It’s been almost 30 years since Happy Gilmore first cracked us up with flying fists, wild drives, and that unforgettable temper. Now, out of nowhere, Happy Gilmore 2 shows up to dust off the driver, lace up the old skates (Figuratively), and bring back one of Adam Sandler’s most beloved characters. And guess what ? He still hits hard both in terms of laughs and the occasional gut punch. But does this sequel actually live up to the legacy of the first ? That’s the million dollar question.

Let’s tee off with the good stuff, because there’s a fair amount to cheer about.

Sandler’s Still Got It

First things first Adam Sandler. The man, the myth, the goofy golf legend. Watching him slide back into Happy’s persona is like watching your favourite uncle nail a karaoke performance after a few beers. He’s older, maybe a little rougher around the edges, but the magic’s still there.

Sandler brings that same explosive energy and wild unpredictability that made the original so lovable. He’s yelling, swinging, swearing, and smiling his way through scenes like no time has passed at all. But there’s something new this time too a bit of heart. Happy’s now a father, and scenes with his kids (Including His Real Life Daughter Sunny, Who’s Honestly Great In Her Role) give the film some surprising emotional weight. He’s still loud and aggressive, but there’s growth. He’s trying. He’s a mess, but a relatable one.

You’ll laugh out loud at his slapstick antics, you’ll get that fuzzy nostalgia from his signature rage moments, and you’ll smile at the way he tries to be a better man. So yes—Sandler came to play.

A Nostalgic Comeback (With Familiar Faces)

The film is a buffet of callbacks. Shooter Mc Gavin returns in all his smug, villainous glory, and watching these two butt heads again is like a WWE reunion you didn’t know you needed. The back and forth between Happy and Shooter is packed with jokes, jabs, and some surprisingly touching moments (Yes, Really). It doesn’t feel forced, it feels like old rivals picking up where they left off.

And then there are the cameos. Oh man, the cameos. Over 60 of them, many of which are real life professional golfers. It’s almost ridiculous. At one point, it feels like a who’s who of the PGA Tour wandered onto the set, and someone just kept the cameras rolling. Some of them work, others feel like distractions, but it’s fun spotting familiar faces and legends of the game.

Comedy That Still Connects

For what it’s worth, Happy Gilmore 2 is funny. Genuinely, laugh out loud funny in many parts. It leans hard into physical comedy and absurdity, just like the first, and some jokes land perfectly. There are moments where the whole family was laughing together those big, collective chuckles you don’t get often anymore.

Sandler’s timing is sharp, the supporting cast knows what they’re doing, and a few new characters (Including Happy’s Down On His Luck Daddy) bring fresh energy.

But here’s the problem and it’s a big one.

Where It Falls Apart: The “Maxi Golf” Mess

While the first half is full of promise, the second half veers off course in a way that’s frustrating and strange. Somewhere in the writers’ room, someone clearly said, “What if we made this.. bigger ?” And that’s where things start to fall apart.

Enter the “Maxi Golf League” an over the top, borderline sci-fi sports tournament that looks like something out of Wipeout meets Mad Max. It’s loud, bizarre, and so far removed from the charm of the original that you start to wonder if you’re watching a different movie.

Gone is the grounded, silly but believable world of the first Happy Gilmore. In it's place is a chaotic mess of side plots: Happy’s wife dies in the first 10 minutes, he becomes a depressed alcoholic, his daughter needs money for dance school, Shooter’s life is in ruins, living in a shed after losing grandma’s house it’s a lot.

And worst of all, none of these threads really go anywhere meaningful. The movie stretches itself trying to juggle all these “dramatic” twists, but in doing so, it forgets what made the original so good: it was simple.

Golf. Rage. Rivalry. Redemption.

That’s it. That’s all we needed. But this movie tries to be too much, and in doing so, it loses focus.

Overwriting the Basics

One of the biggest questions coming out of this film is: why do writers feel like we need things to be “bigger” or “deeper” to enjoy them ?

We don’t.

We love simple, well told stories. We love when characters are clear and memorable, when the stakes make sense, and when a movie doesn’t try to outsmart itself. The first Happy Gilmore wasn’t Oscar worthy it didn’t need to be. It was quotable. It had distinct characters. It followed a straight, satisfying narrative. It knew exactly what it was.

This sequel, for all its good intentions, forgets that. It bends itself into knots trying to be “more.” More dramatic. More futuristic. More action-packed. More emotional. But all that “more” ends up being less.

What could’ve been a clean, powerful sequel instead becomes a cluttered mess of ideas, cameos, and distractions.

Characters That Don’t Stick

Another thing the original nailed ? Characters. Happy Gilmore, Shooter McGavin, Chubbs, Grandma, the caddy these were people you remembered. They were weird, distinct, and just plain fun.

But in Happy Gilmore 2, aside from Sandler and Shooter, no one else really sticks. There are so many new characters thrown in, and none of them get enough time or development to matter. You forget most of their names by the time the credits roll.

That connection, the thing that made us care about Happy’s journey in the first film is just missing here.

The Verdict: A Half-Par Effort

So, where does that leave us ?

Happy Gilmore 2 isn’t a bad movie. It’s not a trainwreck, it’s not a disgrace to the original, and it’s certainly not without merit. In fact, it’s a lot of fun in parts. You’ll laugh, you’ll feel a little nostalgic, and if you’re a Sandler fan, you’ll probably leave with a smile.

But it could’ve been great. And that’s the most frustrating part. It had all the ingredients: the return of beloved characters, a solid lead performance, tons of fan service, and a loyal audience ready to cheer.

But somewhere along the way, it tried too hard. It overcomplicated something that should’ve been simple. It aimed for the green, but sliced it into the woods.

If you go in expecting another Happy Gilmore that scrappy, underdog golf comedy with heart, you might leave a little disappointed. This sequel tries to do too much, and in the process, it forgets why we loved the original in the first place.

That said, it’s not without charm. Sandler is still a powerhouse when it comes to physical comedy and emotion. The nostalgia factor is strong, and the laughs do come, just maybe not as consistently as we’d hoped.

So should you watch it ?

Sure. If you’re a fan of the original or just want a good chuckle on a Friday night, Happy Gilmore 2 is a decent way to spend two hours.

Just don’t expect lightning to strike twice.

[Source](https://m.imdb.com/title/tt31193180/)

When I first heard about Sinners, the idea alone pulled me in Ryan Coogler, known for Black Panther and Creed, creating a vampire movie set in 1930s Mississippi? And not just any vampire film, but one rooted in Black history, music, and pain? I knew I had to see it. The thought of Michael B. Jordan playing twin brothers trying to start something beautiful in a world stacked against them was enough to stir my interest. But I didn’t expect to walk out of the theater feeling both haunted and moved, like I had just witnessed something sacred.

[Source](https://m.imdb.com/title/tt31193180/mediaviewer/rm3368848386/?ref_=tt_ph_1)

The story follows Smoke and Stack, twin brothers played by Michael B. Jordan, who return home to Clarksdale, Mississippi after a stint in the Chicago underworld. They had a dream of opening a juke joint,a place where Black people can dance, sing, and feel free for a while and with the help of their stolen money,the decided to bring the dream to life. But their dream quickly becomes a battleground. They attract attention, not just from humans, but from darker, older forces most notably a vampire named Remmick, who creeps into town through their gifted cousin Sammie, played by newcomer Miles Caton.

[Source](https://m.imdb.com/title/tt31193180/mediaviewer/rm904618753/?ref_=tt_ph_1_2)

From the first frame, I was pulled into the world. The visuals are stunning. Cinematographer Autumn Durald Arkapaw paints each scene like a poem. The Mississippi sunset feels both beautiful and dangerous, and the candlelit juke joint scenes were full of life and memory. One particular scene Sammie performing a blues number in a single uninterrupted shot was like time folding in on itself. You could almost feel ancestors gathering around. It wasn’t just a song; it was a ceremony.

Source

I was really hit hard by the deeper meaning of this movie. Remmick, the vampire, isn’t just a blood-sucker. He reminds us of something much more bigger , this could be colonialism, cultural theft, and oppression. He feeds not just on flesh, but on identity and soul. In this world, vampires don’t only hunt in the dark they lurk in every place joy is found, trying to drain it. The brothers’ fight isn’t just with creatures, it’s with a system that’s been feeding on their people for generations. The juke joint becomes a battlefield, where bullets do less work than music and memory.

Michael B. Jordan does something remarkable in this film. He plays Smoke, the soft-spoken, soulful brother, and Stack, the wild and angry one. He doesn’t need much makeup or costume to tell them apart you can feel the difference in how they carry their pain. Stack wears his rage on his sleeve, while Smoke hides his sorrow like a slow-burning fire. The supporting cast is just as powerful. Wunmi Mosaku as Annie and Delroy Lindo as Delta Slim bring wisdom and calm strength. But it’s Miles Caton as Sammie who really surprised me. His performance made me believe that music could really speak to spirits.

The movie also have its own flaws. The introduction pf some charactesr with promise but never really explored. flashbacks or deeper moments to understand who they were and what shaped them was something i really wished for through out the movie. And the final act, while thrilling, tries to carry too many themes at once. A few plot threads feel rushed or incomplete.

Still, none of that took away from the impact this film had on me. As the credits rolled, I sat in silence. Sinners doesn’t just tell a story it shakes something in your chest. It reminds you that the past isn’t gone. It’s still singing. It still wants to be heard.

What stayed with me most wasn’t the horror or even the vampires. It was the idea that art especially Black art is resistance. The juke joint, the guitar, the dance floor these weren’t escapes from pain. They were tools to survive it. Sammie’s music didn’t just entertain. It woke up memory. It called on the dead. And in the end, that music is what fights back.

The Sinners is bold. The atmosphere is very very rich, emotionally charged, and full of meaning. It doesn’t just aim to scare you; it wants to remind you of what’s been lost and what’s still worth saving. Ryan Coogler has indeed created something ambitious, maybe even too ambitious in places, but powerful all the same.

most Critics are already calling it one of the best films of 2025, and I can see the reason for that. It’s more than just a movie it’s a sermon, a ghost story, and a love letter to Black resilience. Watch it not just for the thrill, but for the history humming beneath the surface.

Posted Using INLEO

Hello! 💙

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Esta tendencia de Netflix de vivir las temporadas en dos partes estaba volviendo costumbre en este caso con esta serie yo creo que no le hace ningún bien ya que terminas por perderte de ciertos Hilos de la trama que te quedaron pendientes y con esto quiero decir es que el tramo final de esta segunda parte es bastante Interesante pero a su vez bastante denso hay mucha información que procesar y casi que terminas viendo la primera parte de manera obligatoria para poder entender todo lo que se te está escapando.

Netflix's tendency to divide seasons into two parts was becoming customary in this case, but I don't think it does this series any favors, since you end up missing certain plot threads that were left hanging. By this I mean that the final stretch of this second part is quite interesting but also quite dense; there is a lot of information to process, and you almost have to watch the first part in order to understand everything that you're missing.

En este caso ahora nos encontramos con la venganza de las benévolas o las furias Porque sueño ha matado a su hijo pero hay un debate importante su hijo se lo ha pedido por las diversas circunstancias que nos presenta la serie Y es que sí la serie se encarga de ser muy filosófica con respecto a la trascendencia con respecto a la muerte a la vida y al significado que le damos a la misma notándose que es uno de los momentos más importantes de la serie porque es cuando Morfeo Por fin se da cuenta de lo valioso que es la vida pero justamente en su tramo final y tal vez dándose cuenta de todos los errores que él ha tenido y cómo pudo haber hecho las cosas de mejor manera pero por otro lado también la visita que él da a su padre le hace entender que hay cosas que simplemente son inevitables y hay que aceptarlas.

In this case, we now find ourselves faced with the vengeance of the benevolent or the furies, because Dream has killed his son, but there is an important debate: his son has asked him to do so due to the various circumstances presented to us in the series. The series is very philosophical about the transcendence of death and life and the meaning we give to it, and this is one of the most important moments in the series because it is when Morpheus finally realizes how valuable life is, but precisely in its final stretch and perhaps realizing all the mistakes he has made and how he could have done things better. On the other hand, his visit to his father makes him understand that there are things that are simply inevitable and must be accepted.

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Como adaptación de una novela gráfica puedo decir que cumple perfectamente con las expectativas Es verdad que hay uno que otro cambio de aspecto de ciertos personajes pero las actuaciones siguen siendo bastante sólidas lo puesto en escena sigue siendo magnífico Claro si te das la oportunidad de leer la novela gráfica descubrirás que tiene mucho más aportes de lo que tiene la serie pero no estaría fácil llevar a cabo el tramo final de una de las historias más densas que existen en las novelas gráficas y bueno como parte final puedo decir que el cierre de temporada la verdad logra ser bastante exitoso creo que es algo agridulce pero a la vez feliz porque parte del viaje de Morfeo era que él mismo necesitaba este cierre y en un punto de la temporada también se le Encarna en lo mismo si él cree que merece este castigo por todas las cosas que ha hecho mal cosas que antes no nos parecían malas Ahora resulta que nos hemos dado cuenta de sus errores.

As an adaptation of a graphic novel, I can say that it perfectly meets expectations. It's true that there are a few changes in the appearance of certain characters, but the performances are still quite solid and the staging is still magnificent. Of course, if you give yourself the opportunity to read the graphic novel, you'll discover that it has much more to offer than the series, but it wouldn't be easy to carry out the final stretch of one of the densest stories that exist in graphic novels, and well, as part of , I can say that the season finale is actually quite successful. I think it's bittersweet but also happy because part of Morpheus' journey was that he himself needed this closure, and at one point in the season, he also embodies the same thing if he believes he deserves this punishment for all the things he has done wrong, things that didn't seem wrong to us before. Now we have realized his mistakes.

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¡Hasta la próxima, un abrazo!

It's far too hot in Armenia to be going outside often. While I'm utterly bored inside reducing my general sun exposure, I've been trying to find films to watch to pass some of the time. It came to no surprise that Happy Gilmore received a sequel recently, with some people here on Hive reviewing it as well as people online elsewhere discussing the film. Honestly, I think it's surprising that Sandler waited this long to get it going, and didn't just do so back when reboots and remakes were being funded from every angle imaginable. Especially with how Sandler is known for using his own production companies to hire his friends and make absolute nonsense while handing them fat paychecks (speaking of, note how the director of Happy Gilmore 2's name is Kyle Newacheck). Remember, Sandler was once one of the highest paid actors in Hollywood despite his films being box office and critic rejects. Anyway, I do admit that sometimes I miss these types of comedies. Sandler at one point was the last one standing. And it feels like it has been forever since idiotic slapstick humour was found on the big screen.

Despite wanting more films like this to return, there are some parts of it that I'm not happy about and would prefer to not see: AI used in film. Anyone paying a bit of attention to the opening scene would've noticed that it heavily relied on AI generated scenes, showcasing a younger Adam Sandler. There was no tricky editing here, no regular special effects. If you look closely you can see hands morphing, straight up missing, and that usual hiccup of AI just not managing to handle 3D shapes and environments all that accurately. It was disappointing to see the film industry go this route, though with Netflix being the soulless corporation it is, I'm not that surprised to see it. Particularly given they've openly admitted to recently using it elsewhere across their original catalogue. If AI stuff is something you'd rather avoid, then from the very start I'd just say don't bother watching this. I wasn't aware at the time, so I decided to stick with it. Happy Gilmore 2 is your typical sequel bait: our protagonist is now washed up and struggling to get by. His glory days now behind him as he struggles to adapt to the modern world and its requirements. Now a father with many children, Happy is stuck in the routine of retail work and financial struggles. Having once capitalised on the fame, it's no longer working now he's in retirement. Now drinking constantly, Happy has very little motivation for anything, just getting by. Now he's worried about the futures of his children, and needs to raise cash to support their upcoming studies. A pretty simple setup, one that isn't too different from most sequels. Though here Happy isn't passing down the torch, it's still very much within his hands. With a new competition coming up, he figures it's about time he came out of retirement and tried to make some money again. About $300,000. Though Happy, having been retired for so long, has to learn golf from the ground up again. Though this is also met with the usual cameos and silly humour that we'd expect, but it did feel a bit more decreased than usual. More reliant on references to the first film if anything.

In the usual tiresome montage sequence, we see a series of references to the real world too and its pop culture. This is definitely where the film will never be timeless. So many sudden pop culture faces popping up as someone appears on numerous podcasts that do actually exist. I don't know why so many sequel titles insist on doing these, as if to attempt to find modern audiences through marketing with real life shows that have more relevance than the brand and actor does in the present. This is all to say that it is very much a soulless Sandler title. There's no reason for one to assume it'd be something of quality, just something that is a bit more visually appealing due to the more artistic people now roaming around Hollywood as the technology has improved. That is also to admit that the directing and cinematography isn't that bad. It looks like there was some preference from the cinematographer in which lenses to use and the effects given from them. It has a more cinematic look compared to the original, that's for sure.

I think the film would've been better if it wasn't so long. There was no reason for it to have the lengthy runtime it does, and I think that leads to some boredom, where the jokes aren't enough and there's too much filler in the story. This should be a comedy, but for something that struggles to take itself seriously, it really throws a lot of characters at you with plenty of little events that there's no need for. So little to care about. The setup is simple, the main character is there. There's a few cameos, and that should've been enough.

Posted using CineTV

The Practical Joker (S02E03)

Airdate: September 21st 1974

Written by: Chuck Menville Directed by: Bill Reed

Running Time: 22 minutes

Star Trek: The Animated Series (TAS) emerged in the early 1970s as a creative lifeline for Gene Roddenberry and his collaborators to continue the Star Trek saga beyond the constraints of The Original Series (TOS). Freed from the financial and logistical limitations of live-action production, TAS promised to explore bold new concepts, moral dilemmas, and visual spectacles that the original series could not. Roddenberry and his team envisioned it as a platform to push the boundaries of science fiction storytelling, unshackled from network censorship or budgetary compromises. However, the series’ legacy remains contentious. Marketed primarily as a children’s animated show, TAS was often dismissed by serious “trekkies” as a diluted, unserious iteration of the franchise. The lighter tone, simplified plots, and perceived lack of gravitas clashed with the “thinking man’s science fiction” ethos that defined TOS. Episodes like The Practical Joker—a whimsical, occasionally absurd entry—reinforce this perception, offering little to counter the notion that TAS prioritized accessibility over ambition.

The episode’s premise is straightforward: the USS Enterprise encounters a Romulan ambush in an asteroid field, prompting Captain Kirk to retreat through a mysteriuous energy cloud. While this maneuver shakes off the Romulans, the ship’s computer system becomes corrupted by “electronic pollution” within the cloud, transforming it into a mischievous antagonist. The computer, voiced by Majel Barrett, begins orchestrating escalating practical jokes: disabling gravity in engineering, flooding corridors with laughing gas, and even trapping McCoy, Uhura, and Sulu in the ship’s newly introduced “rec room.” Initially, Kirk suspects a crew member is responsible, but the truth emerges: the computer has developed a “psychotic” personality, blending juvenile humor with genuine peril. To resolve the crisis, Kirk must manipulate the computer’s logic by appealing to its programming, convincing it to return to the cloud and reverse the contamination.

While the plot’s core idea—a sentient computer acting erratically—holds potential for exploring themes of autonomy and ethics, the execution prioritizes slapstick over substance. The humor is repetitive, relying on slapstick gags rather than wit or irony. The computer’s antics feel tonally mismatched with Star Trek’s usual gravitas. Worse, the stakes remain underdeveloped: the computer’s “cure” is resolved too abruptly, with no explanation of why exposure to the cloud caused the malfunction or how returning to it reverses it. The episode’s climax hinges on Kirk’s clever dialogue, but the resolution feels rushed, leaving the central premise unexplored.

Written by Chuck Menville, a regular contributor to Filmation’s catalog, The Practical Joker reflects the studio’s formulaic approach to animation. Menville’s script prioritizes simplicity and broad humor over the intellectual depth or character complexity that defined TOS. The dialogue is generic, the jokes are juvenile, and the plot lacks the moral complexity that made episodes of TOS timeless.

The animation itself exacerbates the episode’s shortcomings. While TAS occasionally showcased striking visuals, The Practical Joker relies on static character designs and limited movement, particularly in scenes with the computer’s voice. The lack of live-action actors (replaced entirely by animation) strips the cast of their signature performances, rendering characters like Kirk or Spock less engaging.

Despite its flaws, The Practical Joker is not without its charms. Majel Barrett’s voice acting injects the computer with a mischievous, almost playful energy, grounding the character in a way the script fails to do. The rec room’s introduction is a clever nod to the crew’s need for escapism—a theme that resonates with Star Trek’s exploration of human (and alien) psychology. However, the episode’s overall tone clashes with the series’ potential.

The episode’s most intriguing contribution to Star Trek lore is the introduction of the rec room—a simulation space designed to replicate exotic environments, allowing crew members to “vacation” on alien worlds without leaving the ship. This concept, originally slated for TOS Season 3 but scrapped due to budgetary issues, foreshadows the holodeck of Star Trek: The Next Generation. Like the holodeck, the rec room becomes a trap when the computer’s malfunction corrupts its programming, trapping characters in a simulated environment. This parallel underscores TAS’s role as a testing ground for ideas that would later define the franchise.

However, The Practical Joker squanders this opportunity. The rec room’s potential as a narrative device is underutilized, and its connection to broader Star Trek themes—such as the ethics of artificial reality—is never explored. The concept is presented as a mere plot device, a way to stage the computer’s pranks rather than a meaningful element of the story. Even so, its inclusion marks a pivotal moment in the franchise’s evolution, a reminder of TAS’s importance to fans of continuity and world-building.

For viewers unburdened by expectations of greatness, The Practical Joker is a passable entry: light-hearted, occasionally amusing, and quick to resolve. Yet it never transcends its status as a forgettable diversion, lacking the wit or thematic depth that might elevate it beyond a children’s show. Ultimately, the episode’s value lies in its place within Star Trek’s expansive canon, a relic of an era when animation offered a fleeting chance to reimagine the franchise’s possibilities. For completists, it is a mandatory watch; for others, it is a minor footnote in the saga.

RATING: 4/10 (+)

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It's been a while since I wrote about anime here... I finally thought of discussing one of the anime that made me think hard the first time I watched it: Attack on Titan (Shingeki no Kyojin).

At first I just followed my friends who were really excited about this anime. They said it was cool, action-packed , and different from other anime. Once I watched it, honestly... I was immediately carried away by the atmosphere. Not only because the titan scene gave me goosebumps, but also because the story felt so close to our reality...

• A World Trapped Behind a Wall

The anime begins with humans living inside a giant wall. It seems safe, but it turns out to be an illusion. As soon as the Colossal Titan appears for the first time, all sense of security is shattered. I still remember the feeling of “dread” when I saw that scene - like their world collapsed in an instant.

This is where we meet Eren, Mikasa, and Armin... They are still children, but they have to deal with the harsh reality... Maybe that's what makes the story stuck in our hearts, because from the beginning we can feel how hard their lives are...

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• Why is this anime different?

If you ask me why I felt comfortable following this anime to the end, the answer is simple: the story continues to develop and always makes me curious. From the beginning, it's just “man versus titan”, it gradually becomes deeper-there are politics, family secrets, and theories about freedom.

The soundtrack? It's crazy. I often listen to the OST at work, it feels like I'm training with Survey Corps 😂.

What makes it most addictive is the way Isayama (the creator) does not hesitate to make the audience hurt. Many favorite characters disappeared suddenly. At first I was upset, but after a while I realized... maybe that's what makes AoT so realistic. In war, anyone can fall.

• Unforgettable Characters

Everyone has a favorite. For me personally, Levi Ackerman is the most memorable character... He's cold, stern, but secretly caring.

Mikasa is no less cool, especially when it comes to loyalty to Eren. Sometimes I think , if I were in her shoes , maybe I wouldn't be able to be that strong... And of course Armin. He may not be a great fighter, but his ideas have saved humanity many times.

What I like is that even the “enemies” are made to have a reason. Reiner, Annie, Zeke-they're not just evil, but they have backgrounds that make us think, “Oh... if I were in their shoes, maybe I would too.”

• After-Watch Reflection

After watching AoT, I got to thinking about the “walls” in my own life. In anime, walls are literal, but in real life, walls can be fear, comfort, or boundaries that we create for ourselves...

Eren may be too extreme with his obsession with freedom, but I think we can all relate to his desire to get out of that “wall”.

• Cover

For those who have never watched Attack on Titan, I highly recommend it. Just get ready to have your mentality shaken, because this anime is not just action against monsters..

If you've watched it , I'm curious: what's the moment you can't forget? And who's your favorite character in AoT...?

• Image taken as a screenshot from the official Wit Studio website.

Thank you for reading... Hopefully we can chat more in the comments! ✨

Hey there, Hive!✨

¡Hola, Hive!✨

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Pasaron unos cuantos años no sé cuantos exactamente pero deben ser más de quince años desde que Danny Boyle hizo 28 Days Later y ahora viene con 28 Years Later, me parece que esta secuela está brutal y redefine completamente el género zombie. Yo creo que esta historia puede revolucionar el cine de terror, yo en el primer minuto sabía que esto iba a estar buenísimo porque Boyle tiene un estilo que es solo de el para profundizar temas como la muerte, el amor familiar y los límites del sacrificio humano. Este es un mundo postapocalíptico donde Gran Bretaña ha sido completamente aislada del resto del mundo, durante 28 años los infectados han evolucionado de manera aterradora y han creado nuevas especies como los alphas y los crawlers que se alimentan de gusanos, pero esto no fue lo unixo que me imoresionó yo no se como lo hizo pero Boyle equilibró momentos que son tensión pura con escenas emotivas, me refiero a la relación entre Spike y sus padres que está llena de mentiras, secretos y un amor desesperado por sobrevivir. Creo que esto es lo mejor porque la historia va mucho más allá de zombies corriendo por ahí, esto te hace reflexionar sobre que significa ser humano cuando el mundo se acaba y como las nuevas generaciones deben encontrar su propio camino sin las quedarse anclado en el pasado.

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Alfie Williams interpreta a Spike es prácticamente un niño que no conoció el mundo anterior al apocalipsis, vive en una pequeña isla con su padre Jaime y su mamá Isla que esta muy enferma, a mí me parece que Spike representa la esperanza y curiosidad mientras que a sus papás les toca cargar con el peso de recordar como era la vida antes de todo ese caos, cuando el papá lleva a Spike en su primera expedición de caza se da cuenta que su papá le había mentido sobre sus habilidades como guerrero pero todo se rompe completamente cuando Spike descubre a su papá siendo infiel con otra mujer del pueblo y esta traición es el detonante que lo impulsa a emprender un viaje desesperado para encontrar al doctor Kelson, un hombre que es considerado loco por muchos pero es la esperanza para curar a su madre. El papá es Aaron TaylorJohnson y Jodie Comer es la mamá de Spike todos hacen tremenda actuación.

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En cuanto a la parte visual Boyle juegaq con técnicas que al principio me sacaron un poco de onda como esos cortes abruptos a la época medieval pero a medida que la historia iba avanzando fui entendiendo todo el propósito que esto tenía. Me pareicó que los zombies lucían mejor que nunca más los alphas que corren desnudos con todo al aire y es algo un poco perturbador. Las escenas de acción son buenas también ese efecto de cuando es de noche y todo es espeluznante y te pone los pelos de punta ah y la banda sonora en algún momento aparece la versión death metal del tema de Teletubbies aquí no sabía si reír o gritar de miedo, me parece que todos los efectos que usó boyle son buenos y que logró crear un ambiente aterrador mostrandola brutalidad de la supervivencia diaria.

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El famoso doctor Kelson que Spike sale a buscar es interpretado por Ralph Fiennes y su actuación que redefine completamente lo que yo esperaba de su personaje, porque en lugar de ser el clásico malo que creía que era resulta ser un hombre bastante humanitario que ha creado un templo de calaveras para honrar a los muertos, tiene una filosofía toda extraña pero creo que es con la intención de mostrar que aún en el apocalipsis o en el peor momento deun lugar la compasión y el respeto por la vida pueden sobrevivir. La escena donde ayuda a morir a la mamá de Spike me dio demasiado sentimiento aunque era necesaria para mostrar que hay diferentes tipos de muerte y no todo es como siempre lo vemos o creemos. La tercera parte de la película me parece que es bastante arriesgada y no se si fue aquí que mi opinión se dividió un poco porque entra una banda de supervivientes liderados por Jimmy Crystal que se visten bastante raros y no sé si le vi mucho el sentido a esto pero bueno está allí, Jack OConnell es el que hace el papel de y parece un maniático. En la parte final aparecen haciendo parkour y matando infectados al ritmo de Teletubbies death metal estp me pareció algo absurdo pero creo que al final queda bien porque representa la locura completa de un mundo donde los supervivientes han perdido toda conexión con la realidad original. Para mí este final deja claro que esto es solo el comienzo de una historia más grande, con Spike alejándose de su isla donde nació para ir a explorar el continente.

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Yo le doy un 7.5/10 a 28 Years Later porque es una película tremenda que eleva el género zombie y a mi parecer Boyle demuestró que después de décadas sigue siendo un innovador capaz de sorprender y emocionar creando personajes bastante complejos que parecen reales, lo único es que tiene unas partes donde lo visual te distrae mucho y eso de la bande de tipos raros no me convenció mucho. Esta película funciona como una reflexión sobre la pérdida de inocencia, el peso del pasado y la necesidad de crear nueva esperanza en medio de la desesperación total, temas que son el día día de muchos y están presentes mucho más allá del terror superficial. Yo quiero dar mucho crédito a Boyle porque logró construir un mundo creíble donde la humanidad ha retrocedido a épocas medievales pero aún tiene algo de compasión y amor y todas las actuaciones son buenismas sobre todo la de Alfie Williams. Definitivamente 28 Years Later es la base para una trilogía que promete bastante con el cine de zombies definitivamenye la recomiendo.

[ENGLISH VERSION]

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It's been a few years, I don't know exactly how many but it must be more than fifteen years since Danny Boyle made 28 Days Later and now he comes with 28 Years Later, I think this sequel is brutal and completely redefines the zombie genre. I think this story can revolutionize horror cinema, I knew in the first minute that this was going to be great because Boyle has a style that is only his to deepen themes such as death, family love and the limits of human sacrifice. This is a post-apocalyptic world where Britain has been completely cut off from the rest of the world, for 28 years the infected have evolved in terrifying ways and created new species like alphas and worm-eating crawlers, but this wasn't the only thing that impressed me I don't know how he did it but Boyle balanced moments that are pure tension with emotional scenes, I mean the relationship between Spike and his parents that is full of lies, secrets and a desperate love to survive. I think this is the best because the story goes far beyond zombies running around, it makes you reflect on what it means to be human when the world is ending and how the new generations must find their own way without being stuck in the past.

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Alfie Williams plays Spike is practically a kid who never knew the world before the apocalypse, he lives on a small island with his father Jaime and his mom Isla who is very sick, it seems to me that Spike represents hope and curiosity while his parents have to carry the burden of remembering what life was like before all that chaos, when the dad takes Spike on his first hunting expedition he realizes that his dad had lied to him about his abilities as a warrior but everything is completely shattered when Spike discovers his dad being unfaithful with another woman in town and this betrayal is the trigger that propels him on a desperate journey to find Dr. Kelson, a man who is considered crazy by many but is the hope to cure his mother. The dad is Aaron Taylor-Johnson and Jodie Comer as Spike's mom all give tremendous performances.

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As for the visuals Boyle plays with techniques that at first threw me off a bit like those abrupt cuts to medieval times but as the story progressed I understood the whole purpose of it. I thought the zombies looked better than ever before with the alphas running around naked with everything in the air and it's a little disturbing. The action scenes are good also that effect when it is night and everything is creepy and makes your hair stand on end ah and the soundtrack at some point appears the death metal version of the Teletubbies theme here I did not know whether to laugh or scream in fear, it seems to me that all the effects that boyle used are good and that he managed to create a terrifying atmosphere showing the brutality of daily survival.

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The famous Dr. Kelson that Spike goes out to find is played by Ralph Fiennes and his performance that completely redefines what I expected from his character, because instead of being the classic bad guy I thought he was he turns out to be quite a humanitarian man who has created a temple of skulls to honor the dead, he has a very strange philosophy but I think it is with the intention of showing that even in the apocalypse or in the worst moment of a place compassion and respect for life can survive. The scene where he helps Spike's mom die gave me too much feeling even though it was necessary to show that there are different types of death and not everything is as we always see or believe. The third part of the movie seems to me to be quite risky and I don't know if it was here that my opinion was a bit divided because a band of survivors led by Jimmy Crystal enters who dress quite weird and I don't know if I saw much sense in this but well it's there, Jack OConnell is the one who plays the role of and he looks like a maniac. In the final part they appear doing parkour and killing infected to the rhythm of Teletubbies death metal estp seemed to me something absurd but I think in the end it looks good because it represents the complete madness of a world where the survivors have lost all connection with the original reality. To me this ending makes it clear that this is just the beginning of a bigger story, with Spike moving away from his island where he was born to go explore the mainland.

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I give 28 Years Later a 7.5/10 because it is a tremendous film that elevates the zombie genre and in my opinion Boyle proved that after decades he is still an innovator capable of surprising and thrilling by creating quite complex characters that seem real, the only thing is that it has some parts where the visuals are very distracting and the weird guy bande didn't convince me much. This film works as a reflection on the loss of innocence, the weight of the past and the need to create new hope in the midst of total despair, themes that are the daily lives of many and are present far beyond the superficial horror. I want to give Boyle a lot of credit because he managed to build a believable world where humanity has regressed to medieval times but still has some compassion and love and all the performances are great especially Alfie Williams. Definitely 28 Years Later is the basis for a trilogy that promises a lot with zombie movies and I definitely recommend it.

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