Community Reviews

Haunted Houses (S1x06)

Airdate: 23 February 2014

Written by: Nic Pizzolatto Directed by: Cary Jo Fukunaga

Running Time: 58 minutes

The sixth episode of True Detective represents the most conventional—or rather, the "most ordinary"—instalment of the entire series. Those unfortunate enough to begin watching the programme from this particular episode would likely form the impression that this is a routine example of the police procedural genre, and consequently question why anyone considered this the television event of the year. On the other hand, it would be difficult to argue that series creator Nic Pizzolato and director Cary Joji Fukunaga left their regular audience entirely unprepared for such a possibility. A complicated structure and intriguing mystery can only sustain themselves for a limited duration; beyond that point, even the most brilliant series are known to descend into chaos and dilute themselves into soap opera.

This episode finally delivers that long-awaited transition from the detectives' shared past into their present circumstances, providing the crucial answer as to how such a successful team of lawmen met with such an ignoble end. Pizzolato endeavours to address several plot points in an "elegant" manner—why Rust Cohle abandoned his position and became a burnt-out loser, why Marty Hart ultimately lost his family, and what precisely was the legendary row that left colleagues and friends estranged for a full decade. Pizzolato offers a rather simple answer to all these questions—best summarised by the French phrase cherchez la femme—which may not satisfy viewers hoping for something rather more complex, but which consequently feels far more convincing.

Some will, naturally, perceive unnecessary "soapification" and cliché in all of this, yet the production team and cast must be credited with executing their task in an exceptionally high-quality fashion. And in a manner, of course, that includes everything for which premium cable channels charge subscription fees—far more explicit depictions of violence and sex. As a sort of appetiser before the main course, the writers serve us a scene in which Marty, utilising certain privileges that accompany his status as a policeman, delivers to two young men everything that many fathers would wish to do to the scoundrels who lay hands on their adolescent daughters. The scene is simultaneously darkly humorous and terrifying, with Harrelson once again demonstrating what a superb actor he is. Michelle Monaghan also receives her opportunity to shine, having previously been somewhat neglected in her role as Marty's wife, and the writers honour her by making her the third person to give testimony to the contemporary investigators in 2012—and, naturally, the third person to tell barefaced lies in the process. Male viewers, meanwhile, will find the greatest impression made by Lili Simmons, the model and actress who embodies the perfect "jailbait" and who once again demonstrates her willingness for steamy bedroom scenes, as she did in her role as Rebecca Bowman in Banshee.

The series is also to be commended for its effort to anchor the period setting firmly through small but interesting details. One of these is the mobile phone design—which, incidentally, plays an exceptionally important role in the episode's plot development—which clearly indicates technology from a decade prior. Such details will, judging by all indications, be seen no more, as the narrative finally settles in 2012. The remaining two episodes may prove even more conventional, yet this in itself need not be cause for concern. This "conventional" episode demonstrates that sometimes the simplest line is the best possible path between two points.

RATING: 7/10 (+++)

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

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In this movie, Alo Arjun, one of the best actors in the Telugu or Tamil industry, plays the main character or hero, and Reshmi plays the heroine. Apart from this, well-known actors and actresses have acted in this movie.

This film is set in the deep forests of the Tamil area. A very valuable tree which we all know as the sandalwood tree, and the highest quality tree among the sandalwood trees is red in color and is a very valuable tree. It is completely forbidden to cut or sell this tree in India, but a syndicate very skillfully promotes the illegal trade to the outside world. And the rise of the syndicate from an ordinary laborer to the leader of the syndicate is shown in this first part.

This movie will create a different kind of excitement inside you from the beginning to the end. There are some great scenes that I really like, and I have seen the movie several times; no matter how many times I watch it, I don't get bored, but I really like it. Because the way the hero has acted in this movie is, in a word, extraordinary. Not just the hero; everyone who has acted in this movie has acted extraordinarily.

Those who have seen this movie will agree with me, and for those who haven't seen this movie yet, I can guarantee that if you have watched Bollywood movies, you will have a different idea after watching this movie.

Greetings, Hive friends, and those outside of Hive who love movies of all kinds as much as I do. I recently watched Call Me by Your Name (2017), a film set in the summer of 1983 in northern Italy, filmed in the beautiful town of Crema, where I will soon travel once teachers in my country are guaranteed a decent salary.

The film takes us to a very beautiful spot in that town, full of sunshine, classical music, and bike rides. It is here that we meet a very handsome boy named Elio, played by the brilliant (Timothée Chalamet), a 17-year-old whose life changes completely with the arrival of Oliver (Armie Hammer), the charismatic and handsome university student who is his father's assistant.

source

What's captivating about the story is how Elio gradually begins to feel love for the handsome Oliver, and who wouldn't? That man is a dream. At first, the tension is unspoken. With a half-hearted maturity and a somewhat childish attitude, Elio tries to conceal his attraction by spending time with Oliver without showing it, but also by trying to make him jealous with Marzia. It's a tender and confusing game, typical of someone who doesn't know how to handle such a new and intense feeling.

At one point, Elio could no longer contain his feelings, and after revealing them, Oliver tries to resist, afraid of crossing a line, but the chemistry is undeniable. Unfortunately, the romance has an expiration date. Oliver must return to the United States to continue his life and marry his girlfriend, leaving Elio completely devastated and confused.

Although the ending may leave a bitter taste, it is profoundly realistic. For Oliver, it was a transformative experience, a golden stage of his life; for Elio, it represented the painful and inevitable awakening of his sexuality and the beginning of his adult life. We find solace in his father's monologue (Michael Stuhlbarg) near the end of the film, which reminds us that healing requires feeling, even if it means crying in front of the fireplace. I would cry in front of the window, since I don't have a fireplace, watching handsome Oliver slip through my fingers.

I used Google Translate.

Rating: 80/100

Originally posted through scrobble.life/movies.

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The Secret Fate of All Life (S1x05)

Airdate: 16 February 2014

Written by: Nic Pizzolatto Directed by: Cary Jo Fukunaga

Running Time: 57 minutes

Following the spectacular denouement of Episode Four of True Detective, showrunner Nic Pizzolato and director Cary Joji Fukunaga faced a formidable challenge. The fifth instalment of this anthology series needed either to surpass its predecessor in sheer spectacle or to impress its audience through alternative, more subtle means. Crucially, the creative team had to eschew cheap narrative tricks and the sort of soap-operatic subplot complications that a mini-series—constrained by economic and temporal limitations—can ill afford.

It must be said that they have largely succeeded. The Secret Fate of All Life delivers precisely the turning point that viewers anticipated, and whose absence had, at moments, risked frustrating those less accustomed to unconventional approaches to the police procedural genre. Formally speaking, this episode concerns itself with the central investigation: Detectives Marty Hart and Rustin Cohle perform the very duty for which they were introduced to the series—they identify a murderer and bring him to justice.

Yet what proves most fascinating is not the what but the how. The preceding episode demonstrated how the investigation had compelled the pair to venture into the criminal "heart of darkness," crossing to the other side of the law themselves—"borrowing" drugs from the evidence locker, abusing informants, and ultimately participating in armed robberies in an effort to gain the confidence of lowlifes. In this latest chapter, the duo elevates their disregard for legal and police protocols to an entirely new level, culminating in a brief but disturbingly effective action sequence that stands as both a professional and personal triumph for the two men.

The effectiveness of this sequence owes much to Fukunaga's tripartite presentation: we witness the events as they actually occurred, followed by Hart's and Cohle's respective accounts to investigators in 2012. The audience swiftly apprehends that the detectives' recollections, whilst nearly identical to one another, diverge significantly from the truth of what transpired. This congruity in their falsehoods strongly implies a shared secret—something that subsequently drove both men to abandon their police oaths and the letter of the law. Fukunaga conveys this revelation with economy and precision, relying chiefly upon the exceptional performances of Woody Harrelson and Matthew McConaughey.

Ultimately, the fact that both detectives lied in their official reports matters not a whit. The outcome of their actions is such that they are regarded as heroes; indeed, a portion of the audience will likely deem them heroic precisely because of what they chose to conceal. This professional success bleeds into their private lives, with both men experiencing a kind of rebirth as family men—or at least as something approximating "normal" citizens.

However, this remains but the fifth of eight episodes, and even the less seasoned viewer will recognise that the narrative is far too intricate to be resolved so neatly. The latter half of the episode advances the plot by seven years: one detective grapples with male pattern baldness and a "problematic" daughter, whilst the other, to his profound horror, discovers during routine questioning that the murder case may never have been solved at all—that the killer might still be at large.

For those insufficiently intrigued by this possibility, the screenplay offers a still more explicit provocation: that one of the detectives may himself be the murderer, or that the entire investigation constituted an elaborate product of his manipulation. The nihilistic philosophy with which he has bombarded his unfortunate partner may, in this reading, be nothing more than an insidious method of psychological control.

By leaving all these possibilities suspended, the episode concludes with a scene that poses the appropriate questions, albeit in a manner that lacks a certain restraint. Yet should the remaining three episodes furnish coherent answers to these mysteries, the occasional imperfections of The Secret Fate of All Life will prove entirely forgivable.

RATING: 8/10 (+++)

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

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You Ca(n)'t Always Get What You Want.......

Obsession joins films like The Backrooms and Hokum at the cool kids' table, clad in a blood-stained cheerleader's outfit and eager for prom night. It's quite popular, is what I'm getting at, and as much as I've tried to resist the urge to say it, the horror community is obsessing over Obsession. Nasty comments and loud eye-rolls welcome after that cliched line, but that aside, what stands good and true is the level of intrigue that this film's trailer generated, although it pails in comparison to the insanity that unfolds over the entirety of its run time, as it rightfully should. Director Curry Barker most likely drew from a well-established table of inspiration set by similar titles of the past, titles that had expertly dealt with themes of love, lust, and excessive desire. A nod of respect to pioneers such as Glenn Close of Fatal Attraction, Kathy Bates of Misery, and even Robin McLeavy of The Loved Ones. All solid offerings for those looking for a similar experience that Obsession delivers. However, what sets this current offering apart is the inclusion of the supernatural, eerily foreshadowed by the death of a household cat, a member of a species long believed to have had a particularly strong connection to the afterlife...in ancient Egypt, anyway.

When You Wish Upon a Star.....Or Stick

I suppose we had more to learn from Jiminy Cricket than we realised when he told us what it is to wish upon a star, and it's precisely on the business of wishing that this film hinges. Bear is our main character who positions himself as the quintessential nice guy with a crush. The object of his affection is a pretty young lady named Nikki, who, like most women, can smell the distinct stench of a "nice guy" from a mile away, parallel parking Bear so far into the friend zone that he may as well whip out a welcome mat and call it home. In a moment of frustrated desperation brought on by the failure to spit out his feelings to Nikki, Bear makes an absurd wish on a novelty Wish Willow, speaking out his desire for Nikki to love him more than anything in the world before snapping it in two, thus triggering powerful wish juju in the universe that gets our roller coaster slowly lurching up a precarious loop in preparation for the deep plunge. What comes to pass is a gradual journey of discovery between two love-struck puppies who can't keep their hands off each other. And while all seems right in the universe, and our main dog appears to have had his day, Nikki starts to exhibit erratic, unpredictable, and disturbing behaviour, which gives Bear pause to consider the nature of their relationship, and the state of affairs that brought it to be.

The Tricky Business of Love

Curry Barker does an excellent job of crafting an effort that is patient in its approach. Nikki's infatuation is not some immediate response to the power of the stick (or Bear's, for that matter, Hehehe), but a steady exploration of the acting out of feelings that she has for him. This lends a plausibility to her affections for Bear, taking away suspicion of ulterior motives, and certainly taking away from any absurd possibility that her newfound feelings are the doing of some novelty voodoo toy (Occam's Razor and all that). This is precisely what makes the film eerily intriguing, not merely the consequence of the wish, but the business, and indeed, the nature of wishes and wish-making.

What indeed does happen when one makes a wish? We can say that it is the hope that the laws of nature can be momentarily suspended so that our desires can be fulfilled without fuss. Yet, insofar as we know that this is not possible, wish-making may be said to make a double movement: the initial wish itself and an understated, almost unconscious desire that the world would allow for a state of affairs where wishes could be granted. However, from Aladdin in the Lamp all the way to Bruce Almighty, wish-making has, and indeed, had to incur a cost of some kind, with free will often being one dimension that was always off limits, even to the almighty Morgan Freeman. Yet, for the one wish willow, it appears that no such boundaries exist, and it is thus forced to fulfil any request, or at least die trying.

If free will cannot be affected, then it appears that the voodoo powers had to invoke the collective wills of malevolent spirits to organise their collective energies around the parameters of the wish, and as such, it is not Nikki that comes to love Bear, but rather a multi-consciousness that strives for dominance within the vessel that is Nikki. This plays out interestingly, as Nikki seems to be able to emerge at the odd interval in a desperate attempt to either make sense of this newfound madness or communicate with Bear, only to be smacked back into her holding cell with a blunt object, evidenced in moments like the awkward party scene. However, it isn't only Nikki who is forced into a push and pull for full grasp of her being, but Bear must also navigate between a belief that he is worthy of love from someone like Nikki, and the real alternative possibilities, both of the natural and supernatural kind.

Better To Have Loved and Lost?

Saliva sang it best when they said, "I love you, I hate you, I can't live without." An appropriate line for this tragic cinematic offering. Tragic indeed when we consider not only the fate that awaited all of Bear's chums, but also the fact that Bear couldn't have known that a wish would work, not to mention the fact that he didn't even get what he wished for. Whip out your philosophy caps, folks, because we have a little conceptual analysing to do here. One could put forward a strong argument, perhaps not have to argue at all, that the unhinged infatuation that Nikki had for Bear was not love at all. It was merely the darker, inferior elements that often attempt to moonlight as love. Flesh desires, insecurity, and selfishness do not come close at all to representing the true nature of that mysterious property/event/phenomena/thing called Love. The Elrick brothers from Fullmetal Alchemist gave us our free lesson in the law of equivalent exchange, and if Nikki's free will was compromised, then Bear paid for it with his freedom. Yet, while Obsession speaks to love, loving and being loved, it's also a poignant exploration of why we shouldn't always get what we want, mostly because we don't have the faintest clue what it is that we do indeed want in the first place (thanks, Mr. Freeman). Inde Navarrette puts in a five-star performance, and really steals the show as Nikki, impressing with a commitment to her role that reminds me of Jennifer Carpenter's performance in The Exorcism of Emily Rose.

In a word, Curry Barker knocked it out of the ballpark with this, his second directorial effort. He does a great job of communicating to us that the good things in life are worth waiting for, that there are no shortcuts to said good things, and that closed doors often present the best opportunities for developing resilience, gratitude, courage, and overall growth. And if you don't believe any of that, then this will scare the socks off of your LEGO Crocs, or whatever ridiculous footwear people are wearing these days. Happy viewing, folks :).

[Primetime] Robert Pattinson will star in the next film from A24. https://www.comingsoon.net/movies/trailers/2138904-robert-pattinson-tries-to-catch-a-predator-in-primetime-teaser-trailer

[A Complete Unknown] Bob Dylan's biopic is now available on HBO Max. https://www.comingsoon.net/movies/news/2138158-timothee-chalamet-acclaimed-2024-movie-hbo-max-today

[Supergirl] I haven't seen a better picture of Lobo. https://www.comingsoon.net/movies/news/2139304-jason-momoa-lobo-supergirl-hot-toys-figure

The film will be rated PG-13, which is probably no surprise. https://www.comingsoon.net/movies/news/2139363-supergirl-mpa-rating-revealed-dcu-movie-contains-strong-violence

[Lanterns] James Gunn posted a promotional poster on his social media. https://www.comingsoon.net/tv/news/2143272-in-brightest-day-epic-lanterns-tv-show-dcu-poster-shared-by-james-gunn

[Man of Tomorrow] Just like with the first film, Frank Grillo was one of the first to finish filming. Just like with the first part, he decided to show it off. https://www.comingsoon.net/movies/news/2139811-man-of-tomorrow-filming-superman-wrap

[Two Powerful DC Characters] James Gunn answered a fan's question about when a powerful, evil character would appear. He listed the characters, asked the director, and the director revealed that two of them would be making their debuts soon. https://www.comingsoon.net/movies/news/2139879-james-gunn-confirm-darkseid-powerful-dcu-villains

[Clayface] Well, another reason to see this in the cinema. I haven't seen All Quiet on the Western Front, but I heard Volker Bertelmann did a good job. https://www.comingsoon.net/movies/news/2139860-clayface-score-oscar-winning-talent-dune-prophecy

[Teen Titans] James Gunn denied recently circulated rumors. They haven't found a director or screenwriter. https://www.comingsoon.net/movies/news/2139650-james-gunn-shuts-down-major-dc-rumor-teen-titans-movie-director

[Sub Zero Spin-off] The actor who plays the Ice Warrior said there's a chance for a spin-off with him as the main character. There have been discussions, but nothing concrete has been announced, and we don't know if the studio is serious about this project. https://www.comingsoon.net/movies/news/2143645-mortal-kombat-2-star-address-sub-zero-movie-chances

[The Pitt Season 3] In 3-4 weeks, full-fledged work on Season 3 will begin. Pre-production is currently underway, and the writer revealed that Season 3 will take place later this year, specifically in November. https://www.comingsoon.net/tv/news/2139976-the-pitt-season-3-filming-cast-update-writer

[Hacks] As a reminder, the series will not be returning, and Season 5 will be the final season. https://www.comingsoon.net/tv/news/2139137-hacks-season-6-renewal-status-future-on-hbo-max-revealed

[House of the Dragon] Well, we'll see if it was worth getting upset about the forced ending of Season 2. Premieres June 21st. https://www.comingsoon.net/tv/news/2139829-house-of-the-dragon-trailer-release-date-new-footage

Filming for the fourth season will begin in spring 2027. The showrunner has no plans to return to this franchise after the fourth and final season. https://www.comingsoon.net/tv/news/2143445-house-of-the-dragon-season-4-release-date-filming https://www.comingsoon.net/tv/news/2143654-house-of-the-dragon-ryan-condal-involvement-got-spin-off-prospects

[True Detective 5] We got a somewhat sad update from Nicolas Cage, who, from what I understand, was supposed to be involved in the production of the next season. Filming was supposed to begin this year, but so far, it's been quiet. https://www.comingsoon.net/tv/news/2139497-true-detective-season-5-gets-worrisome-update-from-nicolas-cage

[The Furious] I'd love to see an Asian John Wick mixed with Liam Nesson's Taken. Premieres June 12th. https://www.comingsoon.net/movies/news/2138856-john-wick-like-action-movie-the-furious-custom-art-poster-exclusive

[Per Aspera Ad Astra] On June 18th, we'll get an Asian space movie. https://www.comingsoon.net/movies/news/2137673-dylan-wang-chinese-sci-fi-movie-streaming-release-date-netflix

[Colony] The new film from the director of Train to Busan isn't considered a mega-hit, but it's a solid production nonetheless. The film debuted at the Cannes Film Festival and won over audiences. https://www.comingsoon.net/movies/news/2136405-train-to-busan-director-new-zomibie-movie-reviews-rotten-tomatoes

[Disclosure Day] We've received the final trailer for Steven Spielberg's new big-budget film. I have a feeling I'll be going to see it in theaters. Premieres June 12th. https://www.comingsoon.net/movies/trailers/2139349-disclosure-day-final-trailer-offers-first-look-at-alien-creature-in-steven-spielberg-ufo-movie

[Face Off 2] We've received further confirmation that we probably won't be getting a sequel. At one point, it seemed like production was on track, but something happened and the film was apparently canceled. https://www.comingsoon.net/movies/news/2139432-face-off-2-update-nicolas-cage-comments-movie-latest-setback

[Sherlock Holmes] Another series about the famous detective is in the works. His adversary will be James Moriarty. https://www.comingsoon.net/tv/news/2139695-new-sherlock-holmes-tv-show-in-the-works-with-major-twist

[Betty Boop] A film is being made about a rather well-known character from our parents' youth – Betty Boop. We met the actress, the script... As a child, I happened to watch a few cartoons featuring her, or something along those lines. I wonder how this concept will work in film form. https://www.comingsoon.net/movies/news/2136338-betty-boop-movie-in-works-lead-cast-plot-details

Supergirl | Superman | Clayface | Lanterns | Teen Titans | Sub Zero | House of the Dragon S4 | True Detective S5 | Disclosure Day | Face Off 2

[Primetime] Robert Pattinson wystąpi w kolejnym filmie studia A24. https://www.comingsoon.net/movies/trailers/2138904-robert-pattinson-tries-to-catch-a-predator-in-primetime-teaser-trailer

[A Complete Unknown] Biopic Boba Dylana jest już dostępny na Hbo Max. https://www.comingsoon.net/movies/news/2138158-timothee-chalamet-acclaimed-2024-movie-hbo-max-today

[Supergirl] Nie widziałem lepszego obrazka pokazującego Lobo. https://www.comingsoon.net/movies/news/2139304-jason-momoa-lobo-supergirl-hot-toys-figure

Film będzie miał kategorię wiekową PG-13, nikt nie jest chyba zdziwiony. https://www.comingsoon.net/movies/news/2139363-supergirl-mpa-rating-revealed-dcu-movie-contains-strong-violence

[Lanterns] James Gunn wrzucił plakat reklamowy na swoje social media. https://www.comingsoon.net/tv/news/2143272-in-brightest-day-epic-lanterns-tv-show-dcu-poster-shared-by-james-gunn

[Man of Tommorow] Tak jak przy premierze 1 filmu, Frank Grillo jako jeden z pierwszych zakończył prace na planie zdjęciowym. Podobnie jak w przypadku 1 części, postanowił się tym pochwalić. https://www.comingsoon.net/movies/news/2139811-man-of-tomorrow-filming-superman-wrap

[Dwie silne postacie z DC] James Gunn odpowiedział na pytanie fana o to, kiedy pojawi się jakaś silna, zła postać. Wymienił listę postaci, zapytał reżysera, a ten zdradził że dwie z nich niedługo zaliczą debiut. https://www.comingsoon.net/movies/news/2139879-james-gunn-confirm-darkseid-powerful-dcu-villains

[Clayface] No no, kolejny powód by iść na to do kina. Nie widziałem All Quiet on the Western Front, ale słyszałem że Volker Bertelmann odwalił dobrą robotę. https://www.comingsoon.net/movies/news/2139860-clayface-score-oscar-winning-talent-dune-prophecy

[Teen Titans] James Gunn zaprzeczył niedawno wypuszczonym plotkom. Nie znaleźli reżysera ani scenarzysty. https://www.comingsoon.net/movies/news/2139650-james-gunn-shuts-down-major-dc-rumor-teen-titans-movie-director

[Spin-off o Sub Zero] Aktor wcielający się w Lodowego Wojownika, powiedział że jest szansa na powstaniu spin-offu z nim w roli głównej. Rozmowa była, konkretów nie ma, nie wiemy czy studio traktuje ten projekt na poważnie. https://www.comingsoon.net/movies/news/2143645-mortal-kombat-2-star-address-sub-zero-movie-chances

[The Pitt S3] Za 3,4 tygodnie rozpoczną się pełnoprawne prace nad 3 sezonem. Póki co trwa preprodukcja, a scenarzystka zdradziła nam, że akcja S3 będzie mieć miejsce w tym samym roku, a konkretniej listopadzie. https://www.comingsoon.net/tv/news/2139976-the-pitt-season-3-filming-cast-update-writer

[Hacks] Przypominam, że serial nie wróci, a S5 będzie finałowym. https://www.comingsoon.net/tv/news/2139137-hacks-season-6-renewal-status-future-on-hbo-max-revealed

[House of the Dragon] No to przekonamy się czy warto było się wkurzać na wymuszone zakończenie S2. Premiera 21 czerwca. https://www.comingsoon.net/tv/news/2139829-house-of-the-dragon-trailer-release-date-new-footage

Zdjęcia do czwartego sezonu ruszą wiosną 2027. Showrunner nie planuje wracać do tej franczyzy po 4, ostatnim sezonie. https://www.comingsoon.net/tv/news/2143445-house-of-the-dragon-season-4-release-date-filming

https://www.comingsoon.net/tv/news/2143654-house-of-the-dragon-ryan-condal-involvement-got-spin-off-prospects

[True Detective 5] Dostaliśmy trochę smutny update od Nicolasa Cage'a, który z tego co rozumiem, miał wziąć udział w produkcji kolejnego sezonu. Zdjęcia miały rozpocząć się w tym roku, ale póki co jest cisza. https://www.comingsoon.net/tv/news/2139497-true-detective-season-5-gets-worrisome-update-from-nicolas-cage

[The Furious] Chętnie obejrzę Azjatyckiego Johna Wicka połączonego z Uprowadzoną od Liama Nessona. Premiera 12 czerwca. https://www.comingsoon.net/movies/news/2138856-john-wick-like-action-movie-the-furious-custom-art-poster-exclusive

[Per Aspera Ad Astra] 18 czerwca z kolei dostaniemy Azjatycki film o kosmosie. https://www.comingsoon.net/movies/news/2137673-dylan-wang-chinese-sci-fi-movie-streaming-release-date-netflix

[Colony] Nowy film od reżysera Train to Busan nie jest oceniany co prawda jako mega-hit, ale solidna produkcja jak najbardziej, Film zadebiutował na festiwalu w Cannes i przekonał do siebie widzów. https://www.comingsoon.net/movies/news/2136405-train-to-busan-director-new-zomibie-movie-reviews-rotten-tomatoes

[Disclosure Day] Dostaliśmy finałową wersję trailera nowego wysokobudżetowego filmu od Spielberga. Coś czuję, że pójdę na to do kina. Premiera 12 czerwca. https://www.comingsoon.net/movies/trailers/2139349-disclosure-day-final-trailer-offers-first-look-at-alien-creature-in-steven-spielberg-ufo-movie

[Face Off 2] Dostaliśmy kolejne potwierdzenie, że prawdopodobnie nie dostaniemy kontynuacji. W pewnym momencie wydawało się, że produkcja jest na dobrej drodze do ruszenia, ale coś się stało i produkcja filmu została raczej skasowana. https://www.comingsoon.net/movies/news/2139432-face-off-2-update-nicolas-cage-comments-movie-latest-setback

[Sherlock Holmes] Powstaje kolejny serial o znanym detektywie. Jego przeciwnikiem będzie James Moriarty. https://www.comingsoon.net/tv/news/2139695-new-sherlock-holmes-tv-show-in-the-works-with-major-twist

[Betty Boop] Powstaje film o dosyć znanej postaci z czasów młodości naszych rodziców - Betty Boop. Poznaliśmy aktorkę, scenariusz... Jako dziecko zdarzyło mi się obejrzeć kilka kreskówek z jej udzialem, czy coś w ten deseń. Ciekawe jak ta koncepcja sprawdzi się w formie filmu.
https://www.comingsoon.net/movies/news/2136338-betty-boop-movie-in-works-lead-cast-plot-details

Face of the Enemy (S06E14)

Airdate: 8 February 1993

Written by: Naren Shankar Directed by: Gabrielle Beaumont

Running Time: 46 minutes

The Cold War may have formally concluded by the early 1990s, but it continued to cast a long and potent shadow over the landscape of American popular culture, not least within the Star Trek franchise. Its fictional universe, for decades, has served as a fertile ground for allegorical narratives where the United Federation of Planets routinely stands in for the United States and its Western allies, confronting various alien races that embody the perceived threats of the 20th century’s Soviet bloc. The Romulan Star Empire, with its secretive, militaristic, and expansionist ethos, has been the most persistent and successful of these analogues. The Next Generation frequently employed this paradigm. "Face of the Enemy", an episode from the show’s penultimate season, stands as one of the more sophisticated and successful examples of this approach, weaving espionage thriller tropes with nuanced character work and pointed political commentary.

The episode functions as a direct sequel to the notable two-part story "Unification", which featured the final appearance of the iconic Mr. Spock. That narrative provided a heroic send-off for the character, positioning him as the leader of a Romulan underground movement dedicated to bridging the generational divide between the bellicose Romulans and their Vulcan cousins. "Face of the Enemy" cleverly builds upon this foundation, exploring the practical, dangerous, and morally ambiguous work of that resistance from a fresh perspective.

It begins with a genuinely arresting teaser: Counsellor Deanna Troi awakens in a strange bed, her reflection in a mirror revealing the horrifying sight of her face surgically altered to appear Romulan. The disorientation is palpable and effectively communicated. She soon discovers she is aboard the Romulan warbird Khazara, having been kidnapped. Subcommander N’vek (Scott MacDonald) introduces himself as a member of the Romulan resistance and informs her she must assume the identity of Major Rakal, a high-ranking officer in the feared Tal Shiar secret police, as part of a delicate, top-secret mission. The stakes are established with brutal efficiency: the real Rakal was killed to enable the deception, and Troi herself was kept in the dark to preserve operational security. Her immediate objective is to use her assumed Tai Shan authority to manipulate the ship’s commander, Toreth (Carolyn Seymour), into diverting to the Kaleb sector.

Parallel to this, the USS Enterprise-D brings aboard a startling visitor: Steven DeSeve (Barry Lynch), a former Starfleet ensign who defected to the Romulans two decades prior. Immediately arrested for treason, he explains that his prolonged immersion in Romulan society led him to see the error of his ways and make contact with Spock’s movement. His return is a courier mission; he carries a message from Spock instructing Captain Picard to bring the Enterprise to the Kaleb sector to retrieve a group of high-value defectors.

Aboard the Khazara, the full scope of the mission is revealed. Troi, in her guise as Major Rakal, is to facilitate the defection of three prominent Romulan officials. The original exfiltration plan, involving a rendezvous with Corvellian cargo ships, goes awry when Troi’s empathic senses detect duplicity in the freighter’s captain. N’vek’s response is swift and ruthless: he destroys the vessel. The plan pivots to convincing Commander Toreth to secretly cross into Federation territory. The arrival of the Enterprise complicates matters, forcing Toreth to cloak her warbird. The Enterprise’s ability to maintain a track on the cloaked ship +arouses Toreth’s suspicions. A brief, calculated skirmish after decloaking provides the necessary distraction for N’vek to beam the defectors to safety aboard the Enterprise. In a final act of sacrifice, N’vek ensures Troi’s escape before meeting his own end. The episode closes on a quiet, human note, with Troi in sickbay expressing profound relief to Dr. Crusher at having her own face restored.

The most obvious narrative model for Face of the Enemy is The Original Series classic The Enterprise Incident. The episode featured Captain Kirk undergoing surgical alteration to appear Romulan in order to infiltrate a warbird and steal its cloaking device. The production team for Face of the Enemy initially toyed with the idea of bringing back Joanne Linville, who originated the role of the Romulan Commander in "The Enterprise Incident". Her unavailability led to the casting of Carolyn Seymour, an actress who had previously played the Romulan Sub-Commander Taris in the TNG episode Contagion. This recasting created a minor but noticeable point of confusion for dedicated viewers, as Seymour was now playing a second, distinct Romulan officer. Nevertheless, her performance as the shrewd, duty-bound Toreth is a standout, capturing the complex pride and paranoia of the Romulan military mind.

Perhaps the most rewarding aspect of Face of the Enemy is its transformative use of Deanna Troi as an active, driving protagonist. For much of the series, Troi’s role as ship’s counsellor confined her to reactive, supportive positions. Here, she is chosen explicitly for her unique empathic abilities, which become vital tools for deception and survival. The episode forces her to inhabit the persona of a harsh, cruel Tal Shiar official—the polar opposite of her Starfleet ethos. Marina Sirtis rises to the occasion magnificently, delivering one of the strongest performances of her TNG tenure. She conveys the terror, determination, and growing competence of a civilian thrust into a deadly game of espionage, and rightly considers this episode a career highlight.

The script, written by Naren Shankar, uses this high-concept premise as an opportunity for rich worldbuilding. It adds welcome complexity and nuance to the often-monolithic portrayal of the Romulan Star Empire. The episode deftly explores the internal tensions between the traditional military hierarchy, represented by Commander Toreth, and the omnipresent, politically powerful Tal Shiar. This internal division creates a landscape of suspicion and shifting loyalties that feels authentically totalitarian, moving the Romulans beyond simple cartoon villains.

The character of Steven DeSeve provides another layer of Cold War verisimilitude. His story is a reminder that defections were never a one-way street from East to West. Like real-life Western intellectuals who defected to the Soviet Union, DeSeve was driven by ideology, initially seeing Romulan society as one built on "moral clarity" and strength. The episode subtly suggests that his return, much like that of many ageing Baby Boomer radicals, stems from a political evolution where youthful idealism hardens into disillusionment or a more conservative worldview, prompting a return to the societal fold.

This moral ambiguity is perfectly embodied in Subcommander N’vek. As portrayed with intense conviction by Scott MacDonald (who, in a neat piece of scheduling, had played the hunted alien Tosk in Deep Space Nine’s Captive Pursuit just the week before), N’vek is a fascinating figure. He is a resistance operative whose methods are as ruthless and coldly logical as the government he opposes. He murders the Corvellian captain and the real Major Rakal without hesitation, all for the "greater good" of the cause. He represents the post-Roddenberry evolution of Star Trek into a universe of shades of grey, where the line between hero and antagonist is deliberately blurred.

Face of the Enemy continues The Next Generation’s admirable tradition of striking dramatic gold when dealing with Romulan themes. It synthesises a taut spy thriller plot with intelligent political allegory and a long-overdue showcase for one of its core characters. It is one of the more sophisticated and memorable entries of the series’ penultimate season.

RATING: 8/10 (+++)

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Screenshots from the site https://www.imdb.com/es-es/title/tt2948372/?ref_=mv_close Google Translate

Rating: 100/100

Originally posted through scrobble.life/movies.

Euphoria made a lot of waves in the tv world because it was significantly more racy and graphic than almost anything else out there. They were really pushing the limits by showing us a ton of nudity of girls, primarily Sydney Sweeney, who while they the actresses are legal adults, the characters they are portraying in the show are not and this is really thin ice for people to be walking on these days. They got a lot of attention for this and for the borderline way in which they were almost glorifying drug use and later on, drug trafficking.

I thought the show overall was completely ridiculous how teenagers were portrayed with unfettered access to drugs and money despite not having jobs, and how certain things like face tattoos being quite common (for high schoolers) and not frowned upon at all, were put on display. This made a lot of viewers upset but that sort of publicity also drove people to watch the show, or hate-watch it, and these days I think that all publicity that appears to be negative is actually intentionally perpetrated by the people who made the show. It drove me to watch it and for the most part, I thought it was a really good show despite the very improbably nature of most of what was going on.

It was revealed long before it was ever released that season 3 was going to be the final season, so when I started watching it I was kind of surprised about how slow-moving the story was. I was also kind of surprised about how certain characters that were pretty fantastic in previous seasons, were kind of thrown to the wayside in S3.

Obviously the main focus was always going to be on actress-who-in-everything-these-days and producer Zendaya and of course Sweeney, who is also in so many things that it gets difficult to keep up with her.

I don't know what is going on there but I will admit that I took the bait as far as the gossip is concerned but apparently Zendaya and Sweeney really do NOT get along with one another. Perhaps it is a clash of egos or just people being catty, but if you do watch season 3 you will quickly realize that their stories don't really have anything to do with one another's and they are only in a couple of scenes together.

By the end of it all, their stories have almost nothing to do with the other despite the fact that they are for whatever reasons, living in close proximity to one another (in the show.)

[src](https://static0.srcdn.com/wordpress/wp-content/uploads/2026/05/nate-jacobs-jacob-elordi-screaming-on-the-ground-in-euphoria-season-3-episode-5.jpg?w=1600&h=900&fit=crop)

one thing that may delight viewers about season 3 is that the arrogant character of Nate has quite the reversal of fortune throughout this season as he becomes the "bitch boy" due to some bad decisions made with loan sharks towards a doomed real-estate project. He spends the entire season running from the people that are going to slowly cut off pieces of him should he not come up with the money and the whole time I was watching it I was just thinking "why doesn't this guy just get a gun?"

If you watched it, you already know. If you didn't, I am not going to spoil it for you. But let's just say that the sequence in the last picture is one of the most disturbing scenes I have seen in the history of television and I guess it kind of says a lot about what we are allowed to broadcast these days.

[src](https://variety.com/wp-content/uploads/2026/05/Screenshot-2026-05-08-at-12.55.41%E2%80%AFPM.jpg?w=1000&h=563&crop=1)

Sweeney's character Cassie doing OnlyFans and making a ton of money doing it is kind of a sign of the times as well and while I don't know if this statistic is real or not, I have read that 10% of all women aged 18-25 in the USA have an OnlyFans page or service or whatever it is called. Everyone is chasing that money and Euphoria made a good choice in my mind, to point this out not in a glorifying way, but just as a statement of fact that there are people that put a lot into making these girls' pages popular and once they are there, there is a TON of money involved in it.

But the "bread and butter" of season 3 so to speak is of course the story of Zendaya's "Rue." She is involved in drug trafficking and a new character named "Alamo" takes the center stage as someone that appears to be trying to help Rue get out from her bondage with another dealer, but imagine that? It turns out that Alamo isn't actually a good person.

[src](https://images.bauerhosting.com/celebrity/sites/3/2026/04/Untitled-2026-04-16T123231.363.jpeg?ar=16%3A9&fit=crop&crop=top&auto=format&w=1440&q=80)

While there are a lot of things going on in season 3 the real thing to focus on is Alamo and Rue and this is something I both enjoyed and didn't as far as the last episode of season 3 is concerned. A lot happens, a lot of loose ends are tied up, and it is done in a very rapid succession. In the final scene, which I will not spoil, so many characters come together in a final showdown of "epic" proportions. I say "epic" in quotes because so much of what happens is very conveniently timed and impossibly coincidental that things and people just happened to be where they were at that time.

It is entertaining, sure. But just like a lot of what happens in Euphoria, the things that happen just aren't realistic at all. You'll have to watch it to find out because although I do have some criticism of how this show was wrapped up, I do still think that it is very worthwhile viewing and I am kind of disappointed that it is over.

The last season kind of plays out like a series that never really had an overall story but was a project that was meant to carry on for as long as was necessary. In this particular case, the stars likely wanted to move on to other things and it was becoming too difficult to handle all the attitudes and schedules of stars that have a lot going on, particularly with Zendaya and Sweeney.

Should I watch it?

I think you should, yes. Despite the fact that the final season is a bit rough around the edges and seems rushed to a conclusion, it is still quality television. I believe that they could have carried this on for many more seasons but the attitudes and schedules were just becoming too difficult to manage. This is compounded by one of the apparent biggest "attitudes" also being an executive producer. There was also so many producers that there was bound to be a ton of fighting. I counted 24 overall producers and wow, is that really necessary? Drake was one of the producers. What the hell does this guy even have to do with TV?

Anyway, the final season is a good one, but not necessarily the best one. I enjoyed it and am kind of disappointed that there won't be any more of them.

Robert Pattinson and Zendaya as a couple on the edge of getting married is the kind of movie I would never though be watching but considering both are some of my wife's favorite actors specially Pattinson from his Twilight days. The Drama is not exactly what you would call a romcom even though it builds around a wedding menu tasting where a simple game of sharing secrets turns into a complete nightmare, you really never end up knowing someone 110%, thats just a lie but one its better to keep taim and under control, not all secret need to be known at once. The dread is thick from the very opening where Charlie is at the kitchen table with his best man Mike, working through his wedding toast and Mike is already telling him not to say anything about their chemistry in bed in front of the family, and to be frank who would?!. The production quality is very good as expected, at least for now you wont see Zendaya or Pattinson making crapy movies, The Drama does not look like a staged set at all, at times it becomes very tense almost like you are sitting at that table and knowing every other placer cards and just sensing what is about to unfold, when nobody at the table has any idea what is coming. You dont have to invest much time just to realize that Charlie feels liek the kind of person who is just trying too hard and immediately regreting even before things really happen, its like he has this fight on his own head. One clear example is how he takes a picture of the book Emma is reading so he can pretend he also read it later and thats both funny and kinda sad too, so it kinda backfires. This is the kind of insecurity moments around him during the movie were you get more from his character and this is for sure by design, he is trying to make a good impression and things just keep getting more awkward. Even the reveal that Emma is deaf in one ear and never heard what he said when they first met turns into one more painfully human misunderstanding instead of some big movie moment. It is a slow burn that pulls you in because it takes those early memories, the first date, a first kiss at a museum, and uses them to show you why these two people are so in love before the caterer conversation destroys everything, and Charlie walking around his apartment in wedding shoes that are too small and visibly painful is one of the smarter visual choices in the whole picture because it says everything about a guy suffering in silence just to make the relationship fit.

• IMDB: https://www.imdb.com/title/tt33071426/
• Platform: PRIME VIDEO

On the other end of the rope on this movie we got Emma and this two are fire and gasoline put together, she got this secret that feels like a sword over her head and it creeps up because its not her but the nature of what she is actually hiding and Zendaya does such a great job at it, this role for her was not any quick acting she could pull off without putting some effort into it, from that tension on her face that tells you right away that her pants are on fire. On this role Zendaya did some serious physical and emotional work, specially during the scene where she admits at the dinner table that as a fifteen year old she came close to carrying out a mass shooting at her school, and the air just leaves the room because nobody at that table knows how to breathe after hearing something that dark. The movie goes back into flashbacks of her as a teenager posing with her father is rifle and it makes the threat feel real even though it happened years ago, and you see through those memories how completely isolated she was before she found something to connect with. That picture of her childhood room with music posters and the classic teenager decoration with small things that cary some sentimental value for her was kinda sadd too, it was the middle ground between anger and innocence and it makes you think about how close someone can get to something irreversible without anyone noticing. I feel like Im just describing the movie scene by scene as I go but to be honest I dont watch or post I would say too much about drama movies and series because of this, because its almost the same as comedy where you got to go through the scenes to describe the characters inner problems. The scene where her computer keeps trying to run a software update while she is recording a personal manifesto is great because it drops this dark comedy aspect right on top of a horrifying moment and that kind of tone mix is where the movie is most interesting, those why now, why me moments. It is the kind of script that forces you to keep reassessing the characters through a darker lens, like when Rachel the maid of honor loses it completely and turns the confession into something personal by reminding everyone her cousin ended up in a wheelchair because of gun violence, and that moment lands hard because it shifts the whole table.

There are scenes where the pacing feels all over the place, especially where everyone is just yelling about who is the worst person at the table and it felt draggy but the cast still made it watchable because Alana Haim is giving everything she has as Rachel, who is unlikable from the jump and somehow still gets to feel morally righteous while admitting she locked a mentally disabled neighbor in a closet inside an abandoned RV and left him there overnight. Sometimes the movie tries to add these deeper moments about empathy and trauma and they do not always land because the tone is so locked into black comedy that you lose the thread, like when the wedding photographer keeps joking about shooting the parents and the grandparents and nobody knows whether to laugh or get up and leave. The whole detour into Charlie is paranoia is a letdown because he starts seeing Emma with a gun in his imagination even during completely normal moments, and you watch him getting more and more wound up until he asks a coworker what she would do if her partner had once planned a shooting, and she just tells him to call the police which sends him spiraling. You get why the movie goes there but the way it plays out feels like it undercuts the tension the dinner table already built better and faster. The movie shows the fallout through small choices that land hard, like Charlie quietly deleting the word empathy from his wedding speech because he is no longer sure he understands who Emma actually is anymore, and that detail is one of the better quieter moves the script makes.

I feel a bit let down by the movie because it shares the same DNA as Dream Scenario where the concept is way better than the execution, something like what you saw on Instagram and what you got from Temu, but you can tell Borgli wanted to make something more intimate and personal while the social commentary underneath stays raw and uncomfortable during most part of the movie. The way they use the tight physical space of the restaurant to generate these moments of dread gives it a different style from other movies dealing with similar subject. You want to see if Charlie will actually walk down that aisle after he starts fearing that his fiancee might be someone he never really knew and the way the movie shows Emma is isolation over the years is the thing that stays with you during the second half of the movie. There is a scene where she is drinking a blood red smoothie in the kitchen and Charlie watches her from across the room with this quiet terror on his face while she is holding a knife and the movie does not play it for obvious horror, it just lets the image sit there and do its work to paint the picture. The script even goes to this strange place where Charlie finds an art book at his desk featuring women posing with guns and you see the moment it starts getting into his head in a way that implicates him just as much as it does Emma, its funny although the movie didnt fully commit with it.

#thedrama, #zendaya, #robertpattinson, #a24, #moviereview, #blackcomedy, #weddingnightmare, #horrorvibes, #darksecrets, #psychologicalthriller, #emmapast, #charliespiral, #alanahaim, #christopherborgli, #filmtok, #movieopinions, #2026movies, #slowburn, #massshootingsubplot, #uncomfortablescenes, #weddingvows, #dramedy, #indiefilm, #socialcommentary, #characterstudy

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_{[_Source_](https://www.netflix.com/tudum/articles/the-wonderfools-cast-characters)}

VERSIÓN EN ESPAÑOL (click aquí)

Buenos días, buenas tardes o buenas noches, damas y caballeros. ¿Cómo están? ¿Cómo se encuentran el día de hoy? Espero que muy bien. El otro día, en mi tiempo libre mientras revisaba Netflix, vi que en la sección de estrenos había un drama que sinceramente me llamó mucho la atención (ya me había salido una recomendación antes del mismo en TikTok); era uno coreano acerca de superhéroes, pero no de esos heroicos, sino de personas consideradas como "raritas" que obtenían poderes de un momento a otro. Además, los poderes en sí no es que funcionen con normalidad; también tienen particularidades para poder funcionar, lo que provoca muchas situaciones cómicas. Es un drama cómico, divertido y con un bonito mensaje al final. También me gusta bastante el título Wonderfools; es un juego de palabras que sin duda define a la perfección la serie. Creo que lo único que cambiaría es dejarle un final cerrado, pero eso es otro tema. Así que sin más dilación, hablemos un poco acerca de Wonderfools, el nuevo drama que está arrasando en Netflix.

Good morning, good afternoon or good evening, ladies and gentlemen. How are you? How are you feeling today? I hope very well. The other day, in my free time while browsing Netflix, I saw that in the new releases section there was a drama that really caught my attention (I had already come across a recommendation for it on TikTok); it was a Korean one about superheroes, but not the heroic kind – rather, about people considered 'weirdos' who gained powers out of nowhere. What's more, the powers themselves don't exactly work normally; they have particular quirks to make them work, which leads to lots of comical situations. It's a comedy drama, funny, and with a nice message at the end. I also really like the title Wonderfools; it's a wordplay that perfectly defines the series. I think the only thing I would change is to give it a closed ending, but that's another matter. So without further ado, let's talk a bit about Wonderfools, the new drama that's taking Netflix by storm.

_{[_Source_](https://www.publimetro.com.mx/entretenimiento/2026/05/15/the-wonderfools-llega-a-netflix-con-superpoderes-humor-y-caos-en-una-inesperada-mision-para-salvar-al-mundo/)}

VERSIÓN EN ESPAÑOL (click aquí)

Sinceramente no recuerdo los nombres coreanos de los tres protagonistas, por lo que los llamaré por los apodos que tienen durante la serie. El drama nos pone en la piel de la Catastrófica, una chica que tiene una enfermedad mortal y le quedan pocos meses de vida. Su abuela no la deja salir de casa, y además ella trabaja en el restaurante de su abuela. Su gran sueño es viajar por diversos lugares del mundo y conocer cosas como, por ejemplo, las auroras boreales. Es conocida en su barrio por causar problemas y molestar a la gente. Otro de nuestros protagonistas —y sinceramente mi favorito— es la Pesadilla, un hombre de mediana edad que tiene una esposa y una hija que sinceramente no lo toman en cuenta ni lo respetan; incluso en algunos momentos hasta lo ignoran y lo viven amenazando con el divorcio. Su pasatiempo favorito es quejarse en el ayuntamiento por problemas, tanto así que es bastante conocido en ese lugar. El último es el Títere, un chico que es compañero de escuela de la Catastrófica, el cual es fácilmente manipulable —por eso su sobrenombre—; también trabaja en el restaurante de la abuela de la Catastrófica. Los tres obtendrán poderes al intentar elaborar un plan para que la Catastrófica obtenga dinero de parte de su abuela fingiendo un secuestro, y al caer en una zona de desechos. Luego tendrán que hacerle frente a una organización malvada que quiere acabar con el pueblo donde viven.

To be honest, I don't remember the Korean names of the three main characters, so I'll call them by the nicknames they have in the series. The drama puts us in the shoes of the Catastrophic, a girl who has a terminal illness and only a few months left to live. Her grandmother doesn't let her leave the house, and on top of that, she works in her grandmother's restaurant. Her big dream is to travel to different places around the world and see things like, for example, the Northern Lights. She's known in her neighbourhood for causing trouble and annoying people. Another of our protagonists – and honestly my favourite – is the Nightmare, a middle‑aged man who has a wife and a daughter who genuinely don't take him into account or respect him; at times they even ignore him and keep threatening him with divorce. His favourite pastime is complaining at the town hall about problems, so much so that he's quite well known there. The last one is the Puppet, a boy who is the Catastrophic's school friend, easily manipulated – hence his nickname – and he also works at the Catastrophic's grandmother's restaurant. The three gain powers when they try to come up with a plan for the Catastrophic to get money from her grandmother by faking a kidnapping, and then fall into a waste disposal site. Later they have to face an evil organisation that wants to destroy the town where they live.

_{[_Source_](https://time.com/article/2026/05/15/the-wonderfools-ending/)}

VERSIÓN EN ESPAÑOL (click aquí)

Se me hace bastante bueno el desarrollo de la serie, ya que se fija más en las excentricidades de los protagonistas y luego se mezclan con unas excelentes escenas de pelea. Se nota que hubo bastante presupuesto para que se vean tan logradas. También me gusta mucho que los poderes no tengan un uso convencional. Por ejemplo, tenemos a la Pesadilla, que tiene la habilidad de pegarse a cualquier superficie. Uno pensaría que con eso podría trepar paredes con facilidad, pero resulta que para que eso pase tiene que decir una mentira, luego una verdad para despegarse y luego otra mentira para volver a quedarse pegado, y así sucesivamente. También están los llamados "niños prodigio" a los que se tienen que enfrentar; ellos tienen poderes normales que pueden utilizar a conveniencia, pero a costa de su propia vida. Usualmente unos héroes defectuosos no tendrían oportunidad, pero la fuerza de voluntad y el hacer el bien pueden con eso. Se juega mucho con esa frase de "tú no eres nadie", dejándonos luego el mensaje de que, aunque no tengas ningún propósito, tarde o temprano puede llegar tu momento de brillar; todos tenemos un propósito en esta vida. Amé completamente todo.

I find the series' development quite good, because it focuses more on the eccentricities of the protagonists and then mixes them with excellent fight scenes. You can tell there was a fair budget to make them look so accomplished. I also really like that the powers aren't used in a conventional way. For example, we have the Nightmare, who has the ability to stick to any surface. You'd think that with that he could climb walls easily, but it turns out that to do so he has to tell a lie, then a truth to unstick himself, and then another lie to stick again, and so on. There are also the so‑called 'wonder kids' they have to face; they have normal powers that they can use at will, but at the cost of their own lives. Usually, some defective heroes wouldn't stand a chance, but willpower and doing good can overcome that. There's a lot of play with the phrase "you're nobody", leaving us with the message that, even if you don't have any purpose, sooner or later your moment to shine can come; we all have a purpose in this life. I absolutely loved everything.

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