There's just something about heart wrenching movies that makes them impossible to watch humans impossible to stop watching. This movie is one that has been on my list for quite a long time, I still remember the scene that made me write the name on my list of movies to see and I pat myself on the back for such a good decision.

I Am Sam

In 2hrs and 14 minutes and there's no time that I wasn't moved. Despite being two decades older, this movie tugged at my heart because it tackled something that everyone fears; The fear of not being enough.

In the beginning of the movie, we see an imperfect human having a perfect life with his family. Sam, a few sticks short of a bunch, the understanding of a seven year old, yet he manages to take care of his daughter, love her and nurture her till she's seven. Then due to a misunderstanding, she was taken away and we get to see the deutrogonist, Rita Harrison. A perfect human having an imperfect life with her family.

All at once we see the difference between them and the circumstances that draw them together.

Yet that's not the main aim of this story, because this movie isn't a romance. Sam was trying to win the court, the legislation, the public over that he doesn't need to be smart to be Lucy's father. The fact that Lucy loved him was enough. If anything, he convinced me that that was the truth.

The major winners here are the cast. They acted this so well that it's unbelievable that only two of them are actually special needs in real life. Brad Silverman and Joseph Rosenberg.

Sean Penn did a wonderful work in displaying the intricacies of someone with special needs. Highlighting their strengths and also their weaknesses. It was a true sight to behold.

The most heartbreaking thing was when Sam argued at Rita. His despair after losing Lucy and his dispair with always losing in life after fighting so hard for everything.

In this post I've mostly rambled about what happened in the movie without giving specifics or about interpretation. That's because this isn't really a movie that one can use words to explain. I can only tell you if it's good or not. And I assure you, it is good. Check it out now.

_{All Images are Screenshots of the Movie.}

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✓Fotos de mi galería personal, editadas con Fotocollage.

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Hola, hola mis queridos amigos cinéfilos! Espero estén muy bien! Estoy muy feliz de estar nuevamente por aquí para compartir mi opinión acerca de una película que tuve la oportunidad de ver la semana pasada, se trata de Freakier Friday la cual fue estrenada recientemente a través de Walt Disney Pictures y está protagonizada por Lindsay Lohan y Jamie Lee Curtis. Espero les guste.

22 años después de la primera película Anna y Tess Coleman vuelven a intercambiar cuerpos pero esta vez no entre ellas, sino con Harper (hija de Anna) y Lily (hija de Eric, prometido de Anna). Harper y Lily de odian y no están de acuerdo con el matrimonio de sus padres así que aprovecharán esta oportunidad para separarlos, ya sea tratando de reunir a Anna con su exnovio Jake, o haciendo lo posible para separarlos. A medida que avanzan en su plan, ambas se hacen amigas y se dan cuenta del verdadero amor que se tienen sus padres y terminan haciendo de lado sus diferencias y aceptando su unión.

De verdad estuve esperando esta película muy ansiosa ya que la primera es de mis favoritas de mi infancia, me emocionó mucho saber que Lindsay Lohan y Jamie Lee Curtis estuviesen de vuelta, realmente me encantó su trabajo y en mi opinión tienen mucha química juntas. También me gustó mucho ver otras caras conocidas de la primera película como Chad Michael Murray, Mark Harmon, Cristina Vidal, Ryan Malgarini, entre otros, enserio me dió mucha nostalgia que muchos personajes regresaran y enserio hicieron muy buen trabajo, al igual que las nuevas adiciones que le aportaron mucho a la película. De verdad quede satisfecha y aplaudo el trabajo de todos.

Tuve la oportunidad de ir la semana pasada al cine con mi amiga @aimara08 y realmente disfruté la película, me pareció bastante cómica ya que me la pasé riendo en la sala, la fotografía en general me pareció bastante buena y tiene una amplia paleta de colores que funcionó a la perfección. En mi opinión, no había estado muy satisfecha con los últimos trabajos de Disney sin embargo, pienso que dieron en el blanco con esta película, para mí que era niña cuando salió la primera película fue un golpe de nostalgia, y el que Lindsay Lohan estuviese de vuelta realmente me encantó ya que en la época de la primera película ella era de mis actrices y cantantes favoritas y enserio el verla nuevamente junto a Jamie Lee Curtis hizo a mi niña interior muy feliz.

Hay muchas escenas que realmente me gustaron mucho y me hicieron reír pero mi favorita, es la escena en la que Harper y Lily (en los cuerpos de Anna y Tess) visitan la tienda de discos de Ryan para hacer que él se vuelva a interesar en Anna, y ella se puso a coquetearle de una manera muy graciosa, y con un vestido peculiar. Enserio casi me muero de la risa ya que al fondo se encontraba Lily (en el cuerpo de Tess) asesorándola no muy bien, y se escondía detrás de discos de vinilo (de varios artistas de mi agrado) para luego ser descubierta por Ryan tirada en el piso 🤣. Creo que es la escena más graciosa de la película. El soundtrack de la película también lo amé, ya que no solamente agregaron nuevas canciones, también trajeron otras de vuelta como "Take me away" la cual volvió a interpretar la banda, y "Ultimate" esta vez como fondo en los créditos, realmente me dió mucha nostalgia y me hizo muy feliz cantar a todo pulmón. Enserio todas mis expectativas fueron cubiertas!

La imagen de despedida fue realizada por mí en canva, y las fotografías de la película fueron tomadas por mí a la pantalla del cine cuando ví la película.

Source Now, I finally get why the ratings were so low. Compared to what I watched when I was younger and them giving me this now that I’m older? Yeah, terrible. I finally watched The thunder man return movie, after about a year ago from its release.

The Thundermans Return is a Nickelodeon movie featuring the former cast in the series, The Thundermans, that used on the Nickelodeon channel. Those were the days guys. Those were the days.

The Thunderman family has been living their best life in Metroburg for three years as full-time superheroes . Like, they finally made it, you know? Phoebe and Max are the golden twins everyone loves, saving the city left and right. But then disaster strikes during what should be a routine rescue mission, and everything just falls apart spectacularly.

They lose their superhero status completely and get sent back to Hiddenville , which is basically superhero exile. The parents are actually kind of relieved because they missed the quiet life, and Billy and Nora are thrilled about regular high school stuff, but Max and Phoebe? They are absolutely devastated.

These two are obsessed with getting their hero status back . Like, it becomes their entire mission. You can feel how desperate they are throughout the whole thing. But then the real threat shows up.

Dark Mayhem Jr. appears and he’s not just angry, he’s got serious daddy issues and this insane plan to use something called the Power Plant to turn everyone into supervillains . I’m talking world domination level stuff here.

Source The worst part happens when Max and Phoebe get trapped in some other dimension while Dark Mayhem Jr. escapes with this Power Plant device . The family is completely broken apart, their strongest heroes are gone, and this psychopath is loose with a weapon that can destroy everything.

The whole movie is about family falling apart and coming back together when everything seems impossible.

It was just there, I mean I tried to ignore the bad acting and stuff. Thinking about this now, I wonder how Henry Danger’s gonna be.

Thanks for reading…

Esta segunda temporada también cuenta con 11 episodios, uno menos que la primera. Esta entrega continúa la historia de Kafka Hibino y su lucha contra los monstruos que amenazan Japón, con una producción que sube el nivel en todos los aspectos y el día de hoy les voy a compartir mi primera impresión, pues hasta el momento la segunda temporada aún está en emisión, recién hoy salió el sexto capítulos y cada vez se pone la historia más emocionante. Entre el grupo de trabajo de esta segunda temporada destacan Shigeyuki Miya nuevamente bajo la dirección de la serie japonesa de animación. Tetsuya Nishio es el encargado del departamento de diseño y arte. Ahora bien, la primera temporada, el guion estuvo a cargo de Ichirō Ōkōchi, mientras que esta segunda, los diálogos e historia fueron escritos por Yūichirō Kido. Con este segundo cambio y debido al éxito de la primera entrega, tenía la duda que si la historia mantendría la misma calidad.

For those who have not yet read my first review of the anime, the story is set in Japan, which is constantly under attack by creatures called Kaiju, some of which have great powers that were listed by the Defence Force, a military organisation specialising in exterminating these creatures. Among them is Kafka Hibino, a man who wanted to become part of the city's defence force, but at first he was only someone who cleaned up the Kaiju killed in battle. But he never gave up on his goals, even though he didn't have the required power, but he did have the heart to achieve them. All this to join forces and fight alongside Mina Ashiro, who, after watching the entire anime, I learned was his childhood friend.

The truth is that the film is very good, a concise compilation, but it is always good to watch the anime in episodes, as they give us more details to understand the whole story, especially when we want to continue watching the anime. Kafka is a good man who, in the first season, became a Kaiju, which was his greatest fear, but this did not prevent him from achieving his dream and being the person he really is. To save his city and friends, he decided to transform himself to defeat the enemy, thereby securing his future. That's where the first season of Kaiju No. 8 ended. The second season begins with the defence squad wondering what to do with Kafka Hibino: whether to kill him or let him live and use him as a weapon.

Kafka, despite being a Kaiju, is a person who always wants to help others, so much so that most of the squadron trusts him, especially the group he started with and with whom he formed a very strong bond. In this second season, the great story continues, with the appearance of new characters, battles that never fail to deliver, and more details about the creatures and Kaiju No. 9 and his plan. Despite the change in screenwriter, the story continues to be as good as the first season, and I would even say that at times it is better, with epic scenes that we cannot stop watching.

Para aquellos que aún no han leído mi primera reseña sobre el anime, la historia nos habla de Japón y que está constantemente siendo atacadas por criaturas llamadas Kaiju, donde hay algunas con grandes poderes que fueron enumerados por el Cuerpo de Defensa, una organización militar especializada en exterminarlos a estas criaturas. Entre ellos tenemos a Kafka Hibino, un hombre quien tenía el deseo de convertirse en parte del cuerpo de defensa de la ciudad, pero al inicio pudo ser solo alguien quien se encargaba de limpiar su localidad de los Kaiju aniquilados en las batallas. Pero este nunca se rindió hasta lograr sus metas, sin importar que no tenía el poder requerido, pero sí el corazón para lograrlo. Todo esto para unirse y luchar junto Mina Ashiro, quien al ver el anime completo me enteré de que era su amiga de la infancia.

La verdad que la película es muy buena, una recopilación concisa, pero siempre es bueno verse el anime por capítulos, pues allí nos dan más detalles para entender toda la historia y más cuando tenemos el deseo de continuar viendo el anime. Kafka es un buen hombre donde en la primera temporada se convirtió en un Kaiju, lo que más temía, pero esto no le impidió el lograr su sueño y ser la persona que realmente es. Para salvar a su ciudad y amigos, este decidió transformarse para derrotar al enemigo, por lo cual su futuro. Hasta allí concluyó la primera temporada de Kaiju No. 8. La segunda temporada comienza con la duda de que debía hacer el escuadrón de defensa con Kafka Hibino, si debían matarlo y dejarlo vivir y usarlo como un arma.

Kafka, a pesar de ser un Kaiju, es una persona, siempre quiere ayudar a los demás, tanto así que la mayoría de escuadrón confían en él, sobre todo el grupo en el cual comenzó y creo un lazo muy fuerte. En esta segunda temporada continúa la gran historia, con la aparición de nuevos personajes, batallas que nunca faltan y conocer más detalles que hay detrás de las criaturas y sobro del Kaiju No. 9 y cuál es el plan que tiene. A pesar del cambio del guionista, la historia continúa siendo tan buena como la primera temporada, incluso podría decir que por momentos mejor, con escenas épicas que no podemos dejar de ver.

Another highlight of this second season, apart from the great story, is the animation, which was once again handled by Production I.G. The characters' movements during battles are impressive, and their facial expressions show the reality they are seeing, which I think is important because it makes us believe what we are seeing. I believe that the character design in this second instalment has taken a step forward, both for the humans and the Kajiu, and since this anime is uncensored, we can enjoy great scenes that get our adrenaline pumping. The soundtrack continues to be as good as we appreciated it in the compilation film and the anime itself.

In just the six episodes I've seen of the second season of Kaiju No. 8, I can tell you that we are in the presence of a great anime, a story that may not be as famous as others, but it's worth watching and it gets better and better, with episodes full of emotion, even in the moments of dialogue and flashbacks to understand the story, it's not boring at all like other animes. I hope it continues with the same quality and achieves a well-deserved ending, rather than following the pattern of many anime series where, after initial success, the quality of the story declines, ruining what was achieved in previous seasons. There are still five episodes to go, but I have no doubt that it will have a great ending and that the story of Kafka Hibino will have a new season.

Otro punto destacado de esta segunda temporada, además de la gran historia, es la animación, que una vez más ha corrido a cargo de Production I.G. Los movimientos de los personajes durante las batallas son impresionantes, y sus expresiones faciales reflejan la realidad que están viendo, lo cual creo que es importante porque nos hace creer lo que estamos viendo. Creo que el diseño de los personajes en esta segunda entrega ha dado un paso adelante, tanto para los humanos como para los Kajiu, y como este anime no está censurado, podemos disfrutar de grandes escenas que nos hacen subir la adrenalina. La banda sonora sigue siendo tan buena como la apreciamos en la película recopilatoria y en el propio anime.

En tan solo seis capítulos que he visto de la segunda temporada de Kaiju No. 8, les puedo decir que estamos en presencia de un gran anime, una historia que tal vez no sea tan famosos como otros, pero vale la pena verlo y cada vez se pone mejor, episodios llenos de emoción, incluso en los momentos de diálogos y recuerdos para entender de la historia, no se hace para nada aburrido como otros animes. Ojalá que continúe con la misma calidad, y que logre un final de historia merecido y no que con el éxito de muchos animes, luego bajan la calidad de la historia, arruinan tanto lo logrado en las anteriores temporadas. Aún falta 5 capítulos, pero no tengo dudas que tendrá un gran cierra y la historia de Kafka Hibino tendrá una nueva temporada.

Trailer:

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Gracias por su visita. Espero que les haya gustado.

Hasta una próxima oportunidad.

Sin más que decir, se despide de ustedes, su cordial servidor @franz54.

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Thank you for your visit. I hope you liked it.
Till a next chance.
Without further ado, he bids farewell to you, his cordial server @franz54.

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Ahhh, you want gist? Okay, let me gist you about BMF like I was sitting with you on a Friday night, shaking my head, because the drama inside this show will leave you questioning loyalty, power, and how fast dreams can turn into nightmares. So, the whole thing starts with Meech and Terry—two brothers from Detroit who want more than the hard, broke life they grew up in. And see ehn, at first, it feels like a hustle story, right? Two young guys trying to build something for themselves. But from the moment they start BMF, you just know this isn’t going to end clean.

The way Meech moves? Bold, flashy, confident. He’s the one who wants to show power, dress big, throw parties. But Terry? Terry is the calm brain, the one who calculates, who sometimes thinks maybe they’re going too far. That clash alone is enough drama, but then you add enemies? It’s chaos.

The show starts by painting that picture of Detroit in the late ‘80s, a city drowning in poverty, crime everywhere, and hope feeling like some distant dream. That’s the environment where Meech (Big Meech) and Terry (Southwest T) grew up. You could already see the hunger in them — they weren’t just surviving, they wanted more, something bigger. And that’s how their empire started.

One of the shocking scenes that stuck with me was when their rivals set up an ambush. Omo, see tension. The way it was shot—you could almost feel the air shift. Bullets flying, people scrambling for cover, and Meech standing there like a man who refuses to bow down.

That’s when it hit me: this isn’t just street hustling; this is war. And war doesn’t spare anybody. That ambush was bloody, but what shocked me most wasn’t even the violence it was how quickly trust can vanish. One minute, someone is by your side, the next they’re plotting with your enemies. It made me think about how fragile loyalty really is when money and power enter the mix.

I also liked how it shows Meech as the visionary, the man who could make anyone believe in him, bold, charismatic and so on. In the meantime, Terry was more strategic, the one who considered sustainability and strategy. It is sort of fire and ice trying to travel in the same direction. Their brotherly chemistry is bonkers and you can see the tension and feel the love. And believe me, that tension increases.

And then, ahh, the part where the Feds started circling them? That one pained me. You know when you can see a storm coming but the person inside doesn’t realize how close it is? That’s what it felt like watching Meech and Terry. The FBI was just patient, waiting, gathering every small detail. Wiretaps, snitches, surveillance—you could almost feel them tightening the noose around BMF’s neck. The brothers kept trying to outsmart them, but it was like watching someone run in quicksand: no matter how fast they moved, the ground kept dragging them down.

But this is where it struck me as being emotional: at the heart of all this street hustle, they were family men. Meech would do anything and everything for his people and Terry was always in a dilemma whether to play or to protect his family. That internal struggle was so solid It made me stop and reflect - how much would I do with money and power and what would I give up?

And I am not going to get into the betrayals. In that life, there is no 100 percent loyalty. Friends, enemies attack when least expected and even family is occasionally caught in the line of fire. The one moment that I remember where I thought, “Chai, trust does not really exist in this game” was when one of their close allies turned on them. I liked that part because it made me think about real life, not on a gangster level but how people who you think are on your side switch up when power or greed comes into play.

Now here is what made me personally vulnerable watching it: the family drama. Yes they are drug lords but there are those instances when their parents are pleading them to quit, when Terry tries to walk out to save his future and when Meech cannot because he is too far gone?. That one reached me. It made me think of the idea that sometimes when you go chasing greatness, you end up losing the ones you are trying to achieve. It is seen when Terry informs Meech that he wants out, and Meech simply gazes at him- hurt, angry, but mostly scared that he is losing his brother. That scene was heartbreaking to me since it is not only business but blood.

When you think they are at the top, bang- another betrayal, another ambush. It is the same cycle, the more money, the more enemies, the more danger. By the time that the Feds actually shut it down, I was no longer shocked. I was sad only Sad because it could be seen that all the ambition, all the sacrifice were leading to a dead end.

Now, my vulnerable take? BMF made me think about ambition. About how sometimes our hunger to escape poverty or “make it big” can push us into dangerous paths. The brothers wanted something more than the hand life dealt them, and I respect that. But at the same time, it showed me the cost of chasing power without limits. You gain the world, but you risk losing family, peace of mind, even your life.

What really stayed with me was the bond between Meech and Terry. No matter how much they fought, disagreed, or drifted apart, that brotherhood kept pulling them back. It’s bittersweet because love and ambition kept clashing, and sometimes love wasn’t strong enough to win.

By the time I finished watching, I felt heavy. So yeah, BMF isn’t just entertainment; it’s a mirror. A raw, dangerous, but real story of ambition, love, family, and the dark price of street life.

If I’m being honest, BMF shook me. Not because of the guns or the drugs—we’ve seen that before—but because it showed how thin the line is between building a legacy and building a prison for yourself. Watching their rise and fall, scene by scene, felt like sitting in a rollercoaster you can’t get off. And me? I was just holding my breath, waiting for the next crash.

#ecency

#actionmovie #hive #bmf #street #vampire #weekendvibes #education #moviereviews #whattowatch #top5 #ladiesofhive #cinetv #tvshows #film #entertainment

If Sicario the movie was a person it would have a lot damn of confidence, it never shouts, it never tries too hard, it just moves with a steady hand that knows exactly what it wants to do and how to do it and that alone keeps you dialed, hooked the hole time. The opening already tells you you are not getting some flashy action ride, you get bodies in walls, dread in the air and immediately a sense that every choice after this is going to be complicated. What really works for me is how the movie builds pressure without cheap tricks with the sound mix keeps your shoulders tight even in the quiet moments and on top of that the camera feels like a character, always in the right spot, never screaming look at me, just doing the work, it makes the border run and the traffic jam standoff feel like time is slowing down before it snaps. I like how the desert is used, not pretty, not dramatic, just heavy and when the convoy cuts through it, you are right there in the heat. That tunnel sequence near the end really hits, the switch to night vision and thermal feels earned, not a gimmick as it usally is, specially with all the killing we get while on night vision mode plus the blood on the dirt, you feel the claustrophobia and the uncertainty and the way they hold on shots long enough for your brain to fill the gaps is kinda brilliant, you get the idea without them spoon feeding you whats next, it is just solid, tight, clean movie making that does not waste your time.

• IMDB: https://www.imdb.com/title/tt3397884/
• Platform: PRIME VIDEO

Rottentomatoes Rating

Let me get something out of the way before moving forward, I respect Emily Blunt and she is doing the best with what she is given but her character is basically a spectator with a badge, the movie pretends she is the moral center but most of the time she is running behind the story, not pushing it forward and for me that kills some of the momentum around her scenes. She gets dragged into a mission she barely understands, she keeps asking what are we doing here and by the time answers land she is either shut down or sidelined, it becomes a pattern that makes her feel stuck and yes that is intentional, but intentional does not mean interesting, it just means she is stuck. her partner played by Daniel Kaluuya suffers even more, he shows up for a couple of beats, he argues a bit, he helps set a contrast, then he fades when the movie needs to get back to the real engine of this story, it is not on them as performers, it is just the characters being shaped to react rather than act and I do not think the movie needed that to make its point, in fact the runtime could have used their minutes to deepen the operation or push Alejandro even harder into focus. the bar scene with Bernthal is one of the few moments where Kate’s perspective feels necessary because you feel how every choice has a consequence and how the mission has a long reach even when you think you are off the clock, but outside that, she mostly gets used as a witness so the audience does not get lost, and that is fine once or twice, not for two hours.

Now the two reasons this thing bites down and never lets go, Josh Brolin and Benicio Del Toro, OMG did this two send it out of the park, one is the smiling wolf in flip flops, laid back on purpose, never sweating even when everyone else is tense, he treats war like logistics, not emotion and that calm is scarier than any bark. Every time Brolin is in front of the camera you know he is three moves ahead and lying by omission, not because he enjoys it but because he thinks this is the only way anything gets done and the movie makes that feel believable without turning him into a cartoon. Then there is Del Toro, the heartbeat you are trying to read but can never catch, the smart choice they made is how little he says, the silence does the heavy lifting, the posture, the stare, the stillness before a room goes dark, cmon he is as badass as it gets, Medellin. When he finally moves on his personal mission the movie goes from tense to ice cold, not flashy, not loud, just clean, deliberate and merciless, and you finally understand what all that calm was hiding its like the finally unleash the beast to claim revenge, it is not twist for shock and it is payoff for everything they set up about order and chaos and who actually benefits when you cut off the head of a snake. That dinner sequence late in the movie is one of those scenes I will remember for a long time, the way it locks into a rhythm, the quiet, the last look, it is all brutal without yelling, it lands because the movie earned the right to be that quiet, its funny how Fausto Alarcon goes from the big boss "balls to the wall I dont give a sht" to this puppy like when Alejandro kills his wife and KIDS in front of him.

There is a thing this movie does that I really enjoy and its that never pretends the rules are going to save anyone, you get told point blank that nothing will make sense to your ears and the more you insist on procedure the less you will actually touch the people at the top, the result is a mission that is equal parts legal and not, useful and poisonous, and that is where the movie shows that awesome grey area that let army units go almost rogue against Narcos. The border sequence is the perfect example, it is slow, methodical, and then it breaks in seconds, you do not get a big shootout for show, you get target identification, tiny body movements, windows cracking, civilians in line who are just trying to get home and that is the weight here, operations are not done on empty stages they happen around real people and that messy overlap is always present. Also the aerial shots work as more than pretty pictures, they give you the chessboard, not to look cool but so you see how many pieces are moving at the same time and how small a single agent will always be against that system, it makes the later tunnel breach feel earned because you have been oriented, you know where the danger is coming from even when the lights go weird and your ears are doing most of the work

It would be easy to call the movie cynical, I think it is more honest than that it shows how people justify ugly things to get uglier things to stop and it does not tell you they are heroes for it, it just says this is what it looks like, decide how you feel about it, I respect that approach even when it makes me uncomfortable. Towards the ending the movie doubles down on that idea, especially with the signature scene where Alejandro lays out a document and asks Kate for a signature under a threat, it is not about good guys or bad guys anymore, it is about power and what happens when you fall under it, the line that follows about wolves is not subtle but it is memorable because the entire movie prepared you to accept it, it hits hard because by then you already saw what happens when sheep ask nicely, how the goverment took advantage of Alejandro skills and vendetta, or who took advantage of who because Alejandro got exactly what he wanted and remains free too. In my opinion the Kate thread does not land, her fights are either shut down by chain of command or put into speeches that go nowhere so her story end feels more like a device than an emotional punch, some will say that is the point, to show how institutions break you if you fight the wrong way, I just wish she was more than a constant warning that everything been done is against the law because seems thats all she cares about and not reading things for what they are and not realizing they are in a war that will never win and their only chance is to keep fighting back.

This is a movie I never get tired of watching, I think Sicario is a very good movie that could have been a great one if it committed harder to the point of view that actually drives the story but this is me asking more for something that is not only genuine but does make you feel the right way about a Narcos / War movie, every time either Brolin or Del Toro are in from of the camera its just pure calculated action, but when Kate comes up then the energy dips, not a lot but enough to notice and those dips add up by the end. I would have loved to trade some of those circles for deeper dives into the operation’s map, more time in planning rooms, more time watching Alejandro before and after, maybe even more time with the rival players across the line so the final act has even more bite, IF they only had more context about Fausto in terms of actual scenes and not only what others say about him during the movie. What I got from this movie is sharp, confident and tense as hell, you feel the dirt, the bureaucracy, the violence and the slow bleed of morality when big machines get moving and when a movie can make you feel all that without yelling in your face, that is a win in my book, movies are suppose to make you feel things and have you forget about the world in those two hours. I will rewatch it for the craft, for the border scene, JUAREZ THE BEAST!!!, for the quiet house at the end and at the same time I will keep being annoyed by how Kate kept naging the entire time instead of just going with the river and learn, the rest is too good to ignore and on the action and tension side, it is one of the cleanest and most confident action movies from the last 10 years, because it is 10 years old now in 2025.

#skiptvads, #inleo, #hive, #sicario, #thriller, #cartel, #action, #villeneuve, #deltoro, #brolin, #blunt, #mexico, #border, #drugs, #violence, #fbi, #cinematography, #tension, #deakins, #underground, #moral, #revenge, #realistic, #brutal, #desert, #tunnel, #soundtrack, #compromise

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Imagine being able to turn back and fix the things that went wrong? What would you do if you could travel back? Would you change how things were or leave them the way there are.

Blue Birthday is a thought-provoking K-drama that had me reeling after watching. The main characters are Oh Ha-Rin (Yeri, a member of the K-pop group 'Red Velvet') and Ji Seo-Jun (Hongseok, a member of the K-pop group 'Pentagon').

The Plot

Oh Ha-Rin, a young woman figures out a way to travel back in time to the day of her 18th birthday, to discover the truth behind her best friend/first love's death and tries to bring him back to life in the future.

Ji Seo-Jun is Ha-Rin's best friend/first love who was murdered on her 18th birthday - the day he was going to profess his love to her. Now ten years passed by, and though it was painful for Ha-Rin, she tried to live her life. Until she discovers photos which were taken by Seo-Jun during highschool, which allows her to travel back in time the date the photo was taken.

Ha-Rin's first discovery of the photo was a shock to her...and me. She was staring at the photos Ji Seo-Jun took with tears in her eyes, so she burnt a photo. She wanted to get rid of the memory. And boom, she was back to highschool.

Ji Seo-Jun's death was ruled as a suicide, and during Ha-Rin's time travel, she discovers that his death was actually a murder. There were many suspects running through Ha-Rin's mind (and mine, lol).

The main purpose for her going back was to discover the killer and also prevent Ji Seo-Jun's death from happening. This was where the suspense came in, I have a thing for movies which always have me guessing and cracking my mind for who it might be. This series built up a lot of suspense and climax.

My Thoughts

Blue Birthday is a really good K-drama. The chemistry between the main characters was wow, you really feel for them. It's like being you're on something of the past and you wish you could go back and change it.

What I love about Blue Birthday is that it has a really good pace, it's not too slow or too fast, it just keeps you guessing. The theme of friendship and love is portrayed, it's like you can relate to it all.

I'd rate this movie a 8/10 and would recommend it if you're deeply into K-dramas. It's really worth watching.

Hola mi gente bella de internet y de toda esta plataforma increible a la cual todos hacemos vida, Hoy mi gente esta ediciòn sera sobre la trama de la telenovela SACRIFICIO DE MUJER.

Sacrificio de mujer es una telenovela venezolana realizada en 1972 por RCTV, protagonizada por Doris Wells y Raúl Amundaray. Se trata de una adaptación de la radionovela homónima de Inés Rodena. El libretista Carlos Romero, bajo el seudónimo Celia Alonso, introdujo elementos de una segunda radionovela titulada Sergio Velásquez, acusa, escrita por Iris Dávila, lo que enriqueció y extendió la trama principal.

-Título: Sacrificio de mujer. -Canal: RCTV. -Año de emisión: 1972. -Protagonistas: Doris Wells como Irene & Raúl Amundaray como Arturo / Horacio (gemelo). -Origen / Guion: Radionovela original de Inés Rodena; adaptación y extensión por Carlos Romero, incorporando la trama adicional de Iris Dávila. -Género: Melodrama / Drama psicológico. -País: Venezuela.

La historia comienza con Irene y Arturo, una pareja feliz con un hijo. La tragedia los golpea cuando su hijo muere en un accidente. Irene queda devastada y pierde la razón, por lo que es internada en un manicomio. Arturo, desconsolado, entabla una relación con Silvia, la enfermera que cuida a Irene. Tras recuperarse, Irene descubre que Arturo se ha casado con Silvia y decide fingir que sigue loca para no perturbar la felicidad ajena.

Más adelante, Silvia y su hijo mueren en un trágico incidente, lo que conmueve profundamente a Arturo. Irene, con amnesia, llega a la casa de un médico viudo que la acoge. Ella recupera la memoria y se reencuentra con Arturo, solo para descubrir que un misterioso personaje entra en escena: Horacio, el hermano gemelo de Arturo, con quien ella tuvo un hijo que fue arrebatado al nacer y crecido por una mendiga. Tras superar este último conflicto, Irene encuentra a su hijo y finalmente alcanza la felicidad junto a Arturo.

Sacrificio de mujer fue un melodrama fuerte y emocionalmente complejo que consolidó aún más el legado de Doris Wells y Raúl Amundaray como figuras icónicas de la telenovela venezolana. Doris encarnó a Irene con una sensibilidad desgarradora, y Raúl dio vida a dos personajes distintos y profundamente contrastantes como los gemelos Arturo y Horacio.

La estructuración del guion por parte de Carlos Romero al fusionar dos radionovelas clásicas enriqueció la narrativa, dotándola de múltiples capas emocionales: tragedia, redención, identidad y sacrificio.

Por su impacto, es considerada una de las producciones más recordadas de RCTV en esa época, destacándose por su intensidad dramática y capacidad de emocionar al público con giros sentimentales y conflictos profundos.

Sacrificio de mujer (1972) es una obra emblemática del melodrama venezolano. Su narrativa intensa, su doble trama original y la interpretación magistral de Doris Wells y Raúl Amundaray la convierten en un clásico imprescindible. No solo retrata el dolor y la resiliencia femenina, sino que también evidencia cómo la fusión creativa de fuentes radiales pudo dar origen a historias televisivas con profundidad emocional y perdurabilidad cultural.

Bueno mi gente hasta aqui la ediciòn del dia de hoy, espero les guste este trabajo, no consegui muchas imagnes originales de la telenovela por eso estan esas de diferente epocas de los protagonitas. Disfruten de este articulo y nos vemos en otra ediciòn mas de esta revista digital. Bendiciones.

Greetings, film lovers.

Living in Boa Vista, Roraima, I became interested in Brazilian cinema and, when looking for something to watch, I decided on the iconic film City of God (Cidade de Deus). I was able to watch it from the comfort of my apartment, and the experience was powerful. The film impressed me with its semiotics and the realism with which it portrays life in the favela of the same name, located in the western part of Rio de Janeiro.

From the very beginning, I feel the harshness of an environment where football is intertwined with violence and death. Human misery is an everyday occurrence, and hope seems to be absent in a scenario of constant war between children and teenagers, as shown in the film.

Released in 2002, the film was directed by Fernando Meirelles and Kátia Lund, with a screenplay by Bráulio Mantovani based on the novel by Paulo Lins, who grew up in the favela where the story takes place.

The title, City of God, creates a brutal contrast: the name evokes a sacred and heavenly place, but the film shows the opposite, a hell on earth where violence, crime and hopelessness are the norm. This film captivated me because it is a vivid reflection of the social reality of Rio de Janeiro, where violence and drugs take over every corner.

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I was captivated by seeing it in Portuguese, and I found it fascinating that the actors seemed to come from the favela itself. Their authenticity gives the film a special touch, very different from what you see with actors from theatre schools.

The semiotics in City of God are rich and complex, and are manifested in the way images, sounds, dialogue, editing and the setting of the favela itself are combined. For me, the film achieves such a raw construction of reality that it completely immerses you in the lives of its characters. Semiotics are mainly addressed through three elements: violence, identity and urban space.

1. Violence as a sign of identity and social control. Violence in the film is not just an action, but a language, a sign of power and status. Weapons, shootings, and murders are symbols of the struggle for control and survival. The film presents violence as something everyday, almost normal. Seeing children getting involved in crime at a very young age and death as part of everyday life is a brutal representation of social decay.

2. The favela as a labyrinth with no way out. The film conveys a feeling of suffocation, of the characters being trapped in a cycle of violence from which it is almost impossible to escape. The opening scene of the chicken running away but ultimately being caught can be interpreted as a sign of this endless cycle and the difficulty of finding a way out. In this sense, the film's semiotics highlight the dehumanisation and struggle for survival in Brazil's urban peripheries.

3. The realism of the set design and atmosphere. The film was shot on location in the favelas of Rio de Janeiro to capture the essence of life in these neighbourhoods. The directors, Fernando Meirelles and Kátia Lund, wanted the settings to be another character in the story, reflecting social deterioration over time. To achieve this authenticity, many of the actors were non-professionals who lived in the favelas themselves, which contributed to a faithful representation of the context.

4. The role of costumes, make-up and music. The costumes show the social evolution of the favela. The clothes imitate Rio's street fashion trends, and gang members are distinguished by their clothing, which reflects their adaptation to an environment of heat and constant conflict. Music, meanwhile, is fundamental. The soundtrack encompasses genres such as samba, which connects with cultural roots, and bossa nova, which provides historical context. In addition, an original score is used that mixes traditional percussion with electronic rhythms to generate a sense of chaos and tension, which characterises the most dramatic moments.

5. The colour palette and its narrative. The colour palette is one of the film's most powerful tools for narrating the passage of time and social degradation. The film evolves from warm tones (yellows, browns and oranges) in the early scenes, which evoke a sense of innocence and community, to cold, desaturated tones (blues, greys) at the climax, reflecting hopelessness and a lack of future. Each change in tone is a visual cue that intensifies the viewer's emotions and signals the worsening social and moral situation in the favela.

6. The acting: an exceptional achievement. One of the film's greatest successes was its use of non-professional actors, many of whom lived in the favelas. Their lack of previous experience gave them a striking naturalness. Their reactions and dialogue feel genuine, as many were portraying realities they knew first-hand. The improvisation in many scenes gave the film a unique dynamism and energy.

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City of God transcends the boundaries of traditional cinema, offering a raw and moving window into a reality that it manages to capture with impressive creativity.

To conclude the narrative of this piece, City of God is a masterpiece of Brazilian cinema that has left an indelible mark on the history of world cinema. Through a raw and uncompromising narrative, the film immerses me in the complex reality of the favelas of Rio de Janeiro, exploring themes such as violence, poverty and the struggle for survival.

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The film stands out for its authenticity, achieved through the use of real locations, the participation of non-professional actors and a script based on real events. The film's semiotics, visible in the colour palette, music and depiction of violence, enrich the narrative and allow for a profound reflection on dehumanisation and the cycle of crime.

The development of film production in the favela is a monumental creative event in Brazil.

The film made me reflect on my own experience in Boa Vista and led me to ask myself:

What is a favela really? How does it differ from neighbourhoods in other Latin American countries? It is a work that not only entertains, but also leaves me thinking, analysing social reality with a more critical and empathetic eye.

Grateful for being and living in the favela of God.

Language: Post written in Spanish and then translated into English through DeepL|| Idioma: Post escrito en español y traducido al inglés con la ayuda de DeepL

The links are taken from sensa cinemas.

Por varios años, "Pixar" era sinónimo no solamente de calidad, sino de éxito en taquilla, lamentablemente ese éxito ha disminuido en los últimos tres años en dónde solamente "Inside Out 2" obtuvo una grandiosa recaudación de taquilla, pero nuevamente ese gran estudio de animación vuelve a notar como ha caído en aceptación del público al ver como el único film a estrenar en este año, "Elio", fue uno de los peores estrenos en las salas cine a nivel mundial; lamentablemente algo que era de esperar por la poca y errónea promoción a un film que une los géneros del coming-of-age, así como la ciencia ficción y aventura al relatar la historia de un niño de 11 años quien es abducido por extraterrestres y es nombrado como Embajador de La Tierra. 

For several years, Pixar was synonymous not only with quality, but also with box office success. Unfortunately, that success has declined in the last three years, with only Inside Out 2 achieving significant box office success. However, this major animation studio is once again noticing a decline in public acceptance, as the only film released this year, Elio, was one of the worst releases in cinemas worldwide. unfortunately, something that was to be expected given the poor and misguided promotion of a film that combines the genres of coming-of-age, science fiction, and adventure, telling the story of an 11-year-old boy who is abducted by aliens and named Ambassador of Earth.

En el momento que se dio la noticia de la producción de este film, captó mi atención por el potencial de su historia la cual me generó expectativas al seguramente tener una gran carga emocional un buen mensaje así como ocurre en muchas de las películas de Pixar, pero ciertas decisiones en cambios en la dirección y la nula promoción del film hicieron que mis expectativas bajarán, aunque de igual manera era de las películas que más quería ver en este año. "Elio" es un film que como dije anteriormente usa muchos géneros para relatar la historia de un niño que a causa de un duro evento traumático, se aísla del mundo teniendo como único motivo contactar con alguna señal de vida fuera de este mundo, esa base de la historia en dónde la soledad que padece el protagonista lo impulsa a querer tener una aventura espacial es algo que me fascinó porque a pesar de ser un film con un ritmo muy rápido, ese aspecto de tristeza y la soledad es muy presente en el primer acto del film que posiblemente haga ver a "Elio" como un personaje egoísta, pero al ser una persona en la etapa final de su niñez, creo que se hizo una correcta representación con respecto a la transición que vive Elio hacia la adolescencia después de experimentar la soledad a tan temprana edad.

Los dos actos siguientes del film, es donde se fortalece el aspecto de la ciencia-ficción y la aventura; mi opinión sobre la animación usada en las escenografías y en los personajes varían, por ejemplo el diseño de las escenografías (que son pocas), son más que adecuadas para la historia, pero el diseño de muchos de los personajes alienígenas me pareció para nada original, lo cual es mi única crítica negativa hacia el film, pero creo que entre tantos cambios en producción posiblemente decidieron usar diseños vistos en otras producciones teniendo en cuenta el poco tiempo en escena; justamente lo referente a la animación, diseño y demás del film creo que al no ser considerados de gran escala, pudo ser lo que causó el nulo apoyo a su promoción y lamento que haya sucedido porque "Elio" tienen una historia maravillosa sobre la necesidad de generar conexión, entendimiento y apoyo familiar.

When the news of this film's production broke, it caught my attention because of the potential of its story, which raised my expectations as it was sure to be emotionally charged and convey a good message, as is the case with many Pixar films. However, certain decisions regarding changes in direction and the lack of promotion for the film caused my expectations to drop, even though it was still one of the films I most wanted to see this year. " Elio" is a film that, as I said before, uses many genres to tell the story of a boy who, due to a traumatic event, isolates himself from the world with the sole motive of contacting some sign of life outside this world. That basis of the story, where the loneliness suffered by the protagonist drives him to want to have a space adventure, is something that fascinated me because, despite being a very fast-paced film, that aspect of sadness and loneliness is very present in the first act of the film, which may make Elio seem like a selfish character. However, as he is a person in the final stage of childhood, I think it was a correct representation of Elio's transition to adolescence after experiencing loneliness at such an early age.

The next two acts of the film are where the science fiction and adventure aspects are strengthened. My opinion on the animation used in the sets and characters varies. For example, the set design (which is sparse) is more than adequate for the story, but I found the design of many of the alien characters to be completely unoriginal, which is my only negative criticism of the film. However, I think that with so many changes in production, they may have decided to use designs seen in other productions, given the limited screen time. Precisely because the animation, design, and other aspects of the film were not considered large-scale, this may have been what caused the lack of support for its promotion, and I regret that this happened because "Elio" has a wonderful story about the need to generate connection, understanding, and family support.

Existe un aspecto o características del film que me pareció excelente y es la influencia de muchas producciones en dónde existe el contacto de seres de otros mundos con los humanos; por ejemplo se me hizo imposible no ver referencias a películas de Steven Spielberg como son "Close Encounters of the Third Kind" y "E.T. the Extra-Terrestrial", ambas películas muy acordes a lo que es "Elio", ya que ambas tratan temas sobre la respuesta a la pregunta de su estamos solos en el universo, pero también hace referencia a la amistad y la necesidad de conectar con otros y por supuesto a la aventura que más que nada se observa en "E.T."; eso fue sin ninguna duda lo que más me gustó de esta película, así como también el uso de la música que también genera un ambiente correcto en ciertos momentos del film.

There is one aspect or characteristic of the film that I found excellent, and that is the influence of many productions in which beings from other worlds come into contact with humans. For example, it was impossible for me not to see references to films by Steven Spielberg such as Close Encounters of the Third Kind and E. T. the Extra-Terrestrial," both films very much in line with what "Elio" is, as both deal with themes about the answer to the question of whether we are alone in the universe, but also refer to friendship and the need to connect with others and, of course, to adventure, which is most evident in "E.T."; that was undoubtedly what I liked most about this film, as well as the use of music, which also creates the right atmosphere at certain moments in the film.

"Elio" no es un film perfecto, en realidad está lejos de serlo por muchas cosas que son notorias y que puede hacer disminuir la calidad, pero de igual manera es un film con una historia que me pareció excelente y por supuesto superó mis expectativas; es un film bastante rápido que por momentos pareciera estar dividido en dos partes y eso es a causa de los pocos momentos de pausa en el segundo acto que al final no afecta el relato del protagonista, pero si puede afectar a otros personajes al no profundizar en el desarrollo y eso los convierte en algo genérico y repito, son características evidentes, pero en mi opinión no afecta del todo al film, ya que tiene un buen cierre que es bastante divertido, entretenido y perfecto para cerrar la historia de Elio con respecto a la soledad y aislamiento que padece; ojalá que en su próximo estreno por Disney Plus puede tener la aceptación que no consiguió en las salas de cine.

"Elio" is not a perfect film; in fact, it is far from it due to many noticeable aspects that may diminish its quality. However, it is a film with a story that I found excellent and, of course, exceeded my expectations. It is a fairly fast-paced film that at times seems to be divided into two parts, due to the few moments of pause in the second act, which ultimately does not affect the protagonist's story. but it can affect other characters by not delving deeper into their development, which makes them somewhat generic. I repeat, these are obvious characteristics, but in my opinion, they do not affect the film as a whole, since it has a good ending that is quite funny, entertaining, and perfect for closing Elio's story regarding the loneliness and isolation he suffers. Hopefully, in its upcoming release on Disney Plus, it will achieve the acceptance it did not get in theaters.

Cover image edited in canva; the image was taken from the following source