War, in its relentless brutality, has long been a muse for cinema, offering fertile ground for narratives of heroism, tragedy, and moral ambiguity. Yet, for every film that grapples with its horrors, there are those that exploit its spectacle for profit, reducing human suffering to a backdrop for gunfights and explosions. From Hell to Victory (1979), directed by Umberto Lenzi, sits firmly in the latter category. As part of the Italian “Macaroni combat” subgenre—a term coined for Euro-war films that mimicked Hollywood’s WWII epics—the film exemplifies both the ambition and the limitations of a genre built on formulaic tropes and frugal production tactics. While its attempt to blend personal drama with historical grandeur is commendable, the result is a patchwork of recycled ideas, technical inconsistencies, and missed opportunities.

War, as the film’s opening scenes grimly acknowledge, is a crucible of death and despair. Yet for a select few, it is also a catalyst for opportunism, a theme as relevant to the film’s narrative as it is to its existence. The Italian cinema of the late 1960s and 1970s became a hotbed for Macaroni combat films—low-budget, high-octane war dramas designed to siphon audiences away from American blockbusters like The Longest Day (1962) and Where Eagles Dare (1968). These films often prioritized action over historical nuance, relying on stock footage, international casts, and a veneer of patriotic heroism. From Hell to Victory, released in 1979, arrived as the subgenre’s commercial peak waned, yet it sought to transcend its peers with an ensemble cast and a sprawling timeline spanning the entire war. Its Italian title, Contro 4 Bandiere (“Against Four Flags”), hints at the central premise: a group of pre-war friends torn apart by allegiance, a narrative device as old as war cinema itself but one Lenzi attempts to inflate to epic proportions.

The film’s plot, though ambitious in scope, is structurally predictable. In August 1939, a cosmopolitan quartet of friends—American ex-pat Brett Ronson (George Peppard), Frenchman Maurice Bernard (George Hamilton), Brit Dick Sanders (Jean-Pierre Cassel), and German Jürgen Dietrich (Horst Buccholz)—enjoy a carefree day in Paris, vowing to reunite the following year. Their camaraderie is juxtaposed with the looming shadow of war, which soon shatters their bond. By September, Germany invades Poland, and the characters scatter: Brett joins the OSS, Maurice escapes Dunkirk to fight with the Free French, Dick becomes an RAF pilot, and Jürgen commands a Wehrmacht Panzer unit. Meanwhile, Fabienne Bodin (Anny Duperey), the group’s romantic linchpin, aligns with the French Resistance, creating fraught encounters with Jürgen. The narrative’s attempts to weave their divergent paths into a cohesive tapestry falter under the weight of contrivance. Brett’s sudden discovery that his estranged son Jim (Ray Lovelock) is also operating behind enemy lines feels tacked on, a melodramatic flourish that underscores the script’s lack of discipline.

Lenzi’s film is hamstrung by its lack of originality. The “friends-on-opposite-sides” trope had already been deployed in his The Greatest Battle (1978), and From Hell to Victory feels like a retread with marginally higher stakes. Worse still, nearly a third of the film’s runtime is lifted directly from Enzo G. Castellari’s Eagles Over London (1969), a blatant cost-cutting measure that betrays the audience’s goodwill. While such practices were common in low-budget genre cinema, the seams show glaringly: stock footage of aerial dogfights and tank battles clashes with newly shot scenes, creating a jarring visual dissonance. Even so, the film’s technical merits are uneven. The climactic tank battle, featuring U.S.-made M41s awkwardly masquerading as German Panzers, is competently staged, with chaotic gunplay and explosions that satisfy the genre’s appetite for spectacle. However, a raid on a rocket fuel plant—where a single Allied plane inexplicably circles the target for minutes, unchallenged—reveals the film’s haphazard direction.

If the premise is derivative, the script is outright careless. Characters exist as archetypes rather than individuals: the grizzled American hero, the dashing French rogue, the stoic Brit, the conflicted German. Development is negligible, and historical inaccuracies abound. The editing exacerbates these flaws, with abrupt cuts and unresolved subplots leaving viewers adrift. For instance, Fabienne’s Resistance work is underexplored, her motivations reduced to romantic entanglements. The film’s sole emotional respite comes in its bittersweet finale, where survivors reunite in liberated Paris on the fifth anniversary of their parting. This moment, poignant in its restraint, underscores the tragedy of friendships extinguished by ideology—a theme the film otherwise handles with all the subtlety of a mortar blast.

The cast, while serviceable, is emblematic of the film’s middlebrow aspirations. George Peppard (The A-Team), past his 1960s heyday, brings gruff charisma to Brett but is given little depth. Jean-Pierre Cassel, as the British pilot, and George Hamilton, as the Frenchman, lean into comedic stereotypes—Hamilton’s Maurice speaks English with a faux Gallic accent, a choice that oscillates between charming and grating. Anny Duperey, as Fabienne, is the most underserved, her role as the group’s unrequited love interest offering scant agency. The most compelling performance comes from Horst Buccholz as Jürgen, whose internal conflict as a German officer reluctant to embrace Nazi ideology adds fleeting nuance.

Riz Ortolani’s score, while forgettable, leans into the bombastic orchestration typical of war epics, blending thunderous brass with melancholic piano motifs to mimic gravitas. Yet the music, like the film itself, feels secondhand—a pastiche of better works. At just over 90 minutes, From Hell to Victory struggles to balance its sprawling narrative with its runtime, leaving key moments underdeveloped.

From Hell to Victory seeks to condemn war’s senseless destruction while reveling in its pyrotechnic set pieces. It aspires to epic grandeur yet succumbs to budgetary shortcuts. Its attempt to humanise the global conflict through personal drama is undermined by a lazy script and recycled imagery. Yet, as a relic of the Macaroni combat era, it remains a fascinating artifact: a testament to how cinema’s profit motive can coexist uneasily with historical memory. For all its flaws, Lenzi’s film is as a cautionary tale—not just of war’s futility, but of the dangers of commodifying tragedy for entertainment. In this, it succeeds, albeit unintentionally, as a critique of its own existence.

RATING: 5/10 (++)

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Informações do Filme

• Direção: Robert Zemeckis
• Roteiro: Eric Roth
• Ano: 1994
• Gênero: Drama
• Nota: 9/10

⚠️ AVISO DE SPOILERS
Esta crítica contém spoilers completos do filme

A Genialidade Narrativa de um Contador de Histórias

"Forrest Gump" representa um dos exercícios mais audaciosos e bem-sucedidos de storytelling do cinema americano dos anos 1990. O roteiro de Eric Roth, baseado no romance de Winston Groom, constrói uma narrativa que funciona simultaneamente como fábula moral, crônica histórica e reflexão sobre o destino americano. A estrutura em flashback, com Forrest narrando sua vida enquanto aguarda o ônibus, cria um enquadramento íntimo que transforma eventos históricos monumentais em experiências pessoais e digestíveis.

O verdadeiro brilho do roteiro reside na forma como utiliza a simplicidade intelectual de Forrest como lente para examinar a complexidade moral e política da América do século XX. Desde os eventos de dessegregação racial na Universidade do Alabama até os horrores do Vietnã, passando pelo escândalo Watergate e a epidemia de AIDS, o filme consegue abordar temas pesados através da perspectiva ingênua de seu protagonista, sem jamais banalizar ou simplificar demais essas questões.

A genialidade está em como Forrest, sem compreender completamente o contexto histórico, torna-se um catalisador involuntário para momentos decisivos da história americana.

Construção de Personagem e Desenvolvimento Emocional

O arco narrativo de Forrest Gump é, paradoxalmente, tanto estático quanto profundamente transformador. Enquanto sua personalidade fundamental permanece inalterada – a bondade, a lealdade e a determinação –, sua jornada emocional é rica em crescimento e descobertas. A relação com Jenny Curran serve como fio condutor emocional da narrativa, representando não apenas um amor não correspondido, mas também dois caminhos distintos de lidar com trauma e adversidade.

• Forrest: Canaliza suas dificuldades em ação positiva e perseverança
• Jenny: Busca escape através da autodestruição e rebelião

A genialidade da construção de Forrest como personagem está na subversão da tradicional narrativa do herói. Ele não busca ativamente seus sucessos – eles simplesmente acontecem através de sua persistência e integridade moral. Sua carreira no futebol americano, seus feitos militares no Vietnã, seu sucesso nos negócios com a Bubba Gump Shrimp Company, e mesmo sua corrida transcontinental, todos emergem naturalmente de sua natureza essencial, não de ambição calculada.

Esta abordagem cria um protagonista único no cinema: um herói verdadeiramente passivo que, paradoxalmente, influencia profundamente todos ao seu redor.

Técnica Narrativa e Impacto Cultural

A estrutura episódica do filme, pontuada pela frase icônica "a vida é como uma caixa de chocolates", permite que cada segmento funcione tanto como capítulo independente quanto como parte de um todo coeso.

Zemeckis e Roth utilizam essa estrutura para criar um mosaico da experiência americana, onde eventos históricos se tornam pano de fundo para uma jornada pessoal de autodescoberta. A integração de Forrest em eventos históricos reais, através de efeitos visuais então revolucionários, não é mero exercício técnico, mas serve ao propósito narrativo maior de posicioná-lo como uma espécie de Zelig americano – uma testemunha inocente da história em movimento.

O filme funciona também como metacomentário sobre a natureza da narrativa americana e o mito do self-made man. Forrest alcança o sonho americano não através de astúcia ou ambição, mas através de virtudes simples:

• Trabalho duro
• Lealdade
• Bondade fundamental

Esta abordagem ressoa profundamente com audiências que se sentem desconectadas da complexidade crescente do mundo moderno, oferecendo uma visão nostálgica de uma América onde valores simples ainda tinham poder transformador.

Conclusão e Recomendação

"Forrest Gump" transcende suas categorias tradicionais de gênero para se tornar uma obra única no cinema americano – uma parábola moderna que consegue ser simultaneamente entretenimento popular e reflexão profunda sobre caráter, destino e identidade nacional.

O roteiro de Eric Roth constrói uma narrativa que funciona em múltiplas camadas:

• Drama familiar
• Crônica histórica
• Comédia romântica
• Fábula moral

Tudo isso sem nunca perder sua coerência tonal ou emocional.

Recomendação Final

Para cinéfilos e entusiastas, o filme oferece um estudo fascinante de como a simplicidade narrativa pode mascarar complexidade temática profunda. É uma obra que recompensa múltiplas visualizações, revelando novas camadas de significado e conexões históricas a cada encontro.

Mais de três décadas após seu lançamento, "Forrest Gump" permanece relevante não apenas como artefato cultural, mas como exemplo magistral de como o cinema pode transformar a história pessoal em experiência universal.

Uma obra essencial que merece sua posição no cânone do cinema americano.

I have always had a thing for adventure movies, especially one with the mystery of finding lost treasures. The deciphering of codes, maps, puzzles and all makes it very thrilling and I am always intrigued as they move from one clue to the next.

For this week's theme, At first I didn't know which movie to pick as I have seen some very wonderful adventure movies, I had to check my OTG flash drive to see which to pick and I stumbled across this movie. I can't believe I didn't think of it immediately seeing as I found it so hard to delete after watching it.

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Uncharted is a 2022 adventure movie starring Tom Holland, Mark Wahlberg and many others. It is a movie adaptation of the video game franchise “Uncharted”.

The movie plot follows the story of Nathan "Nate" Drake and his brother Sam after they were being caught stealing a map made after the "Megallen Expedition". Sam knew he would be expelled from the orphanage but he snuck out after promising Nate he would be back for him.

Many years passed and Nate now working as a bartender was approached by a fortune hunter, Victor " Sully" Sullivan who had previously worked with Sam in finding the treasure hidden by the Magellan Crew.

Sully told Nate his brother vanished after stealing a diary and ask the latter to joins him finding his brother. Nate agreed to help him since he no longer receives postcards from his brother.

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I loved everything about this movie. What's there not to like? The actors and actresses' performances were top notch. This movie is packed with a whole lot of action. From the beginning till the end I was glued to my seat.

The fighting scenes were also very good in my opinion. Some parts are very funny especially with Chloe Frazer (Sophia Ali) trying to outsmart them both.

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I also loved Jo Braddock's (Tati Gabrielle) performance. I mean it's one thing to be ruthless while following orders from one's boss but it's another to do the unexpected. Take out your boss and take over his business. Well, I guess it shouldn't be so surprising seeing as a large amount of fortune is involved, so backstabbing should be very well expected. I mean “no honour amongst thieves” right?

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I have seen some people argue that the movie isn't a great adaptation of the game, well, I haven't played any of the video games so I wouldn't know but I have seen a fair share of Tom Holland (Nate) and Mark Wahlberg (Sully) movies and I must say that they both did justice to this movie.

It's also cool to find out there would be a sequel to this movie. I really can't wait to see it.

If you are yet to see this movie, try adding it to your watchlist. I highly recommend it.

This trailer is gotten from #Youtube

I am rating this movie 8/10.

Thank you for reading.

Posted using CineTV

I bet a lot of folks seem to ignore the fact that Tokyo revengers is actually an anime that projects time travel as one of its primary characteristics because the protagonist is such a cry baby. But if you can look past the drooling and continuous wailing from the main character, I bet you'll appreciate the series for its true potential.

The series begins with the protagonist Takemitchi Hanagaki, a 26 year old man working an unfulfilling job at a store that rents videos and is currently experiencing life from a terrible angle. He is constantly struggling, his living conditions are bad and the only thing stuck with him is a life filled with regrets. To make things worse, he comes across a headline on the news where his middle-school sweetheart Hinata Tachibana and her younger brother have been killed by a vicious group known as the Tokyo manji Gang.

This news breaks Takemitchi even more as Hinata was the only person who ever believed in him and now she is no more. One day Takemitchi heads to the train station, the crowd was intense and he is eventually shoved onto the tracks with a train approaching from the opposite. Thinking these are his final moments alive, Takemitchi closes his eyes expecting a gruesome death but fate had other plans. He opened his eyes to discover himself alive in a strangely familiar room. After a series of verification, he realizes this is no dream or hallucination but he has actually gone 12 years back in time. Determined by this recent development, Takemitchi is filled with one purpose, making alterations in the past to save Hinata from the future that awaits her.

Back in the past Takemitchi continues to investigate and search for loopholes to save Hinata. He instinctively informs her younger brother about the exact date and time both siblings will be killed in the future before waking up back in the present . Now in the present again, Takemitchi meets Hinata's younger Naoto Tachibana who is now a detective in the future and was able to survive death in this new timeline because he listened and believed in Takemitchi. The two allies decide to work together pulling their resources from the past and the present to save Hinata. Takemitchi is now able to freely travel back and forth twelve years in time anytime he makes physical contact ( handshake) with Naoto. With this new power, the future is no longer set in stone but a destination that can be changed one leap at a time.

Everytime Takemitchi travels back in time, he returns to a future filled with more complications but one event still remains unchanged : Hinata's death. However this does not stop him from trying to achieve his desired result, he continues to struggle with an outcome that seems to be against him, creating new memories and bonds that only seem to further complicate his mission yet he still persists.

Takemitchi is not a fighter, has no influence or power but his persistent spirit to never give is his only strength in the face conflict. He is ready to cry, become a punching bag to achieve his objectives and this earns him respect and a leadership role in the gang responsible for Hinata's death in order to reform the group from within thus achieve his goals.

The anime is story filled with emotions showcasing that even the most ruthless thugs displays weakness and a reason for their actions. It is a story of survival, love, struggle, gang conflicts, a race through time to prevent a future that seems set in stone and most importantly protecting those who are precious to you even if you fail continuously to achieve the necessary results. Thank you and I hope y'all enjoy it.

Images are gotten from imdb

Source

All the pictures in this post were taken directly from the movie by me.

Después de ver las temporadas anteriores de la serie, creo que han pasado unos cuatro años ya vi la película de Luther The Fallen Sun, el protagonista sigue siendo Idris Elba como el detective John Luther, pero esta vez las cosas son diferentes porque está encerrado en prisión básicamente por hacer justicia a su manera sin importarle mucho las reglas. La película empieza así con Luther tras las rejas mientras un psicópata llamado David Robey interpretado por Andy Serkis, está aterrorizando Londres con una serie de asesinatos elaborados que involucran chantaje digital y manipulación psicológica, el tipo básicamente usa tecnología para espiar a la gente y luego los chantajea hasta el punto de que prefieren morir antes que sus secretos salgan a la luz. Desde el principio no me gustó esta parte de la película porque quiere ser superior a la serie original y se pierde esa intimidad y realismo que hacía tan especial al Luther de siempre y parece una película de acción común con algunas cosas de thriller psicológico, pero la verdad la mezcla no me llegó a convencer mucho.

Andy Serkis no es mal actor pero aqui su personaje que es el malo de la peli es algo exagerado y parece sacado de una película de Bond de los años sesenta, además tiene una peluca horrible que parece que se la compraron en una tienda de disfraces baratos me van a disculpa pero es verdad jajjaja. Se supone que David Robey es un genio tecnológico millonario que tiene recursos ilimitados y una red de personas que trabajan para el que pueden hackear cualquier cosa, pero nunca entendí realmente por qué este personaje hace lo que hace más allá de que es malvado y ya. Las escenas donde Robey aparece cantando canciones de Diana Ross mientras tortura a su esposa quemada son más cómicas que aterradoras y la verdad no creo que esta fuera la intención de los escritores, el tipo se comporta como el Joker pero no tiene esa profundidad psicológica. Lo más absurdo aquí es que Luther casi es psíquico y por eso tiene tanta capacidad de resolver casos, saca deducciones de la nada y son demasiado específicas para ser creíbles, esto no pasaba en la serie donde Luther era brillante pero siempre dentro de los límites de lo posible. Otra crítica que tengo es del personaje de Cynthia Erivo, la nueva jefa de la unidad que hace lo que puede porque su personaje está mal escrito y básicamente existe para fastidiar a Luther hasta que necesita su ayuda, su actuación no me gustó para nada.

Las secuencias de acción están bien hechas pero están como fuera de lugar no parece que fuera de esa historia de Luther, dígame esa escena del motín en la prisión donde Luther casi que se convierte en un superhéroe peleando contra seis tipos al mismo tiempo sin sufrir ni un rasguño, siento que esto no cuadra con la serie original. Lo que me gustó es ese ambiente gótico y oscuro que si queda bien con Londres, pero esto no va a salvar un guión mal hecho. La trama se vuelve cada vez más ridícula cada vez que avanza, más en esa esxcena final en Noruega que parece sacada de una película completamente diferente, con Luther y Erivo viajando a una fortaleza en el hielo que no sé ni que parece pero no parece el escondite de un asesino serial realista. Y me choca porque hay cosas que son interesantes en la peli, como la idea de usar tecnología para chantajear a la gente y sacar a la luz todos los secretos digitales, pero estos temas nunca se desarrollan bien porque la película se interesa más por ser espectacular que por ser inteligente, esa fue la impresión que me dio. El final con Luther siendo reclutado por alguna agencia gubernamental secreta deja la puerta abierta para más películas, pero después de ver esta no estoy segura de que quiera ver otra.

El ritmo también es fastidioso, sentí que duró más de dos horas porque hay demasiadas subtramas que no van a ningún lado y personajes que aparecen y desaparecen sin mayor propósito, como esa madre de Callum que básicamente existe para hacer que Luther se sienta culpable por no poder salvar a su hijo. Las escenas de investigación que deberían ser el corazón de cualquier historia de Luther las pasan apuradas y poco desarrolladas, con Luther adivinando las respuestas en lugar de trabajar para encontrarlas como hacía en la serie, donde se podía ver su proceso mental y entender cómo llegaba a sus conclusiones. El malo no me pareció una amenaza real, más bien parece un chiste y está ahí para darle a Luther algo que hacer, otro error más es que todo sea personal para Luther, cuando una de las cosas que hacía interesante a la serie era que se involucraba emocionalmente en casos que no tenían nada que ver con él directamente, mostrando su compasión y su necesidad de hacer justicia. Aquí el malo tiene algo contra Luther específicamente y la razón por la que lo odia apenas se menciona en la película.

Par mí Luther The Fallen Sun es una decepción mucho más después de haber visto y amado la serie original, yo le doy un 6/10 porque toma todo lo que hacía especial a Luther y lo convierte en una película de acción demasiado nula con algo de thriller psicológico, aunque Idris Elba sigue siendo bueno en el papel y es obvio que entiende al personaje, su actuación no pudo salvar esta peli que no se enfocó en contar una historia coherente. A mí me pareció como si la película la escribió alguien que vio un par de episodios de Luther y pensó que necesitaba más explosiones y menos desarrollo de personajes jajaja. No me gustó para nada este paso de serie a película, creo que Luther funciona mejor cuando tiene tiempo para desarrollar sus casos y sus relaciones con otros personajes y esto es imposible hacer en dos horas, como fan de la serie creo que no aprovecharon la oportunidad para hacer algo bueno.

[ENGLISH VERSION]

After watching the previous seasons of the series, I think it's been about four years now I saw the Luther movie The Fallen Sun, the main character is still Idris Elba as Detective John Luther, but this time things are different because he's locked up in prison basically for doing justice his own way without much care for the rules. The movie starts off like this with Luther behind bars while a psychopath named David Robey played by Andy Serkis, is terrorizing London with a series of elaborate murders involving digital blackmail and psychological manipulation, the guy basically uses technology to spy on people and then blackmails them to the point where they would rather die than have their secrets come out. From the beginning I didn't like this part of the movie because it wants to be superior to the original series and it loses that intimacy and realism that made Luther so special and it looks like a common action movie with some psychological thriller stuff, but the truth is that the mix didn't convince me much.

Andy Serkis is not a bad actor but here his character who is the bad guy of the movie is somewhat exaggerated and seems to be taken from a Bond movie of the sixties, plus he has a horrible wig that looks like it was bought in a cheap costume store, I'm sorry but it's true hahahaha. David Robey is supposed to be a millionaire tech genius who has unlimited resources and a network of people working for him who can hack into anything, but I never really understood why this character does what he does other than he's evil and that's it. The scenes where Robey is shown singing Diana Ross songs while torturing his burned wife are more comical than scary and I really don't think this was the writers intention, the guy behaves like the Joker but he doesn't have that psychological depth. The most absurd thing here is that Luther is almost psychic and that's why he has so much ability to solve cases, he pulls deductions out of thin air and they are too specific to be believable, this didn't happen in the series where Luther was brilliant but always within the limits of the possible. Another criticism I have is of Cynthia Erivo's character, the new head of the unit who does what she can because her character is poorly written and basically exists to annoy Luther until he needs her help, I didn't like her performance at all.

The action sequences are well done but they are kind of out of place it doesn't seem like out of that Luther story, tell me that prison riot scene where Luther almost that he becomes a superhero fighting six guys at the same time without getting a scratch, I feel like this doesn't square with the original series. What I did like is that gothic and dark atmosphere that does fit well with London, but this is not going to save a poorly done script. The plot gets more and more ridiculous every time it progresses, more in that final scene in Norway that seems to be taken from a completely different movie, with Luther and Erivo traveling to a fortress in the ice that I don't even know what it looks like but it doesn't look like the hideout of a realistic serial killer. And it shocks me because there are things that are interesting in the movie, like the idea of using technology to blackmail people and bring all the digital secrets to light, but these themes are never developed well because the movie is more interested in being spectacular than being smart, that was the impression I got. The ending with Luther being recruited by some secret government agency leaves the door open for more movies, but after seeing this one I'm not sure I want to see another.

The pacing is also annoying, I felt it lasted more than two hours because there are too many subplots that go nowhere and characters that appear and disappear for no greater purpose, like that Callum's mother who basically exists to make Luther feel guilty for not being able to save her son. The investigation scenes that should be the heart of any Luther story are rushed and underdeveloped, with Luther guessing at the answers instead of working to find them as he did in the series, where you could see his thought process and understand how he came to his conclusions. The bad guy didn't strike me as a real threat, more like a joke and is there to give Luther something to do, yet another mistake is that everything is personal to Luther, when one of the things that made the series interesting was that he got emotionally involved in cases that had nothing to do with him directly, showing his compassion and his need for justice. Here the bad guy has something against Luther specifically and the reason he hates him is barely mentioned in the movie.

For me Luther The Fallen Sun is a disappointment much more after having watched and loved the original series, I give it a 6/10 because it takes everything that made Luther special and turns it into an overly null action movie with some psychological thriller, although Idris Elba is still good in the role and it is obvious he understands the character, his performance could not save this movie that did not focus on telling a coherent story. To me it felt like the movie was written by someone who watched a couple of episodes of Luther and thought it needed more explosions and less character development hahaha. I didn't like at all this step from series to movie, I think Luther works better when he has time to develop his cases and his relationships with other characters and this is impossible to do in two hours, as a fan of the series I think they didn't take the opportunity to do something good.

Translated with DeepL

Posted Using INLEO

I think I've kind of found the type of movie I like. My particular genre, one that always tends to keep my interested; every movie that explores the theme of theology. This movie is nothing like that. Matter of fact, this movie is less like anything than it is more like something, yet it is one that makes you think a bit, thus it's one I found myself enjoying. This is a movie about golf.

The Legend Of Bagger Vance.

Well I was thinking the same thing too when I downloaded the movie. As usual I got the name from Instagram and the edit that showed this scene really piqued my interest about the film. Didn't know it was a click bait and the main plot of the movie wasn't as thoughtful as that.

Doesn't mean the movie was bad though, no, my Instagram recommendations hasn't failed me yet😂 This movie can best be described as a call for help. A movie that is there to help you get back on the right track. An American sports fantasy about golf that'll make you forget about how boring the game can be (no offense) but understand exactly why those who do like it, like it..

This movie was made back in the year 2000, back when cinematic gold was still being made in the plenty. At such a prime time, the cast were premium and did a fantabulous job of telling the story. The acting of Matt Damon, William Smith and J. Michael Moncrief were especially spectacular.

Bagger Vance, the mysterious cabby that just came to help Junah was a sight for sore eyes, some may say that he was more than a cabby. He was more of a life coach, the voice at your ear, helping, nudging and advising you on the right path. There was certainly something magical about him as there is something magical about this show.

It's a movie that helps you find what you lost, or helps you find the ways to find what you lost. I found it incredibly wholesome, and it even made me appreciate the sport of golf more. A stunning 8/10 from me✨⛳

Bueno, yo también pensaba lo mismo cuando descargué la película. Como siempre, saqué el nombre de Instagram y la edición que mostraba esta escena despertó mucho mi interés por la película. No sabía que era un clickbait y que la trama principal de la película no era tan profunda.

Eso no significa que la película fuera mala, no, mis recomendaciones de Instagram no me han fallado todavía 😂
Esta película se podría describir como una llamada de auxilio. Una película que está ahí para ayudarte a retomar el buen camino.
Una fantasía deportiva estadounidense sobre golf que te hará olvidar lo aburrido que puede ser el juego (sin ofender), pero que te hará entender exactamente por qué a quienes les gusta, les gusta.

Esta película se rodó en el año 2000, cuando el cine aún se hacía rico. En un momento tan destacado, el reparto era de primera categoría e hizo un trabajo fantástico al contar la historia. La actuación de Matt Damon, William Smith y J. Michael Moncrief fue especialmente espectacular.

Bagger Vance, el misterioso taxista que acudió a ayudar a Junah, fue un espectáculo para la vista. Algunos dirían que era más que un taxista. Era más bien un coach de vida, una voz al oído que te ayudaba, te impulsaba y te aconsejaba por el buen camino. Sin duda, había algo mágico en él, como lo hay en esta serie.

Es una película que te ayuda a encontrar lo perdido, o a encontrar la manera de encontrarlo. Me pareció increíblemente íntegra, e incluso me hizo apreciar más el golf. Un impresionante 8/10 de Yo✨⛳

Grave of the fireflies

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Today, I will be talking about an anime that I have watched multiple times, and each time I have felt something new. It’s an unforgettable anime, and I think many can relate to it. I’m talking about none other than Grave of the Fireflies. When I watched this anime movie for the first time, I cried for the first time. I do not cry a lot, as I am not that emotional of a person, but this movie made me cry from the core of my heart. This is truly a sad anime and a harsh reality of today’s world. I feel many of you have seen this anime movie because it’s an amazing film that is hardly not seen by anime lovers. I believe if you have not watched this anime movie yet, then you should read my review about it. After that, you will absolutely feel like watching it at least once.

Creator: Akiyuki Nosaka Release date: April 16, 1988 Running time: 1h 29m

Plot

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The story is set in the timeline of World War II. There are two siblings who lost their parents due to the bombing, and they decided to take shelter in their relative's house. One of the siblings is Seita, the older brother, and the other is Setsuko, the younger sister. Both of them were struggling to survive in this war. The relative they stayed with was not happy with the siblings being around, so the elder brother decided to move out with his sister. In the beginning, they took shelter in a cave, and they stayed there for a few days, which went really well until they craved food. The younger sister was too young to keep her hunger in control; eventually, she fell ill. The elder brother tried his best to get food; he also tried to steal from others, but nothing worked. His sister's condition was getting worse day by day, and it was really hard for the brother to see his sister in this condition. The story depicts the scenario of how ordinary people suffer during war.

Review

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I liked every part of the story, as it was super realistic. We can still see war happening around the world, and we can do nothing about it but only pray for their well-being. The people who go through war are the only ones who know how it feels, and the writer wanted us to face it too, so he made an incredible anime movie showing us the reality that we avoid seeing. Through the movie, we could feel the sorrow. The anime movie is about how the big brother struggles to save his younger sister during the war, as well as the feelings they go through, which we can also feel.

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I could not imagine what people go through in war until I watched this anime. I feel sympathy for the people who are still suffering and wish for the war to end very soon. What makes this movie incredible is its raw emotional honesty. It does not glorify war; it just shows the consequences of conflict on innocence and on family. The animation is beautiful and is almost paradoxical in its softness. The story is heart-wrenching, so watch it at your own risk.

Thanks for Reading

For more details about the film you can visit the link that I leave you of Filmaffinity | Para más detalles sobre el filme puedes visitar el link que te dejo de Filmaffinity

In case you were wanting more | Por si quedaste con ganas de más

Cover photo | Foto de portada, Logo, Crane, Hand with pen, Yugi, Edward chibi, Edward Child, Edward young, Edward bleeding, Naruto chibi, Goku chibi, Jesper, Hand with a tablet, Sound system & Trigun