Community Reviews
Longform reviews of films, TV, anime, books, and audiobooks, written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 60,118 reviews and counting.
Madre, amante y estudiante del arte y la reposterÃÂÃÂa. AdemÃÂás, una eterna aprendiz y con un lado salvaje pero reservado...
407dWhat If John Wick Opened a Convenience Store? Welcome to Sakamoto DaysThere’s something quietly devastating about Sakamoto Days, though I didn’t expect it. I went in thinking I’d get a silly ex-hitman comedy with flashy kills and quirky side characters. And yes, the bullets fly, the punches land, and there are moments of absurd brilliance that made me genuinely laugh. But beneath all that noise, what I found was… grief. A man haunted by the echo of his own silence. I don’t mean trauma in the cheap, marketable way. I mean the kind that sits in the room with you while you fold laundry, while you ring up a customer, while you try to raise a child in a world that doesn’t forgive what you were. It’s in Sakamoto’s eyes—the kind that no longer beg for redemption, only rest.Every time he smiles, it hurts a little. Not because it’s fake, but because you can feel how much effort it costs him. How much history is being held back behind that gentle nod, that quiet grunt. He used to be a monster. He chose not to be. And that’s the heart of this show—it’s not about redemption arcs or revenge fantasies. It’s about what happens after the myth ends. About the daily practice of choosing softness in a brutal world. The convenience store isn’t just a gimmick. It’s his sanctuary. His rebellion. His tiny, fragile peace. And the fact that it keeps getting invaded by ghosts of his past? That’s what makes every fight scene sting.The action is clever, yes, but it’s also tragic. Sakamoto isn’t enjoying it. He’s just surviving. And yet, there’s humor, absurdity, even joy in how it’s choreographed. It’s an elegant contradiction—violence rendered with wit, speed, restraint. The kind of fights that say more in a single movement than some shows manage in ten episodes of exposition. And the supporting cast? They’re more than sidekicks. They’re mirrors. Shin, with all his noise and psychic anguish, feels like a younger version of a man still hoping to be understood. Lu is an entire subversion of what we expect from women in action anime—graceful, yes, but also brutal, decisive, and emotionally grounded.Still, Sakamoto Days isn’t perfect. The pacing flirts with sluggishness. Some plot beats repeat themselves, and there are stretches where I caught myself checking the clock. But that’s the thing—this show isn’t trying to impress you with constant escalation. It breathes. It sits in its world. It trusts that you'll stay for the quiet in between, not just the spectacle. That alone earns my respect. It’s not desperate for your love. It knows what it is, and it lets you arrive on your own terms.I didn’t expect to feel seen by an ex-hitman who communicates mostly in grunts and grocery bags. But here we are. And maybe that’s the magic of anime when it’s done right—it finds the part of you that you forgot existed. The part that’s tired, but still trying. The part that knows what it means to carry peace like it’s a weapon. Sakamoto Days isn’t loud. It doesn’t scream to be remembered. But it lingers. It stays. And sometimes, that’s all we need.
Blogger, film critic, columnist (writes in Croatian and English)
407dMovie · on High Test Girls 40Film Review: High Test Girls (Sechs Schwedinnen von der Tankstelle, 1980)The 1980 film High Test Girls (original title: Sechs Schwedinnen von der Tankstelle), a sequel to Erwin C. Diettrich’s 1979 softcore comedy Six Swedish Girls in a Boarding School, exists in a peculiar liminal space within cinematic history. While sequels that surpass the quality of their predecessors are vanishingly rare, films with negligible artistic or narrative ambition often manage to replicate their own mediocrity with alarming consistency. This sequel, however, delivers a product that is technically proficient yet creatively inert. Its existence feels less like a continuation of its predecessor’s story and more like a contractual obligation fulfilled with minimal effort, a cynical exercise in brand recycling that nonetheless benefits from the charm of its performers and the director’s pragmatic understanding of his audience’s expectations.
The protagonists, six Swedish women portrayed with varying degrees of charisma and wit, return for this follow-up, though their transition from boarding school students to gas station attendants stretches credibility even by the loose standards of softcore cinema. Having either graduated or been expelled (the specifics are unimportant), the women inherit a chalet in a Swiss village and convert it into a “full service” petrol station—a euphemism that quickly becomes literal. Their overt sexuality, framed as both a business strategy and a lifestyle choice, provokes the ire of Marie, the mayor’s wife (Jane Baker), who campaigns relentlessly to shut them down. Her husband Hans (Karl Gysling), the mayor himself, is too preoccupied with political theatre to address her complaints effectively. Council meetings, ostensibly convened to discuss the station’s “scandalous” operations, are repeatedly delayed as Hans’s absence provides an alibi for his colleagues to pursue extramarital trysts with Marie. This absurd dynamic—where the very authority meant to uphold morality becomes complicit in its subversion—serves as the film’s flimsiest plot device, a satire so shallow it barely rises to the level of social commentary. Hans eventually capitulates, striking a deal that allows the town’s brass band to rehearse in the women’s chalet in exchange for turning a blind eye to their extracurricular activities. The transactional resolution is emblematic of the film’s broader ethos: a wink-and-nod compromise between vice and bureaucracy, where no one truly loses.
Diettrich, often dubbed the “Swiss Roger Corman” for his prolific output of low-budget genre fare, adheres rigidly to the formula that defined his earlier work. His films, including both Six Swedish Girls entries, are structured around a narrative skeleton so slight it functions almost as an afterthought. The plots exist solely to justify a series of set pieces in which the protagonists disrobe and engage in simulated sexual encounters. Yet, despite those limitations, Diettrich’s technical competence cannot be denied. The cinematography is crisp, the editing brisk, and the performances—particularly from the ensemble cast—manage a degree of warmth that elevates the material beyond the sterile mechanics of typical exploitation fare. The actors commit to the absurdity of their roles with a sincerity that borders on endearing, as though they are aware of the film’s limitations but choose to entertain regardless. The result is a film that is “satisfactory” only in the sense that it meets the bare minimum requirements of its genre, offering neither innovation nor embarrassment, but a predictable rhythm of titillation and slapstick.
The casting choices further underscore the film’s ambivalence toward originality. Brigitte Lahaie, a French actress renowned for her pionnering status as hardcore pornographic star, reprises her role as Greta, the group’s scheming instigator. Her presence injects a frisson of genuine star power, though her character’s arc is indistinguishable from her role in the first film. France Lomay returns as Kerstin, the tomboyish mechanic whose sexual escapades are intercut with her mechanical tinkering—a metaphor so blunt it might as well be hammered into the script. Elsa Maroussia, reprising her role as Selma, leans into the role of the maternal figure, offering a counterbalance to the chaos. However, three of the six leads are recast: Elodie Delage as the brunette Astrid, Nadine Pascal as Lil, and Flore Sollier as Inga, both blondes. The new actresses lack the chemistry of their predecessors, their performances feeling more like auditions for the next softcore vehicle than authentic contributions to the narrative. That said, the film does push marginally further into explicit territory than its predecessor, with fleeting moments of simulated intercourse supplementing the usual nudity. Yet even these scenes are sanitized enough to avoid classification as hardcore, ensuring the film remains accessible to mainstream audiences—or at least those willing to overlook its inherent sleaze.
The question of whether High Test Girls succeeds as a sequel hinges entirely on the viewer’s familiarity with Six Swedish Girls in a Boarding School. For those unacquainted with the original, this follow-up might appear as a harmless, if unremarkable, slice of Euro-sleaze: a group of sexually liberated women navigating small-town hypocrisy with humor and hijinks. However, for anyone who has seen the first film, the sequel’s derivative nature becomes glaringly apparent. Diettrich reuses entire jokes wholesale, most notably Kerstin’s “modified bicycle” gag—a clunky mechanical invention that allowed her to receive pleasure in the original. Here, it reappears with no explanation, as though the intervening year had erased all continuity. Her friends’ reactions to the device are equally baffling, their supposed amazement at Kerstin’s invention undercutting any logic that might connect this film to its predecessor. This recycling of material, combined with the near-identical character archetypes and plot beats, renders High Test Girls less a sequel and more a “special edition” of the first film, retread territory dressed up in marginally different locations.
Diettrich’s attempts to inject novelty into the sequel are both sporadic and uneven. The surreal interludes involving fictional television programmes—a recurring feature in his filmography—stand out as the most ambitious sequences. In them television character either comment on or actually interact with the audience. These sequences, while brief, showcase Diettrich’s willingness to experiment with form, albeit in a manner that feels more gimmicky than subversive. Unfortunately, their placement early in the film robs them of impact; the rest of the runtime is filled with increasingly uninspired gags and half-hearted innuendo. The narrative peters out abruptly, with no resolution for the mayor’s subplot or the town’s simmering moral panic. By the credits, the viewer is left not with a sense of catharsis but with the faint relief that the film’s interminable parade of contrived situations has finally ceased.
The film’s technical merits are undeniable, yet they highlight the inherent contradiction of Diettrich’s career. As a director specializing in exploitation genres, he mastered the art of creating polished, watchable content with minimal resources—a skill that earned him comparisons to Roger Corman, though without the latter’s occasional flair for cultish ingenuity. High Test Girls is competently shot, with a color palette that emphasizes the Swiss Alps’ picturesque setting, juxtaposed against the women’s increasingly risqué antics. The editing is fluid, ensuring that the softcore sequences flow without jarring cuts, while the scor complements the tone. These elements suggest a craftsman’s eye, but they also expose the hollowness at the film’s core. When every technical decision serves the sole purpose of facilitating the next nudity scene, the result is a work that feels more like a checklist of tropes than a cohesive story.
Comparisons to the subsequent sequels—Six Swedes in Ibiza (1981) and Six Swedish Girls in the Alps (1983)—reveal High Test Girls as a transitional piece. The former two abandoned softcore constraints in favor of explicit content, leaning fully into hardcore pornography. By contrast, Diettrich’s 1980 entry remains coyly within the bounds of mainstream acceptability, a choice that may have been pragmatic (to avoid stricter censorship) or artistic (to maintain a veneer of respectability). This middle-ground approach, however, leaves the film stranded. It lacks the unapologetic carnality of its successors while retaining the narrative deficiencies of its predecessor. The decision to retain Lahaie, a performer synonymous with hardcore, in a softcore role feels like a missed opportunity; her screen presence hints at the subversive potential of the genre, yet the film’s timid boundaries prevent her from fully exploiting it.
Ultimately, High Test Girls is a textbook example of how to produce a sequel that is neither offensive nor memorable. Its technical execution is sound, its performers game, and its premise sufficiently frivolous for viewers seeking escapism. Yet its refusal to evolve beyond the template of the first film—or to even acknowledge its own continuity—renders it a pale imitation of itself. The surreal TV segments, though clever in concept, are undermined by their isolation within the script, appearing as brief detours from the otherwise monotonous parade of softcore set pieces. For those seeking a “guilty pleasure,” the film delivers, but its pleasures are so perfunctory that guilt quickly curdles into indifference.
RATING: 4/10 (+)
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407dMovie · on Fed UpH A R T A | Opinión sin Spoiler [Esp-Eng]Saludos cordiales para la comunidad amantes del cine y las buenas películas.
Harta es un término comúnmente utilizado para denotar cansancio, molestia, agotamiento, hastío. Decir: ¡Estoy harta! significa que ya no puedo más y mis emociones están al máximo nivel a punto de estallar.
Es posible que en algún momento de la vida hayamos estado hartos de alguna situación y que de este suceso se haya detonado algún conflicto interno o externo, ¿no es es cierto?
Bien, de eso trata precisamente esta historia de drama llamada HARTA. Janiyah, protagonista del film es una mujer a quien la tragedia la embarga y en un segundo el mundo se le viene encima. Su pequeña hija padece de una enfermedad y por ella hace todo para sacarla adelante. Aún así, nada en ese momento en la vida de Janiyah le sale bien y por el contrario, todo confabula en su contra.
Es triste asumir que la historia de Janiyah no escapa de la realidad. Son muchas mujeres que viven una vida llena de angustias, pesares e incertidumbres. Madres solteras haciendo literalmente de tripas corazones para sacar adelante a su familia y a veces el mundo, ni la sociedad parecen entender tanto dolor y sufrimiento.
Es común juzgar sin conocer, es común discriminar por no pertenecer a un estrato social alto o me dio alto, de clase, es común recibir rechazos y hacer sentir mal a los demás por simples pensamientos críticos. Pero, lo más complejo de entender es cómo no somos capaces de empatizar por un momento con los otros y tender la mano en momentos tan difíciles de la vida.
Aria, interpreta el personaje de la hija de Janiyah, es una niña con problema de salud a quien su madre, a pesar de sus precariedad le brinda toda su atención y cuidado. Aún así, la sociedad no la entiende pero si la atacan de manera brutal, sin piedad, sin dejarla respirar. Es de esperarse entonces que esta mujer se HARTE y pierda el control.
Janiyah genera un caos sin querer. Su estado depresivo la llevó a cometer errores que pudieron contarle más de lo que ella misma pensaba. La burocracia en un país sin límites y una sociedad cruel puede hartar a cualquiera y lamentablemente su vida da un giro inesperado.
Recomiendo esta película llena de tantas verdades. Creo que cualquier sociedad puede verse identificada. Aún, en pleno siglo XXI, ¿sigue siendo caro ser pobre, seguimos las mujeres siendo discriminadas?
La respuesta la darán cada una de las personas que vea este film. No considero la idea de hacer spoiler pero les adelanto que verán interpretaciones magistrales, naturales, auténticas, con fuerza y carácter. Sin duda, la película mueve toda fibra y sentimiento. De volver a verla volvería a llorar de emoción.
Lo que no revelaré son los giros finales de esta historia... No estaba loca sino rota
¡Cuánta fuerza tiene una madre! No me cabe la menor duda. Todas las estrellas del cine para esta cinta tan bien elaborada.
E N G L I S H
Warm greetings to the community of film and movie lovers.
Fed up is a term commonly used to denote tiredness, annoyance, exhaustion, weariness. To say: I'm fed up! means that I can't take it anymore and my emotions are at the highest level and about to explode.
It is possible that at some point in life we have been fed up with some situation and that this event has triggered some internal or external conflict, isn't it true?
Well, that's precisely what this drama story called SAD is all about. Janiyah, the protagonist of the film is a woman who is overwhelmed by tragedy and in a second the world comes crashing down on her. Her little daughter suffers from a disease and she does everything for her to bring her up. Even so, nothing in Janiyah's life works out well for her and, on the contrary, everything conspires against her.
It is sad to assume that the story of Janiyah does not escape reality. There are many women who live a life full of anguish, sorrow and uncertainty. Single mothers are literally trying their hardest to help their families and sometimes the world and society do not seem to understand so much pain and suffering.
It is common to judge without knowing, it is common to discriminate for not belonging to a high social class, it is common to receive rejection and make others feel bad for simple critical thoughts. But, the most complex thing to understand is how we are not able to empathize for a moment with others and reach out in such difficult moments of life.
Aria, who plays the character of Janiyah daughter, is a girl with a health problem to whom her mother, despite her precarious situation, gives her all her attention and care. Even so, society does not understand her but attacks her brutally, without mercy, without letting her breathe. It is to be expected then that this woman gets HARTE and loses control.
Janiyah unintentionally creates chaos. Her depressive state led her to make mistakes that could tell her more than she thought. Bureaucracy in a country without limits and a cruel society can harass anyone and unfortunately her life takes an unexpected turn.
I highly recommend this movie full of so many truths. I think any society can relate to it. Even in the 21st century, is it still expensive to be poor, are women still discriminated against?
The answer will be given by everyone who sees this film. I do not consider the idea of making spoilers but I anticipate that you will see masterful, natural, authentic interpretations, with strength and character. Undoubtedly, the film moves every fiber and feeling. If I were to see it again, I would cry with emotion.
What I will not reveal are the final twists in this story.... I was not crazy but broken.
**How much strength a mother has! I have no doubt about it. All the stars of cinema for this well-crafted film.
¡Gracias por leer, comentar y votar!
Texto en inglés traducido con Deelp.com
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407dReview - Destino final 4Hello! 💙
La cuarta entrega de esta franquicia es conocida sobre todo por no ser precisamente la mejor de hecho es conocida como una de las más lentas o aburridas de la franquicia, Yo sí bien Estoy de acuerdo con que no es la mejor de la franquicia no la considero una película lenta de hecho la considero bastante disfrutable y muy rápida de ver De hecho tú apenas 1 y 20 minutos.
The fourth installment of this franchise is known mostly for not being exactly the best in fact it is known as one of the slowest or boring of the franchise, I while I agree that it is not the best of the franchise I do not consider it a slow movie in fact I consider it quite enjoyable and very quick to watch In fact you just 1 and 20 minutes.
La verdad es que la saga Destino final Como películas de terror son unas de mis favoritas y después de venir de ver la sexta entrega ver esta la verdad es que es algo difícil porque sí Admito que la sexta tiene una calidad impresionante muy comparable con lo que fue la segunda película que es una de las mejores de esta franquicias pero esta cuarta película tiene algo especial y es que no se toma En serio a sí misma pretende ser algo más divertido más relajado pero sobre todo con un gore que nunca para, es muy parecido al salto que tuvo Chucky en la película de la novia de Chucky, películas de terror después de una tercera entrega la verdad es que pasan a tener un tono más relajado más parecido a humor negro pues mezclado con todo una gran dosis de gore, considero una película perfecta dentro de Star franquicia pero aún así recomiendo verla porque si sigue siendo sumamente divertida.
The truth is that the Final Destination saga As horror movies are one of my favorites and after coming from seeing the sixth installment see this the truth is that it is somewhat difficult because yes I admit that the sixth has an impressive quality very comparable to what was the second film which is one of the best of this franchise but this fourth film has something special and is that it does not take itself seriously pretends to be something more fun more relaxed but above all with a gore that never stops, it is very similar to the jump that had Chucky in the film of the girlfriend of Chucky, horror movies after a third installment the truth is that they happen to have a more relaxed tone more like black humor because mixed with all a large dose of gore, I consider a perfect film within Star franchise but I still recommend watching it because if it is still extremely funny.
Uno de los elementos que sí envejecido terriblemente mal es que la película fue hecha para verla en 3D entonces mucho los efectos especiales que salen en esta película se pueden ver un poco baratos y esto es porque fueron hechos para verlo con los lentes pues al verla de manera normal la verdad es que se pierde un poco la gracia de esta película, también Creo que el elemento con el que cierra la película puede llegar a ser muy anticlimático en varios momentos o incluso sientes que Hay momentos en las películas en los cuales fueron bastante alargados solamente para poder llegar apenas a una hora y 20 de película porque sí es una de las más cortas de la franquicia, sigo opinando que es bastante disfrutable de ver pero sí dentro de las seis películas que hay de Destino final puedo decir que por ahora es la que está más abajo.
One of the elements that has aged terribly badly is that the film was made to be seen in 3D so a lot of the special effects in this film can be seen a little cheap and this is because they were made to be seen with the glasses and when you see it normally the truth is that the grace of this film is lost a little, I also think that the element with which the film closes can become very anticlimactic at various times or even feel that there are moments in the films in which they were quite elongated only to reach just an hour and 20 of film because it is one of the shortest of the franchise, I still think it is quite enjoyable to watch but yes within the six films that are Final Destination I can say that for now is the one that is the lowest.
¡Hasta la próxima, un abrazo!
Enthusiast of technological advances, motion designer in progress.
407dMovie · on The Accountant 2The Accountant 2 better than the first? – The unstoppable chemistry of Ben Affleck and Jon Bernthal [ENG/SPA]I just watched The Accountant 2, and I was pleasantly surprised. It's not easy to pull off a good sequel when all the surprises seem to have been used up in the first installment. If you haven't seen it yet, I recommend you save this and read it later, because I'm coming at you with spoilers and my honest opinions.
El Contador 2 ¿Es mejor que la primera? - Química imparable de Ben Affleck y Jon Bernthal
¡Hola, cinéfilos! Acabo de ver el Contador 2 y me sorprendió gratamente, no es fácil lograr una buena secuela cuando todas las sorpresas parecen haber sido contadas en la primera entrega. Si aún no la ven, les recomiendo que guarde esto y lo lean después porque vengo con spoiler y mis opiniones.
The plot kicks off with the death of Ray King, played by J.K. Simmons, the same detective we met in the first movie. Before he dies, he leaves a message on his arm that reads: "Find the Accountant." This is how Christian Wolff (Ben Affleck), the autistic math genius, enters the scene to uncover what Ray was investigating and why he was killed. Christian, realizing the danger he's up against, decides to call his brother Brax (Jon Bernthal), with whom he hasn't spoken in eight years (ironically, the same amount of time that passed since the first movie's release).
La trama comienza con la muerte de Ray King interpretado por J.K. Simmons, es el mimo detective que conocemos en la primera entrega. Antes de morir deja un mensaje en su brazo que dice: "encuentren al contador". Así es como Christian Wolf (Ben Affleck) el genio matemático con autismo entre en escena para descubrir que estaba investigando Ray y porque lo mataron. Christian al darse cuenta del peligro al que se esta enfrentando decide llamar a su hermano Brackston (John Bernall) con quien no habla desde hace 8 años (irónicamente el tiempo que paso desde el estreno de la primera película).
Both actors deliver strong performances with their characters, and their chemistry is truly excellent. Ben Affleck once again shines as Christian; it's clear he deeply researched the behavior of people with autism. Jon Bernthal is equally impressive, and his portrayal of Brax is, for me, the highlight of the film. He brings dark humor, brutality, and a genuine effort to forge a closer relationship with his brother. The dynamic between these two characters is what keeps you hooked on the movie, precisely because they are so different—one analytical and methodical, the other impulsive and combative.
Ambos actores hacen un gran trabajo con sus personajes, la química es muy buena. Ben Affleck nuevamente se luce con el personaje de Christian, se nota que profundizó en el estudio del comportamiento de personas con autismo. John Bernall no se queda atrás y su papel de Brackston es para mi lo mejor de la película, el nos da humor negro, brutalidad y esfuerzo por lograr una relación cercana con su hermano. La dinámica entre ambos personajes es lo que te mantiene enganchado a la película porque son tan distintos, uno analítico y metódico; el otro impulsivo y combativo.
Regarding the plot, it starts well with some action, but then it slows down, much like the first film. The investigation needs to unfold to bring back the action. The story delves into human trafficking, a topic that has been frequently explored lately, showing Latino migrants falling into the hands of criminal gangs, leading to the typical scene where the "gringos" come to save them. But to achieve such a feat, they have the help of Justine (Allison Robertson), a non-verbal autistic computer genius who paves the way from her cyber trench.
En cuanto a la trama, al principio comienza bien con algo de acción pero luego se pone lenta, algo parecido a la primera entrega, se debe dar la investigación para recuperar la acción. La historia se mete en la trata de personas, un tema que ha sido abordado varias veces actualmente, donde migrantes latinos caen en manos de bandas criminales y llega la típica escena donde los gringos vienen a salvarles. Pero para lograr semejante hazaña, cuentan con la ayuda del personaje de Justine (Allison Robertson) genio informático autista no verbal, que allana el camino desde su trinchera cibernética.
Now for the big question: Is it better than the first movie? For me, no, but it wouldn't be fair to compare them directly. The first film introduced the character, while the sequel jumps straight into the action without dwelling on context. In my opinion, it's an entertaining movie, at times raw, but the brotherly chemistry is strong enough to keep you engaged.
Ahora lo importante ¿Es mejor que la primera película? Para mi no, pero no sería justo compararlas porque la primera da introducción al personaje y la secuela nos muestra directamente la acción sin entrar en contextos. Es una película divertida a mi parecer, por momentos cruda, pero la química entre los hermanos es bastante buena para mantenerte entretenido.
Images from https://www.imdb.com/es/title/tt7068946/?ref_=mv_close
Soy un amante a la música, la poesía, la fotografía y de la vida misma.
407dMovie · on StrawHARTA (Review ) [ESP-ENG] by edwardstobiaHola amigos || Hello friends
No todas las noches antes de dormir mi esposa y yo nos organizamos para ver alguna película o simplemente algún programa de TV. Hace días ella me comentó que ya estaba en Magis tv la nueva película de Ben Affleck El Contador. La cual tanto ella como yo ansiamos ver pero ayer no fue una noche perfecta para disfrutar de ella ya que la misma tiene una duración de dos horas y un poco más, además, el cansancio del día no era normal. Así que estábamos a un botón de ver cualquier programa de TV cuando nos encontramos con Harta. Y al ver que es protagonizada por Taraji Henson la cual es una de las actrices más relevantes del cine y de mis actrices favoritas, fue fácil decidir qué ver antes de dormir.
It's not every night before bedtime that my wife and I get together to watch a movie or just a TV show. A few days ago she told me that the new Ben Affleck movie The Accountant was already on Magis TV. Which both she and I are looking forward to see but last night was not a perfect night to enjoy it since it has a duration of two hours and a little more, besides, the tiredness of the day was not normal. So we were one button away from watching any TV show when we came across Harta. And seeing that it stars Taraji Henson who is one of the most relevant actresses in movies and one of my favorite actresses, it was easy to decide what to watch before bed.
Harta es uno de los nuevos estrenos de la gran N roja que está haciendo estragos no solo por ser dirigida y escrita por el mismísimo Tyler Perry a quien ya conocemos por sus grandes trabajos si no, por la narrativa en la que se centra. Un drama intenso que pone en primer plano la lucha de una madre soltera contra todas las adversidades que pueden y viven día a día. Les confieso que desde que empezó la película mi esposa y yo nos decíamos: ¡Pobre madre!
Fed up is one of the new releases of the big red N that is making waves not only for being directed and written by Tyler Perry himself, who we already know for his great works, but also for the narrative it focuses on. An intense drama that foregrounds the struggle of a single mother against all the adversities that can and do happen every day. I confess that as soon as the movie started my wife and I were saying to each other: Poor mother!
Como les mencioné al principio, la decisión de ver esta película fue porque la protagonista es Taraji Henson y bueno, ¡QUE BUENA ELECCIÓN! Y de verdad que hizo un espectacular trabajo sobre todo por la capacidad que tuvo al lograr transmitir la complejidad emocional de Janiyah, una mujer que debe enfrentarse a la incomprensión, el aislamiento, la resiliencia, la falta de apoyo institucional, la presión social, la soledad y vaya que así mismo es, pobre mujer. Todo esto mientras lucha por el bienestar de su hija Aria, quien con 7 años era una niña muy inteligente y muy apegada a su madre.
As I mentioned at the beginning, I decided to see this film because the protagonist is Taraji Henson and well, WHAT A GOOD CHOICE! And she really did a spectacular job, especially for her ability to convey the emotional complexity of Janiyah, a woman who must face misunderstanding, isolation, resilience, lack of institutional support, social pressure, loneliness and, boy, what a poor woman she is. All this while fighting for the welfare of her daughter Aria, who at the age of 7 was a very intelligent child and very attached to her mother.
La película muestra hasta dónde puede llegar una madre para proteger a su familia cuando todo se derrumba a su alrededor. Aquí es donde principalmente la falta de apoyo institucional y la presión social empiezan a convertirse en elementos clave no solo de la película sino de la vida misma. Janiyah es una madre como todas las que existen, capaces y dispuestas a todo por sus hijos. Y aquí Janiyah no escapa de ese porcentaje. Pero se verá acorralada por circunstancias donde deberá desafiar sus propios límites y enfrentarse a una sociedad que la juzga sin conocer su historia.
The film shows how far a mother can go to protect her family when everything is collapsing around her. This is where mainly the lack of institutional support and social pressure start to become key elements not only of the film but of life itself. Janiyah is a mother like all mothers out there, able and willing to do anything for her children. And here Janiyah does not escape that percentage. But she will be cornered by circumstances where she will have to challenge her own limits and face a society that judges her without knowing her story.
Esta historia que nos presenta la gran N roja ha destacado por la gran empatía y reflexión al retratar la difícil lucha no solo la de Janiyah y digo esto porque ¨Harta¨ Expone la dura realidad e invita a cuestionar los prejuicios e incomprensión hacia quienes enfrentan situaciones similares. Sinceramente que quedé muy conmovido por esta historia, muy apegado al Janiyah tanto que vivimos sus momentos como si fueran nuestros. Definitivamente la actriz logro más que conectar con su personaje, logró que todo el que la vea conecte con esas emociones que difícilmente logramos percibir. Aquí es donde digo, lo que las caras no reflejan.
This story presented by the big red N has stood out for the great empathy and reflection in portraying the difficult struggle not only of Janiyah and I say this because ¨Harta¨ exposes the harsh reality and invites us to question the prejudices and misunderstanding towards those who face similar situations. Sincerely I was very moved by this story, very attached to Janiyah so much that we lived her moments as if they were our own. Definitely the actress managed more than to connect with her character, she managed to make everyone who sees her connect with those emotions that we hardly manage to perceive. This is where I say, what the faces do not reflect.
No sé si muchos de ustedes la han visto, pero por si acaso, mi intención es la misma de siempre, no hacerle algún tipo de espóiler. Esta es solo mi humilde opinión. Los invito a compartir sus opiniones si ya la has visto y si no, espero no tardes en verla.
I don't know if many of you have seen it, but just in case, my intention is the same as always, not to make some kind of spoiler. This is just my humble opinion. I invite you to share your opinions if you have already seen it and if you haven't, I hope you don't take too long to watch it.
A bordo de la nave me despido, mi querida familia. ❤LOS QUIERO❤
Anime, Movies, video games, Books something else?
407dAnime · on MiraiMirai no Mirai -A Boy Jealous Of His Little Sister And His Journeys Through Time [ENG -ESP]I have rarely come across a film or anime with a plot that often makes me debate whether to continue watching it or instead put it aside out of boredom. This is precisely what happened with Mirai no Mirai, a 2018 film which, despite not being that old, has a fairly classic and simple animation style that, combined with its light color palette, gives us the impression of watching a much older anime or even one from the last century. Similarly, using this style of animation helps to generate a feeling of nostalgia that fits quite well with the story itself.
This story introduces us to Kun Oota, a 4-year-old boy who is now facing the arrival of his new baby sister Mirai. His father is an architect but quite inexperienced with household chores, so two amusing aspects of the story's background will be the moments when his father doesn't know what to do and also the strange design of the house, which is full of steps and has an oak tree in the central courtyard. This oak tree will be of great importance in the story, as it is the focus of the fantastical aspects as well as the time travel in Kun's adventure.
A very striking and realistic aspect of this film is what can happen to the members of a family when they welcome their second child, even when the first is still quite young, and they may also have several shortcomings due to their inexperience in parenting. From the beginning, Kun's parents, who are not even given names beyond Mom and Dad, begin to focus almost all their attention on Mirai, leaving Kun somewhat neglected. This causes Kun to become jealous and start acting spoiled out of anger and in an attempt to regain his parents' attention, as well as to feel hatred toward his sister.
The most striking aspect of this story is the oak tree in the house. This strange tree seems to be a magical object and acts as the center of the entire family's history in terms of time, space, and minds. For this reason, little Kun can encounter versions of his family from another time, such as his little sister, who is now older and in high school. He can even encounter the mind of his dog, but in human form, who can speak and express everything he feels. This peculiar oak tree not only serves as a receptor for these magical events, but also allows Kun to travel back in time to meet his mother when she was only 4 years old, as well as to meet his great-grandfather who died at the end of World War II.
The entire development of the film focuses on Kun and, in a way, shows how he deals with his doubts, annoyances, and even tantrums thanks to time travel and meeting his relatives from other times. An interesting aspect of this film is that despite having so many fantastical elements, it also presents a more human and real side to Kun. In the end, he is just a simple 4-year-old boy who now feels upset and jealous with the arrival of his sister. He often acts spoiled and selfish, but this is precisely what would be most normal for a child his age whose parents also seem unsure of how to act or help him avoid these feelings. Little by little, we see that what Kun really wants and what he gets from several of his trips through time is attention and affection, to feel that they still love him and care about him instead of feeling that now the center of attention is only his little sister.
The only aspect that caused me some boredom, but which, when analyzed critically, is quite accurate, is how Kun takes on the lessons he learns from each family member when he travels through time. Thanks to his sister's trips from the future, he seems to understand the situation a little and lets go of his hatred or jealousy towards the baby. but after a while he simply reverts to his old attitudes and starts behaving spoiled and even a little selfish again. But at the end of the day, he's still a child, so it's normal that despite these events and appearing to mature, he remains immature and can be carried away by his emotions at any moment. In the end, Mirai no Mirai is a very interesting film. It shows a very real and perhaps common background story, combined with fantasy, time travel, and even some truly bizarre moments.
Translated with DeepL.com (free version) All Images Are Screenshots Of My Monitor
Director: Mamoru Hosoda Studio Animator: Studio Chizu
Separator Images:
1. Source 2. Source 3. Source
Español
Pocas veces me he encontrado con una película o anime que tenga un desarrollo el cual muchas veces me haga debatirme si continuar viéndola o en su lugar dejarla de lado por aburrimiento, esto precisamente sucedió con Mirai no Mirai una película del año 2018 la cual, a pesar de no ser tan antigua, tiene un estilo de animación bastante clásico y sencillo en donde combinado con su paleta de colores con tonos claro, nos da la impresión de estar viendo un anime mucho mas antiguo o hasta incluso del siglo pasado, de igual manera utilizar un estilo de animación de este estilo nos ayuda a generar un sentimiento de nostalgia que combina bastante bien con la historia de la misma.
Esta historia nos presenta a Kun Oota un niño de solamente 4 años de edad quien ahora enfrenta la llegada de su nueva hermanita Mirai, su padre es arquitecto aunque con las labores domesticas es bastante inexperto por lo cual dos aspectos divertidos del trasfondo de la historia serán los momentos donde su padre no sabe qué hacer y también el extraño diseño de la casa repleta de escalones y con un roble en el patio central, este roble tendrá una gran importancia en la historia al ser el foco de los aspectos fantasiosos así como los viajes en el tiempo de la aventura de Kun.
Un aspecto muy impactante y real que presenta esta película es lo que puede suceder en los integrantes de una familia cuando reciben a su segundo hijo aun cuando el primero es bastante pequeño y además pueden tener varias fallas por inexperiencia en cuanto a la paternidad. Desde un principio los padres de Kun quienes ni siquiera tienen un nombre más allá de Mamá y Papá, comienzan a enfocar prácticamente toda su atención en Mirai dejando un poco de lado a Kun, haciendo que este comience a sentirse celoso además de empezar actuar de forma malcriada por la rabia y por tratar de recuperar toda la atención de sus padres, al igual que sentir odio hacia su hermana.
El aspecto mas llamativo de esta historia será el roble de la casa, este extraño árbol parece ser un objeto mágico y actúa como el centro de toda la historia de la familia tanto en el tiempo, espacio como también de las mentes. Por este motivo el pequeño Kun pueden encontrarse con versiones de otro tiempo de su familia como lo es su pequeña hermana pero ahora siendo mayor en la época de preparatoria, incluso puede encontrarse con la mente de su perro, pero en una forma humana quien pude hablar y expresar todo lo que siente, este peculiar roble no sirve solamente como receptor de estos eventos mágicos, también le permite a Kun viajar en el tiempo al pasado para poder conocer tanto a su madre cuando ella apenas tenía 4 años así como también poder encontrase con su bisabuelo muerto en la época cuando termino la guerra mundial.
Todo el desarrollo de la película tiene un enfoque en Kun y de cierta forma ver como afronta sus dudas, molestias y hasta berrinches gracias a los viajes en el tiempo y el poder conocer a sus familiares de otros tiempos, algo interesante de esta película es que a pesar de tener tantos aspectos fantasiosos, también presenta un aspecto mas humano y real en Kun, al final se trata de un simple niño de 4 años que ahora se siente molesto y celoso con la llegada de su hermana, muchas veces actúa de forma malcriada y egoísta, pero esto precisamente sería lo más normal en un niño de su edad cuyos padres parece que tampoco saben muy bien como actuar o ayudarlo para evitar estos sentimientos, poco a poco vemos que lo que realmente quiere Kun y que consigue en varios de los viajes en el tiempo es atención y afecto, sentir que aun lo quieren o se preocupan por él en lugar de sentir que ahora el centro de atención únicamente es su hermana pequeña.
El único aspecto que me causo cierto aburrimiento, pero que cuando lo analizas con criterio es bastante acertado, es como Kun asume los aprendizajes que tiene con cada familiar cuando viaja en el tiempo, como gracias a los viajes de su hermana del futuro parece entender un poco la situación y deja de lado el odio o celos a la bebe, pero de igual forma luego de un tiempo simplemente vuelve a las antiguas actitudes y vuelve a comportarse de forma malcriada y hasta un poco egoísta, pero al final de todo sigue siendo un niño es común que a pesar de tener estos eventos y parecer madurar, siga siendo inmaduro y puede volver a dejarse llevar por sus emociones en cualquier momento. Al final Mirai no Mirai se trata de una película muy interesante, muestra un trasfondo de historia muy real y tal vez frecuente, combinado con el aspecto de fantasía, viajes en el tiempo y hasta momentos realmente bizarros.
All Images Are Screenshots Of My Monitor
Director: Mamoru Hosoda Studio Animator: Studio Chizu
Separator Images:
1. Source 2. Source 3. Source 
Movie · on Pathaan 90Pathaan: A Comeback Worth the HypeHello beautiful people! I hope you’re having a great week and enjoying your day as much as possible. Today, I bring you premium gist on this movie I saw today which I think you’d love to here.😅
All the way from India , I present to you the Bollywood movie which made me actually understand what premium Bollywood meant. When we talk about Bollywood movies we all know what first comes to mind. Someone dying before the bullet even leave the gun or even the explosion happening before the bomb even lands.
Now stay with me. Let’s dogs right into it!
THE PLOT
Pathaan, an Indian agent who was thought to be dead after being taken in by the Russians shows up for revenge. How did he get himself in this situation?
It all started when he got into a severe accident on a mission. After going to rehab, he decides to form a new department with the help of his boss for people who had to quit being agents due to health reasons or were forced to resign due to their conditions. These people still wanted to serve but they were not being given the chance to due to their conditions. Regardless, people like him always wanted to serve because they believed it was all about the mindset.
And so this department was created with Pathaan leading with his boss. But one day, a Pakistani general hires a terrorist , Jim who was an ex Indian agent. Jim was an Indian agent who turned against his country because he felt betrayed by his own motherland when they refused to pay a ransom to let him and his pregnant wife go free after being kidnapped. This lead to his wife and unborn baby’s dead and since then, he has vowed to make life hell for India.
Jim’s path crossed with Pathaans while they were both on a mission to get their hands on someone Russia was hiding. For Jim, it was a contract he had with the Pakistani general and for Pathaan, he wanted to stop Jim and the general from wiping out the people of India.
On this mission, Pathaan encounters Rabai who was on Jim’s team but acted like she wasn’t just so Pathaan could lead her to what both parties wanted. At the end of the day, Pathaan ended up heartbroken and betrayed by Rubai and when he saved from prison by his friend Tiger, he vowed to take his revenge on Jim and his people while preventing them from wiping out the Indian race.
Would his love story turn out well this time around or would it end up as a messy mission? You’d have to find out.
MY THOUGHTS AND RATING
It wasn’t the usual love story every India movie had, this gave a whole different vibe altogether and that was just it for me. If you have a few hours of your time spare, you should see this movie.
Thanks for reading!
407dMovie · on Sinners 80Sinners (2025) - REVIEW - [ENGLISH-SPANISH]
[Source](https://www.vitalthrills.com/sinners-movie-reveals-new-trailer-and-poster/) I saw Sinners and I loved it, it's a real gem, one of those that come along from time to time, it's a Ryan Coogler movie and it mixes vampires, blues and twin brothers in the south of the United States in the 30's. Michael B. Jordan plays two twin brothers and he does wonderful because they look completely different, Smoke and Stack I'm not lying when I tell you that after the first five minutes I forgot they were the same person. The movie kicks off with these two brothers coming back from Chicago after working for Al Capone and they decide to return to the racist south to open their own music club because they want something of their own, a place where they can feel free from all the racist bullshit that surrounds them. What I liked most is that each person in this movie has their own story their own motivations and when it comes to the horror you really care what happens to them and this is something that a lot of horror movies fail to do well so I appreciated it quite a bit. Another protagonist in this story is the music, the blues that plays in this movie touches your soul, especially when Sammy, the twins' cousin plays the guitar, there is a scene where he is playing and singing that literally made my hair stand on end, it is as if the music had a life of its own, I am not exaggerating when I tell you that it is one of the best soundtracks I have ever listened to.
Vi Sinners y me encantó es una verdadera joya, de esas que llegan de vez en cuando, es una película de Ryan Coogler y mezcla vampiros, blues y hermanos gemelos en el sur de Estados Unidos en los años 30. Michael B. Jordan interpreta a dos hermanos gemelos y lo hace maravilloso porque parecen completamente diferentes, Smoke y Stack no te miento cuando te digo que después de los primeros cinco minutos me olvidé que era la misma persona. La película arranca con estos dos hermanos que regresan de Chicago después de trabajar para Al Capone y deciden volver al sur racista para abrir su propio club de música porque quieren algo propio, un lugar donde puedan sentirse libres de toda la mierda racista que los rodea. Lo que más me gustó es que cada persona en esta película tiene su propia historia sus propias motivaciones y cuando llega el momento del horror realmente te importa lo que les pase y esto es algo que muchas películas de terror no logran hacer bien por eso lo aprecié bastante. Otro protagonista en esta historia es la música, el blues que suena en esta película te llega al alma, en especiaal cuando Sammy, el primo de los gemelos toca la guitarra, hay una escena donde él está tocando y cantando que literalmente me puso los pelos de punta, es como si la música tuviera vida propia, no exagero cuando te digo que es una de las mejores bandas sonoras que he esuchado.
[Source](https://slate.com/culture/2025/04/sinners-movie-michael-b-jordan-ryan-coogler-hailee-steinfeld.html) 
[Source](https://ew.com/sinners-scene-breakdown-juke-joint-ancestors-performance-11718104) The horror comes little by little, it's not like those movies that throw everything at you from the first minute, here the vampires appear little by little and create tension, Jack O'Connell is Remick the main Irish vampire, and his performance is the best, even if he has charisma he is terrifying and that Irish accent mixed with the southern one is great, it's like someone who has been in the south for a long time but never lost his roots. In Sinners the vampires are like a metaphor they're not just some monsters who want blood, they represent a kind of false salvation and they tell people that if they join them they're going to be free from racism, they're going to live forever, they're going to be powerful, but obviously it's a lie because in the end they lose their humanity and they lose everything that really matters. Hailee Steinfeld is Mary Stack's ex-girlfriend, her character is in a very complicated position because she's half black but lives on the white side of town, and when push comes to shove, she has to decide which side she's really on, Steinfeld makes the character seem very natural trying to handle all of this. Another thing I liked a lot is the visuals, the shots are beautiful especially during the day when the sun is beating down hard on Mississippi, but when night comes everything becomes darker and looks threatening, you can feel how the whole atmosphere of the movie changes, it's like day and night are two completely different worlds.
El horror va llegando poco a poco, no es como esas películas que te lanzan todo desde el primer minuto, aquí los vampiros aparecen poco a poco y van creando tensión, Jack O'Connell es Remick el vampiro irlandés principal, y su actuación es lo máximo, auqnue tenga carisma es aterrador y ese acento irlandés mezclado con el sureño es genial, es como alguien que ha estado en el sur por mucho tiempo pero que nunca perdió sus raíces. En Sinners los vampiros son como una metáfora no son unos simples monstruos que quieren sangre, ellos representan una especie de falsa salvación y le dicen a la gente que si se unen a ellos van a ser libres del racismo, van a vivir para siempre, van a ser poderosos, pero obviamente es una mentira porque al final pierden su humanidad y pierden todo lo que realmente importa. Hailee Steinfeld es Mary la ex novia de Stack, su personaje está en una posición muy complicada porque es mitad negra pero vive del lado blanco del pueblo, y cuando llega la hora de la verdad, ella tiene que decidir de qué lado está realmente, Steinfeld hace que el personaje parezca muy natural tratando de manejar todo esto. Otra cosa que me gustó bastante es la parte visual, las tomas son hermosas sobre todo durante el día cuando el sol está pegando fuerte en Mississippi, pero cuando llega la noche todo se vuelve más oscuro y prece amenazador, se puede sentir como cambia toda la atmósfera de la película, es como si el día y la noche fueran dos mundos completamente diferentes.
[Source](https://musesofmedia.ca/2025/04/10/sinners-review/) This movie handles so many different genres without it feeling forced and that's something impressive because it doesn't always work but here it does, it's a crime movie, a horror movie, it's almost a musical in some moments and everything works perfectly together, there's a part where Sammy is playing the guitar and the camera moves around all the characters while spirits from the past and the future appear, it's crazy and it looked great. Also the special effects are very well done, when the vampires begin to show their true forms it's not excessive gore but it does make an impact, it's something quite creative with the vampire transformations, it's not the typical thing we've seen a thousand times. All the actors are very good and I will mention the supporting actors who also do great, Delroy Lindo as Delta Slim gives a lot of personality to a character who could have been just another drunken musician but he turns him into someone with a lot of depth and the Chinese couple who run the stores in town, Grace and Bow Chow, also give a lot to the story, they show how the south was not just black and white but there were other cultures living there as well. Coogler doesn't make the vampires racist, in fact they say that being a vampire is better than living under the racism of the south and their point is valid although they are obviously wrong because you lose your soul in the process, but it's interesting how the movie makes you think about those things.
Esta película maneja tantos géneros diferentes sin que se sienta forzado y eso es algo impresionante porque no siempre funciona pero aquí sí, es una película de crimen, de terror, es casi un musical en algunos momentos y todo funciona perfectamente junto, hay una parte donde Sammy está tocando la guitarra y la cámara se mueve alrededor de todos los personajes mientras aparecen espíritus del pasado y del futuro, es una locura y quedó de maravilla. Además los efectos especiales están muy bien hechos, cuando los vampiros empiezan a mostrar sus verdaderas formas no es un gore excesivo pero si impacta, es algo bastante creativo esto de las transformaciones de vampiro, no es lo típico que hemos visto mil veces. Todos los actores son muy buenos y voy a mencionar a los actores secundarios que también lo hacen genial, Delroy Lindo como Delta Slim le da mucha personalidad a un personaje que pudo haber sido solo un músico borracho más pero él lo convierte en alguien con mucha profundidad y la pareja china que maneja las tiendas del pueblo, Grace y Bow Chow, también le dan mucho a la historia, muestran como el sur no era solo blanco y negro sino que había otras culturas viviendo ahí también. Coogler no hace que los vampiros sean racistas, de hecho ellos dicen que ser vampiro es mejor que vivir bajo el racismo del sur y su punto es válido aunque obviamente están mal porque pierdes tu alma en el proceso, pero es interesante como la película te hace pensar en esas cosas.
[Source](https://comicbook.com/movies/news/sinners-post-credit-scenes-explained-sammie-stack-mary/) 
[Source](https://au.variety.com/2025/film/news/box-office-sinners-previews-michael-b-jordan-21759/) Of course the movie isn't perfect, I think the weakest part is when all the vampire action comes and not because it's poorly done, but because the first three quarters are so good that when it comes to the traditional horror it feels a bit routine, they follow all the typical vampire rules we already know, the garlic, the stakes, the crosses, the holy water and although it's well executed it's not as original as the rest of the movie. There is also a character who knows all about vampires without ever having seen one in his life and this is not very convincing although the actress who plays him who is Wunmi Mosaku does such a good job that it almost doesn't matter because she gives a lot of credibility to the character. The scene where Cornbread is guarding the door and almost lets the vampires in is funny because it's what any normal person would do in that situation, he's not paying attention and almost ruins everything to me the same thing would have happened hehehe. My score for Sinners is 8/10 Michael B. Jordan really shines in this movie, not only because he plays two different characters but because each one has his own personality, they are like two real people that happen to look the same. It's also one of those movies that stays with you after watching it, not just because of the horror or the action, but because of everything it says about music, family, identity and survival. The film also functions as a tribute to blues music and its importance in African-American culture.
Por supuesto la peli no es perfecta, creo que la parte más débil es cuando llega toda la acción de vampiros y no porque esté mal hecha, sino porque las primeras tres cuartas partes son tan buenas que cuando llega el momento del horror tradicional se siente un poco rutinario, siguen todas las reglas típicas de vampiros que ya conocemos, el ajo, las estacas, las cruces, el agua bendita y aunque está bien ejecutado no es tan original como el resto de la película. También hay un personaje que sabe todo sobre vampiros sin haber visto uno en su vida y esto no es muy convincente aunque la actriz que lo interpreta que es Wunmi Mosaku hace un trabajo tan bueno que casi no importa porque ella le da mucha credibilidad al personaje. La escena donde Cornbread está cuidando la puerta y casi deja entrar a los vampiros es divertida porque es lo que haría cualquier persona normal en esa situación, no está prestando atención y casi arruina todo a mí me hubiese pasado lo mismo jejeje. Mi puntuación para Sinners es 8/10 Michael B. Jordan realmente se luce en esta película, no solo porque interpreta dos personajes diferentes sino porque cada uno tiene su propia personalidad, son como dos personas reales que casualmente se ven iguales. Además es de esas películas que se queda contigo después de verla, no solo por el horror o la acción, sino por todo lo que dice sobre la música, la familia, la identidad y la supervivencia. La película también funciona como un homenaje de la música blues y su importancia en la cultura afroamericana.
[Source](https://www.vulture.com/article/sinners-post-credits-scenes-explained.html) The credits scene is very important because it closes the story in a very emotional way, it shows us that Sammy decided to pursue music despite everything that happened and 60 years later he meets Stack and Mary who are still vampires, but he refuses their offer to join them because he has already lived his life and created his own legacy. In my opinion Ryan Coogler took a lot of risks with this movie that could have gone wrong but almost all of them work perfectly, it's an ambitious movie that achieves what it sets out to do, and that's something I see a lot, especially with original movies that aren't based on existing franchises, deifinitely you have to see Sinners.
La escena de los créditos es muy importante porque cierra la historia de una manera muy emotiva, nos muestra que Sammy decidió seguir con la música a pesar de todo lo que pasó y 60 años después se encuentra con Stack y Mary que siguen siendo vampiros, pero él rechaza su oferta de unirse a ellos porque ya ha vivido su vida y ha creado su propio legado. En mi opinión Ryan Coogler tomó muchos riesgos con esta peli que podrían haber salido mal pero casi todos funcionan perfectamente, es una película ambiciosa que logra lo que se propone, y eso es algo que veo muy seguido, especialmente con películas originales que no están basadas en franquicias existentes, deifinitvamente tienes que ver Sinners.
"Translated to English with DeepL"
Posted Using INLEO
407dMovie · on White ChicksWhite ChicksToday, I will be sharing a film that makes me laugh to this day, even though it was released over two decades ago. You know, one of those comedies that are completely over the top, but in the best way possible? That’s how this film feels to me. I was super glad to see this again after so long, and it brought back a lot of good memories. Which is why I decided to share it with you today.
White Chicks (2004)
Marcus Anthony and Kevin Copeland are FBI Agents in New York City who ruin a drug bust, which leaves their boss mad. A reprieve is offered to them when they are tasked to escort the spoiled sisters, Brittany and Tiffany Wilson, to a fashion show in The Hamptons. It is suspected that the sisters will be kidnapped, and so they are charged to ensure their safety.
However, a dog incident leaves Brittany and Tiffany with wounds on their faces, making them unable to attend the fashion show. Prosthetic disguises are made so that Brittany and Tiffany can be replaced by Kevin and Marcus, respectively. From there, things go downhill because the Black cops have now become white chicks.
I think the most amazing thing about the movie was how the Wayans brothers transformed into white chicks. For a year like 2004, they did a fantastic job of making the prosthetic look realistic enough. Terry Crews being there made it lovely enough, and the acting was just beautiful. All the portrayals of what is supposed to be a typical Karen were several parts funny, sometimes cringey, and I had this wild wondering of whether Caucasian ladies also found it funny as well.
This movie is effortlessly funny, and has that humour you just don’t find with Hollywood films anymore, cause everyone is too woke, and would probably want to cancel this film if it came out now for being diverse ways offensive. Sometimes, I wonder whether the statement that films are not the same as before is because we’re just too woke, or life has become too unhappy and fast-paced to find joy in films like these, or maybe film producers are no longer putting in the work to make good comedy films like this.
The movie starts quite slowly paced, but it builds momentum till it becomes a whole ball of absolute fun. It will definitely be found offensive in today’s generation, but it’s just alright. It’s friendly and has family entertainment value, so the whole family of most ages will find it captivating enough. Notwithstanding the flaws,White Chicks is truly a comedic masterpiece, and a few months from now, I’ll definitely be seeing it again.
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Movie · on A Real PainReview: A real pain (2024)Hello! As part of our ongoing efforts to improve both interaction and curation in the Movies and TV Shows Community, this post is one of many to highlight and boost members of the past Day that have Hola cinefilos de Hive! Today I bring you a review of one of the best movies I've seen lately. A real pain, from last year (2024) directed by and starring Jesse Eisenberg is a drama that shows us an honest and sensitive portrait about grief, brotherly bonds, guilt and the human essence.
Hola cinefilos de Hive! El día de hoy les traigo la reseña de una de las mejores películas que he visto últimamente. A Real Pain, del año pasado (2024) dirigida y protagonizada por Jesse Eisenberg es un drama que nos muestra un retrato honesto y sensible sobre el duelo, los vínculos fraternos, la culpa y la esencia humana.
In the world of cinema, where many directors avoid uncomfortable stories, comes a blockbuster entitled “A Real Pain”, written and directed by Jesse Eisenberg, which invites us to face the painful from an intimate, contradictory and very human space. The film narrates the reunion of two cousins, David (played by the director) and Benji (played by Kieran Culkin), who travel to Poland to pay tribute to their deceased grandmother, a Holocaust survivor. What begins as a memorial tour, turns into a very emotional journey, full of somewhat crazy moments, old wounds and questions without certain answers.
The tone of the film veers between comedy and existential drama, which for me is closer to drama because the “comic” moments only reflect wounds in the characters. Eisenberg plays with the uncomfortable, with what can't be said or won't be said, with silence, with those who love each other but don't understand each other and with how difficult it is to grieve. David is a reserved man, very quiet and somewhat anxious; Benji, on the other hand, is unpredictable, sensitive and intense. This contrast makes for an interaction that is as painful as it is funny. Their conversations, gestures and disagreements are filled with a tension that reflects not only personal differences, but also the different ways in which grief and the past can be dealt with.
En el mundo del cine, donde muchos directores evitan las historias incomodas, aparece un peliculón titulada "A Real Pain", escrita y dirigida por Jesse Eisenberg, la cual nos invita a enfrentarnos a lo doloroso desde un espacio íntimo, contradictorio y muy humano. La película narra el reencuentro de dos primos, David (interpretado por el director) y Benji (interpretado por Kieran Culkin), quienes viajan a Polonia para rendir homenaje a su abuela fallecida, una sobreviviente del Holocausto. Lo que comienza como un tour conmemorativo, se convierte en un viaje muy emotivo, lleno de momentos algo locos, heridas viejas y preguntas sin respuestas certeras.
El tono de la película circula entre comedia y drama existencial, lo cual para mi se acerca más al drama porque los momentos "cómicos" solo reflejan heridas en los personajes. Eisenberg juega con lo incomodo, con lo que no se puede decir o no se quiere decir, con el silencio, con los que se quieren, pero no se entienden y con lo difícil que es llevar un duelo. David es un hombre reservado, muy tranquilo y algo ansioso; Benji, en cambio, es impredecible, sensible e intenso. Este contraste da lugar a una interacción que resulta tan dolorosa como divertida. Sus conversaciones, gestos y desacuerdos están llenos de una tensión en la que se refleja no solo las diferencias personales, sino también las diferentes formas en las que se puede lidiar con el duelo y con el pasado.
[Source / Fuente](https://co.pinterest.com/pin/19844054604324023/)One of the most relevant aspects of the film is the way it reflects on memory and inherited trauma. After visiting concentration camps, listening to historical data, and sightseeing, they question whether it is really possible to connect with all that past suffering. Benji, in particular, rebels against this experience, he is a bit bothered by the fact that it is merely about tourism for morbid curiosity, leaving aside the emotional part of the people who really lived through all this chaos. It raises a subtle but powerful critique of “trauma tourism”.
Kieran Culkin's performance was brilliant, he is undoubtedly one of the pillars of the film. His performance apart from earning him several major awards, including the Oscar for Best Supporting Actor. He manages to convey what the director wanted; that vulnerability, that messy, euphoric and yet tender personality that is all that makes up the character. From the beginning Eisenberg was convinced that the role would be perfect for an actor who had the essence of Kieran and he wasn't wrong. Eisenberg not only holds the perfect balance as the counterpart, but also demonstrates great maturity as a director. The staging is sober, with warm, gray and somewhat melancholic landscapes that accompany the tone of the story, and along with it Chopin pieces are included, so everything becomes a little more emotional.
Uno de los aspectos que mas tiene relevancia en la película es la forma en la que se reflexiona sobre la memoria y el trauma heredado. Luego de visitar campos de concentración, escuchar datos históricos, y turistear, se cuestionan si es posible realmente conectar con todo ese sufrimiento pasado. Benji, en especial, se rebela contra esa experiencia, le molesta un poco el hecho de que se trate meramente del turismo por morbo o curiosidad, dejando muy de lado la parte emocional de las personas que realmente vivieron todo este caos. Plantea una crítica sutil pero poderosa al “turismo del trauma”.
La actuación de Kieran Culkin fue brillante, es sin duda uno de los pilares de la película. Su interpretación aparte de que le valió varios premios importantes, incluido el Oscar a Mejor Actor de Reparto. Logra transmitir lo que el director quería; esa vulnerabilidad, esa personalidad desordenada, eufórica y a la vez tierna que es todo lo que compone al personaje. Desde el principio Eisenberg estaba convencido de que el papel estaría perfecto para un actor que tuviera la esencia de Kieran y no se equivocó. Eisenberg aparte de que sostiene el equilibrio perfecto como contraparte, también demuestra una gran madurez como director. La puesta en escena es sobria, con paisajes cálidos, grises y algo melancólicos que acompañan el tono de la historia, y junto con ello se incluyen piezas de Chopin, así que todo se torna un poco mas emotivo.
With a running time of 90 minutes, A Real Pain doesn't pretend to solve anything. There is no plot twist, no forced closure. Its strength lies in the ambiguity, in the clash between humor and pain, in the small fissures of family ties. It is a film that talks about what hurts without falling into extreme drama, and that leaves room for us to reflect on our history and be aware of our essence.
If you are interested in films that combine the personal and sentimental with the historical or specifically with what happened in the Holocaust, that do not underestimate the intellectual capacity of the audience and that dare to make us uncomfortable and allow us to cry, this is a gem that you should not miss.
Con una duración de 90 minutos, A Real Pain no pretende solucionar nada. No hay plot twist, ni cierres forzados. Su fuerza está en lo ambiguo, en el choque entre el humor y el dolor, en las pequeñas fisuras de los vínculos familiares. Es una película que habla de lo que duele sin caer en el drama extremo, y que deja espacio para que también podamos reflexionar sobre nuestra historia y estar consientes de nuestra esencia.
Si les llama la atención las películas que combinan lo personal, y lo sentimental con lo histórico o específicamente con lo que se vivió en el holocausto, que no subestiman la capacidad intelectual del público y que se atreven a incomodar y a permitirnos llorar, esta es una joya que no deberían dejar pasar.
Gracias por leer y observar.
Thanks for reading and watching.
Texto traducido en: DeepL
407dMovie · on Slumberland 90CineTV Contest: Slumberland; Nemo’s Adventure Fantasy.As a movie lover and an adventurous soul, I’m very selective when it comes to watching movies. Sometimes, it may not have to do with real life experiences or something we can learn from but something entertaining.
When it comes to my type of movies, I love movies that makes me think far and make me outside of the box or outside of the world. Sometimes, some movies get me carried away and makes me feel like I’m in that world. I’ve noticed that such movies makes me forget the worries of this world while watching them.
I’ve watched so many adventure movies but I feel the one that reasonates more with my soul is titled Slumberland, an American fantasy adventure movie.
Movie Plot
Nemo, a young girl whose widowed father, Peter, tells some bedtime stories to every night learns about Flip, her father’s old time partner in one of his stories.
One night, Peter steps out to rescue a boat but lost his life along the line. Carla, a family friend, informs Nemo about the loss of her father and it resulted into Nemo living with her uncle, Philip but these two find it difficult to adjust to each other.
While living with Philip, one night, her toy pig comes to life and Nemo finds herself in slumberland while she’s asleep in real life. In the Slumberland, Nemo meets Flip whom she has heard about in one of her father’s stories.
After her findings, Nemo realizes that Flip has refused to wake up from his long sleep in real life. Eventually, it was found that Flip is Phillip’s alter ego and Nemo uses her last wish to save Flip. On saving Flip, Phillip’s excitement attitude came back to life and he stopped being a boring person.
That didn’t happen as an easy journey. There was a time in the movie where Nemo fell of the boat and was rescued by her uncle, Phillip because he has gotten back his old attitude. At last, Nemo was able to see her father for the last time in the dream world and she lived a normal life with her uncle Philip again in the waking world.
Are there scenes I love in the movie?
I feel like there is absolutely no scene that is better than the last scene where Nemo and her father, Peter saw each other for the last time. It kinda makes me think about waking the dead or having a last chance with them. If I could meet the dead again, I’m going to say hi to my grandmother.
I didn’t know the moment when tears rolled out of my eyes. The pain of losing someone can be real and it becomes more crazy when you have a final chance with them but you’re sad that you’ll never get to see them again. I guess that’s where the most tears comes in.
What do I love about the movie?
I love how the movie introduces us to the imaginary world. Do you know how many things the movie made me think about? At some point, I wished I was Nemo. I just wanted to go to the slumberland and meet some people. They may not be late. They may just be my favorite celebrities or other people who I feel I may not meet in real life but meet them in slumberland.
This kind of movie boosts the creativity of whoever is watching it. The concept of slumberland in the dream is a nice one and that’s what I love most about the movie.
How it influenced me while watching?
Watching the movie makes you think far. Many times, it may make you think about the impossible. “If I had that opportunity, I will make a request to be the very rich,” that’s what I said to myself.
It influences me in a way that I just want to be Nemo for a short while and make a request that will last me forever. This is a kind of adventure movie that takes you to another adventure in your thoughts.
It’s a fantastic movie and I’ll give it a 9/10 rating. It’s filled with thoughts and emotions. Watch this and you’ll surely enjoy it.
Thank you for reading and this is my entry to CineTV contest.
