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In 2023, I stumbled on the series From and honestly, I barely survived the season one. As at that time, I wasn’t the horror fan I have grown into today. I was more of the “cover my face with a pillow” type when watching horror, but the series did intrigue me. The mystery, the strange town that no one could leave, the night creatures that had me doublechecking my doors and trying not to look outside my window at night, and many others.
I pushed through season one and then started watching season two, but I stopped halfway, because it was getting too much for then. Fast forward to this year, I heard some girls in my hostel talking about From season three. And I was like, I know the movie, season three is out? So I went back to the movie. I rewatched season two and then started season three immediately. And oh, what a ride!
The Plot
From begins with this small, creepy town that traps anyone who enters. Anyone can drive in but they can never leave, no matter which road they take. The town itself looks normal during the day but at night, nightmarish creatures come out. They look human (but they are not humans at all), they smile and even knock politely on your door or try to talk you into opening the door through your window, but once you let them in, it’s over. They are deadly predators that brutally kill anyone they reach. The only thing protecting the people trapped in this town is a talisman that they hang by their doors and windows. The talisman prevents the creatures from just walking into their houses. Yeah, they had to get accustomed to things there. There are some who have been in the town for years, so houses were built and all that.
We see people and families come to town by accident (everyone gets there by accident) and are forced to adapt to the town’s horrifying way. Apart from the nightly fight to survive, the towns people struggle with fear, grief and hopelessness. While also searching for answers about what the town really is, why they were brought there and whether there is any way out.
As the series goes on, more things happen like seeing visions, strange underground tunnels are discovered and the hints suggest that the town is part of a much bigger and more sinister force.
The brilliance of From is that it isn’t another typical jump scares and gore. It’s the atmosphere, the road, the feeling of being trapped and the monsters smiling outside the window. And then there’s the psychological side where people slowly start to lose hope, turning against each other and still clinging to survival. And then you, the viewer, don’t just want answers but also want to see who makes it out alive, and who doesn’t. Every season increases the horror and the mystery, with new people arriving, shocking deaths and revelations that only lead to more questions.
Imagine driving down a road, trying every possible route out and no matter what, you always circle back to the same town. That hopelessness alone is enough to break people and the show captures that psychological torment very well. Every character brings their own baggage, we see them clash, bond and completely fall apart because of fear.
And then, there’s the monsters. What creeped me out the most is how calm and human they look. They don’t just rush or growl, instead they smile, knock on doors and talk softly. That, I think, is scarier than most loud jump scare. It makes you wonder, are they even monsters?
Now, let me complain for a second. Season three ended with a cliffhanger that made me want to scream. I hated it, because after investing all this time, they just leave me hanging right when things are about to get serious. It’s almost cruel how they cut it off. And now, here I am waiting patiently (but not happily) for season four. but it also shows how invested I am in the show. If I didn’t care, I would not have been that frustrated. I just hope season four delivers all the answers.
Rating
I would rate From a solid 8.5/10. The plot is nice, the atmosphere is haunting and it stands out from most regular horror series. It’s one of those show that stays in your head even after you are done watching, and that, to me, is what makes a great horror series.
Forget the grumpy and depressed Superman and meet the new and positive and more comic book accurate Superman. This iteration of Superman is directed and written by James Gunn. It feels different from many other the other Superman movies we've seen, probably because there is no exposition. You know where he came from, you know his powers and his girlfriend, no need to repeat that. Instead, this movie throws you straight into the action and it isn't shy about what it is. A comic book movie. Which is fun, but not memorable.
The actor choices are interesting. The main problem is that David Corenswet our new Superman, is not charismatic enough in my opinion. He doesn't control and own the screen or the character. Even in his Superman suit he feels more Clark Kent than anything else. I feel like he does his best, but it is not impressive enough in my opinion. Rachel Brosnahan is an interesting choice for Lois Lane one which I like. She really takes her character seriously and she feels like a true reporter. From the kind that doesn't actually exist anymore. I had serious doubts when I heard that Nicholas Hoult will be Lex Luthor. I still have doubts. I mean he works well with what they gave him, which is over the top and dramatic, but I prefer cold and calculating Luthor.
I guess that this is my main issue with the movie. It is very colorful, fun and action packed, but it is over the top. It even had a good political point to make, but the ridicules way in which everything is done and everyone behaves is hard to take seriously. When both the main villain and Luthor drag the movie into the ridicules level I think that this movie misses what a Superman needs to have which is heart. If you want to go over the top and be very comic booky and don't think that the first movie in a new cinematic universe is the place for it. It was just too much and too confusing for me. And it lacked something that will make it worth my time. Heart.
I always felt that Superman is a character driven by principles, heart and good intentions and this movie lacked it. It was fun and entertaining, but I left the cinema feeling nothing. One week later I barely remember what was in the movie as it left so little of an impression on me. It's pretty sad in my opinion. It was alright and nothing more.
Bone Tomahawk just might be one of those movies that you least expect it to be this good for an average movie, its kinda weird but on this Western movie drama counts a lot because lets face it, there was not much to back then or where to go, this thing starts off as what seems like your typical western with Kurt Russell doing his usual sheriff thing but then turns into something completely different halfway. What caught me totally off guard was how much this movie made me laugh during the first hour, I mean Richard Jenkins as Chicory is absolutely hilarious as this bumbling deputy who just wont shut up about the most random stuff he could think about, he keeps asking questions like whether you can read a book in the bathtub while they are on this serious rescue mission to save those kidnapped, its the kind of humor that feels so natural you almost forget you are watching a "horror" western hybrid until things get really brutal later on, honestly there wasnt that much horror in the traditional way, very mixed movie tbh. Kurt Russell brings that classic energy to his role as Sheriff Hunt, he has got this weathered cowboy thing down perfect and you can tell he really loves playing these types of characters even though he could probably do it in his sleep by now. Patrick Wilson plays Arthur who is basically a guy with a busted leg trying to rescue his wife from cannibals, which sounds ridiculous when you put it that way but Wilson makes it work through pure determination and desperation. John Brooder plays Matthew Fox a man with pure hate to the native that decided to be on this mission just for the pleasure, hate and opportunity to kill indias, but the reasons are more deepest. The whole cast really seems to be having a blast, you can sense they know they are in something special even if its gonna be a tough sell to mainstream audiences because of how weird it gets.
The movie takes its sweet time getting to the horror part of it, I can say its probably an hour just watching these four guys ride horses and camp out while going back and forth about everything from marriage to reading habits, some people might find this pacing slow but I thought it was brilliant because you actually start caring about these characters before the movie throws them into hell, it is called "character development" and when bad things happen to them later it actually matters instead of just being random violence for shock value. Matthew Fox shows up as this gunslinger who claims he has killed over a hundred Indians, I think the character could have been just another angry racist but Fox plays him with enough nuance that you understand his motivations even if you dont agree with them. The hole dialogue feels very authentic to the time period without being overly flowery or fake sounding, these guys talk like real people would have talked back then instead of reciting speeches about honor and duty, at least based on my impression and memory of how people were during that time, its all from what I have seen on TV nothing that I have study tbh. There is this great scene where they encounter two Mexican guys at night and Fox just shoots them both because he doesnt trust anyone approaching their camp in the darkness, it shows how paranoid and violent these guys have become living on the frontier. The movie does a good job of showing how isolation and constant danger can turn normal people into killers, even the sheriff who tries to be honorable ends up doing some pretty questionable things but all those things are not judge and it is because was the way of living back then, always with a gun on the hip and yours eyes everywhere, just wild.
The difference with this movie from other westerns is that it make you think that it could be a supernatural event that is happening but the truth is so much worst because after one person is kidnapped is revealed that has nothing to do with ghost or witches, they are humans, who have basically downgrade themselve mentally into something primitive and savage through isolation and inbreeding. Its basically the result of they spliting off from regular Native American tribes long ago and became something else entirely, they dont even have a language anymore just these weird growling sounds they make through surgically implanted devices in their throats. With all that set, I felt happy for the twist the movie gave since its unique and also give the hint that the rescue mission is going to be bloody because the kidnappers, yes are cannibal but can die. When we finally see their cave society its absolutely nightmarish, they keep women as breeding stock after cutting off their limbs and taking out their eyes so they cant escape, pure evil, BIG WTF moment there. The violence in this movie is not fun or exciting like in most action movies, its brutal and realistic in a way that makes you uncomfortable instead of entertained. There is one particular death scene that had me covering my eyes even though I usually dont have problems with gory movies, the sound during that sequence is just perfect in the worst possible way. The movie doesnt stop on the violence for shock value but it also doesnt shy away from showing you exactly how horrible these creatures are, they eat people like we would eat chicken and think nothing of it, without remorse and consciousness, this savages only have pleasure in killing, nothing else.
The ending was exactly what you would expect from this kind of revenge story but it never feels predictable because of how well developed all the characters are, you genuinely worry about who is going to survive until the very last scene. Arthur somehow manages to be the hero despite being basically crippled throughout most of the movie but I guess has to be his determination to save his wife what drives him to do things that should be impossible for someone in his condition. The final fight in the cave is intense as hell, watching these civilized men try to fight against primitive savages in their own environment creates this great David versus Goliath dynamic. Kurt Russell gets to be a badass one more time before his character meets his fate, the guy goes out fighting like you would expect from any Kurt Russell character. What impressed me most about the ending is how the movie don't treat them like heroes, just give importance to each one of them because never give up in complete the task of rescue Arthur wife, some of them suffer in horrible ways but fight agains the enemy until the end, never regrets in one stays and wich one return home, their objective was completed and more than that because the savages where killed giving peace to one that stays. You can really suffer when they start dying but at the same time feel relief knowing that they fight againts the unknown and in certain way they win.
These is the kind of movie that is a totally surprise and as everything you love it or hate it. Four men in a rescue mission knowing that they are going to fight against the most violent native tribe that exist and the worst of all, cannibals. The person that must be rescue is the wife of one of them, that is the cripple of the team, the one that is delaying them but the one with the courage of doing everything to get his wife back. This movie really impressed me in a good way because reminds me the way how movie used to be done, no CGI, a lot of practical effects, a good story, a great dialogue and actors that play the role like if they were born for it. The true is that Im not a huge fan of western movies, decide to give a chance to this one obviously knowing that wasnt the tippically western movie and doesnt dissapoint on the contrary, it gave me action, comedy, horror and passion, THIS is a good movie but if you dont like western or gore this is not for you.
Know looking back at this movie as I said before it is not for everyone but if you enjoy slow burn westerns with horror elements thrown in you will probably love it, reason why I only gave it a 7 out of 10, I feel that the movie just suits me too well and I know not everyone is going to enjoy it as I did, in fact some of the horror scenes were not so pleasent to watch to be honest. The pacing might test your patience during the middle section where they are just riding across the desert talking to each other but stick with it because the payoff is worth the wait. Its got real characters with believable motivations instead of just action figures going through lines between fight scenes. The budget was tiny but you would never know it from watching, everything from the costumes to the locations feels authentic and lived in rather than cheap or fake looking.
Sometimes I wonder why a film like Metropolis has stayed hidden in the shadows for so long, as if it were too fragile for the mainstream to carry it. Watching it again twenty four years after its release feels like opening a time capsule filled with dreams that never aged. What strikes me most is not the spectacle of its city or the grandeur of its architecture, but the sadness that flows quietly underneath. This is not a story about machines alone, but about the aching spaces between what we build and what we feel. The anime moves like a hymn, sometimes hesitant, sometimes overwhelming, yet always carrying a tone of melancholy that reminds me of how fragile the idea of progress really is.
Beneath its dazzling layers of lights and gears, Metropolis is not really a tale about power or rebellion, but about innocence caught between forces too vast to control. Tima and Kenichi are not heroes in the traditional sense, they are children stumbling in the ruins of a dream their elders created, and in that simplicity lies the emotional core of the film. Their bond is brief and fragile, but it is enough to carry the weight of a city on the verge of collapse. When I watch them I don’t see a conventional love story or a neatly packaged moral lesson, I see the sadness of two beings realizing that tenderness cannot always survive in the machinery of ambition. That, to me, is where the film speaks the loudest.
Curiously, what keeps the film alive is not its narrative precision but its imperfections. Characters sometimes feel flat, dialogue at times too straightforward, but those very flaws give it the texture of a fable rather than a polished script. It is almost as if the film does not care to convince me of its logic, but only to immerse me in a mood, a lament, a vision. And that vision is intoxicating. The city itself feels alive, with layers of sound and color that still hold up after twenty four years, and in moments I feel as though I am not watching anime but reading a poem disguised as moving images. The truth is that it does not matter whether the story resolves neatly, what matters is the residue it leaves inside.
Distant echoes of Blade Runner come to mind, but Metropolis does not chase cynicism. Instead it carries the softness of Tezuka’s imagination, that strange blend of innocence and sorrow. It believes, against all odds, that humanity can be more than its machines, even while showing us how those same machines will eventually consume everything. That contradiction, between hope and despair, is what makes it endure. I find myself caught not by the grandeur of its collapse, but by the quiet tragedy of Tima’s face, half human and half machine, staring into a world that can no longer tell the difference between love and programming. That image haunts me more than any explosion or climax could.
Years later, Metropolis remains a film that few talk about, yet it feels more urgent now than ever. We live in a time where artificial life is no longer science fiction but daily debate, where technology both saves and suffocates us, and where innocence is still sacrificed in the name of progress. To watch this film in 2025 is to realize that its questions have not aged at all, that they remain suspended over us like the towers of its city. Perhaps that is why it lingers: it does not give answers, only echoes. And in those echoes I find something rare in anime or in cinema at large, a fragile heart beating beneath the rubble of tomorrow.
For those who follow ideological conflicts on the Croatian internet, the end of 2017 and the start of 2018 were marked by an unusually fierce clash between the owners of two portals who liked to declare themselves as liberals. The nominal reason for the showdown between these alleged like-minded individuals was a diametrically opposed understanding of personal freedoms, particularly those concerning control over one’s own body and finances, in situations frowned upon by the conservative segment of the public but deemed ‘victimless crimes’ by the more liberal faction. Coincidentally, around the same time, a film tackling similar themes appeared in Croatian cinemas. Molly’s Game, a title which domestic distributors translated with their usual creativity as The Big Game, will likely attract less attention for its story than for who adapted it and how.
The story told in Molly's Game is based on a scandal reminiscent of those that, several decades earlier, would have spurred the production of competing TV movies on American networks. In 2013, the FBI conducted one of its most spectacular operations, dismantling a criminal organisation running illegal poker games. This alone would not have drawn significant attention had the players not included Hollywood superstars like Tobey Maguire and Ben Affleck, as well as top athletes and oligarchs from Wall Street and Silicon Valley. Even greater interest was sparked by the fact that the individual identified by US federal authorities as the mastermind behind this shady operation was Molly Bloom, a relatively young and attractive woman whom the media immediately dubbed the ‘Poker Princess’. Partly in an effort to fund her legal defence, she decided to share her experiences with the public through an autobiography that became a bestseller and caught the attention of Aaron Sorkin, one of Hollywood’s most respected screenwriters, whose previous scripts had also been biographies of business figures such as Mark Zuckerberg and Steve Jobs.
The titular heroine is portrayed by Jessica Chastain, who has been particularly active in 2010s. The narrative framework centres on her arrest and subsequent visit to lawyer Charlie Jaffey (Idris Elba), whom she attempts to persuade to represent her, recounting her life story for this purpose. She grew up as the daughter of a distinguished psychologist (Kevin Costner) in Colorado, who encouraged his children to channel all their energy into achieving success; one brother became a respected doctor, the other an Olympic skiing champion. Molly also attempted to become an Olympic freestyle skiing champion but was injured during qualifications for the Salt Lake City Olympics, forcing her to abandon sports for another career. Her path led her to Los Angeles, where, working as a waitress at the elite Viper Room nightclub, she caught the attention of a guest who first hired her as a secretary and later enlisted her help in organising poker games. Initially clueless about the game, Molly quickly became a top professional thanks to Google, using her charm to attract the most elite clients willing to hand out lavish tips. This not only secured her a comfortable lifestyle but also provided the capital to launch her own operation after her boss fired her. After Los Angeles, she moved to New York, where she set up a similar yet more refined and lucrative operation, though, as circumstances would have it, among her clients and potential business partners were ‘respected business figures’ who, in reality, belonged to the Russian mafia.
For Sorkin, who has collaborated with some of the most renowned directors in his career, The Big Game marked his directorial debut. In many ways, this film is a quintessentially ‘Sorkinesque’ production; even those who don’t pay much attention to the names in the credits would recognise the hand of the writer behind titles such as The Social Network and The West Wing. Naturally, the dialogue is the most intriguing, inventive, and captivating part of the screenplay, providing audiences with pleasure even if it eventually becomes clear that the verbal gymnastics employed by the characters are unlike anything used by almost anyone in real life. However, this pleasure is one of the film’s few strengths, as the screenplay is undermined from the outset by a serious flaw. The plot, for one, is not particularly engaging. It unfolds through flashbacks, beginning at the point where Molly’s primary concern is how to avoid a lengthy prison sentence, with her central dilemma being how much she is willing to ‘rat out’ her former partners and friends to Uncle Sam, thereby ruining their lives. This means that everything that happens prior to this—her encounters and other interactions with drunks, gambling addicts, and various types of criminal scum—holds no such drastic consequences for our heroine that she wouldn’t, years later, be posing glamorously on magazine covers. The second, far more serious issue is that Molly’s dilemma—whether to ‘sing’ to the feds or not—is, according to her own words, motivated by claims that she wants to save others’ careers and marriages, rather than, as more astute viewers might deduce, a justified fear of incurring the wrath of ‘respected business figures’. Sorkin fully adopts Molly’s version of events and is not particularly convincing in doing so. Matters worsen when Molly attempts to explain the downfall of her business empire by claiming that maintaining it drove her to turn to various modern chemical achievements. The addiction motif and the poor business and life decisions tied to it are, however, merely glossed over and almost ignored, likely because Sorkin doubted it would fit well with his story of a feminist heroine who managed, for a time at least, to carve out a career in something that is the exclusive domain of male chauvinist pigs.
The structural and content-related problems of Molly's Game are exacerbated by the fact that, as a director, Sorkin may have learned something from the filmmakers he had previously written scripts for, but he failed to rein in his ego. Or, to be more precise, he was too enamoured with his own work, particularly his dialogue, to allow anyone to cut it down in the editing room. As a result, Molly's Game is simply too long, and viewers who aren’t among Sorkin’s most ardent fans have good reason to wait for the film’s release on platforms where they can fast-forward through less engaging sections. That said, this doesn’t mean there aren’t some genuinely interesting scenes within its two-and-a-half-hour runtime. The best of these are those where Molly, as the narrator, attempts to convey fascinating details of relatively obscure activities like skiing or poker to the uninitiated in an engaging and captivating manner. The acting is, of course, top-notch, though the hyper-prolific Chastain will likely be remembered more for parading in a deep décolletage for most of the film. Costner delivers far more in the rather thankless role of Molly’s father, including an emotional scene towards the end that feels tailor-made for Oscar bait. The rest of the cast is solid, with particular praise due to Irish comedian Chris O’Dowd as one of Molly’s most colourful clients.
However, perhaps the most lamentable aspect of Molly's Game is that Sorkin failed to harness his talent to highlight, through this fascinating story, what truly constitutes the real problem in America and the world. And that is certainly not a lack of etiquette or chivalrous manners among financially cushioned ‘whales’ who can afford to lose in a single night at the poker table what ordinary mortals earn over decades. The real issue—which the protagonist even acknowledges in one scene—is that US federal authorities deem the disposal of one’s own money through gambling a crime. And not just any crime, but one severe enough that the administration of such a ‘cool’ and progressive president as Obama (under whose presidency the film’s events take place) would dispatch a special forces unit capable of taking on an ISIS cell to apprehend a lone, unarmed woman. Similarly, federal authorities, under the guise of fighting organised crime, have been granted powers to confiscate people’s property, leaving individuals literally destitute overnight—not to stop actual criminal activity, but to drive the newly created poverty-stricken into ‘snitching’ on the innocent and guilty alike, in a manner not unlike how people were once sent to the Gulags. And, as in Animal Farm, some ‘comrades’ are ‘more equal than others’ when it comes to the risk of such a fate, as highlighted by Molly’s line that what she supposedly owed Uncle Sam is nothing compared to what Wall Street players plunder every second. Precisely because it reminds the audience, even if only momentarily, of this issue, Molly's Game, despite being a disappointment in many respects, deserves a recommendation.
RATING: 5/10 (++)
(Note: The text in the original Croatian version was posted here.)
Alright, let’s settle in for this one. Imagine you and I are sitting across from each other at a quiet café, maybe it’s late evening, the hum of life outside feels far away, and I’m leaning in to tell you about Call of the Night.
The first thing I’ll admit is that this anime hit me at a time when I was kind of restless myself, caught between the weariness of daily routines and this hunger for something that feels alive, almost rebellious against the ordinary. That’s probably why Call of the Night sank its claws into me the way it did. On the surface, it’s about a boy, Kou Yamori, who slips out into the night because sleep doesn’t come easy to him anymore. But honestly? It felt like watching a piece of my own insomnia come alive in neon lights and quiet whispers.
The night that Kou enters seems to be an entirely new world, a world we cannot see when we are too busy keeping to time and then- wham- he meets Nazuna. Nazuna is not your run of the mill mysterious girl character though. She is wild and unapologetic and messy and there is this sadness behind the sharp humour and the teasing. Their relationship did not seem as a kind of romance in the traditional meaning of this word but more like a discovery of a person who introduces you to a part of the world which you never knew was there.
Among the scenes which hit me the strongest was the very first time Kou asks what it is to truly enjoy the night. The silence almost extends, almost as though the city is listening. And the answer, given by Nazuna, is not profound in some abstract sense--it is primal, it is madness, it is release. It took me back to those nights when you walk aimlessly, just to enjoy the sound of the street lights, the texture of the empty sidewalks and you just realize that it is the world at night which belongs to those people who walk out of the lines.
However, the thing is that it is not a mere neon fantasy. Call of the Night counter-balances this romanticised, idealised view of nighttime freedom with a darker undertow. It is not only the concept of immortality that makes Kou want to become a vampire, he wants to evade the heavyweight of the day. That struck a chord with me since how many times do we all want to get away, not in the way that we want to vanish never to be seen again but to simply be free of the characters we perform when the sun in the sky? His struggle was too close to home, as though the anime was breathing the words that you do not necessarily speak aloud.
And yet, it’s funny too. There were so many scenes where I found myself laughing, like Nazuna’s ridiculous bluntness, the way she teases Kou mercilessly but in a way that weirdly felt tender. Their banter gave me the sense of being young again, when conversations felt endless and every silly thing had weight simply because you were sharing it with someone in that quiet pocket of time.
It was the vibe that actually stuck with me, though. It was the music--God, the music. The low-fi, electronic pulse put me in the same situation as I was standing under wavering street lamps myself and watching the city breathing. Every song sewed the images into a mood so intoxicated that long after the episode finished I still felt like I could still hear it in my mind. But it is not an anime you watch, it is one that you immerse yourself in.
At the end, I understood that Call of the Night was not only about vampires or sleeping disorders or love. It was on being lonely, and the weird means we employ to satisfy the emptiness. Kou does not simply needs to be with Nazuna, he needs to have a place, he needs to feel he is in something he can call his own. and don't we all?
I can be honest with you and sit here with you and tell you that I did not simply watch Call of the Night. I experienced it. It reminded me that there is a world to be found even in the hushed, most underrated hours of the day; you just need to be courageous enough to enter it. It made me realize that at times, freedom is not the image of chains being broken but it is the moment when one will be able to walk under the street lights with someone who can see the same strange beauty that you see.
This is the reason why it remained in my mind. That is why I will never forget it when I am not able to sleep and when I want to go outside just to have a look at what the night has in stock.
Thumbnail is designed by me on pixelLab and other images are screenshot from the movie
Hola amigos de esta comunidad de series y películas, ¿cómo están?
Este es mi primer post aquí y quiero aprovecharlo para hablarles de una película que un amigo me recomendó. Se trata de La Sustancia. Él me comentó que, en lo personal, no le gustó demasiado porque prefiere las películas con más acción, disparos y peleas. Sin embargo, como sabe que a mí me gustan más las películas con un enfoque psicológico, pensó que podría interesarme… y la verdad es que tuvo toda la razón.
La película me encantó, me atrapó desde el inicio. No es una producción con las mejores escenas ni los efectos de sonido más espectaculares, pero lo que tiene es una historia muy profunda y realista, de esas que llegan a tocar temas con los que muchos podemos identificarnos.
La Sustancia habla de cómo, poco a poco, podemos ir perdiendo nuestro propio ser. Esa sensación de inconformidad con uno mismo que lleva a tener una autoestima baja y que, sin darnos cuenta, nos empuja a tomar decisiones equivocadas. Decisiones que nos consumen hasta dejarnos vacíos. En este caso, la película muestra cómo las personas terminan dependiendo de sustancias como drogas, alcohol o cigarrillos, que lentamente van acabando con la vida.
Ese fue el gran aprendizaje que me dejó esta historia. Tal vez no sea de las mejores películas que he visto en cuanto a producción, pero sí es de esas que transmiten un mensaje importante y que nos hacen reflexionar sobre la vida misma. Creo que quienes disfrutan de series y películas con un trasfondo psicológico entenderán perfectamente a lo que me refiero.
Por lo general, muchos ven películas solo para distraerse o entretenerse, y eso está bien. Pero yo lo hago también por algo más: me gusta analizar a los personajes, sus emociones, sus decisiones y tratar de comprender qué los llevó a actuar de cierta manera. Creo que ese es el verdadero valor de una buena película: cuando logra que te cuestiones y sientas lo que viven sus protagonistas.
Bueno amigos, muchas gracias por tomarse el tiempo de leerme y acompañarme en este primer post. Espero que podamos volver a encontrarnos en mi siguiente publicación, donde seguiré compartiendo más sobre este maravilloso mundo de las series y películas.
English
Hello friends from this community of series and movies, how are you?
This is my very first post here, and I’d like to talk about a movie that a friend of mine recently recommended to me. The film is called The Substance. He told me that he personally didn’t enjoy it very much because he prefers action-packed movies with fights, shooting, and explosions. However, since he knows I’m more into psychological films rather than just raw action, he thought it might be something I would like… and he was absolutely right.
I really enjoyed this movie. It captivated me from the beginning. Sure, it doesn’t have the best visuals or the most impressive sound effects, but what it does have is a very powerful and realistic story, one that deals with issues many of us can relate to.
The Substance explores how little by little, we can start losing ourselves. That feeling of being unsatisfied with who we are, which leads to low self-esteem and pushes us into making poor choices. Choices that slowly consume us until there’s nothing left. In this case, the movie shows how people become dependent on substances like drugs, alcohol, or cigarettes—things that gradually take life away until there’s almost nothing left of it.
That’s the lesson I personally took from this film. Maybe it’s not one of the best movies I’ve ever seen in terms of production, but it is definitely one of those that tackles real-life issues and delivers a meaningful message. And I believe that those who enjoy psychological films and series will understand exactly what I mean.
For many people, movies are just a way to have fun and escape reality for a while, and that’s perfectly fine. But for me, movies are also something deeper: they’re about analyzing the characters, their emotions, their choices, and trying to understand the reasons behind their actions. That’s what makes watching films truly fascinating for me.
Well friends, thank you so much for taking the time to read this first post. I really appreciate your support, and I hope we can meet again soon in my next publication, where I’ll keep sharing more thoughts about this amazing world of series and movies.
If you've seen Zach Cregger's previous horror movie, Barbarian, you probably went into his follow-up, Weapons, with a bit of a "what the heck" feeling. And let me tell you, this movie does not disappoint in the "what is even happening" department.
The premise is a chilling, simple mystery: all but one child from a single elementary school class vanish one night, leaving a small town in a state of mass panic and grief. What follows is a clever, multi-layered story told from the perspectives of different characters, including the class's teacher, a grieving father, and the one kid who was left behind. The way the movie jumps between these viewpoints is really unique and keeps you guessing as the pieces of the puzzle slowly come together.
The cast is phenomenal. Julia Garner is incredible as the teacher who gets unjustly blamed for the tragedy, and Josh Brolin brings a real, raw intensity to his role as a desperate parent. The movie perfectly balances genuine, unsettling horror with some moments of pitch-black humor that catch you off guard, which is a signature of Cregger's style. It's a truly wild ride that doesn't hold back on the suspense or the shocking visuals.
However, the film’s biggest challenge for some viewers might be its big reveal. The ending takes a sharp turn into the supernatural, which might not work for everyone, especially if you were hoping for a more grounded explanation. It’s the kind of movie that’s more about the experience and the escalating madness than a neat, tidy resolution. Overall, if you like your horror movies unpredictable, tonally daring, and don't mind a little bit of a "wait, what?" ending, then Weapons is definitely worth checking out.
When I saw Ballerina I was like waooo because I expected it to be another John Wick style movie but with a woman and it turns out that the thing has its own personality and I liked that a lot. Len Wiseman as director managed to create something that feels new within the universe of John Wick without losing that brutal and stylized essence that at least I love, Ana de Armas is superr as Eve and you can tell that the actress got fully into the character both physically and emotionally, every action scene where she appears is pure adrenaline mixed with that vulnerability that the character needed to not just be a killing machine. What struck me the most was how the film manages to balance moments of humor with ultra violent scenes, there is a part where Eve uses plates as weapons and honestly I couldn't stop laughing, it's not that it's funny in itself but it's so creative that it works perfectly, also the flamethrower sequence was completely unhinged in the best possible sense. The chemistry between Ana de Armas and the rest of the cast including Keanu Reeves in his special appearance works very well, it feels like these characters actually exist in the same world and not like they were stuck in there just for marketing, Keanu especially has a presence that elevates every scene he appears in without stealing Eve's thunder. Ian McShane and Anjelica Huston appear reprising their roles from the John Wick universe and both do excellent as always, Anjelica has that intimidating elegance that makes her perfect to lead the Ruska Roma organization.
Cuando vi Ballerina me quedé como que waooo porque yo esperaba que fuera otra película mas del estilo John Wick pero con una mujer y resulta que la cosa tiene su propia personalidad y eso me gustó bastante. Len Wiseman como director logró crear algo que se siente nuevo dentro del universo de John Wick sin perder esa esencia brutal y estilizada que por lo menos a mi me encanta, Ana de Armas está superr como Eve y se nota que la actriz se metió de lleno en el personaje tanto física como emocionalmente, cada escena de acción donde aparece es pura adrenalina mezclada con esa vulnerabilidad que necesitaba el personaje para no ser solo una máquina de matar. Lo que mas me llamó la atención fue como la película logra balancear momentos de humor con escenas ultra violentas, hay una parte donde Eve usa platos como armas y sinceramente no pude parar de reír, no es que sea cómica en si misma sino que es tan creativa que funciona perfecto, además la secuencia del lanzallamas fue completamente desquiciada en el mejor sentido posible. La química entre Ana de Armas y el resto de los actores incluyendo a Keanu Reeves en su aparición especial funciona muy bien, parece como si estos personajes realmente existieran en el mismo mundo y no como si los hubieran pegado ahí solo por marketing, Keanu especialmente tiene una presencia que eleva cada escena donde aparece sin robarse el protagonismo de Eve. Aparecen Ian McShane y Anjelica Huston retomando sus papeles del universo John Wick y ambos lo hacen excelente como siempre, Anjelica tiene esa elegancia intimidante que hace perfecta para liderar la organización Ruska Roma.
The revenge story is pretty straightforward but it works because it doesn't try to overcomplicate itself, Eve seeks revenge on her father's killers and that's it, there are no unnecessary subplots or anything forced that makes you lose the main focus of the film. They develop all the background of the Ruska Roma organization in a good way so much wue you can finally see how this school of assassins and dancers works, the connection between ballet and martial arts is very well done so that nothing seems forced as it could have easily happened. The trainings we see in flashbacks are brutal and realistic, they show how Eve became the lethal machine she is but also explain why she has that grace and fluidity in her movements that distinguishes her from other assassins, there are moments where she literally looks like she is dancing while killing people, it leaves you kind of mesmerized. The whole design is quite real and the best part is that it is connected to the world we already know, from the Continental hotels to the training centers, everything has that shape that characterizes the John Wick universe. Norman Reedus appears in a small role but I liked it, the guy knew how to make every scene where he appears count and his chemistry with Ana de Armas works very well in the short time they are together in the movie, Lance Reddick is also present in what was one of his last roles before he passed away and it was really touching to see him once again as Charon.
La historia de venganza es bastante directa pero funciona porque no trata de complicarse mas de la cuenta, Eve busca vengarse de los asesinos de su padre y punto, no hay subtramas innecesarias ni nada forzado que haga que se pierda el enfoque principal de la película. Desarrollan todo el trasfondo de la organización Ruska Roma de una buena manera tanto wue finalmente se puede ver como funciona esta escuela de asesinos y bailarinas, la conexión entre el ballet y las artes marciales está muy bien hecha para que nada parezca forzado como pudo haber pasado fácilmente. Los entrenamientos que vemos en flashbacks son brutales y realistas, muestran como Eve se convirtió en la máquina letal que es pero también explican por que tiene esa gracia y fluidez en sus movimientos que la distingue de otros asesinos, hay momentos donde literal parece que está bailando mientras mata gente, te deja como hipnotizado. Todo el diseño es bastante real y lo mejor es que está conectado con el mundo que ya conocemos, desde los hoteles Continental hasta los centros de entrenamiento, todo tiene esa forma que caracteriza al universo John Wick. Norman Reedus aparece en un papel pequeño pero me gustó, el tipo supo como hacer que cada escena donde aparece cuente y su química con Ana de Armas funciona muy bien en el poco tiempo que salen juntos en la peli, Lance Reddick también está presente en lo que fue uno de sus últimos papeles antes de fallecer y la verdad fue emotivo verlo una vez mas como Charon.
The best thing about Ballerina is the action part because Len Wiseman understood that he couldn't just copy Chad Stahelski's style, he had to create something different but still being part of the same universe, all that movement when they fight is incredible and you can see the work that Ana de Armas put into training. What impressed me the most was how they used the environment in each fight, from nightclubs with ice to snowy villages in the mountains, all this makes it more interesting and the fight with the flamethrower in particular is crazy, it looks like something out of a video game but in the most fun way possible. The special effects are good at no point did I think it was a completely computer made movie nor did it look low budget, the explosions and blood look convincing without being overly gore. It manages to capture both the intimate moments and the massive action sequences very well, there are some really beautiful shots like the snow scenes that contrast perfectly with the brutal violence going on and Gabriel Byrne as the main bad guy has presence but isn't as memorable compared to some of those in the main John Wick films.
Lo mejor que tiene Ballerina es la parte de acción porque Len Wiseman entendió que no podía simplemente copiar el estilo de Chad Stahelski, sino que tenía que crear algo distinto pero que siguiera siendo parte del mismo universo, ltodo ese movimiento cuando pelean está increíble y se nota el trabajo que Ana de Armas puso para entrenar. Lo que mas me impresionó fue como usaron el entorno en cada pelea, desde clubes nocturnos con hielo hasta pueblos nevados en las montañas, todo esto hace que sea más interesante y la pelea con el lanzallamas en particular es una locura parece algo sacado de un videojuego pero de la manera mas divertida posible. Los efectos especiales están bien en ningún momento pensé que fuera una película completamente hecha a computadora ni se veía de bajo presupuesto, las explosiones y la sangre se ven convincentes sin ser excesivamente gores. Se logran capturar muy bien tanto los momentos íntimos como las secuencias de acción masiva, hay tomas realmente hermosas como las escenas de nieve que contrastan perfectamente con la violencia brutal que está ocurriendo y Gabriel Byrne como el malo principal tiene presencia pero no es tan memorable comparado con algunos de los que aparecen en las películas principales de John Wick.
I think what I liked most about Ballerina is that it doesn't try to be John Wick in a skirt, it creates its own identity within the established universe, Eve is a distinct character with different motivations and a unique fighting style that feels quite real, to me the film respects what came before and isn't just a repeat of the formula. Ana de Armas proves she can carry an action movie on her own, she has that perfect blend of intensity and vulnerability that makes you care about the character even when she is dishing out death all over the place, every hit she takes feels real and painful unlike other action heroes who seem invincible. The emotional connection to the revenge story works because the film takes the time to create that relationship between Eve and her father, the flashbacks are not seen as filler but as necessary information to understand the main character's motivations. The humor is natural and comes out of every situation, it's not forced like in many other action movies, when Eve improvises with everyday objects as weapons I found it quite funny because it comes out of the creativity of the moment and not as if it was a written joke. The connection with the main movie is well handled because they appear when the story needs it and not just to take advantage and generate an emotion, here Keanu Reeves has a role that is important to the story and does not just appear to appear. The pace of the movie is good, it's not boring and it doesn't feel rushed, for me it was perfect, each part has the necessary time to develop without sacrificing tension or anything else.
Creo que lo que más me gustó de Ballerina es que no trata de ser John Wick con falda, sino que crea su propia identidad dentro del universo establecido, Eve es un personaje distinto con motivaciones diferentes y un estilo de pelea único que se siente bastante real, para mí la película respeta lo que vino antes y no es una simple repetición de la fórmula. Ana de Armas demuestra que puede cargar una película de acción ella sola, tiene esa mezcla perfecta de intensidad y vulnerabilidad que hace que te preocupes por el personaje incluso cuando está repartiendo muerte por todos lados, cada golpe que recibe se siente real y doloroso a diferencia de otros héroes de acción que parecen invencibles. La conexión emocional con la historia de venganza funciona porque la película se toma el tiempo necesario para crear esa relación entre Eve y su padre, los flashbacks no se ven como relleno sino como información necesaria para entender las motivaciones del personaje principal. El humor el natural y sale de cada situación no es nada forzado como pasa en muchas otra películas de acción, cuando Eve improvisa con objetos cotidianos como armas me pareicó bastante divertido porque sale de la creatividad del momento y no como si fuera un chiste escrito. La conexión con la peli principal está bien manejada porque aparecen cuando la historia lo necesita y no solo para aprovecharse y generar una emoción, aquí Keanu Reeves tiene un rol que es importante para la historia y no solo aparece por aparecer. El ritmo de la película está bien no es aburrida ni se siente apurada, para mí estuvo perfecto cada parte tiene el tiempo necesario para desarrollarse sin sacrificar tensión ni nada.
It seems to me that Ballerina manages to be a solid addition to the John Wick universe that was needed and not just created to squeeze more money out of the franchise, Ana de Armas earned her place as a leading lady in action movies and I hope to see her in more projects like this because for me she has the talent and presence to carry this kind of stories. The movie gives you that brutal and stylized action with interesting characters and enough creativity to keep you hooked for the two hours it lasts, I'm a fan of the John Wick universe and I tell you wur definitely worth watching and if you don't know this world I find it a good introduction to the style and aesthetics of these movies. The problems that the movie has are little things like some of the bad guys in the background are kind of equis and there are moments where the physics are stretched beyond belief but for me it wasn't something that ruined the movie or completely took me out of the story. My score for Ballerina is 8/10, it's a good movie, the work is very good it doesn't pretend to be more than what it is, it's entertaining from beginning to end it has enough personality to stand out on its own, definitely recommended when you want to see something well done action with a touch of humor and creativity.
Me parece que Ballerina logra ser una adición sólida al universo John Wick que era necesaria y no solo la crearon para exprimir mas dinero de la franquicia, Ana de Armas se ganó su lugar como protagonista de películas de acción y espero verla en mas proyectos así porque para mí tiene el talento y la presencia para llevar este tipo de historias. La película te da esa acción brutal y estilizada con personajes interesantes y suficiente creatividad para mantenerte enganchado durante las dos horas que dura, yo soy fanática del universo John Wick y te digo wur definitivamente vale la pena verla y si no conoces este mundo me parec que es una buena introducción al estilo y la estética de estas películas. Los problemas que tiene la peli son cositas pequeñas como que algunos de los malos que están en segundo plano son como algo equis y hay momentos donde la física se estira mas de lo creíble pero para mí no fue algo que arruinara la peli o que me sacara por completo de la historia. Mi puntuación para Ballerina es 8/10, es una buena película, el trabajo está uy bien no pretende ser mas de lo que es, s entretenida de principio a fin tiene suficiente personalidad para destacar por si misma, definitivamente recomendada cuando quieras ver algo acción bien hecha con un toque de humor y creatividad.
Today, I will review a journey of brotherhood and the soul. The official name of this anime is Fullmetal Alchemist: Brotherhood. It was the second anime I watched. This masterpiece has never been reviewed, so I thought I should share it with you. Let’s begin the review.
Anime Details
Name
Fullmetal Alchemist: Brotherhood
Episodes
64 (Finished)
Released
2009
Studio
Bones
Genre
Shounen, Action, Adventure, Fantasy
Type
War, Military, Family, Friendship
MAL Rating
9.09
IMDb Rating
9.1
Personal Rating
9.5 (Masterpiece)
Plot Summary
Alchemy, a method of transforming one substance or element into another, functions much like magic in this series. Two brothers, Edward and Alphonse, attempt to resurrect their deceased mother using Alchemy, but instead, Edward loses an arm and a leg, and Alphonse loses his entire body. In hopes of recovering their lost body parts, they embark on a journey to find the mythical Philosopher’s Stone. This journey leads them to uncover a hidden, dark truth about Alchemy, Alchemists, and their homeland.
Highlights of the Story
Brotherhood: The core theme of the series is the strong bond between Edward and Alphonse. The love and trust between the two brothers remain unshaken despite numerous adversities. At times, misunderstandings and arguments arise, but by the end of the day, the brothers set aside all differences to unite in pursuit of their goal.
Side Characters: Every side character in FMAB is given sufficient attention. Through their motivations, ideals, and resolute attitudes, the writer highlights deep trust and love for friends, as well as a sense of responsibility toward one’s country. Additionally, themes like blind patriotism, greed for power, and racism are portrayed through various characters.
Antagonists: The series introduces several antagonists, including the Homunculi, who symbolize the seven negative traits of the human mind, power-hungry Alchemists who forget their humanity, and a unique individual who seeks to challenge God. Each antagonist is powerful and engages in intense battles with the protagonists.
Patriotism: Many are willing to sacrifice their lives for their country. But for the sake of that patriotism, can you take the life of someone from another country? Would your hands not tremble? Another key theme in FMAB is the horror of war. Those who fall victim to attacks in a war suffer, but the inner conflict faced by an ordinary soldier following a commander’s orders is vividly portrayed in this series.
Abuse of Power: In World War 2 and many other instances, we see how a single government figure’s desire can spread propaganda, manipulate the masses, and carry out genocide to gain personal benefits and strengthen their power. This series draws inspiration from such events of World War 2 in various ways.
Technical Aspects
Animation: As a 2009 animation, it is exceptionally well done. The color grading of the animation evokes the vibe of the 1900s.
Music: The series predominantly uses Classical European Orchestral music and Latin-language music, which perfectly complements the series’ atmosphere.
Intro/Ending: Every Intro and Outro of the series is beautiful. My personal favorite is the first Intro.
Final Words
With deep themes like war, racism, and genocide, no filler episodes, a compact story, a beautiful ending, enjoyable OST, and a complex and emotional narrative, FMAB is a worthy contender for the title of the best Shounen anime. So, even if you’re short on time, make time to watch this 64 episode masterpiece.
My name is Sahariar Kabir Joy. I am 22 years old and currently a student pursuing a B.A (Honours) in English Language and Literature at Northern University Bangladesh. I live in Bangladesh and have a passion for watching and discussing movies & anime, travelling, and nature photography. I enjoy immersing myself in nature and have a love for photography.
Il s'agit d'un film polonais, sorti en 2023 sur la plateforme qui l'a produite. Il a rencontré un franc succès, même si j'ai loupé l'info, à l'époque.
Il dure 2h20 et se classe dans la catégorie drame.
C'est la 3e adaptation du roman Znachor, écrit par Tadeusz Dołęga-Mostowicz.
L'histoire se déroule entre la Première et la Seconde Guerre Mondiale.
Rafal Wilczur (Leszek Lichota) est un éminent chirurgien, au sommet de sa carrière. Il est marié et a une fille Marysia.
Rafal est nommé directeur de la clinique où il travaille, ce qui contrarie fortement son collègue chirurgien le Dr Dobraniecki. Ce soir-là, alors que Rafal rentre chez lui pour fêter la bonne nouvelle ainsi que l'anniversaire de Marysia, il découvre que son épouse est partie en emmenant leur fille.
Rafal part à sa recherche dans les environs, là où elle vivait avant qu'ils ne se marient, dans des bas-quartiers. Il prévient son collègue de ce qu'il se passe et où il se dirige. Son collègue se met en route pour le rejoindre, mais au moment où celui-ci arrive sur place, il assiste, sans réagir, à l'agression de Rafal par un groupe de petites frappes du quartier. Le collègue décide de laisser Rafal à ses agresseurs, puisqu'il a reçu un gros coup sur la tête et semble inconscient, il se dit que la place de directeur va lui revenir si Rafal meurt.
Rafal sera déclaré mort, dès le lendemain, même si son corps n'a pas été retrouvé, seul son manteau est ramassé le long de la Vistule.
En même temps, un homme amnésique se retrouve sur les routes, ne sachant pas qui il est ni où il va, mais il sait qu'il cherche quelque chose ou quelqu'un. Il soigne les gens d'instinct. Il se fera appeler Antoni Koziba. Quinze ans plus tard, il aide une fermière et son ami qui ont perdu une roue de leur charrette, dans un champ.
La fermière le ramènera chez elle pour l'aider au moulin.
Rafal est un homme de bien, il aime aider tout le monde, principalement les défavorisés.
Le destin lui mettra une personne qui lui est chère, sur son chemin. Cette personne l'intriguera par ce ressenti qu'il a et qu'il ne s'explique pas, jusqu'au jour où ..
Mon avis et petites infos :
C'était pas mal. C'est un peu long par moments, mais on se projette assez bien dans l'ambiance.
Après le film russe, on a eu un peu peur en voyant qu'il s'agissait d'un film polonais, j'avoue, mais bon, on lui a donné sa chance.
Par contre, je ne connais pas les acteurs polonais, même s'ils jouent bien.
Ce film nous dit de garder espoir, que de bonnes personnes existent, qu'ils soient pauvres ou riches. C'est le genre de choses dont on a bien besoin par les temps qui courent, non ?
Avez-vous eu l'occasion de visionner ce film ? Qu'en avez-vous pensé ?
Movies loves I am here to thrill you with a Nigerian series movie I watched lately.
It's a series movie with three episodes.
The movie's name is "The Party" it is a 2025 movie produced by Ope Ajayi with lots of amazing cast that did justice to their roles.
Kunle Remi who plays the role of Akinbobola Balogun, the main cast.
Shaffy Bello who plays the role of Chief Mrs. Balogun, Bobo's mother.
Bimbo Manuel who plays the role of Chief Akin Balogun, Bobo's father.
Kehinde Bankole who plays the role of Motunrayo Balogun, Bobo's wife.
Ayoola Ayolola who plays the role of Martins, Bobo's friend.
Uzor Arukwe who plays the role of John Paul, Bobo's friend.
Yomi Fash-Lanso who plays the role Detective Moshood.
Kelechi Udegbe who plays the role Detective Etim Caleb.
Eva Ibiam who plays Detective Hassan Bolous.
Tope Olowoniyan who plays the role of John Paul's Wife, Onyinyechi Queen Ibe.
And a list of others.
Breakdown of the movie
The movie is about the suspicious on finding who killed Akinbobola Aka Bobo on his birthday.
Bobo was unexpectedly killed on his birthday where lots of people gathered to celebrate him in his house.
His family,friends, colleagues, business associates honored him at his birthday party and when a speech was going on he died by falling off from the balcony on the top floor and fall inside a swimming pool.
He was rushed and pulled out but it was already late to rescue him.
The premises was immediately locked down, the police came immediately to conduct an investigation.
They took statements of everyone that was in the building and started investigating the suspects i.e close to him.
During the investigation, everyone had something that could lead them to kill Bobo.
Everyone close to Bobo was a suspect but the least expected was the one who carried the action in a tangled way.
This movie was just so full of suspense and had me glued to the screen, making sure you don't miss any scene.
It's really an interesting movie.
Apart from the suspense, another thing I love about the movie is the good actors and actresses who nailed their roles.
I also love how they represented the Nigeria culture well, this made it look so real and one someone can relate to.
We all know that in most of our homes we speak our dialect, this was how they acted the movie.
Yes, I love seeing something like this in movies not over super coating things.
I also love how they utilized the four episodes without making it boring and tiring.
I rate this movie 8/10
The two percent is for the ending part which you might have to watch to see.
Screenshots taken while watching the movie with my mobile phone
[Source](https://screenrant.com/)
[Source](https://screenrant.com/)
[Source](https://screenrant.com/)
[Source](https://screenrant.com/)
[Source](https://screenrant.com/)
[Source](https://screenrant.com/)
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