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. 60,043 reviews and counting.
Hello movie lovers,
Trust you’re having a great day and week so far. This weeks, I’ve made a mental note to take a rest from everything so all I’m doing on the daily basis is working a bit, resting more, binging shows and sleeping.
Honestly, it feels like I’m wasting away but this might be the only rest I get to have from here on out. So I’m making sure to make good use of it. Speaking of movies, I’ve seen quite a lot of them these past few days and most of them have been single movies given my addiction to them now.
You all remember Will Smith from karate kid right? That’s probably the one movie all of us have seen which starred him and this movie has and will always be part of our childhood memories. Today, I happened to come across and action and comedy movie with Will Smith as the main character so I decided to give it a shot.
THE PLOT
Detectives Mike (Will Smith) and Marcus have been friends for so long and happened to have been working with each other for decades. Detective Mike is a single man who refuses to see any women and all through this, he’s gradually getting old and nearing retirement. Detective Marcus on the other hand is a married man with kids and happened to just be the latest grandfather in town.
At his grandsons name ceremony who was named after him , he went on to advise his friend Mike to try to settle down because he , Marcus was making plans of retiring. Mike didn’t take it lighting because he didn’t understand why his friend would want to retire from the game. He thought they all enjoyed what they were doing. Fast forward, these two friends are out hanging out one night and decide to have a bet by running a race and anyone who wins gets to have the final say on this retirement issue. Unfortunately, detective Mike gets gunned down by someone on a motorcycle and this sends him battling for his life for months
Somewhere in Mexico, Isabel Aretas who happens to be ten wife of a drug lord is out to bring down everyone involved in ruining the life of her family members. With the help of her son, Armando, she manages to bring down most of these people in high positions. But her one rule for Armando and Reba emission is, Detective Mike dies last and he has to suffer. But, Armando already shot Mike and this got his mom angry.
What Armando didn’t know was that his mom had history with this detective Mike and he also happened to be his dad. Would Armando finally find out the truth and would Mike come out of this alive? You’d have to find out.
MY THOUGHTS AND RATING
- - -
I’d rate this movie and 8/10 because generally, it was a good one. I loved the comedy aspect of it and I must say, the characters made the whole show lit.
If there’s one thing I’ve learnt from this movie, it’s the power of friendship. We saw how Marcus stayed by his friend, Mike through thick and thin. These were people who had been friends for years and they always made sure to show up for each other no matter the situation. This thought me that showing up isn’t a choice, it’s a decision.
I’d totally recommend this show for anyone looking to see an action movie with a touch of comedy.
Hello hivers! I am happy to be back here with you. I just finished watching this emotional thriller movie and I thought I really have to share my thoughts about it. It's a Nollywood movie that speaks about the emotional trauma of a girl child raped by her friend's boyfriend on the prom night of their high school graduation. It shows pain, family betrayal, friendship, selfishness, political greed, corruption of leaders and unconditional love.
A Night in 2005 was produced last year 2024 starring Ini Dima-Okojie as Ife, Efa Iwara as Ope Dada, Teniola Aladese as Ari, Uzoamaka Aniunoh as Kelechi and Taiye Arimoro as Paul as the five main characters of the movie. The storyline of the movie is something every teenager especially the female gender should learn from because it shows the regrets of a single night that changed the story of the entire life of a girl child. The actors really did so well acting out their roles and I love love it.
THE PLOT
The movie started with the scene of a beautiful young teenage girl called Ife, dressing happily for a prom night on the day of her graduation from high school, after her makeover, looking beautifully dressed up, she dashed out of the room excited to bid her mum farewell, who warned her not to drink and be careful in playing around during the party, she acknowledged her mum's advice and she left for the party.
At the party at the Dada family mansion at Ikoyi, Ari, Ife's female friend was so excited to see her, she hugged Ife happily and gave her a shot to drink while they were still gisting, Ari's boyfriend Ope Dada came around from nowhere and hugged Ari then he announced a game called "Truth or Dare" for everyone to participate in it, then in the game, the bottle rolled to Ife and she she was asked to kiss Ope her friend's boyfriend but she refused and she was given two shots to drink instead, shortly after the game ended and everyone started to dance and drink but because Ope was an introvert and that was her first time going for any party, she couldn't sustain the alcohol she had taken and she started feeling dizzy, so she left the house where the party was going on to sit at a place in the compound to receive fresh air, she was still there when Ope left Ari dancing and came to meet her outside, teased her a little and forcefully had sex with her there and then.
However, fifteen years later Ife who had gone outside the country to study after high school, has graduated and now doing fine but she still was not able to get over the trauma of being raped even when everyone has now become an adult and she was engaged to a loving fiance called Paul, she still was tied to the trauma.
Things got worse when she came back to Nigeria to plan her wedding but got to know that the man Ope Dada who caused her so much pain while growing up is now running for a political position in power as one of the gubernatorial candidate, she heard him preach justice, honesty and accountability. She was so furious and emotionally pained, unable to express her rape story to her fiancé she asked for more time before the wedding, thinking for how she can get justice for herself for what happened fifteen years ago.
Unknown to her, after the rape incident,her mum was brided with a huge amount of money by the Dada's family in order for her to keep her mouth shut on the scandal caused by their son Ope so that they can maintain power in the society because the Dada's are very influential. However, Ife's mum out of greed accepted the money and sent Ife to a rehabilitation school abroad in order for her to get over the trauma while she used the money to live in luxury. So whenever she brought up the issue on the rape and Ope running for a post in power, she was always shut down by her mum who tells her to forget about it and focus on her wedding and her future but here Ife was still entangled with the trauma.
Ope Dada was a very selfish guy from an influential family and he is now married to Kelechi, who he married for her father's money even though that was unknown to her too, she thinks Ope loved her🥲 but Ope even though he was married still sleeps with Ari, his girlfriend from highschool who loved him foolishly even when he didn't marry her. What a world 🥹
Ari has a growing business supported by Ope financially and she had a planned launching of her products, this launching was a very big breakthrough for her so she invited all her friends and family including Ope and Ife. At the launch party, Ope came with his wife Kelechi and they met Ife who hasn't seen him after the rape incident at prom night fifteen years ago, she tried keeping her cool not until Ope was called upon to speak and he started preaching justice, honesty and accountability, Ife astonishingly went to Ari at the front before the stage to tell her that Ope raped her on prom night with a loud voice, she boldly accuse Ope in front of everyone and this disrupted the event. People did video of what was happening, Kelechi was dumbfounded but Ope accused her of lying and called a psychiatric patient, he said he will file a scandal against her while he excused himself from the stage.
Angrily, Ife drove off to a place to have a live recording explaining how she was raped by Ope Dada and how long it has affected her psychologically. Before everyone could say Jack, the video went viral online with different comments from people with their different thoughts. This began a war between Ope Dada and Ife, the Dada's family who could do anything to protect their name when to the length of calling her a liar and a psychiatric patient going online to show her medical reports and even made an attempt to kill her. Ife was down and depressed but Kelechi after she finally knew why she was married to and the kind of person Ope is, she planned with Ife and Ari on how to bring Ope down and the plan finally succeeded when they were able to get Ope to confess on a live recording and he lost the election in power too while Ife lived away from her greedy mum to find her life together with Paul who stood with her between thick and thin.
REVIEW AND RATINGS
I will sincerely commend the actors of this movie for a job well done, the display of emotions and greed was really mind blowing. The storyline and where the movie finally ended is applaudable, I love the way justice prevailed at the end and Ope Dada was brought down for playing with the heart and emotions of women with the help of his family.
I will recommend this movie to everyone and I will be rating this movie 8 out of 10.
This is the link to the thriller of the movie:
Thank you for having a good read with me, I hope you enjoyed yourself. See you again next time and have a great week ahead 🤗
Homicide: Life on the Street, a landmark police procedural renowned for its gritty realism and ensemble storytelling, maintained a tradition of allowing its cast members creative agency behind the camera. Among its most iconic actors, Yaphet Kotto—whose portrayal of Lt. Giardello was a masterclass in flamboyant gravitas—emerged as a writer. After scripting the racially charged Narcissus in Season 5, Kotto returned to writing duties a year later for Secrets, an episode that doubles down on moral complexity while exploring the upper echelons of Baltimore society. This marked Kotto’s second foray into writing for the series, showcasing his ability to balance character-driven drama with incisive social commentary.
The episode opens with the discovery of Josephine Dalton, a high-powered businesswoman, found dead in her Mercedes, suffocated by carbon monoxide—a presumed suicide. Detectives John Munch and Laura Ballard initially treat the case as routine, but their suspicions escalate when another executive, Kenneth Alden, is found shot in the head in his office, also ruled a suicide. The coincidental timing suggests a connection, prompting the Homicide Unit to dig deeper. Clues emerge through Alden’s widow, Eleanor (Ava Lenet), who reveals compromising photos of her late husband in an incestuous relationship with his half-sister Jessie Metzger (Helen Hedman). Meanwhile, Dalton’s husband, Gregory (James Slaughter), produces photos of Josephine with her 17-year-old babysitter. Both executives were victims of blackmail, leading the detectives to Brenner Jones (Chris Paulik), the photographer who took the incriminating shots. Jones confesses to the photos but denies responsibility, instead implicating Remington Hill (Remak Ramsay), president of a country club frequented by the victims. Hill, a moral purist, admits to orchestrating the photos not to extort money but to shame the pair for their “immoral” behaviour. The case reaches a grotesque climax when Jones, overwhelmed by guilt, murders Hill in a half-hearted bid to “fix” his mistakes. In a subplot, Detective Bayliss confides in Ballard about his bisexuality, underscoring the theme of secrecy’s corrosive effects.
While the main narrative explores the elite’s moral hypocrisy, a secondary storyline resolves elements of the ongoing Luther Mahoney saga. Detective Lewis, who had a violent clash with Georgina Rae Mahoney (Luther’s sister and successor in a drug empire), receives a symbolic punishment: his suspension is revoked after a nominal reprimand, effectively restoring him to the Homicide Unit. Meanwhile, Detective Kellerman celebrates a win when Judge Gibbons dismisses Georgina Rae’s wrongful death lawsuit. Kellerman’s glee, however, turns risky when he brags to the judge about the FBI investigating him for corruption—a remark overheard by Georgina’s lawyers. These developments feel tonally mismatched with the episode’s darker themes, instead prioritising narrative convenience. Lewis’s swift reinstatement, in particular, smacks of fan service, ensuring a popular character’s return for potential season-finale fireworks.
Kotto’s writing in Secrets shifts focus from the racial tensions of Narcissus to the hypocrisy of Baltimore’s white upper class. Remington Hill, played with chilling detachment by Remak Ramsay, embodies a self-righteous moralist who believes he has the authority to judge others’ lives. His cold admission that he orchestrated the blackmail to “correct” the victims’ behaviour—while refusing to acknowledge responsibility for their deaths—underscores his delusional sense of entitlement. Conversely, Jessie Metzger defends her incestuous relationship with her half-brother with unapologetic defiance, refusing to see herself as immoral. The only character to grapple with guilt is Brenner Jones, whose feeble attempt to “fix” his role in the tragedy by killing Hill feels like a last-ditch moral reckoning. Kotto’s script critiques the dissonance between societal expectations and personal actions, particularly among those who claim moral superiority while failing to adhere to their own standards.
Secrets is a compelling watch, anchored by strong performances and Kotto’s sharp dialogue. Ava Lenet and Helen Hedman deliver nuanced portrayals of women entangled in scandal, while Remak Ramsay’s icy composure as Hill is unforgettable. However, the episode stumbles in its resolution. Brenner’s sudden moral epiphany and his ham-fisted murder of Hill feel overly convenient, undermining the show’s trademark realism. Unlike Homicide’s usual focus on ambiguity and human frailty, this twist leans into poetic justice—a narrative device at odds with the series’ gritty ethos.
The Luther Mahoney subplots suffer similarly from contrivance. Lewis’s reinstatement and Kellerman’s courtroom victory feel like rushed narrative patches, prioritising fan expectations over logical progression. The inclusion of Kellerman’s FBI investigation adds little beyond setting up future drama, while Georgina Rae’s lawyers overhearing his remark feels like a cheap plot device. These elements risk overshadowing the episode’s sharper critiques of wealth and morality, instead leaning into melodrama for the sake of a climactic finale.
Secrets is a flawed yet intriguing entry in Homicide: Life on the Street’s canon. Kotto’s script delivers bold commentary on class, morality, and hypocrisy, but its reliance on convenient resolutions and melodramatic subplots undermines its potential.
I like to see new movies. With so many productions coming out every year and with so many stories that I get to know from different countries and eras, one lifetime is not enough to see everything I want to see. However, I also like to revisit certain stories (on screen or on paper) and in the last few weeks I went back to see some of the movies that I've liked the most since the first time I saw them. One of them was Whiplash, and the other was this classic film by Quentin Tarantino: Kill Bill.
Me gusta ver películas nuevas. Con tantas producciones que salen todos los años y con tantas historias que voy conociendo de diferentes países y épocas, no alcanza una vida para ver todo lo que quiero ver. Sin embargo, también me gusta revisitar ciertas historias (en la pantalla o en el papel) y en las últimas semanas volví a ver algunas de las películas que más me han gustado desde la primera vez que las vi. Una de ellas fue Whiplash, y la otra fue este clásico del cine de Quentin Tarantino: Kill Bill.
While the story is separated into two volumes that were released in different years, it's a single film. Kill Bill Vol. 2 is not a sequel, it's the second part of the same story. For that reason my review today includes both of them, although it is true that each of them separately gives enough material to analyze and talk about for a long time. More than twenty years after the release of this film, I don't think there are many moviegoers on this platform who haven't seen or heard of this film, so this time the objective is not to present a story that is almost a classic film, but to pay tribute to a great film and mention certain elements that make it a cinematic gem. Kill Bill is a revenge story - and one of the best - that begins with the murder of Beatrix (Uma Thurman), one of the world's most lethal assassins, at the hands of her former squad mates commanded by the famous Bill of the title. However, Beatrix doesn't die and after being in a coma for four years she sets out to hunt down each of her murderers to take revenge for all the damage they did to her: she was killed along with her future husband and her closest friends. And besides, she was pregnant. Thus begins a hunt in which the victim becomes the predator and in which Tarantino opted for swords instead of the noisy firearms he had preferred in his previous stories. Of course, the industrial quantities of blood of his previous works are also guaranteed in this story.
Si bien la historia está separada en dos volúmenes que fueron estrenados en años diferentes, se trata de una única película. En mi opinión, Kill Bill Vol. 2 no es una secuela, es la segunda parte de una misma historia. Por esa razón mi reseña de hoy las incluye a las dos, si bien es cierto que cada una de ellas por separado da suficiente material para analizar y conversar durante mucho tiempo. A ya más de veinte años del estreno de esta película no creo que sean muchos los cinéfilos de esta plataforma que no hayan visto esta película o que no hayan oído de ella, así que en esta ocasión el objetivo no es dar a conocer una historia que ya casi es un clásico del cine sino homenajear una gran película y mencionar ciertos elementos que la convierten en una joyita cinematográfica. Kill Bill es una historia de venganza - y una de las mejores - que inicia con el asesinato de Beatrix (Uma Thurman), una de las asesinas más letales del mundo, a manos de sus ex compañeros de Escuadrón comandados por el famoso Bill del título. Sin embargo, Beatrix no muere y después de haber estado en coma durante cuatro años se dispone a perseguir a cada uno de sus asesinos para cobrar venganza por todo el daño que le hicieron: fue asesinada junto a su futuro esposo y sus amigas más cercanas. Y además, estaba embarazada. Comienza así una cacería en la que la víctima se convierte en la depredadora y en la que Tarantino optó por las espadas en lugar de las ruidosas armas de fuego que había preferido en sus historias anteriores. Eso sí: las cantidades industriales de sangre de sus predecesoras están garantizadas también en esta historia.
In essence, the story of Kill Bill is not very original. There are tens of thousands of stories of revenge and settling of scores, but there are several elements that helped turn this film into a cult classic within the filmography of the director and film lovers in general because it's very well made and because it stimulates different muscles of the body and mind of the most diehard moviegoers: acting, direction, photography, editing, soundtrack, screenplay, everything works in this fourth film by the director of Pulp Fiction.
En esencia, la historia de Kill Bill no es muy original. Existen decenas de miles de historias de venganza y ajustes de cuentas, pero hay varios elementos que ayudaron a convertir esta película en un clásico de culto dentro de la filmografía del director y de los amantes del cine en general porque está muy bien hecha y porque estimula diferentes músculos del cuerpo y la mente de los cinéfilos más acérrimos: actuaciones, dirección, fotografía, montaje, soundtrack, guion, todo funciona en esta cuarta película del director de Pulp Fiction.
It's true that the script has some moments that lack the brilliance of other Tarantino's stories and in general lacks the sharp and witty phrases that the director used in his previous stories, but the non-linear narration is a very well executed resource to tell us little by little all that past that we do not know at the beginning; past that is revisited again and again expanding at every opportunity the scope of the narrated events. On the other hand, the script is full of Chinese boxes: small stories within other stories, some merely anecdotal, but others bordering on the legendary and mythical. Then there's the issue of having mixed and paid homage to different film formats and genres. Kill Bill moves between modern Hollywood, old Kung Fu movies, westerns, Japanese anime, thrillers, uses full color, black and white, neon lights, exterior lighting, impressive fight choreography. Added to this is Tarantino's exquisite direction and one of the most memorable soundtracks of all time composed by a great, Ennio Morricone, who manages to combine Spanish guitars, whistles, notes of the old west and compose melodies that stay fixed in your mind for years. Not least, of course, are the performances of an all-star cast: Uma Thurman, David Carradine, Vivica Fox, Daryl Hannah, Lucy Liu, the recently deceased Michael Madsen, Julie Dreyfus, Chiaki Kuriyama and Gordon Liu, among others.
Es cierto que el guion tiene algunos momentos que carecen de la brillantez de otras historias de Tarantino y en general faltan las frases punzantes e ingeniosas que el director empleó en sus historias anteriores, pero la narración no lineal es un recurso muy bien ejecutado para irnos contando de a poco todo ese pasado que desconocemos al inicio; pasado que se revisita una y otra vez ampliando en cada oportunidad el alcance de los hechos narrados. Por otro lado, el guion está repleto de cajas chinas: pequeñas historias dentro de otras historia, algunas meramente anecdóticas, pero otras rozando lo legendario y el mito. Luego está el tema de haber mezclado y homenajeado diferentes formatos y géneros cinematográficos. Kill Bill se mueve entre el Hollywood moderno, las películas viejas de Kung Fu, el western, el anime japonés, los thrillers, utiliza el full color, el blanco y negro, las luces de neón, iluminaciones exteriores, impresionantes coreografías de lucha. A ello se suma la exquisita dirección de Tarantino y una de las bandas sonoras más memorables de todos los tiempos compuesta por un grande, Ennio Morricone, que logra combinar guitarras españolas, silbidos, notas del viejo oeste y componer melodías que se quedan fijas en tu mente durante años. Y no menos importante, por supuesto, están las actuaciones de un reparto de lujo: Uma Thurman, David Carradine, Vivica Fox, Daryl Hannah, Lucy Liu, el recientemente fallecido Michael Madsen, Julie Dreyfus, Chiaki Kuriyama y Gordon Liu, entre otros.
There are very striking and visually striking moments in the story, such as the confrontation between Beatrix and the Crazy 88, or some more tiernal scenes; there are plot twists, drama, humor, sarcasm, but also deep reflections based on simple facts, such as Bill's analysis of the mythology surrounding Superman, which is worth revisiting now that the new Man of Steel movie has just been released.
Hay momentos muy llamativos y visualmente impactantes de la historia como el enfrentamiento entre Beatrix y los Crazy 88, o algunas escenas más tiernas; hay plot twists, drama, humor, sarcasmo, pero también reflexiones profundas a partir de hechos simples, como ese análisis que hace Bill sobre la mitología alrededor de Superman, a la que valdría la pena darle una revisada ahora que se acaba de estrenar la nueva película sobre el hombre de acero.
More than an excellent director, I've always thought Tarantino's most brilliant facet is his work as a screenwriter, and I have to acknowledge some validity in the criticisms of his Kill Bill script; it's not as solid as that of his other gem Inglourious Basterds, for example, but I think those flaws are compensated for by other things. Beatrix's Revenge, inspired by a manga and heavily influenced by Toshiya Fujita's Lady Snowblood, is one of the best, most violent, entertaining and dynamic revenge stories out there. In that list we could easily include other great stories like Oldboy or Man of Fire, for example. Kill Bill has action, violence, motives, secrets... it has that taste that comes from crossing tasks off a to-do list and above all it is an impressive technical and visual display. There are scenes, sequences, scenarios, that are of tremendous aesthetic quality with which the story is reinforced not only in the background (i.e., in the story) but also in the form (i.e., the narrative framework). I have never been able to decide whether I like Kill Bill or Inglourious Basterds better, because although the latter seems to be better made, the other has more footage to enjoy: almost 250 minutes long. You who have seen these and other Quentin Tarantino stories, which is your favorite and why, and which is your favorite revenge movie? I'll read you in the comments.
Más que un excelente director, siempre he pensado que la faceta más brillante de Tarantino es su trabajo como guionista y tengo que reconocer algo de validez en las críticas que le han hecho sobre el guion de Kill Bill; no es tan sólido como el de su otra joya Inglourious Basterds, por ejemplo, pero creo que esas fallas son compensadas con otras cosas. La venganza de Beatrix, inspirada en un manga y con mucha influencia de Lady Snowblood de Toshiya Fujita, es una de las mejores, más violentas, entretenidas y dinámicas historias de venganza que existen. En esa lista fácilmente podríamos incluir otras grandes historias como Oldboy o Man of Fire, por ejemplo. Kill Bill tiene acción, violencia, motivos, secretos... tiene ese gusto que da ir tachando tareas de una lista de pendientes y sobre todo es un despliegue técnico y visual impresionante. Hay escenas, secuencias, escenarios, que son de una calidad estética tremenda con lo que la historia se refuerza no sólo en el fondo (es decir, en la historia) sino también en la forma (es decir, el marco narrativo). Nunca he podido decidir si me gusta más Kill Bill o Inglourious Basterds, porque aunque está última pareciera estar mejor hecha, la otra tiene más metraje para disfrutar: casi 250 minutos de duración. Ustedes que han visto estas y otras historias de Quentin Tarantino, ¿cuál es su favorita y por qué? ¿y cuál es su película de venganza favorita? Los leo en los comentarios.
Reviewed by | Reseñado por @cristiancaicedo
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Hello and good morning friends from the TV film community. Today I was motivated to participate in the Cine Tv contest about the best fight movies and scenes, and for this opportunity I share with you my favorite fight movie titled: Face to Face
The film was released in 1997 and directed by writer and producer John Woo, who also directed such notable film projects as The Killer, Silent Night, and Seven Brothers
On this occasion, John Woo firmly demonstrates his talent for creating incredible projects filled with memorable scenes, like the legendary Face to Face.
The cast of the production in question was headed by two great idols of contemporary North American cinema: John Travolta, who plays the FBI special agent Sean Archer, and Nicolas Cage, who stands out for playing the assassin Castrol Troy.
Travolta, who now plays a police detective tirelessly searching for his young son's killer, fights his fears and exceeds moviegoers' expectations when he decides to take on the face of his opponent to seek justice.
Cage, for his part, also demonstrated great skill in interpreting what I consider a complex and nuanced character.
For me, the film had several memorable fight scenes, making it unsettling and adrenaline-filled. But my favorite was the final scene where Cage and Travolta go head-to-head to seek revenge and victory. I would have liked Cage to have stood against Travolta, but the film's ending was still memorable and unique.
In short, each of the fight scenes shown throughout the film managed to create an atmosphere of intrigue and action, exceeding the expectations of the moderators, including my own. That's why I considered it a good film that, despite being 28 years old, still retains the visual quality and special effects worthy of a great FACE-TO-FACE battle.
Credits:Original content without spoilers and translated by Google Translate.
Photographs taken from Action Movie and Nova Versao.Cover and collage designed with CanvaThis post is my entry to the CineTv #140 contest promoted by the community itself.
Contenido original y sin spoilers en español
Hola y buenos días, amigos de la comunidad de cine y televisión. Hoy me motivó participar en el concurso de Cine Tv sobre las mejores películas y escenas de lucha, y para esta oportunidad les comparto mi película de lucha favorita, titulada: Cara a Cara.
La película se estrenó en 1997 y fue dirigida por el guionista y productor John Woo, quien también dirigió proyectos cinematográficos tan destacados como The Killer, Noche de Paz y Siete Hermanos.
En esta ocasión, John Woo demuestra su talento para crear proyectos increíbles llenos de escenas memorables, como la legendaria Cara a Cara.
Travolta, quien ahora interpreta a un detective de policía que busca incansablemente al asesino de su hijo pequeño, lucha contra sus miedos y supera las expectativas del público al decidir enfrentarse a su oponente para buscar justicia.
Cage, por su parte, también demostró una gran habilidad al interpretar lo que considero un personaje complejo y lleno de matices.
Para mí, la película tuvo varias escenas de lucha memorables, lo que la hizo inquietante y llena de adrenalina.
Pero mi favorita fue la escena final, donde Cage y Travolta se enfrentan en busca de venganza y victoria.
Me hubiera gustado que Cage se hubiera quedado en lugar de Travolta, pero el final de la película fue memorable y única.
En resumen, cada una de las escenas de lucha mostradas a lo largo de la película logró crear una atmósfera de intriga y acción, superando las expectativas de los moderadores, incluidas las mías.
Por eso la consideré una buena película que, a pesar de tener 28 años, aún conserva la calidad visual y los efectos especiales dignos de una gran batalla Cara a Cara.
Creditos:Contenido original sin espolier y traducido por el Traductor de Google.Fotografias tomadas de Action Movie y Nova Versao.
Covers y Collage diseñados con Canva Esta publicación es mi entrada al concurso de CineTv #140 promovida por la propia comunidad
The four-season hacker drama, Mr. Robot, originally aired on USA network (2015-220), is now streaming on Netflix. Over the last ten years the show has achieved cult status. Most of the show is told from the POV of a mentally ill protagonist, Elliot. Because Elliot does not have a firm hold on reality, neither do we. We cannot trust anything we see or hear on the screen.
There's a great deal of hacker terminology, and coding, which will no doubt interest many on Hive who have at least some of Elliot's skills. This part of the show went over my head. The story is so strong, though, that my lack of coding expertise didn't matter at all.
I found an official Mr. Robot channel online. This is a platform for the show's creators and actors to discuss the program. In one segment, Sam Esmail, writer, creator and producer of Mr. Robot explains his motivation for making Mr. Robot: "I don't want to give answers to anyone. I think the great thing about the show is if people would talk about the issues we raise....I want to get people talking about technology, capitalism, income inequality, what is freedom...".
I've linked below to a Youtube where this conversation, and other statements by the actors, can be viewed.
One of the difficulties in writing this review was in deciding how to characterize Mr. Robot. Esmail highlights the issues raised in the show. These stood out for me me also as the essential justification for the show's existence. Other commentators describe the show differently. One source describes Mr. Robot as a crime drama. While there is a lot of crime in the series, I never thought of it that way.
Besides addressing societal issues, Mr. Robot is a deep dive into mental illness. Not only is the main character Elliot mentally ill, but other characters are also affected. We have at least two other characters who are delusional. And then there is the malevolent arch enemy, Whiterose, who is monomaniacal in her/his pursuit of a machine that will bring the dead back to life.
Elliot suffers from several mental disorders. The most defining is dissociative identity disorder. Throughout most of the series he has two personalities. Near the end we are introduced to a third. It's possible that Elliot has more yet to be discovered. Here is a YouTube video that shows him discovering he has a third personality:
Elliot's experience of reality is not reliable, but whatever grasp he has, tells him that society is sick. Because of his extraordinary hacking ability, he believes he can 'fix' the ills of society. Throughout most of the show, Elliot's alter ego, the eponymous Mr. Robot, pushes him to bring established society down, so it can be fixed. The tension between these two personalities opens up a dialogue that airs issues referenced in Sam Esmail's interview (above, on the Mr. Robot channel).
Elliot is tormented. He has to find a way to reconcile the opposing personalities that battle for control of his mind. There are periods of time when Elliot disappears, and Mr. Robot takes over. When Elliot reappears he sees the damage done by Mr. Robot and he hurries to undo all that has transpired.
Here is a YouTube clip that shows the two personalities arguing. The character with the hat is Mr. Robot. The younger man is Elliot.
A dark vision is offered by Mr. Robot. A more positive vision is offered by Elliot. Mr. Robot wants to tear it all down, blow it up and start over. Elliot wants to destroy the corrupt elements without tearing everything down.
Nihilism, anarchy, chaos--these are themes present in the show. Some of the scenes reminded me of the movie, Joker. The message? Society is so sick, so corrupt, so pointless that we might as well destroy it all. Let chaos rule and from that begin again.
Here's a scene from Joker, in which a masked mob goes berserk.
And a scene from Mr. Robot, also where a masked mob goes berserk.
The ills of society are described by Elliot in an early episode. He is talking to his therapist, Krista, here:
Because the point of view we are offered is from someone who hasn't got a grip on reality, we, the audience can never be certain about what is happening. Throughout the series the show lies to us. We think we know what's going on, and then we realize that our impression was an illusion, Elliot's illusion.
Deception and duality are at the core of this series. In one of his realities he has a sister, Darlene. In another reality Darlene doesn't exist. The arch enemy in the series, Whiterose is presented to us as an evil entity, leader of a powerful organization. Whiterose is a woman. In other scenes Whiterose is not a woman but a man. He is Minister Zhang, who represents the Chinese government.
In the beginning we believe Elliot is receiving therapy in his therapist's office. We learn later that he is actually in prison, and the therapist is treating him there. Elliot creates the environment, in his head, that he needs to survive. We, the audience, are lost in his delusions.
There is another scene in which we are deceived about place. We think Elliot is in a park, watching a pickup basketball game with his 'friend' Leon. We learn later that Elliot is actually watching prisoners play basketball in the prison yard. Leon is there, but it turns out he represents another duality.
When he is first introduced, he is rambling on in a restaurant about the Seinfeld show. We learn later that not only is he actually in prison with Elliot, but he is not a friend at all. He is an agent, working for Whiterose.
Leon is a complex character who plays a critical role in the show. Here is a clip with Leon, who appears to be having breakfast with Elliot in a restaurant. Leon shares a bit of philosophy:
The central event in Elliot's childhood, we are told early on, is that his father pushed him from a window and caused Elliot to break his arm. The father died shortly afterwards. These two significant traumas in Elliot's life are believed to be the triggers that bring about the appearance of Mr. Robot, Elliot's alter ego. We learn eventually that Mr. Robot is actually Elliot's father, created by Elliot to keep him company and keep him safe, and that Elliot wasn't pushed from the window. He jumped.
By the end of the last episode the different pieces of the puzzle that comprise Elliot's/Mr. Robot's experience slowly fit together. We have a whole picture, we think. However, it's hard to trust that picture.
Although the show is presented from the POV of an unreliable narrator, Esmail makes sure that the 'real' issues come through. He introduces recognizable public figures so we know the issues are anchored in life. Obama appears on a TV screen in the background several times. There are a couple of (not flattering) references to Donald Trump.
In Season 3, Episode 3 Donald Trump appears on a television screen behind Whiterose. Whiterose is in the process of giving instructions to man, a media figure who apparently has been working to advance the Whiterose's agenda in public. The media figure is instructed to start a rumor: the devastating hack on E corp carried out by Elliot and his cohorts originated in Iran, not the U.S. Whiterose also tells the media figure that Donald Trump would be a good choice for president, and this candidacy should be promoted.
"He's a buffoon!" the media figure responds. Whiterose rejoins, "If you pull the right strings, a puppet will do anything you desire."
Here is a clip that has a touch of humor, and a glancing insult to Trump. Whiterose (in her alter persona as Minister Zhang) is commenting on the tacky decor of the room. The camera pans to the coaster on the table as Zhang puts his glass down. The coaster reads, Mar-a-Lago:
Streaming on Netflix now, all four seasons.
The Plot
Essentially, a group of hackers get together and decide to take down a powerful corporation, E Corp, which embodies for them the evils of government and the corporate world. It also happens to be the corporation that was responsible for the death of Elliot's father.
Elliot refers to E Corp as Evil Corp. Tension builds in the hacking plot as Mr. Robot tries to take over and advance his more radical, destructive goals.
Here is a YouTube clip that shows Elliot learning how far the group has gone, and intends to go.
Most of the show deals with consequences of the hack on E Corp. It turns out that Whiterose has an interest in the hackers' success. She wants the chaos that ensues. Here is a quote from Whiterose that explains her motivation:
"Nothing creates profit quite like global conflict."
Whiterose, Season 3, Episode 7, Mr. Robot
There are many, many characters in this show. It almost seems the writer kept adding them as the show went along. Some I think were not so essential to the plot. While Mr. Robot is brilliant, I think perhaps it's a little weighed down with digressions. Maybe I'm wrong. Maybe Esmail wanted to say something with each of those tangents.
If you're in the mood for a highly intelligent, convoluted hacker show, this one may be perfect for you.
Esta es una de esas películas del estudio a24 que tiene tintes de terror pero a la vez de fantasía pero a la vez de drama a la vez existenciales y es una película que tiene un poco de todo que no puedo decir que sea mala pero la calificaría como extraña pero a la vez necesaria de verla aunque sea una vez en la vida, la puesta en escena no podría ser más extraña simplemente es un padre y una hija que atropellan un unicornio pero todo lo que desencadena la muerte es tu unicornio tanto en la parte gore porque sí tiene mucho gore la película especialmente en el tramo final pero también todo lo que desemboca a nivel de existencialismo explotación animal creo que es algo bastante bien desarrollado Pero como este tipo de películas siempre tiende a pasar es que faltan un hilo conductor para que todo esto que quieren desarrollar todo este mensaje vaya cohesionando de cierta forma, y creo que es donde viene el mayor error que no consigue como que terminar de tener un mensaje ambientalista ni de explotación animal ni en concreto llegas a una película total de drama ni total de terror, entonces se queda como en un extraño término medio en todos los puntos pero aún así es extrañamente gratificante.
This is one of those movies from studio a24 that has dyes of horror but at the same time of fantasy but at the same time of existential drama and it is a movie that has a little bit of everything that I can not say it is bad but I would qualify it as strange but at the same time necessary to see it even once in life, the staging could not be stranger simply is a father and daughter who run over a unicorn but everything that triggers the death is your unicorn both in the gore part because it does have a lot of gore the film especially in the final stretch but also everything that leads to the level of existentialism animal exploitation I think it is something quite well developed But as this type of film always tends to happen is that they lack a common thread for all this that want to develop all this message is cohesive in a certain way, and I think that is where comes the biggest mistake that does not get as to finish having an environmental message or animal exploitation or specifically get to a total drama or total horror film, then it remains as in a strange middle ground at all points but still is strangely rewarding.
Y con lo que dije anteriormente quiero decir que incluso en un momento el cual se aborda muy ligeramente el tema de las drogas no es un gran spoiler unas personas se droga con el polvo que hacen del cuerno al unicornio Pero entonces tampoco termina de tocar el tema bien de las drogas como de las adicciones sí se toca el tema de las partes de las clases sociales pero tampoco terminé de desarrollarse es como que la película quiere tocar varios puntos ser sumamente profunda pero tiene más momentos cómicos y de terror que otra cosa que a veces se ve muy pausado por todo este exceso de mensaje que quisieron poner en escena, tal vez con esta opinión que estoy usando muchas personas piensan que es una mala película pero no no es una mala película simplemente es una película muy extraña que creo que la mejor manera de decirlo de manera chistosa es verla con un trago de ron en la mano.
And with what I said above I mean that even at one point which is very slightly addresses the issue of drugs is not a big spoiler some people get high with the powder that make the horn of the unicorn But then it does not end up touching the issue of drugs as well as addictions yes it touches the theme of the social classes but I did not end up developing it is like the film wants to touch several points to be extremely deep but it has more comic moments and horror than anything else that sometimes looks very paused and it seems very paused. The movie wants to touch several points to be extremely deep but it has more comic and horror moments than anything else and sometimes it looks very slow because of all this excess of message that they wanted to put on the scene, Maybe with this opinion that I am using many people think that it is a bad movie but it is not a bad movie, it is just a very strange movie that I think the best way to say it in a funny way is to watch it with a rum drink in your hand.
Pero bueno la verdad que las actuaciones son sumamente sólidas sale ant-man en la película y sale Merlina por no decirlo de otra forma, que por cierto esta actriz ya ha salido varias veces con películas del estudio a 24 para los que no lo han visto la película x la verdad se las recomiendo muchísimo una película que sí está plenamente enfocada del terror y la verdad es que es excelente, esta película entonces es buena es mala es una película extraña como llevo diciendo que deben dar una oportunidad de verla una vez y ya está al punto de que es muy difícil de encontrar esta película no es tan sencilla de verla, pero sí puedo decir que pueden encontrar también un producto muy entretenido especialmente en el tramo final que ya directamente se van al gore y tiene momentos de comedia en el cual Bueno tanto drama puede llegar a suavizarse de alguna forma y cada actor cumple perfectamente con una actuación bastante sólida dentro de lo que se pide de esta trama tan extraña.
But the truth is that the performances are extremely solid, ant-man is in the movie and Merlina is in the movie, which by the way this actress has already appeared several times with films of the studio 24 for those who have not seen the movie x the truth I highly recommend a movie that is fully focused on horror and the truth is that it is excellent, this movie then is good is bad is a strange movie as I've been saying that you should give a chance to see it once and is already to the point that it is very difficult to find this movie is not so easy to see it, but I can say that you can also find a very entertaining product especially in the final stretch that already directly go to the gore and has moments of comedy in which well both drama can get to soften somehow and each actor meets perfectly with a pretty solid performance within what is asked of this plot so strange.
¡Hasta la próxima, un abrazo!
[Fuente de imagen](https://www.glamour.mx/articulos/death-of-a-unicorn-trama-fecha-de-estreno-elenco-trailer-y-mas)
And finally we get to that point in the story of the flashback, one of the best flashbacks One Piece has ever had, at the same time sad, tragic and also beautiful. A whole life comes of sacrifices for a common good. The long awaited end of this flashback of Kuma's life, which is a character that took a totally unexpected turn at one point in this One Piece story by showing us already for years that underneath his actions there is a meaning, but in this origin story we see that his actions have even more weight in the story than we could assume from a few years ago. Being up to date with the manga I already knew what was going to happen, but reading it in the manga and later seeing it in the anime with all the elements that encompasses an adaptation of this style, I must say that once again, the anime has completely surpassed everything that can be read in the pages of that chapter of the manga.
Episode 1136 of the One Piece anime is the culmination of Kuma's flashback and the culmination of the awareness and free will that Kuma had during the episodes where we learned of his origin. We continue to explore Kuma's memories and at the same time, we learn that Bonney herself was watching "along with us"; so to speak, all of Kuma's life, therefore she learns that the whole procedure that Vegapunk performed on him was because Kuma wanted it that way and he did it all so that she would be okay. Bonney gets to see Kuma's tragic life, all the trauma, fear and pain he had to live through from an early age until his end when he became a weapon for the World Government.
At the same time we also see from Kuma's perspective certain very important events in the work, when Kuma makes Zoro take Luffy's pain, when Luffy hits the Celestial Dragon and how he later separates Luffy's crew because he knows they are not ready to be in the New World, all this although we already knew that Kuma's actions had a purpose since some years ago, this time we are given to understand that the main reason why Kuma did this for Luffy is the rest, is because he believes that Luffy will be the one to impose a change in the world due to the actions he has been doing, something that managed to impress and move Kuma a lot.
Kuma's actions both directly and indirectly have made the One Piece world change drastically, since just by saving Luffy in the Sabaody Archipelago, he caused such a butterfly effect that nowadays Kuma himself saw Luffy become Nika, since part of his dream is that he would free him from his evils and somehow Luffy achieved it. Kuma is a martyr par excellence, his life is full of sacrifices, but at the same time he is a character who always kept his hopes intact, because even though he has gone through several bad experiences throughout his life, he has not ceased to have a noble heart and be one of the kindest characters in One Piece. Episode 1136 of the One Piece anime is worthy of being one of the best in the entire work. Kuma is the true revolutionary.
Y por fin llegamos a ese punto de la historia del flashback, de los mejores flashback que ha tenido One Piece, a la par de triste, trágico y también hermoso. Toda una vida llega de sacrificios por un bien común. El tan esperado final de este flashback de la vida de Kuma, el cual es un personaje que dio un giro totalmente inesperado en un punto de esta historia de One Piece al mostrarnos ya desde hace años que bajo sus acciones hay un sentido, pero en esta historia de origen vemos que sus acciones tienen aún más peso en la historia de lo que podríamos suponer desde hace algunos años. Yo al estar al día con el manga ya sabía lo que iba a suceder, pero leerlo en el manga y posteriormente verlo en el anime con todos los elementos que engloba una adaptación de este estilo, debido decir que una vez más, el anime ha superado por completo todo lo que se puede leer en las páginas de ese capítulo del manga.
Es episodio 1136 del anime de One Piece es la culminación del flashback de Kuma y la culminación de la conciencia y el libre albedrio que había tenido Kuma durante los episodios donde supimos su origen. Continuamos explorando los recuerdos de Kuma y la vez, no enteramos que la propia Bonney estuvo viendo “junto con nosotros”; por decirlo de algún modo, toda la vida de Kuma, por ende se entera que todo el procedimiento que realizó Vegapunk en él fue porque así Kuma lo quiso y todo lo hizo para que ella estuviera bien. Bonney logra ver la vida trágica de Kuma, todo el trauma, miedo y dolor que tuvo que vivir desde temprana edad hasta su fin al convertirse en un arma para el Gobierno Mundial.
A la vez tambien vemos desde la perspectiva de Kuma ciertos acontecimientos muy importantes en la obra, cuando Kuma hace que Zoro tomé el dolor de Luffy, cuando Luffy golpea al Dragon Celestial y como posteriormente separa a la tripulación de Luffy porque él sabe que no estan preparados para estar en el Nuevo Mundo, todo esto aunque ya sabíamos que las acciones de Kuma tenían un propósito desde hace algunos años, esta vez se nos da a entender que el motivo principal de porque Kuma hizo esto por Luffy es lo demás, es porque cree que Luffy será el que impondrá un cambio en el mundo debido a las acciones que viene realizando, algo que logró impresionar y conmover mucho a Kuma.
Las acciones de Kuma tanto directa como indirectamente han hecho que el mundo el One Piece haya cambiado drásticamente, ya que con tan solo el hecho de haber salvado a Luffy en el Archipiélago Sabaody, provoco tal efecto mariposa que actualmente el mismísimo Kuma llegó a ver Luffy convertirse el Nika, siendo que parte de su sueño es que él lo liberara de sus males y de alguna forma Luffy lo logró. Kuma es un mártir por excelencia, su vida está llena de sacrificios, pero a la vez es un personaje que siempre mantuvo sus esperanzas bien intactas, debido a que a pesar que ha pasado por diversas malas vivencias a lo largo de su vida, no ha dejado de tener un corazón noble y ser uno de los personajes más amables de todo One Piece. El episodio 1136 del anime de One Piece es digno de ser uno de los mejores de toda la obra. Kuma es el verdadero revolucionario.
Hi guys, so you know the normal Christmas story where Santa has his elves and sometimes The Grinch and how he spreads joy in form of gifts well hold that thought and amplify it because that’s what Red One is about. I’ll try not to give any spoilers so this will be short, now to the movie.
About the movie
Red One is a 2024 action fantasy directed by Jake Kasdan. So here, Santa Claus isn’t just any fellow –not like he was before though, but you’ll get what I’m saying in a bit –he is protected by a covert global agency, MORA (Mythological Oversight and Restoration Authority), this is the Christmas patrol and like the name its work is basically to keep peace between humans and mythological beings.
Santa is kidnapped a night to Christmas eve –very terrible timing cause unlike what we know of, there’s a whole system for this thing –so Santa’s personal guard, Callum Drift and one of the best hackers in the world, Jack O’Malley, not one of Callum’s favourite persons have to put aside their differences to rescue Santa, the fate of Christmas depends on them.
Now on of the reasons I was so hyped about this movies is that fact that Dwayne Johnson is starring in it, another is that it was just the cliché type of Christmas movies we are used to and I liked that it wasn’t just all magic, there also a bit of comedy in it, this movie kept me on my toes till the end.
I would give this movie a 5 star rating, though I don't think I have done enough justice to it but l recommend this to anyone who hasn’t already watched it, who loves thrilling moves and I’d like to get your comments, if you loved it as much as I did.
Hello everyone, dear Movies and TV Shows community, I hope you're all having a great time today. This time I'd like to share with great enthusiasm a new review. You see, a few weeks ago I finally got around to watching Alien: Romulus, and honestly, I'm feeling shaken. After Prometheus and Covenant went off on a tangent (which, mind you, I found interesting, but I know many people don't!), and with how Hollywood has been doing lately with the sagas we love... let's just say I went into the theater a little scared... Was it going to be another Terminator: Dark Fate-type disaster, or worse, like Genesis? Well, breathe easy everyone! Because the good news – the BEST news! – is that Fede Álvarez didn't screw it up... thank goodness, damn it! In fact... it's good, seriously, entertaining, it keeps you tense, and, most importantly, it feels like Alien! The guy knows how to make claustrophobic horror! He knows how to put characters in a confined space with something horrifying and make the tension rise and rise, and that's exactly what he did here.
It's almost like Don't Breathe in space, but instead of a crazy old blind man, you have... well, you know! Xenomorphs! So, first things first: where does this fit in? It seems like it's like 20 years after the original Alien (the gem from '79), meaning it's right there as a bridge between Ridley Scott's film and James Cameron's action-packed sequel, Aliens (from '86). And you know what? That location suits it perfectly... it allows it to connect directly with the vibe, with the feeling of the first one, which I think is what a lot of us wanted, right? Mind you, if you haven't seen all the films in the saga, don't worry! The good thing is that you don't need to know the whole story, it works perfectly as a separate story, with a new crew facing horror for the first time... so yes, it can be a good gateway if you want to introduce someone new to this Xenomorph horror thing.
Hola a todos, querida comunidad de Movies and TV Shows, espero que hoy estén pasándola genial, en esta ocasión quiero compartir con mucho entusiasmo una nueva reseña, verán, hace unas semanas por fin pude ver: Alien: Romulus y, la verdad, me siento sacudido, después de que Prometheus y Covenant se fueron medio por las ramas (que, ojo, a mí me parecieron interesantes, ¡pero sé que a muchos no!), y con cómo le ha ido últimamente a Hollywood con las sagas que queremos... digamos que entré al cine con un miedito... ¿Iba a ser otro desastre tipo Terminator: Destino Oscuro o peor, onda Génesis? Bueno, ¡respiren tranquilos todos! Porque la buena noticia – ¡la MEJOR noticia! – es que Fede Álvarez no la arruinó.. menos mal, carajo! De hecho... está buena, en serio, entretenida, te tiene tenso y, lo más importante, ¡se siente como Alien! el tipo sabe cómo hacer terror claustrofóbico! Sabe cómo meter personajes en un lugar cerrado con algo horrible y hacer que la tensión suba y suba, y eso es justo lo que hizo acá.
Es casi como No Respires en el espacio, pero en vez de un viejo ciego loco, tienes... bueno, ya saben! ¡Xenomorfos! A ver, primero lo primero: ¿dónde encaja esta parece que está como 20 años después de la Alien original (la joya del 79), o sea, queda justo como un puente entre la de Ridley Scott y la secuela llena de acción de James Cameron, Aliens (la del 86). ¿Y saben qué? Ese lugar le queda perfecto.. le permite conectar directo con la onda, con el feeling de la primera, que creo que es lo que muchos de nosotros queríamos, ¿no? ojo, si no se han visto todas las pelis de la saga, ¡tranquilos! Lo bueno es que no hace falta saberse tooooda la historia, funciona perfecto como una historia aparte, con una tripulación nueva que se enfrenta al horror por primera vez.. así que sí, puede ser una buena puerta de entrada si quieren meter a alguien nuevo en esto del terror con Xenomorfos.
The story itself is quite simple, the typical Alien vibe, really... we follow some kids who are like scavengers, you know, like space nomads, barely surviving in a place called Jackson, under the yoke of the always 'adorable' Weyland-Yutani Corporation, the leader is a girl named Rain (played by Cailee Spaeny, who was very good in Priscilla, although the movie didn't kill me) and her android 'brother' Andy (David Johnson)... they are looking for a better life, they want to escape, go to a new planet, Yaga 3... along the way, boom!, they come across a giant abandoned space station... and you can imagine what happens, right? Of course! They end up trapped there with the Facehuggers, Xenomorphs and a lot of 'Holy crap, nooo!' moments.. it’s a fight to survive in those dark metal corridors, now, let’s talk about how it looks and feels, because this is where Alvarez and his people really went all out!
They went all out to recreate that old, used, lo-fi sci-fi vibe from the late 70s, early 80s... seriously, it looks like a movie made from that era, the design is great!: rusty metal, flickering lights, super basic computer screens, those typical round doors... everything feels like you can touch it, it’s real, it’s dark, it feels damp, it suffocates you and it really feels dangerous! They used a ton of practical effects, animatronic dolls, well-made sets, and you can really tell the difference, damn... now that everything is pure CGI, seeing bugs and places that look real... makes the terror hit you so much harder! You feel like you're there with them, smelling the stale air and oil, the atmosphere is so thick you could cut it with a knife... or a pulse rifle!
And the Xenomorphs? Wow, they're great, they didn't bother inventing anything, they went back to the classic design, that horrible biomechanical nightmare... they look slimy, hunters, totally out of this world, seeing them move, knowing that a lot of it is practical! is great! And yes, the facehuggers are back and they're still just as horrible and give you goosebumps, as always. The sound is also incredible: every little noise, every hiss, every scream... it makes it even scarier... it's a gem for the eyes and ears of horror fans.
La historia en sí es bien sencilla, la típica onda de Alien, la verdad.. seguimos a unos chicos que son como carroñeros, ¿saben?, como nómadas del espacio, que apenas sobreviven en un lugar llamado Jackson, bajo el yugo de la siempre 'adorable' Corporación Weyland-Yutani, la líder es una chica llamada Rain (la hace Cailee Spaeny, que estuvo muy bien en Priscilla, aunque la peli no me mató) y su 'hermano' androide Andy (David Johnson).. están buscando una vida mejor, se quieren escapar, irse a un planeta nuevo, Yaga 3.. en el camino, ¡pum!, se encuentran con una estación espacial gigante abandonada... y ya se imaginan lo que pasa, ¿no? ¡Claro! Terminan atrapados ahí con los abrazacaras (Facehuggers), Xenomorfos y un montón de momentos de '¡Mierda, mierda, nooo!'.. se arma la lucha por sobrevivir en esos pasillos oscuros de metal, ahora, hablemos de cómo se ve y se siente, porque ¡aquí es donde Álvarez y su gente se la rifaron!
Le metieron con todo para recrear esa onda de ciencia ficción vieja, usada, como 'lo-fi' de finales de los 70, principios de los 80.. en serio, parece una peli hecha en esa época, el diseño es ¡genial!: metal oxidado, luces que parpadean, pantallas de compu súper básicas, esas puertas redondas típicas... todo se siente como que lo puedes tocar, real, está oscuro, se siente húmedo, te ahoga y de verdad se siente ¡peligroso! Usaron un montón de efectos prácticos, muñecos animatrónicos, escenarios bien hechos, y se nota la diferencia, carajo.. ahora que todo es puro CGI, ver bichos y lugares que parecen de verdad... ¡hace que el terror te pegue mucho más fuerte! Sientes que estás ahí con ellos, oliendo el aire viciado y el aceite, la atmósfera está tan cargada que la podrías cortar con un cuchillo... ¡o con un rifle de pulsos!
Y los Xenomorfos? Uf, están buenísimos, no se pusieron a inventar, volvieron al diseño clásico, ese de pesadilla biomecánica horrible.. se ven babosos, cazadores, totalmente de otro mundo, verlos moverse, ¡sabiendo que mucho es práctico!, es ¡genial! Y sí, los abrazacaras volvieron y siguen siendo igual de horribles y te ponen la piel de gallina, como siempre, el sonido también está increíble: cada ruidito, cada siseo, cada grito.. hace que te dé más miedo todavía.. es una joyita para los ojos y los oídos de los fans del terror.
So, the atmosphere and the bugs, a luxury, we already said it! But what about the human part, the characters? Look, this is where I kind of have my doubts... but more than anything, since they're kids who want to escape being exploited, it's easy to connect with them, obviously you support them from the start because, who doesn't want a better life, far from a system that crushes you? Cailee Spaeny, the one who plays Rain, really does well as the protagonist, she gives Rain that mix that you believe, like she's vulnerable but also has guts, buuuut - and maybe it's just me, comparing them to bosses like Ripley or the people from the original Nostromo - I felt like they didn't develop them enough, they serve the story, yes, and obviously you get tense when they're in danger, but in the end... I don't know, I didn't get that emotionally hooked... the one who really breaks it, mind you, is the android Andy, the one played by David Johnson!
That character did seem super interesting to me! Well written, he gives the group a kind of retro, mysterious vibe... he really stood out. Now, speaking of pacing, Álvarez lives up to the original, taking his time to build suspense. It's not crazy action from the first minute... he lets the fear set in, uses the location, and focuses on those long, tense scenes where you're just standing there, waiting for something to jump... when it does... ugh! Yes, there are some jump scares and some pretty brutal parts (but okay, for a horror movie!). I have to admit, though, there were a couple of moments that felt a little... predictable, you know? It seems that too many times they are saved 'by the skin of their teeth', just when they already had them... you know how it is: the creature slobbers on them for a thousand hours before someone arrives to save them, it's a classic horror movie, yes, but when it happens several times... it seems that for me, personally, it lowered my tension a little... but anyway, in general, the film grabs you well and keeps you glued.
Entonces, lo de la atmósfera y los bichos, ¡un lujo, ya dijimos! ¿Pero qué tal la parte humana, los personajes? Miren, aquí es donde como que tengo mis dudas... pero más que nada, como son unos chavos que se quieren escapar de que los exploten, pues fácil conectas con ellos, obvio los apoyas de entrada porque, ¿quién no quiere una vida mejor, lejos de un sistema que te aplasta? Cailee Spaeny, la que hace de Rain, la verdad, lo hace bien omo protagonista, le da a Rain esa mezcla que te crees, como de que es vulnerable pero también tiene agallas, peeeero –y capaz soy yo nomás, comparándolos con los capos como Ripley o la gente de la Nostromo original– sentí que no los desarrollaron tanto, cumplen para la historia, sí, y obvio te pones tenso cuando están en peligro, pero al final... no sé, no me enganché taaanto emocionalmente.. el que sí la rompe, ojo, es el androide Andy, el que hace David Johnson!
Ese personaje sí me pareció súper interesante! Bien escrito, le mete como esa onda medio retro, medio misteriosa al grupo.. se destacó, la verdad, ahora, hablando del ritmo, Álvarez le hace honor a la original, se toma su tiempo para ir creando el suspenso. No es acción a lo loco desde el minuto uno.. deja que el miedo se sienta, usa el lugar, y se enfoca en esas escenas largas de tensión donde estás ahí, esperando que algo salte.. cuando salta... ¡uff!, sí, hay unos sustos que te hacen brincar y unas partes bien brutales (¡pero bien, para ser de terror!). Eso sí, tengo que admitir que hubo un par de momentos que se sintieron un poco... predecibles, ¿saben? Como que demasiadas veces se salvan 'por un pelito', justo cuando ya los tenían.. ya saben cómo es: el bicho les babea encima mil horas antes de que alguien justo llegue a salvarlos, es un clásico del terror, sí, pero cuando pasa varias veces... como que a mí, personalmente, me bajó un poquito la tensión.. pero bueno, en general, la peli te atrapa bien y te mantiene ahí pegado.
One thing is crystal clear: this movie is pure love for the original Alien, it respects the story, the visual vibe, and is full of little details, winks for fans, it even has things from the plot that connect with Prometheus and Aliens, fitting it well into the entire timeline without complicating things, but be careful, so much respect, so much "homage" vibe, it can be a double-edged sword... since it draws so much from the old and feels so... familiar, some will say it's not very original. I read a comment somewhere that compared it to playing the video game Alien: Isolation, and yes, I make sense of it: the atmosphere, that hiding, the bug that won't leave you alone... Is it like a cover band, as they say out there? Maybe a bit, it plays the well-known songs, but it plays them very, very well! It's not that it's outrageously innovative, it sticks to what's safe, what's known, but it does so with skill, with respect... there are a few things, especially at the end, that try to add something new or somewhat unexpected... I'm not going to tell you what, I'm still thinking about whether it worked well or not, so the million-dollar question: Is it just to get us money with nostalgia or did they really put effort into it?
The truth is, I think it's there, in the middle, you can tell it's made to hook long-time fans, but also so that new ones can easily get into it, hitting those familiar keys... maybe it's not a super bold and different reinvention, but the important thing: it feels made with care, with true affection for the original saga. It works as a horror and science fiction film, it keeps you tense, it's scary and has a good atmosphere, in the end, bringing out those little things about the characters that are somewhat flat and that sometimes you already know what's going to happen, I had a great time! It looks amazing, it sounds amazing, it gives you good scares, good tension and, most importantly, it feels like a real Alien experience! It doesn't reach the level of the first two, obviously! but it's a very good film in the saga and a huge relief! after years of not knowing what was going to happen... for me, I give Alien: Romulus an 8/10. It delivers what it promises, respects the story and gives you a couple of exciting hours in the dark... it's one of those films to watch on the big screen and with good sound. And well, that's all for today's review, we'll see you later for more, take care! Have a good time, bye!
Una cosa que está clarísima: esta peli es puro amor a la Alien original, respeta la historia, la onda visual, y está llena de detallitos, de guiños para los fans, hasta tiene cosas de la trama que se conectan con Prometheus y Aliens, metiéndola bien en toda la línea de tiempo sin que te compliques, pero ojo, tanto respeto, tanta onda "homenaje", puede ser un arma de doble filo.. como agarra tanto de lo viejo y se siente tan... conocida, algunos van a decir que no es muy original. Leí por ahí un comentario que la comparaba con jugar el videojuego Alien: Isolation, y sí, le encuentro sentido: la atmósfera, eso de esconderse, el bicho que no te deja en paz... ¿Que es como una banda de covers, como decían por ahí? puede ser un poco, toca los temas conocidos, pero los toca muy, muy bien! No es que innove una barbaridad, se mueve por lo seguro, por lo conocido, pero lo hace con maña, con respeto.. tiene algunas cositas, sobre todo al final, que intentan meter algo más nuevo o medio inesperado... no les voy a contar qué, todavía le estoy dando vueltas a si funcionó bien o no, entonces, la pregunta del millón: ¿Es solo para sacarnos la plata con la nostalgia o de verdad le pusieron ganas?
La verdad, creo que está ahí, en el medio, se nota que está hecha para enganchar a los fans de siempre, pero también para que los nuevos le entren fácil, tocando esas teclas conocidas.. quizás no es la reinvención súper jugada y distinta, pero lo importante: se siente hecha con cuidado, con cariño de verdad por la saga original. Funciona como peli de terror y ciencia ficción, te tiene tenso, da miedo y tiene buena atmósfera, al final, sacando esas cositas de los personajes medio planos y que a veces ya sabes qué va a pasar, ¡la pasé genial! Se ve increíble, suena increíble, te da buenos sustos, buena tensión y, lo más importante, ¡se siente como una experiencia Alien de verdad! No llega al nivel de las dos primeras, ¡obvio! pero es una muy buena película para la saga y un alivio ¡enorme! después de años sin saber qué iba a pasar.. ñara mí, a Alien: Romulus le doy un 8/10. Cumple lo que promete, respeta la historia y te da un par de horas emocionantes en la oscuridad.. es de esas pelis para ver en pantalla grande y con buen sonido. Y buenoz hasta aquí la reseña de hoy, nos veremos luego en más, cuidense mucho! Que estén bien, byebye!
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Do you believe that love can heal the deepest wounds and transform a life full of bitterness into a personal fairy tale? Today I want to bring you a story that I found very sweet and with a romantic development that I consider very well achieved, so I do not want to pass up the opportunity to recommend it to you.
Also called as Taishou Maiden Fairytale, released in 2021, under the direction of Jun Hatori and SynergySP animation studio, they bring us a creation by Sana Kirioka wrapped in romantic comedy, drama, historical and life retelling.
The story takes place in 1920's Japan, where young Tamahiko Shima, the second son of a wealthy family, who after a tragic accident in which he loses his mother and is left with paralysis in his right arm, is despised by his father and brothers, who consider him useless and a stain on their family (although they were never really that close to each other).
After that, he is sent to a remote region so as not to be a burden on the family, even pretending that he died and not feeling sorry for having such a son. Resigned to die alone and unnoticed, his life takes an unexpected turn when a young woman named Yuzuki Tachibana, who has been bought by Tamahiko's father to be his son's wife and take care of him, arrives at his door.
The presence of Yuzuki, so cheerful and optimistic, will fill his life with other tonalities, making him achieve a purpose in his life and appreciate what he has, creating relationships and connections that will help him move forward. Will they manage to stay together? Will his family become more involved with him?
I really liked this anime, not so much for the animation, because it is not the best, although I appreciate the clean and simple, which I feel goes according to the story; anyway, what attracted me most was the relationship of the protagonists, which was certainly quite touching and positive that are addressed throughout the plot. It was criticized or judged by the issue of a girl getting married, even though the age difference between the two is not big, or that one has to work and things like that, which was the reality of that time and neither should be mowed of those facts, which are not acceptable or anything like that, we agree, but they really managed to address it in a pure way and focused more on mutual development.
Yuzuki is tender and Tamahiko is rude at the beginning, but with all his background, we understand the characters and we see that healthy evolution that is brewing, how the young girl was the light she needed in the midst of the impending darkness she was living. The story invites you to surround yourself with positive people, who give you peace and give you the opportunity to move forward, besides being empathetic with others and find happiness in the simplest things in life.
8.5/10 Story │ 8/10 Animation │ 8/10 Sound │ 8/10 Character design │ 8.5/10 Overall.
It is a good story, not to be considered a classic, however, it is enjoyable and light, there are no complications, I consider that, if they should have continued it, it was half and I wished for something more, noting that the manga is super short (according to what I saw at the time), so a second season could have developed the plot better.
Images were captured from IMDb. Cover designed in CANVA. Text translated at DeepL.
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¿Crees que el amor puede curar las heridas más profundas y transformar una vida llena de amargura en un cuento de hadas personal? Hoy les quiero traer una historia que se me hizo muy dulce y con desarrollo romántico que lo considero muy bien logrado, por lo que no quiero dejar pasar la oportunidad de recomendárselos.
También llamado como Taishou Maiden Fairytale, estrenado en el año 2021, bajo la dirección de Jun Hatori y del estudio de animación SynergySP, nos traen una creación de Sana Kirioka envuelta en una comedia romántica, drama, histórica y de recuentos de la vida.
La historia se desarrolla en un Japón de 1920, donde el joven Tamahiko Shima, el segundo hijo de una familia adinerada, quién tras un trágico accidente donde pierde a su madre y quedando con una parálisis en el brazo derecho, es despreciado por su padre y sus hermanos, pues lo consideran inútil y una mancha en su familia (aunque realmente nunca eran tan apegados unos con los otros).
Tras ello, es enviado a una remota región para no ser una carga en la familia, incluso finge que murió y no sentirse apenados de tener un hijo así. Resignado a morir en soledad y sin llamar la atención, su vida da un giro inesperado cuando a su puerta llega una joven llamada Yuzuki Tachibana, quién a sido comprada por el padre de Tamahiko para ser la esposa de su hijo y cuidarlo.
La presencia de Yuzuki, tan alegre y optimista, caso contrario a él, llenara su vida de otras tonalidades, haciendo que logré conseguir un propósito en su vida y apreciar lo que tiene, creando relaciones y conexiones que lo ayudaran a salir adelante. ¿Lograrán permanecer juntos? ¿Su familia se involucrarán más con él?
Me gustó mucho este anime, no tanto por la animación, porque no es la mejor, aunque aprecio lo limpio y sencillo, que siento que va acorde a la historia; en fin, lo que más me atrajo fue la relación de los protagonistas, que sin duda fue bastante conmovedora y positivos que se van abordando a lo largo de la trama. Fue criticado o juzgado por el tema de una niña casándose, a pesar de que la diferencia de edad entre ambos no es grande, o que uno tenga que trabajar y cosas así, que era la realidad de ese entonces y tampoco hay que segarse de esos hechos, que no son aceptables ni nada por el estilo, estamos de acuerdo, pero realmente lograron abordarlo de una forma pura y enfocado más en el desarrollo mutuo.
Yuzuki es tierna y Tamahiko es rudo al inicio, pero con todo el trasfondo de él, vamos comprendiendo a los personajes y vemos esa evolución sana que se van gestando, el como la joven fue la luz que necesitaba en medio de la oscuridad inminente que vivía. La historia que te invita a rodearte de personas positivas, que te brinden paz y te den la oportunidad de seguir adelante, además de ser empáticos con el otro y encontrar la felicidad en las cosas más simples de la vida.
8.5/10 Historia │ 8/10 Animación │ 8/10 Sonido │ 8/10 Diseño de personajes │ 8.5/10 General
Es una buena historia, no para ser considerada un clásico, no obstante, es disfrutable y ligero, no hay complicaciones, considero que, si debieron continuarla, quedo a media y deseaba como que algo más, acotando que el manga es super corto (según lo que vi en ese entonces), por lo que una segunda temporada pudieron desarrollar mejor la trama.
Las imágenes fueron capturadas de la página IMDb. Portada diseñada en CANVA. Texto traducido en DeepL.
Gracias por leer mi post. Espero que les haya gustado. Estaré atenta a responder sus comentarios. Pueden visitar mi blog, seguir mis contenidos y redes sociales.
Although I still don't consider myself a hardcore anime fan, I find it very curious to see how I used to consume very little if not almost nothing of this genre and today there are several series and movies that I have seen. I still think I prefer movies over series because the plot advancement is obviously much faster, efficient and without fillers, but if the series in question has few episodes I do not see why I can not give it a chance, that's how I came across Dan Da Dan which recently released its second season, and although at first I did not know how to react to so much information that seemed bizarre 😝, then I understood its depth.
Aunque aún no me considero fan empedernida del anime, me resulta muy curioso ver como yo antes consumía muy poco por no decir casi nada de este género y hoy en día son varias las series y películas que he visto. Sigo pensando que prefiero las películas por encima de las series ya que el avance de la trama obviamente es mucho más rápido, eficiente y sin rellenos, pero si la serie en cuestión tiene pocos episodios no veo porque yo no pueda darle una oportunidad, fue así como me topé con Dan Da Dan que recientemente estrenó su segunda temporada, y aunque al inicio no sabía como reaccionar ante tanta información que me parecía bizarra 😝, luego fui entendiendo su profundidad.
Overview/Resumen
Momo and Okarum are two high school students with different personalities and beliefs, Momo is outgoing and with an explosive personality, while Okarum is rather shy. She fervently believes in ghosts and yokais while he only believes in aliens. Each is convinced that what the other believes is nonsense, so at some point Momo proposes an interesting challenge: she had to visit an abandoned building where supposedly there were sightings of UFOs and aliens, while Okarum had to visit an abandoned tunnel that according to the internet was inhabited by paranormal entities, the goal was to prove to each other that there were no such things, but the thing is that Momo ends up abducted by some aliens and Okarum ended up cursed by a yokai, a strange old woman who from one moment to another snatched his penis, yes, just as you read it 😄 it was very strange but the old pervert just wanted to keep that part of the body of poor Okarum, and as long as he keeps it he will be linked to her through a curse, so she can possess him from time to time giving him special abilities. Momo discovers that she has psychic powers that she can use to contain Okarum's powers, so the two of them will have to learn to work together if they want to be victorious in their fight against the forces outside the earth.
Momo y Okarum son dos estudiantes de secundaria con personalidades y creencias diferentes, Momo es extrovertida y con una personalidad explosiva, mientras que Okarum es más bien tímido. Ella cree fervientemente en fantasmas y yokais mientras que él solo cree en extraterrestres. Cada uno está convencido de que lo que cree el otro es una tontería, así que en algún punto Momo propone un reto interesante: ella debía visitar un edificio abandonado donde supuestamente habían avistamientos de ovnis y extraterrestres, mientras que Okarum tenía que visitar un túnel abandonado que según internet estaba habitado por entidades paranormales, el objetivo era demostrarse entre sí que no existían tales cosas, pero el caso es que Momo termina abducida por unos extraterrestres y Okarum terminó maldecido por un yokai, una extraña anciana que de un momento a otro le arrebató su pene, sí, así como lo leyeron 😄 fue muy extraño pero la vieja pervertida solo quería quedarse con esa parte del cuerpo del pobre Okarum, y mientras la conserve él estará ligado a ella a través de una maldición, por lo tanto ella podrá poseerlo de vez en cuando dotándolo además de habilidades especiales. Momo descubre que ella tiene poderes psíquicos que puede usar para contener los poderes de Okarum, así que ambos tendrán que aprender a trabajar juntos si quieren salir vencedores en su lucha contra las fuerzas ajenas a la tierra.
I swear when I saw the first episode I said to myself "What happened here? " i thought the script writers had ingested hallucinogenic mushrooms when they wrote the episode, well, or maybe the mangaka had, since the manga was written first obviously 😄 what happens is that i felt it was too many unconnected ideas, like it didn't make much sense that a yokai wanted to steal someone's penis, and that the aliens wanted the same thing, but then I understood that that's the least of it, since the interesting point in the story is the way Momo and Okarum complement each other to achieve a goal, they are two different people, with different beliefs that at some point can combine their newly acquired or discovered abilities to fight evil, and it's ironic that it was the villains themselves who have somehow propitiated those powers.
Les juro que cuando vi el primer capítulo me dije a mi misma "¿Qué pasó aquí?" creí que los guionistas habían ingerido hongos alucinógenos cuando escribieron el capítulo, bueno, o tal vez lo había hecho el mangaka, ya que el manga fue escrito primero obviamente 😄 lo que sucede es que sentí que eran demasiadas ideas inconexas, como que no tenía mucho sentido que un yokai quisiera robarle el pene a alguien, y que los extraterrestres quisieran lo mismo, pero luego entendí que eso es lo de menor importancia, ya que el punto interesante en la historia es la manera en que Momo y Okarum se complementan para lograr un objetivo, son dos personas diferentes, con creencias diferentes que en algún punto pueden combinar sus habilidades recién adquiridas o descubiertas para combatir el mal, y es irónico que hayan sido los propios villanos quienes hayan propiciado esos poderes de algún modo.
Both characters are deeper than it seems, for example Okarum is shy, reserved and apparently cowardly, but in the most critical points of danger he shows a tremendous inner strength, especially when it comes to defending Momo, he can't stand the idea of someone hurting her, He is also sincere, he defends his beliefs and convictions, as well as he believes in dialogue, for him it is better to solve situations by talking, so he decides to face Momo at the beginning and talk to her about the hypotheses that appeared in her magazine, trying to convince her about it. On the other hand we also realize that Momo has grown up with some emotional deficiencies because of the death of her parents, but she recognizes that her grandmother has been a great impulse and a reason for admiration, even though at the beginning she was ashamed of the fact that her grandmother made her recite protection spells, since she was a medium and believed in ghosts (from there comes Momo's strong belief) that is why she discovers that she also has powers and that she can work to perfect them. It is no coincidence that the two young people met, they both needed each other in order to fight evil.
Ambos personajes son más profundos de lo que parece, por ejemplo Okarum es tímido, reservado y aparentemente cobarde, pero en los puntos más álgidos de peligro demuestra una tremenda fuerza interna, sobre todo cuando se trata de defender a Momo, no soporta la idea de que alguien la lastime, así que se llena de coraje y valor para enfrentar lo que sea, además es sincero, defiende sus creencias y convicciones, así como cree en el diálogo, para él es mejor resolver las situaciones hablando, por eso decide encarar a Momo al inicio y hablarle de las hipótesis que aparecían en su revista, tratando de convencerla al respecto. Por otra parte también nos damos cuenta que Momo ha crecido con algunas carencias emocionales a causa de la muerte de sus padres, pero reconoce que su abuela ha sido un gran impulso y un motivo de admiración, a pesar de que en un inicio se avergonzara del hecho de que su abuela la hiciera recitar hechizos de protección, ya que era médium y creía en fantasmas (de allí viene la fuerte creencia de Momo) por eso ella descubre que también tiene poderes y que puede trabajar para perfeccionarlos. No es casualidad que ambos jóvenes se hayan encontrado, ambos se necesitaban para poder combatir el mal.
Therefore, the anime has a good character development, because this comes from the experience that each one acquires on their own and the trust they can place in each other, which makes them get to know each other and get closer.
Por lo tanto el anime tiene un buen desarrollo de personaje, porque este viene a causa de la experiencia que cada uno va adquiriendo por si mismo y en la confianza que puede depositar en el otro, lo cuál hace que cada vez se conozcan y se acerquen más.
As for the fights with the enemies, they may seem bizarre, seriously, it's what I said at the beginning, it seems to make no sense, but always Momo and Okarum use the environment and ingenuity to defeat them, for example in the second chapter of the first season, both face a giant alien with sumo skills, which seems to be possessed in turn by a yokai 😂, something super crazy, right? however both characters, realizing that this being is nothing more than the result of the beliefs of both, decide to put their knowledge into practice, using logic and wit, also realizing that a melee combat was not the best option, and so it happens in all combats, both characters first study their situation, as well as the enemy they are facing, then evaluate their chances and finally act. The objective is to demonstrate that it is possible to defeat stronger enemies because it is a matter of trying to discover their weak point in order to elaborate a strategy accordingly.
En cuanto a los combates con los enemigos, pueden parecer bizarros, en serio, es lo que les dije al inicio, parece no tener sentido, pero siempre Momo y Okarum utilizan el entorno y el ingenio para vencerlos, por ejemplo en el segundo capítulo de la primera temporada, ambos se enfrentan a un extraterrestre gigante con habilidades de sumo, el cual parece estar poseído a su vez por un yokai 😂, algo super loco, ¿no? sin embargo ambos personajes, al darse cuenta que ese ser no es otra cosa más que el resultado de las creencias de ambos, deciden poner en practica sus conocimientos, usando la lógica y el ingenio, al darse cuenta además que un combate cuerpo a cuerpo no era la mejor opción, y así sucede en todos los combates, ambos personajes estudian primero su situación, así como al enemigo al que se están enfrentando, luego evalúan sus posibilidades y finalmente actúan. El objetivo es demostrar que es posible vencer a enemigos más fuertes porque es cuestión de tratar de descubrir su punto débil para poder elaborar una estrategia acorde.
Anyway, I think this anime is worth giving it a chance, plus it doesn't have too many chapters and they are not too long, that's what I like the most. For now I have only watched the first season but I will start watching the second one. Thanks for reading my review, I hope you liked it and I hope you give me your opinion about the anime 😉.
En fin, considero que este anime es digno de darle una oportunidad, además no tiene demasiados capítulos y no son demasiado largos, es lo que más me gusta. Por ahora solo he visto la primera temporada pero ya iniciaré a ver la segunda. Gracias por leer mi review, espero que les haya gustado y que me den su opinión respecto al anime 😉.
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