I realised many of the comics I had been reading lately disappeared out of nowhere, though upon inspection it was actually that some of them were just mini-runs that would only see five issues within their stories. And with some of their endings relatively open, it wasn't entirely clear that these had effectively seen a conclusion of some sort. One of these was the Thunderbolts story that was part of the One World Under Doom narrative. Now, I've never been a fan of the live action side of things regarding superheroes, it's generally something I try to avoid as I feel the comic book fun is rarely ever visible within cinema. Either wrong casting or too reliant on special effects and reality to really give them that spark that hand-drawn art can provide regarding stylisation of world building and character design. I really didn't expect much from Thunderbolts* though I had seen a lot of positive mentions throughout the months online, especially with how superhero fatigue had been setting in over the past few years as the formula grew too repetitive and tiresome even for some of the larger fans. My knowledge of the Thunderbolts comes purely from the comic I recently read, which was short and more focused on the Doom side of things more than anything else. So this film was essentially an introduction into the characters, but also a bit of a general introduction to whatever had happened in the previous bloated universe of things. I won't ever watch those films so whatever context was found here was just not all that interesting to me. Though some of the references to the previous titles I guess did help with spreading some of the awareness the characters had regarding their situation in time, with how supposedly the bigger heroes were now gone, and the world in this moment of disarray after the events, now struggling to find that new normal without them supposedly maintaining structure for the western forces. And some of that is visible in the early narrative here, with the US realising it doesn't now have leverage over the world with the forces it had, and the few remaining people hold uncertain futures. Though these aren't heroes, they're more the leftovers of the rogue types, the few that don't take too kindly to the interests of elites. Surrounded by shadow organisations and living by the any-means-necessary ordeal. This antihero concept is something we do need to see more of, especially with how many engaging characters there are within the world of comic books that are rarely utilised, more so just the main popular ones within live action. It's nice to see that change a bit and to see a bit more of the action, a bit more of the hard-to-relate-to main characters that seem more distant and reliant on their independence. From a cinematography perspective, I think it's done quite well too, it can be quite creative in parts, with some strong attention to more cinematic lighting and improved set design over special effects. Not to say there aren't any still, just they aren't so jarring. It keeps things a bit more grounded in part, though sometimes the world still feels a bit too real, again that stylisation side of things missing. This definitely screams something made for the big screen. Incredibly wide and cinematic in its lens choices. And it really works for those action sequences where explosions are strong and the choreography utilises all of that wide angle frame, from left to right in some instances. In some ways that's returning to form, remembering what made cinemas interesting, and what we considered cinematic in the past, not just shallow depth-of-field, and as much as I love it, not always that anamorphic look. I'd say it was an interesting watch, but still somewhat of the same thing people should expect within the genre. Not for everyone.

We live in a world of inequality and injustice, where one's success, fame, and wealth are often determined more by their background than the effort and talent they put in. One of the most glaring examples of such injustice is the film industry. Judging by the case of Valerian and the City of a Thousand Planets, all sci-fi spectacles based on popular comics aren’t created equal. Were it not for one minor but significant detail, the fate of this film could have been easily predicted. It could have counted on a small but influential group of fans who would go into ecstasy at the mere mention of the premiere and make pilgrimages to conventions and promotions; even before the premiere, it would have been clear that, regardless of what critics could have written, the film could expect good box office results and astronomical sums in the pockets of the studios. And all of this, of course, would not have prevented a few pathological individuals from making death threats against the families and pets of those critics daring to publicly deny that the said film was an undisputed masterpiece. Or, to be more precise, all of this could have been expected if Valerian were based on a comic published by DC, Marvel, or any other American publisher. Unfortunately for the screenwriter, director, and producer Luc Besson, the basis for his film, Valerian and Laureline, is a French comic. In the first decades of the 21st century, the idea that a comic can be made outside the US is simply unimaginable for most American comic fans, and they can expect to react to this "cultural appropriation" with extreme hostility. This was, to a degree, reflected both among the audience and the critics, and as a result, Valerian became one of the most expensive commercial flops of its time.

The plot of the film takes place in the 28th century, long after the International Space Station transformed into "Alpha," a space megalopolis where thousands of different species exchange knowledge and culture. Peace and order in it, as well as the rest of the universe, is the responsibility of a para-police service, whose members include Major Valerian (Dane DeHaan) and his subordinate Laureline (Cara Delevingne), whom he unsuccessfully tries to seduce. Valerian, over time, is also troubled by other problems, such as dreams showing an apocalypse experienced by sympathetic humanoids on a distant planet. This vision will later be connected to reality when he receives the task from his superiors to secretly obtain the so-called Mül converter—a device/creature that can replicate anything it eats, and it turns out that its owners are precisely the humanoids from Valerian's dreams. His mission is further complicated by a crisis that has erupted on "Alpha," namely an unknown force that has infected its centre and made it uninhabitable. Attempting to solve these problems, Valerian and Laureline face the realisation that some of their superiors hide dark secrets.

When it comes to Luc Besson, it is simply impossible to avoid comparisons with The Fifth Element, a film of the same genre and striking similar style he had directed exactly twenty years earlier. Besson created that quirky but extremely entertaining film in an attempt to make his own version of Star Wars, and Valerian could be described as his attempt to surpass his own previous work. Besson not only invested enormous amounts of money in the film but also tried to make this clear to the audience—whether through scenes showing that special effects technology had advanced in two decades, or through the range of the plot spanning eight centuries (enabled by a prologue that shows the beginnings of "Alpha" through documentary footage of the Apollo-Soyuz mission in 1975), or through a large number of the most bizarre and most peculiar alien species of all colours, shapes, and sizes. All of this, however, can hardly compensate for the fact that the beautiful and impressive visuals are held together by a script that is, at best, hollow. The "surprising" twist and the identity of the antagonist will be easily recognised even by a small child, and the main characters are quite bland. And this is not helped at all by the fact that the two protagonists are played by fashion models, obviously hired more for their looks than their acting talent (although DeHaan clearly showed some of it in Chronicle). The impression is much improved by Rihanna in a short, memorable episode of an alien entertainer, although her appearance is tragically brief. Although this was not enough to save Valerian from commercial failure and quick oblivion, the film still provides the audience, at least viewers less demanding and willing to consume light entertainment, with everything they are expected to consume from the Hollywood projects of the same type.

RATING: 5/10 (+)

(Note: The text in the original Croatian version was posted here.)

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Hello everyone, welcome to my blog. I would love to share a trailing movie I watched sometime ago. The name Mr Queen.

PLOT A modern day man gets reborn in the Joseon era into a Queen's body. His transformation of being a man and being reborn into a devastated Queen body who wants the King desperately.

Kim so young began to act differently from her usual self. She was care free this time and didn't care about the King. She even tried to get to one of his concubines and even suggested more concubines for him.

Kim so young having a man's mind but a lady's body was attracted to girls. She tried every means to get close to a girl but it was frustrating for him knowing he had a female body.

The storyline went on with dramatic turns, palace drama and throne. King Cheoljong the king became so attracted to Kim so young noticing the changes in her, she wasn't the uptight lady he knew her for and dramatic turns of her carefree and making nice delicacy. The man who was soul shifted into Kim so young was a modern day chef and loves cooking but then there is a terrible twist, King Cheoljong want a second chance with Kim so young who he treated terrible and his concubine noticing King Cheoljong attention have been driven to Kim so young tries to find a means to bring back King Cheoljong attention.

Kim so Young cooking made Queen Sunwom to love her so dearly and she couldn't enjoy more food than hers, each day she expected Kim so young food but danger lurks. Kim so young and King Cheoljong love are being tested. There is a threat of a side lover who conspired to have Kim so young by all means even if it means killing the king.

The one night kiss he had with her was an unforgettable experience and he rose to the highest position in the palace patiently waiting for a time to strike. The love story of the King and Queen grew hotter when they had a night together and coupled with the King's memory coming back. He swore he was going to kill everyone who conspired to kill his father when he was younger but then the Queen’s father is part of the conspiracy. What happens then? Will the burning fire of revenge make the King kill the father of the woman he fell desperately in love with?

The tension of the plot grew hotter when the Queen's soul returned to her body and being pregnant she had to sacrifice all she got to protect the person she loves. The Romeo and Juliet of this movie makes it more thrilling to watch and just couldn't stop watching more series. It was hilarious at some point especially when the soul of a man was trying to fit in in a woman's body. He tried every means to go back to his body including drowning but each time he was still in a woman's body and had no choice but to accept his fate and lived his life like it was his last but danger lurks. Not everyone is happy to see the Queen smile again. IMDB

Posted Using INLEO

> Hello and a happy new month to Hivers and anime lovers. I am @coderaikiri, welcome to my blog. Today I'll be discussing about an interesting anime from most favorite genre - Isekai. So do stick around, I bet you'll love.

Isekai is a genre in the anime verse which centres around the main character being transported to another world to start over usually with some sort of magical boost to help navigate their life in a completely different environment. The thought of living life in some sort of fantasy world is probably why I love it so much as I sometimes dream about what life would be like in a world of magic which this genre seems to provide answers to.

The anime Tsukimichi: Moonlit Fantasy is an anime that focuses on Isekai genre but this time comes with a twist. Authored by Kei Azumi, illustrated by Mitsuaki Matsumoto and aired in 2021, the anime tells the story of Makoto Misumi - an ordinary high school student in Japan who is suddenly teleported to another world as a result of the contract both his parents had with the goddess as they were originally from that world.

The story takes an unusual turn, when the goddess who summoned Makoto banishes him to the wastelands without any blessings or even the ability to communicate with humans because she believes he is too ugly to be a part of her world. The goddess sends him off to the farthest edge of her world characterized by harsh environments and dominated by monsters without even a single blessing. But despite being cast out, Makoto possessed immense magical abilities and incredible archery skills which were given to him by the gods of his own world.

Confused without a single idea on what to do about his current predicament, Makoto roams the wasteland seeking for a way out. Due to his massive magical aura, he is attacked by Shen, a powerful dragon with quite the reputation who deems his presence as a threat. The two engage in combat and even though Makoto had little to no control over his powers, he was able to stand his ground against such a powerful beast. Impressed by this display of strength from Makoto, the dragon takes a liking to him and decides to form a contract of subservience to the protagonist. The contract grants the dragon access to Makoto's memories and she immediately takes an interest in cultural practices of the Japanese especially the samurais even changing her name Tomoe as she gained human form. This encounter with the dragon makes the beginning of Makoto's adventure and he now has a loyal companion for his journey. Still searching for a place for himself, Makoto sees a highland orc in trouble and opts to help her out. The orc is grateful for his help, discloses her name - Ema to him and also tells him that her village is constantly being attacked by monster and will definitely get destroyed if nothing is done to change it. Despite possessing no affinity for the human language, Makoto is able to speak every other language perfectly including that of the monsters. Makoto and Tomoe accompany Ema to her village and discover it's devastating state. Feeling sorry for them, he decides to protect them from any threat going as far as making their village his new home much to the excitement of the residing villagers.

Life with the orcs is not as easy as it seems as new threats seem to pop up at every turn. The black calamity spider which is known for destroying and eating everything in its path begins to attack the neighboring regions close to the village. Makoto decides to check out with Tomoe by his side, he encounters the creature and the two engage in battle. Makoto manages to subdue and convince it to enter a contract with him promising to satiet it's hunger. The creature agrees and the bond transforms it into a beautiful maiden with the curse of hunger completely gone. She takes the name of Mio and follows her new master back to his home.

Now with two very powerful allies by his side Makoto is powerful enough to protect his village from any form of attach whilst also striking fear into the hearts of Man and Monsters alike. He creates a barrier to shield the village from the outside world using his knowledge from his previous world to help develop it.

What makes this series interesting is the fact that it takes a completely different tone from others within the same genre. Instead of being bailed as a hero in his arrival, he is banished by the very goddess who summons him and feared by his own kind (humans). He finds solace with the monsters creating a community where every creature is accepted and given a home to stay regardless of species.

Nevertheless despite all his shortcomings, Makoto is still able to come out on top getting fame and respect even from humans after saving them from demon attacks. The anime is quite the watch and I recommend giving it a try, there are no weak episodes in all 2 seasons. Thank you all All images are gotten from imdb

There's something hallucinatory about '28 Years Later', as if looking through a glass darkly at a future that very well might exist - Britain, shut off from the world, quarantined, isolated, and very much post Brexit, post pandemic.

I'm still not sure what to make of it - parts of it seemed disjointed and hard to focus on, although that is the punk style of Garland and Boyle who brought 28 Days Later to not only the zombie canon, but added something new to it - fast zombies that were less flesh eaters but rage fuelled people bent on tearing everything apart. As a zombie film afficiando, I believe 28 Days is one of the best - the scene with a dazed Jim (Cillian Murphy) on London Bridge gazing upon an apocalyptic city is one of the most iconic of the genre.

Filmed mostly on iphone, though with some lush drone shots of northern England to add to the lushness of a landscape that may be decimated by the virus but repopulated by deer and trees, I found the blurry, vignette style of some scenes a little disconcerting. But that's surely the intent - unconventional, non linear arthouse storytelling here adds to the sense we're within the chaos and madness. I think the LA Times review described it well:

“28 Years Later,” the first entry of a promised trilogy, has a dull central plot beefed up by unusual ambition, quirky side characters and maniacal editing. It’s a kooky spectacle, a movie that aggressively cuts from moments of philosophy to violence, from pathos to comedy. Tonally, it’s an ungainly creature. From scene to scene, it lurches like the brain doesn’t know what the body is doing. Garland and Boyle don’t want the audience to know either, at least not yet.

A few hours on from watching the film at the cinema, however, and I'm more prepared to see the films beauty within the chaos and perhaps the sense within this ungainliness. It's like the fear and madness softens a little so you can appreciate the broader messages. Despite any failings or weaknesses, ulimately, there's poignancy here - it's not like other zombie films where humans behave selfishlessly and with their own survival in mind. Yes, death is a threat - particularly with the 'Alpha' virus infected who seem to have mutated - but ultimately there's a broader message about compassion and hope in the face of horror.

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Although the story's main protagonist is a young boy, Spike, and may be seen as a coming of age (he has to learn to kill to survive, to be the hero his father tells everyone he is, to accept death as part of life), his mother Isla, played by Jody Comer, for me was more the focal point for understanding the film's central messages. She reflects the idea that despite the madness and horror and fear around us, we must choose empathy and compassion, which lends a kind of hope for our future. Despite the real threat to her life , she helps an infected woman give birth to a baby, who herself is uninfected. She protects her son, even though she is in late stages of brain cancer which distorts her sense of time and reality. She helps him understand her own death as part of a human experience. It's this tenderness that perhaps is missing from other zombie films and is what threw me a little.

In another beautiful scene, Isla sees the Angel of the North and imagines her father with her as she looks upon it, and simultaneously she is a young girl, remembering her father in the past telling her that the angel will still stand well into the future. What time are we in now, she wonders, perhaps thousands of years into the future? The imposing, weathered presence in a wild, overgrown setting evokes a sense of lost civilization and collective memory of the collapse of a society long after the Rage outbreak. How will Britain evolve after it's devolution? How will the rage infected humans? It's a scene of grief and loss but also about how time and history roll on without us.

Ralph Fiennes, who I also have a soft spot for, also stands for compassion. He collects the bones of the dead - both infected and uninfected - and makes a memorial of their bones, a tender act that is less mad than those who have seen him believe. It's not madness, the film suggests, to treat all beings with respect and love.

There's also some delightfully comic scenes, such as when Eric the Viking (you'll understand if you have watched it) shows Spike his girlfriend back in Sweden. Spike notes the girl's puffy lips and asks 'what's wrong with her'. The world outside Britain is just like ours, focussed on things that don't matter as much as every day survival.

I also loved the idea of the community on Holy Island, cut off at high tide by a causeway (also seen in a recent British folk horror with Jude Law, though Holy Island is Linisfarne in Northumberland and in The Third Day, the island is somewhere in Essex) which quarantines them away from the virus. This is what's always intrigued me about zombie films - how do we survive, feed ourselves, create community even if everything about society has collapsed? Perhaps get really drunk and sing Tom Jones under the eye of Queen Elizabeth.

There's a lot more I could say about this film and even writing this makes me like it more than I did when I left the cinema. I do feel that this film begs to be seen with it's sequel, the upcoming '28 Years Later: The Bone Temple' directed by Nia De Costa. I think it'll make far more sense then, especially with a second viewing just before the sequel comes out next January.

Are you a fan of zombie films? What did you think of 28 Years Later, if you've watched it?

Fires and Fire Forces to extinguish them, how will this concept show a dark fantasy, let's see.

So guys, welcome to another anime review. I've brought for you today. Fire Force, a news and show with which I was so connected that I have been watching it continuously for the last two days, without doing any work. Before starting the review, I will say that you can watch this show only by trusting me. You will surely like it. There are many aspects to it.

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Character Analysis

The first region is its main character Shinra Kusakabe. Brother, I don't remember which main character I liked so much last time. That's the good thing. Like, after a long time I am seeing such a sensible and lovable main character. Apart from this, its side characters are also very accurate and very unique. And its animation is top class. And we see the best representation of the strongest Shinman Benimaru, which you must have seen in some reel or the other.

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Basic Storyline

And then there's the story and the ending. That's it brother, all the points I have mentioned above, all of them weigh heavily. It's that good. Like, at the beginning of the story we are shown a normal human world, in which we are shown pyrokinetic, we are introduced to three generations. The First Gens, who are victims of spontaneous human combustion, turn into Infernals, fire-throwing monsters. And the salvation of these, basically the work of killing them is done by the fire soldiers, through their ethical methods, in which the most second Gens, who can control the fire, and the third jains, who can control their own fire, are there.

And the principle of powers for the aldo second Gen and third Gen are the same, but still we get to see the variety of abilities in them. Where again we have been introduced to eight fire force companies, which work under the Holy Soul Temple. And this temple basically worships Sol, the Sun God. Now, this has become a little bit of a case which is shown to us from the top.

But his story goes further than that. Like, Shinra he also loses his family during a fire, on top of which three-four plots open up. Then, whether this spontaneous human combustion is spontaneous or not? What's the real reason behind this? Then Olso their world was not the same from the beginning. This is what happened about 250 years ago, the etymology of what they are calling The Great Catechism. Basically, 250 years ago, there was a fire everywhere, which destroyed everything - Civilization, people, even maps.

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Season & Episodes

By the way, what their world was like 250 years ago is shown to us in Season 3, Episode 12. I'm not giving you any spoilers, but bro, that was pretty crazy. And then we are shown the villains of this show, their M, those things also take the power system of this show to a very next level. And surprisingly, I haven't even scratched the surface of this series yet.

Final Verdict

So that's why I will say that if you have not seen Fire Force yet, then you must try it.

Have you seen this anime before? If you have, please share your opinion in the comments. And if you haven't, you should definitely try this anime.

I love police shows—I just can't help it. And I love them so much that, aside from literature, I’ve been writing police dramas for years. It’s incredibly fun for me.

That’s why it brings me so much joy to bring you a look at one of my favorite shows: Chicago P.D.

A story of gunpowder and sweat, coffee, and lies repeated until they become truth. I’ll admit it—crime shows aren’t just entertainment for me; they’re a learning experience.

This series feels like it digs its nails into my flesh every time I watch it. There’s no sugarcoating what it means to chase justice in a world where the law has its hands stained with mud and blood. Oh, especially blood.

Since its first episode in 2014, Chicago P.D. has presented police work as clean. Believable. The heroes have dirty hands and broken souls. Voight’s Intelligence Unit doesn’t operate from air-conditioned offices—they’re often in the alleys, next to the trash.

Jason Beghe gives Hank Voight a rough voice, as if he’s smoked the remains of every piece of evidence he’s ever burned. His character is an old beast who knows every corner of his cage. He tortures, lies, and bargains with lesser demons to catch bigger ones. His morality is like an old knife: it cuts, but leaves an infection.

Chicago P.D. makes me constantly wonder: Is a monster who devours other monsters worth it?

Cases get solved, but the consequences drag on—from one episode to the next, from one season to another, relentless and merciless. Human trafficking, corrupt cops, children used as weapons... The streets of Chicago in this show are a maze with no exit. The writers, led by Dick Wolf, do a spectacular job, with dialogue as real as the sun setting over California’s coast.

The Intelligence Unit is a dysfunctional family. Halstead (Jesse Lee Soffer) was the conscience—until he left, leaving a ring on the desk. Upton (Tracy Spiridakos) learned too quickly that ideals are luxuries they can’t afford. Ruzek (Patrick John Flueger) and Burgess (Marina Squerciati) destroy and rebuild themselves in an endless cycle, as if love in this world can only exist between festering wounds.

The cinematography doesn’t illuminate—it traps. Icy blues, heavy grays. The interrogation room scenes are torture: lights that turn every drop of sweat into a confession. The cameras get so close to the actors’ faces that you can see the exact moment a character crosses the line, barely even opening their mouth.

Atli Örvarsson’s score stalks the viewer, intoxicating them. The bass throbs like panicked hearts, guitars that fray nerves. The silences are as loud as gunshots. It doesn’t sound like Hollywood—it sounds like bones breaking under skin.

Some criticize the show for making Voight an invincible antihero. But that’s what makes it honest: in this world, sins aren’t absolved—they pile up. Every season is better than the last.

[OTHER REVIEWS]

Ctrl+Alt+Desire: Token Killer

AFTER: The Poison We All Love to Drink

Bet on Netflix: A Teen Thriller That Goes All In—But Does It Win?

🎬 Chicago P.D.: LA SERIE|RESEÑA

Me gustan las series policiales no puedo evitarlo. Y tanto me gustan que además de la Literatura desde hace unos años escribo series policiales. Me divierto muchísimo.

Por eso me complace tanto traer a esta plataforma un acercamiento a una de las puestas que más disfruto: Chicago P.D.

Una historia de pólvora y sudor, café, mentiras repetidas hasta que se vuelven verdad. Lo confieso. Las series policiacas no son solo entretenimiento para mí; son aprendizaje.

Esta serie es como si clavara las uñas en la carne cada vez que la veo: no hay maquillaje para mostrarnos lo que significa perseguir justicia en un mundo donde la ley tiene las manos manchadas de barro y sangre. Oh, sobre todo, de sangre.

Chicago P.D., desde su primer episodio en 2014, exhibe un procedimiento limpio. Verosímil. Los héroes tienen las manos sucias y las almas rotas. La Unidad de Inteligencia de Voight no opera en despachos con aire acondicionado, sino muchas veces en los callejones, junto a la basura.

Jason Beghe le da a Hank Voight una voz áspera, como si hubiera fumado los restos de todas las pruebas que ha quemado. Su personaje es un animal viejo que conoce cada rincón de la jaula. Tortura, miente, negocia con demonios menores para atrapar a los mayores. Su moral es como un viejo cuchillo: corta, pero deja infección.

Chicago P.D., hace que me pregunte todo el tiempo: ¿vale la pena un monstruo que devore a otros monstruos?

Los casos se resuelven, pero las consecuencias se arrastran, de un episodio a otro, de una temporada a otra, incesantes, sin piedad. Tráfico de personas, policías corruptos, niños usados como armas... Las calles de Chicago en la serie son un laberinto sin salida. Los guionistas, con Dick Wolf al mando, hacen un trabajo espectacular con unos diálogos tan verosímiles como el sol cayendo en las costas de California.

La Unidad de Inteligencia es una familia disfuncional. Halstead (Jesse Lee Soffer) era la conciencia, hasta que se fue, y dejó un anillo sobre el escritorio. Upton (Tracy Spiridakos) aprendió demasiado rápido que los ideales son lujos que no se pueden permitir. Ruzek (Patrick John Flueger) y Burgess (Marina Squerciati) se destruyen y reconstruyen en un ciclo sin fin, como si el amor en ese mundo solo pudiera existir entre heridas supurantes.

La fotografía de esta serie no ilumina; acorrala. Azules que hielan, grises que pesan. Las escenas en la sala de interrogatorios son un suplicio: focos que convierten cada gota de sudor en una confesión. Las cámaras se acercan tanto a los rostros que puedes ver el momento exacto en que un personaje cruza la línea, apenas sin abrir la boca.

La música de Atli Örvarsson acecha al espectador hasta embriagarlo. Se oyen bajos como corazones en pánico, guitarras que rasgan nervios. Los silencios son tan elocuentes como los disparos. No saben a Hollywood: suenan a huesos rompiéndose bajo la piel.

Critican a la serie por hacer de Voight un antihéroe invencible. Pero eso es lo que la hace honesta: en su mundo, los pecados no se absuelven, se acumulan. Cada temporada es superior a la otra.

[OTRAS RESEÑAS]

Ctrl+Alt+Deseo: Token Killer

AFTER: EL VENENO QUE TODOS AMAMOS BEBER

Bet en Netflix: Un thriller adolescente que apuesta fuerte, ¿pero gana?

Hello dear Hive community! I hope you are feeling well. As always, it's a real pleasure to come through this medium to talk to you about those series and movies that, in one way or another, manage to bring a smile to our faces and entertain us, even if it's just for a while, from the sorrows of everyday life.

Today I want to recommend you a movie that is available on Netflix and that surprised me a lot for the better: “Las Guerreras del K-Pop ” (original title: K-Pop: Demon Hunters). An animated gem that mixes action, fantasy, comedy and, of course, music!

🎬 Una producción que brilla/A production that shines

Producida por Sony Pictures Animation, esta cinta animada dura aproximadamente 1 hora y 35 minutos, tiene una clasificación +10 y está disponible en varios idiomas. Yo la vi en inglés, y sinceramente, no me quejo en lo absoluto: las canciones son espectaculares y disfrutarlas en su idioma original fue una experiencia maravillosa. La mezcla entre el estilo visual y la calidad del doblaje me pareció de altísimo nivel.

Produced by Sony Pictures Animation, this animated film lasts approximately 1 hour and 35 minutes, has a +10 rating and is available in several languages. I watched it in English, and honestly, I'm not complaining at all: the songs are spectacular and enjoying them in their original language was a wonderful experience. I found the mix between the visual style and the quality of the dubbing to be of the highest level.

🎤 ¿De qué trata?/What is it about?

La historia gira en torno a tres idols del K-Pop: Rumi, Mira y Zoey, quienes, además de ser famosas cantantes, llevan una doble vida como cazadoras de demonios. Todo se complica cuando el rey demonio Gwi-Ma, frustrado por no poder recibir más almas, envía a su sirviente Jinu y a su grupo de demonios —los Saja Boys— al mundo humano para enfrentarlas y robar almas.

The story revolves around three K-Pop idols: Rumi, Mira and Zoey, who, in addition to being famous singers, lead a double life as demon hunters. Everything gets complicated when the demon king Gwi-Ma, frustrated at not being able to receive more souls, sends his servant Jinu and his group of demons - the Saja Boys - to the human world to confront them and steal souls.

Y es aquí donde empieza esta aventura fantástica, con una animación vibrante y coreografías musicales increíbles. La fusión de géneros y el ritmo que mantiene la película la convierten en un deleite visual y sonoro.

And this is where this fantastic adventure begins, with vibrant animation and incredible musical choreography. The fusion of genres and the rhythm that the film maintains make it a visual and sonic delight.

🌟 Personajes que se roban el show/Characters who steal the show

Debo decir que Rumi me pareció una protagonista muy bien construida. A lo largo de la historia, vamos descubriendo sus miedos, su pasado y sus inseguridades. Ella lucha por ocultar ciertas marcas que la conectan con aquello que intenta destruir… lo que le da un trasfondo más complejo y humano.

I must say that I found Rumi to be a very well constructed protagonist. Throughout the story, we discover her fears, her past and her insecurities. She struggles to hide certain marks that connect her to what she is trying to destroy... which gives her a more complex and human background.

Sus compañeras Mira y Zoey también aportan a la historia, aunque siento que a sus personajes les faltó un poco más de desarrollo. Se nos muestran solo pinceladas de sus conflictos internos y aspiraciones, lo que me hace pensar que esta película debió haber sido una serie con varios episodios para poder explorar más a fondo a todas.

Their companions Mira and Zoey also add to the story, although I feel their characters lacked a bit more development. We are only shown glimpses of their inner conflicts and aspirations, which makes me think that this movie should have been a series with several episodes in order to explore them all more fully.

😈 Los villanos que amamos/The villains we love

Ahora hablemos de mi debilidad: los Saja Boys, el grupo de demonios al servicio de Jinu. Son exactamente el tipo de “bad boys” que tanto amamos las fans del K-Pop. Su estética, sus canciones y esa actitud misteriosa los hacen irresistibles. Me encantó cómo jugaron con lo visual y lo musical para crear un contraste tan interesante con las protagonistas.

Now let's talk about my weakness: the Saja Boys, the group of demons in Jinu's service. They are exactly the kind of "bad boys " that K-Pop fans love so much. Their aesthetics, their songs and that mysterious attitude make them irresistible. I loved how they played with the visuals and the music to create such an interesting contrast with the main characters.

Eso sí, me habría gustado que los demás miembros del grupo tuvieran más relevancia. Solo Jinu tiene un desarrollo real, lo cual es una lástima considerando el potencial que tenían como villanos carismáticos.

Mind you, I would have liked the other members of the group to have more relevance. Only Jinu gets any real development, which is a shame considering the potential they had as charismatic villains.

💔 Jinu y Rumi: ¿algo más que enemigos? /Jinu and Rumi: more than just enemies?

La historia de Jinu me tocó profundamente. Su pasado es doloroso, y aunque no se desarrolla con toda la profundidad que merece por limitaciones de tiempo, es evidente que carga con una culpa enorme, lo que lo hace un personaje trágico.

The story of Jinu touched me deeply. His past is painful, and although it is not developed in as much depth as it deserves due to time constraints, it is clear that he carries enormous guilt, which makes him a tragic character.

La conexión entre Rumi y Jinu es palpable desde su primera interacción. Ambos están rotos por dentro, ambos arrastran heridas del pasado y quieren proteger —o silenciar— esas voces internas que los atormentan. La tensión entre ellos fue TAN buena que sinceramente… ¡merecían un beso! Al menos uno chiquito, ¿no creen? 😭💔

The connection between Rumi and Jinu is palpable from their first interaction. Both are broken inside, both carry wounds from the past and want to protect -or silence- those inner voices that torment them. The tension between them was SO good that honestly... they deserved a kiss! At least a little one, don't you think? 😭💔

🎶 La música: un regalo para los oídos/Music: a gift for the ears

¡Qué voces, qué canciones, qué maravilla! Me declaro obsesionada con el soundtrack. Se nota la inspiración en los grupos de tercera generación del K-Pop, esos que marcaron época antes de que todo se volviera tan comercial.

What voices, what songs, what a wonder! I declare myself obsessed with the soundtrack. You can feel the inspiration in the third generation of K-Pop groups, those that marked an era before everything became so commercial.

La música tiene ese aire nostálgico, poderoso y emotivo. Aunque hay canciones más comerciales como Soda Pop, en general, el repertorio está perfectamente seleccionado para acompañar las escenas de acción, los momentos dramáticos y hasta los más cómicos.La animación también es un punto fuerte. El estilo elegido combina perfectamente con el tono de la película: juvenil, moderno y lleno de energía.

The music has that nostalgic, powerful and emotional air. Although there are more commercial songs like Soda Pop, in general, the repertoire is perfectly selected to accompany the action scenes, the dramatic moments and even the most comic ones.The animation is also a strong point. The chosen style combines perfectly with the tone of the film: youthful, modern and full of energy.

🥹 Un final agridulce /A bittersweet ending

El final… ay. Me dejó con el corazoncito arrugado. Aunque What It Sounds Like fue un cierre musical hermoso, confieso que esperaba otro destino para Jinu. Hay tanto por contar, tantos hilos sueltos, que no me queda duda: **¡esto necesita una secuela!

The ending... ouch. It left me with a little crumpled heart. Although What It Sounds Like was a beautiful musical closure, I confess I was hoping for another fate for Jinu. There is so much to tell, so many loose threads, that I am left in no doubt: **this needs a sequel!

Esta película ya tiene su fandom, y con justa razón. Las redes están llenas de fanarts, teorías y gente como yo esperando una segunda parte.

This movie already has its fandom, and with good reason. The networks are full of fanarts, theories and people like me waiting for a sequel.

🎧 Mi puntuación final: 10/10/ My final score: 10/10

Sí, me ganó. Es de esas películas que te hacen sonreír, te atrapan con sus personajes, te dejan tarareando las canciones y te hacen querer volver a verla. Si eres fan del K-Pop, la fantasía o simplemente quieres pasar un buen rato, “Las Guerreras del K-Pop” es para ti.

Yes, it won me over. It's one of those movies that make you smile, grab you with its characters, leave you humming the songs and make you want to watch it again. If you're a fan of K-Pop, fantasy or just want to have a good time, "K-Pop Warriors" is for you.

Bueno, las fotos las tomé mientas la veía, el gif es un recurso de PEAKD, nos leemos pronto.

Well, I took the pictures while I was watching it, the gif is a PEAKD resource, see you soon.

I don't normally like to write about things as I'm watching them. Typically I like to finish the series and make sure it doesn't fizzle out on me. But Duster is not a normal show.

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I started Duster because I thought it would scratch the itch I've had since I finished the show Banshee. Banshee is one of the most over the top, ridiculously absurd action packed and wildly entertaining shows I had seen in a while. It was mindless fun and I was looking for the same from Duster. That is not at all what I'm getting. Instead, I am getting a very clever and entertaining show with awesome characters and an entire vibe that seems like it was tailored to me personally... or any guy who grew up in the 1970s.

It has the look and feel of so many cool movies and shows I loved growing up. It is like you mixed Bullet, Smoking and the Bandit, a little bit of the Mod Squad, a splash of the Rockford Files and some Dazed and Confused for good measure (or at least Mathew McConaughey's character). They really nailed the 1970s details from fashion to pop culture to of course the cars. Now since I can't stand car chases, it would seem that a show named after a muscle car would not be my cup of tea. But this show is much more than a vehicle for car chases (see what I did there). Every character is awesome. There are no wasted scenes no matter who is on the screen.

Duster has a great villain played by David Keith. A perfect anti-hero played by Josh Holloway. And two perfect FBI detectives portrayed by Asivak Koostachin and Rachel Hilson. Corbin Bernsen even has a fun role. The acting is top notch and lots of fun. Even all of the temporary side characters are interesting. There are a few characters who I would love to see get some more screen time. They seem like they would have some very interesting stories.

One of the biggest surprise was that this show wasn't just vapid fun. I didn't realize it until a few episodes in but it is co-written by J.J. Abrams and LaToya Morgan. Despite some problems with the last Star Wars movie, I am still a fan of Abrams. Knowing that he is involved just makes sense. They have managed to make a show with a great story, interesting dialogue while also touching on some of the social realities of the time. Partnering a Native American and a Black Female FBI agent really adds another level to the story and I love it!

​

The show also has plenty of action and car chases. Although I don't think the action is the star of the show, there is enough to keep it very entertaining. There is probably one cool fight scene each show. They aren't choreographed like The Raid, but they are more like high quality fights from 1970s movies.

Probably my favorite part of the show are the little Easter Eggs that are strewn throughout the story. I won't ruin anything but they had some fun with 1970s pop culture... especially if you like Road Runner cartoons. Even the open credits are packed with Easter Eggs. It is honestly my favorite credit sequence aside from Peacemaker. Peacemaker and Duster are the only shows I don't hit "skip" when the credits start. The credits for Duster are a love letter to 1970s kids. It is Matchbox car versions of all the cars in the show on an awesome car chase that even includes some orange tracks. But don't blink during these credits. Keep your eyes peeled because during the chase you see tons of little details that will be important in future shows. I am blown away with how clever of a bit this is.

TLDR; If you like anything from the 1970s check out Duster. I just wish I could find a 4:3 screen with rabbit ears antenna I could watch it on.

Has anyone seen this? What do you think. But NO SPOILERS I'm only half way done.

Fuente

Corina es una película mexicana que la verdad terminó siendo una grata sorpresa para mí porque la verdad no me gusta mucho el cine mexicano porque a veces las comedias románticas son genéricas y siento que les falta algo de alma, aunque saco de la lista a No se aceptan devoluciones que fue genial y rompió el molde, pero bueno no puse muchas expectativas en este proyecto independiente y lo bueno fue que no me decepcionó, creo que la directora Úrsula Barba demostró por qué el cine mexicano puede ser diferente cuando hay pasión detrás. En Corina la protagonista es una muchacha de unos veinte y pico de años que sufre de agorafobia y vive encerrada en cuatro calles de Guadalajara, se muestra su rutina diaria entre la casa y el trabajo en el periódico donde corrige textos sin hablar con nadie, luego pasan su relación con René que es su mamá y también es sobreprotectora porque sufre del mismo miedo, yo pensaba que iba a ver otra película aburrida sobre problemas mentales pero esto es totalmente diferente y la verdad me pareció una historia super sólida y completa.

Fuente

La trama se va creando muy bien cuando Corina escucha por casualidad la crisis que tiene la escritora Silverman con la editorial porque no quiere cambiar el final trágico de su saga exitosa, y aquí me di cuenta que la peli no se trata solo de agorafobia sino de encontrar la voz propia como escritora porque la protagonista decide corregir el borrador en secreto y le da su propio toque con un final más esperanzador al libro, pero por una confusión su madre entrega el texto corregido a la editorial pensando que era un encargo oficial y aquí se arma todo el rollo y Corina tiene que salir de su zona de confort para arreglar el desastre. Para mí la idea que tiene la peli funciona porque está bien fundamentada en el personaje y no es solo un invento para hacer una comedia fácil como en otras películas mexicanas, sino que surge natural de las circunstancias y la personalidad de la protagonista, cuando aparece Carlos el empleado de la tienda que la ayudará en su viaje, la química entre ambos se siente real sin forzar un romance innecesario. La segunda parte de la peli hace que mantengas el interés porque cada obstáculo tiene consecuencias reales, desde las crisis de ansiedad de Corina hasta los problemas legales que podría enfrentar la editorial, entonces hay bastantes momentos de tensión y otros que son más de reflexión sobre la creatividad y el miedo al fracaso.

Fuente

Fuente

Corina debe enfrentar el mundo exterior que tanto la aterroriza porque tiene que viajar hacia el pueblo donde vive Regina que es la escritora esta Silverman y no solo afrontar el miedo a salir también debe defender su trabajo creativo ante la autora original. Esa parte del viaje me gustó bastante porque se ve como Corina está encantada por los paisajes que solo había imaginado en los libros, cuando llegan al pueblo y conocen a Regina que trabaja como maestra rural hay un poco de drama porque aquí se confrontan dos visiones la de Regina que defiende su final pesimista como reflejo de la realidad social y la de Corina que dice que las historias también pueden dar esperanza sin ser falsas, me parece que ambos puntos son validos y lo mejor es que la película muestra que se respetan. Todo se resuelve cuando Regina acepta la versión de Corina pero exige un porcentaje de las ganancias y la protagonista debe decidir entre mantenerse como correctora anónima o reclamar su lugar como escritora, aquí se ve la transformación del personaje desde la joven que no podía hablar con nadie hasta alguien capaz de negociar su futuro profesional.

Fuente

El papel de Corina lo hace Naian González Norvind y me pareció que su actuación aqui destaca y añade mucho valor a la película porque muestra vulnerabilidad pero no se ve sobreactuado, sus crisis de ansiedad parecen reales y dolorosas, digame en esas escenas donde bota sangre por la nariz por el estrés. La dirección de Úrsula Barba también es buena y deja que los momentos que son más emocionales se vayan construyendo sin apurar nada, Cristo Fernández como Carlos cumple su función sin robar protagonismo, su personaje sirve para ayudar en el crecimiento de Corina sin convertirse en el típico galán salvador. Me parece que la película queda muy bien cuando se enfoca en el proceso creativo y los miedos artísticos y no se enfoca tanto en la parte de la aventura de carretera porque algunas secuencias en el pueblo no se ven tan reales como las cuatro calle de Guadalajara.

Fuente

Lo que no me gustó mucho fue el final porque m pareció que no cumplió la idea de que no todas las historias tienen finales felices y no es que me gusten los finales pesimistas sino que esto es lo que la película muestra sentí como si la película predica una cosa pero terminó haciendo otra, porque al final Corina sí consigue todo lo que quería, el ascenso profesional, la superación de sus miedos y una nueva relación personal. Yo le doy un 7/10 a Corina me parece bueno ver una película mexicana que aporta algo diferente lejos de las comedias vulgares y los dramas noveleros que siempre dominan la cartelera. Creo que Corina de que se puede hacer buen cine con un presupuesto bajo siempre que se tenga una visión clara, creo que es una historia honesta y bien construida que valió la pena ver.

[ENGLISH VERSION]

Source

Corina is a Mexican film that ended up being a pleasant surprise for me because I don't really like Mexican cinema because sometimes romantic comedies are generic and I feel they lack some soul, although I take out of the list Instructions Not Included which was great and broke the mold, but well I didn't put many expectations in this independent project and the good thing was that I was not disappointed, I think the director Úrsula Barba showed why Mexican cinema can be different when there is passion behind it. In Corina the main character is a girl in her twenties who suffers from agoraphobia and lives locked up in four streets of Guadalajara, her daily routine is shown between home and work at the newspaper where she corrects texts without talking to anyone, then they spend her relationship with Rene who is her mother and is also overprotective because she suffers from the same fear, I thought I was going to see another boring movie about mental problems but this is totally different and the truth I found a super solid and complete story.

Source

The plot builds up nicely when Corina overhears the crisis that the writer Silverman has with the publisher because she doesn't want to change the tragic ending of her successful saga, and here I realized that the movie is not just about agoraphobia but about finding her own voice as a writer because the main character decides to correct the draft in secret and gives her own touch with a more hopeful ending to the book, but due to a confusion her mother delivers the corrected text to the publisher thinking it was an official assignment and here all hell breaks loose and Corina has to step out of her comfort zone to fix the mess. For me the idea that the movie has works because it is well grounded in the character and is not just an invention to make an easy comedy as in other Mexican films, but arises naturally from the circumstances and the personality of the protagonist, when Carlos the store clerk who will help her on her journey appears, the chemistry between the two feels real without forcing an unnecessary romance. The second part of the movie keeps you interested because every obstacle has real consequences, from Corina's anxiety crises to the legal problems that the publishing house could face, so there are many moments of tension and others that are more of reflection on creativity and fear of failure.

Source

Source

Corina must face the outside world that terrifies her so much because she has to travel to the town where Regina lives, who is the writer this Silverman and not only face the fear of leaving but she must also defend her creative work to the original author. That part of the trip I quite liked because you can see how Corina is enchanted by the landscapes that she had only imagined in the books, when they reach the village and meet Regina who works as a rural teacher there is a bit of drama because here two visions are confronted Regina who defends her pessimistic ending as a reflection of social reality and Corina who says that stories can also give hope without being false, it seems to me that both points are valid and the best thing is that the film shows that they respect each other. Everything is resolved when Regina accepts Corina's version but demands a percentage of the profits and the protagonist must decide between staying as an anonymous proofreader or reclaim her place as a writer, here we see the transformation of the character from the young woman who could not talk to anyone to someone capable of negotiating her professional future.

Source

The role of Corina is played by Naian Gonzalez Norvind and I thought her performance here stands out and adds a lot of value to the film because she shows vulnerability but does not look overacted, her anxiety crises seem real and painful, say in those scenes where she is bleeding from her nose due to stress. Ursula Barba's direction is also good and allows the more emotional moments to build without rushing anything, Cristo Fernandez as Carlos fulfills his role without stealing the spotlight, his character serves to help Corina's growth without becoming the typical gallant savior. I think the film is very good when it focuses on the creative process and artistic fears and does not focus so much on the adventure part of the road because some sequences in the village do not look as real as the four streets of Guadalajara.

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What I didn't like a lot was the ending because I felt it didn't fulfill the idea that not all stories have happy endings and it's not that I like pessimistic endings but this is what the movie shows I felt as if the movie preaches one thing but ended up doing another, because in the end Corina does get everything she wanted, the professional promotion, overcoming her fears and a new personal relationship. I give Corina a 7/10, I think it's good to see a Mexican film that brings something different away from the vulgar comedies and novel dramas that always dominate the billboard. I think Corina proves that you can make good movies with a low budget as long as you have a clear vision, I think it is an honest and well constructed story that was worth watching.

Translated with DeepL

Posted Using INLEO

Baby, It’s You (S06E05)

Airdate: 14 November 1997

Written by: Jorge Zamacona Directed by: Edwin Sherin

Running Time: 47 minutes

The concluding segment of Baby, It’s You, the two-part crossover episode of Law & Order and Homicide: Life on the Street, presents a solid, albeit generic, piece of television. While the first part of the episode felt more aligned with the style and tone of Law & Order, the second part seems to blend into a generic combination of police procedural and crime drama, losing the gritty, authentic feel of the mean streets of Baltimore that Homicide is known for.

This effect is partly due to the episode retaining the same team of screenwriter Jorge Zacamona and director Edwin Sherin, which maintains a consistent style and pacing throughout both parts. This consistency, however, works against the episode in terms of capturing the unique flavour of Homicide. The narrative structure and visual style remain steadfast, but they fail to capture the raw, unfiltered essence that makes Homicide stand out.

The plot nominally begins in New York City, where Assistant District Attorney Benjamin McCoy becomes convinced that Dr. Steven Janaway has raped his 14-year-old daughter Brittany, leading to her death from an untreated vaginal infection. McCoy is determined to try Janaway for murder, but jurisdictional issues arise because the alleged rape occurred in Baltimore. Assistant State Attorney Ed Danvers in Baltimore also wants to prosecute Janaway, leading to a legal tug-of-war. After some procedural manoeuvring, Judge Susan Aandahl rules in favour of Baltimore but allows McCoy to participate in the prosecution. The testimonies collected by the Baltimore Homicide Unit initially look bad for Janaway, as Brittany had a previous bleeding incident three years earlier, which was allegedly covered up by her father, who had worked in a Baltimore hospital. In a surprising twist, Janaway's defence attorney, Leslie Drake, calls his client to the witness stand, where Janaway admits to having an adulterous hotel encounter during the alleged rape. When his alibi is corroborated, the Baltimore Homicide Unit brings both spouses in for separate questioning. It is revealed that the real killer is Brittany’s mother, Gayle, who had been subjecting her daughter to years of abuse, driven by jealousy over her daughter's beauty and the attention she received from her father.

The second part of Baby, It’s You is a well-written and directed piece of television, executed with workmanlike precision. However, it lacks the particular inspiration and edge that defines Homicide: Life on the Street. Apart from the setting and a few characters, it is hardly recognisable as an episode of Homicide. Jon Seda, playing Detective Frank Pembleton, tries to infuse life into his character, who is given a subplot involving his young son and ex-wife to make him more relatable to the increasingly hostile old fans of the series. However, his efforts are overshadowed by the supporting cast in guest roles. Dan Hedaya delivers a brilliant performance as the unscrupulous attorney Leslie Drake, while Tom Tammi and Maureen Anderman, both veterans of the Law & Order franchise, shine as the doomed parents, Steven and Gayle Janaway.

At the end of the day, the second part of Baby, It’s You is better than the first part simply because it provides closure to the story. However, both episodes as a whole are something that could be recommended to fans of their respective shows. Law & Order aficionados will appreciate the legal drama and procedural elements, while Homicide fans might find it a decent watch. Nevertheless, die-hard Homicide enthusiasts could easily live without this crossover, as it fails to capture the essence of what makes the original series so compelling. The episode feels more like a missed opportunity to blend the strengths of both shows into something truly unique, rather than a generic police procedural that could belong to any number of crime dramas.

RATING: 6/10 (++)

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