Longform reviews of films, TV, anime, books, and audiobooks, written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 60,039 reviews and counting.
Two years after the destruction of M3GAN, her original design is stolen and used to build a military-grade AI weapon that becomes self-aware and dangerous. To defeat her, Gemma (M3GAN’s creator) realises that she may have to rebuild a stronger, faster and more proficient M3GAN.
First of all, I am trying to write this with no form of bias at all. I loved the first part of M3GAN. She was quite lethal but I still loved her for some reason even when she turned loco. Maybe it was her dance. Anyway, this second part of this movie had double of everything. There was an attitude upgrade. M3GAN cracked me up so much with her micro-expressions and feisty side. She levelled up real fast. So much so that this movie went from horror to sci-fi/comedy.
The introduction of Amelia introduced various other facets like regulatory laws, AI friendly policies and all that stuff. It is frankly what we see with the changing world today. Amelia did not scare me. If anything she made the whole thing interesting. This movie was packed with action and I’m sorry for the horror/thriller fans expecting something of that nature.
Where do I begin with Gemma? She was annoying at some point and my goodness, I saw that twist coming. For some reason, I knew it would happen just as it did. You know, I think I’m now accustomed to so many movies like this that I can see the end from the beginning or at least part of it.
Cady didn’t have much scenes in this one. Every scene she had was focused on her Gemma controlled life and possible past traumas - courtesy of M3GAN. Still, I liked her. Although like every character that thinks they have it under control, she messed up.
Screenshot–Imdb
What I enjoyed so much about this movie was the action scenes and impromptu scenes – like M3GAN being reduced to a toy sized bot (I loved that part) or where she was dancing. Then the soundtracks were just right. I can’t tell what about them but they did the right job immersing me. That followed by the cinematography. The proper use and balance of lights and colors.
This movie is two hours long and while I don’t like movies that long, I enjoyed this one. It’s a 9/10 for me. While the storyline might have some loopholes, it was visually appealing. I was sold. Yes, I ended up being biased. Sue me!
I had a class a few days ago on intellectual property, and I found it incredibly intriguing. Intellectual property theft can come in diverse ways, and I thought to myself after a rather exhilarating class that I needed to see some fictional adaptation of intellectual property theft, whether by books or movies, and then I came across this one. I’d never seen it before, but I settled in for the ride, and what a ride it was!
Colette (2018)
It’s the end of the 19th century, and Sidonie-Gabrielle Colette, who comes from a rural French county, is having an affair with Willy. In time, Willy brings Colette to Paris and showcases her as his bride to all his elitist friends, who are bewildered that a man of Willy’s calibre is settling for marriage. While he employs ghostwriters to write books for him, he keeps Colette in charge of his letters.
Until he finds out that he’s unable to keep up with expenses due to his ostentatious habit of entertaining socialites and living beyond his means. After Colette tells him stories of her days as a schoolgirl, Willy concocts a rather devious plan. One where he is sure to always have his cake and eat it.
I’ve often heard that the truth is much more stranger than fiction, and I thought that to be bizarre till I started paying close attention to the things we often hear happen in real life, and I think to myself that if this were adapted into a fictional movie or book, the author would probably be cancelled for being psychotic, but here we are with this rather strange piece.
I didn’t have issues with the movie adaptation of the screenplay “Colette,” but I do think that it would have been much more invigorating to see if it were not so awfully British. No offence, I hope, but you would agree that if it were left as French, it would have been much more scintillating, as they are known for their liberalities, which would have been heavily incorporated into the movie.
Maybe that’s why, even with the stellar performance of Keira Knightley who played the role of Colette, I still thought she was rather woody and not as fluid with her role as I’d have liked, same with Dominic West, who following the screenplay, doesn’t seem to be a good match for the role of the narcissistic, cunningly devious yet undeniably charming man that was Willy. While there was an obvious mismatch in the casting, every other thing else seemed to work quite splendidly.
I will not lie, this is an enjoyable piece, and I was quite satisfied with the ending. Intellectual property theft is abominable, which is why, as a community, plagiarism is heavily frowned upon. The kind of movie that may not necessarily stay with you, but is several bundles of delight, nonetheless. A great piece. Hope you enjoy!
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The Judge from Hell is a supernatural and intriguing South Korean drama that follows the story of a ruthless demon who was sent to Earth to become a judge after she wrongfully condemned an innocent judge to eternal punishment.
Kang Bit-na (Park Shin-hye) was a judge on Earth who was wrongfully killed by a yet-to-be-discovered serial killer. A demon—Justitia, in hell whose job was to eternally punish people who did wrong and send them to hell, falsely punishes Bitna after her death, thinking she was a bad person. Justitia’s ruler—Bael, then exiled her to Earth for not doing her job properly, and taxed her with a mission of killing ten unrepentant souls within a year and returning to hell….failure to complete the mission within a year would result to her destruction.
Justitia then inhabited the body of dead Kang Bit-na, the dead judge, to accomplish this mission. Bitna then came back to life but with the spirit of a demon—Justitia in her. Justitia's underling in hell, Gu Man-do was sent also to Earth alongside her to help her in the mission.
Bit-na then returned as a judge, with her daily normal activities but with a different personality. Bit-na was known previously as a timid, kind judge but now she was seen as a courageous, ruthless, heartless judge. A lot of persons who knew Bit-na were surprised at her new personality and the transformation. To accomplish her mission, she gave light sentences to people who had committed grave crimes, released them and later killed and sent them to hell. Bit-na had no interest in serving justice in court as a judge, she had to accomplish her mission before the deadline given and that was all that mattered to her.
In no time, citizens started protesting against Judge Kang Bit-na, saying she didn't deserve to be a judge. It was then she met Han Da-on (Kim Jae-young), a quick-witted police officer with a down to earth approach about getting justice. This was in relation to his painful past. Da-on, unaware of Bit-na's true identity, became highly suspicious and started investigating the cases which related to her judgments…In those cases that she judged and freed major criminals, they always died mysteriously afterwards, with no single trace left.
While Da-on started these investigations, fate connected Bit-na and Da-on and love….happened.
However, Bit-na was a demon, did Da-on stay on after this realization? Did Da-on, who took an oath as a detective to bring justice always, compromise his office and support Bit-na in her killings?
Could Bit-na finish her mission or did she face destruction ultimately?
Review:
Park Shin‑hye popularly known as PSH shines in her dual role in which she was portrayed as Judge Bit‑na and Justitia. Sassy, cold, vengeful, her character was that of a true anti‑hero and has been acclaimed as one of the best of her works.
I loved that the bad guys got the treatment they deserved.
If you are in for pretty faces like Bit-na or handsome faces like Da-on, then this movie is for you. If you are in for a courtroom drama with supernatural additions and twists also, then this is a must watch. The Judge From Hell comprises of 14 episodes filled with suspense, making you stay glued to the screen. It is a solid watch, i must say!
9/10 is my rating. Available to watch on LokLok.
I am @edith-4angelseu and thank you for stopping by my neighbourhood.
This weekend I was able to rest a lot and watch several movies, among those I saw The Life of Chuck and it left me with very mixed feelings, it touches the heartstrings as if I were watching a documentary about human existence but in slow motion. Mike Flanagan is famous for his horror series and movies and it seems that he decided to change his line of work completely and adapted a short novel by Stephen King that talks about the daily life of an ordinary man. The movie tells the story of Chuck Krantz in a super strange way, starting at the end and ending in his childhood it reminded me a bit of The Curious Case of Benjamin Button, it's like it was a video that someone played backwards which at first confused me a bit but then I understood that it makes sense because that's how we remember our lives, jumping from one moment to another without a chronological order. Tom Hiddleston appears on the posters as if he is the main character but the reality is that he is on screen for about twenty minutes, so if you expect to see a Tom Hiddleston movie you are going to be disappointed, I think you have to watch this movie with an open mind to enjoy it and find something very special.
Este fin de semana pude descansar bastante y ver varias pelis, entre esas vi The Life of Chuck y me dejó con sentimientos muy mezclados toca bastante la fibra sensible parece que ewstuviera viendo un documental sobre la existencia humana pero en cámara lenta. Mike Flanagan es famosos por las series y películas de terror y parece que decidió cambiar completamente de ramo y adaptó una novela corta de Stephen King que habla de la vida cotidiana de un hombre común y corriente. La película cuenta la historia de Chuck Krantz de una manera super extraña, empezando por el final y terminando en su infancia me recordó un poco a The Curious Case of Benjamin Button, es como si fuera un video que alguien puso al revés lo cual al principio me confundió un poco pero después entiendí que tiene sentido porque así es como recordamos nuestras vidas, saltando de un momento a otro sin un orden cronológico. Tom Hiddleston aparece en los carteles como si fuera el protagonista pero la realidad es que está en pantalla como unos veinte minutos, así que si esperas ver una película de Tom Hiddleston vas a quedar decepcionado, creo que esta peli hay que verla con la mente abierta para disfrutarla y encontrar algo muy especial.
Flanagan structured the story in three acts that go back in time, this caught my attention, one starts with a worldwide apocalypse where billboards appear saying Thank you Chuck for 39 great years and no one knows who the hell that Chuck is, while the world is ending with California falling into the ocean and volcanoes exploding everywhere. Chiwetel Ejiofor and Karen Gillan play a separated couple trying to reconnect during these last days of humanity, it made me think if this would happen in real life, sometimes we take people for granted and this actually made me think quite a bit. Speaking of the second part comes Chuck as an adult, played by Hiddleston who is a bored accountant who one day sees a young girl playing drums in the street and decides to start dancing like there is no tomorrow, creating this magical moment that connects with strangers and reminds you of those spontaneous moments that make life worth living. Then comes the first act which chronologically would be the last, which features Chuck as a child living with his grandparents after his parents died in an accident and this is where Mark Hamill shows up giving an amazing performance as the alcoholic grandfather who teaches the boy math while he struggles with his own demons. The grandparents' house has a room in the attic that is forbidden to be opened because there is supposedly something malevolent in there, which is very typical Stephen King but in this story works more as a metaphor for family trauma than anything actual supernatural.
Flanagan estructuró la historia en tres actos que van hacia atrás en el tiempo, esto me llamó bastante la atención, uno empieza con un apocalipsis mundial donde aparecen vallas publicitarias que dicen Gracias Chuck por 39 grandes años y nadie sabe quién diablos es ese Chuck, mientras el mundo se está acabando con California cayendose al océano y los volcanes explotando por todos lados. Chiwetel Ejiofor y Karen Gillan interpretan a una pareja separada que trata de reconectarse durante estos últimos días de la humanidad, me hizo pensar en si esto pasara en la vida real, a veces damos por sentado a las personas y esto la verdad me hizo reflexionar bastante. Hablando de la segunda parte aparece Chuck de adulto, interpretado por Hiddleston que es un contador aburrido que un día ve a una joven tocando la batería en la calle y decide ponerse a bailar como si no hubiera un mañana, creando este momento mágico que conecta con desconocidos y que te recuerda esos momentos espontáneos que hacen que la vida valga la pena. Luego viene el primer acto que cronológicamente sería el último, donde aparece Chuck de niño viviendo con sus abuelos después de que sus padres murieron en un accidente y aquí es donde Mark Hamill aparece haciendo una actuación increíble como el abuelo alcohólico que le enseña matemáticas al niño mientras lucha con sus propios demonios. La casa de los abuelos tiene un cuarto en el ático que está prohibido abrir porque supuestamente hay algo malévolo ahí dentro, lo cual es muy típico de Stephen King pero que en esta historia funciona mas como metáfora de los traumas familiares que como algo sobrenatural real.
I didn't recognize Mark Hamill here, he is fat and with a lot of beard he gives a monologue about mathematics that I loved, I think he should be nominated for an Oscar with this performance. Mia Sara is the grandmother and she plays her role with a lot of tenderness, especially when she teaches little Chuck to dance after coming out of a deep depression caused by the death of her son. Nick Offerman is the one who narrates throughout the film and although his voice is perfect for this many times I felt he was explaining too much instead of letting the images speak for themselves, I was a bit annoyed by this part. Jacob Tremblay is one of the young versions of Chuck and Lillard and David Dastmalchian also appear in some brief moments. What I liked most about the movie is the way it connects the three acts through small details, like a girl on roller skates that appears at different times or the constellations that Chuck sees as a child and then appear in the apocalypse, it seems that everything is connected in a cosmic way.
No reconocí a Mark Hamill aquí, está gordo y con mucha barba da un monólogo sobre las matemáticas que me encantó, yo creo que debería estar nominado al Oscar con esta actuación. Mia Sara es la abuela y hace su papel con mucha ternura, especialmente cuando enseña a bailar al pequeño Chuck después de salir de una depresión profunda causada por la muerte de su hijo. Nick Offerman es quien narra durante toda la película y aunque su voz es perfecta para esto muchas veces sentí que estaba explicando demasiado en lugar de dejar que las imágenes hablaran por si solas, me fastidio un poco esta parte. Jacob Tremblay es una de las versiones jóvenes de Chuck y Lillard y David Dastmalchian también aparecen en alguos momentos breves. Lo que más me gustó de la peli es la forma como conecta los tres actos a través de pequeños detalles, como una niña en patines que aparece en diferentes momentos o las constelaciones que Chuck ve de niño y que después aparecen en el apocalipsis, parece que todo está conectado de una forma cósmica.
This movie requires a lot of patience and desire to reflect on life, death and everything in between, it's like a visual meditation on human existence, I think it's not for everyone, I think some people might find it boring, it all depends on the expectations or mood you have, it made me cry a lot, I don't know if it's because I'm sensitive. If you go to see it don't expect a traditional movie but rather something that makes you think about your own life and the small moments that make it special, those moments that seem insignificant but in the end are the ones that really matter as a friend says the small details are the ones that count. There is a part where Hiddleston dances and it lasts about ten minutes to me it caught me but I insist it is not a movie for everything, I think it can bore some people that's why you have to be calm to watch it, the main message is that all our lives contain multitudes and that every person we meet, every experience we live becomes part of us forever.
Esta película requiere de mucha paciencia y ganas de reflexionar sobre la vida, la muerte y todo lo que está en el medio, es como una meditación visual sobre la existencia humana, yo creo que no es para todos me parece quie a algunos los puede aburrir, todo depende de las expectativas o estado de ánimo que tengas, a mí me hizo llorar bastante no sé si es porque estoy sensible. Si la vas a ver no esperes una película tradicional sino mas bien algo que te hace pensar en tu propia vida y en los momentos pequeños que la hacen especial, esos instantes que parecen insignificantes pero que al final son los que realmente importan como dice una amiga los pequeños detalles son los que cuentan. Hay una parte donde Hiddleston baila y dura como diez minutos a mí me atrapó pero insisto no es una peli para todo, creo que puede aburrir a algunos por eso hay que estar tranquilo para verla, el mensaje principal es que todas nuestras vidas contienen multitudes y que cada persona que conocemos, cada experiencia que vivimos se convierte en parte de nosotros para siempre.
My score for The Life of Chuck is 7.5/10 because it is one of those movies that makes you reflect, it made me confront my life and the way I am living it, I liked that Mike Flanagan did something different from his previous works I mean he went out of horror and it looked very good. The performances are also good but I have to warn you that this is a movie that is not going to work if you are looking for action, suspense or traditional entertainment, now if you are in a moment in your life where you need to reflect or feel lost it may be what you need to see and although it may seem a little long I think that is the intention, because real life also feels long and sometimes boring until suddenly something magical happens that changes everything and I think in the end we are always waiting for that magic moment to come.
Mi puntuación para The Life of Chuck es 7.5/10 porque es de esas películas que te hace reflexionar, me hizo confrontar mi vida y la forma en la que la estoy viviendo, me gustó que Mike Flanagan hizo algo diferente a sus trabajos anteriores digo que se salió del terror y quedó muy bien. Las axctuaciones también son buenas pero tengo que advertirte que esta es una película que no va a funcionar si buscas acción, suspenso o entretenimiento tradicional, ahora si estás en un momento de tu vida donde necesitas reflexionar o te sientes perdido puede ser lo que necesitas ver y aunque pueda parecer un poco larga creo que esa es la intención, porque la vida real también se siente larga y a veces aburrida hasta que de repente pasa algo mágico que lo cambia todo y creo que al final siempre estamos esperando a que llegue ese momento mágico.
Written by: David Simon
Directed by: Clark Johnson
Running Time: 44 minutes
By the time Homicide: Life on the Street reached its seventh and final season in 1998, fans had grown vocal in their belief that the show had strayed from its gritty, grounded portrayal of police work in Baltimore. Critics argued that the series had become overly reliant on melodrama and plot contrivances, losing the documentary-like authenticity that once set it apart. While these accusations were often met with defensive silence from the production team, David Simon, creator of the 1988 non-fiction book Homicide: A Year on the Killing Streets (the show’s foundational text), offered a pointed rebuttal through The Twenty Percent Solution, an episode that balanced fictional invention with real-world inspiration. Though its plot veered into territory far removed from the mean streets of Baltimore, Simon’s script demonstrated a deliberate, if uneven, attempt to reconcile the show’s artistic ambitions with its roots in journalistic realism.
When Simon wrote The Twenty Percent Solution, he occupied a unique position in Baltimore’s literary landscape. While Tom Clancy, the godfather of techno-thrillers, remained the city’s most celebrated author—his The Hunt for Red October and Patriot Games having cemented his status as a global phenomenon—Simon was emerging as a formidable rival in the realm of socially conscious storytelling. Clancy’s empire, however, faced turbulence during the episode’s development: his bitter divorce from first wife Wanda King became a tabloid sensation, with the couple’s legal battle over assets and intellectual property dominating headlines in The Baltimore Sun. Simon, a former reporter for that same newspaper, seized on the scandal as inspiration, transposing its elements into a fictionalised narrative that interrogated celebrity, power, and betrayal.
The episode opens with a mystery involving L. P. Everett (Richard Warner), a bestselling author of Cold War thrillers whose work has been adapted into blockbuster films. His glamorous wife, Darlene (Patti d’Arbanville), arrives at the homicide unit to report his disappearance, claiming he was murdered by his agent, Jake Benedek (Joe Urla). A cryptic video message left by Everett corroborates her story, but detectives Laura Ballard (Callie Thorne) and Stuart Gharty (Peter Gerety) are sceptical—no body has been found, and Darlene’s claims are undercut by the revelation that Everett may have fled the city with his mistress, Claudette Pinchot (Carla Bianchi). The detectives’ investigation deepens when they uncover signs of violence in Everett’s office and trace the culprit to Grenville Rawlins (Tom Atkins), a former CIA operative turned janitor, who murdered Everett over a plagiarism dispute. Though Assistant State’s Attorney Danvers (Željko Ivanek) lacks concrete evidence, the prosecution’s case takes a dramatic turn during the trial, when defence attorney Darrin Russom (Michael Willis) inadvertently undermines his client through hubris, leading the jury to convict Rawlins and Benedek. The episode concludes with the homicide unit celebrating a rare victory in a “redball” case, a stark contrast to their usual struggles.
Parallel to the Everett plot, Detectives John Munch (Richard Belzer) and Tim Bayliss (Kyle Secor) investigate the death of an 88-year-old woman who suffered a fatal heart attack after encountering a burglar in her home. Munch, already irked by the case’s disruption to his plans with girlfriend Billie Lou, argues that the death should be ruled accidental. Bayliss insists on pursuing it as homicide, prompting a tense debate over the ethics of over-investigation. The medical examiner, Dr. George Griscom (Austin Pendleton), refuses to confirm a cause of death, leaving the detectives in limbo. When the burglar—a repeat offender—is finally apprehended, he expresses genuine concern for the woman’s wellbeing, leading Munch and Bayliss to conclude the case without informing him of her death.
The episode also touches on the ongoing romantic tension between Detective Paul Falsone (Jon Seda) and Detective Ballard, with the former finally confronting the fact that the latter is infatuated with him.
At its core, The Twenty Percent Solution is a satirical commentary on the literary world, contrasting Simon’s gritty realism with the fantastical escapism of Clancy’s novels. While the plot suffers from minor missteps—such as anachronistic references to Cold War espionage (e.g., Mike Giardello’s role in exposing Aldrich Ames, a detail alien to those unfamiliar with the case) and a gratuitous catfight between Darlene and Claudette—the narrative remains engaging thanks to sharp dialogue and strong performances. Patti d’Arbanville, best known as the muse of Cat Stevens, delivers a standout turn as the glamorous Darlene, while Tom Atkins imbues Rawlins with a chilling mix of competence and menace. The courtroom climax, in which the defence’s overconfidence backfires spectacularly, ranks among the series’ most memorable sequences, blending procedural tension with darkly comic irony.
Though The Twenty Percent Solution never reaches the heights of Homicide’s earlier classics, it stands out as one of the final season’s brighter moments. Simon’s willingness to engage with critics and explore unconventional territory reflects the show’s enduring ambition, even as its later episodes faltered. The episode’s flaws—its tangential plot threads and occasional tonal whiplash—are outweighed by its wit, its nods to Baltimore’s cultural landscape, and its reminder that Homicide could still surprise audiences with its intellectual daring.
Soy una persona a la que le gustan las criptomonedas, decidí hacer de esto un estilo de vida y quiero enseñarle al mundo como pueden vivir sin invertir en esto.
⚠️ Advertencia de Spoilers: El contenido de este post incluye información detallada de eventos importantes del anime Tensei Shitara Slime Datta Ken. Si aún no has visto los capítulos más avanzados, te recomiendo guardar este post para más adelante.
⚠️ Spoiler Warning: This post contains detailed information about key events from the anime Tensei Shitara Slime Datta Ken. If you haven't watched the later episodes yet, I suggest saving this post for later.
Hola gente, ¿cómo están? Yo soy Nahuel Da Ré y les traigo un nuevo post lleno de aventuras, magia y seres increíbles del mundo de Tensei Shitara Slime Datta Ken. Hoy exploraremos una de las facciones más siniestras y misteriosas de este universo: la Alianza de Arlequines Moderados. Si creías que lo habías visto todo en el Reino de Tempest, prepárate para descubrir un lado mucho más oscuro y manipulador, encabezado por uno de los villanos más intrigantes: Clayman.
Hey everyone, how's it going? I'm Nahuel Da Ré and I bring you a new post full of adventure, magic, and incredible beings from the world of Tensei Shitara Slime Datta Ken. Today we will dive into one of the most sinister and mysterious factions in this universe: the Moderate Harlequin Alliance. If you thought you'd seen it all in the Kingdom of Tempest, get ready to discover a much darker and manipulative side, led by one of the most intriguing villains: Clayman.
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👑 Clayman, el Maestro Títere / Clayman, the Puppet Master
Clayman, uno de los Reyes Demonio más intrigantes y manipuladores de Tensei Shitara Slime Datta Ken, se presenta como una figura elegante, de movimientos calculados y sonrisa constante, que oculta sus verdaderas intenciones bajo una máscara de cortesía.
Clayman, one of the most intriguing and manipulative Demon Lords in That Time I Got Reincarnated as a Slime, appears as an elegant figure with calculated movements and a constant smile, hiding his true intentions behind a mask of politeness.
Se autodenomina el "Maestro Títere" y forma parte de la Alianza de Arlequines Moderados, una organización sombría que mueve los hilos desde las sombras con objetivos que van mucho más allá de lo aparente.
He calls himself the "Puppet Master" and is a member of the Moderate Harlequin Alliance, a shadowy organization pulling the strings from behind the scenes with goals that go far beyond what they seem.
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🧠 Un estratega peligroso / A Dangerous Strategist
Clayman es peligroso no solo por su poder mágico sino por su astucia. Prefiere manipular a otros para que hagan el trabajo sucio por él, utilizando subordinados, bestias y trampas políticas. En múltiples ocasiones, intenta hacer caer a Rimuru en emboscadas cuidadosamente planificadas.
Clayman is dangerous not just because of his magical power but due to his cunning. He prefers manipulating others to do the dirty work for him, using subordinates, beasts, and political traps. On several occasions, he tries to trap Rimuru in carefully planned ambushes.
Su obsesión por ascender a un rango más alto dentro de los Reyes Demonio lo lleva a cometer actos atroces, incluyendo sacrificios masivos para activar rituales oscuros.
His obsession with rising to a higher rank among the Demon Lords drives him to commit heinous acts, including massive sacrifices to activate dark rituals.
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🐉 Caligdis, la Bestia Calamidad / Caligdis, the Calamity Beast
Uno de los recursos más letales utilizados por Clayman es Caligdis, una criatura marina voladora con forma de mantarraya gigante, clasificada como una "Bestia Calamidad" por su enorme poder destructivo.
One of the deadliest resources used by Clayman is Caligdis, a flying marine creature resembling a giant manta ray, classified as a "Calamity Beast" due to its massive destructive power.
Caligdis no solo posee fuerza bruta, sino también un aura mágica densa que altera el entorno a su alrededor. Es invocado por Clayman con el objetivo de desatar el caos sobre Tempest.
Caligdis not only possesses brute strength but also a dense magical aura that alters the environment around it. It is summoned by Clayman with the goal of unleashing chaos upon Tempest.
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Los Megalodones Aéreos
The Aerial Megalodons
Acompañando a Caligdis están cinco megalodones gigantes que pueden nadar en el aire gracias a la magia. Estas criaturas actúan como su escolta y fuerza ofensiva, capaces de devorar tropas enteras con un solo ataque.
Accompanying Caligdis are five giant megalodons capable of swimming through the air thanks to magic. These creatures act as his escort and offensive force, able to devour entire troops in a single attack.
La llegada de Caligdis y sus bestias marca uno de los momentos más tensos de la serie, revelando el alcance del poder militar y mágico que Clayman está dispuesto a usar para lograr sus fines.
The arrival of Caligdis and his beasts marks one of the tensest moments of the series, revealing the extent of the military and magical power Clayman is willing to use to achieve his goals.
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🎭 Los Arlequines Moderados y sus miembros clave / The Moderate Harlequin Alliance and Its Key Members
La Alianza de Arlequines Moderados está compuesta por individuos enigmáticos con máscaras y atuendos teatrales. Cada uno representa una emoción o rol arquetípico, como la Locura, la Tristeza o la Crueldad.
The Moderate Harlequin Alliance is composed of enigmatic individuals with theatrical masks and outfits. Each one represents an emotion or archetypal role, such as Madness, Sadness, or Cruelty.
Entre los miembros más destacados están Footman, el payaso de la Crueldad, y Tear, la payasa de la Tristeza. Ambos muestran una fidelidad inquebrantable a Clayman y disfrutan del caos que generan.
Among the most notable members are Footman, the Clown of Cruelty, and Tear, the Clown of Sadness. Both show unwavering loyalty to Clayman and delight in the chaos they cause.
Estos personajes cumplen funciones de infiltración, manipulación emocional y destrucción, y son expertos en sembrar el caos sin necesidad de levantar un arma directamente.
These characters serve roles of infiltration, emotional manipulation, and destruction, and are experts in sowing chaos without directly lifting a weapon.
🫂 Agradecimientos especiales / Special thanks
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Quiero agradecer especialmente a @osomar357, @alicia2022 y @akrros por su constante apoyo a mis publicaciones, y también a las comunidades de #ecency y #mundovirtual por su paciencia mientras adquiero más poder de voto para ayudarlos.
I want to give a special thanks to @osomar357, @alicia2022, and @akrros for their constant support of my publications, and also to the #ecency and #mundovirtual communities for their patience as I gain more voting power to help them.
Créditos
Credits
Las imágenes fueron creadas con IA representando a Nahuel Da Ré, el texto fue escrito por @nahueldare3627, con formato, traducción y maquetado asistido.
Images were AI-generated representing Nahuel Da Ré, text written by @nahueldare3627, with formatting, translation and layout assistance.
I initially heard of The Beginning After the End (TBATE) as an English-language web novel and webtoon in Tapas. I was hooked on its premise immediately: a great king, Grey, reincarnated as a little boy, Arthur Leywin, in a magical kingdom, who is hell-bent on righting his wrongs and creating a gentler world of the future. I was excited, and wary, when I heard that Crunchyroll and Fuji TV would at last animate it in their +Ultra block. Being an admirer of well-done fantasy I was hoping it would give me the careful world-building and grown-up magic system the source promised.
The story of Arthur Leywin starts in the two lives. In the first, he was King Grey, powerful, honoured, yet frigid. He is reborn in Dicathen after a tragic death, keeping his memories of the past. Having been born to retired adventurers, Arthur develops as a prodigy with a narrow mental approach to a wise leader who has a desire to end the chain of power and self-regret. He does not only learn magic and fighting, but also shows kindness, empathy, and the meaning of living along with dragons, elves, friends such as Tessia and Virion, and dangerous threats.
I will not lie Arthur made me stay. His development as an emotionally mature person and reflective narration contribute to empathy. The addition of such characters as Tessia and Virion were quite believable, and the interaction between them made sense and founded fantasy in connection. When Arthur fails, in learning magic or in getting to know how to relate, I was with him. That is not common in most isekai.
It is almost as though Arthur should have received a second chance and Arthur reminded me that second chances are very healing. The viewer can identify with a character who wants to improve.
The sympathy between Arthur and his friends in Dicathen-I could feel their relationships as real, despite not always seeing what matched. It is their humanity that dragged the magic off the screen.
The experience of watching TBATE was similar to supporting a young prince in his quest to obtain a better future than the one he had. I was interested in spite of the so-called PowerPoint animation. With every thoughtful line Arthur jumped out of the screen. I mocked his innocence, sympathized with his sense of guilt and rejoiced when he at last discovered that being kind is better than being strong.
I was also protective, even angry, as there were echoes of petitions such as to cancel it, about its worth. The reason why a story is worth adapting is not only because of the animation but the heart. This show is heartwarming. It is profound. It only requires a studio worthy of its spirit.
Additionally, not seeing any fillers in emotional scenes, such as missed internal dialogue, was painful as well. However, when the show managed to nail those emotional moments, it was memorable. It reminded me why I should utilize storytelling rather than style.
The Beginning After the End is a good story with actual emotional weight, marred only by inconsistent animation. It is a crude diamond- you have to expect something other than a spectacle.
To the story: It is worth it. The development of Arthur, detail in the magic world, considerate use of backstory, and emotional scenes such as the dream-like reunion indicate what television adaptation can be.
To the visuals: Intend to forgive. The frames are immobile, the combats are insufficiently elaborated. Nevertheless, there are still glimpses of actual visual story telling.
To fans: If you want to make a difference: be constructive with what you say- signing petitions helps, but so does being positive to the anime where it does well.
Thumbnail is designed by me on pixelLab and other images are screenshot from the movie
All the pictures in this post were taken directly from the movie by me
Succession is one of my favorite series of recent years, and this is largely due to Jesse Armstrong's excellent work on the script. The idea of following the story of a family that owns a media conglomerate and is searching for the heir to this empire was the perfect vessel for a satire that depicted the profound disconnect between the truly privileged class and the common citizen.
However, this never deprived the project of its heart, introducing us to a host of characters we could empathize with and connect with, even though they appeared to inhabit a very different reality than our own. "Mountainhead" is a project that takes a very similar starting point, and in thematic and audiovisual terms, it even dares to repeat several of the same notes (for example, Nicholas Britell is once again in charge of the musical pieces that accompany us). Unfortunately, while the relentless pace of Armstrong's script and direction is still present, making it virtually impossible to be bored with the final result, Mountainhead seems to lack this heart, and, as a result, the lack of subtlety in its own satire weighs a little more heavily on us.
While in the first half hour of its running time, I thought this was a direct consequence of not understanding half of what its protagonists were saying (who, by the way, are brilliantly played by Steve Carrell, Jason Schwartzman, Cory Michael Smith, and Ramy Youssef), as the minutes passed, I began to discern the true direction its plot would take, something much closer to an episode of Black Mirror (from the later seasons) than to the brilliant story of the Roy family.
However, I repeat, I don't think this is something that affects my ability to enjoy it; it's just that it fails to bridge this gap between another HBO exclusive and genuinely quality cinema.
It's fun, and it makes good use of the morbid curiosity generated by seeing four filthy rich tech geniuses end up destroying each other, but, although it exploits a relatively "new" trope, for some reason we feel like we've seen this story hundreds of times, while examples like Succession, Silicon Valley, or even Black Mirror itself, have done it much better.
It's visually appealing, and I like the idea that at least 90% of the film takes place in the same location—a cold mansion in the middle of nowhere. I also appreciate how incredibly realistic and relatable certain moments feel (especially when it comes to the risks of artificial intelligence). I don't know if I'd watch it again, but at least I endured finishing it.
This score was taken directly from my letterboxd account
Hello everyone, my friends, fans of good stories, I hope you are doing great today, this time, I want to talk to you about a rather curious film... or I will give you my personal opinions on the film: Furiosa and we need to talk... well, I was a big fan of Mad Max: Fury Road, I mean, it wasn't just a movie, it was an experience... it blew my mind, set the action bar really high, all that, I still remember leaving the cinema completely shocked, thinking "But how the hell did they do that?". It was perfect, a masterpiece, truly one of those that stays in your memory like few others today... it won six Oscars and, honestly, it deserved more... so, the million dollar question, the one we were all asking ourselves: Is Furiosa as good as Fury Road?
Let's get this out of the way now... well no, it isn't... honestly, expecting it to be could lead to disappointment... the thing is, Fury Road left some huge shoes!, almost impossible to fill, and Furiosa, although it's very good on its own, simply doesn't reach that level, it's something else, totally different, and I think that's the key to seeing it. If you wait for Fury Road Part 2: The Pre-Sequel, you might come out feeling kind of... weird, but "different" doesn't mean "bad", not at all, I was really looking forward to this one, it was at the top of my list for 2024... I wanted to love it, to come out with that same brutal energy, and I didn't exactly get that, but I still had a great time... it's definitely a movie to watch on a Sunday to entertain ourselves.
Hola a todos, amigos fanáticos de las buenas historias, espero que hoy estén genial, en esta ocasión, quiero hablarles de una película bastante curiosa.. o les daré mis opiniones personales sobre la película: Furiosa y tenemos que hablar.. bueno, yo fui un gran fanático de Mad Max: Fury Road, o sea, no era solo una peli, era una experiencia.. me voló la cabeza, puso la vara de la acción altísima, todo eso, todavía me acuerdo de salir del cine completamente flasheado, pensando "¿Pero cómo carajos hicieron eso?". Era perfecta, una obra maestra, de verdad de esas que se te quedan grabadas como pocas hoy en día.. se llevó seis Oscars y, la verdad, merecía más.. así que, la pregunta del millón, la que todos nos veníamos haciendo: ¿Está Furiosa tan buena como Fury Road?
Vamos a sacarnos esto de encima ya.. pues no, no lo está.. sinceramente, esperar que lo esté te puede llevar a decepcionarte.. es que Fury Road dejó unos zapatos ¡gigantes!, casi imposibles de llenar, y Furiosa, aunque está muy buena por sí misma, simplemente no llega a ese nivel, es otra cosa, totalmente distinta, y creo que esa es la clave para verla. Si esperas Fury Road Parte 2: La Pre-Secuela, tal vez sales sintiéndote medio... raro, pero "distinto" no significa "malo", para nada, yo le tenía muchísimas ganas a esta, estaba top en mi lista para el 2024.. quería amarla, salir con esa misma energía brutal, y no conseguí exactamente eso, pero igual la pasé súper bien.. definitivamente es una película para ver un domingo para entretenernos.
So, what's it about? Well, it's exactly what it promises: Furiosa's origin story... remember how in Fury Road she mentioned so quickly about the "Green Place," that she was kidnapped as a child, that she tried to escape? That explanation that lasted like two minutes? Well, this movie takes that and stretches it out for two and a half hours, yes, it's long, like half an hour longer than Fury Road... it tells you about 15 years of her life, from when she was that little girl taken from her paradise until she becomes... well, something closer to the Imperator we already knew. Since it covers so much time, the structure is totally different from that relentless, full-throttle chase, this one feels more like a saga, an epic adventure. It's even divided into chapters, and even has a narrator who appears every so often.
And that, obviously, changes the pace. Fury Road was a pure adrenaline rush; Furiosa gives you a break, sometimes maybe too much... the first hour, honestly, feels less like Furiosa's story and more like "The Incredible Adventures of Doctor Dementus in the Wasteland", which is the villain played by Chris Hemsworth... and since we're talking about Dementus... let's talk about Chris Hemsworth. Look, the first impression? The nose, seriously, the fake nose distracted me a lot at first... it threw me off, you know? It reminded me a bit of Steve Carell in Foxcatcher, I couldn't stop looking at his makeup. If you add to that the fact that the character is quite loud, almost like a cartoon cynic, it was a bit hard to take him seriously at first. Did it feel kind of... cartoonish at first?
It's like Hemsworth was having a really good time, with a kind of Thor after Ragnarok but in the desert vibe... but, mind you, I have to say that as the film progressed, and Dementus sort of became more experienced in the world, Hemsworth got a better grasp of the tone, he puts a different energy into it, and it's good to see him do something different than usual, but yeah, that first hour, I was more focused on his nose and how his acting was a little over the top than anything else. Did that happen to anyone else, or was it just me?
Entonces, ¿de qué va? pues, es exactamente lo que promete: la historia de origen de Furiosa.. se acuerdan cómo en Fury Road mencionó así rapidito lo del "Lugar Verde", que la secuestraron de chiquita, que trató de escapar? ¿Esa explicación que duró como dos minutos? Bueno, esta película agarra eso y lo alarga por dos horas y media, sí, es larguita, como media hora más que Fury Road.. te cuenta como 15 años de su vida, desde que era esa niñita que sacaron de su paraíso hasta que se convierte... bueno, en algo más cercano a la Imperator que ya ubicamos, como abarca tanto tiempo, la estructura es totalmente distinta a esa persecución sin descanso, a full, esta se siente más como una saga, una aventura épica, incluso está dividida como en capítulos, y hasta tiene un narrador que aparece cada tanto.
Y eso, obvio, le cambia el ritmo, Fury Road era un subidón de adrenalina pura; Furiosa te da un respiro, a veces quizás demasiado.. la primera hora, sinceramente, se siente menos la historia de Furiosa y más como "Las Increíbles Aventuras del Doctor Dementus en el Páramo", que es el villano que hace Chris Hemsworth.. y ya que hablamos de Dementus... hablemos de Chris Hemsworth. Miren, ¿la primera impresión? La nariz, en serio, la nariz postiza me distrajo un montón al principio.. me sacaba de onda, ¿saben? Me recordó un poco a Steve Carell en Foxcatcher, que no podía dejar de mirarle el maquillaje, si a eso le sumas que el personaje es bastante gritón, casi como un cínico de caricatura, me costó un poco tomarlo en serio al principio. ¿Se sentía medio... caricaturesco al principio?
Como si Hemsworth la estuviera pasando demasiado bien, con una onda medio Thor después de Ragnarok pero en el desierto este.. pero, ojo, tengo que decir que conforme avanzó la película, y Dementus como que se va curtiendo por el mundo, Hemsworth le agarró mejor la onda al tono, le mete una energía distinta, y está bueno verlo hacer algo diferente a lo de siempre, pero sí, esa primera hora, yo estaba más pendiente de su nariz y de que su actuación estaba un poquito pasada de vueltas que de otra cosa. ¿A alguien más le pasó eso, o fui solo yo?
But Anya Taylor-Joy as Furiosa... Wow, how good she is... obviously, Charlize Theron set the bar very high, a mark impossible to erase, but Anya owns the role, and it's super interesting because, it seems that George Miller didn't want to give her many dialogues, right? He trusted her expressions, her gaze, to say everything... and he does it perfectly, you see the trauma, the strength to continue, how she plots everything in her head, just with her gaze. There's also the youngest actress, Alyla Browne, who plays Furiosa as a child, and she's also fantastic, she conveys extremely well that fear and that toughness that she begins to have, you totally believe the transition from one to the other...
One of the best things about Furiosa, by far, is how it expands the entire Mad Max universe. Fury Road was incredible, but almost everything happened in the Citadel and in that chase in the desert. Here? We get to see places we’d only heard about before, like Gastown and the Bullet Farm, but in much more detail. We learn more about the different factions, the… politics? if you can call it that, of the Wasteland, the wars that are always on (like the “40 Day Wasteland War” – although, what a shame!, they tell us this super epic war more than anything in a quick montage instead of showing it properly, this kind of expanding the story, as a fan, it really excited me. The world feels much bigger, more complete now, the production design, the details in each frame… it’s incredible.
And the visuals? Well, here’s another difference, Fury Road felt so… real, so physical, even with its crazy stunts, mostly because of how they used practical effects. Furiosa uses a lot more CGI, computer effects, it’s not that it’s CGI Bad, a lot of it looks spectacular, but you do notice you lose a bit of that raw, dusty realism. Some backgrounds look a bit too clean, very digital... there were times when I thought: "Ah, that's computer..." It gives the film a slightly different vibe, perhaps more fantasy, less grounded than the previous one. Does it ruin the film? No, but if you loved that super practical vibe of Fury Road, you'll notice the difference here... but don't worry, the action is still totally crazy! George Miller hasn't lost his touch at all, there are sequences in this film that leave you speechless: car chases, fights, massive vehicle attacks that are pure chaos and creativity... there's a long sequence, I think it's an attack on a War Truck, that they say took months to film, and you can see why! It's spectacular! The camerawork is wild, super daring, it puts you right there in the middle of all the mayhem.
Pero Anya Taylor-Joy como Furiosa... Wow, qué buena es.. obvio, Charlize Theron dejó la vara altísima, una marca imposible de borrar, pero Anya se adueña del papel, y es súper interesante porque, parece que George Miller no quería darle muchos diálogos, ¿no? Confiaba en sus expresiones, en su mirada, para decirlo todo.. y lo logra perfecto, le ves el trauma, la fuerza para seguir, cómo maquina todo en su cabeza, solo con la mirada. También está la actriz más chiquita, Alyla Browne, que hace de Furiosa de niña, y también es fantástica, transmite súper bien ese miedo y esa dureza que empieza a tener, te crees totalmente el paso de una a la otra..
Una de las mejores cosas de Furiosa, de lejos, es cómo expande todo el universo de Mad Max. Fury Road era increíble, pero pasaba casi todo en la Ciudadela y en la persecución esa en el desierto. ¿Aquí? llegamos a ver lugares de los que antes solo habíamos oído hablar, como Gastown (la Ciudad Gasolina) y la Granja de Balas, pero con mucho más detalle.. aprendemos más de las distintas facciones, de la... ¿política?, si se le puede decir así, del Páramo, de las guerras que siempre hay (como la "Guerra de los 40 Días del Páramo" – aunque, ¡qué lástima!, nos cuentan esta guerra súper épica más que nada en un montaje rápido en vez de mostrarla bien, esta onda de expandir la historia, a mí como fan, me emocionó un montón, la verdad. El mundo se siente mucho más grande, más completo ahora, el diseño de producción, los detalles en cada cuadro... es increíble.
Y lo visual? Bueno, acá hay otra diferencia, Fury Road se sentía tan... real, tan física, incluso con sus acrobacias de locos, más que nada por cómo usaron efectos prácticos.. Furiosa usa mucho más CGI, efectos por computadora, no es que sea CGI malo, mucho se ve espectacular, pero sí se nota pierdes un poco de ese realismo así crudo, lleno de polvo. Algunos fondos se ven medio limpios de más, muy digitales.. hubo momentos en que pensé: "Ah, eso es compu".. le da a la peli una vibra un poco distinta, quizás más de fantasía, menos pegada al suelo que la anterior. ¿Arruina la peli? No, pero si te encantó esa onda súper práctica de Fury Road, vas a notar la diferencia acá.. pero tranquilos, la acción sigue siendo una ¡locura total! George Miller no perdió el toque para nada, hay secuencias en esta peli que te dejan con la boca abierta: persecuciones de autos, peleas, ataques masivos con vehículos que son puro caos y creatividad.. hay una secuencia larga, creo que es un ataque a un Camión de Guerra, que dicen que tardaron meses en filmar, ¡y se nota por qué! ¡Es espectacular! El trabajo de cámara es salvaje, súper atrevido, te mete ahí mismo en medio de todo el desmadre.
And the sound, people, holy crap, the sound design is insane! The roar of the engines, the thunder of the metal, the explosions... it immediately plunges you into that world. I didn't even remember how much I missed those sounds until I heard them again... and the clothes, the wardrobe! Jenny Beavan, the same one who won an Oscar for Fury Road (and for Cruella!), is back and she's killing it again! The designs are incredible, they help a lot to understand the characters, the different gangs, and you see how Furiosa changes based on the way she dresses, really impressive work. Back to the long part and the pacing... that first hour focused on Dementus and the little Furiosa... it's interesting, yes, but it makes Anya Taylor-Joy take a while to become the protagonist... even when she already is, sometimes the film feels like it glosses over important moments for the character. We see her suffer a lot, obviously, but I didn't always feel that strong, emotional connection that I had with her in Fury Road.
There are also some things in the story that feel kind of... convenient? Or that they didn't really think about? Like, how come she disguises herself for years, and then when they catch her, nobody seems to care too much, not even Immortan Joe? It felt a bit like the script needed to move on and that's it... what I was saying, skipping that giant war with a quick montage seemed like the easy way out, it would have been incredible to see all that... in the end, was this film necessary? Did we need those gaps filled in? Honestly... maybe not? Fury Road gave us everything we needed to understand why Furiosa was the way she was and what happened to her. This film adds to the mix, expands the world in a brilliant way, and gives us some great action, but it doesn't feel as necessary or as revolutionary as the previous one.
It feels more like an extra chapter (a very good one, mind you) than something fundamental to the story... but look, despite those criticisms - the noticeable CGI, the sometimes erratic pacing, how distracting Hemsworth was at the beginning, that it doesn't reach the crazy level of Fury Road - I still really enjoyed Furiosa. It's an ambitious film, it visually impacts you in its own way, it's full of incredible action, and the performances are good... it's light years ahead of most action movies we won't forget, but it's a brutal, exciting journey through that super-well-imagined desert. My final verdict? I give it an 8/10, it's not unmatched like Fury Road was for me, but it's still really good and a must-see if you're a fan of the series or just like spectacular action movies... and that's all for today, we'll see you in the next reviews, take care! Bye!
Y el sonido, gente, dios santo, el diseño de sonido es una locura! El rugido de los motores, cómo truena el metal, las explosiones... te mete de cabeza en ese mundo al toque, ni me acordaba cuánto extrañaba esos sonidos hasta que los volví a escuchar.. y la ropa, el vestuario! Jenny Beavan, la misma que se ganó el Oscar por Fury Road (¡y por Cruella!), está de vuelta y ¡la rompe de nuevo! Los diseños están increíbles, ayudan un montón a entender a los personajes, a las diferentes bandas, y ves cómo va cambiando Furiosa por cómo se viste, un trabajo impresionante, en serio. Volviendo a lo de que es larga y el ritmo.. esa primera hora enfocada en Dementus y la Furiosa chiquita... está interesante, sí, pero hace que Anya Taylor-Joy tarde en ser la protagonista.. incluso cuando ya lo es, a veces la peli como que pasa muy por encima de momentos importantes para el personaje, la vemos sufrir un montón, obvio, pero no siempre sentí esa conexión así fuerte, emocional, que tuve con ella en Fury Road.
También hay algunas cosas de la historia que se sienten medio... ¿convenientes? ¿O que no le metieron mucha cabeza? Como, ¿cómo es que se disfraza por años, y después cuando la cachan, a nadie parece importarle demasiado, ni siquiera a Immortan Joe? Se sintió un poco como que el guion necesitaba avanzar y ya.. lo que les decía, saltarse la guerra esa gigante con un montaje rápido me pareció la salida fácil, hubiera sido increíble ver todo eso.. al final, ¿era necesaria esta película? ¿Necesitábamos que nos rellenaran esos huecos? La verdad... ¿quizás no? Fury Road nos dio todo lo que necesitábamos para entender por qué Furiosa era como era y qué le había pasado, esta peli le suma cosas, expande el mundo de forma genial y nos da acción genial, pero no se siente tan necesaria o tan revolucionaria como la anterior.
Se siente más como un capítulo extra (uno muy bueno, eso sí) que como algo fundamental para la historia.. pero miren, a pesar de esas críticas – lo del CGI que se nota, el ritmo que a veces sube y baja, lo que distraía Hemsworth al principio, que no llega al nivel loco de Fury Road – igual disfruté un montón Furiosa. Es una película con ambición, visualmente te impacta a su manera, está llena de acción increíble y las actuaciones están buenas.. está a años luz de la mayoría de las películas de acción que no olvidaremos, pero es un viaje brutal, emocionante, por ese desierto súper bien imaginado. ¿Mi veredicto final? Le doy un 8/10, no es inigualable como fue Fury Road para mí, pero sigue estando buenísima y es obligatoria si son fans de la saga o simplemente les gusta el cine de acción espectacular.. y esto sería todo por hoy, nos veremos en las próximas reseñas, cuidense! Byebye!
Tell me... have you seen this movie? Has it caught your attention? Tell me what you thought of this review with my opinion, and tell me if it has made you want to watch this movie. You can leave me in the comments your recommendations for future publications! 😊
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When the k-drama Squid Game ended, in the networks there were several comments repeating the similarity of the handling of the end of this series with a filmography of almost two decades ago, which caught my attention. So, I decided to watch it this weekend and really, it has a super interesting plot, with a scenario that really shows that when humanity no longer sees hope for the future, it falls into a great despair, showing us in each frame of the film how fragile human nature becomes.
Released in 2006, directed by Alfonso Cuarón, with a script based on the 1992 novel of the same name by P.D. James, it is a science fiction drama that starred Clive Owen, Chiwetel Ejiofor, Julianne Moore, Michael Caine, and others.
Children of Men is set in the year 2027, where humanity is on the brink of extinction. For unknown reasons, babies are no longer being born. Women have become infertile for 18 years, causing the entire world to plummet. Chaos, wars, repression, discrimination, and much more have consumed the world in a bleak, even apocalyptic, scenario. The only young man born just before this event dies, so what remained of hope fades away.
Great Britain has been the only country that has managed to maintain order, but under heavy repression, especially against those refugees from the crisis and world war. In these scenarios, we meet Theo Faron, a former activist who lost all hope after the premature death of his son. However, everything begins to change when his ex-wife, Julian Taylor, asks him for a favor to help a young refugee named Kee leave the country safely..
After several events following this request, Theo learns that the young woman is pregnant! This makes the mission much more dangerous, but above all, she is a ray of light for humanity, so his duty is to protect her at all costs. Will he be able to fulfill it? Will this not be the end of humanity?
I consider Children of Men to be a striking work, with incredible visuals, and despite its release being a long time ago, it truly addresses interesting themes, making you think about many things, especially the issue of infertility and how children are the future, how what we're doing isn't for us, but for the next generation. I love the way it draws contrasts between despair and hope, between the fragile and the strong, between violence and redemption; these are elements that ultimately enrich the plot as it progresses, and the social themes that are framed—immigration, oppression, refugees, and xenophobia—are all themes that continue to resonate even more strongly in our current times, making it a film that ages well over the years.
The style with which this film is handled, which feels like a documentary, makes it feel very realistic. It doesn't ignore the rawness and total chaos that comes with no more births in the world. The danger this has meant for humanity is staged in consecutive shots of intense action. But, above all, it handles these tensions very well; the moments of calm are well-placed, without unbalancing the story. The acting and cinematographic design (photography, production, and sound) are very well executed and manage to draw the viewer into the entire story that is unfolding.
I truly consider it a film with a great visual impact, which presents a topic that one doesn't really reflect on much: What would happen if no more babies were born in the world? As the story progresses, you begin to realize and understand the reason for the terrible desperation and hopelessness felt in the film: children are our future, the reason we keep going. If there are no more children, why fight? It's a grim scenario that sees light at the end of the tunnel.
The images were captured from the IMDb page. Cover designed in CANVA. Text translated in Google Translated.
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Cuando termina el k-drama Squid Game, en las redes había como que varios comentarios repetían la similitud del manejo del final de esta serie con una filmografía de hace casi dos décadas atrás, lo cual me llamo la atención. Por lo que, decidí verla este fin de semana y de verdad, tiene una trama super interesante, con un escenario que realmente va mostrando que, cuando la humanidad ya no ve esperanza hacia un futuro, cae en una gran desesperación, mostrándonos en cada fotograma del filme lo frágil que llega a ser la naturaleza humana.
Estrenada para el año 2006, bajo la dirección de Alfonso Cuarón, con un guion basado en la novela homónima de P.D James (1992). Es un historia de ciencia ficción y drama que contó con la participación estelar de Clive Owen, Chiwetel Ejiofor, Julianne Moore, Michael Caine, entre otros.
Children of men se sitúa en el año 2027, donde la humanidad se encuentra al borde la extinción, pues, por razones desconocidas ya no nacían bebes, las mujeres se han vuelto infértiles desde hace 18 años, haciendo que todo el estatus mundial se fuera al borde y en caos, guerras, represiones, discriminación y muchas otras cosas más, han consumido al mundo en un panorama desalentador, hasta apocalíptico, se podría decir. El único joven que nació justamente antes de este acontecimiento, muere, por lo que quedaba de esperanza, se fue desvaneciendo cada vez más.
Gran Bretaña ha sido el único país que ha logrado mantener el orden, pero bajo una represión fuerte, sobre todo con aquellos refugiados de la crisis y guerra mundial. En estos escenarios, conocemos a Theo Faron, un ex activista que perdió todo esperanza luego de la muerte prematura de su hijo, sin embargo, todo empieza a cambiar cuando su ex esposa Julian Taylor, quien le pide un favor para que una joven refugiada, llamada Kee, salga del país de forma segura.
Tras varios sucesos posterior a esta petición, Theo se entera que la joven ¡está embarazada!, haciendo mucho más peligrosa la misión, pero sobre toda, un rayo de luz hacia la humanidad, por lo que su deber será protegerla a toda costa ¿Será capaz de cumplirlo? ¿No será este el fin de la humanidad?
Considero que Children of men, es una obra impactante, con una visual increíble y que, a pesar de que fue hace mucho de su estreno, realmente aborda temas interesantes, haciéndote pensar en muchas cosas, sobre todo por el tema de infertilidad y como los niños son el futuro, como lo que estamos haciendo, no es para nosotros, sino para la siguiente generación. Me encanta la manera en cómo va haciendo esos contrastes entre la desesperación y la esperanza, entre lo frágil y lo fuerte, entre la violencia y la redención, son elementos que en definitiva va enriqueciendo la trama a medida que avanza y que, esos temas sociales que se van enmarcado que si la inmigración, la opresión, los refugiados, la xenofobia, son argumentos que siguen resonando y con mayor fuerza en nuestros tiempos actuales, por lo que es un filme que envejece de buena manera, a lo largo de los años.
El estilo con el que se maneje este filme, que se sienta como un documental, lo hace ver muy realista, no se deja a un lado lo crudo y el caos total lo que significa que ya no haya nacimientos en el mundo, escenifican en planos consecutivos y de acción intensa, el peligro que esto ha significado para la humanidad, pero, sobre todo, maneja esas tensiones muy bien, los momentos de calma, son bien puestos, sin desequilibrarla. Las actuaciones, el diseño cinematográfico (fotografía, producción y sonido) son muy bien ejecutadas y logran introducir al espectador a toda la historia que se está gestando.
9.5/10 Historia │ 9/10 Actuaciones │ 10/10 Sonido │ 10/10 Escenario │ 9.5/10 General
Realmente la considero un filme con un gran impacto visual, que presenta un tema que de verdad uno no reflexiona mucho, ¿Qué pasaría si ya no nacieran más bebes en el mundo?; a medida que avanza la historia, te vas dando cuenta y entendiendo porque esa terrible desesperación y desesperanza que se siente en la película, los niños son nuestro futuro, el motivo de seguir adelante, si ya no hay más niño, para qué luchar. Es un escenario sombrío que ve su luz al final del túnel.
Las imágenes fueron capturadas de la página IMDb. Portada diseñada en CANVA. Texto traducido en Google Translated.
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Welcome to a new week everyone. So Bride hard, definitely a movie title inspired by the movie Die Hard, but definitely nothing like it. Bride Hard is an action comedy which paints a picture of a female spy by the character Sam being played by Rebel Wilson who also was part of the cast in the popular musical Pitch Perfect. Only she's looking a lot less fat than she used to be. I almost couldn't believe my eyes at the first sight of her. The incredible transformation does look good on her.
Alongside Sam is her best friend Betsy (Anna Camp) who has been friends with her like forever and is about getting married. All this while, Betsy was completely unaware of Sam's identity as a secret agent, but along the way the secret is brought to light. And this happens when the movie hits a major climax as Betsy's wedding is interrupted by a group of mercenaries who came to rob the family of the groom off their Gold.
Honestly, at the beginning of the movie I was already losing interest. The Protagonist which is Sam tried in her role but to me she seemed to lack that badass spy persona she was trying to portray in the movie. More like a wannabe Black widow. I guess maybe it was kind of intentional based on the fact that action and comedy were merged in the movie and it seemed to tilt more on the comedy part than the action. The Antagonist however, which was played by Stephen Dorff totally killed it playing his role. His delivery was on point.
I think where the movie began to get interesting and catch my attention was when the siege commenced at the wedding. Who would've thought that the movie's theme would centre on the day of Sam's best friend's wedding? And even if I did I wouldn't have guessed that it would have anything to do with the groom because up until that point he seemed kind of like the kind of character of major importance.
I could sense that there was obviously a conspiracy and an inside man in their midst but the person I had in mind was a wrong guess. While the actual Judas in their midst was someone I was not expecting at all. Aside the comedy and the action the film also exposes us to the deep connection between Sam and her best friend Betsy. Even though somewhere in the middle of the find their friendship was about to crumble they still managed to restore the bond between them.
There were quite a number of fight scenes which I found funny most of the time. Seeing Chris Hartley on the film made me expect more and something serious from his end especially after seeing him play Green Arrow in the series Smallville. But then, that didn't seem to be the case. I wouldn't say it's a really great movie but then again it's not a bad one. More like a 6 out of 10, that's if I am to rate it. I did find it entertaining for sure. But it's more like a one-time watch movie for me.
Hi movie lovers 🤗
Happy new week to everyone. I watched this action thriller movie during the weekend break and I thought I really have to share my thoughts about it. This movie shows the essence of leadership which is not about showmanship or popularity but responsibility, It shows the devotion of a leader to his people to bring about peace for the benefits of all, it also shows corruption and self centeredness in politics. Leaders are people that stand for what is right, lead with integrity and stays firm to challenge the system when it goes wrong.
Captain America Brave New World was produced this year 2025 and the two main characters are Anthony Mackie (who acted as Sam Wilson also known as Captain America), Harrison Ford (who acted as President Ross Thaddeus also known as Thunderbolt Ross). This movie is a balance of action with emotion. This isn’t your typical shoot-and-forget action movies. This is a real story here rooted in the sacrifices of being a good hero trying to make things better in the midst of corrupted wolves in human clothing. The storyline of this movie is so captivating and the actors really did an excellent job, I love them, every scene was epic.
PLOT
The movie started with Sam who is operating as Captain America with the support of Joaquin Torres, who has taken up the Falcon mantle. Together they respond to various international crises as representatives of peace rescuing everyone from the bad guys. Sam who is always diligent in his work still wrestles with the immense responsibility of carrying the shield and being a symbol of a hero in a divided world of different people and enemies.
Meanwhile, President Ross who is now the leader of the United States is pushing for global security reforms and is secretly developing a program to create enhanced super soldiers under government control. He believes that superheroes need regulation and that Sam is too idealistic, unpredictable and might become uncontrollable one day.
However, trouble begins when a global terrorist group called "The Order" emerges. They claim to fight for a new world free from Western interference and hero worship. They use advanced technology, dangerous drugs and psychological control to destabilize governments, their attacks are swift and coordinated sparking international panic. Sam later learns that The Order is not just a terrorist group but they are supported by expert scientists, former government operatives and even elements within the U.S government itself who believe that the world needs to be reshaped through force and fear. However, the situation escalated when a paramount United Nations Summit was attacked and Captain America was falsely blamed for setting up the attack with his old friend and mentor Isaiah. Isaiah Bradley was arrested falsely and locked up, the media turns against him and Sam, public trust also begins to crumble. Sam is forced to go underground and starts investigating with the help of his partner Joaquin Torres and Sabra an Israel intelligence agent.
The deeper they dig, the more they discover that President Ross is linked to a secret project called "new world” aimed at replacing independent heroes with loyal, enhanced soldiers. Ross is trying to take total control by removing unpredictable elements like Sam and replacing them with his technological controlled team.
President Ross begins publicly questioning Sam’s loyalty saying he is in support of the attack that happened and represents ideals of the past while promoting a new Captain America under his command who is an aggressive, enhanced soldier who is loyal to the system not the people.
Sam and his team organised a secret military base in Africa, where The Order is developing a mind-control technology that can manipulate world leaders. However, they decided to destroy it so that they could save millions of people but attacking a U.S military facility would officially make Sam a traitor.
Sam makes the hard choice and confronts Ross directly. He declares that Captain America isn’t about title or political obedience but it’s about doing what is right even when it’s hard and standing up for people without a voice. This message triggers a wave of public support from citizens across the world.
However, this didn't go down well with President Ross so a massive battle ensues between Sam’s team and Ross's enhanced operatives. Unknown to Ross, he had been taking dangerous drugs given by the rogue scientist due to his heart disease without knowing that this was accumulating in his body to turn him into something else, so in the middle of the battle between his team and Sam's team, in rage he became a monster he never thought of. Fortunately, Sam was able to defeat the rogue super soldier, defeat Ross and bring him back to his normal being, the Order was dismantled and Ross crimes was exposed to the world. After the battle, the global perception of Captain America shifts, people begin to accept that Sam as their hero in the modern world.
REVIEWS AND RATINGS
This movie is so interesting and well acted out, I highly celebrate the producer and actors of this movie for a great job well done. This movie is more than just superhero action, it is a story that reflects the struggles of modern leadership, identity and justice. It teaches us that we should not only know how to fight but why we must fight for truth, hope and unity in a broken world.
This movie is a must watch for everyone and I highly recommend it, I will be rating this movie 8 out of 10.
Here is the link to the thriller of the movie:
Thank you so much for staying this far, hope you had a good read with me, see you again next time 🤗
*[Screenshot–Imdb](https://m.imdb.com/title/tt26342662/mediaviewer/rm245665026/?ref_=ext_shr_lnk)*
*[Screenshot–Imdb](https://m.imdb.com/title/tt26342662/mediaviewer/rm755874818/?ref_=ext_shr_lnk)*
Screenshot–Imdb
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