Longform reviews of films, TV, anime, books, and audiobooks, written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 60,608 reviews and counting.
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Have you ever been in critical situations when you were supposed to just help someone out, and then along the way, you guys started talking? From there, you became close friends, and from there, you both started having feelings for each other. Well, I think personally, I have been there before, and I know some people who would have. Now let's dive into the review, and I will be as honest as possible here.
Early this month, this movie was recommended to me by a lady; most of my movies are through recommendations, which I have been loving, by the way. The movie People We Meet on Vacation was released this year; I don't know the month, but it is a romantic movie filled with small heartbreak and a bit of comedy. A balance, I guess.
The story circles round Poppy, should I call her a walkerholic, but she is a restless travel writer , and Tom Blythe is a young guy who prefers his routine and plans over doing something spontaneous. Both met during a holiday travel, and along the way, they became friends, even though at first it was looking like they were not understanding each other. And they decided that they will be meeting each year for a week vacation together, no matter where they are. However, their decade-long friendship was paused due to the fact that Alex proposed to another lady knowing fully well that Poppy had fallen for him, but he just wanted them to remain friends, nothing more.
The movie moves between their past trips together and their present attempt to fix what was broken when they both accidentally met again at the airport.
If you are a fan of opposites attract setups, this hits that formula for you comfortably because Alex, as a guy, always works on a plan, and Poopy, on the other hand, chases chaos and spontaneity. And at some point in the movie, I got to realize that despite all the other characters. These two were the engine of the film because they found a way to balance each other slowly even though their friendship was never quite platonic.
These two contributed greatly with their individual strong performances to this movie, which is the major reason I will recommend it. They built a very clean, not-rushing cinematic screen chemistry even though it felt like things around them were falling apart at some point.
Though the film might not have a very fast start you want due to how it began, but trust me it was a good watch for me. It was well acted, and it is a movie I will recommend on a Sunday like this as you prepare for work. Good for a comfort watch, not a movie you'll think about a week later.
I think that as adults, we aren’t concerned with what death is or what life is; we catch glimpses of the joys and happiness of existence, but ideologically we forget them very quickly. We continue to do things more out of instinct rather than with purpose and joy… In this regard, children will always be genuine 👶🏻👶🏻
The Iron Giant is a film from way back in 1999, whose central theme is to offer a lighthearted perspective on life, death, and the soul, aimed at a children’s audience. It does so with great emotion, drawing inspiration from what I believe are classic stories like Bambi and Superman itself.
These are quite complex and delicate concepts. If you’re a parent and your child asks you what death is.... it’s one of those questions that’s hard to answer. We tend to learn about it through experience, and that’s where this film can serve as a delicate, positive emotional bridge to that existential question.
Pienso que como adultos no estamos preocupados sobre que es la muerte y tampoco que es la vida, tenemos chispas de las alegrias y felicidades de existir pero ideologicamente olvidamos muy rapido, seguimos haciendo mas las cosas por instinto en vez de hacerlas con proposito y regocijo.... en esto ultimo l@s niñ@s siempre seran genuinos 👶🏻👶🏻
The Iron Giant es un film del ya lejano año 1999, cuyo nucleo principal de la historia es enseñar una vision ligera de que es La Vida, La Muerte y El Alma enfocada a una audiencia infantil, lo hace con mucho sentimiento inspirandose en lo que pienso son historias pasadas como Bambi y el mismo Superman.
Son conceptos bastante complejos y delicados, si eres padre y tu hij@ te preguntara sobre que es La Muerte.... es de esas preguntas complicadas de responder, nosotros tenemos la tendencia de aprenderlo es con la experiencia, es alli donde este film puede servir de puente emocional delicado positivo para esa pregunta existencial.
In my case, I appreciate that the film’s answer is rooted in respect for the beings around us, if there are feelings, then there is a soul that deserves to be respected and valued; if there is suffering and emotions like fear, then that being also deserves protection because its life is just as valuable as ours.
For the young protagonist of this story, that giant robot the size of a building is like a fragile, innocent pet that doesn’t know what it’s doing but learns through its own experiences. It eventually comes to understand the harm it can cause, but it’s up to the robot to decide whether its actions will lead to good or evil.
This perspective should resonate with everyone, especially children who have pets, since we are human beings endowed with the gift of reason; we are the dominant species, and we must understand that, as such, we have a duty to protect the beings around us.
By striving to teach all of the above, The Iron Giant offers its own answer to what life is, to death—which will come in due time—and to the soul, in which we have faith and which will always exist.
En mi caso aprecie que la forma en que el film da su respuesta es respetando a los seres que nos rodean, si hay sentimientos pues entonces hay un alma que merece ser respetada y valorada, si hay sufrimientos y emociones como el miedo pues ese ser tambien es merecedor de proteccion porque su vida vale lo mismo que la de nosotros.
Para el niño protagonista de esta historia, Ese Robot Gigante del tamaño de un Edificio es como una fragil e inocente mascota que no sabe lo que hace pero aprende al tener sus propias experiencias, termina aprendiendo el daño que puede causar pero es su decision el bien y el mal que pueden generar.
Este enfoque deberia llegar a cualquiera, sobre todo a los niñ@s que tienen mascotas ya que somos seres humanos con el don de Razonar, somos la especie dominante y debemos entender que al ser esto asi, debemos proteger a esos seres que nos rodean.
The Iron Giant al esforzarse en enseñar todo lo anterior, es su forma de dar respuesta a que es tu Vida, La Muerte que a su momento llegara y El Alma de la cual tenemos Fe siempre existira.
To balance out and keep the audience entertained while tackling the complex and heavy theme it aims to explore, the movie is filled with comedic scenes that work really well. I watched it yesterday thanks to a recommendation from @edwardstobia, and it was just as good as when I saw it on TV as a teenager haha 😂😂
The scene with the squirrel, along with a villain who walks the line between serious and silly 🤣🤣
That’s why the film itself doesn’t focus on the traumatic aspects; its villain and the rest of the comedic scenes allow anyone to have a good time, and it’s proven just that—over time, it’s earned its well-deserved cult status among those who appreciated it back then, which makes me happy for Brad Bird, the director of this film.
Those outside the U.S. might be confused by the communist conflict of the era in which this story takes place—keep in mind that this was a decade of conflict between the Soviet Union and the U.S. If you’ve seen Oppenheimer, that’s exactly what it’s about, which explains the vehement way the villain acts. Great movie, and I hope you enjoyed this philosophical Retro Review 🤓🤓👍🏻
Para dosificar y mantener entretenida a la audiencia de el tema complejo y pesado que quiere desarrollar, la pelicula se llena de escenas comicas que funcionan muy bien, la vi ayer gracias a una recomendacion de @edwardstobia y rei igual que cuando la vi de adolescente por television jaja 😂😂
La escena de La Ardilla junto con un Villano que roza la frontera de lo serio y lo tonto 🤣🤣
Por eso el film como tal no se enfoca en lo traumatico, su villano y resto de escenas comicas permiten que cualquiera la pase bien y lo ha demostrado asi porque el tiempo le dio su merecido lugar de culto entre quienes la apreciaron en aquella epoca lo cual me alegra por Brad Bird Director de este film.
Los que no son de EEUU se pueden perder con el conflicto comunista de la epoca en que se desarrolla esta historia, atentos porque es decada de conflicto Union Sovietica y EEUU, si vieron Oppenheimer, es justo eso, por eso la justificacion en la forma vehemente con la que actua su villano. Gran film y espero hayan disfrutado esta Retro Review filosofica 🤓🤓👍🏻
I dedicate each and every one of my posts and videos to my little dog named princess, we called her chiquito, she is no longer with us but from heaven she will see that her existence was valuable and the most beautiful thing that will exist in my heart and soul.
Resources used in this post in sequence:
Thumbnail is a Photo of Me taked with my Tecno Pova Nova 2 combined with TMDB IMAGE AI Gemini of Google and Edited with CapCut free version
Disclosure Day keeps reminding you Steven Spielberg can still direct the hell out of something, while also making you wish the script gave him more to work with although he was part of that story, he didnt only direct but also was part of creating the story around it. There is nothing complicated about this story, Daniel steals proof that alien life has been hidden away for decades, Wardex tries to stop him getting it out and Margaret gets pulled into the mess after she starts speaking an alien language live on a weather report but at the end we shown she has always been part of this. That gives the movie plenty to move between, mystery, chases, humor, real fear and bigger questions about what the truth would do to the world, and the movie handles that switching very well in my opinion, there is a lot that develops from the Margaret gettin her first intervenstions, to the chase, to the alien tech, a series of events that keeps you entertain. I wanted to know why Margaret and Daniel were connected, what Wardex actually did to the aliens and what disclosure would mean with the world sliding toward a third world war, we are not far from it though, the issue is some ideas get real attention while others show up once and get dropped along with the dump desissions or the too convinient moments that help both Daniel and Margaret to get their way. There are several strong scenes here and a solid reason for these people to risk everything, but the scenes connecting those moments feel a lot more ordinary and simple. Spielberg can make a chase or a strange image feel important on instinct but he cannot hide it when the script takes the easy way out, which is why this movie feels close to great without ever getting there. It was not bad, I get why some people probably got bored because it does take some time to get to the point, the chase and not knowing why things happening is the biggest part Im sure some people might end up picking their phone during the movie, we all in a short attention span generation and this movie probably ask too much of the audience to stay focus when you spend half of the movie without gettint to the truth or point, yeah we all get Margaret speaks with animals and knows people, and that Daniel stole some highly clasified sht, but WHY!!!???.
Emily Blunt is the reason the character side stays believable, the movie would lose a lot without her, she plays Margaret, who starts as a local weather reporter who wants a bigger position and that lighter idea gives Blunt room to be funny without making the character silly. Once she starts speaking languages she never learned and picking up what people carry inside them, the performance shifts with her, funny at first, then real fear once Margaret realizes this is not going to pass and there is a lot more coming. Her breakdown on the train was really satisfying because it is not only about escaping Wardex, her hands will not stop shaking and that loss of control scares her before it drags up the guilt she has carried for years about pulling away from her father while his parkinsons kept getting worse. Blunt keeps that clear without turning Margaret into a different person every time the tone shifts and gives the final scenes more weight once Margaret understands her ability is meant to help her communicate with humanity, even though the reveal could have felt rushed because of how fast the script dumps her backstory once they get to this warehouse where they have replicated her parents house, the childhood contact with the aliens and why she understands people so deeply. Her ability is not just mind reading, it forces her to feel the pain, love, regret and fear inside other people thats why she kept teling Daniel she didnt want to look at him in the eyes because she would feel, which makes using it exhausting and unfair to her, but Blunt carries that weight on her own.
Daniel is where the writing gets a bit shaky because as the secondary character he doesnt bring that much to the table and that is frustrating because he carries the proof that makes this whole movie possible, although we do get to know the guy was giving a talent to understand math as nobody else but that never shine that much as Margaret talent to comunicate and feel people. He steals the files and an alien device from Wardex, works with Hugo and the other defectors, and can understand the alien language through math, but he mostly feels like the guy moving information around instead of someone the movie wants us to know. Josh O Connor gives him a quiet nervous energy that fits a man who has lived with missing childhood memories and abilities he never understood, but its like the script hands almost all the emotional work to Margaret and there is nothing left for him, even his ex nun partner has a way better emotional weight into the movie, that for me was a cheap shot. Daniel and Margaret have this shared past that should hit harder than it does but the problem is that it lacks context, its not until the third part of the movie that we understand this was all part of the plan, the reconstruction of the house where Margaret grew up shows us that both were taken by aliens as kids and prepared for different parts of the same message, but that answer arrives too late through one big flashback and a pile of explanation that takes out of the emotion and makes it feel like just a data dump. Daniel understands the aliens and Margaret understands people, so neither can finish disclosure alone, I just wish the movie let their relationship breathe before telling us what it meant. The supporting characters have the same problem, Hugo knows almost everything but never becomes more than useful, Jane brings up all this real concerns about religion and then she just vanishes until the story needs her back with the device, like girl where you have been all this time? undetected out there?.
I got a few bones to pick up with this movie, first one is the tension keeps falling apart every time Wardex is supposed to act like a real threat, and things get worst on that department as at the end they just give up like, fuck it, tell everyone. This agency has surveillance, armed teams, helicopters and alien technology, still two people Daniel and Margaret keep getting out of situations that should end the chase on the spot, I get they do have certain habilties but still is two againt hundredes. Daniel walks across an open field while agents surround a farmhouse and nobody notices him, and Margaret gets Daniel out of a secure base just by making guards see people from their own past, like come on are they all that weak? there is not a single savage on this agency?. The final confrontation is worse because Wardex shows up at the station with weapons and every reason to shut the broadcast down, then Scanlon just gives up the second Margaret gets the power back on, and all that was missing was him rolling his eyes up to be hilarious instead of boring, especially since he believes disclosure could destroy governments, religion and public order. The alien device has the same problem, it starts out dangerous and mysterious, then it can get into minds, control bodies, hide a house and fire trucks, power a television station, and solve whatever the script needs, it becomes too convinient, adding new abilities the second it needs them instead of giving the audience rules it can trust, it turns into an easy escape route whenever the script needs it, which hurts the train sequence and the rest of the chases too. My biggest problem with the movie is that it doesnt really matter if Spielberg is the one directing, nobody cannot save characters who keep surviving because special trained forces suddenly forget what they are capable and suppose to do and the movie wants Wardex to feel scary and harmless at the same time but only to protect the hopeful aspect of the movie, its like you want to go fast and in between drop a few gears and then pick up again, that takes away the pressure the story needs.
The ending is a good example of why Disclosure Day still works on an emotional level even when the details are hard to swallow and escape routes are avaible in every corner, its when you start seen people brake down because of the impact this news has on everyone, decades of lies, decades of abuse, it does have some value although it all felt rush. Margaret makes it to the station, Daniel get the stolen files spread across every news network broadcasting from what looks like a small local news channel until they make it New York, thats where things start to spread like wild fire and people all over the world stop to watch proof of alien crashes, prisoners and decades of secrecy, people who had places to be just sit down and watch instead of keep moving on. Then living alien gets brought in front of the cameras and I think this was totally unnecesary to be honest, speaks to Daniel and leaves Margaret to carry the message to everyone else, ending on the word Listen, please tell me we are not getting a sequel because there is no need for it so why ending like this?. I get the ending is simple and direct and fits what the movie has been saying about empathy and communication the whole time, I do like that Spielberg does not turn the aliens into attackers or use the reveal as an excuse for some huge battle, taking the story into a path of peace and evolution becuase humanity is close to destroying itself and these beings just want people to understand each other before it is too late, even when the goverment has been so cruel to them. The problem is the movie expects one broadcast to change the world almost right away, soldiers pause and news networks cooperate because everyone is watching the same screen, come on its rating, and it needed more doubt about how people would react because everyone is just in silence and there are no opinions or oposition flying across the room, some would listen, some would panic, some would deny it outright sayings its Ai but they got some sort of system that even meassures pixels to confirm its real? like wtf. Even after my small rant after half of this post I did not think the whole idea failed, Spielberg still creates real story that make you feel and want more out of it as the drama, action and story unfolds, Blunt gives the movie a strong emotional center its just sad Josh O Connor didnt get the same opportunity as Daniel, and the question of what disclosure would actually change is a nice moment to think about it, what would happen if something like this ever becomes real? Im not talking about Alien devices but that Aliens are real, period. Disclosure Day is good, sometimes really good, but it needed a stronger script to become that blockbuster everyone was expecting, I guess no days been succesful at what ever you do in this age of social media expose you so much that people just cant get or understand or even accept when it was not your best performance and not even your worst to call your work plain stupid.
#disclosureday, #spielberg, #emilyblunt, #joshoconnor, #aliens, #scifi, #mystery, #thriller, #cinema, #movies, #review, #extraterrestrial, #wardex, #margaret, #daniel, #disclosure, #government, #secrecy, #empathy, #communication, #suspense, #action, #wonder, #screenplay, #hollywood
So the first thing I want to address is the name, An American Pickle, when I first saw the title, I was seriously genuinely confused, like what is this? What does pickle have to do with anything? but then the movie started and everything made sense and honestly, the name ended up being one of the most clever things about it, the whole story literally revolves around a man who fell into a pickle brine vat in 1920 and woke up a hundred years later perfectly preserved, like an actual pickle I sat there and laughed at the simplicity of it, they named it exactly what it is and somehow that is genius.
Now let me tell you about this movie properly, Seth Rogen plays two people, Herschel, a Jewish immigrant from the early 1900s who is hardworking, loud, stubborn, and full of old world energy and Ben, his great great grandson who is this quiet, modern Brooklyn guy building an app and just trying to live his soft life, the contrast between these two characters is where all the comedy lives, and Seth Rogen pulls both of them off so well that you sometimes forget it is the same person, that alone deserves some credit.
The beginning of this movie had me. I liked it immediately, the way they set up Herschel's story, his wife, his struggle, how he ended up in that vat it was funny but also had this warmth to it that made you actually care, and then he wakes up in 2020, completely unchanged, dropped into a world he does not understand at all, and the chaos that follows is exactly the kind of comedy that makes you laugh without even meaning to , i laughed for a long time watching this film, a long time, and I think that was the whole point, that was the effect they were going for and they achieved it.
But then we got to a certain part and I have to be honest something shifted for me.
So there was this scene where Herschel makes a comment about Jesus in TV , okay see now I understand that his character is from a different era yeah? a different background and different world entirely, I get that, but the way the movie handled what came after, and him suddenly being hated, people turning on him and the whole deportation situation,
Ehn ngl that part got me confused and I was just sitting there like, ehn, this should not be happening like this, It felt like the story took a turn that I was not comfortable with somehow, not it's not because I did not understand it, but just because it gave me this kind of unsettled feeling, like something that was light and funny suddenly had this heavy, uncomfortable energy and I did not fully know what to do with it as a viewer.
It is the kind of scene that makes you pause and wonder what exactly the movie is trying to say, Is it commentary? Is it just plot movement? Is it supposed to make you uncomfortable on purpose? Maybe all three, but it left me with a feeling I was not expecting from what started as a straightforward comedy.
Still, even with that part, I liked this movie, I genuinely liked it, It made me laugh more than most things I have watched recently and the relationship between Herschel and Ben... the way they clash, fall out, and eventually find their way back to each other had something real in it, something about family and where you come from that sneaks up on you before you even notice.
An American Pickle is funny, it is strange, it is sometimes uncomfortable and it is worth watching, go in knowing it is a comedy though there's more to it than meets the eye of the naive viewer.
You watch movies and you get some lessons, reactions and emotions from them. As I write my first review in this community, it feels good to start with an interesting satirical drama. One of the beautiful and touching movies I've watched is “The Truman Show.” The movie was a reality television of an adopted orphan’s life, right from birth. Everyone was a character and everything was cast. Well, except him and his actions.
“The Truman Show” features 24 hours of live coverage of a man's life from birth till adulthood where he was married, had a job and lived his life. It explores the raw and unfiltered life of a man who unknown to him, was in his own reality show. Millions around the world stay tuned watching this unedited display of life and character. In a world where entertainment is scripted and acted, “The Truman Show” offered a true reality show.
The movie starts with Truman Burbank, a happy and cheerful man in one of his morning routines looking in a mirror and talking to himself. He was saying some funny things, part of which had the audience loving him and watching the show. The next scenes showed the producer (Christof) talking about the point of the show and about Truman himself with succeeding scenes showing his wife (Marlon) and best friend from childhood (Marlon) both talking about the show being their life and how real it gets, no fake.
Truman heads to work, but he greets the family next in his usual and funny way. He then heads to work where he meets some specific people along the way, he buys a women’s model magazine and that is as much his constant routine. Unknown to him, everything was a show and millions around the world are watching while he lives the life he thought was just a simple quiet life. But you can't take away the fact that a man's curiosity always gets him.
Later, he begins to find signs which show something was odd. Coming across his supposed dad who died by drowning while out in the water together in his childhood, he was left confused when some mysterious people instantly seized the dad away. Some time later, the production team had some glitches in their communication which had him listen to them through the radio, heightened his suspicion. You know it's just a matter of time before he figures out something was wrong.
His family, love life and friendship were all cast. Everything was being cast. Did I mention that the town he lived in was created and designed far away from people for this very purpose? Simulations of the sun, rain, weather and all that were done in an enclosed dome, covering the town. Truman had always wanted to leave the town to experience some place else called Fiji, but his effort was frustrated restricting him to the town and obviously keeping the show running.
It happened that the magazines Truman always bought in the morning while going to work was him trying to find the face of a lady he was interested in while in high school. It wasn't supposed to be so, and the lady who also liked him was taken off the show. Meryl, his wife was cast to get close to him and eventually end up as his wife which went that way. His childhood friend, Marlon had always played a role influencing his actions and decisions. Beyond doubts and suspicions, Truman was certain that something was wrong and he had to leave the town by all means possible, even if it meant confronting his fear of water.
He ended up playing them smart and eluding the production team who was constantly watching and monitoring the show, with thousands of hidden and well-set cameras, even micro cameras that fit into a shirt’s button. This called for a great search and for the first time since the show started, it went off. He was later found to be on water, trying to escape. Who would expect that, knowing his fear of water? The show came back online and the producer taking control, released simulated storms, hitting him back and forth.
He nonetheless remained resilient and didn't give up. His boat arrived at the end of the dome where it hit the wall. He traced his way up to the door on the wall. But before leaving, the producer, Christof called to him through the sound system, letting him know what the show was about, trying to persuade him not to leave. However, he wouldn't stay back. With a satirical smile, he uttered his iconic greeting, "Good morning! And in case I don't see ya, good afternoon, good evening, and good night!" And he left.
The movie displays the characters of determination, resilience, and how crafty humans can be. It explores reality and illusion, and human free will in a world full of media surveillance. Not only that, but how much we can buy into all of that. It explores one of the major concerns of society in the modern world. It was a good watch.
The movie OPPENHEIMER is really packed with a lot of things. There is a lot of talking many characters and different timelines of like the movie Dunkirk. You will probably need to watch it to understand everything that is going on.
The way the movie is made is really good. The directing, the pictures and the editing are all done well. But what really stands out is the music by Ludwig Göransson it is a mix of classical and electronic music. This is the movie soundtrack of the year and it is the best one in any of Nolans movies.
The movie looks like it was made a time ago like something from the old Hollywood days.
I do not think the movie should be rated R there are no violent pictures and it is not a horror movie at all.
All the actors in the movie are great Cillian Murphy, Matt Damon, Benny Safdie and Robert Downey Jr.
The movie is three hours long. It does not get boring. However the last part might be a little disappointing to some people.
When you watch the movie you can tell that Nolan was inspired by movies like Lawrence of Arabia JFK and First Man.
The movie OPPENHEIMER is not perfect it has a problems. The women in the movie are not developed well. For example Florence Pughs character is not, in the movie. Overall the movie OPPENHEIMER does not have a lot of feeling.
**Synopsis**: *An ambitious scientific study using the pineal gland as the basis for expanding the human mind so that new kinds of knowledge can be accessed in higher dimensions turns into a true nightmare when everything spirals out of control due to the “fusion” of parallel realities*.
When it comes to science fiction, one of the defining characteristics of 1980s cinema is the strong visual realism created through the use of practical effects. Especially when horror embraces the narrative, everything becomes more intense (and more interesting) regardless of the concept, because there are no limits between what is right and what is wrong. Although this film tries to be more ambitious than it really is, there is a good blend of science and philosophy, which ends up carrying significant weight within the plot itself (which, incidentally, uses some very intriguing psychological concepts to shape its events).
The visual aesthetic (filled with peculiar personalities) is the aspect that “commands” this movie from its very first minutes. Quite literally... It is a *body horror* (so to speak) with a great deal of style. In the story, Crawford Tillinghast and Edward Pretorius are two doctors working on a scientific experiment of enormous proportions, and by using a machine called the “resonator”, they are able to stimulate the pineal gland (through vibrations), thereby opening a kind of “portal” through which human beings can see, and make contact with parallel realities.
However, after the latest attempt spirals out of control and results in Pretorius’ death, Tillinghast is immediately identified as the prime suspect. Confined to a psychiatric hospital while the police conduct their investigation, he is eventually helped by psychologist Katherine McMichaels, who, determined to uncover the truth (and after believing his specific account), personally intervenes to secure his release so that he can remain under her care while they reconstruct the events. From that point on, the plan is to repeat the experiment and uncover the “mistakes”.
Ignoring every screenwriting convention so that certain situations can plausibly exist within the narrative (because otherwise it becomes very difficult to buy into the central idea of the movie), this is a science fiction project that presents a very intriguing premise, especially because of the provocative way its events unfold. However, its biggest problem is its extremely fragile approach (lacking any solid foundation), making it difficult to experience everything with greater authenticity throughout the development of the story. Rather than being immersive, the movie is merely “contemplative”.
Flirting with a powerful provocation surrounding “forbidden knowledge” (which should be avoided because it is too dangerous, especially for society as a whole), while also exploring the fragility of reality (once this kind of knowledge is - *inappropriately* - “accessed” and used in misguided ways), as well as the persistent transgression/release of the Id... the screenplay makes practical science, psychology and philosophy walk hand in hand. The balance is not particularly well maintained, but the debate surrounding everything proposed within the movie’s narrative is certainly worthwhile.
In the cast, names such as **Jeffrey Combs**, **Barbara Crampton** and **Ted Sorel** shine in their respective roles. Combs gets the opportunity to create a passive-aggressive scientist in pursuit of the truth, while Crampton delivers an ambiguous portrayal of emotions kept imprisoned (that need to be set free), and Sorel brings to life an immoral scientist who conceals a perverted side in order to suppress his own carnal frustrations. The way these three characters “connect” may seem strange at first, but before long, everything makes sense within the screenplay’s central premise.
Perhaps this cinematic adaptation of the short story of the same name, written in 1920 by **H. P. Lovecraft**, deliberately chose this path in an attempt to further increase the audience’s curiosity about that experiment, as well as its large-scale consequences. Even though it was a perceptive choice, I really missed a more didactic explanation of the subject. In any case, the screenplay makes up for it by being bold enough to deliver horror sequences featuring high-quality practical effects (especially considering the standards of the time).
***From Beyond*** could have been a much better movie (than it already is) if its creative choices had prioritised the full potential of the cosmic dread (which, incidentally, is drenched in physical, blood-soaked horror) that lies at the heart of its premise, rather than the comedic elements that tend to “ridicule” its most relevant narrative points. **Stuart Gordon** brought the right tools to direct this movie, but ironically, the final result fell short of expectations (at least in my opinion, of course). Here, the pursuit of “hypertrophied horror” almost ended up “crushing” the entire galactic coherence of the project.
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CRÍTICA DE PELÍCULA: “Re-Sonator” (1986)
**Sinopsis**: *Un ambicioso estudio científico que utiliza la glándula pineal como base para expandir la mente humana, de modo que se pueda acceder a nuevos tipos de conocimiento en dimensiones superiores, se convierte en una auténtica pesadilla cuando todo se sale de control debido a la “fusión” entre realidades paralelas*.
Cuando se trata de ciencia ficción, una de las principales características del cine de la década de los 80 es el fuerte realismo visual impuesto por el trabajo de los efectos prácticos. Especialmente cuando el horror abraza la narrativa, todo se vuelve más intenso (y más interesante) en cualquier tipo de concepto, porque no hay límites entre lo correcto y lo incorrecto. Aunque esta película intenta ser más ambiciosa de lo que realmente es, hay una buena mezcla entre ciencia y filosofía, que termina teniendo un peso importante dentro de la trama en sí (que, por cierto, utiliza conceptos psicológicos bastante intrigantes para dar forma a los acontecimientos).
La estética visual (llena de personalidades peculiares) es el aspecto que “dirige” esta película desde sus primeros minutos. Literalmente... Es un *body horror* (por así decirlo), con muchísimo estilo. En la trama, Crawford Tillinghast y Edward Pretorius son dos doctores que están trabajando en un experimento científico de proporciones gigantescas, y utilizando una máquina llamada “resonador” son capaces de estimular la glándula pineal (a través de las vibraciones), abriendo así una especie de “portal” mediante el cual los seres humanos pueden ver, y entrar en contacto con realidades paralelas.
Sin embargo, después de que el intento más reciente se sale de control y termina provocando la muerte de Pretorius, Tillinghast es señalado directamente como el principal sospechoso del crimen. Internado en un hospital psiquiátrico mientras la policía lleva a cabo las investigaciones, termina siendo ayudado por la psicóloga Katherine McMichaels, quien, decidida a descubrir la verdad (y tras creer en su relato específico), interviene directamente para que sea liberado y quede bajo su cuidado con el fin de realizar una reconstrucción de los hechos. A partir de ahí, la idea es repetir el experimento y descubrir los “errores”.
Ignorando todas las convenciones del guion para que determinados tipos de situaciones sean viables dentro de la narrativa (y si esto no se hace, resulta muy difícil aceptar la idea detrás de esta película), este es un proyecto de ciencia ficción que presenta una idea muy intrigante en su esencia, especialmente por la forma provocadora en que suceden los acontecimientos. Sin embargo, su mayor problema es tener un enfoque extremadamente frágil (y sin una base sólida) para que todo sea percibido con mayor autenticidad a lo largo del desarrollo de la trama. En lugar de ser inmersiva, la película es simplemente “contemplativa”.
Coqueteando con una contundente provocación sobre el “conocimiento prohibido” (que debería evitarse por ser muy peligroso, especialmente para la sociedad en su conjunto), que también pone de manifiesto la fragilidad de la realidad (ya que ese tipo de conocimiento es, de manera inapropriada, “accedido” - *y utilizado* - de formas equivocadas), además de una insistente transgresión / liberación del Ello... El guion hace que la ciencia práctica, la psicología y la filosofía vayan de la mano aquí. La balanza no está tan bien equilibrada, pero vale la pena debatir todo lo que se propone dentro de la trama de la película.
En el reparto, nombres como **Jeffrey Combs**, **Barbara Crampton** y **Ted Sorel** brillan en sus respectivos papeles. Combs tiene la oportunidad de crear a un científico pasivo-agresivo en su búsqueda de la verdad, mientras que Crampton aporta un enfoque ambiguo sobre el encarcelamiento de los sentimientos (que necesitan ser liberados) y Sorel da vida a un científico inmoral que oculta un lado pervertido para reprimir sus propias frustraciones carnales. La forma en que estos tres personajes se “conectan” puede parecer extraña a primera vista, pero más adelante todo cobra sentido dentro de la propuesta principal del guion.
Quizá esta adaptación cinematográfica del cuento homónimo escrito en 1920 por **H. P. Lovecraft** haya elegido este camino deliberadamente, en un intento de aumentar (aún más) la curiosidad del público sobre aquel experimento, así como sobre sus consecuencias a gran escala. Aunque fue una elección perspicaz, eché mucho de menos una explicación más didáctica sobre el tema. De cualquier manera, el guion logra compensarlo cuando es lo suficientemente audaz como para ofrecer escenas de horror con efectos prácticos de alta calidad (considerando los estándares de la época).
***Re-Sonator*** podría haber sido una película mucho mejor (de lo que en realidad ya es) si las decisiones hubieran priorizado todo el potencial del horror cósmico (que, por cierto, está bañado por el horror físico y sangriento) presente en la esencia de la idea, y no la parte cómica que tiende a “ridiculizar” sus puntos narrativos más relevantes. **Stuart Gordon** aportó las herramientas adecuadas para dirigir esta película, pero, irónicamente, el resultado final quedó por debajo de lo esperado (al menos para mí, claro). Aquí, la búsqueda del “horror hipertrofiado” casi terminó “aplastando” toda la coherencia galáctica del proyecto.
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CRÍTICA DE FILME: “Do Além” (1986)
**Sinopse**: *Um ambicioso estudo científico usando a glândula pineal como base para expandir a mente humana para que novos tipos de conhecimentos sejam acessados em dimensões superiores se torna um verdadeiro pesado quando tudo sai do controle devido a “fusão” entre realidades paralelas*.
Quando o assunto é ficção científica, umas das principais características do cinema da década de 80, é o forte realismo visual imposto pelo trabalho de efeitos práticos. Especialmente quando o horror abraça a narrativa, tudo se torna mais intenso (e mais interessante) em qualquer tipo conceito, porque não há limites entre o que é certo e o errado. Embora esse filme tente ser mais ambicioso do que ele realmente é, há uma boa mistura entre ciência e filosofia, que acaba tendo um forte peso dentro da trama em si (que aliás, usa conceitos psicológicos bem intrigantes para moldar eventos).
A estética visual (cheia de personalidades peculiares) é o aspecto que “comanda” esse filme, desde os seus primeiros minutos. Literalmente... É um *body horror* (por assim dizer), que tem bastante estilo. Na trama, Crawford Tillinghast e Edward Pretorius são dois doutores que estão trabalhando em uma experiência científica de proporções gigantescas, e usando uma máquina chamada “ressonador” eles são capazes de estimular a glândula pineal (através das vibrações), abrindo assim um tipo de “portal”, onde seres humanos conseguem enxergar, e fazer contato com realidades paralelas.
No entanto, depois que a mais recente tentativa sai do controle e acaba resultando na morte de Pretorius, Tillinghast é diretamente apontado como o principal suspeito do crime. Preso em um hospital psiquiátrico enquanto investigações são feitas pela polícia, ele acaba sendo ajudado pela psicóloga Katherine McMichaels, que determinada a descobrir a verdade (e após acreditar no relato específico dele), intervém diretamente para que ele seja solto, e fique aos cuidados dela para que uma reconstituição dos fatos seja feita. A partir daí, a ideia é repetir o experimento e descobrir os “erros”.
Ignorando todas convenções do roteiro para que determinados tipos de situações sejam viáveis dentro da narrativa (e isso não for feito, fica muito difícil comprar a ideia por trás desse filme), esse é um projeto de ficção científica que traz uma ideia muito intrigante na sua essência, especialmente pelo modo provocante como os eventos acontecem. Porém, o seu maior problema é ter uma abordagem extremamente frágil (e sem base sólida) para que tudo seja encarado com mais autenticidade ao longo do desenvolvimento da trama. Ao invés de ser imersivo, o filme é apenas “contemplativo”.
Flertando com uma provocação contundente sobre o “conhecimento proibido” (e que deveria ser evitado por ser muito perigoso, em especial para a sociedade como um todo), que traz também a fragilidade da realidade (uma vez que esse tipo de conhecimento é - *inapropriadamente* - “acessado”, e usado, de maneiras equivocadas), além de uma insistente transgressão / liberação) do Id... O roteiro faz com que ciência prática, psicologia e filosofia andem de mãos dadas aqui. A balança não é tão bem equilibrada, mas vale à pena o debate sobre tudo o que é proposto dentro da trama do filme.
No elenco, nomes como **Jeffrey Combs**, **Barbara Crampton** e **Ted Sorel** brilham em seus respectivos papéis. Combs tem a chance de criar um cientista passivo-agressivo na busca pela verdade, enquanto Crampton traz uma abordagem dúbia sobre aprisionamentos de sentimentos (que precisam ser libertados) e Sorel dá vida a um cientista imoral, que esconde um lado pervertido para suprimir as próprias frustrações carnais. O modo como esses três personagens se “conectam” tende a ser estranho à primeira vista, mas logo mais adiante, tudo faz sentido dentro da proposta principal do roteiro.
Talvez, essa adaptação cinematográfica do conto homônimo escrito, em 1920, por **H. P. Lovecraft**, tenha escolhido esse caminho propositalmente, numa tentativa aumentar (ainda mais) a curiosidade do público sobre aquele experimento, assim como as consequências do mesmo em larga escala. Ainda que tenha sido uma escolha perspicaz, eu senti muita falta de uma explicação mais didática sobre o assunto. De qualquer maneira, o roteiro consegue compensar quando é ousado o suficiente ao entregar as cenas de horror com efeitos práticos de alta qualidade (dados os padrões da época).
***Do Além*** poderia ter sido um filme muito melhor (do que na verdade ele já é) se as escolhas tivessem priorizado todo o potencial do pavor cósmico (que aliás, é banhado pelo horror físico e sanguinolento) que existe na essência da ideia, e não na parte cômica que tende a “ridicularizar” os seus pontos narrativos mais pertinentes. **Stuart Gordon** trouxe as ferramentas certas para dirigir esse filme, mas ironicamente, o resultado final ficou aquém do esperado (ao menos por mim, é claro). Aqui, a busca pelo “horror hipertrofiado” quase acabou “esmagando” toda coerência galática do projeto.
I'm here again with the Enola Holmes but it's it part three which was released recently in july and i was so hurry to watch it as I can't wait to finish because the second part of Enola Holmes leave some twist for his audience. I'll tell you sure why i was willing to watch it.
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In the last scene of Enola Holmes 2, Tewkesbury purpose Enola to marry him and start a life with him, it was a pure and beautiful purposal because both were already in love as they confess it but i like the ring as Tewkesbury knows about flowers so this ring was cute whicg is simply turn a flower into a ring, no diamond or gold ring just like in other movie's or other purposal but it was a natural ring.
So, Milli Bobby Brown once again come as a role of Enola and they're started to make arrangements of their wedding. One day Tewkesbury invited Enola to his home at lunch with his mom and decided the place for the wedding and they decided the Capital city Malta. So, their Wedding ceremony will be held in Malta..... Yayyyy let's see their wedding ceremony.
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Our sweet Enola was in her wedding dress, Tewkesbury was waiting for her at the marriage hall and everyone wait's for her to come and Begin the ceremony. But , here she was confused as she start to remember what her mother told to her, she thought that this wedding tied her as a lady and maybe she have to change for the Tewkesbury and her family because they're a Royal family of England. But she thinks she can't cheat the Tewkesbury as she can trust on him because she knows him.
Enola decided to go to wedding ceremony as soon as possible because she was already late but Wait for moment.....
Where there is Enola how things goes so smoothly lol 😆
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She was on her way, that she noticed someone chasing her cart and she thinks to fight her so pick her gun and what is this a Lady in her wedding gown over the cart and holding a gun, for me it's cool to see as it's a rarest scene I've seen ever. But then she found out it's Dr. Jhon Watson who tell her that Sherlock is kidnapped, so our detective Enola soul woke up once again, she decided to find Sherlock instead of going to wedding hall as she thinks Tewkesbury will understand her position.
Tewkesbury was so disappointed and so his family and friends, Enola came after some time, she told to Tewkesbury about Sherlock, He said that he didn't assume this day as it is. But at the night there was fire in the restaurant and Tewkesbury mother also kidnapped from her room now our sweet detective will find her soon mother-in-law and her sweet brother and this time she alone have to solve the case without the help of Sherlock.
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I like it how she solve the case alone, it was actually belong to Tewkesbury father who has some gold after The battle of Khost, and Sherlock leave this hint for Enola, this is the case of high corruption including government as the main target wasn't the Sherlock but it was the gold and corruption. However the corruption case was boring as compare to the case of previous two movies of Enola. I still enjoyed it but not too much.
Actually the Director for Enola Holmes 3 was changed as it was Philip Barantini and i can't feel the same energy level but no doubt Milli Bobby Brown try to give us the same strength and same energy level. Also the scenery of Malta was so beautiful especially when they find bath place in between the mountains.
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Obviously at the end Our detective Enola solved the case at once and saved her brother and her mother-in-law, but i always love it how her mom appeared silently everytime when she need her. At the end marriage will take place too and it was a happy ending with the I'm his and I'm her's as this was so fascinating and charming.
That's all for today and Thank you for your time and support 🙏
This episode finally gives season three some real direction, and its all because of Bernard, well and Sims who was a bit suspicious already last episode with all the memory stuff he was talking about his kid. Before this, the season had plenty going on but none of it connected, Juliette losing her memory, Camille taking orders from the algo, Sims wandering around without much purpose, different groups hiding from the raiders. Bernard turning up alive near the digger void pulls all of that together because he is not just some guy who survived, he is someone who knows more about the Silo than almost anyone, and him being alive means the story everyone was told about his death was a lie but most importantly the algo has no idea of this even with all the cameras and mics around the Silo, somebody hid him and treated his burns for close to three months without Camille knowing, though its not confirmed how much of that Sims arranged himself. I liked that the episode does not rush to explain the whole plan the second Juliette finds him, he just greets her and thats enough, because the real point is that someone close to power helped bury the truth about him. I also love the double agent traps every where because you got to admin there were multiple times where the nurse couldnt be trusted and then when she say go to room 76 who shows up?! fkn Sims I was like wait a minute who is lying and who wants Jules dead?. That makes Sims way more interesting since he was the one who told everyone Bernard was dead and clearly knows more than he has told his own wife. It also gives Juliette someone who might help her figure out those missing months, since shes already getting pieces of George and the digger void back, so Bernard turning up there feels like it actually means something. First time all season the Silo plot has somewhere real to go.
Sims is a lot harder to read this episode, which is good since his scenes finally connect to something bigger than backing up Camille. Camille decides Juliette has to die in medical and Sims offers to handle it himself, which could have played as another cold move, until Amy changes the plan and makes his offer feel suspicious in a much more interesting way. Amy sedates Emerson, gets Juliette out, and admits someone already asked her to swap the memory drugs before Juliette started refusing them, the most awesome part of all this is how things starts to unfold from Amy to Sims to someone even higher. Then Sims is just waiting in pump room 76 telling her she needs to listen, so obviously Jules just got out from Medical when she though Amy was going to kill her and the got into Pump Room 76 where Sims shows up and she thinks he also wants to kill her, ends up been the total opposite. Juliette has every reason to run from him considering she got no memory, by all means even from Shirley but there is something about her, but the episode gives us enough to think Sim might have been trying to help her all this time, specially trying to pospone Vitam D+ not only for his son. Im not ready to say Sims is one of good guy, he could be protecting his family, protecting himself, using Bernard for information or trying to stop Camille from wiping everyone out through the water, there is something of interest for him, nothing is because of his good heart, and what works here is that none of those options let him off the hook so he still a suspect and cant trust him. If Sims hid Bernard, that was still a calculated and dangerous call. Amy matters more now than before, at first she was just a simple nurse following orders, her choice explains why Juliette has been getting her memory back, and her getting caught make Juliette have more skin the game because knowing her, she would want to save Amy. I kind of wish Juliette had listened to Sims for a few seconds, but her distrust still makes sense and now Bernard gives him another shot at proving what he was actually trying to do.
Billings finally gets a break that makes the Orla investigation feel like it matters and we needed that because this part had been crawling like he was getting nowhere and had no real purpose on this season, I got a big hunch he is going to get on Juliette side soon or latter. Orla did not die from the poison in the mines like everyone assumed, she was hit in the back of the head somewhere else and moved into the tunnel so her body would stay hidden, somebody made sure she stayed lost. Billings still does not know what she found, but everyone around Supply gives him reasons to keep digging, her sister was the one who first called Mike her boyfriend and Mike does not seem bothered shes gone, that was such a killer question "it doesnt bother you..??", Billings was trying to get any kind of emotions out of him but show none so he knows something is going on. Glenda shows back up acting ready to take the shadow position and Carla has apparently been missing for months, none of that proves who killed Orla, and the episode is smarter for leaving it open instead of rushing an answer, I like that because its keeping some of the good stuff for latter, but what really matters is that Orla was looking into missing critical supplies and now she is dead and some evidence can disappear, that could connect to Bernard, the water plan, the mines or something else entirely, since Bernard would need food, medicine and clean dressings to stay hidden, so diverted supplies is one guess, but nothing here confirms Orla found him or that her death came from the people protecting him, probably Orla over reacted when discover the entire operation and someone fat figer killing her. I like that the series is having Billings follow the evidence instead of grabbing the easy explanation.
My biggest complaint is still the Before Times stuff, it moves way slower and with way less danger than everything happening inside the Silo, its like the Silo situation sets the bar so high the side line cant keep up. Helen and Daniel know Steve is gone, his work area got destroyed and the recording tied to Charlotte disappeared with it, they know they might be watched which is why they are staying at Palmers place instead of home and it should make every move like they getting closer to the danger zone as they get closer to the truth of what went down in Iran, but too much of this part is still people slowly talking through clues. The chess game at least gives them something, and just something because its a hunge and nothing really concrete since Steve may have been sending messages through his moves and Daniel asks Sam to figure out who was playing against him, who at first came up with some sht show like he was panicing. Then shows up this older goverment guy who makes the threat clear when he offers Helen a newspaper job and reminds Daniel that Charlottes care is being paid for by the same powerful group they are investigating so they can pull the plug anytime, thats not a friendly offer, its a warning that they can be controlled without anyone needing to arrest them, sometimes giving others what they want says more than taking form them because its a clearn sign of who is in control. My issue is they react way too calm after learning how easily Steve and the recording got erased, their reasons for hesitating make sense but arguing about it just takes too much time and gets them nowhere. Sam calling back gets things moving again but the episode keeps what he says hidden so we are still at the same place, the only thing that change was that they got an offer to shut the hell up and I get they want to hold things but this part needs more than another lead followed by another meeting. The Silo plot has a murder, memory loss, a planned killing and Bernard hiding underneath everyone, Before Times cannot keep crawling at half that speed, they have to spice it up quick.
So far I would say this is the strongest episode of the season because it turns a bunch of separate problems into one bigger conflict. Juliette is getting pieces of herself back, Shirley helps her escape, Lucas tells Kennedy the outside is still dangerous and Bernard shows up in the one place that unlocks some of what Juliette lost because she had some strong feelings from the times she spend with George here, we got all of this characters holding different pieces of the truth and none of them trusting each other. Juliette needs Bernard but has every reason to hate him, Lucas knows things about the Silo but Kennedy will not accept his belief about the outside is wrong, and Sims might actually be helping but nobody should trust him without proof. I like that the episode does not pretend these people can sit down together and sort everything out, the lies are too personal and too many of them have already hurt each other in the past or hurt someone related to them, all this going on and Juliette still dont remember her father, they guy who bomb himself for the cause, so wait until that sink in. Bernard changes things because he can explain part of the missing three months and might know why Sims kept him alive, this season needed that kind of real progress. Bernard gives her a way back to the truth and gives the plot someone who can push back on Camille, but the ending alone is not enough, next episode has to actually use him, explain who helped him, show what Sims wants, and get Before Times to stop circling the same danger, but knowing tv series, they just wont, they know they got us hooked so it wouldnt surprise me if we get a filler episode next. This episode finally feels focused and the season needs to hold onto that instead of turning Bernard into one more secret it refuses to explain.
Hey Hive friends! Today I'm bringing you a review and a video summary of episode 9 of The Great Digital Circus. This episode is the season 1 finale. I don't think there will be any more episodes because the creators said this was the last one, and it's more like a sequel to episode 8. It's a highly anticipated episode for all the fans and premiered on July 9, 2026.
In this episode, Caine, who was thrown into the void by Kinger, does everything he can to return to the digital circus. After a long attempt, he finally manages to escape and also gets rid of the blue AI that was forcing him to do bad things. When he finally arrives at the digital circus, he's only accompanied by the red AI. This AI was the good one, and that's why from now on, Caine regrets all the bad things he did to the characters of the digital circus. Caine explains to the kids of the digital circus that he sometimes behaved very badly because two AIs resided within him: a good one, which was the red AI, and a bad one, which was the blue AI.
He apologizes, and despite his remorse, the kids still doubted him because Caine had always deceived them, but this time it was different. To prove he was telling the truth, Caine decided to reveal who each of them really was.
Caine told them that they were just consciousnesses trapped inside an AI, and that their real selves had agreed to let them live within the AI of the digital circus. He explained that each of them existed in reality with their own lives, and that in the digital circus, they were merely conscious programs.
Everyone was astonished by Caine's confession. At first, they thought it was another joke or manipulation, but he said he could no longer lie to them and suggested they live peacefully in the digital circus because they could never leave. They had no choice but to accept their virtual reality and start making the best of their lives within the Amazing Digital Circus.
Hola amiguitos de Hive, hoy les traigo la reseña y un video con un resumen del capítulo 9 del Grandioso Circo Digital, este capítulo es el final de la serie de la temporada 1, yo creo que no va a haber más capítulos porque sus creadores dijeron que este era el último y más bien es como una segunda parte del capítulo 8. Es un capítulo muy esperado por toda su fanaticada y se estreno el 9 de julio de 2026.
En este capítulo Caine quien fue lanzado al vacío por Kinger, hace todo lo posible por regresar al circo digital y durante mucho tiempo intentándolo logra salir del vacío y también logra deshacerse de la IA azul que lo obligaba a hacer cosas malas, cuando por fin llega al circo digital solo llega con la IA roja, esta IA era la buena y es por eso es que a partir de ahora Caine se arrepiente de todas las cosas malas que les hizo a los personajes del circo digital. Caine le explica a los chicos del circo digital que a veces se comportaba muy mal porque en él habitaban dos IA una buena que era la roja y una mala que era la azul.
Le pide disculpas y a pesar de su arrepentimiento los chicos aún dudaban de él porque Caine siempre los engañaba, pero esta vez era diferente. Caine como muestra de que decía la verdad decide confesarles quienes eran cada uno de ellos en la vida real.
Caine les dijo que ellos era solo una conciencia encerrada en una IA y que sus personas reales aceptaron que ellos vivieran dentro de la IA del circo digital, pero que cada uno de ellos existía en la realidad con sus propias vidas y que ellos en el circo digital solo eran un programa con conciencia.
Todos se quedan asombrados de lo que Caine les confiesa, al principio creían que era otra broma o manipulación de Caine pero éste dice que ya no puede mentirles y les propone que vivan en paz en el circo digital porque jamás podrán salir de allí. No tuvieron de otra que aceptar su realidad virtual y empezar a hacer su vida lo mejor posible dentro del Grandioso Circo Digital.
Hola a todos, saludos. Hoy les comparto la reseña sobre la película Búsqueda implacable 2 se estrenó en el año 2012, en la primera Bryan logra rescatar a su hija Kim, pero tuvo que utilizar sus técnicas de defensa, dejando varios muertos, cuando todo creía ser felicidad luego de su rescate, reaparecen los familiares de estos mafiosos a cobrar venganza.
Hello everyone, greetings. Today I’m sharing a review of the movie Taken 2, which was released in 2012. In the first film, Bryan managed to rescue his daughter Kim, but he had to use his combat skills, leaving several people dead; just when it seemed like happiness would follow the rescue, the relatives of those mobsters reappeared to exact revenge.
En la segunda parte Bryan se traslada a Estambul -Turquia, allí se encuentra realizando trabajos, Kim ya ha crecido y en esta oportunidad Bryan se entera que tiene una relación con un chico, además Lenny le confiesa a Bryan que se separó de su actual pareja, por lo que me parece que él busca esa oportunidad de reconciliación con Lenny pero no lo demuestra tanto.
In the second part, Bryan travels to Istanbul, Turkey, for work. Kim has grown up, and Bryan discovers she is in a relationship with a young man; meanwhile, Lenny confides in him that she has separated from her current partner. It seems to me that Bryan is looking for a chance to reconcile with Lenny, though he doesn't openly show it.
Bryan se dirige hacia la casa del novio de Kim ya que puede seguirla a través de GPS, ella le pide que no lo investigue y que la deja vivir su momento, ya que quiere sentirse como una chica normal. Pero saben que es imposible que el papá de Kim no lo investigue debido a todas sus experiencias vividas.
Bryan heads toward Kim's boyfriend's house, as he can track her via GPS; she asks him not to investigate the young man and to let her enjoy the moment, since she wants to feel like a normal girl. However, they both know it is impossible for Kim's father not to investigate him, given everything they have been through.
Los albaneses secuestran a Jean-Claude conocido de Bryan para obtener información de su paradero, por lo que logran ubicarlo en Estambul, Kim y Lenny se van de sorpresa hacia la ciudad para quedarse unos días con Bryan, lo que parece el reencuentro de una familia más adelante se convierte en una pesadilla. Mientras Kim se queda en la piscina del hotel Bryan y Lenny salen en un taxi, inmediatamente se da cuenta que los están siguiendo en un auto negro, por lo que le da instrucciones a Lenny de que se baje y retorne hacia el hotel, ella esta nerviosa y le pide que le diga que sucede.
Albanians kidnap Jean-Claude—an acquaintance of Bryan—to find out where Bryan is, eventually tracking him down in Istanbul. Kim and Lenny surprise Bryan by traveling to the city to spend a few days with him; what begins as a family reunion soon turns into a nightmare. While Kim stays by the hotel pool, Bryan and Lenny head out in a taxi; he immediately realizes they are being followed by a black car and instructs Lenny to get out and return to the hotel, though she is nervous and asks him to explain what is happening.
Tras el intento de escapar ambos son secuestrados por los Albaneses, Bryan logra llamar a Kim y le dice que han sido raptados y que irán detrás de ella, mientras tanto Bryan memoriza el camino utilizando los sonidos, ¿increíble no? En ese transcurso Kim escapa y el se comunica con ella, le da instrucciones claras de lo que debe realizar por lo que esta vez ella será la encargada de ayudar a rescatar a su padre.
After their attempted escape, both are abducted by the Albanians; Bryan manages to call Kim to tell her they have been taken and that the kidnappers will come after her, all while memorizing the route using only sound—incredible, isn't it? Meanwhile, Kim escapes and communicates with him; he gives her clear instructions on what to do, meaning she will be the one to help rescue her father this time.
Cuando Bryan logra escapar con la ayuda de Kim, los Albaneses se llevan a Lenny por lo que debe de mantener segura a Kim en la embajada para él ir por ella, hay muchas escenas de pelea, disparos, lastiman a Bryan, pero es incapaz de darse por vencido, cuando encuentra a Lenny le da una oportunidad al padre de Marko de Tropoja que escape con el resto de su familia pero el lo traiciona disparando el arma, lo que él no sabe es que no tenía ni una bala. Por lo que en ese momento termina de acabar con él.
When Bryan manages to escape with Kim's help, the Albanians take Lenny; he must keep Kim safe at the embassy while he goes to rescue her. There are many fight scenes and shootouts, and although Bryan is wounded, he refuses to give up. When he finds Lenny, he gives Marko of Tropoja's father a chance to escape with the rest of his family, but the man betrays him by pulling the trigger—unaware that the gun is empty. Bryan then finishes him off.
El padre de Marko de Tropoja pudo escapar con sus otros hijos pero la venganza lo segó, tres semanas después se vuelven a encontrar como familia adicional aparece el novio de Kim que es aceptado por Bryan, en esta parte Kim pudo ayudar a su padre debido a que él estuvo enseñando sobre la defensa personal. Me pareció muy buena, bastante suspenso logró captar mi atención pero no tanto como la primera.
Marko of Tropoja's father managed to escape with his other children, but a thirst for revenge blinded him; three weeks later, the family reunites, and Kim's boyfriend enters the picture—eventually winning Bryan's approval. In this installment, Kim is able to help her father, thanks to the self-defense training he had given her. I thought it was very good and full of suspense; it held my attention, though not quite as much as the first one did.
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> El cine de terror latinoamericano que yo he visto por lo general se inspira en leyendas, fantasmas, maldiciones y cuentos de la abuela, son historias que se relacionan con magia y sus consecuencias, de eso se trata Oro Negro una película Argentina del 2024, que en un principio pensé que tenía que ver con petróleo por lo del oro negro, pero no es así.
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> Algo curioso que me sucede con las películas en español es que me cuesta entender el idioma y lo más chistoso es que es mi idioma natal y el único que hablo. 🤣, pero las películas argentinas o españolas suelen tener actores de su mismo país y sus personajes tienen el dialecto de sus actores, entonces por más español que hablo no logró entender claramente, incluso si están subtituladas activo esta opción para poder entender bien todo. No sé si esto le pasa a otros o soy la única 🤷🏼♀️.
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> ## Sinopsis
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> Después de varios años se reencuentran unos amigos Ramiro y Damian, este último siempre anda metido en cosas turbias buscando la forma de ganar dinero fácil y le hace una propuesta a Ramiro esperando que la acepte.
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> La novia de Ramiro se entera y no está de acuerdo, pues le recuerda que en el pasado ya estuvo involucrado en asuntos ilícitos gracias a Damian, pero tienen problemas económicos y deciden participar en ese plan. Al final las cosas se complican y pagarán las consecuencias.
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> ## Argumento
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> El plan era invadir un convento en abandono y sustraer tesoros de oro y cosas que cualquier coleccionista pagaría. Las escenas de entrada parecieron muy naturales, los personajes eran muy genuinos con un diálogo sencillo y coloquial parecían inexpertos en lo que hacían.
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> Sin muchas pistas llegaron a donde estaba el tesoro y lo robaron, en el proceso se llevaron varios sustos que a mí no me asustaron 😏 y se dieron cuenta de que sustraer esos objetos les daría mala suerte o una maldición, pero no quisieron retractarse aunque la chica sí estaba asustada y preocupada. Al final se salieron con la suya, vendieron lo robado y vivieron la vida que deseaban, pero años más tarde comenzaron a ver fantasmas y entendieron que debían regresar todo, pero no podían, así que las consecuencias fueron inevitables.
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> ## Opinión
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> En cuanto a toda la trama, cada vez que venía un nuevo episodio o parte de la película siento que rompen bruscamente dejando confundido a quien la ve, el maquillaje estuvo acorde con el género, usaron mucho gore para poder generar terror. Cambiaron pocas veces de ambiente lo que me lleva a imaginar que no hubo muchos gastos de producción en este aspecto.
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> Es una película para un público específico, que le gusten los temas de magia y que no sean tan exigentes, a mí me pareció regular no la calificaría como mala, ya que me entretuvo todo el tiempo, pero tampoco es excelente.
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The Latin American horror movies I’ve seen are usually inspired by legends, ghosts, curses, and old wives’ tales—stories related to magic and its consequences. That’s what “Black Gold” is about, a 2024 Argentine film. At first, I thought it had something to do with oil because of the “black gold” reference, but that’s not the case.
Something funny that happens to me with Spanish-language movies is that I have a hard time understanding the language—and the funny thing is that it’s my native language and the only one I speak. 🤣, but Argentine or Spanish movies usually feature actors from their own countries, and the characters speak with those actors’ accents, so no matter how much Spanish I speak, I can’t quite understand it clearly; even when they’re subtitled, I turn on the subtitles so I can understand everything properly. I don’t know if this happens to others or if I’m the only one 🤷🏼♀️.
Synopsis
After several years, two friends—Ramiro and Damián—reunite. Damián is always getting mixed up in shady schemes, looking for ways to make easy money, and he makes a proposal to Ramiro, hoping he’ll accept it.
Ramiro’s girlfriend finds out and disagrees, reminding him that he’s been involved in illegal activities in the past because of Damián, but they’re struggling financially and decide to go along with the plan. In the end, things get complicated, and they’ll pay the price.
Plot
The plan was to break into an abandoned convent and steal gold treasures and artifacts that any collector would pay top dollar for. The opening scenes felt very natural; the characters were very authentic, with simple, conversational dialogue, and they gave the impression of having no experience in what they were doing.
Without many clues, they made their way to where the treasure was hidden and stole it; during the process, they had several scares that didn’t scare me 😏, and they realized that stealing those objects would bring them bad luck or a curse, but they didn’t want to back down—though the girl was indeed scared and worried. In the end, they got away with it, sold the stolen goods, and lived the life they wanted, but years later they began seeing ghosts and realized they had to return everything—but they couldn’t, so the consequences were inevitable.
Opinion
As for the plot as a whole, every time a new scene or segment of the movie appeared, I felt like it was abruptly cut off, leaving the viewer confused; the makeup was appropriate for the genre, and there was plenty of gore used to create horror. They rarely changed locations, which leads me to believe there wasn’t much of a production budget in that regard.
It’s a movie for a specific audience—one that enjoys magic-themed stories and isn’t too demanding; I thought it was just okay—I wouldn’t call it bad, since it kept me entertained the whole time, but it’s not excellent either.
Cover image created by me with canva Source with resources from imdb