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Captain America The Winter Soldier

After the life-changing events he experienced , Steve Rogers (Chris Evans) is still struggling to adjust to the modern world. Circumstances force him to team up with Natasha Romanoff (Scarlett Johansson), known as Black Widow, to face a powerful yet covert enemy in Washington, D.C. Soon after, the two of them seek help from Falcon (Anthony Mackie), as the Winter Soldier, a cold-blooded assassin, is determined to eliminate them.

The chemistry between Captain America and Black Widow is fantastic, and the entire cast fits together harmoniously. The script has substance and is genuinely engaging, without veering off into unnecessary cleverness—something that, in my eyes, makes it more “charming.” Chris Evans seems like the ideal Captain America, with the presence the role requires.

The tight pacing keeps you from ever getting bored, the editing is great, and the film’s overall political tone makes it stand out and feel bold.

Sure, the ending was obviously going to be predictable, but compared to everything that came before it, I didn’t mind at all. You know, after all, that in a universe like this, each film lays the groundwork for the next one.

Truly enjoyable—highly recommended.

Black Widow

Black Widow, aka Natasha Romanoff, is on the run from the authorities following the events of Captain America: Civil War, when an old acquaintance pulls her out of hiding. The catalyst is the sinister activity of a ruthless man who holds some shocking secrets about the superheroine’s family.

No, it’s not one of Marvel’s strongest films, but it’s an enjoyable watch. You learn a few things about Black Widow, and the movie introduces us to its breakout star—Yelena, wonderfully portrayed by Florence Pugh. The entire cast gives their best, with David Harbour and Rachel Weisz playing the parental roles.

The relationship between the two sisters and their psychological background—at the heart of the story—is, in my opinion, the film’s strongest point. Their chemistry is also one of the movie’s major assets.

The script has its exaggerations, and some action scenes don’t make much sense. Additionally, the humor from the Red Guardian didn’t always land for me. Some of the effects fall short of the expectations and standards of a Marvel film.

I really liked the opening scene, as well as the bridge scene with Taskmaster, a character I feel ends up being underutilized as the movie progresses. The pacing is good, and the cinematography is well-crafted. Overall, I think the film was judged a bit more harshly than it deserved.

Source /// Recurso

💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️

Las películas de Zombies son algo que me fascinan y más si son de mucha acción y como es el tema de resolver el conflicto implicado en el tema de dichos monstruos.

Zombie movies are something that fascinate me and more so if they are action packed and as is the theme of resolving the conflict involved in the theme of said monsters.

Train to Busan es un viaje bastante extraño y que en su escencia comprende de una forma bastante inusual tratar este tema.

Train to Busan is a rather strange journey and in its essence it is a rather unusual way of dealing with this subject.

Me sorprende mucho que la idea cinematográfica detrás de este tipo de situaciones comprende algo bastante inusual, ya que conocemos que las series coreanas están pegando muchísimo como pasó con ejemplo con el juego de cámara incluso uno de los actores que hace esta película o el protagonista también sale en mencionada serie.

I really like the master one, however, this time around I think it's not the central theme of the series even reminded me a little bit of Walking Dead in some seasons where it was more mellow and melancholy than the current Zombie situation.

Otro escenario que me sorprendió muchísimo es que toda la situación sucede en un tren y para llegar al destino cuesta bastante, además de que prácticamente todo el país está hecho un gran desastre, algo que me parece interesante de ver ese desastre que sucede de una manera bastante inusual.

Another scenario that surprised me a lot is that the whole situation happens on a train and to get to the destination costs quite a lot, plus practically the whole country is a big mess, something that I find interesting to see this disaster that happens in a rather unusual way.

En esta serie podemos entender o encaminar que cada uno de los personajes tiene varias formas de expresión, suceden varias situaciones bastante difíciles de ver además de que se encuentran en lugares tan remotos y tan pequeños que es difícil poder salir de las situaciones en cuanto a los zombies.

In this series we can understand or understand that each of the characters has several forms of expression, there are several situations that are quite difficult to see and they are in places so remote and so small that it is difficult to get out of the situations in terms of zombies.

Creo que la primera vez que en una película se utilizó un tren como tema central, ya que la mayoría suelen ser en lugares más abiertos o en comunidades mucho más cerradas me parece una genialidad utilizar un tema tan diferente a lo que usualmente vemos en la temática de zombies porque es un género prácticamente de por sí, pero sin duda te hace pensar de una manera bastante diferente y ver la película Como trasciende a lo largo del largometraje.

I think the first time a film used a train as a central theme, as most are usually in more open locations or in much more closed communities I think it's genius to use such a different theme to what we usually see in the zombie theme because it's a genre practically in itself, but it certainly makes you think in quite a different way and see the film as it transcends throughout the feature.

No soy un gran fanático de las series o películas coreanas, pero en esta ocasión me gustó bastante ver como esta película se va desarrollando poco a poco además de que no solamente se trata de zombies sino de las situaciones que viven cada persona en su propia forma y manera de convivir junto a otras como también en busca de sus familiares o seres queridos para poder permanecer lo mejor que pueda.

I'm not a big fan of Korean series or movies, but this time I quite liked to see how this movie develops little by little and it's not only about zombies but also about the situations that each person lives in their own way and way of living together with others as well as looking for their relatives or loved ones in order to stay as best as they can.

Algo que me sorprendió mucho es que usan, es nombrado tantas veces y parece ser como el tema central para llegar a un objetivo, sin embargo, los protagonistas que al final se regalan prácticamente quienes quedaron no consiguen del todo estar a tiempo en esa ciudad, en la estación.

Something that surprised me a lot is that they use, is named so many times and seems to be as the central theme to reach a goal, however, the protagonists who in the end are given away practically who were left do not quite get to be on time in that city, in the station.

[Source /// Recurso](https://www.filmaffinity.com/ve/filmimages.php?movie_id=312662)

Me gustó muchísimo que los zombies no tengan mucho que aportar porque la película de por sí puede correr con cualquier otro tipo de fórmula, pero sin duda me encantó más las situaciones que viven los personajes que de por sí no Zombies.

I really liked that the zombies don't have much to contribute because the film itself can run with any other type of formula, but I definitely loved the situations that the characters go through more than the non-zombies themselves.

💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️💀☢️

Watch ///// Ver

Traslation : https://www.deepl.com/es/translator

Some anime do not just let you cry, they stay with you after a long time of the final scene, it's like a song in your thoughts like that you cannot forget. Your lie in April is one of them for me.

Their life replaces, no sound, no color, just existing. As long as Kori Miazono enters like a cracker.

That everything is not Kousei. loud. Wild. Unexpected. She plays violin like a storm - careless, joyful, emotional. She does not care about killing the right notes - she plays to feel something. And she takes Kosi back to the music world with her.

That moment changes everything.

First, Kosi protested. It was painful to see him struggling with the piano again. Those scenes where he sits on the keyboard, trying to play, while notes fade in silence ... I could feel worried about it. His trauma. His fear of disappointing people again.

But Kaori doesn’t let him stay afraid. She pushes her, shouts at her, encourages her and slowly, she starts playing again. Not just like before, better. More emotional.

This is the place where Anime has a heart. It is not about winning competitions or being the best musician. It is about treatment. Not about learning to love piano because someone forced you - rather because it talks to your soul..

Their performances are magical. I mean it. The animation during their concerts is jaw-dropping, colors swirl, the lighting shifts, the camera dances with the music. You don’t just hear the performance, you feel it. Especially when Kousei is on stage with Kaori. It likes to see two souls colliding.

But.

There is always a "but," not there?

Kaori is hiding something. She says that she is just a careless girl who loves music, but she is clearly not well. She collapses. She lies. She smiles through pain. And slowly, we realize the truth, the ticking clock behind every laugh, every note, every fake smile she gives.

When the truth is finally revealed… I cried. I really cried. Not a tear or two. I’m talking full-on, ugly crying. Because everything about Your Lie in April leads to this: the lie in April.

The title makes perfect sense by the end. And it hurts.

Kousei finally opens his heart, starts to play again, starts to feel love again — only to be told that the person who helped him do all that… is dying.

And she knew. The whole time.

She knew her time was limited, and still, she chose to light someone else’s life before hers went out. She chose to lie just a little  to spend her remaining days making someone else smile. How selfless is that?

Her final letter to Kousei in the last episode? That destroyed me. Every word was a goodbye wrapped in gratitude. This was not appropriate. But this is life, isn't it? This rarely happens.

The anime ends not with resolution, but with acceptance. Kousei plays his heart out for Kaori, for himself, for everything he lost and found again. And while she’s gone, her music lives on in him. The colors she brought into his world don’t fade.

They stay.

If you’ve ever felt lost, broken, or numb, Your Lie in April might hurt but it’ll also help. It’s about grief, trauma, healing, and how art (especially music) can bring color back into our lives. I’d recommend this anime to anyone who:

Loves emotional, character-driven stories, Is into music and beautiful animation. Doesn’t mind crying over fictional people. Needs a reminder that even short-lived connections can change us forever

Just make sure to bring tissues. And perhaps don't see that if your heart is already in a delicate place, because it does not pull a punch. But if you are ready for something real, raw and unforgettable?

Hit the play button

All the photos are from themoviedb

In the modern world, those who have the hardest time are the conservatives wanting to promote traditional family values in popular culture. One example that shows how challenging their task might be is provided by Treasure Island, the adventure novel by Scottish writer Robert Louis Stevenson, which enjoys the status of one of the most famous works of young adult literature. However, its most recent—and, given the attention span of the youngest generations, probably the most well-known—incarnation comes in the form of the Black Sails TV series, which, by being produced by the Starz network, suggests that Stevenson's template has received a treatment that, at the very least, could be called an "adult series."

Its creators, Jonathan E. Steinberg and Robert Levine, did not adapt Stevenson's novel directly, but the series serves as a sort of prequel, set roughly a few decades before its events. This is an "interesting" and quite dramatic period, at least when it comes to the Caribbean. In 1715, those sugar cane and other agricultural crops unknown in Europe could make anyone with a bit of land, slaves, and an entrepreneurial spirit an immensely wealthy man, but the insatiable treasuries of European courts also drove the great powers to war over control of those islands and colonies. This created chaos, exploited by even more enterprising individuals in the form of pirates, who would then have their golden age. One of them is Captain Flint (played by Toby Stephens), an experienced sailor who seems more far-sighted than his colleagues and knows that times are changing. England, recently fused with Scotland into the United Kingdom, will begin to create the British Empire and bring law and order to the world's seas. Flint, like many other criminals, dreams of ending his career with one big lucrative job that will make not only him but also his crew rich enough to spend the rest of their lives as peaceful and respectable citizens. The opportunity for this comes with the Urca de Lima, a Spanish galleon that transports a fabulous wealth from the New World to its home country. Its successful interception, however, depends on the information stolen by the enterprising sailor John Silver (played by Luke Arnold). Meanwhile, Flint must also deal with the logistical preparations for his venture, in which the Bahamian island of New Providence plays a key role. Pirates have seized it a few years ago and created something akin to an independent state. There, the main authority is Eleanor Guthrie (played by Hannah New), the owner of a local shop who, thanks to her father and other family connections, serves as the main intermediary for pirates in fencing plundered goods.

The pirate genre, given that it contains action, adventure, exotic costumes, and locations, should, at first glance, be quite attractive to film and television producers. On the other hand, the costs of reconstructing ancient sailing ships, as well as the logistical and technical difficulties that come with filming at sea, or commercial risks such as those that destroyed the Hollywood studio Carolco in the case of Cutthroat Island, are the reason why there are relatively few pirate stories on big and small screens today. Only megastudios like Disney, which have enough money to burn on Pirates of the Caribbean, or Starz, for which early 18th Century piracy serves only as a framework for a much simpler formula of offering explicit sex and violence to cable television viewers, can indulge in this genre. Although it cannot be said that Black Sails, filmed on locations in South Africa, looks bad, the first season clearly suggests that naval battles will be a secondary part of the content. Almost all the action takes place not at sea, but in New Providence, with a fictional microcosm of vivid characters and subplots, which many critics have compared to David Milch's Deadwood. Comparisons between the two series are unavoidable because Black Sails, like the previous series, contains both fictional characters—those from Stevenson's original and those created by the series authors—and real historical figures, among whom stands out the imposing pirate captain Charles Vane (played by Zach McGowan), his smooth-talking assistant Jack Rackham (played by Toby Schmitz), and Anne Bonney (played by Clara Paget), one of the few female pirates who entered history books.

Given that this is a Starz series, the depiction of life in New Providence cannot go without “spicy” content. So, one of the most memorable characters is the prostitute Max (Jessica Parker Kennedy) whom we occasionally get to see in the birthday suit, and a relatively large part of the plot takes place in a brothel. There is also the standard explicit lesbian scene among the main characters. Similar to Starz's Spartacus, Black Sails attempts to prevent potential feminist backlash over exploitative portrayal of women by also having male actors display certain parts of their anatomy for those viewers who are interested.

Much more valuable in Black Sails, at least for that part of the audience that likes a bit "deeper" content, is the way in which screenwriters succeeded in filling eight episodes of a pirate series in which, in fact, there are few pirate battles. This was found in the exceptional care for historical and other details related to some practical problems related to pirate activity and lifestyle. In this world, pirates can expect to get rich relatively quickly and easily, but only if they agree to exceptionally high risks of execution or mutilation, while at the same time having an incredibly hard time on ships where captains have almost absolute power over them. On the other hand, Black Sails also provides an interesting insight into how pirates created their own socio-political system that some contemporary observers might call socialism and democracy, while the economic aspect of their activity, or the need for self-organisation, can be interesting to libertarians.

None of this, however, would work if the producers of Black Sails had not gathered a quite diverse but talented and energetic acting ensemble. Toby Stephens, one of the princes of British theatre, is imposing in the role of the nominal protagonist torn between noble ideals and morally dubious actions. Luke Arnold is quite interesting in the role of the smooth-talking antihero, while the imposing Zachary McGowan manages to overshadow even the nominal protagonists. Jessica Parker Kennedy, on the other hand, is in a quite ungrateful position where the audience remembers her more for her "exotic" appearance and nudity, while Toby Schmitz (who also appears naked in one scene) is provided with much more vivid lines by the screenwriters. The biggest discovery of the series is Hannah New, who could be considered a sort of heir to Keira Knightley, and older fans of the genre would proclaim her the most beautiful and charismatic pirate princess since Carol Andre played the role of Lady Marianne in Sandokan. The most impressive performance is given by the character actor Mark Ryan in the role of Flint's assistant Gates, probably the only character in the entire series for whom it can be said that he possesses something akin to a conscience.

The first season, which was quite economically reduced to eight episodes, ends in a way that is quite irritating to today's fans of television - with a sort of deus ex machina cliffhanger. This, in fact, will not present any particular surprise to the audience familiar with Stevenson's template. The subplot related to the puritanical Flint's lover (whose role is played by the South African actress Louise Barnes) also seems like a “soapish” element in a much more compact and serious story. Despite all these shortcomings, Black Sails deservedly kept the audience's attention and secured its future for three more seasons.

RATING: 6/10 (++)

(Note: The text in the original Croatian version is available here.)

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Although all of my images appear in the trailer as does almost all of my descriptions of what happens in the story, there is still a chance that some of what follows here could be considered SPOILERS. So be warned.

my tl;dr is that this film is decent but has laughably bad plot devices and situations that kind of ruin the overall theme.

On we go...

I saw a very well-made trailer about this movie about a week ago and then soon after requested that it be added to my library. I sat down last night and settled in for what I had hoped would be good viewing since the ratings for this thing online are around a 7, which is normally a good sign.

Unfortunately the story has a lot of contrivances and conveniences as well as bullshit plot-armor that takes away from the whole thing being actually good.

it's been described as sugar-coated Sci-Fi by many outlets and I suppose that is a good way of describing it in just a few words. This movie plays out like a poorly-written and too long Black Mirror episode in that it is referencing something that people are actually working on right now, but with some technological advancements that make it purely fiction.

"Iris" (played wonderfully by Sophie Thatcher) is a pretty and kind girl in her 20's who at first regales us with how she found the love of her life that completed her and how wonderfully that is going. Iris is a sweet girl who is a bit socially awkward and is now going to a weekend getaway with her boyfriend in the middle of nowhere at a "remote cabin."

I have to laugh a little bit anytime a remote cabin is introduced into a story because there is just so much convenience in such a locale that allows many different, yet ubiquitous aspects of horror/thriller films to come forth with out needing any rhyme or reason as to how it is possible.

Why didn't you run for help? you can't! It's a remote cabin!

Why didn't you call someone? you can't! Remote cabins have iffy mobile coverage

Why didn't anyone notice the noise and screams? They can't! The remote cabin is too far away from civilization

You get the idea right?

At the cabin things seem to be going great although the partying that the group is doing is something straight out of a high-school drama in its stupidity and the dialogue isn't much better. However, after this first rather good night things go off the rails on day two as Iris suddenly finds herself in a situation where she has to defend herself and well, wins.

She is not the murdering type but it is at this point that we find out (if someone were to never watch a trailer, where it is clearly pointed out so this is not a spoiler) that Iris is actually a companion droid / sex robot / emotional support cyborg.

Iris' model is such a good piece of equipment that Iris herself is unaware of the fact that she is a robot and is unwilling to accept this even when it is spelled out plainly for her and the controls are shown to her.

I was still reasonably engaged at this point but once we enter the "cat and mouse" portion of the 2nd act, things go down the well-trodden path of stupid, happenstance situations that are so overused that they are just cliche in films of this, or any other sort.

The decisions to split up a group, the teleporting of people who are clearly well behind in a scene that happened just seconds ago (this is particularly frustrating when one of the people that hits bullshit-warp-speed fast-travel, is the only obese person in the cast.)

There's a lot of cool things that happen that kind of have, as I said, a Black Mirror message about the dangers of AI or technology in a general sense, but the flow of the film just takes on so many completely impossible angles that if you are at all interested in at least SOMEWHAT of a level of realism in films, will piss you off pretty rapidly.

A few of the things that got under my skin

• Everyone knows how to use firearms pretty well despite being rather posh individuals that wouldn't know this generally speaking
• The aforementioned fast-travel happens to every single member of the cast at one point or another
• Police are morons who don't call anything in before investigating and once they go missing, central command doesn't follow up at all
• Iris has super strength that you would expect of a robot at times and then sometimes in the very next scene, she is easily overpowered by an average sized human
• There are no consequences for anyone involved in murder

I think that this is not spoiler-ey because I think you can kind of foresee all of these plot points simply by watching the trailer.

To me, this is a wonderful concept that in different, more talented hands could have been a great concept for an overall plot that hopefully someone out there will do a better job of in the future. This film, despite the high marks on review sites that I suspect are rigged by the film-makers themselves, is pretty close to what I would consider to be "trash."

There are some good practical and special effects but the entire situation is completely implausible in so many ways and the dialogue sounds like it was written by teenagers who were told to make it as camp and trivially-stupid as possible.

This is another one of those films that they did a much better job on the trailer than they did on the actual film. No harm in that I guess because that is what everyone does and always has done.

I'm on the fence about telling people to avoid it though and for a mix of reasons. For one thing, I think the premise is a good one and at least to some degree looks like the direction that technology is likely at least investigating from what I see in memes and news stories. The acting is pretty solid, I can't blame any of the actual actors, they were just doing the best they could with an absolutely awful set of lines that they could.

There are reason to see this, and for me a lot of those reasons are to see the incredibly lazy writing that makes the entire story really hard to get behind because it is just riddled with impossibilities, idiotic choice that nobody would make, and convenient situations combined with completely ignoring the laws of physics in order to progress the plot not because from A to B is possible, but because it needs to happen.

Certain sections of it made me miss the usual "girl tripping over something while being chased in the woods" of the 80's. The methods they use in this film are far more ridiculous than that.

I think one of the major reasons why you should watch this film is because of how terrible parts of it are and how the writers and directors must have just thrown up their arms at one point and just said "I GUESS! just do it!" On the other hand though, this is not a great film and people who will watch only great films would probably consider this a waste of time.

Fuente

A Working Man es otra colaboración con David Ayer y Jason Statham que trae de vuelta esa fórmula que tanto funcionó en The Beekeeper el año pasado y lograron hacer algo bastante entretenido aunque no llega al mismo nivel de su película anterior, pero igual me mantuvo pegada a la pantalla por casi dos horas con pura acción sin parar. Esta vez Statham interpreta a Levon Cade, un ex comando que ahora trabaja como capataz en una obra de construcción en Chicago y el tipo está viviendo una vida tranquila hasta que secuestran a la hija adolescente de su jefe, que es interpretado por Michael Peña. Aquí es cuando Cade tiene que volver a sus viejos hábitos de matar gente sin piedad para rescatar a la muchacha. Leí en internet que la película está basada en la novela Leon's Trade de Chuck Dixon, pero más bien parece una película de Steven Seagal de los 90s, aunque para mí eso es bueno porque justo es lo que espero de una película de Statham, mucha acción, malos y un protagonista que es prácticamente indestructible, esto es lo que más me gustó que lo conviertieron en una fuerza de la naturaleza que cuando se desata no hay quien lo pare y es que Jason Statham me da esa vibra.

Fuente

El guión fue escrito por Sylvester Stallone junto con Ayer y supieron como hacer que lops malos fueran tan desagradables que cuando Statham empieza a eliminarlos uno por uno celebraba en vez de sentir lastimas por ellos jajaja, esta vez son traficantes de personas que se dedican a secuestrar adolescentes y la película no no anda escondiendo que estos tipos son unos verdaderos cabrones. Se parece un poco a The Beekeeper, donde cada vez que piensas que ya mataron al malo principal, aparece otro aún peor y así sucesivamente hasta que llega al final donde Statham prácticamente ha eliminado a cientos de mafiosos rusos. David Harbour aparece como el ex sargento de artillería de Levon, ahora ciego pero que sirve como su confidente y armero, aunque su papel es bastante pequeño da una buena impresión, también aparece Jason Fleming qwue trabajó con Statham en las películas de Guy Ritchie, aquí es uno de los primeros malos que tiene que enfrentar. Ariana Rivas interpreta a la víctima del secuestro y sorprendentemente le dan mucho más que hacer de lo que es típico en este tipo de películas, no es solo una joven en peligro esperando a ser rescatada, sino que tiene sus propios momentos de acción que funcionan bastante bien aunque a veces parecía un poco de mentira como si de repente hubiera adquirido esas habilidades de combate de la nada.

Fuente

Me dio como rabia porque la película falla en algunos momnetos como una persecución en moto que está muy mal filmada y es más confusa que emocionante, otra cosa que no me gustó es que Michael Peña está en un papel que no le da nada interesante que hacer más allá de ser el jefe preocupado cuya hija fue secuestrada, me pareció que no lo aprovecharon bien. Si la comparo con The Beekeeper la parte visual tampoco es muy buena se nota que el presupuesto no era tan alto como en la película anterior, y esto se ve en algunas secuencias de acción que parecen baratas. También me pareció que la peli es demasiado larga, me pareció que estaba como inflado el tiempo sobretodo cuando Statham está yendo de un lugar a otro investigando y siguiendo pistas, otra cosa es que demasiados personajes secundarios y subtramas que no dan mucho a la historia principal y que hubieran podido ser eliminadas para hacer la película más rápida.

Fuente

Fuente

Lo que sí funciona y a la perfección es Jason Statham haciendo lo que mejor sabe hacer, todo un machote imparable que elimina enemigos de una forma brutal, no lo ponen con esa típica imagen de que el tipo tiene algún problema no no nada de eso, solo una parte que muestran de su relación con su hija pero algo muy breve en la historia y eso está bien porque no quería ver a Statham llorando o teniendo crisis existenciales, lo quería ver pateando traseros. El final es bueno, aparece Statham y la muchacha rescatada trabajando juntos para eliminar a los últimos malos, este final me dejó satisfecha y con ganas de ver más películas de este estilo. También tiene algunos momentos divertidos donde Statham usa herramientas de construcción como armas, lo cual tiene sentido considerando que su personaje es un trabajador de la construcción y hay una escena donde usa un balde lleno de tornillos como proyectil que es medio ridícula pero quedó buena jajaja. Yo le doy un 6.5/10 porque aunque me gustó toda la parte de la acción y eso tiene sus detallitos como les comenté, los efectos especiales no están tan mal para el presupuesto que tenían pero hay unos momentos donde se nota las imágenes de computadora baratas, más que todo en las explosiones y escenas de tiroteos.

Fuente

Fuente

No me quejo de A Working Man, creo que es una buena película de acción con Jason Statham haciendo lo que mejor sabe hacer, eliminando a los malos y rescatando a una joven inocente de las garras de traficantes despreciables, me pareció que es puro entretenimiento y que cumplió con su propósito me mantuvo pegada a la pantalla por dos horas. Y aunque no le llega a The Beekeeper la colaboración entre Statham y Ayer es buena y estoy segura que los fanáticos de la acción van a disfrutar mucho esta peli. Por supuesto no va a ganar muchos premios ni va a ser recordada como un clásico pero yo creo que le va a ir bien en streaming, es una película de acción bien hecha que no se complica la vida tratando de ser algo que no es y yo creo que eso es lo que más me gusta.

[ENGLISH VERSION]

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A Working Man is another collaboration with David Ayer and Jason Statham that brings back that formula that worked so well in The Beekeeper last year and they managed to make something quite entertaining although it doesn't reach the same level of their previous movie, but it still kept me glued to the screen for almost two hours with pure non-stop action. This time Statham plays Levon Cade, a former commando who now works as a foreman at a construction site in Chicago and the guy is living a quiet life until his boss' teenage daughter, played by Michael Peña, is kidnapped. This is when Cade has to go back to his old habits of mercilessly killing people to rescue the girl. I read on the internet that the movie is based on the novel Leon's Trade by Chuck Dixon, but it looks more like a Steven Seagal movie from the 90s, although for me that's good because it's just what I expect from a Statham movie, lots of action, bad guys and a protagonist who is practically indestructible, this is what I liked the most that they turned him into a force of nature that when unleashed there is no stopping him and Jason Statham gives me that vibe.

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The script was written by Sylvester Stallone along with Ayer and they knew how to make the bad guys so nasty that when Statham starts eliminating them one by one I celebrated instead of feeling sorry for them hahaha, this time they are human traffickers who are dedicated to kidnapping teenagers and the movie doesn't hide that these guys are real bastards. It's a bit like The Beekeeper, where every time you think they already killed the main bad guy, another even worse one shows up and so on and so forth until it gets to the end where Statham has practically taken out hundreds of Russian mobsters. David Harbour appears as Levon's former gunnery sergeant, now blind but serving as his confidant and armorer, although his role is quite small he makes a good impression, also appearing is Jason Fleming who worked with Statham in the Guy Ritchie movies, here he is one of the first bad guys he has to face. Ariana Rivas plays the kidnap victim and surprisingly she is given a lot more to do than is typical in these types of movies, she's not just a young girl in danger waiting to be rescued, she has her own action moments that work quite well although at times it seemed a bit of a lie as if she had suddenly acquired these combat skills out of nowhere.

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I was kind of annoyed because the movie fails in some moments like a motorcycle chase that is very poorly shot and more confusing than exciting, another thing I didn't like is that Michael Peña is in a role that doesn't give him anything interesting to do beyond being the worried boss whose daughter was kidnapped, it seemed to me that they didn't make good use of him. If I compare it with The Beekeeper, the visual part is not very good either, you can tell that the budget was not as high as in the previous film, and this is seen in some action sequences that look cheap. I also thought that the movie is too long, it seemed to me that it was like inflated time especially when Statham is going from one place to another investigating and following clues, another thing is that too many secondary characters and subplots that do not give much to the main story and that could have been eliminated to make the movie faster.

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What does work perfectly is Jason Statham doing what he does best, an unstoppable macho man who eliminates enemies in a brutal way, they don't put him with that typical image that the guy has a problem, nothing like that, just a part that shows his relationship with his daughter but something very brief in the story and that's good because I didn't want to see Statham crying or having existential crises, I wanted to see him kicking ass. The ending is good, it features Statham and the rescued girl working together to take out the last bad guys, this ending left me satisfied and wanting to see more movies of this style. It also has some funny moments where Statham uses construction tools as weapons, which makes sense considering his character is a construction worker and there is a scene where he uses a bucket full of screws as a projectile which is kind of ridiculous but it was good hahaha. I give it a 6.5/10 because although I liked all the action part and that has its little details as I mentioned, the special effects are not too bad for the budget they had but there are some moments where you can notice the cheap computer images, mostly in the explosions and shooting scenes.

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I'm not complaining about A Working Man, I think it's a good action movie with Jason Statham doing what he does best, taking out the bad guys and rescuing an innocent young girl from the clutches of despicable drug dealers, I found it to be pure entertainment and it served its purpose and kept me glued to the screen for two hours. And while it doesn't quite match The Beekeeper, the collaboration between Statham and Ayer is a good one and I'm sure action fans are going to enjoy this movie a lot. Of course it's not going to win many awards nor will it be remembered as a classic but I think it will do well in streaming, it's a well made action movie that doesn't complicate its life trying to be something it's not and I think that's what I like the most.

TranslatedwithDeepL 

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The series ran for 10 seasons, but what made the series one of my favorites to watch was how the main character, Raymond Reddington, could remain in control and take charge in every given situation. His contingency plans were always intact for moments when things went bad or went off plan.

To date, I cannot erase the scene of Elizabeth's white wedding when Mr Solomon Lange struck with his goons heavily loaded with machinery set for utmost destruction. They made it rain cats and dogs with bullets at the church while everyone ran for their dear lives or risk being executed. Or is it when Mr Kaplan began to review the places where all the bodies were buried and Raymond's secrets, while still trying to recruit Raymond's most prized jewel, Elizabeth Keen.

So buckle up for the spoiler alert.

After Elizabeth Keen died at the end of season 7, I felt that was the end of my Blacklist journey as there would not be any purpose in watching since Raymond's jewel and purpose of living was gone. Then what will be Raymond's mission? Since all along, it has been to protect Elizabeth while keeping a vital secret from her.

Fast forward to 2025, one late evening when I was scrolling through Netflix, looking for what to watch. Mistakenly I came across the Blacklist and the usual quick intro netflix provides automatically plays for you when you hover on a movie or series. I saw some new characters having a pretty captivating dialogue with one another, and immediately, I became interested.

So I began with watching The Blacklist once again. This time, I simply continued with season 8 out of curiosity to find out what the storyline will be after Elizabeth's death.

Initially, I thought a smart and well-calculated Raymond Reddington was deadly until I met the new Raymond Reddington 2.0, enraged with vengeance. He is even worse. Yes, there are changes after Elizabeth's death, but this only makes it even better, and that is not all for the remaining seasons.

A whole lot still happens to Raymond as he even goes broke. Imagine a well-known, wealthy criminal on the FBI's most wanted list goes broke, and he still has enemies. I am sure if my friend finally finds out I went back to watch the remaining seasons of the Blacklist, he will probably look at me with pity eyes.

You should check out The Blacklist on Netflix.

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I hate to say it but I was disappointed with Despicable Me 4, after waiting so long to see this movie, I found it to be one of the worst installments of the entire franchise and that the third one had already been pretty bad, I miss those Despicable Me from the past when my kids were little, in fact I think one of them was not even born. The movie begins with Gru arriving at a reunion of former students of the school of villains, where he meets Maxime Le Mal, a guy who is half cockroach and speaks with a French accent that I found quite exaggerated I think this villain is the most boring of the entire series is too basic and is only there to create conflict. It turns out that he hates Gru because in school he stole his moment of glory in a talent show by singing the same song he was going to sing, I mean really this is too null it seems like a joke. Well after this meeting it turns out that Maxime escapes from the maximum security prison in record time and they never explain how it happened but well he did it and threatens Gru and has to move with his family to a new house using false identities.

Me da cosa decirlo pero me llevé una decepción con Despicable Me 4, después de esperar tanto tiempo para ver esta película, me pareció que es una de las peores entregas de toda la franquicia y eso que la tercera ya había sido bastante mala, extraño esos Despicable me del pasado cuando mis hijos estaban pequeños, es más creo que uno de ellos no había nacido. La película comienza con Gru llegando a una reunión de exalumnos de la escuela de villanos, donde se encuentra con Maxime Le Mal, un tipo que es mitad cucaracha y que habla con un acento francés que me pareció bastante exagerado yo creo que este villano es el más aburrido de toda la serie es demasiado básico y solo está para crear conflicto. Resulta que odia a Gru porque en la escuela le robó el momento de gloria en un show de talentos cantando la misma canción que él iba a cantar, o sea de verdad que esto es demasiado nulo parece chiste. Bueno después de esta reunión resulta que Maxime se escapa de la cárcel de máxima seguridad en tiempo récord y nunca explican cómo pasó pero bueno lo hizo y amenaza a Gru y tiene que mudarse con su familia a una casa nueva usando identidades falsas.

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I don't know if the mistake of Despicable Me 4 is that it has too many characters and doesn't know what to do with them because there is Gru with his new identity as a solar panel salesman, Lucy working as a stylist with no idea how to cut hair that part was funny, the three adopted daughters who basically disappear from the movie because now there is a new baby named Gru Jr who is now the center of attention and the truth now that I think about it I thought it was a cheap copy of Jack Jack from The Incredibles. There are also five mega minions with superpowers that also when they were needed they were late, there is Poppy a teenage neighbor who blackmails Gru to help her steal a pet and to top it off there is Maxime's girlfriend who hardly speaks in the whole movie but is always accompanying him. Then there are all these personajkes and of course the movie jumps from one plot to another without any sense, Lucy burns a customer's hair and then chases her through a supermarket and ya, the girls go to karate classes where one of them breaks the instructor's foot and ya, the mega minions fail in all their missions because they are still dumb minions and meanwhile Gru has to deal with his baby who doesn't listen to him and apparently has special powers that never develop well.

No sé si el error de Despicable Me 4 es que tiene demasiados personajes y no sabe que hacer con ellos porque está Gru con su nueva identidad de vendedor de paneles solares, Lucy trabajando como estilista sin tener ni idea de cómo cortar cabello esa parte si fue graciosa, a las tres hijas adoptivas que básicamente desaparecen de la película porque ahora hay un bebé nuevo llamado Gru Jr que ahora es el centro de atención y la verdad ahora que lo pienso me pareció una copia barata de Jack Jack de The Incredibles. También aparecen cinco mega minions con superpoderes que además cuando se necesitaban llegaron tarde, está Poppy una vecina adolescente que chantajea a Gru para que la ayude a robar una mascota y para rematar está la novia de Maxime que casi no habla en toda la película pero siempre lo está acompañando. Entonces están todos estos personajkes y por supuesto la película va saltando de una trama a otra sin ningún sentido, Lucy quema el cabello de una clienta y luego la persigue por un supermercado y ya, las niñas van a clases de karate donde una de ellas le rompe el pie al instructor y ya, los mega minions fallan en todas sus misiones porque siguen siendo minions tontos y mientras tanto Gru tiene que lidiar con su bebé que no le hace caso y que aparentemente tiene poderes especiales que nunca se desarrollan bien.

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For me this movie doesn't have any memorable scene, not even the comedy part works well, there is no emotional moment either, I really didn't like it, in fact there is a scene when they steal the badger that should be the most exciting part and it was just as boring. In fact when it gets to the end when they turn the baby into a cockroach, the baby comes out of the spell by the power of family love and the truth is that it seemed cliché, Gru hits the villain and throws him off a building and everyone lives happily ever after, but the worst part is that I didn't even see it as a movie ending, it seemed like I was watching a TV show.

Para mí esta película no tiene ninguna escena memorable, ni siquiera la parte comica funicona bien, tampoco hay un momento emotivo la verdad no me gustó, es más hay una escena cuando se roban el tejón que debería ser la parte más emocionante y fue igual de aburrida. De hecho cuando llega al final que convierten al bebé en cucaracha, el bebé sale del hechizo por el poder del amor familiar y la verdad esto me pareció cliché, Gru golpea al villano y lo tira de un edificio y todos viven felices para siempre, perop lo peor es que ni siquiera lo vi como un final de película parecía que estaba viendo un programa de televisión.

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The end of the movie is super weird because after Gru defeats Maxime he goes to visit him in jail and they end up singing together in a sort of musical show where all the villains from the previous movies appear, including Vector, El Macho, Scarlet Overkill and even the Vicious 6, all dancing and singing as if they were best friends, which makes no sense at all because these guys are supposed to hate Gru but there they are happy for life in jail singing songs and the mega minions also return for the end but their participation is so minimal that I didn't understand why they were created, also Dr. Nefario appears for about five seconds for about five seconds for a few minutes. Nefarious also appears for about five seconds to remind me that he exists. To me I found the movie to be soulless and uncreative, it seemed like pure marketing and didn't tell an interesting story.

El final de la película es super raro porque después de que Gru derrota a Maxime va a visitarlo a la cárcel y terminan cantando juntos en una especie de show musical donde aparecen todos los villanos de las películas anteriores, incluyendo Vector, El Macho, Scarlet Overkill y hasta los Vicious 6, todos bailando y cantando como si fueran mejores amigos, lo cual no tiene ningún sentido porque se supone que estos tipos odian a Gru pero ahí están felices de la vida en la cárcel cantando canciones y los mega minions también regresan para el final pero su participación es tan mínima que no entendí para que los crearon, también aparece el Dr. Nefario por unos cinco segundos para recordar que existe. A mí me pareció que la película es sin alma y sin creatividad, me pareció puro marketing y no contó una historia interesante.

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My score for Despicable Me 4 is 6/10 I think it is the perfect example of how a franchise can lose its way when it focuses more on selling something than telling a good story, for me the first movie had heart and had emotional moments, it had an interesting villain and a believable transformation of the main character, but this fourth part is just noise and characters screaming non-stop and I found this sad because the franchise used to be better than that. So if you are a fan of Despicable Me I recommend you to keep the good memories of the first movies and avoid this one so it doesn't ruin the concept you have of the franchise.

Mi puntuación para Despicable Me 4 es 6/10 creo que es el ejemplo perfecto de cómo una franquicia puede perder su rumbo cuando se enfoca más en vender algo que en contar una buena historia, para mí la primera película tenía corazón y tenía momentos emotivos, tenía un villano interesante y una transformación creíble del protagonista, pero esta cuarta parte es solo ruido y personajes gritando sin parar y esto me pareció triste porque la franquicia solía ser mejor que eso. Así que si eres fan de Despicable Me te recomiendo que te quedes con los buenos recuerdos de las primeras películas y evites esta para que no arruine el concepto que tienes de la frnaqicia.

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The longevity of the James Bond film series has been reflected, among other things, through an exceptionally large number of films that parody it in one way or another. Experience and statistics teach us that an overwhelming majority of these parodies are going to be of poor quality, so for every Austin Powers, there are hundreds of titles that have justifiably faded from memory. This doesn't mean that filmmakers shouldn’t keep trying. One of the more interesting of those efforts was Spy, the 2015 comedy directed by Paul Feig.

Feig had previously achieved great success with the comedies Bridesmaids and The Heat, which in both cases relied on the superb comedic talents of Melissa McCarthy, turning her into a big star. Therefore, it is not surprising that the lead role in the film was given to her. Given McCarthy's non-Bond-like gender and appearance, it is clear that the character she portrays will be non-Bond-like. This conventional protagonist role is initially entrusted to Jude Law, who plays the character of Bradley Fine, a suave yet dangerous CIA field operative who, in turn, cannot perform his spectacular actions without the help of Susan Cooper, a controller from the CIA headquarters. Cooper, played by McCarthy, is an overweight, unattractive, frustrated 40-year-old woman who feels a deep attachment to her charismatic colleague and is shocked when he is killed during an operation. Because the CIA database has been hacked, with the identities of all field agents compromised, Cooper gets the chance to avenge him. Since none of the bad guys know about the anonymous and unassuming bureaucrat, she is sent to Europe to try to locate Rayna Boyanov (Rose Byrne), the daughter of a Bulgarian arms dealer, and discover to whom a suitcase nuclear bomb was supposed to be sold.

As with Bridesmaids, the script isn’t Feig's forte. In the case of Spy, this could be seen in the script’s poor quality, but also its extreme inconsistency and lack of cohesion. At the very beginning, the film looks as bad as it did in the trailer – a simple "high concept" comedy about an ugly office duckling who, by circumstance, turns into a ruthless spy operative (something closest to a swan in this case). The film lacks humour at the beginning, and too often everything is reduced to slapstick violence and bloodshed that should give it "Tarantino-esque" credentials. Many of the characters are empty and unconvincing, and even the protagonist's actions towards the main villain are not well explained. What saves the film is primarily Melissa McCarthy, who possesses exceptional talent but sometimes doesn't know how to use it adequately. In this case, however, her improvisations, especially in the absurd transformation from a humble official to a "hard-core" fighter, and the extremely creative use of vulgar vocabulary, hit the mark. The seemingly unnecessary entry of Jason Statham, who in Spy parodies the "cool" and "tough" guy characters on whom he has built his career, serves the film even better by establishing very good partnership dynamics with McCarthy. Spy will quickly fade from memory or, to be more precise, would have quickly faded from memory if it weren't for the brilliant Bond-like song "Who Can You Trust" performed by Ivy Levan. In the end, it can be recommended as one of the rare examples of a parody that somehow manages to fulfil its purpose.

RATING: 5/10 (++)

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

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