Community Reviews

Longform reviews of films, TV, anime, books, and albums — written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 3,289 reviews and counting.

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Movie · on Play Dirty
Play Dirty (2025) - Shane Black Biggest Misfire Yet - REVIEW
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Play Dirty (2025) is one of those movies where you sit down expecting something decent because Shane Black is behind the camera, the guy who directed The Nice Guys which was incredible, and then you get whatever the hell Play Dirty ended up being. Mark Wahlberg plays Parker, this professional thief character that's based on those Donald Westlake novels that have been adapted quite a few times but the problem here is Wahlberg looks like he would rather be anywhere else on planet Earth than on this set. Zero energy, zero charm, just this blank stare going through every single scene like he was reading off cue cards for a commercial he doesnt even want to do. The setup actually sounds pretty cool with Parker and his crew pull off a job at the beginning and then Rosa Salazar who plays this new member named Zen just murders everybody except him, takes all the money and disappear, in some way reminds me about "The Italian Job", then she comes back later with this even bigger job involving some sunken treasure off the coast of some made up South American country and they gotta rob it before the corrupt president gets his hands on it. Sounds exciting except the execution is so damn boring and lifeless that you stop caring about 20 minutes in, the effects look cheap as hell too, everything has this weird fake quality to it like an old video game cut scene, that opening sequence at the racetrack where horses are jumping over cars should be this big wow moment but it just looks bad and weightless and fake.
- IMDB: https://www.imdb.com/title/tt18392014/
- Platform: PRIME VIDEO
Rottentomatoes Rating

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The cast is stacked with people like LaKeith Stanfield, Keegan Michael Key, Tony Shalhoub, Thomas Jane, all these talented people who deserve way better material than this, Stanfield plays this actor guy who runs a failing theater and he is always trying to like method act his way through the heist which could of been funny but they dont do enough with it, Keegan Michael Key is basically wasted here, Tony Shalhoub shows up as the villain and he was doing this weird thing where he was supposed to be intimidating but it never lands, Thomas Jane gets killed off so early that you wonder why they even bothered casting him. The whole buddy movie vibe that Shane Black usually nails is missing here, in my opinion the movie story splinter into so many characters and it wanted to develop each one of them that ends doing nothing, here there was too many damn characters and none of them get enough screen time to become memorable or interesting, they try to do something with Wahlberg and Stanfield but it doesnt work because Stanfield feels like a side character not a co lead. The script feels like it was written by committee, three people worked on this thing and somehow it still came out feeling flat and generic, theres double crosses and triple crosses and you see all of them coming from a mile away, nothing is surprising, nothing makes you lean forward in your seat, its just paint by numbers heist movie garbage that could have been made by anybody.

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Source I honestly dont understand what happen with Shane Black here, the same guy who wrote Lethal Weapon, the guy who understands action and dialogue and character better than most people working today but this feels like he had zero control over the final product or maybe he just stopped caring, latter after looking up the budget for this movie I find out that Robert Downey Jr was originally supposed to play Parker and hes one of the producers on this, he backed out and I think he probably read the script and knew this wasn't going to work, Downey has that charisma that can elevate weak material, same with Ryan Gosling, those guys can take a character off the page and make it something special through sheer force of personality, Wahlberg cant do that, he is good when hes doing comedy like The Other Guys with Will Ferrell or the Ted movies where he playing off someone funnier than him but when hes trying to be the serious tough guy with no sense of humor he just comes off as dull, its almost like he was born to stay funny and young, because age on his character is another problem for him. His performance here is the same from start to finish, no growth, no journey, just Mark Wahlberg doing his Mark Wahlberg thing and expecting that to be enough, his character has no personality or charm beyond being good at stealing stuff and wanting revenge, you dont root for him, you dont care if he succeeds or fails, he is just there taking up space while the movie drags on for over two hours.

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The heist itself isnt even clever or interesting, they are trying to steal this treasure from a sunken ship called the Lady of Arintero if I didnt get the name wrong, its full of jewels and artifacts worth hundreds of millions, there was this whole thing about a corrupt president and Tony Shalhoubs character Lozeni whos running this crime organization in New York and everyone after the same prize, they plan to rob a train thats transporting the treasure but then somebody is a step ahead of them and it all goes sideways. Theres a scene where they derail the train and Stanfield barely avoids getting hit by it, like the train passes inches from his face and somehow hes totally fine, not a scratch on him, the laws of physics dont apply in this movie apparently. The third part of the movie just becomes this mess of people shooting at each other and jewels getting scattered everywhere and revelations that dont mean anything because you never cared about these people in the first place, Zen turns out to be playing everybody for her own reasons, she wants to help her country, Parker kills her because she murdered his original crew and he promised this widow played by Gretchen Mol that he would get revenge, he hands out jewels to people like he is Oprah, but specifically gives his share to the families of his fallen crew members, which actually carries weight given his promise to Grace and his code of honor. At the end its just Parker returning to his simple life of crime alongside Grofield after distributing the jewels and killing Zen, a kind of life reset ending.

This could have been something special, Shane Black had all the pieces, a talented cast, a big budget from Amazon, source material thats been adapted successfully before but instead we get this generic streaming flop that feels like it was made to be fill content quota, nobody involved seems to care, the action is forgettable, the characters are empty, the plot is predictable, the dialogue lacks that Shane Black spark, its Christmas themed because of course it is, Black always does Christmas but even that feels half assed here, its just another streaming movie that you will forget about after watching. I would call this is Shane Black on autopilot making a Red Notice type movie, just bland corporate product with no soul, I know I rant a bit on this one but had to, Wahlberg is miscast, the supporting players are wasted, its a mess from top to bottom and I cant recommend it to anyone. Maybe a 6 out of 10 if Im being generous and thats only because Rosa Salazar looks both bad ass and damn hot, there is also Stanfield who has a few decent line, everything else about this movie is a waste of time and talent, I would say skip it.

https://i.imgur.com/AbuDA6i.png

#skiptvads, #inleo, #hive, #playdirty, #shaneblack, #markwahlberg, #amazon, #heist, #thriller, #action, #rosasalazar, #lakeithstanfield, #disappointment, #streaming, #parker, #christmas, #robbery, #betrayal, #treasure, #boring, #miscast, #wasted, #potential, #generic, #forgettable, #review, #movie, #2025

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Movie · on The Nun II
The Nun II (2023) - Better Than The First One But Thats Not Saying Much - REVIEW
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The Nun II came out a few years ago in 2023 and honestly I went in expecting the worst after that first movie back in 2018 turned out to be not so great but turns out this one actually manages to be way better even tho thats not saying much since the bar was basically on the floor, something like "Annabelle Creation (2017)", into my journey of watching all the movies from this franchise its like most of the time the second movie is better so far but thats not the case for the main title but its something to discuss on another post. The Nun II develops in France where we see Valak just going completely nuts right from the start burning a priest alive inside a church, which was absolutely wild because the first movie barely showed the nun doing anything remotly violent. Taissa Farmiga is back as Sister Irene and she was still carrying the entire thing on her shoulders with the help of Frenchie guy, this time they pair her up with Sister Deborah who spends most of the movie being absolutely useless and this is not me being mean about it, the character literaly does nothing important until the very end when she suddenly remembers she has faith. The boarding school setting could have been way more interesting but they wasted it on boring daytime scenes with these awful bully girls who I actually wanted Valak to rip apart, those kids were so annoying that when the goat demon showed up I was kinda rooting for it even though thats probably not what the movie wanted me to feel.
- IMDB: https://www.imdb.com/title/tt10160976/
- Platform: PRIME VIDEO
Rottentomatoes Rating

Source Maurice who everyone called Frenchie in the first movie is back and he was the one possessed by Valak this whole time, which we find out pretty early but the movie still pretends its some big mystery even tho we literally see him twitching in mirrors and snapping peoples necks left and right, he was getting all this work in the background, what I like the most about the movie is that even though I was aware of everything it was still interesting, there was buildup into it. But the whole possession thing gets confusing because at the end of the first movie we saw Valak go into him but that same movie also showed Valak still attacking Irene seperately, so how the hell does that work did the demon just make a copy of itself or is it pulling some multiverse nonsense that nobody bothered to explain??!!. Storm Reid plays this young nun Deborah whos losing her faith and they try to make it this big character but it falls completely flat, she was just there to ask dumb questions and be scared until the climax when she suddenly believes in God again. The demon is searching for Saint Lucys eyes which are burred somewhere in the boarding school and apprently these eyes are super powerfull, but the movie never really explains why a demon would even be able to use something holy like shouldnt God have some kind of protection on his saints relics to prevent exactly this kind of situation from happening, I mean this because we not talking about a bazooka that can be use by the good or bad guys, we talking about something holy unless Valak could some how infect this eyes and use them on his favor, idk this is just me making things up because the movie didnt gave any details on how that works.

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Source The scares in this are definitly an upgrade from the first one, that magazine stand scene from the trailer is fine I guess but they already spoiled it so by the time it happens your just sitting there waiting for it instead of being suprised, they should have skip it from the trailer. What actually worked was that whole chapel sequence with the goat demon showing up, that thing looked so messed up and wrong in a way that its going to shock you, even when it doesnt make much sense why a completely different demon just shows up randomly without any explanation, is this Valak soldier?. The movie tries to do this thing where Valak can be in multiple places at once possessing Maurice while also appearing as the nun and also somehow being a giant goat upstairs terrorizing little kids and makes me question if this demon is so powerful and can be everywhere at the same time why doesnt it just posses a couple of people to start looking for the damn eyes. That whole vision sequence where Irene sees everything unfold through flipping magazine pages goes on forever and gives her way to much information, she literally figures out that Maurice is possessed and that the demon wants Saint Lucys eyes and where its headed next all from seeing some random images, which is convenient as hell but makes things too easy, was like the writers speed run the mystery through a big info dump.

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Source Its almost at the third part of the movie where things finally pick up but its also where the movie completely falls apart logic wise, Sophie the young girl finds the eyes first and they start glowing when she is holding them which is weird because Irene is actually related to Saint Lucy but the eyes dont do shit for her. They tie up Maurice in some random alcove instead of bringing him down to the chapel where they could actually watch him, then he obviously breaks free and starts chasing everyone because of course he does. The goat demon is still running around upstairs and instead of helping Valak find the eyes its just scaring children for no reason, like this is supposed to be the ultimate evil trying to gain unimaginable power but it keeps getting distracted by side quests, although the scenes still look scary so for me all start falling apart after I watch the movie when I actually start to break it down, so in resume those where cool scenes though just leave your brain at the door. Its when Valak finally gets the eyes the movie acts like its game over and the nun becomes super powerful floating around and lifting Irene into the air to burn her alive, except we literally saw Valak do the exact same thing to that priest at the beginning of the movie before it even had the eyes so what exactly changed. Turns out Irene cant be burned because she was a descendant of Saint Lucy who was fireproof, well Im not so sure about it so its for the lols only, but yeah the fact that Irene cant get burn didnt have enough context for me.

Now the ending felt too simple for everything else I had seen from the movie and kinda dumb it down when Irene and Deborah start praying real hard and somehow turn entire barrles of wine into the blood of christ which explodes everywhere and burns Valak. First of all this boarding school used to be a monastary that was sold to a winery that then became a school but somehow theres still dozens of wine barrels just chilling in the basement after all these years, I know in Europe in some places wine is more than just alcohol so lets that slide but its just too convenient. The movie did mention earlier that you need actual faith to make the wine transmutation work but Deborah spent 90 percent of the movie saying she doesnt believe in God so how the hell did flip the switch, I could only count this as the last moment before death type of wish. They defeat Valak with the blood of christ which is the same thing they used in the first movie except that time it didnt actually work because the demon just possessed Maurice and escaped, so why would it work better this time around. Maurice survives and walks away with the mom and daughter like everything is fine even tho the post credits scene from the first movie already showed us that Ed and Lorraine Warren had to exorcise him later, meaning the demon is still in there and these idiots just let him leave without checking. The very last scene tries to connect everything to the Conjuring movies by showing the Warrens getting a call about the case but it dosent make any sense timeline wise and honestly feels like they just shoved it in there for fan service so in conclusion so far, sequels are better but connection between movies doesnt fell force. Its a 7 out of 10 for me watchable if you are looking for some drama and get scared here and there but completely forgettable, a great one time watch, this movie also did better than the first Nun movie.

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Movie · on 28 Years Later
28 Years Later - Movie Review [ES - EN]

La franquicia creada por el guionista y director Alex Garland, siempre usó como base las consecuencias de un apocalipsis zombie; las películas de donde Garland es parte, el relato se enfoca desde el punto de vista de sobrevivientes; primeramente quien relata la historia es un hombre que de manera sorpresiva debe lidiar con el comienzo del brote de un virus que en 28 días arrasó con la Gran Bretaña y ahora, 23 años después observamos la continuación, pero con la diferencia de que el relato proviene de un adolescente que nació en una nación condenada por no saber controlar el virus y es por eso que debe crecer y vivir en una nueva sociedad que aprendió a sobrevivir, pero que sigue siendo merced del terror ejercido por criaturas violentas.

The franchise created by screenwriter and director Alex Garland has always been based on the consequences of a zombie apocalypse. In the films in which Garland is involved, the story is told from the point of view of survivors. The narrator is a man who is suddenly forced to deal with the outbreak of a virus that devastated Great Britain in 28 days. Now, 23 years later, we see the continuation, but with the difference that the story comes from a teenager who was born in a nation doomed for not knowing how to control the virus. That is why he must grow up and live in a new society that has learned to survive but remains at the mercy of the terror wrought by violent creatures.

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Para este nuevo film, no solamente regresó Garland en la escritura del guion, también regresó el director Danny Boyle y con eso, fue suficiente para tener altas expectativas las cuales fueron respondidas por el gran trabajo realizado por ese director que no solamente generó intensas escenas de terror, sino que tuvo el tiempo para demostrar la belleza de un mundo en tranquilidad, pero bajo el dominio de zombies. Para este film, se usó muchos elementos para captar las maravillosas escenas que la conforman; aparte de cámaras convencionales, digitales y hasta drones, Boyle también usó la cámara de los iPhone 15 Pro Max, lo cual proveyó nitidez a muchas escenas, una alta gama de colores y gran iluminación; personalmente estaba fascinado porque no hay ninguna escena en dónde exista un mínimo de calidad, cada una es perfecta sin depender de la perspectiva que ofrece el director desde la cámara, pienso que Boyle se supera con lo hecho en el primer film el cual también ofrece muy buenas escenas, aprovechando la falta de luz y lo lúgubre de una ciudad en soledad, pero creo que en esta oportunidad era necesario demostrar otro aspecto de ese mundo.

For this new film, not only did Garland return to write the script, but director Danny Boyle also returned, and that was enough to raise high expectations, which were met by the great work done by this director, who not only created intense scenes of terror, but also took the time to show the beauty of a world at peace, albeit under the rule of zombies. For this film, many elements were used to capture the wonderful scenes that make it up; apart from conventional cameras, digital cameras, and even drones, Boyle also used the iPhone 15 Pro Max camera, which provided sharpness to many scenes, a high range of colors, and great lighting. Personally, I was fascinated because there is not a single scene where the quality is less than perfect. Each one is flawless, regardless of the perspective offered by the director from the camera. I think Boyle has surpassed himself with this film, which also offers some very good scenes, taking advantage of the lack of light and the gloominess of a lonely city, but I believe that on this occasion it was necessary to show another aspect of that world.

Fuente / Source

El guion escrito por Garland es de los puntos más altos del film, es una completa demostración de evolución e involución de la sociedad que al ser o no infectados, de igual manera deben lidiar con las consecuencias de ser parte de un apocalipsis contenido en las islas británicas; ese es un tema principal de la historia la cual es parte del relato ofrecido por un adolescente que no está preparado para dar fin a la inocencia de un infante y tener las responsabilidades de un adulto, eso hace que esta secuela se convierte en un coming of age en dónde un mundo apocalíptico será el parque de atracciones para que el protagonista deba crecer y convertirse en un hombre; creo que es perfecta decisión de Garland demostrar como un mundo sin un futuro o una evolución puede afectar completamente la mente de quien lo habita y al existir una población joven, es difícil que no exista una rebeldía en querer y saber mucho más; en mi opinión es de las mejores historias que he visto en un film del género de zombies.

The script written by Garland is one of the film's high points. It is a complete demonstration of the evolution and involution of society, which, whether infected or not, must still deal with the consequences of being part of an apocalypse contained within the British Isles. This is a main theme of the story, which is part of the narrative offered by a teenager who is not prepared to end the innocence of a child and take on the responsibilities of an adult. This makes the sequel a coming-of-age story in which an apocalyptic world becomes an amusement park for the protagonist to grow up and become a man. I think it's the perfect decision by Garland to show how a world without a future or evolution can completely affect the minds of those who inhabit it, and with a young population, it's difficult for there not to be a rebellion in wanting and knowing much more. In my opinion, it's one of the best stories I've seen in a zombie film.

Fuente / Source

Un aspecto importante del film es el dar protagonismo a un joven actor como lo es Alfie Williams quien en su muy temprana carrera debe liderar está nueva historia o etapa en la franquicia de "the 28 Days Later"; su actuación como "Spike" es más que correcta, es excelente, ya que Garland no escatimó en crear a un personaje que represente las inquietudes, incógnitas, curiosidad y al mismo tiempo amor que puede presentar un niño, hago énfasis en que está historia esté relatada desde el punto de vista de un niño en su transición a la adolescencia porque es lo que motiva las situaciones en esta secuela y por eso el personaje de "Spike" es de suma importancia para entender lo que vemos en este film; me pareció genial el cómo ese joven personaje toma las riendas de la historia para hacerse adulto y tratar de buscar su propia camino aunque eso lo lleve a enfrentar peligros en un mundo que todavía no conoce; nuevamente repito, el guion que escribió Garland, más la actuación de Williams hace que el film sea perfecto.

An important aspect of the film is giving prominence to a young actor such as Alfie Williams who, in his very early career, must lead this new story or stage in the "28 Days Later" franchise. His performance as "Spike" is more than adequate; it is excellent, as Garland spared no effort in creating a character who represents the concerns, uncertainties, curiosity, and at the same time love that a child can display. I emphasize that this story is told from the point of view of a child in his transition to adolescence because that is what motivates the situations in this sequel, and that is why the character of "Spike" is extremely important for understanding what we see in this film. I thought it was great how this young character takes charge of the story to become an adult and try to find his own way, even if that leads him to face dangers in a world he does not yet know. Once again, the script written by Garland, plus Williams' performance, makes the film perfect.

Fuente / Source

Tuve la oportunidad de leer una opinión ofrecida por Boyle en dónde él se rehúsa en llamar a estas películas como de zombies, pero es inevitable que tanto 28 Days Later y 28 Years Later no sean consideradas como films de zombies y más está nueva producción que en mi opinión es una carta de amor a lo que ofrecía George A. Romero en cada una de sus películas en dónde usaba a los zombies para crear una crítica política y social; justamente tanto Boyle, como Garland, no perdieron la oportunidad en demostrar o crear una crítica hacia lo sucedido en el Reino Unido en los últimos años, como por ejemplo su necesidad de independencia y por supuesto el mal manejo de la pandemia del COVID, creo que todo eso influyó al director y en especial al creador de la franquicia a escribir una historia de como sería realmente esa independencia y de como un virus todavía pudiera seguir generando terror en sus habitantes. Este film tiene una historia muy interesante, una hermosa filmografía, escenas llenas de acción, tensión, es una historia divertida con muy buenos personajes lo cual son características que dan aprobación a esta secuela que a pesar de estrenarse tantos años después, demuestra vigencia y creo que eso lo da mucho valor y me genera altas expectativas para el film a estrenarse el próximo mes de enero del 2026, en donde creo que será muy diferente a lo visto en esta gran película.

I had the opportunity to read an opinion piece by Boyle in which he refuses to call these films zombie movies, but it is inevitable that both 28 Days Later and 28 Years Later are considered zombie films, and even more so this new production, which in my opinion is a love letter to what George A. Romero offered in each of his films, where he used zombies to create a political and social critique. Both Boyle and Romero used zombies to create a political and social critique. Romero**_ in each of his films, where he used zombies to create political and social criticism. Both Boyle and _** Garland** did not miss the opportunity to demonstrate or create a critique of what has happened in the United Kingdom in recent years, such as its need for independence and, of course, the mishandling of the COVID pandemic. I think all of that influenced the director and especially the creator of the franchise to write a story about what that independence would really be like and how a virus could still continue to terrorize its inhabitants. This film has a very interesting story, beautiful cinematography, scenes full of action and tension. It is an entertaining story with very good characters, which are characteristics that give this sequel its approval. Despite being released so many years later, it proves to be relevant, and I think that gives it a lot of value and generates high expectations for the film to be released next January 2026, which I believe will be very different from what we saw in this great film.

28 Years Later - Official Trailer

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

I have used deepl.com as a translator

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Movie · on Annabelle: Creation
Annabelle: Creation (2017) - Does Not Suck Unlike The First One - REVIEW
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Continue with the saga of watching the entire franchise in chronological events but I got to say thinking back in the day probably nobody expected a prequel to Annabelle to be any good, much less a prequel to a prequel that alredy sucked hard but here we are talking about Annabelle Creation and how it turned out way beter than I though. David Sandberg came in after making Lights Out and actualy gave us something worth watching, wich is wild because the first Annabelle was very trashy ngl, like I remmeber watching that one and being been like hhhmmm is this the demon doll they got locked, yeah is ugly AF but the movie not so scary. This movie gets back to basics with the horror stuff, good sound work, decent camera angles and building up tension without throwing jump scares at you every five seconds, it was all about context, this didnt feel some kind of desperate attempt to keep you awake, the whole setup with the orphanage girls staying at this creepy dollmaker house works pretty well, specially because you actualy end up caring about Janice and Linda and their friendship. These two girls want to get adopted togeather and have this whole future planed out, so when the demonic posession stuff starts happening, its more personal because there is something real here between the girls, instead of just random people dying for no reason, you know when you care about characters it makes everything else matter more and this movie actualy pulled that off. Now the movie is not perfect at all, it drags a bit in the first half with way to many loud noise scares that get old quick but once it gets going, things get prety intense and the demon stuff starts ramping up that actualy made me stay and pay atention, this was not what I was expecting from an Annabelle movie at all.
- IMDB: https://www.imdb.com/title/tt5140878/
- Platform: HULU
Rottentomatoes Rating

Source The whole thing kicks off with this dollmaker Samuel Mullin and his wife Esther living with their daughter in this nice little house out in the middle of nowhere and everything seems perfect until they leave church one day, their car breaks down on the side of the road. The daughter runs out to grab a lug nut that fell off and she gets smashed by a truck coming around the corner, it happens so fast you dont even see it coming and then we jump twelve years ahead to these orphan girls showing up at the house, because the Mullins decided to open their home to help out. The thing is you can tell something is off from the start, like the wife never leaves her room and wears this creepy mask over half her face, claiming she got sick and the husband is just wandering around being all weird and quiet, acting like he has this dark secret hanging over him, which of course he does because this is a horror movie and everyone has secrets that come back to bite them. Janice is this girl who had polio, so she have trouble walking and has this big leg brace which makes her more vulnerable than the others and Linda is her best friend who looks out for her all the time, they have this plan where they will only get adopted together as sisters and it is actualy pretty sweet until everything goes to shit. The house has this one room that used to belong to the dead daughter and of course it is locked, and of course the girls are told not to go in there, but you know how that goes in horror movies, Janice ends up finding her way inside and discovers the Annabelle doll sitting in a closet, covered in Bible pages, and warnings scribbled all over the walls.

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Source What I liked about this movie compared to the first one is that it actualy uses the doll in creepy ways, instead of just having random ghost shit happen around it, like there are scenes where the doll is sitting on the bed and then the character looks away, and when they look back, the dolls head has turned to face them. Simple stuff like that works way better than all the complicated demon nonsense they tried to pull in the first movie, where the doll barely even mattered, here the doll is front and center doing what it should be doing, its way more active which is freaking people out by moving when nobody is looking. There is this awesome part where Janice is in the staircase elevator thing, because she cant walk up stairs easily and the doll appears at the top waiting for her, just sitting there all creepy and you know something bad is about to go down, like that kind of simple stuff with the proper sound and setup can be so creepy. The movie does a good job of building tension through these moments, instead of just relying on loud noises every ten seconds to make you jump, although there are still pleny of those, especially in the first half which got annoying after a while. But once the demon actualy starts posessing Janice and things escalate in the second half, I was locked in finding out how it would play out, the actress playing Janice does a really good job of going from sweet kid to full on creepy demon child and it never felt over the top or silly.

Source

Source The backstory they give for how the doll got posessed makes sense to within the universe they have set up with these movies, so after their daughter dies, the parents pray to anything that will listen to bring her back and they start seeing her ghost around the house, leaving little notes like she used to do when she was alive. They think it is actualy their daughter coming back to visit them but of course it is just a demon pretending to be her, so it can get invited into their home, demons need permission aparently its very cliche although I have read its a real thing, never met a demon though and dont want to, so they have to trick people into letting them in. Eventually the demon asks to move into the doll so it can stay with them forever and they agree like idiots, just like in the other movies, everyone just think they are helping their little girl when they are realy just trapping a demon in a creepy ass doll that will go on to terrorize people for decades, what a way to screw everything up for everyone else. The movie also try to make reference to other Conjuring movies and thats when it felt force, I think there was no need because it was all good aside from those reference. There is also a scarecrow in the barn that the demon posesses at one point and that whole sequence was pretty tense, with the girl trapped inside trying to get the axe while this thing is waking up and pulling off its mask to reveal demon teeth, I wish they had done more with that honestly because it was one of the creepier parts of the movie.

The gore is kept under control, no savage bloodbath or cutttings or dramatic exagerated pucking which I actualy apreciate after all this just girls, because you dont need to go overboard with blood everywhere when you can build real fear through atmosfere and painting that creepy psychological scenario, there is one brutal scene where the Ester Mullins gets ripped in half by the demon and nail by the wrist to the wall, there is also one part you see her top half crawling after Linda in the basement, which was pretty gnarly, yes there was blood on this scence but Im talking not Evil Dead Rise. What realy surprised me was how this connects back to the first Annabelle movie at the end because it ties everything together when Janice escapes through a hole in the wall after they lock her in the room covered with Bible pages and she ends up at another orphanage where she gets adopted by a nice couple. She tells them her name is Annabelle now, because the demon has fully taken over and then it shows her growing up over the years, until she eventually murders her adoptive parents with her cult boyfriend, which is exactly how the first movie starts, it was a solid way to connect everything, even if it relies on a massive coincidence that the neighbors in the first movie just happened to have an Annabelle doll sitting in their house. It was such a big WTF moment that this specific doll would end up right next door to where demon Janice is living years later. Solid horror movie that makes you think, maybe the franchise finaly figuring out that hiring good directors actualy matters, if they had made the first Annabelle like this one, people would have been way more into this whole spin off thing. I would give it a 6.5 out of 10 because it does what it sets out to do and delivers some cool scares, but it is not perfect and drags in spots, worth watching if you are into horror movies and a fan of the franchise like me.

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Movie · on The Others
CineTV Contest: “The Others”, get yourself ready to be scared (and to break out in a cold sweat).
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

October is a truly iconic month for movie, especially horror movies of any genre. In this edition of the contest, we're focusing on movies focused on supernatural horror, and within cinema history, there are countless more classic choices. However, instead of going that route, I decided to choose a more "current" movie, mainly because it's one of my favorite movies within this subgenre… After all, The Others is an incredible choice to secure my entry in this edition. This is one of the best Hollywood blockbusters within this theme, which, incidentally, was responsible for elevating this horror subgenre to a whole new level, featuring a modern (albeit ancient) and very frightening plot.

Cineaste Magazine

Toca o Terror

Set amidst the ghosts of World War II, viewers follow Grace and her two children (Anne and Nicholas) as they move to a new home on the island of Jersey (in a more isolated area). They await the return of Charles, the patriarch of the Stewart family, whom everyone eagerly awaits. Until then, they must adapt to a new routine, which, due to the children's special physical condition (a kind of "hypersensitivity" to light), requires a lot of darkness and strict rules to ensure all safety protocols are effective. However, after Grace hires some new employees, things begin to spiral out of control, bringing unpredictable consequences that defy the logic of reality in their lives.

The Frida Cinema

Boca do Inferno

Released in 2001, the movie stars Nicole Kidman (no less than my all-time favorite actress in cinema history), and offers a spectacular take on supernatural horror, utilizing the best narrative devices to create an intense plot, full of moments of tension and suspense, combined with some totally unexpected surprises. I believe there have been few times in Hollywood cinema where there has been such assertiveness in terms of supernatural horror (within this even more specific category), because from the plot itself, the editing, each of the characters, every technical aspect, the narrative plot, the sound, and the direction... Absolutely everything works like a "gothic opera" that is impeccably orchestrated and horrifying.

Bloody Disgusting

Frame Rated

The movie is didactic without being corny, and above all, bold without overwhelming the audience's intelligence. Every detail scattered throughout the script is crucial to justifying its grand finale (and you can be sure I'm talking about an epic conclusion, difficult to predict even because you pay attention to the smallest details). But beyond that, they are extremely useful in keeping the plot afloat, and all the gears that make it something of immeasurable value to the history of cinema (especially for lovers of this cinematic subgenre). The project is a complete success, from its intimidating beginning to its completely unexpected and intriguing ending. Without any exaggeration, here is one of the most incredible conclusions ever made within this subgenre.

Frame Rated

Reddit

Under the direction of Alejandro Amenábar (who, by the way, does double duty here, as he not only directed but also wrote the script... and without a shadow of a doubt, did an absolutely masterful job), Kidman delivered one of her finest performances, creating a deeply complex, layered character whose personal motivations challenge the audience's understanding. It's worth noting that the supporting cast plays a crucial role in the plot, and they all have brilliant moments throughout. Using a palette full of opaque colors, the brilliance of the technical aspects is truly a spectacle in itself, creating perfect harmony and delivering visual tones that perfectly complement this entire script. The Others is a timeless movie.

This post is my entry for the CineTV Contest #146, which is being promoted by the CineTV community.

Concurso CineTV: “Los otros”, prepárate para tener miedo (y para empezar a sudar frío).

Octubre es un mes verdaderamente icónico para el cine, especialmente para el cine de terror de cualquier género. En esta edición del concurso, nos centramos en películas de terror sobrenatural, y dentro de la historia del cine, existen innumerables opciones más clásicas. Sin embargo, en lugar de optar por esa opción, decidí elegir una película más actual, principalmente porque es una de mis favoritas dentro de este subgénero... Después de todo, Los otros es una excelente opción para asegurar mi participación en esta edición. Se trata de uno de los mejores éxitos de taquilla de Hollywood dentro de esta temática, que, por cierto, fue responsable de elevar este subgénero de terror a un nivel completamente nuevo, con una trama moderna (aunque antigua) y muy aterradora.

Ambientada en medio de los fantasmas de la Segunda Guerra Mundial, la serie sigue a Grace y a sus dos hijos (Anne y Nicholas) mientras se mudan a un nuevo hogar en la isla de Jersey (en una zona más aislada). Esperan el regreso de Charles, el patriarca de la familia Stewart, a quien todos esperan con ansias. Hasta entonces, deben adaptarse a una nueva rutina que, debido a la condición física especial de los niños (una especie de "hipersensibilidad" a la luz), requiere mucha oscuridad y normas estrictas para garantizar la eficacia de todos los protocolos de seguridad. Sin embargo, después de que Grace contrate a nuevos empleados, la situación empieza a descontrolarse, con consecuencias impredecibles que desafían la lógica de la realidad en sus vidas.

Estrenada en 2001, la película está protagonizada por Nicole Kidman (nada menos que mi actriz favorita de la historia del cine) y ofrece una visión espectacular del terror sobrenatural, utilizando los mejores recursos narrativos para crear una trama intensa, llena de momentos de tensión y suspenso, combinada con algunas sorpresas totalmente inesperadas. Creo que pocas veces en el cine de Hollywood se ha mostrado tanta asertividad en cuanto al terror sobrenatural (dentro de esta categoría aún más específica), porque desde la trama en sí, el montaje, cada uno de los personajes, cada aspecto técnico, la trama narrativa, el sonido y la dirección... Absolutamente todo funciona como una "ópera gótica" impecablemente orquestada y aterradora.

La película es didáctiva sin ser cursi y, sobre todo, audaz sin abrumar la inteligencia del público. Cada detalle disperso a lo largo del guion es crucial para justificar su grand finale (y pueden estar seguros de que hablo de una conclusión épica, difícil de predecir incluso prestando atención a los detalles más pequeños). Pero más allá de eso, son extremadamente útiles para mantener la trama a flote y todos los engranajes que la convierten en algo de incalculable valor para la historia del cine (especialmente para los amantes de este subgénero cinematográfico). El proyecto es un éxito rotundo, desde su intimidante comienzo hasta su final completamente inesperado e intrigante. Sin exagerar, he aquí una de las conclusiones más increíbles jamás alcanzadas dentro de este subgénero.

Bajo la dirección de Alejandro Amenábar (quien, por cierto, cumple una doble función aquí, ya que no solo dirigió, sino que también escribió el guion... y, sin lugar a dudas, hizo un trabajo absolutamente magistral), Kidman ofreció una de sus mejores interpretaciones, creando un personaje profundamente complejo y complejo, cuyas motivaciones personales desafían la comprensión del público. Cabe destacar que el reparto secundario juega un papel crucial en la trama, y todos tienen momentos brillantes a lo largo de la película. Con una paleta de colores opacos, la brillantez de los aspectos técnicos es un verdadero espectáculo en sí mismo, creando una armonía perfecta y ofreciendo tonos visuales que complementan a la perfección todo el guion. Los otros es una película atemporal.

Esta publicación es mi entrada para el Concurso CineTV #146, que está siendo promovido por la comunidad CineTV.

Concurso CineTV: “Os Outros”, prepare para se assustar (e para suar frio).

Outubro é um mês muito emblemático para falar sobre cinema. Em especial, para falar sobre filmes de horror, em qualquer subgênero. Nesta edição do concurso, estamos lidando com filmes focados em horror sobrenatural, e dentro da história do cinema há inúmeras escolhas mais clássicas, mas ao invés de ir por esse caminho, eu decidi escolher um filme mais “atual”, mas principalmente porque se trata de um dos meus filmes favoritos dentro desse subgênero... Afinal, Os Outros é uma escolha mais do que incrível para cravar a minha participação nesta edição. Esta é uma das melhores “superproduções” hollywoodianas dentro desse tema, que aliás, foi responsável por colocar esse subgênero de horror em um nível completamente novo, trazendo uma trama moderna (ainda que em velhos tempos), e muito assustadora.

Ambientado em meio aos fantasmas da 2ª Guerra Mundial, o telespectador acompanha a mudança de Grace e os seus dois filhos (Anne e Nicholas) para um novo lar, localizado na ilha de Jersey (em uma região mais isolada). Eles estão na expectativa pelo retorno de Charles, o patriarca da família Stewart, a quem todos aguardam ansiosamente. Até lá, eles precisam se adaptar a uma nova rotina, que em detrimento de uma condição física especial das crianças (uma espécie de “hipersensibilidade” à luz), precisa ser à base de muita escuridão e cercada de regras muito rígidas para que todos os protocolos de segurança sejam efetivos. No entanto, depois que Grace contrata alguns novos empregados, as coisas começam a sair do controle, trazendo as consequências imprevisíveis que desafiam a lógica da realidade em suas vidas.

Lançado em 2001, o filme é estrelado por Nicole Kidman (nada menos do que à minha atriz favorita de todos os tempos em toda à história do cinema até então), e traz uma abordagem espetacular dentro do horror sobrenatural, usando os melhores artifícios narrativos para criar uma trama intensa, cheia de momentos de tensão e suspense, aliado a algumas surpresas totalmente inesperadas. Eu acredito que foram poucas as vezes dentro do cinema hollywoodiano em que houve uma assertividade tão grande em termos de horror sobrenatural (dentro dessa categoria ainda mais específica), porque desde a trama em si, edição, cada um dos personagens, cada aspecto técnico, os argumentos narrativos, sonora e direção... Absolutamente tudo funciona como uma “ópera gótica” que é impecavelmente orquestrada, e horripilante.

O filme é didático sem ser piegas, e principalmente, ousado sem subjugar a inteligência do público. Todos os detalhes que estão espalhados pelo roteiro são fundamentais para justificar o seu grand finale (e pode ter certeza de que estou falando de uma conclusão épica, difícil de ser prevista até mesmo porque prestar atenção nos mínimos detalhes), mas muito além disso, são extremamente úteis para manter à trama de pé, e todas as engrenagens que a tornam em algo de valor imensurável para a história do cinema (principalmente para os amantes desse subgênero cinematográfico). O projeto é um acerto completo, desde o início intimidador até o seu final completamente inesperado e muito intrigante. Sem qualquer tipo de exagero, eis aqui uma das conclusões mais incríveis que já foram feitas dentro desse subgênero.

Sob o comando de Alejandro Amenábar (que aliás, faz um trabalho duplo aqui, porque ele não apenas dirigiu como se manteve à frente do roteiro do projeto... e sem a menor sombra de dúvidas fez um trabalho absolutamente magistral), Kidman entregou uma de suas melhores performances ao criar uma personagem muito complexa e cheia de camadas que desafiam o entendimento do público sobre às suas motivações pessoais. Vale ressaltar que o elenco de apoio tem um peso essencial na trama, e todos eles têm momentos brilhantes na construção da trama. Usando uma paleta cheia de cores opacas, o brilhantismo dos aspectos técnicos são um verdadeiro show à parte, criando a harmonia perfeita e entregando tons visuais que caíram como luvas na pavimentação de todo este roteiro. Os Outros é um filme atemporal.

Este post é a minha participação para o Concurso CineTV #146, que está sendo promovido pela comunidade CineTV.

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Movie · on Nikita
Nikita | Review and opinion of the original classic
Welcome 💖 Bienvenidos

I grew up hearing the word Nikita, associating it with a famous song by Elton John. Then I learned about a film with the same name and thought that its lyrics had inspired the creation of the main character, but that's not the case.

Nikita is a French-Italian film that was released in 1990. It was a huge success and spawned many remakes, including a short-lived television series and an Asian version. I first saw it when I was little and had forgotten about it until I happened to see it again a few weeks ago and remembered that I had seen it before.

It is a crime, romance and thriller film. In the first version, you can see how old the film is; the photography, costumes and special effects transport you to the past of cinema, but its plot is powerful and timeless, which guarantees success in any production.

The main character is Nikita, a young, violent addict with no family who is part of a gang, with an irreverent style, coloured hair and ripped jeans, which was unusual for the time. She was pure rebellion. The film begins with a scene of a pharmacy robbery where all the assailants were men and she was the only woman. They were looking for drugs, and everything gets out of control when the owner wakes up and recognises his son among the assailants. A shootout ensues, and everyone dies except Nikita.

The authorities see her as a different kind of woman and decide to use her as a lethal weapon. They keep her isolated and detoxify her until they explain why they are holding her and what her rights are, which in reality are none. She was locked up in a place that looked like a school, where she was fed, clothed and taught everything about weapons, wrestling, martial arts, etiquette and protocol, everything she could and wanted to learn to reinvent herself in society and carry out special orders. The system turned her into a hitwoman and she had no choice but to accept this job.

What I liked most was seeing Nikita's transformation from a social outcast with no future to a sophisticated, intelligent and calculating woman, although deep down she was still an innocent girl. The romantic part left me unsatisfied because I always hoped she would have something more intimate with her mentor, and that never happened, but the ending is promising as it gives Nikita hope.

I think this film was a success because it broke the mould of an era. Women were beginning to raise their voices and take centre stage in many areas, and Nikita represents that woman who does not let herself be defeated and can rise from the ashes, although this version is still essentially the same killer. It has its moments of psychological tension. Whether you have seen any of the other versions or none at all, I invite you to watch the original.

_{Cover image created by me with canva Source with resources from imdb}
e imagen de imdb
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Movie · on The Long Walk
The Long Walk (2025) - People Walk For Two Hours and It Was Amazing -REVIEW
Source

The Long Walk is one of those movies that sounds absolutely stupid on paper but somehow ends up working way better than it should, just a bunch of guys walking until they drop dead or get shot sounds boring as hell but this thing actually keeps you locked in for the full two hours witch is pretty wild when you think about it, they just walking but its their interaction, the things they talk about, their "Moments" as Pete describe it on the movie. Cooper Hoffman and David Jonsson carry the entire movie on there backs and the chemistry between these two is insane, you actually end up giving a shit about what happens to them, witch is pretty rare for a movie where you know damn well only one person makes it out alive at the end. Francis Lawrence directed this and he also did most of the Hunger Games movies so he knows how to handle these death game type stories, the guy gets how to make it feel real and heavy, instead of just cheap entertainment for people who want flashy action scenes or cool deaths. This aint some flashy death match with crazy explosions every five minutes, its just people talking and walking, and slowly falling apart both in there heads and there bodys, literally their bodies give up before their mind and somehow it never gets boring or feels like a slog to sit through, witch is pretty impressive when you think about such a very simple action of walking, just keep walking, there is no finish line or ending.
- IMDB: https://www.imdb.com/title/tt18177528/
- Platform: AppleTV+
Rottentomatoes Rating

Source The rules are super simple and thats what makes it work so damn well, walk at 3 miles per hour or you get warnings and after three strikes your done, soldiers shoot you right there on the road and the movie doesnt hold back from showing how messed up that whole situation is for everyone involved, every other guy on this walk loose it as they see the rest going down walking on blooded foot or even totally broken ankle. The movie doesnt waste any time with boring setup that drags on forever and dont even care about giving much context of the why this is all going on its just straight to the bone, it gives you the basics real quick, then jumps straight into the walk without spending 40 minutes on backstory nobody cares about anyway. Mark Hamill shows up as the Major and he was good in the role but it feels like easy paycheck work for him, nothing to crazy or memorable compared to some of his other stuff over the years. The whole concept is based on a Stephen King novel from the 60s and apparently this was the first thing he ever wrote, even though it didnt get published until way later under a fake name, the book had 100 contestants walking but the movie cuts it down to 50, witch makes it feel more manageable and focused on the characters that actually matter to the story, feels more personal, they even form a group and call themself Musketeers.

Source

Source The entire story develops on a very fucked up world after War as Major describe there is an epidemic of laziness and it does look like from the environment we watch on the country side, after a big war that happend 19 years ago and left everything in complete ruins for everyone, the government is run by this totalitarian regime that bans books and music from before the war and also look like everyone is poor, anyways thats not the important part of the movie so doesnt really matter. The point is that every year they do this Long Walk thing, where one person from each state has to participate in the event and the last one standing gets money and one wish, supposedly this is meant to inspire the nation and boost productivity for the economy but really its just propaganda bullshit, to keep people in line and distracted from how terrible there lives are. Raymond Garraty is the main character and he joins the walk because he wants revenge on the Major for killing his dad in front of him and his mom, his father was executed for reading banned books and thinking for himself, witch in this world is basically a death sentence that you cant escape from, this hole story reminds me a lot of a movie that Bale did many years ago called "Equilibrium". Pete McVrees is the other main character and he was basically Rays best friend, even wanted to be his actual brother, thats all he wanted in life and this topic show up throughout the whole thing, David Jonsson plays him and the dude is phenomenal in this role. There chemistry together is what makes the movie work so well because you believe these two guys actually care about each other as friends, its not just fake movie friendship where they say nice things but you dont buy it for a second cause the acting sucks. Judy Greer plays Rays mom, and she has very few scenes in the whole movie but shes absolutely heartbreaking in both of them, specially the opening when shes driving her son to the start line, knowing theres a good chance hes never coming back home to her again.

Source

Source One thing that really stood out was how the movie shows all the messed up stuff that comes with walking non stop for days without any breaks, like how do you go to the bathroom when you cant stop moving forward, what happens when you get a cramp in your leg that makes you slow down, what if you get a rock in your shoe or your ankle breaks from walking so long. All these everyday things become life or death situations and the movie doesnt shy away from showing how brutal it gets for these young guys, one kid has explosive diarrhea and the movie shows is straight up no blur or cover up scene, another kid breaks his ankle and kept walking basically on his bone for hours witch seemed pretty unbelievable to me for me that was the beauty of this movie. The kills are super graphic and straight forward head shot and there faces explode into pieces, one kid gets run over by a tank when he tries to talk to the camera crew filming everything, another one tries to grab a soldiers gun and gets killed instantly without hesitation. The end is a bit confusing so I decided to look up about the story and found out that movie was shot in sequential order witch means they filmed everything in the actual order it happens in the story, this was a smart choice because it lets the actors actually bond with each other over time, just like there characters do in the walk and you can see them getting more tired and beat up as the movie goes on and there bodys start giving out. Francis Lawrence and his crew deserve a lot of credit, because filming something like this where almost every scene is outside in the elements and people are constantly moving without stopping, must have been exhausting as hell for the cast and crew, even if the story has some logical holes in it that dont quite add up.

The ending is pretty different from the book as I mention and its also a bit confusing because things happen out of no where and I think it works better for what the movie is trying to say about sacrifice, in the book Ray wins and just keeps walking off into nothing like a zombie but in the movie Pete ends up winning after Ray sacrifices himself so his friend can live and go home. Pete asks for a soldiers gun as his wish and the Major gives it to him thinking Pete wont actually do anything with it on live television, that sounds totally stupid but it could be just the fact that power got him blind, Pete shoots the Major right in the face in front of the whole country watching on there TVs, witch was pretty damn satisfying to watch after everything but still felt a bit hollow for me, it was just too easy and too simple. Like me some people might want a more clear ending, with everything explained but I think the ambiguity works here for this type of story, I always have this idea that adaptations main point is to sell more books or video games so ending the movie in such gray area works for people to get interested and want to know more about or even buy the book, the message is that even when you win you still lose in the end, because this whole system is designed to break people down, until theres nothing left of who they used to be before. Ray wanted revenge against the government and Pete wanted money to escape his shitty life and terrible childhood, but in the end neither of them really get what they wanted out of it. Its a pretty flat way to end things but it fits the tone of the whole movie perfectly, this isnt a feel good story about overcoming adversity and winning against the odds, its about how governments use young people as pawns and grind them down for entertainment and propaganda purposes. I love this movie and even though it has a few holes in the story I cant stop from giving it a 8.5 out of 10, its probably one of the best Stephen King adaptations in recent years and definitely worth watching if your into this kind of dark depressing stuff, just dont expect to feel good after its over, because you absolutely will not be smiling.

#skiptvads, #inleo, #hive, #longwalk, #stephenking, #dystopian, #survival, #cooperhoffman, #davidjonsson, #francislawrence, #movie, #review, #thriller, #death, #walking, #competition, #revenge, #friendship, #sacrifice, #brutal, #emotional, #tragedy, #military, #propaganda, #adaptation, #2025, #rating, #recommendations

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Movie · on Vanished into the Night
Vanished Into The Night [2024] - Movie Review
A few days ago, even though I felt like watching a comedy, I found this on NetFlix and I thought to give it a try.

The original title is Svaniti Nella Notte and as you may understand it is Italian. I enjoy Italian films so if you have any to suggest, let me know below!

https://www.imdb.com/title/tt14034294/

Story: A father, immersed in a difficult divorce process, embarks on a dangerous mission when his children disappear from their isolated country house.

I dont like movies where children have to suffer in any way, or being kidnapped. However I did give this film a chance.

To be more specific: If you’re in the mood for a light thriller that doesn’t demand too much attention, Vanished Into the Night (2024) could be an option for you. But you need to know in advance that it won’t leave a lasting impression.

This seems like a low-budget Italian thriller, and at first it does deliver some thrills. The lead characters embark on a journey into the criminal world in the efforts to find their missing children.

The two main actors, who play a newly divorced couple, live up to their roles. The performances are solid and there is some emotional moments that may keep you captivated.

Unfortunately, the story doesn’t fully use its potential. There are logical gaps in the story and a few slow moments that make you wonder what could have been if the film had received more careful handling, or perhaps a bigger budget.
- It’s in Italian, always a plus for me.
- The story has potential and a few decent plot twists.
- Beautiful sceneries that add atmosphere.
- No disturbing scenes involving children (thankfully).
- Works as an easy-to-watch film. (only 1 hour and a half
But
- Noticeable gaps in the storyline.
- Some slow moments where not much happens.
In imdb it has a 5.2 rating and if you ask me, I would agree and give it between 5-5.2 also.

Vanished Into the Night isn’t a bad movie, but it is not a great one.

It offers a few moments of tension and a couple of plot twists, but falls short of being memorable.

My rating: 5/10.

If you’re looking for something truly exciting or innovative, you might want to skip this one.
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Movie · on The Woman in Cabin 10
🎬 Movie Review: The Woman in Cabin 10 [ES/EN]
_{Cover made in Canva. Image}

¡Hola amigos! Hoy les traigo la reseña de una película que estaba esperando con ansias y que se estrenó el pasado 10 de octubre en la plataforma de Netflix, un thriller que se las trae. Les estoy hablando de La mujer del camarote 10.

Hello, friends! Today I bring you a review of a movie I was eagerly awaiting, which premiered on October 10 on Netflix—a thriller that packs a punch. I'm talking about The Woman in Cabin 10.

Trama - Plot

_Source

En esta historia seguimos a una periodista que es invitada a un crucero de lujo con participantes adinerados como parte de una experiencia única. Su trabajo consiste en documentar todo lo que pasa allí. Pero una noche, Laura se despierta por unos ruidos que escucha en el camarote de al lado y tras asomarse al pequeño balcón ve cómo un cuerpo cae al mar. Asustada llama a la seguridad del crucero que alerta a toda la tripulación y se disponen a investigar si falta alguien, pero en realidad están todos. Laura insiste en que había una mujer rubia en ese camarote, el número 10, pero ellos les dicen que nunca hubo nadie allí y ahora toda la tripulación la trata como si hubiera estado delirando. Lo cierto es que algo raro está pasando en ese viaje y Laura no descansará hasta descubrirlo.

In this story, we follow a journalist who is invited on a luxury cruise with wealthy passengers as part of a unique experience. Her job is to document everything that happens there. But one night, Laura is awakened by noises coming from the cabin next door and, after looking out onto the small balcony, she sees a body fall into the sea. Frightened, she calls the cruise ship's security, who alert the entire crew, and they set out to investigate if anyone is missing, but in reality, everyone is there. Laura insists that there was a blonde woman in that cabin, number 10, but they tell her that no one was ever there, and now the entire crew treats her as if she were delirious. The truth is that something strange is happening on that trip, and Laura will not rest until she finds out what it is.

Reseña - Review

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Es uno de esos thriller que te mantienen en vilo hasta el final, no sé sabe muy bien lo que va a pasar y en algún punto desconfías de todos los personajes, ya que cada uno parece guardar sus propios intereses. Aunque si le prestas atención, se puede llegar a adivinar parte de lo que está ocurriendo en ese crucero.

It's one of those thrillers that keeps you on the edge of your seat until the end. You don't really know what's going to happen, and at some point you start to distrust all the characters, as each one seems to be looking out for their own interests. Although if you pay close attention, you can guess some of what's going on on that cruise ship.

Allí hay personalidades muy ambiciosas y cuestionables, pero el motivo del viaje es darle un adiós a Annie Bullmer, la mujer del dueño del crucero que sufre de un cáncer terminal y quiere hacer su último acto de buena voluntad participando de una gala especial a beneficio de su fundación, y de paso planea dejar todo en regla y en buenas manos antes del desenlace fatal. Pero, nada está saliendo como les gustaría con Laura buscando pistas de lo que sabe que vio, porque sí, la mujer rubia existe y no sabemos qué pasó con ella hasta un poco más de la mitad de la película.

There are some very ambitious and questionable characters there, but the reason for the trip is to say goodbye to Annie Bullmer, the wife of the cruise ship owner, who is suffering from terminal cancer and wants to make her last act of goodwill by participating in a special gala to benefit her foundation. She also plans to leave everything in order and in good hands before the fatal outcome. But nothing is going as they would like, with Laura searching for clues to what she knows she saw, because yes, the blonde woman exists, and we don't know what happened to her until a little over halfway through the film.

_Source

Mientras tanto todos son sospechosos, aunque nadie le cree a la pobre de Laura y la tratan de paranoica por haber vivido un hecho traumático hace unos meses y la acusan de que lo que vio fue producto de una alucinación tras sufrir una pesadilla con aquellos recuerdos. Ella no está contenta con eso, y está convencida que lo que vio fue real, así que busca a esta chica por todas partes e interroga a todos los tripulantes. Esto no le hace feliz a algunos de los personajes involucrados de la historia.

Meanwhile, everyone is a suspect, although no one believes poor Laura and they treat her as paranoid for having experienced a traumatic event a few months ago and accuse her of seeing things that were the product of a hallucination after suffering a nightmare with those memories. She is not happy about this and is convinced that what she saw was real, so she searches everywhere for this girl and questions all the crew members. This does not make some of the characters involved in the story happy.

La verdad es que me resultó un buen thriller, es entretenido. Te mantiene en vilo intentando descifrar lo qué está pasando y cuando te das cuenta de la verdad es incluso impactante, lo que es capaz de hacer un ser humano por ambición y dinero es realmente espeluznante. Me pareció una buena película para pasar el rato y tiene una duración justa como para que no sea muy densa, ni se vaya mucho por las ramas.

The truth is that I found it to be a good thriller; it's entertaining. It keeps you on the edge of your seat trying to figure out what's going on, and when you realize the truth, it's even shocking. What a human being is capable of doing for ambition and money is truly horrifying. I thought it was a good movie to pass the time, and it's just the right length so that it's not too dense or goes off on too many tangents.

_Source

De todos modos, sí me pareció que tuvo un cierre algo apresurado y no se profundizó mucho en lo que pasó luego de lo sucedido. También tuvo otros detalles que no terminaron de cerrarme del todo, pero bueno, es una película entretenida con la que no se van a aburrir si deciden verla. A mí me gustó bastante, quizá le faltó un poquito más de acción y escenas que jugarán más con la mente como deberían hacerlo todos los thriller psicológicos, pero estuvo pasable. Así que la recomiendo.

In any case, I did feel that the ending was somewhat rushed and that it didn't go into much depth about what happened after the events of the film. There were also other details that didn't quite sit right with me, but overall, it's an entertaining film that won't bore you if you decide to watch it. I liked it quite a bit. Maybe it needed a little more action and scenes that play more with the mind, as all psychological thrillers should, but it was passable. So I recommend it.

Bueno amigos, hasta acá mi opinión acerca de la película. Espero que les haya gustado y los animo a verla si les llama la atención. Si ya lo hicieron me encantaría saber qué les pareció. Gracias por llegar hasta acá y apoyar mi contenido. ¡Hasta la próxima!

Well, friends, that's my opinion about the movie. I hope you liked it, and I encourage you to watch it if it catches your attention. If you already have, I'd love to hear what you thought of it. Thank you for reading and supporting my content. See you next time!

_{Separador de texto hecho en Canva - Text separator made in Canva}

_{Traductor - Translation}
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Movie · on The Nun
The Nun (2018): Jump Scares and Wasted Potential - REVIEW
Source

Now that "The Conjuring" franchise has been announce to be officially over, they had to retire the Warren's at some point, decided to watch the entire franchise a movie per day and chronologically have to start with "The Nun (2018)", this thing was kind of a mess if we being real about it, another prequel to The Conjuring universe that just does not deliver the same punch as the original movies do. The whole thing takes place back in 1952 Romania, at this creepy monastery, where a nun kills herself and the Vatican sends Father Burke and Sister Irene to investigate what the hell happened there, sounds good on paper but it kind of falls apart after sometime because honestly this demon aside from scary didnt feel like a threat to anyone's soul. The biggest problem with this movie is that its just one jump scare after another and Im a fan of the franchise so Im big bias and I know many might want more than just cheap scare jumps that you can literally see them coming from a mile away and after the fifth or sixth time someone gets attached by something jumping out from behind them, it gets old real fast. Taissa Farmiga does her best as Sister Irene, and she actually looks so much like Vera Farmiga, from the main Conjuring movies, that it makes perfect sense she was her younger sister but even good casting cannot save boring characters, that you just do not care about at all, like I kept waiting to feel something for these people but it never happened for me. The one bright spot is this dude they call Frenchie, who with the little part he got becomes way more important and not only for his movie in specific but others in the future, for that guy you are going to care about like he is the only character that really commits, made him also way more fun to watch.
- IMDB: https://www.imdb.com/title/tt5814060/
- Platform: HULU
Rottentomatoes Rating

Source

The story are Romania sounds cool enough at first, you got Father Burke who was this priest investigator that the Vatican sends out to check on weird supernatural stuff and Sister Irene, whos not even a full nun yet that part felt like a joke to be hones because she was still in training or whatever they call it. They get sent to this abbey in Romania because some nun hung herself and the Vatican is like tf how that going to happen on our watch, we need to figure out what's going on over there so off they go with Frenchie who was this French Canadian guy that found the body and knows the area pretty well. The hole visuals of the place looks amazing, super gothic with all these crosses in the cemetery and fog everywhere it was like the perfect scene for a movie like this, to complement the scenery there is this big creepy castle type building, thats supposed to be the monastery, it really does look like something out of an old classic monster movie. The main problem of the movie is been repetitive because once the scary stuff starts happening its just the same thing over and over, quiet hallway with someone walking around holding a candle then BAM loud noise and the nuns face appears or some demon thing jumps out at them. When the same formula keeps going you start to see the pattern and it stops being scary anymore, the joke is over as it just becomes too predictable, the not scary parts of the movie are way more interesting and what kept me watching.

Source

Source Sister Irene had to take the wheel because Father Burke felt like he was useless for the most part because you think he was gonna be this badass exorcist type guy who knows how to handle demons but nope, he just walks into danger constantly and gets his ass kicked every single time. I remember one scene very early where the demon buries him alive in a coffin, six feet under ground and his sorry ass was totally helpless trying to ring a bell to get help, this is suppose because back in the day they put bells on graves that I had no clue about but incase someone got buried by mistake but this actually make kinda sense during old times where plagues happen and science was not as advance as today. Sister Irene hears it somehow even though she was like way across the property, and digs him out pretty easy and after that you would think he would be like we gotta get the F out of here its way too dangerous for us, but no he just keeps investigating and walking around dark rooms by himself like getting buried alive wasnt a big enough warning sign for him. When this kind of ridiculous situations happen on a scary movie it honestly becomes hilarious for me, another ironic reason I had an ok time watching like what are you doing, just get the hell out of there before something worse happens to you and then there were also all these visions he keeps having, of this boy he failed to exorcise years ago, the kid shows up multiple times spitting snakes at him and messing with his head, but it never really goes anywhere interesting. Its just there to give him some backstory I guess but it feels tacked on and not really connected to the main story, about the demon Nun at all, like they could have cut all of that out and the movie would have been exactly the same and that is not so good for character development.

Source

Source Sister Irene end up been the main character and hero of this story along with Frenchie since she was the one who ends up defeating the demon at the end, she starts having these visions where she keeps hearing Mary points the way, over and over again. Eventually she figures out it means, there was a key hidden in a statue of Mary that leads to this chamber where the demon is sealed, real groundbreaking detective work there and thats the investigating aspect that kept me watching too. The backstory they give for the demon is actually kind of interesting but they explain it so fast, that it just feels rushed, apparently during World War Two a bomb hit the abbey and opened up this rift that let the demon Valak into the world, the nuns have been praying constantly to keep it sealed away but now its getting stronger and breaking through. The only way to stop it is with the blood of Christ which Father Burke conveniently finds in this old vial, the way they use it at the end is just ridiculous though, Sister Irenes under water getting strangled by Valak and somehow she breaks open the vial and gets the blood in her mouth, while shes being choked, then when Valak pulls her up, she spits it in the demons face and boom its defeated just like that, see you just reading this might laugh because its ridiculous. I was like wait what, how did she do all that without Valak noticing and also why would the demon pull her up out of the water instead of just drowning her right there, it felt really convenient and not thought through at all, like they just needed a way to end the movie quick.

By the end I was just disappointed but also entertained and laugh a couple of time, the demon was scary looking but was not a movie that gives you nightmares, very classic cliche crosses turning upside down and dark figures in hallways and people getting thrown around by invisible forces, all stuff we have seen done way better, if they had only included something or someone very dramatic getting possesed and tormented during the most part of the movie like in the other Conjuring movies. The whole climax feels more like an action movie with everyone running around this flooded chamber, fighting the demon, instead of actual horror, Frenchie even shows up with a shotgun at one point trying to shoot ghosts and I was like wtf but even that felt more natural because its that defense, horror and ignorance at the same time. The very last scene tries to connect it to the first Conjuring movie by revealing that Frenchie is the guy who got possessed that Ed and Lorraine Warren had to exorcise, they show the demon leaving a mark on his neck so you know he was gonna get taken over later, its supposed to be this oh damn moment but it doesnt hit because of how the movie was developed, like they were trying way too hard to throw you this bone at the end to tie everything in the franchise together. The Nun had potential with this awesome looking scenery and the look of Valak, who was very creepy looking, the makeup is great, but good visuals cant carry a whole movie specially when there is nobody to play the over dramatic part as the script and pacing are this weak and repetitive. Maybe a 7 out of 10 for me just because Im bias but I can understand why it got destroyed on the internet, easily the weakest entry in The Conjuring series.

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Movie · on Caught Stealing
Caught Stealing (2025) - Austin Butler Does Good On A Movie That Didnt - REVIEW
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Caught Stealing is one of those movies that sounds way cooler in theory than what it actually delivers on screen but I still like it enough to give it an 8/10 something that is weird no this post there is going to be a love and hate, not saying its bad but damn its such a weird experience watching this thing, like you are suppose to laugh and you do but its like some scenes start great and in the middle they screw it up and I dont know if all this was on purpose because there are still certain aspects of the movie that are very controversial like clothing, Math Smith character looks, the cat Bud. Darren Aronofsky doing a Guy Ritchie style movie sounds good on paper except the big problem here is the movie never fully commits too being one or the other, your left with something that feels like two different movies fighting for screen time. Austin Butler is carrying this entire thing on his back, I mean that literally, the dude is in every single scene doing heavy lifting, he does an amazing job playing this regular guy named Hank, used too have dreams about being a baseball star back in high school, talks too his mom on the phone about the San Francisco Giants, watches games at work, lives a pretty simple boring life until everything goes too absolute hell. The whole mess kicks off because Hank agrees too watch his neighbors cat named Bud, neighbor is this punk rock British guy named Russ who needs too go too England, his dad is sick or dying or something like that, sounds simple enough until suddenly Hanks getting his ass kicked by Russian mobsters, these guys beat him so bad he loses an entire kidney because they thought he was running away with their money, wakes up in the hospital confused as hell, now hes trying too figure out where some mysterious key is hidden for a locker that holds $4 Million, people around him keep dying left and right, the body count piles up, Hank is stuck in the middle of this shit storm he didnt ask for.
- IMDB: https://www.imdb.com/title/tt18177528/
Rottentomatoes Rating

Source The movie takes place in 1998, it really does feel like the late 90s with actual cameras from that era, he nails that late 90s vibe completely, no cell phones anywhere, Twin Towers still standing in the New York skyline, everything looks kinda grainy, like your watching something that was buried in a time capsule for twenty five years. But the movie at certain point gets lost and real messy with the tone, sometimes the movie is trying too be funny, sometimes its trying too be dark, sometimes its both at the exact same time, those two tones just dont blend right so easy, its like oil and water, its like watching a comedy that suddenly turns to aggressive, insults can be funny but only until a certain limit, not that they were just insulting each other but just as an example, the movie goes to both ends of the rope and never stays in the middle. There are moments where I was laughing at something Austin Butler said, he does have a comedy side that suits him depending on the script but this time the movie doesnt help that much when all of the sudden something brutal happens, someone gets shot in the head, the cat gets kicked by one of the Russian guys, I am sitting there going wait why did they cut off the scene this way? they just ruin it, is this suppose too make me laugh? because it cant be both sick to the stomach and funny, neither one is working the way it should. The pacing in the middle section drags quite a bit too, no way around that fact, theres this whole chunk where Hank is just running around New York, trying too piece together what happend the night he got blackout drunk, he lost the key somewhere, cant remember where he put it, I guess this is part of the journey that at times felt they were completely lost waiting for something interesting too happen, they are basically scavenge hunting, rinse and repeat for like twenty minutes straight. Matt Smith plays the neighbor Russ, who they marketed him in the trailers like he was gonna be a way bigger part of the story, I like Matt Smith alot from many of his roles but mostly from HOTD, the guys got range, does his punk rock British guy thing, mohawk, leather jacket, but over all he doesn't get too much screen time, such a waste of a good actor who could of added way more too the story.

Source

Source

The cat honestly gets more screen time than half the human characters, Im a cat person and love "Bud" with his hurt paw, his attitude, its like the movie wanted you to care more about the cat than anyone else, thats not a good sign when the animal is more interesting. Zoe Kravitz plays Hanks girlfriend Ivonne, they have great chemistry together in the early scenes, they do care for each other, you want too see them figure there shit out, she wants him too stop drinking, face his past traumas, hes trying but keeps falling back into old habits, even sounds familiar so at least it work for me, here is the part, until now you can tell how there are some aspects of the movie that I love and others I just hate and still like the movie. Next is exactly a moment I hated and its she getting killed halfway through the movie, it feels like such a waste of a good character, we barely got too know her beyond being the supportive girlfriend, she had this whole backstory about being something medical related, she just dies and becomes motivation for Hank too keep going. The action scenes are fine but nothing special if we are being honest here, theres a foot chase through Chinatown that looks cool, Austin Butler jumping over stuff, sliding under things, a car chase that ends with Hank crashing into stuff, nearly dying, even some shootouts in a bar that get bloody fast, all this scenes felt very creative but just that cool scenes, its like the movie is a bunch of clips, I would have prefer if they gave more character build up to Russ and kept him with Hank, but for the most part the movie is fueled by guild, running from your past mistakes, those two things dont always mix together too well.

Source

Source Austin Butler has this whole backstory, car accident in high school, killed his best friend, ruined his baseball career before it even started, he has nightmares about it every single night and wakes up in a cold sweat reliving the crash, the hole event is something that hunts him down for ever and marks his character for the entire movie, it really makes you want the guy to get over it and pass the page so he can move on because of the weight he is carrying for a life mistake. Butler sells the hell out of those emotional moments, his face, his voice but the movie keeps cutting away from that depth, shows us Russian gangsters yelling at each other in broken English or these two Jewish hitmen played by Liev Schreiber, Willem Dafoe, quirky characters, there dressed in traditional Orthodox Jewish clothing, they visit there mom whos played by Carol Kane, this two hitmen work for the Russians, the movie is kinda of a mess to properly explain the hole thing of why now Hank and Russ are on this ugly situation but the truth is Hank is the innocent here, all he did was feed Bud and access Russ apartment. I wanted too love this movie more than I actually did, the pieces are all there, good director, great lead actor, interesting story, such a cool era too work with and they did get the 90s vibe clean, but the execution just misses the mark, I cant call this a great movie but its good, its watchable, its entertaining enough for a one time watch but its not what it could of been.

I will say the ending does land properly and almost makes up for some of the earlier problems, Hank finds out that the two Jewish hitmen killed Ivonne, collateral damage too send him a message so here is whe he snaps, crashes the car there all riding in, straight into a concrete pole at full speed, kills them both instantly, really brutal scene and its hilarious because its like he when through literally his worst nightmare crashing again, its like he finally said screw it I need to crash again so I can get over with like this time he did something good on the same act, taking responsibility for his actions even if that means becoming a killer himself, it works as a character moment even if it feels a little too neat. He ends up escaping too Mexico, all the money stuffed in a bag, the cat tucked under his jacket, sends half the cash too his mom, then he is just sitting at a bar on a beach somewhere warm, watching baseball on TV but he turns it off, hes finally ready too move on from his obsession with what could of been. Its a solid ending, gives Hanks journey some closure but also leaves you wondering if he actually changed for the better or choose violence over his soul, if he just became more numb too everything after all the violence, all the death he caused, but this might be just me trying to over complicate things but honestly Butler has given us this kind of complex and deep characters in the past where he plays them out awesome but the ending felt more like I just watched something that was almost great but fell short. Overall Caught Stealing is a fun movie to watch, you are going to laugh and feel for the characters, specially for Bud, its not peak crime thriller but its something in between that doesnt always work, Austin Butler is fantastic, carries the movie even when the script lets him down, the 90s setting is done really well, great attention too detail everywhere you look, there are enough interesting ideas here too keep you engaged, even when the execution felt flat at times, I would still give it a weird 8 out of 10, for this weird movie that is worth watching once especially if your a fan of Austin Butler.

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Movie · on 7 Prisoners
MOVIE REVIEW: “7 Prisoners” (2021)
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

Synopsis: A young man leaves his arduous work routine in a rural town to try to improve his life in the capital of São Paulo. However, upon arriving in São Paulo to work in a scrapyard, Mateus discovers that he has become a victim (along with several other boys) of an illegal intermediary that facilitates modern-day slavery.

In some stories, there's no long-awaited "happy ending" before the final credits begin to roll. Here we find a degrading and realistic portrait of a society that still relies on human trafficking and slave labor, along with countless other atrocities, to fuel the structure of the capitalist system at its most vile and disgusting. On Brazilian soil (in fact, this is a Brazilian production), this movie takes on even greater weight, given our history marked by a widely known system of slavery, which lasted for no less than 388 years. Therefore, this is the type of project that needs to be recognized as an invitation to a debate about a present past, which cries out for urgency from public authorities (and these, in turn, always seem to ignore this secular problem).

Netflix

Café História

Yes, the world has changed. Slavery as it once was no longer a reality, at least not in the eyes of the law (which still allows countless instances of labor analogous to slavery to escape). On the other hand, we have contemporary slavery, which is the kind of issue that serves as a very well-used foundation for this movie's plot. Alongside human trafficking, police corruption, political involvement, and other controversies, the script here is powerful, "calibrated" with excellent discussions (even if some of them are not properly explored in depth), placing the audience in the role of voyeur of human degradation (a difficult role to assume, as the movie's events reveal increasingly sad and revolting scenes).

It all begins when Mateus is "recruited" to work at a scrapyard in São Paulo. Imagining he's heading for the chance to have a better life (not only for himself, but also for his elderly mother and two sisters), he soon realizes upon arriving at the place where he's to work that he's fallen into a trap. Along with other boys also "seduced" by this opportunity for a better life, they now have a huge debt to pay (an excuse their boss uses to keep them imprisoned there, because in reality, the idea is never to free them) and must do so by working under a regime analogous to slavery (in a more modern sense, let's say). However, Mateus is determined to "change the game" to save themselves and their new friends.

Lugar Nenhum

Netflix

Amidst the execution of his plan, Mateus ends up not realizing his oppressed situation, and finds himself increasingly on the oppressor's side when his boss, Lucas, gradually sees him (after audaciously confronting him and quickly accomplishing several successful tasks) as a potential right-hand man to help with the illegal scheme that keeps the corrupt and inhumane world he's part of running. This threshold becomes a very interesting approach because it is through Mateus's perception that the audience is invited to participate in the movie and experience the horrors of everything that is happening. A dramatic movie takes on the contours of a horror movie due to the heavy themes it brings to light, which truly cause great indignation because they are realities that unfortunately still exist throughout the country.

There's a provocative approach to all the themes presented. They all use slavery as a kind of "tool" to promote the psychological domination to which the "new slaves" are subjected. The narrative structures are overly simple, but hidden between the lines lies the true strength of the plot, which lies in the issues raised within the project. Structural racism introduces new dynamics that are even more controversial, thus increasing the strength of the script (which was already strong enough to impact everything that happens in the movie). Along the same lines, corruption in public power appears as a "weed," ready to corrode everything in its path. The way all of this is connected in the plot deserves applause.

LinkedIn

B9

Here we have a protagonist torn between risking his own family's future (since all his relatives are under surveillance by people he doesn't know, but who are part of the scheme to coerce all the prisoners into continuing to work without attempting any kind of escape) or remaining in that truly degrading situation, and an antagonist who, to a certain extent, provides thoughtful insights that attempt to explain his reasons for continuing to work in that brutal scheme (such as the line: "You're only oppressed until you have the chance to be an oppressor.") and how other people might also feel the same way. There's a sense of despondency on both sides... And everything requires attention, because it's in the details of the lines that many powerful things happen in this movie (which is simple... but very effective).

Among the cast, the standout is veteran Rodrigo Santoro, playing a well-constructed character, well-delineated in his most relevant layers. The kind of villain who repulses the audience, but who also has moments of "altruism" as he tries to convey his personal side of the story (and this is something that might spark empathy in some people... but it didn't work for me, because looking more closely at some details reveals that anyone who does this kind of work is genuinely a bad person, not just financially disadvantaged). The supporting cast is weak (including the protagonist, who can be placed in this category for failing to deliver a particularly impactful performance), but this never detracts from the movie's overall brilliance.

Cine Set

O2 Filmes

Alexandre Moratto directed 7 Prisoners with a human and realistic perspective, without glamorizing the themes. Along with Thayná Mantesso, he also wrote part of the entire script. Both were very bold in their approach, and perhaps only the more impactful aspects were kept from them by limited technical issues (because it's clear this is a low-budget movie). Nevertheless, Moratto managed to create excellent shots, with angles that favor the scenography of the main setting (a junkyard) in a very inviting way. Despite the rather didactic beginning, the second and third acts introduce more complex lines to the script, culminating in an unexpected climax that is entirely in keeping with a sad reality.

[ OFFICIAL TRAILER ]

CRÍTICA DE PELÍCULA: “7 prisioneros” (2021)

Sinopsis: Un joven abandona su ardua rutina laboral en un pueblo rural para intentar mejorar su vida en la capital, São Paulo. Sin embargo, al llegar a São Paulo para trabajar en un desguace, Mateus descubre que ha sido víctima (junto con otros jóvenes) de un intermediario ilegal que facilita la esclavitud moderna.

En algunas historias, no hay un esperado “final feliz” antes de que comiencen los créditos finales. Aquí encontramos un retrato degradante y realista de una sociedad que aún depende de la trata de personas y el trabajo esclavo, junto con innumerables atrocidades, para alimentar la estructura del sistema capitalista en su forma más vil y repugnante. En suelo brasileño (de hecho, se trata de una producción brasileña), esta película cobra aún mayor relevancia, dada nuestra historia marcada por un sistema de esclavitud ampliamente conocido, que duró nada menos que 388 años. Por lo tanto, este es el tipo de proyecto que necesita ser reconocido como una invitación a un debate sobre un pasado presente, que clama por la urgencia de los poderes públicos (y estos, a su vez, siempre parecen ignorar este problema secular).

Sí, el mundo ha cambiado. La esclavitud, como era antes, ya no era una realidad, al menos no ante la ley (que aún permite que se escapen innumerables casos de trabajo análogo a la esclavitud). Por otro lado, tenemos la esclavitud contemporánea, un tema que sirve de base muy bien utilizada para la trama de esta película. Junto con la trata de personas, la corrupción policial, la participación política y otras controversias, el guion es potente, “calibrado” con excelentes debates (aunque algunos no se exploren con la profundidad necesaria), colocando al público en el papel de voyeur de la degradación humana (un papel difícil de asumir, ya que los acontecimientos de la película revelan escenas cada vez más tristes y repugnantes).

Todo comienza cuando Mateus es "reclutado" para trabajar en un desguace en São Paulo. Imaginando que busca una vida mejor (no solo para él, sino también para su anciana madre y sus dos hermanas), al llegar al lugar de trabajo se da cuenta de que ha caído en una trampa. Junto con otros chicos también "seducidos" por esta oportunidad, ahora tienen una enorme deuda que pagar (una excusa que su jefe usa para mantenerlos presos allí, porque en realidad, la idea es nunca liberarlos) y deben hacerlo trabajando bajo un régimen análogo a la esclavitud (en un sentido más moderno, digamos). Sin embargo, Mateus está decidido a "cambiar las reglas del juego" para salvarse a sí mismos y a sus nuevos amigos.

En medio de la ejecución de su plan, Mateus termina sin darse cuenta de su situación de opresión y se encuentra cada vez más del lado del opresor cuando su jefe, Lucas, lo ve gradualmente (tras confrontarlo con audacia y completar rápidamente varias tareas con éxito) como una posible mano derecha para ayudar con el esquema ilegal que mantiene el mundo corrupto e inhumano del que forma parte. Este umbral se convierte en un enfoque muy interesante, ya que es a través de la percepción de Mateus que el público es invitado a participar en la película y experimentar los horrores de todo lo que está sucediendo. Una película dramática adquiere los contornos de una película de terror debido a los temas fuertes que saca a la luz, que realmente causan gran indignación porque son realidades que, lamentablemente, aún existen en todo el país.

Hay un enfoque provocador en todos los temas presentados. Todos utilizan la esclavitud como una especie de "herramienta" para promover la dominación psicológica a la que están sometidos los "nuevos esclavos". Las estructuras narrativas son excesivamente simples, pero entre líneas se esconde la verdadera fuerza de la trama, que reside en los problemas que plantea el proyecto. El racismo estructural introduce nuevas dinámicas aún más controvertidas, lo que refuerza la fuerza del guion (que ya era lo suficientemente fuerte como para influir en todo lo que sucede en la película). En la misma línea, la corrupción en el poder público aparece como una "mala hierba", dispuesta a corroer todo a su paso. La forma en que todo esto se conecta en la trama merece un aplauso.

Aquí tenemos a un protagonista dividido entre arriesgar el futuro de su familia (ya que todos sus parientes están bajo vigilancia por desconocidos, pero que forman parte del plan para obligar a los presos a seguir trabajando sin intentar escapar) o permanecer en esa situación verdaderamente degradante, y un antagonista que, en cierta medida, ofrece reflexiones profundas que intentan explicar sus razones para seguir trabajando en ese brutal plan (como la frase: ”Solo estás oprimido hasta que tienes la oportunidad de ser opressor.”) y cómo otras personas podrían sentir lo mismo. Hay una sensación de desaliento en ambos bandos... Y todo requiere atención, porque es en los detalles de las líneas donde ocurren muchas cosas impactantes en esta película (que es simple... pero muy efectiva).

Entre el reparto, destaca el veterano Rodrigo Santoro, quien interpreta a un personaje bien construido, bien definido en sus facetas más relevantes. El tipo de villano que repugna al público, pero que también tiene momentos de "altruismo" al intentar transmitir su lado personal de la historia (y esto es algo que podría despertar empatía en algunos... pero a mí no me funcionó, porque al analizar algunos detalles con más detenimiento se revela que cualquiera que se dedique a este tipo de trabajo es realmente una mala persona, no solo una persona con dificultades económicas). El reparto secundario es flojo (incluido el protagonista, que podría clasificarse en esta categoría por no ofrecer una actuación especialmente impactante), pero esto nunca le resta brillo a la película en general.

Alexandre Moratto dirigió 7 prisioneros con una perspectiva humana y realista, sin idealizar los temas. Junto con Thayná Mantesso, también escribió parte del guion completo. Ambos fueron muy audaces en su enfoque, y quizás solo los aspectos más impactantes se vieron opacados por problemas técnicos (ya que es evidente que se trata de una película de bajo presupuesto). Sin embargo, Moratto logró crear excelentes planos, con ángulos que favorecen la escenografía del escenario principal (un desguace) de una manera muy atractiva. A pesar del inicio bastante didáctico, el segundo y el tercer acto introducen líneas más complejas en el guion, culminando en un clímax inesperado, totalmente acorde con una triste realidad.

CRÍTICA DE FILME: “7 Prisioneiros” (2021)

Sinopse: Um jovem troca a árdua rotina de trabalho em uma cidade do interior para tentar melhorar de vida na capital paulista. No entanto, ao chegar em São Paulo para trabalhar em um ferro-velho, Mateus descobre que se tornou vítima (ao lado de mais alguns outros garotos) de uma intermediação ilegal que favorece o esquema de escravidão moderna.

Em certas histórias não existe o tão esperado “final feliz” antes que os créditos finais comecem a “pipocar” na tela. Eis aqui um retrato degradante e realista de uma sociedade que ainda faz uso do tráfico humano e do trabalho escravo ao lado de outras inúmeras atrocidades para alimentar a estrutura do sistema capitalista na sua camada mais vil e nojenta. Em solo brasileiro (aliás, está é uma produção brasileira), esse filme ganha ainda mais peso, porque temos um passado marcado pelo sistema de escravidão amplamente conhecido, e que perdurou por nada menos do que 388 anos. Sendo assim, este é o tipo de projeto que precisa ser reconhecido como um convite a um debate sobre um passado presente, que grita por uma urgência dos poderes públicos (e estes por sua vez, sempre parecem ignorar esse problema secular).

Sim, o mundo mudou. A escravidão como era antigamente não existe mais, ao menos não aos olhos da lei (que mesmo assim ainda deixa escapar inúmeros episódios de trabalhos análogos a escravidão). Por outro lado, temos a escravidão conhecida como contemporânea, que é o tipo de problemática que funciona como um alicerce muito bem utilizado na trama deste filme. Ao lado do tráfico humano, corrupção no meio policial, envolvimento político e outras controvérsias, o roteiro aqui é muito potente, “calibrado” com ótimas discussões (mesmo que algumas delas não sejam devidamente bem exploradas na sua profundidade), colocando o público num papel de voyeur da degradação do ser humano (um papel difícil de assumir, à medida em que os eventos do filme vão revelando cenas cada vez mais tristes e revoltantes).

Tudo começa quando Mateus é “recrutado” para trabalhar em um ferro-velho em São Paulo. Imaginando que vai seguir rumo à chance de ter uma vida melhor (não apenas para ele, mas também para sua mãe idosa e suas duas irmãs), ele logo percebe ao chegar no lugar onde vai trabalhar, que acabou caindo numa armadilha. Junto com outros garotos que também “seduzidos” por essa oportunidade de ter uma vida melhor, eles agora têm uma dívida de altíssimo valor para pagar (uma desculpa usada pelo chefe deles para mantê-los aprisionados no local, porque na verdade, a ideia é nunca libertá-los) e precisam fazer isso trabalhando em um regime análogo a escravidão (nos moldes mais modernos, vamos dizer assim). No entanto, Mateus está determinado a “mudar o jogo” para salvar a si mesmos, e aos seus novos amigos.

Em meio a execução do seu plano, Mateus acaba não se dando conta da sua situação como oprimido, e se vê cada vez mais do lado opressor quando o seu chefe, Lucas, aos poucos vai enxergando nele (após muita ousadia ao enfrentá-lo e realizar tarefas bem sucedidas em pouco tempo) um futuro braço direito para ajudar no esquema ilegal que mantém de pé esse universo corrupto e desumano do qual ele faz parte. Esse limiar se torna uma abordagem muito interessante porque é através da percepção do Mateus que o público é convidado a participar do filme e sentir os horrores de tudo o que está acontecendo. Um filme dramático ganha contornos de filme de horror pelas temáticas pesadas que trouxe à tona e que realmente causam muita indignação por serem realidades que infelizmente ainda existem em todo o país.

Existe uma abordagem provocante sobre todos os temas que são propostos. Todos eles fazem uso de escravidão como uma espécie de “ferramenta” na promoção da dominação psicológica em que os “novos escravos” são submetidos. As estruturas narrativas são demasiadamente simples, mas nas suas entrelinhas está a verdadeira força da trama, que são as problemáticas trazidas dentro do projeto. O racismo estrutural chega trazendo novas dinâmicas que são ainda mais controversas, aumentando então à força do roteiro (que antes disso já era forte o suficiente para causar impacto sobre tudo o que acontece no filme). Nessa mesma linha, a corrupção do poder público se mostra como uma “erva-daninha”, pronta para corroer tudo o que estiver em sua frente. O modo como tudo isso é conectado na trama merece aplausos.

Temos aqui um protagonista que está dividido entre arriscar o futuro da sua própria família (uma vez que todos os seus parentes estão sob vigilância de pessoas que eles desconhece, mas que fazem parte do esquema para coagir todos os prisioneiros a continuarem trabalhando sem tentar planejar nenhum tipo de fuga) ou se manter naquela situação real de degradação, e um antagonista que até certo ponto traz pontuações reflexivas que tentam explicar as razões dele se manter trabalhando naquele esquema brutal (como a frase: “Você só é oprimido até ter a chance de ser opressor.”) e como outras pessoas também podem pensar igual a ele. Há um desalento em ambos os lados... E tudo requer atenção, porque é nos detalhes das falas que muitas coisas fortes acontecem neste filme (que é simples... mas muito eficiente).

No elenco, o grande destaque é o veterano Rodrigo Santoro na pele de um personagem muito bem construído e muito bem delineado em suas camadas mais relevantes. O tipo de vilão que causa repulsa no público, mas que também tem seus momentos de “altruísmo” ao tentar mostrar o seu lado pessoal da história (e isso é algo que talvez pode despertar empatia em algumas pessoas... mas comigo não funcionou, porque olhando com mais atenção alguns detalhes, quem faz esse tipo de trabalho é porque é realmente uma pessoa ruim, e não apenas desfavorecida financeiramente). O time de coadjuvante é fraco (incluindo o protagonista, que pode ser encaixado nesta categoria por não conseguir entregar um resultado performático muito impactante), mas em nenhum momento isso tira o brilhantismo do filme por inteiro.

Alexandre Moratto dirigiu 7 Prisioneiros com um olhar humano e realista, sem fazer uso de qualquer “glamourização” sobre os temas abordados. Ao lado de Thayná Mantesso, ele também foi responsável por escrever parcialmente todo o roteiro. Ambos foram muito ousados na abordagem, e certamente só não fizeram algo ainda mais impactante pelas questões técnicas mais limitadas (porque é notório que estamos diante de um filme com baixo orçamento), mas ainda sim, Moratto conseguiu criar ótimos planos, com ângulos que favorecem a cenografia do cenário principal (ferro-velho) de uma maneira bem convidativa. Mesmo tendo um começo muito didático, o segundo e o terceiro ato trazem linhas mais complexas no roteiro, culminando num ápice inesperado e que é totalmente condizente com uma triste realidade.

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