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The Wongi
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RN•RM•RPHN, Ein Schatz, A creative and An amazing crochet artist.
345d
Movie · on A Working Man
A Working Man (2025)
Have you ever watched a movie that made you question your intelligence, and not in a positive way? I just saw the movie "A Working Man" and it really made me doubt my intellect. At first, I thought it was because I wasn't fully focused on the film, as I was simultaneously working on a crochet project, so I decided to watch it again and I wasn't wrong to doubt it initially.

About The Movie

Levon Cade (Jason Statham) left behind a distinguished career to live a simple life working in construction. When his boss's daughter is kidnapped by human traffickers, his search to bring her home uncovers a deeper and more widespread corruption than he ever imagined.

Now, he must navigate the tangled web of corruption to rescue his boss's daughter and make it back safely to his own daughter; completely on his own.

This action thriller, directed by David Ayer, has a runtime of 1 hour and 56 minutes. Released on March 28, 2025, the film features a cast of seasoned actors including Jason Statham, Arianna Rivas, Michael Peña, Eve Mauro and Noemí González.

My Opinion.

I found the beginning of the film to be noticeably lackluster and devoid of energy. Despite being an action movie, the initial scenes were surprisingly dull, with little to join actual action taking place. This absence of dynamic sequence created a slow and uninspiring start that led to a lack of anticipation for what was to come. Instead of the excitement typically expected from the genre, the beginning felt flat. I found myself rethinking my decision to watch this film in the first place.

However, it wasn't until the latter part of the film that the true action element finally came to the forefront. Levon Cade fully embraced his military background, launching into an intense mode of combat, dismantling anyone and anything that obstructed his path. While these sequences delivered some adrenaline rush and intensity, judging by Jason Statham's previous performances in similar roles, his portrayal here felt like 'bare minimum'. It lacked the remarkable energy and charisma that Statham is known for. This resulted in a performance that, while competent, did not particularly stand out.

Jason Statham as Levon Cade, delivered a satisfactory performance, however, the supporting cast's performances felt forced and lacked authenticity. It felt as if they were not given sufficient time to fully embody their roles. This was particularly evident with the actors playing the abductors of Levon's boss's daughter. While they attempted to project a tough and menacing presence, their performance leaned more towards delivering dialogue than convincingly portraying the intensity expected of such antagonists. Their uneven performances disrupted the flow of the film, and every time they appeared on screen, I was put off.
[A Working Man](https://youtu.be/zTbgNC42Ops?si=Gy_NY3KmpBIae1WI)
The plot of the movie was highly predictable, adhering to the familiar tropes of an ex-military man returning to action due to unforeseen circumstances. The storyline followed the conventional trajectory, making it easy for anyone with a basic sense of narrative structure to anticipate the outcome from the very beginning. This predictability led to a lack of depth and complexity, offering little in terms of surprising twists.

Additionally, the film suffered from irregular pacing with unevenly spaced scenes that disrupted the flow of the narrative.

Recommendation and Rating.

As evident from my review, I did not find this movie particularly thrilling or engaging. Do I regret spending just a few minutes under two hours watching it? Absolutely. However, I endureed it so that you don't have to.

That said, if you're looking for a basic, straightforward action thriller film with familiar tropes and a predictable plot, this film may serve that purpose. Just do not expect too much depth or intensity as this movie was as straightforward as it could be.

I would rate the movie a 5/10 ; half of the score reflecting a competent and okay film, and the other half reserved for all the wasted and underused potentials.

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Movie · on Chaplin
Chaplin - The film of his autobiography - La película de su autobiografía || Review and opinion
Welcome 💖 Bienvenidos

Charles Chaplin was born in the 17th century in London. He was an actor, comedian, composer, and silent film director who became the most famous and richest person in the world. He began his film career with the character of the tramp. His immediate family was small, consisting of his mother, brother, early in his life, and later in adulthood, he mentions his twin sons, at least that is what he wrote in his autobiography.

He himself was responsible for making several films about his life. The one I am reviewing today is the product of one of his last biographical books, which he edited together with his editor, and thus the direction took it to the cinema.

Charles was like any other curious and playful child. His first encounters with art were in the theatre when he accompanied his mother to her shows. At that time, the only form of entertainment was singers in bars and theatres, and his mother was trying to be a theatre artist, but she was not doing well. During one of her performances, she was booed, and to spare his mother further humiliation, Charles stepped in and sang, capturing the audience's attention. That was the moment he discovered his artistic talent. It is worth noting that the actress who played the role of his mother was one of his daughters in real life.

His mother made a great effort to support her children and pay the rent. She sewed gloves for the cold and hardly slept. All that sacrifice took its toll, not only on her physical health but also on her mental health, so she had to be admitted to hospital on several occasions. Although they lived in extreme poverty, Charles was a happy child who enjoyed spending time with his older brother.

When they grew up, Charles' first job was to entertain the public with humour. He first did this with his brother's boss, and after performing some payadas, he was recommended to the theatre, where he exploited his humour in exchange for money and saw it as a secure source of income. At that stage, he was already a teenager and fell in love with one of the dancers who participated in one of the shows at the theatre where they worked. He courted her for a short time and asked her to marry him, but the young woman did not see it as a serious proposal. One of the things that marked him when he was poor was that he had made a reservation a week in advance at one of the most expensive restaurants, where he planned to have dinner with this young woman. When he arrived, he ran into his former boss, who humiliated him for being poor, mocked his clothes, and ultimately refused to let him in. To think that years later he would be the richest man in the world, as he says in the film itself. It may have been just his ego, but what is certain is that he was a millionaire.

Spanish Version

Charles Chaplin nació en el siglo XVII en Londres, fue un actor, humorista, compositor y cineasta del cine mudo, se convirtió en la persona más famosa y rica del mundo, inició su carrera en el cine con el personaje del vagabundo, su familia principal era pequeña compuesta por su mamá, hermano, al principio de su vida luego en su etapa adulta menciona a sus hijos gemelos por lo menos eso fue lo que él mismo dejó escrito en su autobiografía,

El mismo se encargó de hacer varias películas sobre su vida, esta que hoy estoy reseñando es el producto de uno de sus últimos libros biográficos que corrigió junto a su editor y así la dirección la llevó al cine.

Charles, era como todo niño curioso y bromista, sus primeros encuentros con el arte fue en el teatro cuando acompañaba a su madre a sus espectáculos, en esa época el único medio de entretenimiento eran los cantantes de bares y teatros, y la mamá intentaba ser una artista de teatro, sin embargo, no le iba bien, y en una de sus presentaciones fue abucheada y para evitar más humillación a su madre Charles interviene cantando y logró capturar la atención del público, ese fue el momento en que descubrió su talento artístico, cabe destacar que la actriz que personificó el papel de la mamá fue una de sus hijas en la vida real.

Su madre hacía un gran esfuerzo por mantener a sus hijos y pagar el alquiler cosía guantes para el frio y casi no dormía, todo ese sacrificio le pasó factura no solo al perder su salud física también la mental por lo que tuvo que ser recluida en reiteradas ocasiones al hospital, aunque vivían en pobreza extrema Charles fue un niño feliz que disfrutaba de su tiempo con su hermano mayor.

Cuando crecieron, el primer trabajo de Charles fue entretener al público con humor, primero lo hizo con un empresario jefe de su hermano y por hacer algunas payadas fue recomendado al teatro en donde explotó el humor a cambio de dinero y lo vio como una fuente de ingreso segura. En esa etapa ya era adolescente y se enamoró de una de las bailarinas que participaba en uno de los shows del teatro donde trabajaban, la cortejó por poco tiempo y le pidió matrimonio, pero la joven no lo vio como una propuesta sería, una de las cosas que lo marcó cuando era pobre fue que había hecho una reservación con una semana de anticipación en uno de los restaurantes más costosos, en la que pensaba cenar con esta joven y cuando llegó se encontró con su antiguo jefe quien lo humilló por el hecho de ser pobre, se burló de su vestuario y al final no le permitieron entrar, pensar que años después sería el hombre más rico de todo el mundo, según lo expresa en la misma película, puede que haya sido solo su ego, lo que sí es seguro es que fue millonario.

After he achieved fame, he was offered work in the United States, where he lived for most of his life until he was expelled for diplomatic reasons. It was in the United States, shortly after his arrival, that he saw cinema for the first time. He was fascinated and spent hours watching the same film sequences, which were silent at the time. After seeing the film, I understood that he was not the creator of silent cinema, as I had thought. The only new thing he did was to create the character of the tramp and exploit the comedy genre in cinema, but all his films transcended borders and languages.

He was a man passionate about his work, and with the support of his brother, who became his manager, he managed to develop a film industry where he was the star, screenwriter, editor, writer, director, make-up artist and costume designer. He did everything and was a money-making machine. Among his personal achievements are that he was able to give his mother a dignified old age, he married several times, but he was unable to achieve the connection he had with his first girlfriend and always missed her. He had many children, but only the twins appear in this film.

I found it to be a very genuine film because Charles does not try to please anyone or justify his mistakes. He showed himself to be a real man obsessed with the idea of communicating through cinema. Thanks to this story, I learned that he even made films about Hitler full of sarcasm and parodies and mentioned that it was Hitler himself who copied the tramp's moustache. It is a long and slow film, but entertaining, it is a vision of the man behind the artist.

One of the scenes I enjoyed the most was seeing how he overcomes one of the obstacles he faced in relation to the updating of cinema and sound. He refused to include sound, but then he saw that change was inevitable. However, he resisted making his tramp character speak, and what he did was play with the sounds and the story he was developing in the films. For example, in the film entitled Lady and the Tramp, she was blind and one day the tramp approached her with flowers. At that moment, the door of a car sounded, and at that time only millionaires had cars, so the blind girl thought the tramp was a millionaire, associating the sound. Details like these were the first special effects in cinema and were the brainchild of Charles Chaplin.

This is the first film I have seen of his, and I know there are many others. I recommend it if you know nothing about this man who marked a turning point in silent cinema, as part of general culture. It is entertaining, but it does not have any unexpected twists. You just have to be patient because it is long and has no action.

Spanish Version

Después que alcanzó la fama, le ofrecieron trabajo en los Estados Unidos, país donde se radicó casi toda su vida hasta que fue expulsado por asuntos diplomáticos. Fue en los Estados Unidos cuando recién llegó que vio el cine por primera vez, quedó fascinado y estuvo viendo por horas las mismas secuencias de cine, en ese entonces mudo, después de ver la película entendí que él no fue quien creó el cine mudo como pensaba, lo único nuevo que él hizo fue crear el personaje del vagabundo y explotar el género de comedia en el cine, pero todas sus películas trascendieron fronteras e idiomas.

Era un hombre apasionado por su trabajo y con el apoyo de su hermano que se convirtió en su manager logró desarrollar una industria cinematográfica, donde él era el protagonista, guionista, editor, escritor, director, maquillista y vestuarista, hacía de todo y era una máquina de hacer dinero, entre sus logros personales están que pudo darle a su mamá una vejez digna, se casó varias veces, pero no pudo lograr la conexión que tuvo con su primera novia y siempre la añoro. Tuvo muchos hijos, pero en esta película solo aparecen los gemelos.

Me pareció una película muy genuina, porque Charles no intenta agradar a nadie, ni justificar sus errores, se mostró como un hombre real y obsesivo con la idea de transmitir a través del cine. Gracias a esta historia me enteré de que hasta hizo películas de Hitler llenas de sarcasmo y parodias y mencionó que fue el mismo Hitler quien se copió del bigote del vagabundo. Es una película larga y lenta, pero entretenida, es una visión del hombre detrás del artista.

Una de las escenas que más disfruté fue ver como soluciona uno de los obstáculos que vivió en relación con la actualización del cine y el sonido, él se negaba a incluir sonido, pero luego vio que el cambio era inevitable, sin embargo, se resistía a hacer hablar su personaje del vagabundo, y lo que hizo fue jugar con los sonidos y la historia que desarrollaba en las películas, por ejemplo en la que se titula la dama y el vagabundo, ella era ciega y el vagabundo un día se le acercó con flores en ese instante sonó la puerta de un carro, y en esa época solo los millonarios tenían carro, así que la joven ciega pensó que el vagabundo era millonario asociando el sonido. Detalles como estos fueron los primeros efectos especiales del cine y que se le ocurrió a Charles Chaplin.

Esta ha sido la primera película que veo de su vida, sé que existen muchas, la recomiendo si no sabes nada de este hombre que marcó un antes y un después en el cine mudo, como parte de la cultura general. Es entretenida, pero tampoco tiene giros inesperados, solo tienes que tener paciencia porque es larga y no tiene nada de acción.

_{_{Cover image created by me with canva Source with resources from imdb}}
e imagen de imdb
Translated and formatted with Deepl Translate

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Polish/English bloger. Writin' about manga, anime, tvshow, movie, news, games, witcher and everything I like.
345d
Anime · on Bleach
Bleach Season 3 Spoiler Review TYBW / Spoilerowa recenzja 3 sezonu Bleach TYBW

[Introduction] Initially, I just wanted to criticize Bleach Season 3, but that would be too easy. Just like with DB, I just sit there, critically assess what I see, and take notes every now and then. Before you call me a hypocrite, I can spot DB's problems just as easily. With Bleach, I'm a bit more critical, but I guess that's normal when a title is better in many respects. After all, we expect more from someone who can afford to be better. On the other hand, as I've said several times, you have to forgive at least some of the Japanese's mistakes. Why? Because they have draconian working conditions—very little time. Once they write something and send it to the publisher, it's very difficult to improve it. You need a really good reason and the right position. That's why it doesn't bother me that much that Tite made up the plot on the fly (apart from some pre-planned ideas). No, it pisses me off, but I'd be foolish to pick on Tite. Especially after what Karol told me.

Bleach received special treatment for several reasons. Togashi also received special treatment for more or less the same reasons. The comic sold 130 million copies worldwide. The entire franchise generated $7.24 billion in profit, and considering the success of the three seasons of TYBW, this amount has likely increased. A few months ago, Kubo Tite spoke about a fourth season. Apparently, we'll get not only new scenes, but entire episodes. Tite, Tite... Why only now? XD Improving the script isn't difficult, and you promised changes from the beginning... And yes, there were, but not where they were absolutely necessary. XD The WSJ doesn't share detailed data with us, but they've mentioned several times over the years that this comic boosted their popularity and earnings. Therefore, Tite was given the special privilege of finishing the manga the way he wants. Most authors can't count on that and have to finish their comics within 1, 3, or 5 chapters. For the same reason, I simply have to demand more. It's true that the anime looks so nice that as long as Tite didn't overdo it with the absurdities, I was able to overlook minor and medium-sized problems... But not the major ones.

While writing this, I learned that Tite was sick. I don't know if he's really sick or if he's just like Togashi. I'm not saying Togashi is healthy, but a dozen or so years ago, the Japanese internet regularly made jokes about the author of HxH. Like, say, "sleeping Biden" or Trump's bangs. Togashi was also joked about in the manga/anime Bakuman, which I highly recommend. Just to be clear, Togashi really is sick and the WSJ treated him badly, but... It's also a convenient alibi, because Togashi is also an exceptionally lazy person. Kubo Tite worked on Bleach for 700 weeks, with less than 40 weeks off during that time. Was he working? Excuse me for the understatement, he was working like a wild boar. What was Togashi doing during that time? He definitely wasn't drawing HxH. Japanese comic creators, especially those from Weekly Shounen Jump, have been terribly exploited by their bosses for decades. This impacted their health – Tite was supposedly always sickly, and his workload ruined it. I don't deny the stress Togashi endured while creating YYH, nor the back problems he developed (from what I remember) before/during the final arc of YYH. Nevertheless, the story isn't simple. Togashi also made a lot of money for his publishing house, and Shueisha (owner of Weekly Shounen Jump), being a corporation, prefers to avoid the stench of various scandals. This situation suits both parties. Togashi pretends to work, and the management pretends not to notice.

I never hide my criticism and praise. Sometimes I overdo it. Now I try to be more understanding, knowing that creating a comic for WSJ is constant and hard work. For almost two years, I've been trying to change the industry to something similar to Tite, and it's true that it's impossible to think everything through, and one wrong sentence sometimes means fixing things in places you never even expect. I was able to fix it because I had several months to do it, whereas manga creators have to CREATE, WRITE, AND DRAW a chapter in a few days. It's like the Butterfly Effect combined with the Domino Effect, but a bit different. However, I primarily blame Studio Pierrot for this, as they could have easily improved his script. Tite wanted to end Bleach before the Yhhwach arc, but he didn't because of a young, terminally ill boy. This argument ultimately made me curb my inner grifter from overly criticizing Tite. I'd like to take this opportunity to thank Karol for providing me with this information. It's to him that you owe the spirit of this review.

[Criticism] I'll start with the criticism; the positives will be at the end. Like during the American parent-teacher conference, to leave Bleach fans in a better mood. To paraphrase Yhwach, I've been waiting a dozen years for this moment. It's not a crisis, it's the result of consistently ignoring the plot for a long time. My biggest problem with this arc is its overall sloppiness. It's evident in practically every area from Chapter 1. It's true that Tite planned some scenes long ago, but almost everything else has minor or major problems. Some can be partially ignored, others impact the entire arc. If you're a fan, you won't notice some of them, but even that won't shield you from everything. I'll try to post my impressions from previous seasons so you can see why I think this is the case.

I don't have much to say about power levels. It's one big mess, like a certain part of the Cell saga in DBZ, only more so (before Vegeta and Trunks emerged from the Spirit and Time Chamber, Cell had several power-ups in quick succession, each destroying a strong opponent). Characters get power-ups for free. They literally pull them out from the point where their backs lose their noble name. As a reminder, most captains were soundly defeated by WEAK Quincy, and now they're trying to fight stronger ones, even though they should have been defeated. This applies to any hero, whether good or bad.

The biggest absurdity is that Ishida defeated a female warrior from the Zero Division... and with a single blow. While I can overlook it in the case of captains like Kyōraku, in the case of Uryuu, it would be an exaggeration on my part. The comic clearly showed us, through imagery and text, that Captains are experienced warriors with a slightly crazy/savage personality (I'm referring to the part where we were introduced to the previous generation of captains, described as "even crazier"). Their strength was built throughout the story, and I can at least suspend my disbelief while they fight the Quincy elite. Uryuu, on the other hand... I believe in his talent, but skill and experience? A woman should have blown him away with a fart. Especially since two captains from Division 0 had to commit suicide for it to activate their BanKai. Plus, their BankKai were sealed. XD And to emphasize this even more, Naruto had a similar problem. For a long time, Sasuke was constantly getting power-ups, unlike the protagonist. While I could defend Naruto, if only because he's the main character, I can't defend Uryuu, as he doesn't have a major victory to his name.

Examples of sloppy power levels are also evident elsewhere. In fact, it seems every fighting character struggles with this. Considering Bleach's multitude of flaws in this area, I wonder if DB isn't less flawed. Although no, DB's flaws are spread differently over time, making them less noticeable than in TYBW. The aforementioned Cell motif, the gargantuan power of Frieza in his first form, the same with SSJ1... These are the "original sins of DBZ" that impact subsequent chapters. Just like the invasion of SS led by the fake Yhwach. It all stems from the fact that the creator of Bleach didn't spend enough time planning the story. This is evident in Yhwach's constant power-ups and the lines: "This isn't my true power." We Battle-Shounen fans have been laughing at these lines ever since the fight with Frieza, and this one is even worse. Tite probably understood this (or the editor told him so), because he'd been trying to patch it up for a while, but the milk was already spilled. But I'll admit, the Quincy leader's bad-ass nature is sometimes palpable.

It's similar when using artifacts or magical solutions to defeat invincible opponents. I'll start with Bleach's defense. If I were to consistently analyze every battle shounen (OP included), I'm sure I could find many examples. Every genre has its own inherent simplifications, and it takes a lot of work and time to create a title that doesn't. While this can (and should) be minimized in a series developed on the side, it's difficult to do so in a weekly series. In Tite's case, the stress of having to cut content added to the equation. This contradicts the standard WSJ policy I mentioned in the introduction. Unfortunately, there's simply too much of it. Nemu suddenly became super powerful. A sword that harms Gods, something we haven't heard of before. There were a couple of other similar situations. I assume this was the Soul King's backup plan. He used his immense power to place various artifacts into the world that would help his defenders win. Just as a fallback in case Division 0 were defeated. Those were my thoughts when I saw Quincy transformed into "God's second hand."

Just so you understand me, the ideas themselves are generally good. I also liked how Tite presented it. The relationships between the characters (especially this one, where Tite shines), the ideas for developing their powers, and so on. The problem is that there was a way to justify it. Since Karol likes Bleach as much as I do DB, I kept him updated on my impressions of season 3. I praised a particular plot point at least a few times (more or less, depending on the number of plot holes), only to end it with, "You have to be talented to screw up a scene like that at the very end." Everything was spot on—the concept, the well-written dialogue, the emotions, the characters' sincere reactions, a bit of artistry, and the references to the beginning of Bleach. It's a shame, because I was genuinely moved by the Kyōraku x Nanao or Mayuri x Nemu relationships. All it took was adding a few sentences or drawing a few frames that foreshadowed such developments. Even DBGT capitalized on the forgotten plot point that Kami and Mr. Popo have a ton of artifacts in their palace (the new set of Dragon Balls is another matter, but at least they partially justified it). I've been discussing battle shonen for years, and I've often seen people find rational justifications for these kinds of plot twists in old chapters. Alternatively, it could have been done like with Ukitake's illness. This solution is logical and not pulled out of my ass. Forgive me for not devoting the same amount of time to each issue, but as you can see, there's simply too much of it. Poor Zaraki, the biggest victim of an ill-conceived plot.

[Praise] I'll start with the audiovisuals. Studio Pierrot went down a path I've been whining about for two decades. Instead of making battle-shounen for undemanding audiences, let's create something with a punch! Let's leverage the power of the brand to make films that will blow viewers' minds and bring in big profits for the creators! While S1 looked like old, decent/good Bleach episodes (though not the best, like Ichigo vs. Ulq or Ichigo vs. Grimmjow), S2, and especially S3, blew me away. Some scenes were created by several experienced animators (that's what I've read in interviews), and well... the time and money are clearly spent. The art is beautiful, the animation is smoother than in a regular TV series (the cinematic format allows for greater flexibility), there's not a single ounce of overlong scenes; it feels like superhumans are fighting each other. The fight between Kyoraku and the sniper Quincy looked so beautiful that I didn't mind his opponent's idiotic design. And at the end, we got a bonus: BanKai in the style of Japanese theater. I felt like I was watching a Broly movie, which is still a minor masterpiece in terms of fights and animation quality. Sure, there are some worse shots (Broly included), but what's supposed to look good looks exactly that way. We feel the character's power, whether it's Mayuri's poison, Senjumaru/Kyōraku's tricks, or the gargantuan Reiatsu of Yhwach, Aizen, Zaraki, or Ichigo. We see that Zaraki is a beast. It's a shame Tite got rid of him twice cheaply, so it wouldn't be too easy. Yes, he showed a bit of a blunder escaping the void of space, but first he was ridiculed by the fake Yhwach, and later by a member of the Royal Guard. We also feel the majesty of their power, like Ichibē Hyōsube, Shunsui, or Senjumaru. Even the powers of random characters like Buzz-B are simply beautiful, whether attacking or defending.

Whatever the case, the action scenes have often made me salivate while watching random characters like Buzz-B. Even though Yhwach magnificently slaughtered them, I can't forget his fight with that second antagonist. Those kicks, those moves. Just like Yourichi's. I hope Pierrot sets a new gold standard for battle shounen. Just like they messed up a lot in Naruto, and much less in Bleach, TYBW has been a fucking masterpiece since Season 2. The ending of Yhwach's rebels' arc was almost perfect. If Tite had devoted 33% less screentime to them and kept the rest unchanged, it would have been perfect. Stalin from Bleach practically said in his sleep, "You fucking yokels think you can blow in my direction?"

A quick note about the soundtrack – I sometimes complained about certain songs in previous seasons of classic Bleach, or about the lack of dynamic battle themes, but each season of TYBW adds new, very good tracks. The music plays a very important role – it highlights the most important aspects of a given scene and complements the visuals. Since the new Bleach is primarily action-packed, battle themes dominate. Shiro Sagisu's style isn't always to my liking, but as with DBZ, his compositions are epic and fit the atmosphere, especially on such a scale. The opening and ending, especially the latter, are a different story. They reminded me of a time when Bleach was essentially unrivaled in this regard among current series. The songs at the beginning/end of the episode are exceptionally enjoyable to listen to, as are the songs outside of it. They look even better visually. I'm not sure where I'll place the opening yet, but "Monochrome" is my favorite ending. It has a great tempo, the vocalist's voice fits Bleach tonally, and she uses her voice beautifully. And the execution... My top 10 openings with a chance of being top 3 ever. It ties in perfectly with the ending. Shiro Sagisu and the opening and ending teams did a fantastic job. This level of quality should be the gold standard for "AAA battle-shounen" movies.

Although I haven't been a Bleach fan for a long time, despite my approach, I was moved by learning the fates of some of the characters and the story's conclusion. Well, not exactly the ending, but you know what I wanted to say. If only because many, if not most, of us wondered what a given character's Shi Kai or BanKai would look like. When I saw them, even if I didn't like them (like Mayuri's BanKai to some extent), I felt a certain joy. Unfortunately, I can't say the same about the characters, at least not all of them. This is because most of the characters are too one-dimensional for me. Even if their personalities have changed for the better, they usually remain simple creations. They have a specific set of traits that fit their personality/role (normal person, important person, tank, mage, healer, support, damage dealer, etc.). Tite can create these "model characters," but for the most part, he can't develop them. Karol pointed out something I'd overlooked, and it's quite obvious. Since this is the "final battle for the world," all the Shinigami appear, and each of them gets at least one scene. Some more, some less, but overall, every positive hero (and positive heroine) gets their own scene. It's supposed to be normal, but from what I remember, in most cases (from other M&As), these characters serve as background characters, but here they act. They can't always do anything because they're too weak, but they try. Anything is always better than nothing. Although, no, Karol and I are glad the Ice Captain got a short amount of time, but we don't like him, so that's a plus.

I didn't have a problem with this before because I was younger, but there's another aspect. The more episodes, the more we notice certain flaws. In this case, the simplicity of the characters. Furthermore, as the story approaches its finale, the plot thickens, and the creators don't have as much space for character development. Sure, there are chapters dedicated to specific characters, but they usually go to important figures or those who didn't get their "big moment." Like Rukia (a major character), Shunsui (a major moment). It's probably also because I'm no longer involved in Bleach. Because of this "plot density," the new characters also suffer. Judging by their simple, random design, I don't think Tite spent much time creating them. I didn't know where to incorporate them, and since I don't want to complain, I'll just mention that I don't like them.

[Summary] It's better than in the manga; I didn't laugh as often at Tite's ideas and drawings. And I'm not the only one. I remember many internet users sharing my impressions, only they were less impressed with Bleach. All thanks to the animators at Pierrot Studio. Ironically, today, Bleach is a greater source of inspiration for battle shonen creators than OP or Naruto (link below). If the utter ruination of Bleach was the price we had to pay for changing the standard of battle shonen creation, it was worth the sacrifice. Why do I say that? Because Pierrot opened a new division within the studio to create cinematic animation. Finally, someone listened to my years of complaining about the low quality of animation in battle shonen. Yes, I remember Toei and Bones accustoming us to this standard (Toei for the films, Bones for the TV series), but those are slightly different cases. Theatrical releases are associated with higher quality, while Bones created FMA: Brotherhood and BnHA. I know I haven't covered every topic. Perhaps I'll add something. The text is too long, and I wanted to be as comprehensive as possible, including as many of my observations as possible.

From the 25th minute -> https://www.youtube.com/watch?v=mpoDdS3ePUM

https://www.cbr.com/bleach-revolutionized-shonen-battle-anime/

https://peakd.com/hive-134382/@herosik/spoiler-review-of-the-latest-season-of-bleach-spoilerowa-recenzja-najnowszego-sezonu-bleacha

https://peakd.com/hive-158489/@herosik/not-a-bleach-s2-review-nie-recenzja-bleach-s2

[Wprowadzenie] Początkowo chciałem jedynie skrytykować 3 sezon Bleacha, ale to byłoby zbyt proste. Podobnie jak w przypadku DB, po prostu siedzę, krytycznie oceniam, to co widzę i co chwilę notuję. Zanim nazwiecie mnie hipokrytą, równie łatwo dostrzegam problemy DB. W przypadku Bleacha jestem nieco bardziej krytyczny, ale to chyba normalne, gdy tytuł jest lepszy pod wieloma względami. Wszakże więcej wymagamy od kogoś, kogo stać na bycie lepszym. Z drugiej strony, jak już kilkukrotnie mówiłem, trzeba wybaczyć przynajmniej niektóre błędy Japończykom. Czemu? Bo mają drakońskie warunki pracy - bardzo mało czasu. Jak coś napiszą i wyślą do wydawnictwa, bardzo trudno jest to poprawić. Trzeba mieć naprawdę dobry powód i odpowiednią pozycję. Dlatego nie przeszkadza mi aż tak fakt, że Tite wymyślał fabułę na bieżąco (pomijając niektóre, wcześniej zaplanowane pomysły). Nie no, wkurza mnie to, ale byłbym niemądry czepiając się Tite. Zwłaszcza po tym, co powiedział mi Karol.

Bleach został wyjątkowo potraktowany z kilku powodów. Mniej więcej z takich samych, Togashi również został specjalnie potraktowanych. Sprzedało się 130 milionów kopii komiksu na całym świecie. Cała marka wygenerowała 7.24 miliardy dolarów zysku, a biorąc pod uwagę sukces 3 sezonów TYBW, kwota ta zapewne powiększyła się. Kilka miesięcy temu, Kubo Tite, wypowiedział się o 4 sezonie. Podobno nie tylko dostaniemy nowe sceny, a wręcz całe odcinki. Tite, Tite... Dlaczego dopiero teraz? XD Poprawienie scenariusza nie jest trudne, a obiecywaliście zmiany od początku... I tak, były, ale nie tam, gdzie były one absolutnie konieczne. XD WSJ nie dzieli się z nami szczegółowymi danymi, ale kilkukrotnie wspominali na przestrzeni lat, że komiks ten zapewnił im wzrost popularności i zarobków. W związku z tym, Tite dostał specjalny przywilej zakończenia mangi, tak jak chce. Większość autorów nie może na to liczyć i muszą skończyć swój komiks w ciągu 1, 3 lub 5 rozdziałów. Z tego samego powodu, zwyczajnie muszę więcej wymagać. Co prawda anime wygląda na tyle ładnie, że dopóki Tite nie przesadzał z absurdami, byłem w stanie przymknąć oczy na drobne i średnie problemy... Ale nie te zasadnicze.

W trakcie pisania tego tekstu, dowiedziałem się że Tite chorował. Nie wiem, czy jest naprawdę chory, czy tak jak Togashi. Nie mówię, że Togashi jest zdrowy, ale kilkanaście lat temu w Japońskim internecie regularnie żartowano sobie z autora HxH. Tak jak powiedzmy ze "śpiącego Bidena" lub grzywki Trumpa. Żarty z Togashiego były również w mandze / anime Bakuman, które serdecznie polecam. Żeby nie było, Togashi naprawdę jest chory i WSJ źle go potraktowało, ale... To też wygodne alibi, bo Togashi jest również wyjątkowym leniem. Kubo Tite pracował nad Bleachem przez 700 tygodni, mając niecałe 40 tygodni wolnego w tym czasie. Pracował? Przepraszam za to niedopowiedzenie, zapierdalał jak dziki osioł. Co w tym czasie robił Togashi? Na pewno nie rysował HxH. Twórcy Japońskich komiksów, szczególnie ci od Weekly Shounen Jump, przez dekady byli strasznie wykorzystywani przez swoich szefów. Przełożyło się to na ich zdrowie - Tite od zawsze był podobno chorowity, a przed nadmiar pracy popsuło mu się to. Nie neguję stresu, jakiego doznał Togashi tworząc YYH ani problemów z plecami, których nabawił się (z tego co pamiętam) przed rozpoczęciem prac / w trakcie pracy nad ostatnim arcem w YYH. Niemniej historia nie jest prosta. Togashi też dużo zarobił dla swojego wydawnictwa, a Shueisha (właściciel Weekly Shounen Jump) jak to korporacja, woli uniknąć smrodu związanego z różnymi aferami. Taka sytuacja pasuje obu stronom. Togashi udaje, że pracuje, a zarząd udaje, że tego nie widzi.

Nigdy nie kryję się ze swoją krytyką i pochwałami. Czasem zdarza mi się przesadzić. Teraz staram się być bardziej wyrozumiały, wiedząc że tworzenie komiksu dla WSJ to nieustanna i ciężka praca. Od prawie 2 lat staram się zmienić branżę na podobną do Tite i faktycznie jest tak, że nie da się przemyśleć wszystkiego, a jedno złe zdanie czasem oznacza naprawę w takich miejscach, których się nawet nie spodziewamy. Ja mogłem to poprawić, bo miałem na to kilka miesięcy, a twórcy mang muszą WYMYŚLIĆ, NAPISAĆ I NARYSOWAĆ rozdział w ciągu KILKU DNI. To coś jak Efekt Motyla połączony z Efektem Domina, ale trochę inaczej. Jednakże winię tutaj przede wszystkim studio Pierrot, które mogło na kompletnym luzie poprawić jego scenariusz. Tite chciał zakończyć Bleacha przed arcem z Yhhwachem, ale nie zrobił tego z uwagi na młodego, śmiertelnie chorego chłopca. Ten argument ostatecznie sprawił, że poskromiłem swojego wewnętrznego griftera przed nadmierną krytyką Tite. Korzystając z okazji, dziękuję Karolowi za dostarczenie mi tych informacji. To jemu zawdzięczacie charakter tej recenzji.

[Krytyka] Zacznę od krytyki, zalety znajdziecie na końcu. Jak podczas Amerykańskiej wywiadówki, by zostawić fanów Bleacha w lepszych humorach. Parafrazując Yhwacha, czekałem kilkanaście lat na ten moment. To nie kryzys, to rezultat regularnego ignorowania fabuły od dawna. Mój największy problem z tym arcem, to ogólna niedbałość. Widać ją praktycznie na każdym polu od 1 rozdziału. Fakt, widać że Tite zaplanował niektóre sceny dawno temu, ale niemal cała reszta, ma mniejsze lub większe problemy. Niektóre można częściowo zignorować, niektóre rzutują na cały arc. Jeśli jesteś fanem, na niektóre nie zwrócisz uwagi, ale nawet to nie osłoni cię przed wszystkim. Postaram się wrzucić moje wrażenia z poprzednich sezonów, byś mógł / mogła zobaczyć dlaczego uważam, że tak jest.

W kwestii power leveli nie mam zbyt wiele do powiedzenia. To jeden, wielki burdel, jak pewien etap Cell sagi w DBZ, tylko bardziej (zanim Vegeta i Trunks wyszli z Komnaty Ducha i Czasu, Cell zaliczył kilka wzmocnień w krótkim czasie, po każdym z nich niszcząc silnego przeciwnika). Postacie dostają power-upy za darmo. Wyciągają je dosłownie z miejsca, gdzie plecy tracą swą szlachetną nazwę. Przypominam że większość kapitanów została mocno zbita przez SŁABSZYCH Quincy, a teraz próbują walczyć z tymi silniejszymi, mimo że powinni zostać pokonani. To można odnieść do każdego bohatera, nie ważne czy dobrego, czy złego.

Największym absurdem jest to, że Ishida pokonał wojowniczkę z Dywizji Zero... I to jednym uderzeniem. O ile w przypadku kapitanów jak Kyōraku mogę przymknąć oko, o tyle w przypadku Uryuu byłoby to przesadą z mojej strony. Komiks wprost nam pokazał obrazem i tekstem, że Kapitanowie to doświadczeni wojownicy z lekko szalonym / skurwysyńskim charakterem (odnoszę się do fragmentu, jak przedstawiono nam poprzednią generację kapitanów, określonych jako "jeszcze bardziej zwariowanych"). Ich siła była budowana przez całą historię i mogę przynajmniej zawiesić swoją niewiarę na czas, gdy biją się z elitą Quincy. Uryuu natomiast... No wierzę w jego talent, ale umiejętności i doświadczenie? Kobieta powinna go zdmuchnąć pierdnięciem. Tym bardziej, że dwóch kapitanów z Dywizji 0 musiało popełnić samobójstwo, by ta aktywowała swoje BanKai. Dodatkowo ich BankKaie były zapieczętowane. XD A żeby to jeszcze bardziej podkreślić, w Naruto był podobny problem. Sasuke przez długi czas dostawał co chwilę power-upy w przeciwieństwie do protagonisty. O ile mógłbym obronić Naruto, choćby dlatego że to główny bohater, o tyle Uryuu nie jestem w stanie, bo nie ma na swoim koncie dużego zwycięstwa.

Przykładów na niedbalstwo w kwestii poziomów mocy są też widoczne w innych miejscach. W zasadzie to chyba każda walcząca postać ma z tym problem. Patrząc na mnogość błędów Bleacha na tym polu, zastanawiam się, czy DB nie jest mniej zepsute. Chociaż nie, błędy DB są inaczej rozłożone w czasie, przez co nie rzucają się tak bardzo w oczy, jak w przypadku TYBW. Wspomniany motyw z Cellem, gargantuiczna moc Freezera w 1 formie, to samo z Ssj1... To "grzechy pierworodne DBZ", które rzutują na kolejne rozdziały. Tak jak inwazja na SS prowadzona przez fałszywego Yhwacha. Wszystko wynika z tego, że twórca Bleacha poświęcił za mało czasu na zaplanowanie historii. Widać to po ciągłych power-upach Yhwacha i tekstach: "To nie jest moja prawdziwa moc". My, fani Battle-Shounenów, śmiejemy się z tych tekstów od czasu walki z Freezerem, a tu jest jeszcze gorzej. Tite pewnie to zrozumiał (albo edytor mu o tym powiedział), bo od pewnego momentu starał się to załatać, ale mleko już się rozlało. Ale nie powiem, czasem czuć bad-assowy charakter lidera Quincy.

Podobnie to wygląda przy wyciąganiu artefaktów lub magicznych rozwiązań na przeciwników, których nie da się pokonać. Zacznę jednak od obrony Bleacha. Gdybym konsekwentnie przeanalizował każdego battle shounena (OP również w to się wlicza), to na pewno znalazłbym wiele przykładów. Każdy gatunek ma charakterystyczne dla siebie uproszczenia i trzeba włożyć naprawdę dużo pracy i czasu, by stworzyć tytuł, który ich nie ma. O ile w przypadku serii powstającej na boku można (i wręcz powinno) to zminimalizować, o tyle w przypadku serii wychodzącej co tydzień, trudno to zrobić. W przypadku Tite doszedł stres wynikający z konieczności cięcia contentu. Kłóci się to ze standardową polityką WSJ, o której napisałem we wstępie. Niestety, tego jest po prostu za dużo. Nemu nagle stała się super potężna. Miecz który rani Bogów, o którym wcześniej nie słyszeliśmy. Były jeszcze ze 2 takie sytuacje. Zakładam, że taki był plan zapasowy Króla Dusz. Tj. wykorzystał swoją olbrzymią moc, by umieścić na świecie różne artefakty, które pomogą wygrać jego obrońcom. Tak w ramach awaryjnej sytuacji, gdyby Dywizja 0 poniosła klęskę. Takie miałem myśli, gdy zobaczyłem jak Quincy zamienił się w "drugą rękę Boga".

Żebyście mnie dobrze zrozumieli, same pomysły są generalnie dobre. Podobało mi się też to, jak Tite to przedstawił. Relacje między postaciami (zwłaszcza to, tutaj Tite błyszczy), pomysły na rozwinięcie ich mocy itd. Problem wynika z tego, że można to było jakkolwiek uzasadnić. Jako, że Karol lubi Bleacha podobnie, jak ja DB, relacjonowałem mu na bieżąco moje wrażenia z seansu 3 sezonu. Co najmniej kilka razy chwaliłem jakiś wątek (mniej lub bardziej, w zależności od ilości dziur fabularnych), by potem zakończyć to hasłem: "Trzeba mieć talent, by spierdolić taką scenę na sam koniec". Wszystko było na swoim miejscu - pomysł, dobrze napisane dialogi, emocje, szczere reakcje bohaterów, trochę artyzmu, odwołań do początku Bleacha. Szkoda, bo autentycznie wzruszyłem się przy relacji Kyōraku x Nanao lub Mayuri x Nemu. Wystarczyło tylko dopisać kilka zdań lub narysować kilka kadrów, które zapowiadają takie rozwiązania. Nawet DBGT wykorzystało zapomniany wątek, że Kami i Pan Popo mają w swoim pałacu mnóstwo artefaktów (inna sprawa, że nowy zestaw Smoczych Kul to taki sam ass-pull, no ale chociaż częściowo to uzasadnili). Dyskutowałem o battle-shounenach przez wiele lat i nie raz widziałem, jak ludzie wynajdywali w starych rozdziałach, racjonalne uzasadnienia na tego typu zwroty akcji. Ewentualnie można to było zrobić, jak w przypadku choroby Ukitake. To rozwiązanie jest logiczne i nie jest wyciągnięte z tyłka. Wybaczcie, że nie poświęcam każdej kwestii tyle samo czasu, ale jak widzicie, tego jest po prostu zbyt wiele. Biedny Zaraki, największa ofiara nieprzemyślanej fabuły.

[Pochwały] Zacznę od oprawy audiowizualnej. Studio Pierrot poszło drogą, o której skomlę jak pies od dwóch dekad. Zamiast tworzyć battle-shouneny dla mało wymagających widzów, stwórzmy coś z pierdolnięciem! Wykorzystajmy siłę marki, by zrobić filmy, które rozjebią łby widzom, a twórcom zapewnią duże zyski! O ile S1 wyglądał jak stare, niezłe / dobre odcinki Bleacha (ale nie najlepsze, jak Ichigo vs Ulq lub Ichigo vs Grimmmjow), o tyle S2, a zwłaszcza S3, rozerwał mi dupę. Niektóre sceny były tworzone przez kilku doświadczonych animatorów (tak czytałem w wywiadach) i cóż... Widać czas i pieniądze. Rysunki są śliczne, animacja płynniejsza niż w przypadku zwykłej serii telewizyjnej (kinowy format daje większe możliwości), nie mamy nawet grama dłużyzn, czuję że walczą ze sobą nadludzie. Walka Kyoraku i snajpera-Quincy wyglądała tak ślicznie, że nie przeszkadzał mi kretyński design jego przeciwnika. A na końcu dostaliśmy bonus, BanKai w stylu Japońskiego teatru. Czułem się jakbym oglądał film o Brolym, który nadal jest małym arcydziełem, jeśli chodzi o walki i jakość animacji / kreski. Wiadomo, zdarzają się gorsze kadry (W Brolym też), ale to co ma wyglądać ładnie, dokładnie tak wygląda. Czujemy siłę postaci, niezależnie czy to trucizna Mayuriego, sztuczki Senjumaru / Kyōraku, czy gargantuiczne Reiatsu Yhwacha, Aizena, Zarakiego lub Ichigo. Widzimy, że Zaraki to bestia. Szkoda, że Tite dwukrotnie pozbył się go w tani sposób, by nie było zbyt łatwo. Tak, pokazał pierdolnięcie uciekając z kosmicznej próżni, ale wcześniej ośmieszył go fałszywy Yhwach, a później członek Gwardii Królewskiej. Czujemy też majestat ich potęgi, jak u Ichibē Hyōsube, Shunsuia lub Senjumaru. Nawet moce takich randomów, jak Buzz-B są po prostu śliczne, nie ważne czy atakuje, czy się broni.

Co jak co, ale sceny akcji sprawiają, że nie raz śliniłem się oglądając takich randomów jak Buzz-B. Mimo, że Yhwach cudownie ich zmasakrował, to nie jestem w stanie zapomnieć jego potyczki z tym zastępcą antagonisty. Te kopnięcia, te ruchy. Jak u Yourichi. Mam nadzieję, że Pierrot wyznaczy nowy, złoty standard dla battle shounenów. Tak jak w Naruto wiele zepsuli, w Bleachu znacznie mniej, tak TYBW od 2 sezonu to pieprzone arcydzieło. Zakończenie wątku buntowników Yhwacha było niemal idealne. Gdyby Tite poświęcił im tak z 33% mniej czasu antenowego i poprowadził resztę bez zmian, to byłoby perfekcyjnie. Stalin z Bleacha wręcz mówił przez sen: "Wy, pierdolone kmioty, myślicie że możecie dmuchnąć w moją stronę?"

Jeszcze krótkie wtrącenie dotyczące soundtracku - czasem narzekałem na niektóre utwory w poprzednich sezonach klasycznego Bleacha albo zbyt małą ilość dynamicznych motywów bojowych, ale każdy sezon TYBW dodaje nowe, bardzo dobre utwory. Muzyka pełni bardzo ważną rolę - podkreśla najważniejsze aspekty w danej scenie i uzupełnia warstwę video. Jako że nowy Bleach to przede wszystkim akcja, dominują bitewne motywy muzyczne. Styl Shiro Sagisu nie zawsze mi odpowiada, ale podobnie jak w przypadku DBZ, utwory jego autorstwa są epickie i pasują do klimatu. Zwłaszcza w takiej skali. Co innego opening i ending, zwłaszcza ten drugi. Przypomniały mi o czasach, gdy Bleach zasadniczo nie miał konkurencji w tej materii wśród aktualnie wychodzących serii. Piosenki na początku / końcu odcinka słucha się wyjątkowo przyjemnie, tak jak i poza nim. Wizualnie wyglądają jeszcze lepiej. Jeszcze nie wiem, na którym miejscu umiejscowię opening, ale Monochrome to mój ulubiony ending. Ma świetne tempo, głos wokalistki pasuje tonalnie do Bleacha, przyjemnie operuje głosem. A wykonanie... Top-10 moich openingów z szansą na top-3 ever. Idealnie spina się z zakończeniem. Shiro Sagisu i zespoły od OP & ED wykonali rewelacyjną robotę. Taki poziom powinien być złotym standardem "AAA battle-shounenów".

Co prawda już od dawna nie jestem fanem Bleacha, ale mimo swojego podejścia, wzruszyłem się poznając losy niektórych postaci i zakończenie historii. No nie do końca zakończenie, ale wiecie co chciałem powiedzieć. Choćby dlatego, że wielu, by nie powiedzieć większość z nas, zastanawiało się, jak będzie wyglądał Shi Kai lub BanKai danej postaci. Gdy je zobaczyłem, to nawet jeśli mi się nie spodobało (jak częściowo BanKai Mayuriego), czułem pewną radość. Niestety nie mogę tego powiedzieć o postaciach, przynajmniej nie o wszystkich. Wynika to z tego, że większość postaci jest dla mnie za bardzo jednowymiarowa. Nawet jeśli charakter większości z nich zmienił się na plus, to zwykle pozostają prostymi kreacjami. Mają konkretny zestaw cech, pasujący do ich osobowości / roli (normalny człowiek, ktoś ważny, tank, mag, healer, support, damage dealer etc.). Tite potrafi wykreować takie "modelowe postacie", ale w większości nie umie ich rozwinąć. Karol zwrócił mi uwagę na coś, co pominąłem, a jest dość oczywiste. Z uwagi na to, że to "ostateczna walka o świat", pojawiają się wszyscy Shinigami i każdy z nich dostał przynajmniej jedną scenę dla siebie. Niektórzy więcej, inni mniej, ale generalnie każdy pozytywny bohater (i pozytywne bohaterki) dostał coś dla siebie. Niby to normalne, ale z tego co kojarzę, w większości przypadków (z innych M&A), ci bohaterowie pełnią rolę tła, a tutaj działają. Nie zawsze mogą coś zrobić, bo są zbyt słabi, ale próbują. Cokolwiek jest zawsze lepsze niż nic. Chociaż nie, ja i Karol cieszymy się, że Lodowy Kapitan dostał mało czasu, ale my go nie lubimy, więc to plus XD.

Wcześniej nie miałem z tym problemu, bo byłem młodszy, ale jest też inny aspekt. Im więcej odcinków, tym bardziej dostrzegamy pewne wady. W tym przypadku, prostolinijność postaci. Dodatkowo wraz ze zbliżaniem się do finału historii, akcja zagęszcza się i twórcy nie mają tyle przestrzeni na rozwinięcie charakteru. Jasne, zdarzają się rozdziały poświęcone danej postaci, ale zazwyczaj dostają je ważne osoby lub takie, które nie dostały swojego "wielkiego momentu". Tak jak Rukia (ważna postać), Shunsui (wielki moment). Zapewne wynika to też z tego, że nie jestem już zaangażowany w Bleacha. Przez to "zagęszczenie akcji", cierpią też nowe postacie. Wnioskując po ich nieskomplikowanym, randomowym designie, nie sądzę by Tite poświęcił dużo czasu na tworzenie ich. Nie wiedziałem, gdzie ich wpleść, a że nie chcę marudzić, to ograniczę się do wspomnienia, że ich nie lubię.

[Podsumowanie] Jest lepiej niż w mandze, nie śmiałem się tak często z pomysłów i rysunków Tite. Zresztą, nie tylko ja. Pamiętam jak sporo internautów podzielało moje wrażenia, tylko mniej griftowali Bleacha. Wszystko dzięki animatorom studia Pierrot. Jak na ironię, dzisiaj to Bleach jest większym źródłem inspiracji dla twórców battle-shounenów, niż OP czy Naruto (link na dole). Jeśli totalne zepsucie Bleacha było ceną, jaką musieliśmy zapłacić za zmianę standardu tworzenia Battle Shounenów, warto było się poświęcić. Czemu tak mówię? Bo Pierrot otworzył nową dywizję w studiu do tworzenia animacji na kinowym poziomie. W końcu ktoś wysłuchał mojego wieloletniego marudzenia na niską jakość animacji w battle shounenach. Tak, pamiętam, że Toei i Bones przyzwyczaiły nas do tego standardu (Toei w kwestii filmów, Bones jeśli chodzi o serie telewizyjne), ale to trochę inne przypadki. Filmy kinowe wiążą się z wyższą jakością, natomiast Bones stworzyło FMA: Brotherhood oraz BnHA. Wiem, że nie poruszyłem wszystkich tematów. Może napiszę jakieś uzupełnienie. Tekst jest za długi, a chciałem jak najbardziej wyczerpać, jak najwięcej moich spostrzeżeń.

Od 25 minuty -> https://www.youtube.com/watch?v=mpoDdS3ePUM

https://www.cbr.com/bleach-revolutionized-shonen-battle-anime/

https://peakd.com/hive-134382/@herosik/spoiler-review-of-the-latest-season-of-bleach-spoilerowa-recenzja-najnowszego-sezonu-bleacha

https://peakd.com/hive-158489/@herosik/not-a-bleach-s2-review-nie-recenzja-bleach-s2
Zoe
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345d
Movie · on The Fantastic Four: First Steps
The Fantastic Four: First Step – A Familiar Flame with a New Spark - Review

The Fantastic Four: First Step

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Well, when it comes to superhero reboots, there is always a mixture of different kind of feelings. The first thing came to my mind is that will this new version will receive the same respect as the old version? Also, can it grab the same attention which will make the fans fall in love with it? It does not entirely outshine the older version which was released in 2005, but the new version offers a solid and enjoyable ride.

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As someone who grew up watching the 2005 "Fantastic Four", I’ll admit that I am biased towards the old cast. Because of Chris Evan and Jessica Alba their presence made me fall in love with their excellent performance. The old version had a certain charm in it. To be honest the cast felt like a real family, nothing felt odd. The bond between characters always felt effortless, it was dramatic and fun in its own comic-booky way.

The new version "The Fantastic Four: First Step" is presented more modern, more seriousness. The cinematography effects, and action sequences that made it feel weightier. It does feel like an origin story that’s trying to balance because I feel it has connection with Dr. Doom. We might get to see them together. I have read the comics so I have some knowledge about it but I won't give spoilers.

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Let’s talk about the cast, because they deserve the admiration, in the reboot. It didn't start from last when the story ended but we get to see new version with some development. Characters were emotionally present and believable. However, still I have a soft corner for the 2005 team (nostalgia does that), but this new cast holds their own in a respectable way. The chemistry is still there but different. The cast were elderly I was expecting some youngsters but I don't know the reason for them choosing middle-age. But Joseph Quinn was there so I was satisfied, I could not recognize him at all because I saw him in "Stranger Things" he looked different with long hair and his acting was phenomenal! So, seeing him in this new movie amazed me, it took me a while to realize that it's him. He's finally got into Marvel so I wish him the best.

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None of the characters felt like a sidekick so it was something that I have liked the most. A clear individuality is shown of everyone. There’s something different about the early 2000s superhero era there was a bit cheesy and over-the-top. But the new version is more polished and realistic. It felt like that it is just the beginning of something much bigger. I know not everything will land perfectly. There are a few moments where the dialogue feels a little odd or the emotional scenes did not quite hit as hard as it was supposed to. But I believe that those are minor gripes which can be ignored.

In my opinion "The Fantastic Four: First Step" is an admirable reboot that manages to hold the expectations of the fans. This isn't a perfect movie but a thoughtful one, but still I miss the fun. I am just excited to see what will happen in the next movie if there will be one. If you are a longtime fan just like me then give it a shot with an open mind.

Ratings: 7/10

Thanks for reading 🌷

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345d
TV · on We Were Liars
WE WERE LIARS - A 2025 PSYCHOLOGICAL AND FASCINATING SERIES (ENG-ESP)
^{The Liars}
[Link to Image](https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.flicks.com.au%2Ftv%2Fwe-were-liars-season-1%2F&psig=AOvVaw11cFMU1vDJfOwrL3Iy4qFe&ust=1754341892319000&source=images&cd=vfe&opi=89978449&ved=0CBUQjRxqFwoTCNC6w4HH744DFQAAAAAdAAAAABAE)
We Were Liars is a phenomenal psychological thriller series released this year, in June, on Prime Video. It is a movie adaptation of a trilogy by E. Lockhart — We Were Liars, Family of Liars, and We Fell Apart. She wrote We Were Liars in 2014, Family of Liars in 2022 (which is a prequel to the first story—you know, backstories and all), and then the latest one, We Fell Apart, was released this year. However, We Were Liars is the only one that has been made into a movie so far, and it has just 8 episodes. So many people are looking forward to the other parts of the story, despite the fact that this first one left many heartbroken. I do hope you get the gist about the movie now. So, let’s get into why I’m writing this post. Mind you, this isn’t exactly a review, but something to convince you that the movie is worth watching.

I came across some edits about the movie on my FYP on TikTok many times, and so many people sounded so passionate when dropping comments and all. That was where I even learned that it was a movie adaptation of a book—it was really all over and hard not to notice. That fueled my interest, and I decided I was going to see it, despite not knowing anything about the book itself. Now, I genuinely miss who I was before I decided to watch the series. I didn’t expect such a storyline! I wasn’t prepared for all the emotions I felt because I thought people were just exaggerating on TikTok. I cried so much, guys! The movie was heart-wrenching, and I’m really interested in reading the book itself.

[Link to image](https://www.google.com/url?sa=i&url=https%3A%2F%2Fhollywoodnorthbuzz.com%2F2025%2F04%2Fmystery-we-were-liars-drops-this-june-on-prime-filmed-in-halifax-nova-scotia.html&psig=AOvVaw3lr4Y_cvSylyu3rLg1gfHb&ust=1754343702874000&source=images&cd=vfe&opi=89978449&ved=0CBUQjRxqFwoTCNDp-OPN744DFQAAAAAdAAAAABAX)
For me, it started off really slow despite the catchy beginning—or maybe it was because I always attempted to watch it at bedtime. I slept off the first three times I tried to watch it, but the night I finally decided to actually focus, surprisingly, I was glued. I had to binge-watch it and ended up finishing it in one day!

[Link to image](https://www.google.com/imgres?q=we%20were%20liars%20movie&imgurl=https%3A%2F%2Fdeadline.com%2Fwp-content%2Fuploads%2F2025%2F06%2FWEWL_S1_UT_101_240611_REDJES_00493R_CropC_f_3000.jpg%3Fw%3D681%26h%3D383%26crop%3D1&imgrefurl=https%3A%2F%2Fdeadline.com%2Flists%2Fwe-were-liars-cast-characters-prime-video%2F&docid=UNHTDbgegfa7NM&tbnid=g0eV9E08z9GVXM&vet=12ahUKEwjTxcCy5e-OAxVLRvEDHViwDAEQM3oECGsQAA..i&w=681&h=383&hcb=2&ved=2ahUKEwjTxcCy5e-OAxVLRvEDHViwDAEQM3oECGsQAA)
It’s a story about a very wealthy family called the Sinclair family, the private island they all visit every summer, and the numerous dramas that go on within the family. There’s the grandfather and his wife, and their three daughters who bore the grandchildren. The movie begins with a dramatic accident scene involving a girl (Cadence Sinclair), who has no memory of what happened—and no one is willing to tell her. So, she decides to find out the truth on her own. The entire story explores the complexity of family, wealth, friendship, and teenage romance. It also touches on the consequences of making emotionally driven decisions.

Now, you must be wondering what the title is all about, right? “The Liars” are a group of friends consisting of three of the Sinclair grandchildren—Cadence, Johnny, and Mirren—and their childhood friend Gat, who isn’t related by blood but is very much part of the family (watch it to understand more). The Liars made a major decision because of the chaos and tension in the family, especially the way the grandfather treated Gat poorly because of his skin color. That decision changed their lives forever—and it’s the central plot of the movie.

[Link to image](https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.hollywoodreporter.com%2Ftv%2Ftv-reviews%2Fwe-were-liars-review-amazon-1236291539%2F&psig=AOvVaw3bn_rg5FANjXmN6n7oLRMA&ust=1754350063357000&source=images&cd=vfe&opi=89978449&ved=0CBUQjRxqFwoTCPDVr7nl744DFQAAAAAdAAAAABAE)
The twist in the movie was completely unexpected—every guess I had turned out to be wrong. The story was crafted in a way that makes you deeply invested in the characters. If I were to rate it, I’d give it a solid 8.5/10. The acting was on point, and the emotions were portrayed beautifully.

SPANISH
___
^{The Liars}
[Link to Image](https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.flicks.com.au%2Ftv%2Fwe-were-liars-season-1%2F&psig=AOvVaw11cFMU1vDJfOwrL3Iy4qFe&ust=1754341892319000&source=images&cd=vfe&opi=89978449&ved=0CBUQjRxqFwoTCNC6w4HH744DFQAAAAAdAAAAABAE)
We Were Liars es una fenomenal serie de suspense psicológico estrenada este año, en junio, en Prime Video. Se trata de una adaptación cinematográfica de una trilogía de E. Lockhart: We Were Liars, Family of Liars y We Fell Apart. Ella escribió We Were Liars en 2014, Family of Liars en 2022 (que es una precuela de la primera historia, ya sabes, con los antecedentes y todo) y, luego, la última, We Fell Apart, se estrenó este año. Sin embargo, We Were Liars es la única que se ha llevado al cine hasta ahora, y solo tiene ocho episodios. Mucha gente está deseando ver las otras partes de la historia, a pesar de que la primera dejó a muchos con el corazón roto. Espero que ahora entiendas la esencia de la película. Vamos a ver por qué estoy escribiendo este post. Ten en cuenta que no se trata exactamente de una reseña, sino de algo para convencerte de que vale la pena ver la película.

Encontré varias ediciones sobre la película en mi FYP de TikTok muchas veces, y mucha gente parecía muy entusiasmada en sus comentarios y demás. Ahí fue donde descubrí que se trataba de la adaptación cinematográfica de un libro; estaba en todas partes y era difícil no darse cuenta. Eso despertó mi interés y decidí ir a verla, a pesar de no saber nada sobre el libro en sí. Ahora echo de menos quién era antes de decidir ver la serie. ¡No me esperaba un argumento así! No estaba preparada para todas las emociones que sentí porque pensaba que la gente solo exageraba en TikTok. ¡Lloré muchísimo, chicos! La película fue desgarradora y tengo muchas ganas de leer el libro.

[Link to image](https://www.google.com/url?sa=i&url=https%3A%2F%2Fhollywoodnorthbuzz.com%2F2025%2F04%2Fmystery-we-were-liars-drops-this-june-on-prime-filmed-in-halifax-nova-scotia.html&psig=AOvVaw3lr4Y_cvSylyu3rLg1gfHb&ust=1754343702874000&source=images&cd=vfe&opi=89978449&ved=0CBUQjRxqFwoTCNDp-OPN744DFQAAAAAdAAAAABAX)
Para mí, empezó muy lento a pesar del comienzo pegadizo, o tal vez fue porque siempre intentaba verlo a la hora de acostarme. Las tres primeras veces que intenté verlo me quedé dormida, pero la noche que finalmente decidí concentrarme, sorprendentemente, me quedé enganchada. ¡Tuve que verlo de un tirón y terminé de verlo en un día!

[Link to image](https://www.google.com/imgres?q=we%20were%20liars%20movie&imgurl=https%3A%2F%2Fdeadline.com%2Fwp-content%2Fuploads%2F2025%2F06%2FWEWL_S1_UT_101_240611_REDJES_00493R_CropC_f_3000.jpg%3Fw%3D681%26h%3D383%26crop%3D1&imgrefurl=https%3A%2F%2Fdeadline.com%2Flists%2Fwe-were-liars-cast-characters-prime-video%2F&docid=UNHTDbgegfa7NM&tbnid=g0eV9E08z9GVXM&vet=12ahUKEwjTxcCy5e-OAxVLRvEDHViwDAEQM3oECGsQAA..i&w=681&h=383&hcb=2&ved=2ahUKEwjTxcCy5e-OAxVLRvEDHViwDAEQM3oECGsQAA)
Es una historia sobre una familia muy rica llamada Sinclair, la isla privada a la que todos van cada verano y los numerosos dramas que se desarrollan dentro de la familia. Están el abuelo y su esposa, y sus tres hijas, que tuvieron a los nietos. La película comienza con una dramática escena de accidente en la que se ve involucrada una chica (Cadence Sinclair), que no recuerda lo que pasó y nadie está dispuesto a contárselo. Así que decide descubrir la verdad por su cuenta. Toda la historia explora la complejidad de la familia, la riqueza, la amistad y el romance adolescente. También aborda las consecuencias de tomar decisiones impulsadas por las emociones.

Ahora, te estarás preguntando qué significa el título, ¿verdad? «The Liars» es un grupo de amigos formado por tres de los nietos de los Sinclair —Cadence, Johnny y Mirren— y su amigo de la infancia Gat, que no es pariente consanguíneo, pero que forma parte de la familia (véalo para comprenderlo mejor). Los mentirosos tomaron una decisión importante debido al caos y la tensión en la familia, especialmente por la forma en que el abuelo trataba mal a Gat por el color de su piel. Esa decisión cambió sus vidas para siempre, y es el argumento central de la película.

[Link to image](https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.hollywoodreporter.com%2Ftv%2Ftv-reviews%2Fwe-were-liars-review-amazon-1236291539%2F&psig=AOvVaw3bn_rg5FANjXmN6n7oLRMA&ust=1754350063357000&source=images&cd=vfe&opi=89978449&ved=0CBUQjRxqFwoTCPDVr7nl744DFQAAAAAdAAAAABAE)
El giro de la película fue completamente inesperado: todas mis suposiciones resultaron ser erróneas. La historia está construida de tal manera que te hace involucrarte profundamente con los personajes. Si tuviera que puntuarla, le daría un sólido 8,5/10. La actuación fue perfecta y las emociones se retrataron de manera hermosa.

Translated using DeepL.com

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JC Rodriguez
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345d
Movie · on The Ugly Stepsister
The Ugly Stepsister | Film Review
Bloody Cindirella

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_{Edited in Photoshop & Canva App}

This peculiar film comes from Norway. Written and directed by Norwegian filmmaker Emilie Blichfeldt. I think this is her debut feature film, her previous filmography is as a screenwriter and director of short films, of which I have not seen any. It is the first time I have seen something of her and as usually happens with promising filmmakers, I recommend following her career and waiting for her new projects.

Blichfeldt takes a story adapted thousands of times and that is part of our culture. A story that has come from different cultures and generations, but is best known for the sweet and family versions made by Disney: Cinderella. The filmmaker writes a free version turning the story around, filling it with grotesque situations, sex, blood and a lot of fun.

The Ugly Stepsister is Cinderella's vision, from the perspective of one of Cinderella's stepsisters, who is named Elvira in the film. Chubby, with orthodontics, a hunchbacked nose, she is not the stereotype of beauty. It is a reason for rejection and ridicule, even by those around you. Although her sister named Alma is more attached to her and actually feels affection.

In this free version of the story, the stepsisters are not the evil ones that have remained in the popular imagination of the sweetened versions. Nor is Cinderella the immaculate saint of these adaptations. Although she suffers abuse and will end up being the one who cleans the home, there is a reason for that, there are decisions and actions that lead her to suffer the fury of her stepmother. The scene in the stable is so funny, I never imagined seeing Cinderella doing those things, well, or maybe my perverted mind would imagine it - but I didn't expect to see it on screen one day.

De Noruega llega esta peculiar cinta. Escrita y dirigida por la cineasta noruega Emilie Blichfeldt. Creo que esta es su opera prima en largometraje, su filmografia anterior es como guionista y directora de cortometrajes, de los cuales no he visto ninguno. Es primera vez que veo algo de ella y como suele ocurrirme con cineastas prometedores, recomiendo seguir su trayectoria y esperar sus nuevos proyectos.

Blichfeldt toma un cuento miles de veces adaptado y que forma parte de nuestra cultura. Un cuento que ha pasado de diferentes culturas y generacioens, pero que es mas conocida pro las versiones dulces y para toda la familia hecha por Disney: la Cenicienta. La cineasta escribe una versión libre dándole la vuelta a la historia, llenándola de situaciones grotescas, sexo, sangre y mucha diversión.

La Hermanastra fea es la visión de la Cenicienta, desde la perspectiva de una de la hermanastra de Cenicienta, que en el film lleva por nombre Elvira. Gordita, con ortodoncia, nariz jorobada, no es el estereotipo de belleza. Es motivo de rechazo y burla, hasta por parte de su entorno familiar. Aunque su hermana llamada Alma, se muestra mas apegada a ella y que en realidad siente cariño.

En esta versión libre del cuento, las hermanastras no son las malvadas que ha quedado en el imaginario popular de las versiones edulcoradas. Tampoco Cenicienta es la santa inmaculada de dichas adaptaciones. Aunque sufre maltratos y terminara siendo la que hace la limpieza de hogar, eso tiene un motivo, hay unas decisiones y acciones que la llevan a sufrir la furia de su madrastra. La escena en el establo es muy divertida, nunca imagine ver a cenicienta haciendo esas cosas, bueno, o quizás mi mente pervertida si lo imagineo , pero no esperaba verlo en pantalla algún día.

_Source

The film can be taken as a criticism of the cult of beauty. I think some feminists hold on to that supposed message to say that society forces women to have a stereotype and that is why they undergo painful surgeries and become sexualized. That is the discourse of stale feminism. Reality, the film, for me, reaffirms that this happens because the woman herself wants it. Elvira adores the Prince, she wants him to notice her and get married. It doesn't matter that he is not the prince of the traditional fairy tales that have been sold to us either. He's a son of a bitch, but she still loves him, she wants him and she also wants money, recognition, admiration.

Women have always wanted their prince charming to notice them. They want a handsome man, with a good physique, who is a gentleman, attentive, romantic and of course, the most important thing is that he has money. What they call today a Supplier Man. but what do they offer? Look in a mirror and offer that man a provider. By the way, what matters is money today and always. What is the difference between that and a prostitute? that the last one he doesn't mess around and doesn't even hide that he wants money. There is always an interest in something and the economic part is important. Don't keep falling for lies about love and all that nonsense. Everything now is an economic, material interest. There is a saying that Love with Hunger doesn't last. Do you want a supplier man? Successful, handsome - muscular, with the manly stereotype that drives them crazy, but they have nothing to offer but just sex. The worst thing is the double standards, when they become old and spend their time criticizing old men with money who date very young women. Good for them who enjoy life. What are they for him for money? Maybe the old woman wants it, it's for money and that's why she's looking for a young woman. or not? It's all anger because they don't choose them, who have already passed their best stage, as Cinderella's stepmother.

Elvira will do anything to make her prince fall in love with her and her rivalry with Agnes, Cinderella's name in the film, will grow. Her anger and hatred is for that reason, her evil has a reason and not even she herself will escape her bad decisions. Elvira's path of self-destruction is, regardless of the damage to her health, her body. She is so obsessed with being the prince's chosen one that madness will blind her.

It is a quite visceral version, disgusting and repulsive at times. Some body horror is present, maybe the filmmaker composes some scenes clearly inspired by cult films. In this way, the different influences of the director are manifested and the cast fulfills its role perfectly. Most of the cast will be quite unknown to the public. I saw Thea Sofie Loch in the series The Last Kindong. I have seen Flo Gaerli in a couple of movies whose name I don't remember - but I do remember her face clearly and I have seen Ane Dahl in two miniseries. It's the first time I've seen Lea Myren, the ugly stepsister.

I invite you to see this visceral and fun version of the story. I loved.

I read your comments.

El film puede tomarse como una critica al culto a la belleza. Creo que algunas feministas se sujeten a ese supuesto mensaje para decir que la sociedad obliga a las mujeres a tener un estereotipo y por eso se someten a cirugías dolorosas y se sexualizan. Ese es el discurso del feminismo rancio. La realidad, el film, para mi, reafirma que eso ocurre es porque la misma mujer lo desea. Elvira adora al Príncipe, quiere que el se fije en ella y casarse. No importa que el tampoco sea el príncipe de los cuentos de hadas tradicionales que nos han vendido. Es un hijo de puta, pero igual ella lo ama, lo desea y también desea dinero, reconocimiento, admiración.

Desde siempre las mujeres desean que su príncipe azul se fije en ellas. Desean a un hombre guapo, con buen físico, que sea caballero, atento, romántico y por supuesto, lo mas importante es que tenga dinero. Lo que llaman hoy día un Hombre proveedor. ¿pero que ofrecen ellas? Mírense en un espejo y que le ofrecen a ese hombre proveedor. Por cierto, lo que importa es el dinero hoy día y siempre. ¿Cuál es la diferencia entre eso y una prostituta? que la ultima no anda con pendejadas y ni disimula que quiere dinero. Siempre hay un interés en algo y la parte económica es importante. No se sigan cayendo a mentiras sobre el amor y cuanta chorrada de esas. Todo ahora es un interés económico, material. Hay un dicho que dice Amor con Hambre no dura. ¿Deseas un hombre proveedor? Exitoso, guapo , musculoso, con el estereotipo varonil que las vuelve locas, pero no tienen mas nada que ofrecer que solo sexo. Lo peor es la doble moral, cuando llegan a viejas y se la pasan criticando a los hombres viejos con dinero que salen con mujeres muy jóvenes. Bien por ellos que disfrutan la vida. ¿Qué estan por el por dinero? Igual la vieja lo quiere es por dinero y para eso se busca una joven. ¿o no ? Todo es rabia porque no las eligen a ellas, que ya pasaron su mejor etapa, como la madrastra de la cenicienta.

Elvira hará lo que sea por enamorar a su príncipe y su rivalidad con Agnes, nombre de la cenicienta en el film, crecerá. Su rabia y odio es por eso, su maldad tiene un motivo y ni ella misma escapara de sus malas decisiones. Es un camino de autodestruccion el de Elvira, sin importa el daño a su salud, su cuerpo. Esta tan obsesionada por ser la elegida del príncipe que la locura la cegara.

Es una versión bastante visceral, asquearte y repulsiva por momentos. Algo de body horror esta presente, igual la cineasta compone algunas escenas claramente inspirada en películas de culto. Se manifiesta de esa forma las diferentes influencias de la directora y el elenco cumple con su rol perfectamente. La mayoría del elenco serán bastante desconocidos para el publico. Thea Sofie Loch la vi en la serie The Last Kindong. Flo Gaerli la he visto un par de pelicuals qu e no recuerdo el nombre , pero su rostro si lo recuerdo claramente y Ane Dahl la he visto en dos miniseries. Es primera vez que veo a Lea Myren, la hermanastra fea.

Te invito a ver esta visceral y divertida versión del cuento. A mi me encanto.

Leo tus comentarios.

Gifs and separators made by me in photoshop. Translation with Deepl

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Yasleny Perez
@yaslenysofia (71)
📍 Venezuela
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Amante de los perros y gatos. Ilustradora. Creativa. Investigadora. Escritora aficionada. Licenciada en Artes Plásticas
345d
TV · on S Line
S-Line – Review (2025) [ENG/ESP]
ENGLISH

Greetings @Movies&Tvshows community…

Today I want to talk to you about a K-drama that went viral because it deals with a rather provocative and original theme. Well, that's how I see it: the memes that came out of this story flooded social media, so much so that people who weren't familiar with it or what it was about somehow made reference to it. I watched it not only because it went viral, but because of the plot itself that intrigued me, in addition to the leading role of Lee Soo Hyuk, whose performances I really liked, so, without further ado, here are my impressions.

Source

S-Line (S라인)….

Premiering in July, the series is based on the Naver original webtoon of the same name by kkomabi, directed by Ahn Joo-young, and starring Lee Soo Hyuk, Arin, and Lee Da Hee. It features a fantasy, mystery, and drama genre and consists of a total of six episodes.

Source

What is the plot about?…

The story begins with young Shin Hyun Hob, who since birth, has been able to see mysterious red lines above people's heads, which she later deduces what they are; because these lines, which she called S-Line, are those that indicate that the person has had sexual relations and they connect when the person with whom she has been intimate is nearby. This ability has made her life a chaos, since her mother kills her father who was cheating on her, runs away from home and prefers to live isolated from the world; it is not easy to see the world completely in red.

However, things start to get more disturbing when Hyun Hob notices troubling behaviors and dynamics among the people around him, noticing that they were able to see those lines through a pair of glasses. With the help of Detective Ji-wook, who becomes increasingly involved in various crimes involving the glasses, they begin to piece together these strange events and discover who's behind all this.

Source

Personal opinion

I found this story quite moving, as it explores themes that aren't so fluidly presented. If one were to analyze and project into a world where people could see those lines and expose their intimate lives, I think it would be total chaos. Although there is a section that touches on pedophilia and rape, which would be the positive point of revealing those sexual secrets, because we are often unaware of it./div>

The series has an intense tone, a fast pace, and manages to captivate you in every episode. I feel the actors did a great job, each one handling their characters' personalities very well, always emanating that dark and mysterious aura that stands out in the plot, in addition to the staging that helps project this same dark yet intriguing feeling. As for the ending, it left much to be desired, with some loose ends left unresolved, so a second season is likely.

I also read somewhere that the webtoon is about when everyone can already see these lines, so this series would be like a prequel to it, which is even more exciting and leaves a lot to explore.

Source

Positive points…

- Original and provocative premise.

-Excellent performances.

-Intriguing plot that can be explored much more.

-Dynamic rhythm.

Source

Negative points…

-To better connect the thriller with the social drama, there's no better balance.

-The ending left a lot to be desired.

Source

Score I give it…

9/10 Story │ 10/10 Performances │ 8/10 Sound │ 8.5/10 Stage │ 9/10 Overall

I found this K-drama very unique. I do feel it's flawed in certain aspects, but the acting and the very plot that keeps the audience engaged don't take anything away from it. Instead, they can really take advantage of this story, delving deeper into its characters and reflecting on their flaws. So, what would you think if we could all see those red lines? How would you feel?

Images captured from the IMDb page. Cover designed in CANVA. Text translated in Google Translated.

Thank you for reading my post. I hope you enjoyed it. I look forward to responding to your comments. You can visit my blog, follow my content, and follow my social media accounts.

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ESPAÑOL

Saludos comunidad de @Movies&Tvshows…

Hoy quiero hablarles de un k-drama que se volvió viral, debido a que maneja un temática bastante provocadora y original, bueno así lo veo, los memes que salían de esta historia inundaron las redes sociales, tanto que, personas que no eran conocedoras del mismo, de lo que se trataba, de algún modo hacían referencia de este. Yo lo vi, no nada más por lo viral que se volvió, sino por la misma trama que me intrigaba del mismo, además del protagonismo de Lee Soo Hyuk, el cual me ha gustado mucho sus interpretaciones, así que, sin más que agregar, aquí les dejo mis impresiones.

Fuente

S-Line (S라인)….

Estrenada en Julio, la serie está basada en el webtoon original de Naver del mismo nombre de kkomabi, dirigida por Ahn Joo-young, contando con la protagonización de Lee Soo Hyuk, Arin y Lee Da Hee. Es de genero fantasía, misterio y drama y cuenta con un total de 6 episodios.

Fuente

¿De qué va la trama?…

La historia inicia con la joven Shin Hyun Hob, quien desde que nació, ha podido ver encima de las cabezas de las personas unas misteriosas líneas rojas, la cual más tarde ya deduce de lo que se tratan; pues estas líneas a la que ella denominó S-Line, son aquellas que indica que la persona ha tenido relaciones sexuales y se van conectando cuando la persona con la que se ha tenido intima, está cerca. Esta habilidad, ha hecho de su vida un caos, pues su madre mata su padre que la estaba engañando, escapa de su casa y prefiere vivir aislada del mundo, no es fácil ver el mundo completamente de rojo.

Sin embargo, todo empieza a ser más inquietantes, cuando Hyun Hob nota conductas y dinámicas preocupantes entre las personas a su alrededor, notamente que estás lograban ver esas líneas a través de unas gafas. Con la ayuda del detective Ji-wook, quien se va viendo involucrado en distintos crimines referentes a esas gafas, empezaran a enlazar esos extraños sucesos y descubrir quien esta detrás de todo este rollo.

Fuente

Opinión personal

Realmente me resulto bastante emocionante esta historia, ya que explora temas que no son desenvueltos tan fluidamente; si uno se pone analizar y proyectarse ese mundo en el que las personas pudiésemos ver esas líneas y de exponer la vida íntima, creo que seria un caos total. Aunque hay una parte que toca la pedofilia y las violaciones, lo cual seria el punto positivo de revelar esos secretos sexuales, pues muchas veces no somos conscientes de ello.

La serie tiene un tono intenso, un ritmo rápido y logra engancharte en cada capítulo, siento que los actores hicieron un gran trabajo, cada uno manejo muy bien las personalidades de sus personajes, emanando siempre esa aura sombría y misteriosa que destaca en la trama, sobre tono con escenificaciones que ayudan a proyectar esta misma sensación tenebrosa, pero intrigante. En cuanto al final, si dejo mucho que desear, faltó cabos por resolver, por lo que posiblemente haya una segunda temporada.

También leí por ahí que, el webtoon se trata de cuando ya todo el mundo puede ver estas líneas, por lo que esta serie seria como una precuela de la misma, lo cual es aun más emocionante y toca mucho por explorar.

Fuente

Puntos positivos…

- Premisa original y provocadora.

-Excelentes actuaciones.

-Trama intrigante y que se puede explorar mucho más.

-Ritmo dinámico.

Fuente

Puntos negativos…

-Enlazar mejor lo que es el thriller con el drama social, no hay como un buen equilibrio.

-El final dejo mucho que desear.

Fuente

Puntaje que le doy…

9/10 Historia │ 10/10 Actuaciones │ 8/10 Sonido │ 8.5/10 Escenario │ 9/10 General

Se me hizo muy único este k-drama, si siento que fallos en ciertos aspectos, pero las actuaciones y ese mismo trama que mantiene a la audiencia enganchada, no le resta puntos, más bien, pueden sacarle mucho provecho a esta historia, hondar más profundo en sus personajes y reflexionar en sus fallas. Así que, ¿Qué pensarías de que todos pudiésemos ver esas líneas rojas? ¿Cómo te sentirías?

Las imágenes fueron capturadas de la página IMDb. Portada diseñada en CANVA. Texto traducido en Google Translated.

Gracias por leer mi post. Espero que les haya gustado. Estaré atenta a responder sus comentarios. Pueden visitar mi blog, seguir mis contenidos y redes sociales.

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@mairene1
@mairene1 (76)
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345d
Anime · on Princess Mononoke
Mononoke, The phantom in the rain [Anime Review] ESP/ENG

(Portada diseñada por mi en el editor de Canva)

Cover designed by me in canva editor

Today I'm going to tell you about a film I recently saw that caught my attention both for its synopsis and its psychedelic aesthetic. Although it's named after one of Studio Ghibli's most famous films, it actually has nothing to do with it. Let's see what it's about 😉

Hoy les hablaré de una película que vi recientemente y que me llamó la atención tanto por la sinopsis como por la estética tan psicodélica, y aunque tiene el nombre de una de las películas más famosas de los Estudios Ghibli en realidad no tiene nada que ver. Veamos de qué se trata 😉

Overview/Resumen

Asa and Kame are two young women who head to the palace to try to become concubines, since this would give status not only to them but to their families, for that they must have been invited and of course, once inside the palace they must receive a series of training to perfect their manners and everything else they must learn. However, a strange medicine seller also insists on entering the palace, even though men are not allowed to do so (except for the guards) but what he really intends is to exorcise a spirit that began to torment them all inside the palace and since he seems to be an expert on the subject they allowed him to do his job, in this way the seller discovers that the spirit is intrinsically linked to the practices and rituals that women have done for generations.

Asa y Kame son dos jovencitas que se dirigen al palacio para tratar de convertirse en concubinas, ya que esto les daría estatus no solo a ellas sino a sus familias, para eso deben haber sido invitadas y desde luego, una vez en el interior del palacio deben recibir una serie de entrenamientos para perfeccionar sus modales y todo lo demás que deben aprender. Sin embargo, un extraño vendedor de medicinas también insiste entrar al palacio, a pesar de que los hombres no tienen permitido hacerlo (a excepción de los guardias) per lo que en realidad pretende es exorcizar a un espíritu que comenzó a atormentarlos a todos dentro del palacio y en vista de que él parece un experto en el tema le permitieron hacer su trabajo, de esta manera el vendedor descubre que el espíritu está intrínsecamente ligado a las prácticas y rituales que las mujeres han hecho por generaciones .

Trailer

Fuente

My Opinion/Mi Opinión

If I'm completely honest with you, I'll have to tell you that I didn't like the movie. I mean, I understand that it's full of symbolism and that behind all of that there's an important lesson, or at least it's a reflection of the society of times gone by that allows us to glimpse how difficult it was to live in those times, even more so being lower class and a woman. However, the pace of the plot is extremely slow and I feel that in many scenes the meaning gets diluted among digressions, so it becomes tedious to watch. However, I made it to the end to have a broader and more objective opinion.

Si soy completamente honesta con ustedes tendré que decirles que no me gustó la película, a ver, es que entiendo que está llena de simbolismos y que detrás de todo eso hay una enseñanza importante, o al menos es un reflejo de la sociedad de épocas pasadas que nos permiten vislumbrar lo difícil que era vivir esos tiempos, aún más siendo de clase baja y mujer, sin embargo el ritmo de la trama es extremadamente lento y siento que en muchas escenas el sentido se va diluyendo entre divagaciones, así que se vuelve tediosa de ver, sin embargo llegué hasta el final para poder tener un criterio más amplio y objetivo.

Fuente

What caught my attention the most was the aesthetics of the entire film, which looks like a painting full of details that perfectly reflect every element of feudal-era Japan. The color palette uses vibrant and striking tones that contrast with other dark and opaque ones, making it even more interesting to watch. I was struck by the fact that in some scenes the images seemed to become transparent in some way. The character design, on the other hand, is also interesting, with marked differences between the human characters and the spirits, since the film's central axis is Japanese folklore but from a more psychological horror approach, even though they are using supernatural elements. I think that in a certain way they wanted to represent in these spirits all the rigor that the symbolism and rituals entailed within these temples at that time and what could happen if someone made a mistake about something.

Lo que más llamó mi atención fue la estética de todo el film que parece una pintura llena de detalles que reflejan a la perfección cada elemento del Japón de la era feudal, la paleta de colores maneja tonos vibrantes y llamativos que contrastan con otros oscuros y opacos, lo que hace que sea aún más interesante de ver, me llamó la atención el ver que en algunas escenas las imágenes parecían transparentarse de alguna forma. El diseño de personajes por otra parte también es interesante, con marcadas diferencias entre los personajes humanos y los espíritus, ya que el film tiene como eje central el folcklore japonés pero desde un enfoque de terror más psicológico, aunque estén usando elementos sobre naturales, y es que creo que de cierta manera quisieron representar en estos espíritus todo el rigor que conllevaba el simbolismo y los rituales dentro de estos templos en esa época y lo que podía suceder si alguien se equivocaba en algo.

Fuente

I think what I didn't like was the pace of the film and the complex way they carried the narrative, even so I have a favorite character, the medicine seller himself for his supernatural abilities and his ambiguous personality, apparently fragile and absent-minded but actually being a powerful warrior.

Creo que lo que no me gustó fue el ritmo de la película y la forma compleja en que llevaron la narrativa, aún así tengo un personaje favorito, el propio vendedor de medicinas por sus habilidades sobrenaturales y su personalidad ambigua, aparentemente frágil y despistado pero en realidad siendo un poderoso guerrero.

Fuente

But as I always say, I invite you to check it out for yourself, because what might seem boring to me might seem brilliant to you. Thank you so much for reading my review, see you next time! See you later!

Pero como siempre digo, los invito a comprobarlo por su cuenta ya que lo que a mi me puede parecer aburrido a ustedes les puede parecer genial. Muchas gracias por leer mi review, nos vemos para la próxima ¡Hasta luego!

(Image designed by me in canva editor)

Imagen diseñada por mi en el editor de Canva.
Drax
@drax (77)
893 followers
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Blogger, film critic, columnist (writes in Croatian and English)
345d
TV · on Homicide: Life on the Street
Television Review: Identity Crisis (Homicide: Life on the Street, S7X19, 1999)

Identity Crisis (S07E19)

Airdate: 30 April 1999

Written by: Willie Reale Directed by: Joe Berlinger

Running Time: 44 minutes

In the spring of 1999, Homicide: Life on the Street teetered on the precipice of cancellation. NBC executives, grappling with the show’s declining ratings and its increasingly niche appeal, were poised to pull the plug on a series that had once been a cornerstone of the network’s gritty, realist programming. While the show’s creative team likely sensed the inevitability of its demise—its cancellation was officially announced in May 1999—the looming end paradoxically liberated them. Freed from the desperate pursuit of mass appeal, the writers and producers leaned into the show’s signature strengths: moral complexity, unflinching realism, and a refusal to sanitise the chaos of urban policing. This ethos is crystallised in Identity Crisis, a late-season episode that was originally intended to be the penultimate instalment of the series. However, its airdate was moved forward by two weeks when NBC executives, still reeling from the Columbine High School massacre in April 1999, deemed the content of the scheduled episode, Lines of Fire, too similar to the real-life tragedy.

At its core, Identity Crisis exemplifies the show’s ability to interweave the grotesque with the mundane, a hallmark of its narrative style. The central storyline follows Detectives Falsone and Lewis as they investigate the murder of AJ Corbett, a Black man discovered with two gunshot wounds to the head and the unsettling detail of his nose having been bitten off prior to his death. This visceral horror is juxtaposed with the mundane catalyst for the crime: Corbett’s reputation as a nuisance among his neighbours, owing to his obnoxious barbecues and raucous parties. The detectives’ focus shifts to Selwyn Weatherby (Edoardo Ballerini), a newly arrived New Hampshire transplant running a local bar, whose suspiciously rehearsed dialogue and Italian-inflected gestures prompt Falsone to suspect Weatherby is a former mobster in the federal witness protection program. The subplot escalates into a clash between local and federal authority when FBI Agent Mike Giardello intervenes, only to be obstructed by Agent Mitch Strickley (Robert M. Kelly). Weatherby’s true identity as a Philadelphia mob witness is revealed, and the FBI’s decision to shield him from prosecution in exchange for his testimony against higher-ranking syndicate members forces the Baltimore detectives into an ethically fraught compromise.

The second narrative strand—a murder in the city morgue—leans into the series’ penchant for the absurd. When medical examiner Dr. Griscom discovers a corpse with fresh stab wounds, Detectives Munch and Bayliss are tasked with solving a crime that defies logic: a dead man killing another dead man. The dead man, identified via personal documents, is revealed to be the nephew of a recently deceased man, who had arrived at the morgue on a Saturday night to identify his uncle’s body. Overwhelmed by the volume of cases, the staff left him unattended, allowing him to stumble into a confrontation with his cousin Clayton Mack (Rodney Holland) in the refrigerated anonymity of the facility. Mack’s admission that he stabbed his cousin, coupled with his apparent unawareness of the fatal outcome, is both darkly comic and tragically mundane. The scene’s grim humour—Mack’s casual confession, the detectives’ exasperated pragmatism—serves as a counterpoint to the Weatherby subplot, reinforcing the show’s refusal to romanticise crime or its perpetrators.

The third storyline, involving the murder of a strip club cashier, is perhaps the most overtly sensational. Detectives Ballard and Gharty follow a blood trail that suggests the killer wore high heels, a detail that initially points toward a female suspect. The case takes a surreal turn when a bank robbery by a man in drag is linked to the crime via a personal cheque left at the scene. The cheque’s fingerprints match evidence from the strip club, leading to the arrest of James Wilton, a methamphetamine addict who confesses with a mix of desperation and naivety. Wilton’s dim-witted criminality—his inability to cover his tracks, his explicit admission of guilt—mirrors Mack’s bumbling in the morgue storyline, offering a satirical take on the incompetence of many real-world offenders.

The episode’s writer, Willie Reale, brings an unconventional pedigree to the procedural format. Best known for his work as a lyricist and on children’s television, Reale’s background might seem ill-suited to the grim realities of homicide detection. Yet his script for Identity Crisis demonstrates a sharp understanding of the show’s DNA. Reale resists the temptation to over-explain or moralise, instead letting the detectives’ weariness and the suspects’ contradictions speak for themselves. The three storylines are tightly intercut, each reflecting a different facet of the series’ ethos: the Weatherby case exposes systemic corruption and the moral compromises of law enforcement; the morgue murder embodies the randomness and banality of violence; and the strip club killing satirises the intersection of addiction and crime.

Reale’s handling of the Weatherby arc is particularly noteworthy. By framing the conflict between the Baltimore police and the FBI as a clash of priorities—local justice versus federal expediency—he taps into Homicide’s longstanding critique of bureaucratic indifference. The revelation that Weatherby is a protected witness in a high-stakes mob case adds a layer of irony: the detectives’ pursuit of truth is thwarted not by incompetence but by the cold calculus of a justice system that sacrifices small victories for larger ones.

The episode also grapples with lingering flaws from Season 7, particularly the ill-conceived introduction of Mike Giardello. His familial connection to Lt. Giardello had long been a source of narrative clumsiness, creating artificial tension that felt more like soap opera than documentary realism. By giving Mike Giardello a decisive exit—his resignation over the Weatherby case—the episode acknowledges this misstep while allowing the character a measure of dignity. His confrontation with Strickley and Prosecutor Gail Ingram (Rebecca Boyd) is a masterclass in bureaucratic warfare, with Strickley’s threat to transfer Mike out of Baltimore serving as a blunt reminder of the power dynamics within federal agencies. Mike’s choice to resign rather than comply is a fitting end for a character who, despite his awkward origins, becomes a symbol of integrity in a system that often punishes it.

Equally significant is the rehabilitation of Detective Gharty, who had been reduced to a self-pitying alcoholic in earlier episodes. His arc in Identity Crisis hinges on a moment of clarity: after Ballard gently rebukes him for his drinking, Gharty resolves to abstain for a month, announcing his decision at the Waterfront Bar to Billie Lou (the waitress and Munch’s fiancée, who also represents Gharty’s unrequited love). This subplot, while emotionally resonant, is undercut by its failure to explicitly link Gharty’s resolve to James Wilton’s meth-induced self-destruction. The missed opportunity to draw a parallel between Gharty’s addiction and Wilton’s—a narrative thread that could have deepened Gharty’s epiphany—leaves the storyline feeling half-formed. Instead, the episode relies on Gharty’s history with Billie Lou to justify his turnaround, which, while poignant, lacks the thematic cohesion of the other plots.

What elevates Identity Crisis beyond a mere procedural exercise is its adherence to Homicide’s foundational principles. The Weatherby case, with its Mafia ties and federal overreach, mirrors real-world tensions between local and national law enforcement, a theme the show has explored since its debut. The morgue murder, meanwhile, is a masterstroke of dark comedy: a crime so absurd it defies logic, yet so human in its origins. The cousin’s admission—delivered with the tone of a man confessing to a parking violation—captures the show’s ability to find the grotesque in the ordinary. Similarly, Wilton’s meth-fuelled crime spree, punctuated by his drag bank robbery and the high-heel blood trail, is a sly commentary on how addiction distorts judgment.

Yet the episode’s greatest strength lies in its refusal to tidy up its narratives. This lack of resolution—or the presence of incomplete ones—reflects the show’s commitment to realism. Unlike the tidy arcs of network crime dramas like Law & Order, Homicide thrives on ambiguity, forcing viewers to sit with the discomfort of a justice system that is as flawed as the people it serves.

Ultimately, Identity Crisis is a fitting, if imperfect, capstone to a series that never shied away from the messiness of life and law enforcement. Its willingness to confront ethical dilemmas head-on, to find humour in tragedy, and to resist the urge for tidy resolutions ensures its place among the show’s best episodes. For viewers attuned to Homicide’s rhythms, it is a reminder that even in its twilight, the show could still deliver the raw, unvarnished truths that made it a landmark of television realism.

RATING: 7/10 (+++)

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345d
Movie · on Mission: Impossible – The Final Reckoning
Mission: Impossible – The Final Reckoning
Mission: Impossible – The Final Reckoning

Agent Ethan Hunt and his team try to stop Gabriel from obtaining the artificial intelligence program “The Entity.” The last film for Ethan Hunt… Is it worth your attention? For me, definitely yes — but with flaws.

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- Tom Cruise is once again excellent in his role and remains the heart of the film.
- The underwater scene is wow (if you overlook the outcome).
- Technically, the film is flawless (as expected).
- I heard quite a few mixed opinions about the first hour of the movie — it didn’t bother me, but it could have been presented more concisely.
- It has a fair amount of melodrama, but I think it’s reasonable given that it’s Cruise’s last film in the role.
- Plenty of suspense.
- Directing is solid and at times very impressive, although I expected more.
- Angela Bassett is as impressive as always.
- It’s a movie you should watch in the cinema (whether or not you like the final result).
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- Gabriel: I wasn’t thrilled with him in the previous film, and here he’s neither particularly good nor threatening.
- The finale didn’t feel like the climax I wanted for Hunt’s character.
- The script has its issues and is what ultimately holds back the film from soaring; in many parts, it’s more verbose than necessary.
- As I said earlier, the underwater scene is great, but what happens toward the end was too much!!!
- It could have been shorter — 2 hours and 40 minutes is excessive.
- The final scene with the two planes didn’t impress me much, although from a stunt perspective it was certainly challenging.
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345d
Movie · on A Working Man
A Working Man (film): Absolute slop even by Statham standards
For starters the chief writer on this film was none other that Sylvester Stallone and well, I didn't know that until after the movie was done but now, it seems so evident that someone like him would have been involved in the creation of this.

Statham films are dependable and amusing, often unintentionally so but this one seems to exaggerate his usual character that he plays in every single film that he is in. I love that after all of these years Jason has made absolutely zero effort to adapt his accent to every new place that he happens to live in the world, namely the fact that most of his films he is a US citizen but somehow manages to hang on to his Cockney accent.

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If Statham is in a movie, he is going to be a brooding bad ass type of person that has a "very specific set of skills" but he tries to keep these skills a secret until he is forced to reveal his true colors because of some outside force.

He might be a mechanic that just wants to live out his days in peace, or a retired police officer that doesn't actually want to be involved in Death Races but just happens to excel at it, or maybe he is just a bee farmer who once again, just wants to be left alone but if you poke the bear enough, he is going to come and get you.

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In A Working Man Jason is, you guessed it, a man who works! He has a construction job and he is very good at it. He is admired by his coworkers and lives a simple life all the while keeping it a secret that he is special forces or something and can beat the hell out of 10 men at once no problem.

Of course we need more character development than that so he also has an estranged relationship with family members and a small child that he treats like a little princess and tries very hard to prevent her from figuring out what daddy is actually like.

It's like Stallone had a checklist and got through every major one of them and said, "ok, now lets get some cliche one-liners in there and some kicking and explosions."

He gets wrapped up in some sort of kidnapping of a friend's daughter and he quietly goes about solving this on his own. At this point I was wondering around my house doing other stuff so the real story here isn't very well-known to me but trust me, you are not missing out on anything by not really knowing all the players in the game.

The actors that are playing the baddies are mostly terrible actors and actresses who deliver their lines in just cringe fashion with a lot of unnecessary swearing and this is most likely because Sly Stallone has a vocabulary consisting of about 900 words and he did the best he could with it.

But at some point we need to have some absolutely wild armaments brought into the picture and who better to be the supplier of these things than an extremely well connected ex-soldier who is now blind.

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I mean why wouldn't a blind guy be completely capable of gun running?

We also have very silly villains who operate out of completely ridiculous clubs and have a hierarchy that consists of "if you can beat up everyone in this room, we will do business with you!" And of course Jason has no issue completing this request.

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At one point Statham walks into a biker bar and meets the leader who sits on a throne made of motorcycle parts. ooof, that is just perfect.

This film is so campy and stupid that it kind of makes me angry that things like this are so guaranteed to make money. This $40 million project ended up making $100 million at the box office and probably more than that once streaming revenue is calculated in.

This is why we cannot have nice things. Trash like this makes a windfall and in the meantime good films are just passed over and often never even make it into the cinemas. I guess this is just the world we live in now.

Should I watch it?
This movie is exactly the same as every other Jason Statham movie that has ever been made so there really isn't much reason to do so.

I would love to see Statham perhaps prove to us that he actually can act but much like Adam Sandler, The Rock, and John Cena, there is no financial incentive for them to do so. Just like Mark Hammill drunkenly pronounced at a Star Wars presser, "It doesn't matter if it is any good, it only matters if it makes money."

Well this and nearly the entire filmography of Statham has made money, all while never even trying to do anything original.

_{You can legally stream this on Amazon, MGM+ and Fubo currently. it is available for rent on just about everything else too}
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345d
TV · on The Summer I Turned Pretty
Movie Review: The Summer I Turned Pretty

I'll admit: I was drawn in by nostalgia. A friend described it as “summer, teenage love, and perfect music all tangled together,” and I couldn't resist. Based on Jenny Han’s beloved trilogy, the show carried the promise of first loves, beach sunsets, and emotional awakenings. When I discovered Jenny Han herself served as showrunner—and that Belly, the lead, was envisioned as an Asian-American protagonist, I was even more invested. I tuned in right at the start of summer, hoping for an emotional escape from real life—and I got exactly that.

What follows through the series is a comfortable yet captivating story: Isabel Belly Conklin goes back to the Cousins Beach every summer with her family and friends and every year her life as well as her heart changes. Belly finds herself on a road to discovering who she is as she negotiates family relationships, loss, and the attractive yet problematic Conrad and the down-to-earth, good-looking Jeremiah.

I liked the debutante ball arc, which is entirely new to the adaptation, as a signifier of a rite of passage, adding the visual effects and emotional gravity to the story. The development of Belly, the girl who always felt unnoticed, into a person who has discovered her strength and has learned to use it, turned out to be a symbol of what summer change is like.

It has a drunken quality to the cinematic light of the show, the beaches in the sun, the evening swimming, the soft golden hour glow all to the backing track that seems to be pulled out of my own memories of being a youth in the 2020s. It includes Taylor Swift with her song of the same title This Love (Taylor Version), Olivia Rodrigo, Phoebe Bridgers, and so on, who do not simply accompany the scenes, but become their voice.

The role of Belly is a victory for Lola Tung. She brings vulnerability, confusion and budding confidence with her in an endearing and sincere way. Christopher Briney as Conrad and Gavin Casalegno as Jeremiah breathe emotional life into the archetypal love triangle on the other side, but it is the subtle relationship between them, and Agnes (played in Season 3 by Zoé de Grand Maison) that gives the emotional underpinnings real depth. Agnes, who turns into the confidante and emotional mirror of Conrad, enabled the brooding character to demonstrate emotional maturity in more than cliched romance.

The book is in essence a story of lost time, loss of identity and lost love in the world of teenage romance. Belly does not merely turn into someone different, but it is a process of learning how to be worthy of oneself. There are several lines that I remembered: Girls are not allowed to know whether we are pretty or not. We are left to wait until somebody can tell us.” That pierced home- it resonated with the rise of Belly as an invisible person to a person bearing her beauty.

The friendship between Susannah and Laurel (mother of Belly) were particularly heartfelt subplots: divorce, motherhood, and reflection were the core of the teen drama, giving it a realistic foundation.

Although the show is admittedly gorgeous, it is not flawless. The pacing has been said by some viewers- and critics- to drag in the middle. Interesting as the love triangle was, it was strained at times. In some instances, the decisions that Belly makes are impulsive and critics have pointed out that the adaptation skims the inner depth of the books- some of the character arcs feel too fast or shallow.

Nevertheless, its heartfelt sincerity, escapist quality, and chemistry-focused plotting were accepted by several fans, despite how much it embraced YA tropes.

After seeing the entire 3 seasons, particularly the last episodes of Season 3, it seemed to me that I was bidding farewell to a long-time friend. The fact that Belly went through the process of growing up as an insecure teen and then identifying herself as the author of her story touched me in a way I would not have otherwise anticipated. Her errors, love hurts, and her maturity were tangible- not smooth, yet natural.

The last dance of the debutante ball, set to the song The Way I Loved You by Taylor Swift, was an ideal culmination of the teenage longing, nostalgia, and the sweet and sour burden of first love. I laughed and felt a tear at how Belly and Conrad danced so dreamily and translucently, an instance that was so cinematic and at the same time, very intimate.

More than the romance, though, the show gave me space to remember summers of freedom, the ache of transitions, and the joy of being seen. It danced through grief, agency, and the cost of growing up, and left me wanting more of Cousins Beach in my memory.

Rating: ~85% overall. Strong first season, a mixed second with talented moments, and an emotionally satisfying final season.

Despite pacing issues and YA clichés, The Summer I Turned Pretty stands out for its sun-drenched visual palette, a soundtrack that captures generational emotion, and performances that bring warmth and sincerity to an age-old love story.

As I watched the last episode, I thought to myself something: the show didn't just tell Belly's story—it allowed me to live mine. What makes it beautiful isn't about rewriting the play book on YA romance, but about making us remember why we fell in love—or fell under the spell of being seen in the first place. Watching Belly grow, stumble, and rise tall with sunset light wrapped around it, felt like reclaiming part of my own teenage years.

If you’re ready to get the heat of summer back—and see a teenager transform into her own woman—let this series be your getaway. Close your eyes after the last credits and you might just smell the salt from Cousins Beach in the air.

Thumbnail is designed by me on pixelLab and other images are screenshot from the movie

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