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Hola mi gente bella de internet, y de esta gran plataforma, un gran abrazo les mando a todos y les deseo un feliz dia, y espero que disfruten de la ediciòn de la revista del dia de hoy.

La italianita fue emitida por RCTV entre el 10 de marzo y el 28 de abril de 1973, una adaptación de una historia original de Inés Rodena, dramatizada por Ana Mercedes Escámez, bajo la dirección de Juan Lamata.

-Título: La Italianita. -Canal: RCTV. -Emisión original: Del 10 de marzo al 28 de abril de 1973. -Número de episodios: 55. -Historia original: Inés Rodena, adaptada por Ana Mercedes Escámez. -Dirección: Juan Lamata. -Protagonistas: Marina Baura como Rina Galeana de Zubizarreta, Elio Rubens como Carlos Augusto.

-Elenco Destacado en la trama:

Entre los intérpretes principales y secundarios se encuentran: Amalia Pérez Díaz (Doña Rafaela), América Barrios (Dionisia), Wendy Torres (Bettina), Edmundo Valdemar (Don Carmelo), Marisela Berti (Zarina), María Antonieta Gómez, Humberto Tancredi (Javier), Carlos Olivier (Daniel), Alberto Marín (Chicho), Violeta González (Rosario), Luis Calderón (Don Leopoldo), Helianta Cruz (Norita) y Agustina Martín (María Julia).

Rina es una joven de origen humilde que lucha por cuidar de su familia en medio de la pobreza y dificultades. Cierta vez ofrece un boleto de lotería al adinerado y enfermo Don Leopoldo, quien, intrigado, la convence de ir a vivir en su mansión. Tras el fallecimiento del anciano, Rina se convierte en su heredera, lo que desencadena la envidia de Doña Rafaela, quien intentará manipular la situación para que su hijo Carlos Augusto se case con ella y así apoderarse de la fortuna. Rina, ingenua y bondadosa, se ve envuelta en conflictos de clase, traición y corazones en disputa, sin sospechar que una mujer acomodada en París, María Julia, es en realidad su madre biológica.

La italianita obtuvo una audiencia cercana al 39 %, consolidándose como un éxito para RCTV en ese horario vespertino . La actuación de Marina Baura en el papel de Rina destacó por su sensibilidad, proyectando inocencia y coraje. Elio Rubens, en una de sus primeras figuras protagónicas, aportó profundidad emocional a su personaje masculino . El guion, clásico y emotivo, incorporó elementos populares del melodrama venezolano: conflicto de clases, herencias ocultas, mujeres fuertes y traiciones familiares, que lograron conectar con gran parte del público.

Además, el éxito de esta producción inspiró múltiples adaptaciones internacionales, incluyendo la mexicana Rina (1977), María Mercedes (1992), Inocente de ti (2004) y versiones brasileñas y filipinas, subrayando su importancia narrativa.

La italianita es un clásico emblemático del melodrama venezolano. Su mensaje sobre la resiliencia frente a la pobreza, la injusticia y la búsqueda de identidad encarnado por una joven humilde, hizo de esta telenovela una pieza inolvidable y una fuente de inspiración para generaciones posteriores.

Esta novela a pesar de que no consegui muchas imagenes de la trama y de losprotagonistas juntos, es una obra que inspiro para que otras versiones salieran luego a la luz en otros paises, por lo tanto tal es de gran importancia en la tv Venezolana. Espero les guste y les traiga recuerdos esta historia, dejame en comentarios si sabias de esta telenovela. Bendiciones.

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Back in Action se estrenó en Netflix hace unos meses pero no vi mucha bulla o sería que yo no andaba my pendiente de esa peli y por eso no le paré, la verdad no es tan mala como pensaba que iba a ser la verdad. Cameron Diaz y Jamie Foxx regresan a la pantalla después de años haciendo los papeles de Emily y Matt, son dos ex espías de la CIA que ahora viven tranquilos como familia normal hasta que un video viral de la hija los expone y tienen que volver a la acción para proteger a sus hijos y recuperar una llave tecnologica super importante. La historia no es nada del otro mundo de hecho es predecible desde el primer minuto, pero funciona bien para cuando uno quiere algo rápido y fácil sin tener que pensar mucho, tiene una mezcla de acción con comedia y drama familiar que aunque no siempre funciona perfecta al menos mantiene la atención y no te aburre. Lo que más me gusto fue ver a estos dos actores como dos padres normales que de repente tienen que volver a sus viejas mañas de espías, aunque la química entre ellos a veces no cuadra mucho como si no estuvieran completamente convencidos de lo que están haciendo. Los hijos están ahí mas que todo para crear el conflicto familiar tipico, la hija adolescente rebelde que se mete en problemas y el hermano menor super inteligente con tecnología son ese tipo de personajes que funcionan para la historia pero que no tienen mucho desarrollo.

Fuente

Fuente

Seth Gordon dirigió esta cosa y aunque no hace nada revolucionario si mantiene un ritmo decente durante el tiempo que dura con persecuciones, peleas y ese ambiente de película familiar que hace que sea fácil de tragarse. Los efectos especiales están bien para lo que es, nada espectacular pero tampoco se ven baratos y las escenas de acción son predecibles pero no están mal, sobretodo cuando tienen que huir con los niños y toda esa locura de ir corriendo de un lado para otro. Glenn Close aparece como la mama de Emily y Jamie Demetriou hace del novio británico medio tonto pero gracioso son personajes secundarios que le dan un poco de color a la película aunque son equis solo están y ya, en general todos los actores funcionan bien. Lo que no me gustó es que hay algunas escenas que son muy forzadas, como que las pusieron allí solo para avanzar la trama y hay algunos momentos de comedia que dan mas pena ajena que risa, pero bueno es lo que pasa con este tipo de peliculas de Netflix que quieren agradar a todo el mundo al mismo tiempo. El que hace de malo tampoco es gran cosa, otro malo común y corriente más que quiere la llave para hacer maldades sin mucha motivación interesante, Kyle Chandler hace lo que puede con el papel pero el personaje está escrito muy básico.

Fuente

Creo que lo que mejor funciona de Back in Action es cuando se enfoca en la dinámica familiar, en los momentos donde los padres tienen que explicarles a los hijos que son espías retirados y como toda la familia se adapta a esta nueva realidad loca que se les viene encima. Cameron Diaz se ve cómoda volviendo a actuar después de tanto tiempo fuera y auqneu no es su mejor actuación pero demuestra que todavía tiene esa chispa que la hizo famosa, Jamie Foxx la acompaña bien aunque a veces parece que está en piloto automático haciendo lo mínimo necesario para que su personaje funcione. Hay algunas persecuciones en carro que son buenas y peleas que se sienten reales sin caer en exageraciones ridiculas, aunque si hay algunos momentos donde la lógica se va por la ventana más cuando se supone que llevan dos años retirados pero siguen peleando como si fuera ayer. Los diálogos entre los personajes principales tienen sus momentos buenos me gustó cuando hablan de ser padres normales tratando de proteger a sus hijos, pero también hay partes donde se nota que el guión no sabe muy bien que hacer con tantos personajes y situaciones. Aunque en lo técnico la peli se ve bien sentí que le falta esa personalidad que diferencia las buenas películas de las que solo cumplen su función.

Fuente

Se nota que Back in Action es una película de entretenimiento familiar con un poco de acción y comedia sin ser más nada solo funciona perfecto para pasar un rato sin complicarse la vida, no vas a quedar pensando en temas profundos ni recordando frases memorables pero tampoco vas a sentir que perdiste el tiempo viendo algo completamente malo. Es el tipo de película que Netflix hace muy bien, producciones que se ven bien y tienen actores conocidos pero que al final no dejan mucha huella, yo la vi un doingo cuando no sabía que poner y me provocaa algo ligero para ver con mi hijo. Como a mi me gusta Cameron Diaz y Jamie Foxx me divertí viéndolos aunque aquí ninguna de sus actuaciones me voló la cabeza. Lo bueno es que la historia se desarrolla de manera fluida sin altibajos dramáticos y manteniendo un tono consistente que y el final aunque es predecible deja las cosas resueltas sin grandes sorpresas pero tampoco con cabos sueltos molestos en este tipo de películas que son tan sencillas. kLa peli se dedica a ser lo que es y ya no es mas pero tampoco menos como te dije es para esos días donde solo quieres relajarte y ver algo que no te exija mucho mentalmente pero que si te mantenga entretenido durante un rato.

Fuente

Fuente

Yo le doy un 6.5/10 a Back in Action porque no es una peli mala solo que tampoco es algo que vaya a recordar mucho tiempo, es entretenida mientras la ves pero se olvida fácil una vez que se termian. La recomiendo si eres fan de las películas de acción familiar o si simplemente quieres ver el regreso de Cameron Diaz a la pantalla después de tantos años pero eso sí no la veas esperando una obra maestra porque vas a quedar decepcionado. Para lo que es, una película de Netflix hecha para el consumo masivo, cumple su función y probablemente se convertirá en una de esas películas que pones cuando no sabes que ver, especialmente si te gustan las historias donde los padres tienen que proteger a sus hijos mientras lidian con su pasado. Si tienes expectativas bajas y solo buscas pasar un buen rato sin pensar mucho Back in Action te va a funcionar perfecto, pero si buscas algo mas original te recomiendo que veas otra cosa porque esta película se queda en lo seguro sin arriesgar nada nuevo.

[ENGLISH VERSION]

Source

Back in Action was released on Netflix a few months ago but I didn't see much buzz or maybe I wasn't paying attention to this movie and that's why I didn't pay attention to it, it's really not as bad as I thought it was going to be. Cameron Diaz and Jamie Foxx return to the screen after years playing the roles of Emily and Matt, they are two former CIA spies who now live quietly as a normal family until a viral video of their daughter exposes them and they have to return to action to protect their children and recover a super important technological key. The story is nothing to write about, in fact it's predictable from the first minute, but it works well for when you want something quick and easy without having to think too much, it has a mix of action with comedy and family drama that although it doesn't always work perfectly at least it keeps your attention and doesn't bore you. What I liked the most was to see these two actors as two normal parents who suddenly have to go back to their old spy ways, although the chemistry between them sometimes doesn't quite work as if they are not completely convinced of what they are doing. The kids are there mostly to create the typical family conflict, the rebellious teenage daughter who gets into trouble and the super-smart tech-savvy younger brother are the kind of characters that work for the story but don't get much development.

Source

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Seth Gordon directed this thing and while it doesn't do anything revolutionary it does maintain a decent pace for the duration with chases, fights and that family movie vibe that makes it easy to swallow. The special effects are okay for what it is, nothing spectacular but they don't look cheap either and the action scenes are predictable but not bad, especially when they have to run away with the kids and all that crazy running around. Glenn Close appears as Emily's mom and Jamie Demetriou plays the British boyfriend who is kind of dumb but funny, they are secondary characters that give a little color to the movie even though they are just a couple, in general all the actors work well. What I didn't like is that there are some scenes that are very forced, like they put them there just to advance the plot and there are some moments of comedy that give more grief than laughter, but well that's what happens with this type of Netflix movies that want to please everyone at the same time. The guy who plays the bad guy isn't much either, just another run-of-the-mill bad guy who wants the key to do evil without much interesting motivation, Kyle Chandler does what he can with the role but the character is written very basic.

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I think what works best about Back in Action is when it focuses on the family dynamics, the moments where the parents have to explain to the kids that they are retired spies and how the whole family adapts to this crazy new reality coming upon them. Cameron Diaz looks comfortable returning to acting after so long away and auqneu is not her best performance but shows she still has that spark that made her famous, Jamie Foxx accompanies her well although at times it seems like he is on autopilot doing the minimum necessary to make her character work. There are some good car chases and fights that feel real without falling into ridiculous exaggerations, although there are some moments where logic goes out the window when they are supposed to have been retired for two years but are still fighting like it was yesterday. The dialogues between the main characters have their good moments I liked when they talk about being normal parents trying to protect their children, but there are also parts where you can tell that the script does not know very well what to do with so many characters and situations. Although technically the movie looks good, I felt that it lacks that personality that differentiates good movies from those that only fulfill their function.

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You can tell that Back in Action is a family entertainment movie with a bit of action and comedy without being anything more just works perfect to spend some time without complicating life, you will not be left thinking about deep issues or remembering memorable phrases but you will not feel that you wasted your time watching something completely bad. It's the kind of movie that Netflix does very well, productions that look good and have known actors but in the end don't leave much of an impression, I watched it one doingo when I didn't know what to put on and it provoked me something light to watch with my son. Since I like Cameron Diaz and Jamie Foxx I had fun watching them although neither of their performances here blew my mind. The good thing is that the story develops smoothly without dramatic ups and downs and maintaining a consistent tone that and the ending although predictable leaves things resolved without big surprises but not with annoying loose ends in this type of movies that are so simple. kThe movie is dedicated to be what it is and is no more but no less as I said it is for those days where you just want to relax and watch something that does not demand much mentally but that if you keep you entertained for a while.

Source

Source I give Back in Action a 6.5/10 because it's not a bad movie, it's just not something I'm going to remember for a long time, it's entertaining while you watch it but it's easy to forget once it's over. I recommend it if you are a fan of family action movies or if you just want to see the return of Cameron Diaz to the screen after so many years but don't watch it expecting a masterpiece because you will be disappointed. For what it is, a Netflix movie made for mass consumption, it serves its purpose and will probably become one of those movies you put on when you don't know what to watch, especially if you like stories where parents have to protect their children while dealing with their past. If you have low expectations and are just looking for a good time without thinking too much Back in Action will work perfect for you, but if you are looking for something more original I recommend you to watch something else because this movie stays on the safe side without risking anything new.

TranslatedwithDeepL 

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The Hunt (S01E11)

Airdate: August 18th 2002

Written by: Joy Fusco Directed by: Steve Shill

Running Time: 56 minutes

One of the depressingly resonant conclusions permeating David Simon’s meticulously constructed Baltimore in The Wire is that profoundly dysfunctional and incompetent institutions, particularly the Baltimore City Police Department (BPD), remain trapped in a state of bureaucratic lethargy until jolted awake by events of extraordinary tragedy, shock, or public embarrassment. Only then do they momentarily transcend their inherent inertia and perform the core functions they are ostensibly mandated to fulfil. This grim, systemic truth forms the chilling backbone of The Hunt, the eleventh episode of the first season, where the near-fatal shooting of Detective Kima Greggs acts as the brutal catalyst forcing the machine, however imperfectly, into motion. It is a stark illustration that within Simon’s world, institutional efficacy is not a baseline state but a desperate, reactive response to catastrophe – a conclusion that feels less like dramatic licence and more like a documentary observation of urban decay.

The specific tragedy that shatters the department’s complacency is the ambush targeting Kima Greggs and her confidential informant, Wendell "Orlando" Blocker. The episode opens not with the shooting itself, but with its chaotic, sprawling aftermath. The scene is a microcosm of Baltimore’s fractured law enforcement landscape: officers from patrol, detectives from Homicide, task force, and even representatives from other agencies converge on the street corner, a rare moment of forced collaboration born of shared outrage. The immediate focus shifts from the slow, painstaking work of dismantling the Barksdale Organisation to the singular, visceral imperative of avenging one of their own. As Kima fights for her life in the hospital, the BPD undergoes a startling, almost unnatural transformation. Jurisdictional squabbles and personal vendettas – the oxygen of daily police work – are temporarily suspended. Major William Rawls, Homicide’s notoriously abrasive and politically astute head, seizes the initiative, directing his unit with an efficiency rarely seen outside such crises. His detectives uncover crucial physical evidence at the scene. Combined with the wiretap intelligence painstakingly gathered by Lieutenant Cedric Daniels’ sidelined task force, the disparate pieces coalesce. The reconstruction is swift: Barksdale enforcer Wintell "Little Man" Royce (Micaih Jones) is identified as one shooter, while Savino Bratton, the architect of the ambush that claimed Orlando’s life, makes a coldly pragmatic, self-serving decision. Leveraging the corrupt defence attorney Maurice Levy, Savino surrenders, striking a plea deal that reduces his potential life sentence to a mere three years – a transactional betrayal highlighting the system’s own moral bankruptcy even as it ostensibly pursues justice.

This sudden police momentum, however, forces Lieutenant Daniels’ hand regarding the planned raids on the Barksdale stash houses. Deputy Commissioner Ervin Burrell and Commissioner Warren Frazier (Dick Stilwell), sensing a potent public relations opportunity amidst the outrage over Greggs, launch a highly visible, politically motivated campaign of raids designed for television cameras – a stark contrast to Daniels’ methodical, evidence-based approach. Daniels’ desperate attempts to prevent a premature raid on the primary stash house, fearing it will scatter evidence and compromise the wire, are met with suspicion and hostility. The reaction from certain superiors strongly suggests a leak within his own task force, a betrayal that underscores how the very crisis uniting the department also exposes its internal rot and the ease with which political expediency corrupts operational integrity.

Conversely, the Barksdale Organisation finds itself reeling under an unprecedented, intensely public police assault – a situation Avon Barksdale never anticipated. The irony is thick: Stringer Bell, whose strategic miscalculation in authorising Savino’s ambush directly triggered this firestorm, now advocates for a swift, brutal cover-up. Wee-Bey, the other shooter, is dispatched to Philadelphia (a city where he has no connections, amplifying his isolation), while Little Man is marked for execution – a desperate attempt to contain the fallout through violence, mirroring the police response in its brutality but lacking its institutional cover.

Written by Joy Lusco, a veteran of Simon’s earlier Homicide: Life on the Street, The Hunt masterfully exploits these layered ironies. The episode’s core satirical thrust lies in observing how the department’s usual roster of lazy, corrupt, or indifferent personnel suddenly operates with remarkable efficiency and unity of purpose when one of their own blue uniforms is struck down. This efficiency, however, is born of tribal loyalty and political pressure, not systemic reform. A particularly potent moment sees Major Rawls, McNulty’s most persistent bureaucratic antagonist, delivering an unexpected, almost gruff pep talk to the devastated detective – a fleeting human connection forged in shared trauma that momentarily transcends their usual enmity, yet does nothing to alter Rawls’ fundamental nature.

Yet, the episode’s most profoundly tragic irony centres on Bubbles. The series’ most sympathetic figure – a gentle, non-violent addict striving for basic decency – becomes the victim of the very institutional frenzy the Kima shooting unleashed. Mistakenly identified as a suspect after pagers lead detectives to him, Bubbles is subjected to a brutal beating in the interrogation room by Detective Holley (Brian Anthony Wilson). His near-murder at the hands of the very people supposedly hunting Kima’s shooter epitomises the systemic blindness and casual cruelty that The Wire relentlessly exposes; the machine gears up efficiently for its own, while crushing the most vulnerable outsiders without a second thought.

Further dark humour emerges with D'Angelo Barksdale. Convinced he is being taken to a remote house for execution by Wee-Bey as punishment for Orlando’s death, D'Angelo faces a moment of pure existential terror. The reveal – that Wee-Bey merely needed him to feed the fish before his exile – is a masterstroke. It underscores the pervasive paranoia of the drug game while highlighting the absurd, mundane realities that underpin its deadly stakes. Directed with taut precision by Steve Shill, a veteran of British television known for the gritty realism of The Bill, "The Hunt" avoids sensationalism. Shill’s background in procedural drama allows him to capture the chaotic energy of the police response and the tense, claustrophobic fear within the Barksdale crew with equal authenticity, grounding the episode’s powerful themes in visceral, believable detail.

Ultimately, The Hunt is not merely an episode about solving a shooting. It is a devastating dissection of institutional pathology. It reveals that the BPD’s capacity for effective action is tragically contingent upon the sacrifice of one of its own – a horrifyingly high price for temporary competence. The system remains fundamentally broken; it merely appears to function when the stakes become unbearably personal. The efficiency displayed is a flickering candle in the overwhelming darkness of bureaucratic inertia and moral compromise, illuminating not progress, but the sheer depth of the rot that requires such a horrific catalyst to stir even momentarily. It is a triumph of writing and direction that leaves the viewer not with catharsis, but with a deepening sense of despair about the possibility of meaningful change within such a profoundly flawed structure.

RATING: 8/10 (+++)

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The beginning of the movie shows a boy getting off the bus and going to a book stall. Before entering the book stall, he is happy to see the cover page of a book, which means he will get that book in that shop; that book is called Jersey. Which is the name of this movie, then went to the shopkeeper and asked about this book, the shopkeeper told him that no other book has sold as much as this book has sold in the past 50 years, saying this two more girls came to buy the book, but the shopkeeper had no more stock so the shopkeeper forbade them, he has no more books,

Immediately, the two girls went out, but from behind, the boy who bought the book first called the girls and wanted to give the book back. The two girls asked why they would take the book from you, then the boy replied I am the son of the person you came to buy the book. The girls were very surprised to hear, and they were very happy. This is how the movie started. The beginning seemed very simple to me, but I liked the way the director presented it.

After three years, it has become increasingly apparent that Marvel Comics’ ambitious attempt to replicate the commercial triumph of its film universe by repeating the narrative and structural formula on Netflix’s small screens has ultimately failed to achieve similar success. Truth be told, Marvel and Netflix struck gold three times over—with Daredevil, Jessica Jones, and Luke Cage—series that impressed audiences with their quality and exceptional diversity of characters, style, and atmosphere. The fourth series, Iron Fist, by contrast, drew fierce criticism and raised concerns that Netflix and Marvel had lost their “mojo,” with each subsequent release seemingly growing worse.

This issue is far more pronounced on television than in cinema, precisely because the television audience—accustomed to a far broader and higher-quality range of alternative content—is far more discerning than the teenage demographic, for whom it is considerably easier to slot in two or three hours of CGI-heavy superhero escapades once every few months. Thus, the fifth series, intended to unite the four previously introduced heroes for the first time, was met with intense scrutiny.

The Defenders was conceived as a miniseries—a kind of “special” event meant to serve as the television equivalent of The Avengers, which brought together far more iconic figures like Iron Man, Hulk, and Thor. The plot weaves together seemingly unrelated events culminating in a New York earthquake that, while causing minimal damage, is mysteriously covered up by city authorities. Danny Rand (Finn Jones), a billionaire, former Buddhist monk, and martial arts master, suspects the clandestine and immensely powerful criminal organisation known as The Hand—his mortal enemy—is responsible. Luke Cage (Mike Colter), fresh out of prison in Harlem, investigates a string of local youths exploited by a shadowy criminal syndicate. The alcoholic private investigator Jessica Jones (Krysten Ritter) is hired to uncover a missing husband’s explosive plot tied to underground construction beneath New York. Into their investigation steps Matt Murdock (Charlie Cox), a blind lawyer juggling his legal career with his nocturnal vigilante activities on the streets of New York. Meanwhile, The Hand falls under the control of Alexandra (Sigourney Weaver), an exceptionally sophisticated businesswoman diagnosed with a terminal illness. Her crowning ambition is the “Black Sky” project, helmed by Elektra Natchios (Élodie Yung), Murdock’s former lover and martial arts prodigy, resurrected by The Hand to serve as their secret weapon after her fatal demise.

For fans of the earlier series, The Defenders delivers exactly what they expected or enjoyed: familiar allies, the same gritty aesthetic, and unflinching violence. Much of the action unfolds at night, the dialogue remains unusually coarse by television standards, and the brutality is explicit, including graphic depictions of cold-weapon trauma to the human body. However, viewers will soon realise there is little new here. The antagonists’ convoluted conspiracy—revealed late to have surprisingly human motivations—fails to evoke the same menace as in prior series. The sole fresh element is Alexandra, masterfully portrayed by Sigourney Weaver, who elevates a thinly written character through sheer presence.

Marvel’s far greater challenge lies in the unsustainable pace of churning out new series every few months, straining both creative and financial resources. Unavoidable comparisons to the opulent cinematic universe underscore the Defenders’ comparatively bleak, prosaic reality. Instead of grand daylight battles, the heroes grapple with villains in dimly lit tunnels or windowless rooms, often wielding knives in sequences that—particularly when poorly edited—become bewilderingly chaotic. Nowhere is this more evident than in the finale, where what should have been an apocalyptic underground showdown feels cheap and anticlimactic, undermined further by a perfunctory cliffhanger.

The creators of what was once hailed as television’s most dynamic franchise must now confront reality. Without recalibrating their approach, the future for these heroes looks decidedly grim.

RATING: 5/10 (++)

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

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I saw this one a couple of nights ago but with so much content in queue and irl stuff didnt have time to write my review for The Orphanage (2007), lights low, phone off, this is not a typical horror ride, it is a slow burn mystery with a heart full of ghosts, not the jump scare machine some people expect and that is honestly why it works. Laura comes back to the big seaside orphan home where she grew up, she wants to open it again for kids who need extra care, her husband backs her, her little boy is sweet, strange, curious and from there the movie just keeps diging the past until the past return back harder and not in the best way. What got me this time was how the move takes its time, it never rubs your face in the dread, it just lets things feel off, a door that moves, a game that sounds childish but goes deep, a mask what looks silly at first and then looks like a nightmare once the camera holds, the story keeps handing you small clues, a hidden space where no one looked, a nurse with an old grudge, whispers that sound like play time but are not and the whole time I kept thinking this is grief walking around in daylight pretending to be something else, the movie knows it and plays it out perfeclty, it is more mother and memory than monster and gore and that is why it all works. Also keep in mind that this is a movie of Spanish director Juan Antonio Bayona under the production of Guillermo del Toro, two masters in suspense and terror.

• IMDB: https://www.imdb.com/title/tt0464141/
• Platform: AppleTV+

Rottentomatoes Rating

I do not think this thing is very scary in the classic sense, there are two or three moments that make you jump, a blast of sound here, a reveal there but the movie is not about punishing your nerves every five minutes, it is really about Laura trying to hold her life together while the house keeps telling her she is missing something, that angle pulls sympathy out of you, you get on her side fast, she is stubborn and loving and a bit reckless when the fear takes over, there is a sense that if the house had no ghosts, her mind would build them anyway because the past is still sitting at the dinner table asking to be served. I like that tug of war, it makes the supernatural stuff feel heavier and even though the movie makes it pretty clear early that the rules are not just in her head. I kept feeling like it would still work if it was, the mystery would still track, the pain would still hurt  and for me that is the good line this kind of story should walk. Technically the whole thing is tight, clean direction, smooth camera angles, the house looks lived in and cold at the same time, the rhythm is patient, sometimes almost too patient for anyone who want constant fireworks but the waiting and patience really paysoff.

Belen Rueda carries the whole story on her back without having to show off or go over the top, the fear is not just big eyes and shaking hands, it is quiet bad decisions that feel like love at the time, the husband has that calm logic that sometimes feels helpful and sometimes feels like a wall she keeps bouncing off, the kids sell the kid stuff, which matters here since games and imagination drive a lot, the side roles do not overcook the soup, even the figure who appears with answers late does not break the tone. I never felt like the movie was throwing a new genre at me mid way it all stays in the same sad lane, which I like as it stays focus and never goes off rails, there is a reveal path that is simple enough to follow but still rewarding and I appreciate that it does not try to be smarter than it needs. I think the movie sometimes telegraphs a beat a half step early, like you can see a door moment coming and your brain prepares, also there are a couple staging choices that feel a bit neat for the chaos we are told is brewing in the house and one talky explanation could have been cut out but I am honestly reaching there, most of the time the movie just does what it should do, it builds mood, it watches a mom fall apart and rebuild herself with the same pieces but in a different order and it lets the final stretch hit you in the chest not just the eyes.

The one that keeps banging across the movie is how it treats loss, not as a twist to slam at the end but as a presence sitting in every room , an old friend is now a stranger, a game is now a map, that is the proper rhythm, the house is a memory palace with locked drawers and Laura keeps finding keys by being brave and being wrong at the same time, that is pretty real and it is why the finale lands hard, it is not really a gotcha. I like that the supernatural here is not just punishment, it is also connection, guilt and mercy all tangled, it sits near stuff like The Devil’s Backbone in my head, old places holding on to old pain, kids knowing the truth first because adults forgot how to listen, makes me think about how houses keep secrets like people do and how games kids play can be maps to the worst room in the house if no one pays attention. I like how the movie uses space, there is also this mask, looks simple, almost homemade and the way they frame it becomes a small thesis about how ordinary things can turn violent its just amazing how simple things can turn scary and creepy under the right circumstances, the movie uses that idea again and again, a door is a door until it is not, I like movies that go for that kind of swing and find gold on the simple things.

I end up enjoying very much this movie as a fan of horror, specially psychological horror where everything happens in the character reminds me a little to The Possession of Michael King (2014), although The Orphanage carries something more just form the name, at the beginning give us a certain emotion watching Laura starting a new life and giving the same opportunity she received to all those kids that are living with her in the orphanage because she wanted to give a better life to them but when things start to change and the place start giving that sense of fear, that Laura decisions was wrong, that she has placed her family in special her son in a terrible place and that the kids are the one who are receiving and sending messaging for the adults to understand what is happening, in that moment you know that it is a good story. Is not  mind blowing, is not your classic horror movie, it is a movie with a story full of history about a place that is more of what we can see and the end of it is a twisted scenario that probably you will hate or think brilliant, even thought is not the end you were expecting. It is a movie that I can see once a year with no doubt and would totally recommended.

#skiptvads, #inleo, #hive, #orphanage, #supernatural, #ghost, #spanish, #horror, #drama, #childhood, #bayona, #rueda, #mystery, #haunted, #children, #family, #grief, #loss, #motherhood, #simon, #laura, #tomas, #seance, #medium, #disappearance, #games, #death, #sacrifice

Posted Using INLEO

Posted Using INLEO

You know that feeling when the world feels too loud, and suddenly, the quiet of the night feels safer than daylight? That’s what Call of the Night pulled me into. At first, it looks like just another vampire anime—boy meets mysterious vampire girl—but it hit me in a way I didn’t expect. The main character, Kou Yamori, is this restless teen who just can’t sleep. And instead of lying there, tossing and turning, he slips out into the night like a ghost wandering through neon-lit streets. That restlessness—God, it felt like it mirrored something in me.

Then he comes across Nazuna. She is not a vampire as you would think her to be the dark, broody, romantic type. She is sarcastic, untidy, straight-forward, even shameless. And it was that which made her so human. She did not make any efforts to conceal her personality, she was not polished to make a good impression on anybody. And Kou, in his shy, lost fashion, just gravitated towards her. Watching them was like watching two lonely parts slowly rotate around each other, not quite sure whether they fit, but eager to make an attempt.

One of the scenes which really resonated with me was when Kou starts doubting what it means to live. He does not want to become as lifeless and tired as the people around him who are adults. That is what struck me so painfully--as though he was saying out aloud the apprehension we all have, in our secret hearts: what would life be but this endless cycle of working, sleeping and awaiting something better? Nazuna, and all her weird humor, suddenly turns out to be this anchor to him. She is not a problem solver, but she gives him a reason to desire more.

Then the surprise, Kou tells her he wishes to be a vampire. I initially believed that it was a simple adolescent rebellion cranked to the next level. Then you find it goes deeper. He seeks liberation, flight, a new form of life in which he does not need to adhere to the rules as other people do. The condition however is harsh; he must fall in love with Nazuna in order to get it to occur. That is when the story takes a different turn as now it is not just about sleepless nights, but also about the horrifying, awkward and messy process of opening your heart to someone.

There’s this one episode that wrecked me quietly: Kou sees a group of other vampires, and they’re not like Nazuna. They’re dangerous, manipulative, almost predatory. And suddenly, the dream of becoming one doesn’t look so simple. It’s like being hit with the realization that the thing you’ve been chasing might destroy you too. That shook me because it reminded me of how sometimes the things we think will save us—quitting everything, running away, reinventing ourselves—aren’t always the perfect cure.

But the actual tear-jerker moment was? It was not the spectacular battles of vampires, it was not the crazy turns. It was when Kou in this raw, vulnerable manner reveals that he does not know what love feels like. He is almost ashamed to ask Nazuna whether what he feels is even real. And I swear that I felt that crack in my chest. How many times have we been in that position where we were trying to call out some emotions that we cannot really describe, afraid of making a mistake? The sincerity of that scene was more penetrating than any battle ever was.

Nazuna--she does not offer him some platitudinous encouragement. She shoves him off, flirts with him, but on her terms, she comes to his rescue. It came to me then: love does not always have to be big things or understanding everything. Sometimes it is simply remaining. Choosing one when he/she does not have it all figured out.


When I completed Call of the Night, I understood that it was not just a vampire anime. It was a story of loneliness, identity and that restless desire of something more. It reminded me of my sleepless nights when I wanted someone to share with and to stroll with along the streetlights and just live without any pressure. It is the kind of anime that creeps under your skin- quietly, softly and leaves you hanging at the ceiling long after the credits end.

#anime #otaku #animereview #vampire #top5 #movies #animation #film #cinema #entertainment #bestwatch #whattowatch #animerealm

If you are looking for a fun, lighthearted diversion from the seriousness of life, this movie is not it. Instead, it is a dark and surprisingly deep action movie with great characters.

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When I first saw the ad for this movie appear on Hulu, I did a double take. "From the writer of Deadpool" and starring Samara Weaving who I loved in Ready or Not and Guns Akimbo? That sounds awesome!

I couldn't wait to watch and was expecting an over-the-top action/ comedy that would be highly entertaining. Although it was indeed very entertaining, it was not exactly what I expected. It was far more dark than I would have imagined. They wrap some really serious stuff into a joking package, but it is more like using humor to dull the pain rather than for a fun romp. Personally I loved that this did not go exactly how I thought it would. I actually would have been mad if it just stuck to the cliche formula.

First, this movie was definitely inspired by Quentin Tarantino. It stresses dialogue and cool characters (and some super annoying ones... but they are supposed to annoy you). It also has hints of Baby Driver and True Romance (two of my favorite movies of all times). But it also throws in a little Natural Born Killers. For me, the mix worked very well. But keep in mind how serious natural Born Killers was and it may help set your expectations for this film.

In addition, there were some cool action scenes. I especially enjoyed Weaving getting to show off her physical abilities. If Margot Robbie decides she can't play Harley Quinn anymore, I think Samara Weaving could step in nicely.

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I'm not going to lie. The fact that Samara Weaving would fit in perfectly in Banshee Pennsylvania definitely enhanced my enjoyment of Eenie Meanie.

But the best part of the movie are the interesting characters from the criminal world. Andy Garcia does an amazing job as always playing a crime boss. Steven Zahn does a fine job as a petty criminal trying to go straight. Weaving and Karl Glusman have some great chemistry as the couple stuck in the ultimate toxic relationship. For the first half of the movie, I wanted to scream at Edie (played by Weaving) to get the hell away from that dipshit John who was destroying her life. And then the writers did what does not happen enough. They actually explained why Edie would be with this douchebag. It made tragic sense.

The two most surprisingly things about the movie were the fact that I actually loved the car chase scenes... and there are many. Edie is a getaway driver. Apparently she's the best and the stunt crew worked overtime getting that point across. I normally am bored to tears by chase scenes. That is why these were so surprising. The second surprise is that ex-NFL player Marshawn Lynch continues to steal every scene he is in. He is starting to garner a reputation with me that if he is in a movie, I will be entertained.

I am actually very surprised that so many critics are panning this movie. As I write this Eenie Meanie only has a 39% with critics. I honestly don't think they get why the movie is not just a simple formulaic lovers running from the law story.