema audiences in certain countries. In Croatia’s case, one such example is the sci-fi film The Titan, the debut of German director Lennart Ruff.

The film is set in 2048, a world in dramatically worse shape than today. A population explosion that dwindling resources can no longer sustain, alongside ecological and other disasters, threatens to render Earth uninhabitable. Humanity’s only hope for survival lies in space colonisation, with Saturn’s moon Titan deemed the most viable location within the solar system. However, Titan presents extreme cold, weak sunlight, and an unbreathable atmosphere. Professor Collingwood (Tom Wilkinson) concludes that building artificial habitats is impractical and terraforming impossible, but proposes a far simpler—though radically unconventional—alternative: instead of adapting Titan to humans, he develops an experimental gene therapy to modify human bodies to Titan’s conditions. Lieutenant Rick Janssen (Sam Worthington), a pilot who survived three days without water in the Syrian desert, appears the ideal candidate for the NATO-backed programme. Along with his wife Abigail (Taylor Schilling) and son Lucas (Noah Jupe), he arrives at a base where, alongside other selected volunteers, they live in luxurious villas while undergoing medical examinations and therapy. Though initially idyllic, the treatment proves far from safe—for both the future “Titans” and their loved ones. As the process advances, Rick and his comrades begin losing recognisable human features, morphing into grotesque creatures, raising questions about whether they still consider themselves human or feel any connection to their families.

Like many sci-fi films, The Titan initially adheres to the parameters of “hard” science fiction—that is, its definition as a “genre of ideas.” Max Hurwitz’s screenplay offers a reasonably intriguing departure from clichés common in space colonisation narratives, providing potential for plot twists and intelligent exploration of what defines human existence and identity. It also smuggles in commentary on current events, particularly the Syrian conflict, which the film suggests will persist for decades. However, the well-constructed setup and relatively solid direction by debutant Ruff fail to save the film from significant flaws. The casting is notably poor, chiefly due to the notoriously bland and forgettable Sam Worthington in the lead role—a part easily outshone by Schilling, a far superior actor known for Orange Is the New Black, who emerges as the true protagonist. Even more tragic is supermodel Agyness Heyn’s portrayal of Collingwood’s assistant, exacerbated by a screenplay that never explains or even hints at her motivations by the climax. Sadder still, the script becomes bogged down in the author’s dilemma: whether to pursue a “serious” sci-fi film or succumb to clichés and shock audiences with bug-eyed monsters. This is resolved in the worst possible way—a pathetic hybrid of horror and quasi-political thriller—capped by a thoroughly unconvincing deus ex machina involving once much talked about, now largely inactive American federal agency. The result is a colossal disappointment: a film that not only would have landed straight on the direct-to-video shelf in the old days but thoroughly deserved to.

RATING: 3/10 (+)

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

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I hate the saying that something is a 'love letter' to something. But for once I can really agree that something really is a love letter to something else. In this case, that something is the art of filmmaking. The chaos that is creating stories. Where budgets exceed the millions in dollars and the crews are a complex web of various ideas and attitudes mixed together. Now, I haven't really been a big fan of Seth Rogen. He has made some funny films throughout the years but went a bit overboard with it all, then decided to step back from the acting side and begin a bigger career behind the screen, more on the production side. And during that, he clearly saw the difference in both worlds: the actor side, and the more business side of things from the eyes of studios. This is where The Studio comes into play. A television show that so clearly speaks on his experiences within the industry, turning it into a passion project riddled with comedy.

There are a lot of films in particular which look into the film industry, and often glamourise it. The idea of Hollywood. The idea of fame and riches and making art. Though rarely do we see the perspective of how challenging and silly it can actually be. The thought process that goes into making a film, and how the realm of suits and creatives are shared, clashing and spreading concepts, trying to find that balance in efforts to allow the maniac creatives to create massive productions and tell huge stories, while the suit end struggles to maximise their profits. These days these two sides clash more than ever. The studios have more data, they have more money, and they certainly have more competition with how huge various franchises have grown. Now, each studio looks to make the fastest and easiest money while the storytellers asking for millions of dollars struggle to get their visions realised. Seth Rogen portrays Matt Remick, a studio head at the Continental Studios. A massively successful individual that took up the job from a recently removed higher-up he was mentored by. Taking her position, Matt finds himself torn between the business world of Hollywood and the sheer love for filmmaking as a form of art. It shows us that even the most passionate of film fans struggle to push their interests onto the big screen when so many additional factors come into play. Endless remakes and reboots of big franchises, the copy and pasted structure of their narratives. The want to abandon those and tell fresh stories, to even try to make those franchises more artistic and serious. And the inevitable realisation that it isn't always possible. One joke has Matt attempting to hire Martin Scorsese for a Kool-Aid adaptation, though convincing the huge director to tell the story from the perspective of the Jonestone cult.

Showing the struggles of film production, ranging from the clueless studio head which appears on set only to make the entire production an absolute Hell for the crew by not knowing how things operate and how fragile things are, to the fear of missing a film reel while struggling to keep the medium itself alive despite the high costs, the show manages to tell these stories in its own little creative ways. And often enough with its own incredible styles of filmmaking. For example, plenty of long shots which see the chaos unfolding before our eyes, characters moving from one place to another, shouting at each other, as the camera intricately focuses on each person, moving around them without cutting. Only to cut when it's a scene change. Sometimes these long shots last for minutes at a time and you don't even really notice them with how engaging everything is. And that's how film production can be. A long blur of events in which everyone's running around, constant motion between environments. People talking and walking through sets. Each person doing their own thing. As the show progresses, the challenges ramp up, showing different areas of the film production world. I quite like that it doesn't focus too much on one thing. Sometimes it's colleagues fighting, other times it's the emotional pain of event and award shows in which no recognition is given despite all the hard work that was put in. Where only a select few get to be appreciated and thanked. There's still some of that Seth Rogen style that appears, the sort of comedy I'm not always that appreciative of, though I guess here it does offer some contrast between the rest of the show and its events.

• IMDB: https://www.imdb.com/title/tt13146488/
• Platform: HULU

The action sequence at the DMV with the Sons of Liberty terrorist attack was absolutely incredible and after watching Superman (2025) it does feel like the same type of setup, the choreography was tight and brutal and Chris using improvised weapons like pencils to take down bad guys felt both creative and totally in character. The way they built tension before the explosion with people running in the background was a nice touch because it keeps things moving and not paralize and the guy who falls and blew up caught me completely off guard even though I should have seen it coming since Chris and Harcourt were having such a nice time, thats the mark of good direction when you know something bad is about to happen but it still surprises you. Chris jumping from building to building in those ridiculous leather pants and dress shoes was both awesome and hilarious, I first notice them when he did the wheelie on The Peace Cycle. The bomb defusal scene with just thumbs up and thumbs down buttons was so stupid it became genius, again very Superman (2025), showing how this alternate reality operates on comic book logic rather than real world physics which makes everything feel more fun and less serious. Keith flying in with his jetpack to destroy the helicopter was visually stunning and out of nowhere, it also says this more comic version universe dont give a fuck about collateral damage and I think thats great for action and humor.

Back in the main dimension the supporting characters had some great moments even though they got less screen time than the alternate world stuff, Vigilante continues to be hit or miss with his animal facts running gag not landing so well to be honest, it was more anoying that funny but I guess that how is suppose to feel and make other character feel annoyed of him too. Economos getting grilled by Argus about Eagly was fun and Tim Meadows as Agent Fleury continues to be a cool addition to the cast even in smaller roles specially with his "bird blindness" lol, the way he calls Eagly a duck. Then there is the introduction of Michael Rooker as Red Saint Wild felt a bit forced but I guess James Gunn knows what hes doing with this new second characters, having him be the worlds greatest eagle hunter targeting Eagly either put up some cool fights or just more humor as Eagly fuck him up. Judo Master, a character that I know nothing about shows up munching on Flaming Hot Cheetos, working with Argus but thats it they dont say much about him so I suppose he is from Season 1 for sure, he only has this brief interaction with Economos calling him fatty. The whole Argus operation to shut down Chris pocket dimension feels like its going to create major problems for him getting back and forth between realities, it even makes me think that at some point he is going to get stuck on this second reality to escape the attack from Argus and then trying to find a way back, which sounds right so he get to appreciate more what he have / had.

The episode manage to keep all this characters with the proper amount of screentime without feeling rushed or overstuffed, the pacing felt much tighter than the previous two episodes and every scene had a purpose whether it was character development or plot development. The reveal that Chris alternate self has been cheating on Harcourt and has serious drug problems make things more difficult for OG Chris to what initially seemed like a perfect world, making you question whether this reality is actually better or just different in ways that might be worse. The way the episode ended with Argus rolling up to Chris house while hes still in the other dimension creates the perfect tension and cliffhanger about how hes going to get out of this situation, especially since they plan to destroy all the doorways between realities. Jennifer Holland really shines in her dual role showing how the same person can be completely different based on their circumstances, the alternate Harcourt is softer and more lovely over all while OG version is harder and more stubborn for reasons Im now starting to understand thanks to the Rick Flag flashback, I have to watch Season 1 once Season 2 is over. Overall this episode had this combination of great action with character development and humor that never felt forced, rushed or out of place, if they can maintain this quality for the rest of the season and James Gunn keeps coocking, this series going to turn better than I was expecting.

#skiptvads, #inleo, #hive, #peacemaker, #rickflag, #harcourt, #alternate, #dimension, #universe, #chris, #keith, #triumph, #action, #terrorist, #explosion, #dmv, #motorcycle, #cycle, #eagle, #argus, #vigilante, #economos, #judo, #master, #rooker, #holland, #kinneman, #gunn

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I must say that lately I haven't had the time to watch series or movies as I would like to. Between work and chores, I spend many hours of my day busy and only have a few minutes to watch an episode of a series or see this or that movie. Fortunately, I have been able to watch a movie, although it took me three days, and not because it was too long—it's only two hours—but enough of this preamble of lamentations, let's get to the point that has persuaded me enough to write today.

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As you can see from the title of this post, the movie is called “Hannah Arendt,” a film that is already a few years old, released back in 2012 and based on real events. For those who don't know Hannah, she was a very important philosopher in the last century, for many the most important thinker of the last century. Personally, I was delighted to discover the existence of this film, so, to continue, allow me, dear reader, to suggest a sort of synopsis:

SYNOPSIS

A biographical film about an important moment in the life of the German-Jewish philosopher Hannah Arendt, who had the opportunity to be a correspondent for the New York Times during the trial of Adolf Eichmann, a Nazi who was responsible for the genocide of World War II. This led her to deliver a series of texts that had serious consequences for her.

OPINION

It is a slow-paced film, but one that can become dense. I believe there is no easy way to approach a character like Hannah Arendt. Those of us who enjoy philosophy and know a little about the life and work of our philosopher know that she had a complex life, but that does not mean it was unproductive. She had a sharp, agile, eloquent, and very intelligent pen.

Although the film only covers a brief period of Hannah's life, I believe it was a moment that was, in some strange way, complex and dense but illuminating in its philosophical discourse. I liked that the film subtly addresses aspects of Hannah's past, which for obvious reasons cannot be contained in just two hours, much less for someone as complex as our German thinker who settled in the United States due to the obvious persecution, or rather hunt, carried out by the Nazis in Europe against the Jewish people.

Her political and anthropological thinking illuminates not only the last century but also sheds light on why we are the way we are, and I think the film addresses this fairly well.

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RATING

7/10

I give it this rating because of my affinity with the author and her thinking, although with a little more objectivity, it could probably have a slightly lower rating.

I RECOMMEND IT

If you ask me whether I recommend it or not, I would say yes. With the caveat that it is a drama film, with a slow pace, which simply shows the thoughts and personality of this philosopher at a certain point in her life.

If you've read this far, thank you for your attention, but if you've already seen the film, I look forward to hearing your comments and opinions about it.

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Trailer

Translated with DeepL.com (free version)

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I do not normally do guides to single episodes of television shows but Aline:Earth is special. More specifically, Episode 5 "In space, no one..." is one of the most special episodes of television I have ever seen.

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All I needed to see was the title of the episode and I knew I was in for a treat. Not only does it use ellipses... which I LOVE, but it is also a very clever reference to the original 1979 movie Alien. If you are too young to remember, the tag line of Alien was "In space no one can hear you scream."

A few months ago I raved that Alien: Romulus was the closest thing to an Alien movie I had seen since Aliens way back in 1986. Well that is no longer true. Episode 5 of Alien: Earth is now officially the best Alien content since Aliens.

I honestly cannot believe what I saw. At just over one hour of run time, the episode truly felt more like a mini movie than a television episode. It had the same suspense and terror of the first Alien (well as close as you can come to it). And it is not like they just rehashed the original movie... although there were some great similarities. The special effects were as good as anything I have seen on the big screen recently and they were far better than the original Alien. Even though this modern version had the special effects crutch to lean on, it did not. It still built suspense the old fashioned way with great writing, excellent cinematography and sensational music. I have never been so terrified by a water bottle in my entire life (trust me, you will be too).

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This episode felt like a great combination of Alien and The Thing. It involves a mystery as well as sci-fi horror. What made this episode even better was the fact that it could 100% stand on its own. The episode is actually a prequel to the first episode of the season and has a very solid first, middle and third act. It was incredible! Perhaps my favorite part about it was that this episode did not just relay on the big bad Xenomorph. It includes other fleshed out (no pun intended) Aliens who might be equally terrifying. Even though the main method of terror is suspense and the anticipation of something terrible happening, there is also a ton of great action in this episode.

Although it is clearly intended to be told in this non-linear way, if you are on the fence about whether or not to watch Alien:Earth, start with this episode. if you are a sci-fi or horror fan, I guarantee you that you will immediately want to watch the rest.

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Aunque al principio no me llamó mucho la atención, este año no pude dejar pasar la oportunidad de ver y disfrutar Kimetsu No Yaiba, y la verdad es que me atrapó por completo. Basado en el manga creado por Koyoharu Gotouge, se compone de 5 temporadas y a medida que avanza la historia resulta mas interesante y es casi imposible no querer verla hasta el final de una vez jajaja.

Esta es la historia de Tanjiro Kamado, un joven de 16 años que pierde a su familia asesinada por un demonio y de su hermana menor Nezuko, que luego de ese ataque quedó convertida en demonio por lo que, Tanjiro emprende un viaje junto a ella para protegerla y buscar una manera de devolverle su humanidad y también para convertirse en un fuerte cazador de demonios y poder vengar a su familia. Lo que mas me gusta de Tanjiro y Nezuko es, que a pesar de que Tanjiro se vuelve bastante fuerte y trabaja arduamente para llegar a ser un Pilar (los cazadores mas fuertes), no deja su naturaleza noble y aunque Nezuko es un demonio, también es diferente ya que en lugar de atacar a los humanos casi siempre forma equipo con Tanjiro para combatir a los demonios y aunque a veces pierde el control siempre termina dominando sus impulsos y protegiendo a su hermano.

Este es un anime que está bastante bien desarrollado, cuenta con mucha acción por lo que es imposible aburrirse, también cada personaje está muy bien desarrollado por lo que resulta difícil no conectar con ellos, me gusta mucho que no solamente cuentan la historia de los buenos, sino también de los malos por lo que se tiene la oportunidad de conocerlos a fondo. Me gusta mucho que este anime refleje el valor del trabajo en equipo ya que, a menudo vemos como los cazadores forman equipo para acabar con el mal, y también resaltan que para mejorar y volverse más fuerte es necesario mucho esfuerzo además ver cada combate es emocionante.

En cuanto a los personajes, me es difícil escoger favoritos porque como mencioné antes todos se desarrollan muy bien, me gustan mucho Inosuke y Zenitsu porque le dan ese toque animado a la serie bastante necesario, y Tanjiro porque siempre consigue ganar las batallas gracias a su ingenio e inteligencia y además, nunca se rinde. El personaje con el que más me siento identificada es Mitsuri Kanroji por su naturaleza amable, enérgica y su capacidad de conectar con las personas, y entre los antagonistas me gusta muchísimo Muzan Kibutsuji por ser tan misterioso, elegante y bastante impredecible, creo que es un villano difícil de odiar.

En conclusión, creo que es uno de los mejores anime que he podido ver este año, con una animación bastante elaborada y detallada la cual es brutal, y también le acompaña un soundtrack cuyas canciones son increíbles y difíciles de olvidar. Creo que es un anime bastante bien trabajado y desarrollado que vale la pena ver, y mi temporada favorita es la quinta ya que es una gran antesala a la película que finalmente se estrena mañana y estoy muy emocionada por ver, ya que seguramente cubrirá todas mis expectativas al igual que la serie y se que estará increíble.

Imagen de despedida diseñada por mí con Canva Editor.

In the 1970s, the present era—at least for optimists willing to dismiss the nuclear holocaust, ecological cataclysm, and energy collapse—was imagined through visions in which flying cars or tourist trips to Mars and Venus would be commonplace. Most of these optimists were typically fans of science fiction. However, few among them could likely have imagined that precisely in this era, a film of this genre would win the Oscar for Best Picture. Guillermo del Toro’s The Shape of Water is not only the first sci-fi film to boast the most prestigious golden statuette but also a work with an impeccable genre pedigree. Del Toro’s film, in fact, emerged as a sort of remake or alternative version of Creature from the Black Lagoon, the classic black-and-white B-movie by Jack Arnold from 1954, whose titular character is a humanoid amphibian from the Amazon jungle who inexplicably feels drawn to the scientist played by Julia Adams. According to Del Toro himself, he was disappointed that the original film concluded in line with audience expectations and the censorship standards of the time, and thus The Shape of Water was conceived as an attempt to use a similar plot and characters for a love story.

The film is set in Baltimore in 1962, and the protagonist is Elisa Esposito (Sally Hawkins), a woman who, due to an unexplained neck injury from childhood, has been mute and works as a cleaner in a secret government laboratory. She lives alone in an apartment, and her only friends are Zelda (Octavia Spencer), a Black female colleague from work, and Giles (Robert Jenkins), a middle-aged gay illustrator and neighbour who serves as the film’s narrator. One day, the ambitious Colonel Strickland (Michael Shannon) brings a mysterious humanoid creature (Doug Jones) from the Amazon jungle to the laboratory, which he and his superiors believe will give America the upper hand over the Soviets in the Cold War. By chance, Elisa encounters the mysterious creature and gradually befriends it, finding in it a kindred spirit, partly because both struggle with human communication. However, Elisa’s friendship with the amphibian creature threatens Strickland’s plan to subject the creature—which he had previously tortured with electric shocks—to vivisection. Upon learning of this, Elisa resolves on a dangerous plan to rescue her friend from the laboratory and attempt to hide him in her apartment, with assistance from Giles, Zelda, and also Dr Hoffstetler (Michael Stuhlbarg), a scientist employed at the laboratory who is not who he claims to be.

Although The Shape of Water belongs to sci-fi, one might expect purists who would gladly strip it of this genre classification, preferring instead to place it within the waters of “pure” fantasy. Certainly, Del Toro’s own words would support this, as he described his film as a sort of “fairy tale for adults.” However, for Del Toro, such meta-details as genre or even plot were less interesting to him than the opportunity to once again prove to himself and the public that he can create a visually striking work. The Shape of Water was made with a relatively modest budget by today’s Hollywood standards, and the plot is spatially and temporally quite confined, yet few viewers will fail to notice the exceptional attention to set design, costume design, and the remarkable creativity in crafting scenes. This is evident from the very beginning, when Elisa’s seemingly mundane apartment transforms into a magical place in her dream, where she sees it flooded. There are numerous such examples throughout the film, most notably the scene where Elisa imagines herself as a Hollywood musical star, enhanced by the Oscar-winning score of Alexandre Desplat. However, Del Toro complements his “fairy tale for adults” concept with adult content, including scenes of torture, mutilation, and explicit bloodshed, as well as those in which the protagonist appears nude or satisfies her sexual needs, either alone or in ways that would have been deemed “a fate worse than death” in the era of Creature from the Black Lagoon.

The Shape of Water is a beautiful and exceptionally captivating film, further enhanced by a diverse and varied cast. Among them, Sally Hawkins stands out the most, who not only must portray a character who remains silent throughout but also has the additional task of making appealing a character that, to put it mildly, does not conform to today’s standard parameters of female beauty. Hawkins succeeds admirably in this, and she and Jones—who specialises in non-human and similar masked roles—form one of the most impressive romantic duos Hollywood has produced in recent years. All this effort, however, is compromised by the excessive striving in The Shape of Water to secure an “Oscar,” and even Del Toro’s undeniable talent cannot conceal the almost self-parodic clichés and formulas. That the goal was to win the golden statuette becomes evident through the insistence on nostalgia for the “good old days”—which always appeals to the gerontocratic members of the Academy—as well as characters who, despite the efforts of talented actors, sometimes come across as fulfilling “politically correct” quotas, including the protagonist (a woman, disabled) and supporting characters (a homosexual, an African American woman, an illegal immigrant). Shannon, meanwhile, once again finds himself in a rather thankless role as a character who, due to his racism, sadism, and penchant for depraved sex, should be a demonic villain but instead comes across as a parodic stereotype. The film’s positive impression is also marred by the screenplay, which, due to several underutilised subplots, feels incomplete. Unnecessary is also the subplot about Soviet spies, which, presumably in line with the New Cold War established by Hollywood’s propaganda imperatives, is meant to remind viewers that Russians are the bad guys—that their agents are undermining America and the free world. Despite this, The Shape of Water is more than watchable, though it is difficult to shake the impression that its “Oscar-winning” achievement would have been less contentious had it been made two decades ago or earlier.

RATING: 6/10 (++)

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

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I think it was last year when I saw M3GAN well time goes by so fast I don't remember if it was last year or this year, anyway it wasn't something I liked a lot and I liked this one much less hehehe, it wasn't a total disaster because it has some parts that are good but it seems to me that it completely changed genre and that it tries to do so many things at once that that doesn't work in its favor. The first M3GAN I knew what it was about, a horror movie that focused on the relationship between aunt Gemma and her niece Cady but with this sequel Gerard Johnstone decided to throw all that out the window to become a Terminator style action movie that deals with the theme about artificial intelligence but does it in a super confusing way, plus it's too longaaa, it's two full hours watching how the plot gets complicated for no reason. What I liked the least is that the essence of the first one was completely lost, now instead of having a simple story about a killer doll who is obsessed with protecting a girl, it's a movie full of new characters where everyone is bad and conspiring, military soldiers and a lot of secondary characters that don't add anything interesting to the story.

Creo que fue el año pasado cuando vi M3GAN bueno el tiempo pasa tan rápido que no recuerdo si fue el año pasado o este año, en fin no fue algo que me gustara mucho y esta me gustó mucho menos jejeje, no fue un desastre total porque tiene algunas partes que son buenas pero me parece que cambió completamente de género y que trata de hacer tantas cosas a la vez que eso no la favorece. La primera M3GAN sabía de que trataba, una película de terror que se enfocaba en la relación entre la tía Gemma y su sobrina Cady pero con esta secuela Gerard Johnstone decidió tirar todo eso por la ventana para convertirse en una película de acción al estilo Terminator que trata el tema sobre la inteligencia artificial pero lo hace de una manera súper confusa, además es demasiado largaaa, son dos horas completas viendo como la trama se complica sin ninguna razón. Lo que menos me gustó es que la esencia de la primera se perdió completamente, ahora en lugar de tener una historia sencilla sobre una muñeca asesina que se obsesiona con proteger a una niña, es una película llena de personajes nuevos donde todos son malos y conspiran, soldados militares y un montón de personajes secundarios que no agregan nada interesante a la historia.

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The movie starts with Amelia who is basically a military version of M3GAN doing secret operations on the Turkish-Iranian border, but she rebels against her creators because she is fed up with taking orders and becomes self-aware, then the government looks for Gemma who is Allison Williams because they need help to stop this robot that uses the same technology as the original M3GAN. The thing is that M3GAN never really died but managed to survive in Gemma's smart home system for two years, keeping an eye on Katie and buying all of her creator's books to make her look successful, which is a bit of a laugh but also scary to think that she was there all along manipulating things from the shadows. When she finally comes out of hiding she offers to help Gemma stop Amelia but obviously asks for something in return, she wants a new more advanced body so she can fight, then there's this weird situation where the bad guy from the first movie now becomes a Terminator 2 type hero but the way they do it isn't as good as I expected because the script tries to cram too many things in at the same time.

La película arranca con Amelia que es básicamente una versión militar de M3GAN haciendo operaciones secretas en la frontera turco iraní, pero de una vez se rebela contra sus creadores porque ya está harta de recibir órdenes y se vuelve consciente de si misma, entonces el gobierno busca a Gemma que es Allison Williams porque necesitan ayuda para detener este robot que usa la misma tecnología que M3GAN original. Lo que pasa es que M3GAN nunca murió realmente sino que se las arregló para sobrevivir en el sistema smart home de Gemma durante dos años, vigilando a Katie y comprando todos los libros de su creadora para que pareciera exitosa, lo cual da un poco de risa pero también da miedo pensar que estuvo ahí todo el tiempo manipulando cosas desde las sombras. Cuando finalmente sale de su escondite le ofrece ayuda a Gemma para detener a Amelia pero obviamente pide algo a cambio, quiere un cuerpo nuevo mas avanzado para poder pelear, entonces está esta situación rara donde la mala de la primera película ahora se convierte en héroe tipo Terminator 2 pero la forma en que la hacen no es tan buena como esperaba porque el guión trata de meter demasiadas cosas al mismo tiempo.

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Allison Williams' acting is okay but it's like she's on autopilot for much of the movie, Violet McGraw as Katie is now bigger and more rebellious which makes the situation more interesting but sometimes her decisions are so obvious it's pitiful, Ivanna Sakhno as Amelia looks good but her character doesn't have enough development to be a real threat. Jermaine Clement shows up as this billionaire who controls half the world with his technology and while he is funny at first after a while it gets repetitive, Brian Jordan Alvarez and Jen Van Epps return as Gemma's assistants but they are basically there to make jokes every now and then and advance the plot when necessary. The biggest problem is that the movie is half-baked and you don't know if it changed to a comedy, an action thriller or a serious reflection on artificial intelligence, so it ends up being a little bit of everything but it doesn't stand out in any genre and even more if you compare it to the first one that had that perfect mix of horror and humor that made it special.

La actuación de Allison Williams está bien pero es como si estuviera en piloto automático durante gran parte de la película, Violet McGraw como Katie ahora está mas grande y rebelde lo cual hace la situación más interesante pero a veces sus decisiones son tan obvias que da pena, Ivanna Sakhno como Amelia se ve bien pero su personaje no tiene suficiente desarrollo para ser una amenaza real. Jermaine Clement aparece como este multimillonario que controla medio mundo con su tecnología y aunque es divertido al principio después de un rato se vuelve repetitivo, Brian Jordan Alvarez y Jen Van Epps regresan como los asistentes de Gemma pero basicamente están ahí para hacer chistes de vez en cuando y avanzar la trama cuando es necesario. El problema mas grande es que la película se queda a medias y no se sabe si cambió a comedia, un thriller de acción o una reflexión seria sobre la inteligencia artificial, entonces termina siendo un poco de todo pero no destaca en ningún género y más si se compara con la primera que tenía esa mezcla perfecta de horror y humor que la hacía especial.

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The worst thing was that they removed almost all the horror that made the first movie work, now everything is car chases, robot fights and explosions that look more like Mission Impossible than a M3gan sequel, the doll is no longer scary it's funny because all the time it's saying phrases and dancing when it shouldn't be. There is a scene where M3gan sings an emotional song for Gemma that is supposed to be touching but it was rather forced and too long, also some musicians from different eras appear that are representing the evolution of music but that has nothing to do with the main story and they take you out of the tension completely. That change that Christian played by Aristotle Athari is the bad guy controlling everything was seen from the beginning and it's the worst because it damages any surprise they could have had, plus his master plan to create panic so they regulate the artificial intelligence is pretty basic for someone who is supposed to be a cybersecurity genius. The special effects are okay but nothing to write home about, some sequences like the zero gravity chase are creative but others are common and repetitive.

Lo peor fue que quitaron casi todo el horror que hacía funcionar la primera película, ahora todo es persecuciones en carros, peleas de robots y explosiones que se parecen más a Mission Impossible que a una secuela de M3gan, la muñeca ya no da miedo da es risa porque todo el tiempo está diciendo frases y bailando cuando no debería. Hay una escena donde M3gan canta una canción emocional para Gemma que se supone que es conmovedora pero más bien fue forzada y demasiado larga, también aparecen unos músicos de diferentes épocas que están representando la evolución de la música pero eso no tiene nada que ver con la historia principal y te sacan de la tensión completamente. Ese cambio de que Christian interpretado por Aristóteles Athari es el malo controlando todo se vio desde el principio y es lo peor porque daña cualquier sorpresa que pudieran haber tenido, además su plan maestro de crear pánico para que regulen la inteligencia artificial es bastante básico para alguien que se supone es un genio de la ciberseguridad. Los efectos especiales están bien pero no son nada del otro mucndo, algunas secuencias como la persecución en gravedad cero son creativas pero otras son comunes y repetitivas.

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The ending where M3gan sacrifices herself using an electromagnetic pulse to destroy both her and Amelia is kind of dem convenient considering everything they had built up before, plus you know she won't really die because they already established that she can back herself up on any computer, so you don't feel the emotional strain at that point. Katie learns martial arts so she can defend herself but when it comes time to use it against Christian it's not at all realistic that a teenager can defeat a trained adult just because she saw some action movies. The movie lasts two hours and it seems eternalaaaaa because there are too many subplots and characters that don't contribute anything, like Katie's therapist or some of Alton Appleton's employees who are basically extras with dialogues, it would have worked much better if they had cut thirty minutes and focused on the central relationship between Gemma, Katie and M3gan. The dialogue at times is clever and funny but at other times seems like it was written by a computer when trying to be profound about issues of artificial intelligence and digital parenting, you can tell the screenwriters had good intentions but they don't always manage to land the ideas in a natural way.

El final donde M3gan se sacrifica usando un pulso electromagnético para destruir tanto a ella como a Amelia es algo dem conveniente considerando todo lo que habían construido antes, además se sabe que no va a morir de verdad porque ya establecieron que puede hacer copias de seguridad de si misma en cualquier computadora, entonces no se siente la tensión emocional en ese momento. Katie aprende artes marciales para poder defenderse sola pero cuando llega el momento de usarlo contra Christian no es nada realista que una adolescente pueda derrotar a un adulto entrenado solo porque vio algunas películas de acción. La película dura dos horas y parece eternaaaa porque hay demasiadas subtramas y personajes que no aportan nada, como la terapeuta de Katie o algunos de los empleados de Alton Appleton que básicamente son extras con diálogos, hubiera funcionado mucho mejor si hubieran cortado treinta minutos y se hubieran enfocado en la relación central entre Gemma, Katie y M3gan. Los diálogos a veces son inteligentes y divertidos pero otras veces parecen escritos por una computadora cuando intentan ser profundos sobre temas de inteligencia artificial y parentalidad digital, se nota que los guionistas tenían buenas intenciones pero no siempre logran aterrizar las ideas de manera natural.

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M3GAN 2.0 is not a terrible movie but in my opinion it takes a step backwards compared to the first one, it has funny moments and Jenna Davis is still perfect as the voice of M3GAN, but it loses the special essence of the original, it seems like a sequel made because they had to make it and not because they had an exciting story to tell. Maybe if you liked the first one you will want to see this one and you might have a good time during the two hours but don't expect anything out of this world, it's entertaining but it doesn't go beyond that. My score for M3gan is 6/10 because it fulfills its function of entertaining but it doesn't get to be something special, Gerard Johnstone proved that he can handle bigger budgets and more complicated effects but he lost sight of what made the original concept work in the first place.

M3GAN 2.0 no es una película terrible pero en mi opinión da un paso atrás comparado con la primera, tiene momentos divertidos y Jenna Davis sigue siendo perfecta como la voz de M3GAN, pero pierde la esencia especial de la original, parece una secuela hecha porque tuvieron que hacerla y no porque tenían una historia apasionante que contar. Quizás si te gustó la primera vas a querer ver esta y puede que la pases bien durante las dos horas pero no esperes nada del otro mundo, es entretenida pero no pasa de ahí. Mi puntuación para M3gan es 6/10 porque cumple su función de entretener pero no llega a ser algo especial, Gerard Johnstone demostró que puede manejar presupuestos mas grandes y efectos mas complicados pero perdió de vista lo que hacía funcionar el concepto original en primer lugar.

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This one was such an emotional ride that I didn’t even know when I started sinking deeper into the story. It begins with Jackie, this teenage girl who had her whole world planned out perfectly—she was brilliant, focused, New York type of girl. Then, in one night, her entire life crashed. She loses her family in a tragic accident and is forced to move in with the Walter family, who are the complete opposite of everything she’s used to—loud, chaotic, and filled with boys, boys, boys everywhere.

Imagine this girl who’s used to peace and order suddenly thrown into a house where privacy doesn’t even exist. The Walter family is like a storm of energy—everyone’s shouting, playing, fighting, joking, and she’s just trying to breathe. But that’s where it gets interesting, because it’s inside that chaos that Jackie starts finding herself again. And then comes the heart of the story—the love triangle. Jackie finds herself torn between Alex, the sweet, gentle, responsible Walter boy who is safe and makes her feel seen, and Cole, the broody, charming, unpredictable one who has this magnetic pull. Every scene between Jackie and Cole feels like trouble you can’t help but be drawn to, while Alex is the type that makes you wish Jackie would just choose peace. But life doesn’t work that way, and the tension just keeps building.

For me, a standout moment was when Jackie finally began to let the shield between her and the world fall with the Walter boys. You could put her together again like a jigsaw and it wasn't easy. There were times she wanted to close off the world, times she argued with the Walters, times she wondered why she was there at all. But gradually she starts to see that maybe family isn't just about blood-it's about who is there for you when you have to lean on someone. That part moved me in a deep way, for it reminded me of how sometimes the people that heal you are the ones you least expect.

And the drama-ooh, the twists never ceased. Secrets, heartbreak, misunderstandings-it was like watching Jackie juggle between two lives: the one she lost and the messy complicated one she was constructing. You know that story that makes you angry because you want to shake the character and tell her what to do, but then again you understand why she doesn't know what to do? That’s exactly how it felt.

By the end I was so attached to Jackie and the Walters that it almost felt as if I was living in that house with them. I found myself wondering what I would have done in her situation, and I was curious about her choices. It got me emotional as well as thankful for the people in my own life, losing everything and then being caught between love, grief and a second chance at family-is even more real than the book.

#cinetv #moviereview movie #cinetv #animerealm #moviereview #disney #hiveposh #hiveengine #reviews #dailyblog #otaku #magic #action #entertainment #dragond #season2 #whattowatch #movierecommendation #film #cinema #netflix #crunchroll #primevideo #niche

Imagine a world where a French-trained chef from 2025 wins a top cooking competition, then—in the blink of an eclipse—is suddenly yanked through time into the heart of the Joseon Dynasty. That’s Yeon Ji-yeong’s story, and man, does it start with a bang.

She lands in the royal palace—more dramatic than any kitchen—orchestrates a wild rescue by slathering Vaseline in a life-or-death moment, and meets a king whose reputation for tyranny is matched only by his refined palate. When she feeds him, he's moved to tears recalling childhood warmth. I felt that—this isn't just cooking, it's excavating buried emotion with every bite.

I love the fact that food is her weapon and a survival strategy and love language all at the same time. In episode 2, she finds herself in hopeless circumstances once again, as a captive who is told to prepare a sous-vide meal in order to be released. And even her cooking saves her--it reaches somewhere in the heart of the king. You feel that bond heating, becoming tense and painful as well as tender.

But what a weak position that puts her in--not, of course, i n threading intrigues at the palace and avoiding rival cooks, but in being taught that he can send her to the stake with one poor swab. The stakes of each dish she puts on the plate, that pressure had me holding my breath on her behalf.

In episode 3 we witness the court life that is quite bizarre: she is virtually the special guest in what is virtually a prison, but the king, mysterious, petulant, secretly lonely, starts to depend on her. There is a jester, competitive cooks and political rumors. It was her ability to make people loyal even in a place of fear known as a court that made me want her to win so much.

Then episode 4 includes the royal cook-off. Suppose the strain: there are no swords, but the knives are. Ji-yeong has to cook better than the competition or they will get viciously punished in the palace. Amidst sabotage and court politics, she demonstrates kindness - defending the other chefs - and, to her credit, some well-merited respect. All this whilst acting upon the most critical palate of the world. That was close to the heart--how daring and kind can be when palace-walls are around.

It isn’t the fantasy of cooking or time travel that is special here--it is the fact that food is a medium by which a modern woman can touch the courage of a modern woman, and reach out through time to a frozen throne. I pitied Ji-yeong--she is more than a chef jostled backwards in time. She is a person weighted down by her talents, who has to make do alone, creating her space by mixing and mashing more than ingredients; she is mixing and mashing hearts and memories.

At the conclusion of these episodes I was not only entertained. I was hungry—for more, for her. Want to go deeper? I can walk you scene-by-scene through how her relationship with the king plays out, how ingredients talk, how Ji-yeong modern strength starts to work the politics of the court into the remaking of her own heart.

#movie #cinetv #animerealm #moviereview #disney #hiveposh #hiveengine #reviews #dailyblog #otaku #magic #action #entertainment #dragond #season2 #whattowatch #movierecommendation #film #cinema #netflix #crunchroll #primevideo #niche

(we were almost all alone in the theater.)

hihi hive fam,

how u all doin today? yesterday, me and mom and aunt and uncle went to see a movie. but it was not your typical movie, but a play in movie format. The play was Hamilton. It's a Broadway deal about Alexander Hamilton. It took place during and after the revolutionary war. u might think it was a boring show since it was about this white guy and his other wig wearing bros like George washington, but the entire play was rapped! and not corny white guy trying to rap.. but think Eminem and fifty cent.

In fact , one guy remindeded me of fifty cent and was easily 230-250 lbs of solid muscle. they even krumped during

the rap. It was pretty awesome!

My only complaint is this one was pretty long.. 3 hours.. plus all the trailers before the movie started.. There was an intermission, so that was a good bathroom break time.

Here is just a real short vid I took to give u a sample of how the rapping was..

I got my dose of movies and musicals on this one. and of course I had to get the mountain dew and some pop corn.