_{[_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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When people talk about iconic 1980s comedies, Ferris Bueller’s Day Off is always near the top of the list. Released in 1986, the film has become one of the most beloved movies of its era and continues to attract new fans with every generation. It’s funny, charming, and packed with memorable moments that have stood the test of time.

The movie was written and directed by John Hughes, who was responsible for some of the greatest teen films of the decade. Hughes had a unique ability to understand teenagers while also creating stories that adults could enjoy. Whether it was The Breakfast Club, Sixteen Candles, or Pretty in Pink, he had a knack for creating characters that felt relatable and authentic. Ferris Bueller’s Day Off may be his most fun film of all.

Matthew Broderick stars as Ferris Bueller, a high school student who decides he needs a day off from school. Ferris isn’t sick at all, despite his elaborate performance for his parents. Instead, he plans an unforgettable day of adventure around Chicago before returning home as if nothing ever happened.

Joining him is his best friend Cameron Frye, played brilliantly by Alan Ruck, and Ferris’s girlfriend Sloane Peterson, played by Mia Sara. The chemistry between the three leads is excellent and helps make every scene enjoyable. While Ferris drives the story forward, Cameron often becomes the emotional center of the film.

The plot itself is simple, but that’s part of its charm. Ferris skips school and spends the day exploring Chicago while trying to avoid getting caught. Along the way the trio attends a baseball game, visits museums, enjoys expensive restaurants, and creates one memorable adventure after another.

Meanwhile, Principal Ed Rooney, played by Jeffrey Jones, becomes determined to prove Ferris is faking his illness. Rooney spends much of the movie chasing Ferris and attempting to catch him in the act. His increasingly desperate efforts create some of the film’s funniest moments.

One of the things that makes the movie so unique is Ferris himself. He constantly breaks the fourth wall and speaks directly to the audience. Instead of feeling like a gimmick, it works perfectly because of Matthew Broderick’s charisma. Ferris feels like he’s inviting viewers along for the ride.

Alan Ruck deserves a lot of credit as Cameron. While Ferris gets most of the attention, Cameron undergoes the biggest personal journey in the film. His struggles with confidence, family expectations, and self-worth give the movie more depth than many people remember.

The film is also a wonderful love letter to Chicago. From Wrigley Field to the Art Institute of Chicago, the city becomes an important part of the story. John Hughes showcases Chicago in a way that makes it feel vibrant, exciting, and full of possibilities.

Of course, no discussion of Ferris Bueller’s Day Off would be complete without mentioning the parade scene. Ferris performing “Twist and Shout” remains one of the most joyful and iconic sequences in movie history. It’s impossible not to smile while watching it.

What I appreciate most about the film is that beneath all the comedy, it carries a simple message about enjoying life. Ferris famously reminds viewers that life moves pretty fast and that sometimes you need to stop and look around. It’s a message that resonates just as much today as it did in 1986.

The movie never takes itself too seriously, yet it still manages to leave an impression. It balances humor, heart, adventure, and friendship in a way that feels effortless. That’s one reason audiences continue to revisit it decades later.

For me, Ferris Bueller’s Day Off is a great film because it captures a feeling that everyone can relate to. Most people have wished they could escape their responsibilities for a day and simply enjoy life on their own terms. The movie takes that fantasy and turns it into a hilarious and memorable adventure.

More than forty years after its release, Ferris Bueller’s Day Off remains a true classic. The cast is fantastic, John Hughes’ direction is outstanding, and the story is as entertaining today as it was in the 1980s. Funny, smart, and endlessly quotable, it’s the kind of movie that never gets old.

"You don't like anything, you're the most depressed person I have ever met, and excuse me for saying this.......but I think you need professional help" "So you are blowing me off because I'm a little depressed" "Once you get through this 'life suck' phase I'm sure a lot of people would want to be your friend"

Hi movie freaks, it's Abeegail again, welcome to my blog. The first time I came across this movie was on Pinterest, I saw a snippet were the main character said "I wonder how long it would take anyone to notice if I just stopped talking" I was so intrigued, to find out why someone would say something like that.

Speak is based on the novel by Laurie Halse Anderson and was released in 2004. The movie follows Melinda Sordino, a high school freshman who becomes socially isolated after calling the police during a summer party. Everyone at school hates her for “ruining” the party, but nobody knows the real reason behind the call, Melinda was sexually assaulted at that party. The film stars Kristen Stewart, yes from Twilight, this was long before Twilight blew up, and honestly this was her best performance yet.

I love how the story is told, it shows the numbness, the alienation, that comes with going through something like that, it shows how hard it is to explain what happened, to explain your pain and where it hurts to people who have finalized what you are. Speak doesn't take the route of revenge or violence as to what happens to Melinda, instead it shows the psychological aftermath of what happened than the event itself. Melinda begins disappearing emotionally from her own life. She withdraws from classmates, struggles to communicate, avoids attention, and internally collapses while everyone around her interprets her silence as attitude or weirdness. That’s what makes the film feel painfully real. That's what makes it even more painful because everyone misunderstands as Melinda loses herself.

No one would have played a better Melinda, Kristen Stewart was the perfect casting for this role. In the hands of another actor it might have not gone as smooth, Melinda barely talks for large portions of the film. Most of the emotional storytelling happens through body language, facial expressions, hesitation, and internal narration and Kristen Stewart totally carries it. She has her way of portraying emotional shutdown without making the character feel empty or plain or the way she portray Melinda's trauma, the exhaustion, the embarrassment, the self-blame, the inability to explain yourself clearly even when you desperately want someone to understand.

One thing I see and I have seen in other movies is the fact that social environment can be cruel sometimes especially high school. With teenagers that are still finding who they and are still confused, all packed in the same space there's bound to be issues. Nobody knows why Melinda called the police, so they invent narratives, she becomes “the weird girl.” “The snitch.” “The drama queen." And escaping such identity is in highschool is hard. This shows how institutions often fail vulnerable teenagers. Adults notice Melinda is struggling, but nobody fully reaches her because they misunderstand her behavior.

I love the realism in this movie. Melinda didn't just magically got herself back, she didn't become confident overnight. Her healing was not big and dramatic, it was slow and small like; telling the truth, naming what happened, allowing yourself to exist again. She slowly overcomes and even got her revenge and that's what makes the end satisfying.

Speak is not just about sexual assault or a rape case. It's about silence; internal silence, social silence, institutional silence. It explores how trauma disconnects people not only from others, but from themselves. And how your sense of personality is lost after being violated. To “speak” in this movie is not merely to talk, it's to get your sense of person back. Speak is not your everyday Hollywood movie, it is quiet, uncomfortable, and emotionally restrained. At the end of the day you wonder how overwhelming someone's pain is that they no longer know how to communicate it? And What does it take for them to finally be heard?

It's Abeegail ✨💗 Thank you for Reading 🥹

The images are screenshot from the movie.

As someone who grew up during the 90s and saw my causins playing Mortal Kombat on Super Nintendo, I have always wanted for this game adaptation movie to work out and this 2026 version has to be the best of all of them, because they actually learned something from the first one and the difference shows up in the very first scene. It does not spend twenty minutes explaining what Mortal Kombat is or trying to justify itself, although some of this characters that I knew nothing throw me off a bit but thats fine, ithe movie righta away just throws you into Edenia before you even settle in. We get this new scene showing young Kitana watching her father King Jerrod try to hold his ground against Shao Kahn, who shows up swinging a massive war hammer around like it weighs nothing and he dodges Jerrod clean before shoving the back of that hammer straight through the chest, doing it right there in front of the mother and the daughter, I honestly though that was kinda cruel for a game adaptation movie although it is the kind of dark cold open that earns its place because its clear we already know who is the villain but it also gives you the exact moment Kitana stops being a little girl, standing there she took her fathers blue ribbon with the sky going black around her, refusing to kneel for this guy who just told her he is her father now, that was a funny momento too "Im your father...". You understand everything about who she is and what she is fighting for from that single moment, no lazy voiceover needed, just a kid making a choice that locks in her whole destiny. That opening sequence told me the people behind this movie actually gave a damn about getting the emotional part of the movie right this time. I'm not going to pretend is the best action movie of 2026 but this kind of opening is the kind of setup that separates the decent action movies from the ones worth talking about afterwards.

• IMDB: https://www.imdb.com/title/tt17490712/
• Platform: PRIME VIDEO

Karl Urban jumps into this thing as Johnny Cage and immediately reminds everyone why he is one of the most watchable guys working right now, the character is this washed up action star still clinging to a fading nineties glory that nobody cares about anymore, and the movie introduces him with a very hilarious scene that is not far from reality as how some of the 90s action movies were although I didnt like it at first because it feels so much distant between the actual movie and the kind of movies Johnny Cage did. We first catch him filming this absurd movie scene where he does a full split in midair to dodge a rocket, the missile past him and takes out a helicopter in the background, it was obvious this was not part of the movie but there is a cool shot that brings you from a small tv screen to the convention he is sitting at as the total opposite enviroment nobody giving a shit about. The contrast between the guy he plays on screen and the sad parking lot reality he actually lives in is perfect to show how much of a looser he is now days and this goes along with him until the very end of the moment. Urban plays it with just enough feeling of exhaustion that you feel bad for him even while you are laughing. Raiden and Sonya show up to recruit him right there in the empty lot and Cage completely dismisses Raiden by telling him his big straw hat makes him look like a cheap cosplay character, which is exactly the kind of thing you would say if a god showed up to your lowest point and you were still too proud to admit it like you are actually still relevant. Raiden eventually tears open a lightning portal right there in the parking lot to prove he is the real thing, watching this arrogant guy go completely silent for the first time and then step through while complaining every step of the way is easily the most entertaining stretch of the whole movie. The human element Urban brings to all the magic ninja stuff is exactly what the first movie was missing, because having someone point out how ridiculous everything is makes the whole insane world feel more grounded, and the comedy lands without ever undercutting the action.

Here is where I have to be real about the stuff that does not work, because there are some sections of this movie that feel like they belong on a completely different production budget, in short words make it look cheap. The fight between Sindel and Sonya takes place inside this tight copper cage with metal blades randomly shooting up from the floor and the green screen behind them looks so flat and lifeless that it completely kills any sense of danger, the whole environment feels like something out of a daytime television show rather than a tournament deciding the fate of Earth. Sindel just stands there screaming with her sonic voice and they throw away her signature hair attacks entirely so instead of getting this savage and unique villain doing something awesome you get a fairly generic screaming lady who feels like a waste of a roster slot, who latter on looks more like the Sindel from the game when she gets resurrected. Sonya counters by blasting bright pink energy rings from her wrists and the whole scene is stiff from start to finish because you already know the outcome, they wouldnt let Sonya die that early right?, the scene really lack the kind of physical impact that makes you actually feel like you are on the scene and when the finish comes and Sindel ends up on one of those floor spikes the digital blood and the awkward framing make it look cheap. This kind of scene is the one that makes you look at your phone and in my case moving the mouse to see how much is left of the movie, tempting to fast forward, which is never a good sign and there is another moment where Sonya gets clipped by a hammer and spins sideways into a wall that just looks clumsy rather than devastating. The frustrating part is that the production clearly knows how to shoot action because other sequences in the same movie look fantastic, so the drop in quality in these particular fights feels less like a budget problem and more like a planning failure, like nobody went back to watch the footage and said hey this looks bad.

Im going to throw a bone to the movie here if we compare it to the first movie though and the improvement in character variety and straight up entertainment value is significant, and a big part of that comes down to Kano, yeah I didnt think he would be so important for the sequel, who Quan Chi resurrects and then gifts back his glowing red laser eye that Kano immediately starts using to blast random things while talking the most gloriously selfish trash imaginable. He is a complete scumbag who operates entirely in his own self interest but what makes you love the guy most is his trash talking and this feeling of antihero and the movie builds every scene of his character that it doesnt feel force and you actually get the character of the guy, not like Cage who is more cringe and sometimes do feel force like the movie is pushing him so hard to do things like putting on the glasses. Baraka is another awesome massive addition, living out in this bone covered wasteland camp that looks straight from the most savage lands from another world and when Johnny Cage has to fight him to earn any kind of respect you get this totally chaotic clash where Baraka is shooting giant bone spikes out of his forearms while Cage tries to counter with movie star kicks and his signature nut punch. There fight doesnt feel coordinated or the type of "pro" fight scene, does feel very random but at the same time it works because at first Cage is just running away from Baraka and the fact that Baraka ends up respecting Johnny after watching the split and the nut punch is the kind of absurd tonal shift this franchise takes and actually works, I always though Baraka was one of the bad guys but this movie makes it feel like he was just miss guided and a slave. The movie also gives us the standout fight of the entire thing when Liu Kang has to face the resurrected Kung Lao in front of a giant blue portal, a scene that clearly holds back and feels sad because Liu Kang clearly does not want to kill his brother, trying to reach the real person trapped inside the corrupted shell. Kung Lao keeps throwing that razor sharp hat across the arena forcing Liu Kang to move constantly and when the moment of truth comes Liu Kang does something you do not see coming, he grabs Kung Lao and pulls him down onto his own hat as it spins embedded in the ground like a buzzsaw, using the weapon against its owner in the most heartbreaking way possible, with Liu Kang vowing through tears to bring him back someday.

The ending of the movie does have a big impact not only because Kitana fights Shao Kahn but how she all of the sudden is allow to quit Shao Kahn "team"? , that moment I was like, is that allow?, but the most ridiculous is the Cole Young situation because lets remember that this is the guy that nobody wanted from the first movie and why it was so confusing in terms of the story, so on the sequel they didnt force him to be the hero, Cole fights hard and manages to wound Shao Kahn, landing a hit that would finish almost any other opponent, but Kahn is bonded to the Shinnok amulet and his body just heals itself instantly like the damage never happened, and then Kahn overpowers Cole and brings the hammer down before throwing what is left into the bubbling green acid pool. It is the kind of moment that resets your expectations for who is safe in this universe and who is not, and it makes the entire half feel unpredictable in a way that most tournament movies never quite manage. Even with the green screen problems in the middle sections and a handful of fights that land nowhere near as hard as the good ones, there is enough here to keep you entertained from that Edenia opening to the final moments that set up whatever comes next, might be a third movie most likely with more characters and with Cage with full powers and the humor from Urban and Kano doesnt let the whole thing from getting too heavy when the story starts piling up the losses. This is a better version of Mortal Kombat movie for the people who grew up on those games always wanted to a certain point, something that make you feel that world could be possible at least to certain extend, bloody and ridiculous and chaotic, I am giving it an 7 out of 10 because it course corrects the real problems from the first one and leaves you actually curious about where the story goes from here, as long as they keep the laser eye involved I am in.

#mortalkombat, #johnnycage, #videogamemovies, #actionmovies, #shaokahn, #kitana, #karlurban, #baraka, #martialarts, #moviereview, #filmblog, #arcade, #fatalities, #liukang, #kunglao, #sonya, #sindel, #edenia, #kano, #lasereye, #magicninjas, #bloodandgore, #tournament, #outworld, #earthrealm

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Being the most iconic city in the world inevitably means it is also the most likely canvas for cinematic apocalypse. New York City’s skyline, a global symbol of human achievement, has been levelled, stomped, flooded, and incinerated with such regularity that its destruction forms a peculiar sub-genre of disaster cinema. This tradition was firmly established in the 1933 classic King Kong, a film that represented a quantum leap in special effects and narrative ambition, unleashing a gigantic ape to rampage through the streets. That film’s indelible imagery inspired an entire genre in Japan, the kaiju film, where cities routinely fell to colossal monsters. This trope came full circle with the 1998 American remake of Godzilla, a film that, despite being relentlessly advertised as the biggest event in the history of cinema, became a notorious commercial and critical disappointment. Roughly a decade later, this well-worn scenario was deployed again in Cloverfield, a film that, on the surface, appeared unusually fresh and imaginative for Hollywood of its time.

The film opens with an ominous title card stating that the ensuing footage was recovered from a digital video camera’s SD card in “the area formerly known as Central Park,” and is in the possession of the US Department of Defence, related to incidents codenamed “Cloverfield.” This immediately frames the narrative within a pseudo-documentary, ‘government evidence’ aesthetic, promising a raw, unvarnished record of catastrophe. The card’s contents begin on 27 April 2008, showing Rob Hawkins (Michael Stahl-David) and his girlfriend Beth McIntyre (Odette Yustman) in a moment of intimate, carefree happiness in her father’s apartment. The recording then jumps to the evening of 22 May, where Rob’s brother Jason (Mike Vogel) and his fiancée Lily (Jessica Lucas) are throwing a surprise farewell party for Rob, who is departing for Japan. Jason tasks his hapless friend Hud (T. J. Miller) with filming “testimonials,” a device that conveniently justifies the camera’s persistent presence. The party’s banal drama—centred on Rob and Beth’s falling out after a one-night stand—is abruptly shattered by massive tremors and explosions in New York Harbour. Panic ensues as the group flees to the streets, witnessing incomprehensible destruction, including the iconic image of the Statue of Liberty’s head being hurled down a avenue. What follows is a nightmarish odyssey as the core group—Rob, Jason, Lily, Hud, and partygoer Marlena (Lizzy Caplan)—attempt to escape a Manhattan under siege by a gargantuan, skyscraper-sized creature and its vicious, dog-like parasitic spawn.

Their flight across the Brooklyn Bridge ends in tragedy when the creature appears and destroys it, killing Jason. Forced back into Manhattan, Rob resolves to rescue Beth, who is trapped and injured in her high-rise apartment. Their journey leads them through a subway tunnel where they are attacked by the smaller creatures; Marlena is bitten. By the time they reach a military field hospital, she is violently ill and is taken away by hazmat-suited medics only to explode moments later. Rob, Hud, and Lily eventually scale a half-collapsed building to save Beth. Acting on a tip from a sympathetic soldier, they make a desperate dash for the evacuation point before a massive bombing raid. In the chaotic exodus, Lily escapes by helicopter, but a second chopper carrying Rob, Beth, and Hud is swatted from the sky by the monster. Hud is killed, and the final moments find Rob and Beth huddled beneath the Greyshot Arch in Central Park, recording a tender, doomed confession as the screen cuts to static amidst the sound of the impending bombardment. Their fate, like much of the film’s mythology, is left ambiguous.

Cloverfield is built on a deceptively simple conceptual fusion: the monster-apocalypse-in-New-York scenario rendered through the ‘found footage’ technique. This technique, popularised by the runaway success of The Blair Witch Project (1999), had largely been confined to the horror genre. Producer J. J. Abrams, then at a creative zenith with Lost and the Mission: Impossible franchise, saw its potential for a large-scale creature feature. The gamble was that the first-person, shaky-cam perspective would make the familiar feel terrifyingly new. Despite this seemingly low-fi approach, Cloverfield was hardly a cheap film. It required sophisticated and rather spectacular effects to sell its illusion. Much of the mayhem is glimpsed indirectly—through dust clouds, distant explosions, and the screams of crowds—but when the creature is revealed, it is through seamless CGI that retains a jarring, ‘amateur’ video quality. The creature design by Neville Page is a triumph of biomechanical horror, a truly alien behemoth unlike the dinosaur-inspired Godzilla or the simian Kong. Furthermore, the production leveraged extensive practical effects and miniatures from legends like Phil Tippett and Nick Tom to ground the digital destruction in tangible, crumbling reality.

The film is competently directed by Matt Reeves, who maintains a frenetic pace and wrings genuine tension from several set-pieces, particularly the claustrophobic tunnel attack. However, the script by Drew Goddard (an Abrams protégé known for Lost and later The Cabin in the Woods and Daredevil) fails to solve, or even adequately address, the central paradox of its chosen format. The ‘found footage’ premise demands a cinéma vérité authenticity, a commitment to depicting a fictional reality as if it were captured by chance. The problem is that this reality, for nearly the film’s first half-hour, consists almost entirely of the banal romantic entanglements and privileged ennui of a group of attractive, upper-middle-class Manhattanites. They are portrayed as one-dimensional archetypes whose personal dramas feel inconsequential long before the monster arrives. Consequently, when the apocalyptic chaos begins, the audience has had little reason to become genuinely invested in their fates. The film attempts to anchor our empathy in Rob’s quest to save Beth, a classic heroic motivation, but it’s a thread that feels mechanically inserted into the plot rather than organically earned from the thin characterisation that precedes it.

When the disaster unfolds, there is, for anyone well-versed in science fiction or monster cinema, a distinct lack of narrative surprise. The film diligently checks off genre tropes: the monster is an unstoppable force of nature; the US military is impotent, fighting a losing battle; the creature has smaller, faster spawn that attack humans; and those spawn can infect victims with a pathogen that causes them to explode—a clear hybrid of zombie apocalypse tropes and the visceral horror of Alien. While the cast of relative unknowns (Lizzy Caplan and T. J. Miller would later become more recognisable) does introduce some uncertainty regarding who will survive, the grim, ambiguous ending feels pre-ordained by the film’s bleak, pseudo-documentary frame. The opening title card essentially tells us we are watching a recording from a disaster zone; the expectation of a happy ending is thereby neutered from the start. This lack of originality does not render Cloverfield a bad film—it is executed with considerable technical skill and energy—but it does mean that, apart from its formal gimmick, it is hardly a classic. It is a slick, efficient rollercoaster ride that borrows heavily from its predecessors without adding significant new depth to the genre it inhabits.

Where Cloverfield truly excelled was in its marketing. It became famous for one of the most elaborate and cryptic viral campaigns of the 2000s. The initial teaser trailer, attached to Transformers in 2007, offered no title, only glimpses of the party and the sudden explosion, culminating in the Statue of Liberty’s head crashing into the street. This masterful ambiguity—what was the monster? Where did it come from?—generated immense online speculation and hype. The name ‘Cloverfield’ itself was a mystery, a production code that stuck. This campaign paid off handsomely, transforming the film into a massive box office hit, proving that mystery could be a more potent draw than explicit spectacle.

Critical reception was broadly sympathetic, with many praising the film’s intensity and innovative perspective. However, some American critics, notably Roger Ebert, levelled a more serious charge: that the imagery of a devastated Lower Manhattan, with ash-covered crowds fleeing and buildings collapsing, was uncomfortably exploitative and traumatic barely seven years after the attacks of 11 September 2001. This criticism highlighted a lingering cultural nerve, suggesting that New York’s cinematic destruction was no longer purely fantastical but carried a painful, real-world resonance. Despite these concerns, the genre community embraced it, awarding Cloverfield the Saturn Award for Best Science Fiction Film.

Despite its success, Cloverfield did not spawn a direct sequel. Instead, producer J. J. Abrams opted for a more unconventional expansion, creating a loosely connected “Cloververse” with 10 Cloverfield Lane (2016), a taut psychological thriller, and The Cloverfield Paradox (2018), a space-set sci-fi film.

Cloverfield represents a fascinating cultural artefact of late-2000s Hollywood—a film whose lasting impact lies more in its marketing genius and formal experiment than in its storytelling prowess. It successfully transplanted the found-footage technique into the big-budget monster movie, creating an immersive, adrenaline-fuelled experience. Yet, beneath its shaky-cam immediacy and impressive creature design, it remains bound by conventional genre beats and hampered by underdeveloped characters. It is a film that understands how to make a city’s destruction feel newly terrifying for a YouTube generation, but it forgets to make us care deeply about the people caught within it. In the long lineage of New York’s cinematic demolitions, from Kong’s climb to Godzilla’s tread, Cloverfield earns its place not as a revolutionary titan, but as a clever, effective, and ultimately disposable echo of the chaos that came before it.

RATING: 6/10 (++)

==

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo Substack https://draxster.substack.com/

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[Paddington] We've learned the name of the next installment's screenwriter. The director may be returning. https://variety.com/2026/film/global/paddington-4-movie-armando-iannucci-dougal-wilson-1236754996/

[Madhouse Employee Complains About Studio] The director of one of the best anime I've ever seen, Kunihiko Hamada (who directed Monster), left the studio after 30 years. Well... I'm not surprised, that's how it is at work – they squeeze you like a lemon, then kick you in the ass and give you another job. People often act similarly towards other people when they come to complain.

Don't get me wrong - screw the people responsible for anti-employee behavior. My point is that most employers and people take advantage of the commitment of some. That's why it's not worth devoting yourself to any corporation. You can do it for some people, but at your own risk. https://www.comingsoon.net/movies/news/2141542-madhouse-anime-kunihiko-hamada-monster-director

[Couture] A new film starring Angelina Jolie will hit theaters on June 26th. https://www.comingsoon.net/movies/trailers/2135611-angelina-jolie-goes-to-paris-in-new-movie-couture-trailer

[Halsey] One of the Wachowski sisters, Lily, has become a producer of a psychosexual horror film. https://www.comingsoon.net/movies/news/2133063-halsey-psycho-sexual-horror-movie-write-star

[Kockroach] The actor from the Yellowstone spin-off has joined the cast of the new Thor film. Chris has finished filming. https://www.comingsoon.net/movies/news/2139111-chris-hemsworth-new-crime-thriller-cast-yellowstone-star

https://www.comingsoon.net/movies/news/2141419-chris-hemsworth-kockroach-release-date-update-photos

[Spiderman] The movie's merchandise has revealed some information about the next film. https://www.comingsoon.net/movies/news/2138845-spider-man-brand-new-day-merch-may-reveal-big-spoiler-about-mcu-movies-villains

The film is reportedly 2.5 hours long! https://www.comingsoon.net/movies/news/2143247-spider-man-brand-new-day-possible-runtime-revealed-and-its-long

We also see a slightly improved version of the ninja from Hands. https://www.comingsoon.net/movies/news/2139804-spider-man-4-brand-new-day-hand-covers

We've received a spoiler about the Hulk subplot! https://www.comingsoon.net/movies/news/2139406-spider-man-brand-new-day-gets-huge-savage-hulk-spoiler-revealed-for-mcu-movie

We've received more posters and Funko Pops. https://www.comingsoon.net/movies/news/2140759-spider-man-4-posters-funko-pop-brand-new-day

We know what Tombstone will look like. https://www.comingsoon.net/movies/news/2140943-spider-man-brand-new-day-art-shows-off-first-look-at-mcu-tombstone

And we got more photos... https://www.comingsoon.net/movies/news/2141591-spider-man-4-brand-new-day-images-bruce-banner-punisher

https://www.comingsoon.net/movies/news/2141750-spider-man-tom-holland-retracts-updates-viral-mcu-retirement-quote

[Daredevil] We got information about season 3 and Bullseye. Meh, I much prefer the one from the Netflix series. https://www.comingsoon.net/tv/news/2139654-daredevil-born-again-season-3-set-photos-show-bullseyes-full-costume-luke-cage-more

https://www.comingsoon.net/tv/news/2139943-bullseye-new-suit-comic-accurate-black-widow-link

The news confirms fan predictions about some plot elements. Spoiler alert. https://www.comingsoon.net/movies/news/2140913-spider-man-brand-new-day-major-plot-point-confirmed-for-mcu-movie

[Exhuma] We've received information about the spin-off of the Korean webtoon. Episode 1 premiered on May 30th. https://variety.com/2026/digital/news/exhuma-spinoff-webtoon-maengjong-naver-1236762009/

[X-Men S2] And this summer, the X-Men will return. I can't wait, because the first season was one of the best shows Disney+ has ever created. Or rather, one of the few truly good ones. https://www.comingsoon.net/tv/trailers/2139389-x-men-97-season-2-trailer-sees-mutants-battling-apocalypse-in-beloved-marvel-show

The popular actor from the series Obsession will appear in S2. https://www.comingsoon.net/tv/news/2139727-popular-marvel-tv-show-adds-obsession-star-to-season-

[Avengers] We'll probably see the trailer on July 18th. This is what fans are speculating after one of the Russo brothers' posts. https://www.comingsoon.net/movies/news/2140475-avengers-doomsday-trailer-doctor-doom-logo

[The Amazing Digital Circus] I have no idea what this is, I've never heard of it, but seeing as people are writing about millions, huge box office hits, etc., I'm guessing it's some important animation for the younger generation. There's some controversy surrounding the ending. https://www.comingsoon.net/movies/features/2137608-the-amazing-digital-circus-the-last-act-box-office-forecast-leak-leaked-tadc

[Baywatch] Another actress, Mary McDonnell, has joined the cast. Veterans from the original will also return. https://variety.com/2026/tv/news/baywatch-reboot-casts-mary-mcdonnell-1236761359/

https://variety.com/2026/tv/news/original-baywatch-stars-michael-bergin-kelly-packard-reboot-1236762396/

[Reyonolds & Jackman D+] We've received the first photos and news about the two actors' new show. We don't yet know the premiere date. https://www.comingsoon.net/tv/news/2140543-hugh-jackman-ryan-reynolds-series-disney-series

https://www.comingsoon.net/tv/news/2140187-ryan-reynolds-hugh-jackman-new-disney-tv-show-gets-first-details

[Hoppers] The film will be rated D+ on June 3rd. I recommend it, it's a very good and intelligent film. https://www.comingsoon.net/movies/news/2139629-hoppers-disney-streaming-release-date-announced-for-acclaimed-pixar-movie

[The Simpsons Extreme Makeover: Homer Edition] We'll get two (three? two and a Simpsons special? I don't know how to interpret that) special episodes during the summer. One in June, the other in July. https://www.comingsoon.net/tv/trailers/2139662-the-simpsons-extreme-makeover-homer-edition-trailer-release-date-disney-plus

Paddington | Dużo newsów ze Spider Man | Daredevil | Trailer X-Men '97 S2 | Avengers | Baywatch | Hoppers | The Simpsons Extreme Makeover: Homer Edition

[Paddington] Poznaliśmy nazwisko scenarzysty kolejnej części. Być może reżyser powróci. https://variety.com/2026/film/global/paddington-4-movie-armando-iannucci-dougal-wilson-1236754996/

[Pracownik Madhouse narzeka na studio] Reżyser jednego z najlepszych anime, jakie widziałem, Kunihiko Hamada (wyreżyserował Monster) opuścił studio po 30 latach. Cóż... Mnie to nie dziwi, tak to jest w pracy - wycisną ciebie jak cytrynę, a potem kop w dupę i dawać kolejnego robola. Ludzie często działają podobnie względem innych ludzi, jak przychodzą im marudzić.

Nie zrozumcie mnie źle - pieprzyć ludzi odpowiadających za anty-pracownicze zachowanie Chodzi mi tylko o to, że większość pracodawców i ludzi wykorzystuje zaangażowanie niektórych. Dlatego nie warto poświęcać się żadnej korporacji. Niektórym ludziom można, ale na własną odpowiedzialność.
https://www.comingsoon.net/movies/news/2141542-madhouse-anime-kunihiko-hamada-monster-director

[Couture] 26 czerwca do kin trafi nowy film z Angeliną Jolie. https://www.comingsoon.net/movies/trailers/2135611-angelina-jolie-goes-to-paris-in-new-movie-couture-trailer

[Halsey] Jedna z sióstr Wachowskich, Lily, została producentką psycho-seksualnego horroru. https://www.comingsoon.net/movies/news/2133063-halsey-psycho-sexual-horror-movie-write-star

[Kockroach] Aktor ze spin-offu Yellowstone dołączył do obsady w nowym filmie Thora. Chris skończył swoją pracę na planie zdjęciowym. https://www.comingsoon.net/movies/news/2139111-chris-hemsworth-new-crime-thriller-cast-yellowstone-star

https://www.comingsoon.net/movies/news/2141419-chris-hemsworth-kockroach-release-date-update-photos

[Spiderman] Merch z filmu zdradził nam trochę informacji na temat kolejnego filmu. https://www.comingsoon.net/movies/news/2138845-spider-man-brand-new-day-merch-may-reveal-big-spoiler-about-mcu-movies-villains

Film trwa podobno 2.5 godziny! https://www.comingsoon.net/movies/news/2143247-spider-man-brand-new-day-possible-runtime-revealed-and-its-long

Widzimy też ninja z Hands w nieco lepszej wersji. https://www.comingsoon.net/movies/news/2139804-spider-man-4-brand-new-day-hand-covers

Dostaliśmy spoiler dotyczący wątku Hulka! https://www.comingsoon.net/movies/news/2139406-spider-man-brand-new-day-gets-huge-savage-hulk-spoiler-revealed-for-mcu-movie

Dostaliśmy kolejne plakaty i funkopopy. https://www.comingsoon.net/movies/news/2140759-spider-man-4-posters-funko-pop-brand-new-day

Wiemy, jak będzie wyglądał Tombstone. https://www.comingsoon.net/movies/news/2140943-spider-man-brand-new-day-art-shows-off-first-look-at-mcu-tombstone

No i dostaliśmy kolejne zdjęcia... https://www.comingsoon.net/movies/news/2141591-spider-man-4-brand-new-day-images-bruce-banner-punisher

https://www.comingsoon.net/movies/news/2141750-spider-man-tom-holland-retracts-updates-viral-mcu-retirement-quote

[Daredevil] Dostaliśmy informacje dotyczące 3 sezonu i Bullseye'a. Meh, znacznie bardziej wolę tego z Netflixowego serialu. https://www.comingsoon.net/tv/news/2139654-daredevil-born-again-season-3-set-photos-show-bullseyes-full-costume-luke-cage-more

https://www.comingsoon.net/tv/news/2139943-bullseye-new-suit-comic-accurate-black-widow-link

Newsy potwierdzają przewidywania fanów co do niektórych elementów fabuły. Uwaga, spoilery. https://www.comingsoon.net/movies/news/2140913-spider-man-brand-new-day-major-plot-point-confirmed-for-mcu-movie

[Exhuma] Dostaliśmy informację na temat spin-offu Koreańskiego webtoonu. Premiera 1 odcinka odbyła się 30 maja. https://variety.com/2026/digital/news/exhuma-spinoff-webtoon-maengjong-naver-1236762009/

[X-Men S2] A w wakacje powrócą X-Meni. Już się nie mogę doczekać, bo pierwszy sezon był jednym z najlepszych show, jakie stworzył Disney+. Czy raczej, jednym z nielicznych naprawdę dobrych. https://www.comingsoon.net/tv/trailers/2139389-x-men-97-season-2-trailer-sees-mutants-battling-apocalypse-in-beloved-marvel-show

Popularny aktor z serialu Obsession wystąpi w S2 serialu. https://www.comingsoon.net/tv/news/2139727-popular-marvel-tv-show-adds-obsession-star-to-season-

[Avengers] Prawdopodobnie zobaczymy trailer 18 lipca. Tak spekulują fani po jednym z wpisów braci Russo. https://www.comingsoon.net/movies/news/2140475-avengers-doomsday-trailer-doctor-doom-logo

[The Amazing Digital Circus] Nie mam bladego pojęcia co to jest, nigdy o tym nie słyszałem, ale widząc że ludzie piszą o milionach, o gigantycznych zarobkach jak blockbustery etc. domyślam się że to jakaś ważna animacja dla młodszego pokolenia. Są jakieś kontrowersje w związku z zakończeniem. https://www.comingsoon.net/movies/features/2137608-the-amazing-digital-circus-the-last-act-box-office-forecast-leak-leaked-tadc

[Baywatch] Do obsady dołączyła kolejna aktorka - Mary McDonnell. Powrócą też weterani z oryginału. https://variety.com/2026/tv/news/baywatch-reboot-casts-mary-mcdonnell-1236761359/

https://variety.com/2026/tv/news/original-baywatch-stars-michael-bergin-kelly-packard-reboot-1236762396/

[Reyonolds & Jackman D+] Dostaliśmy pierwsze zdjęcia oraz wieści na temat nowego show dwóch aktorów. Póki co nie znamy daty premiery. https://www.comingsoon.net/tv/news/2140543-hugh-jackman-ryan-reynolds-series-disney-series

https://www.comingsoon.net/tv/news/2140187-ryan-reynolds-hugh-jackman-new-disney-tv-show-gets-first-details

[Hoppers] 3 czerwca film trafi na D+. Polecam, bardzo dobry i mądry film. https://www.comingsoon.net/movies/news/2139629-hoppers-disney-streaming-release-date-announced-for-acclaimed-pixar-movie

[The Simpsons Extreme Makeover: Homer Edition] Dostaniemy 2 (3? 2 i program o Simpsonach? Nie wiem jak to rozumieć) odcinki specjalne w trakcie wakacji. Jeden w czerwcu, drugi lipcu. https://www.comingsoon.net/tv/trailers/2139662-the-simpsons-extreme-makeover-homer-edition-trailer-release-date-disney-plus

Cover image edited in canva; the image was taken from the following source

**

Hello friends, good vibes to all.

Hola amigos, buenas vibras para todos.

Source!

Todas estas películas, como ya he dicho, en su mayoría no son canónicas, quizás las que han venido haciendo más recientemente, pero de eso hablaremos en otro momento. Hoy toca conversar acerca de uno de los personajes más llamativos de DBZ pero que nunca tuvo presencia en el anime y si, me refiero a Broly. Si más no recuerdo hay como 3 films de él y este vendría siendo el primero de ellos en donde se nos presente este saiyajin el cual tiene un poder inconmensurable, uno que literalmente no le cabe en el cuerpo. Muchos pueden pensar que es tipo medio random pero la verdad es que no, cuando conocen la historia de él y entienden un poco la razón de su comportamiento todo se vuelve un poco más interesante.

Como comenté esto no pertenece a lo conocido en el anime pero para que tengan una idea de cuando es esto más o menos estaríamos a solo días del torneo de Cell, es este momento ya todos habían ido a la habitación del tiempo a entrenar, de ahí a que Trunks tiene el cabello largo y Gohan se le ve un poco más grande. La cosa es que a la Tierra llega Paragus, un saiyajin de la época del padre de Vegeta y papá de Broly, a proponerle justamente a Vegeta par de cosas: rehacer el planeta en donde nacieron y que fue destruido en su momento por Freezer y pelear con el legendario Saiyajin que ha estado destruyendo galaxias. Obviamente la curiosidad y el orgullo siempre puede más por lo que Vegeta termina aceptando y se ve con él acompañado de Trunks, Gohan, Krilin, etc.

Source!

Source!

En paralelo Goku es advertido por Kio-sama sobre el gran poder de este saiyajin y de la amenaza que supone para todo el universo por lo que logra llegar al planeta en donde están todos para dar comienzo a la película como tal. Lo que muchos tienen que entender es que Broly en esencia no es un hombre malo, en estas película si es visto como un villano pero es producto de las circunstancias ya que el poder que tiene es tan grande que le afecta el juicio además de que él es usado como un arma y manipulado por su padre para conseguir el control y dominio de diferentes planetas. En este film lo que veremos en como Paragus pierde el control de Broly y este se enfrenta a Goku, Gohan, Trunks y Piccoro. Con Vegeta pasa algo curioso. Muchas veces el orgullo es tan grande que no le permite actuar como debería, a pesar de que al final lo termina haciendo. Acá lo vemos con miedo, paralizado, lleno de angustia; así como cuando se enfrentó a Freezer; y esto es porque él llega a entender que por más príncipe que sea y de sangre pura no es capaz de derrotar a la amenaza en cuestión. Tiene un golpe de realidad.

Eso es lo que lo diferencia de Goku, este siempre va hacia adelante sin importar que y en esta película se nota. Como siempre pasa el protagonismo se lo termina llevando Kakarotto pero pronto se da cuenta de que simplemente no puede ganarle a Broly por lo que aplica "la vieja confiable" y es que les pide energía a todos los que están con él. Todos aceptan menos uno solo, si, Vegeta. Al principio tiene esa duda y conflicto porque la rivalidad siempre va a existir con Goku pero como en el fondo es un buen tipo, termina por ayudar. Y bueno, acá es cuando se da la parte final de la pelea. Algo que pasa mucho en estas películas es que su final es casi el mismo siempre, no tanto en la forma sino en el fondo. Ponen rivales extremadamente fuertes para ellos que les toca hacer la épica para que la película sea increíble.

Source!

Source!

Creo que este film por todo el contexto y que es un poco más profunda que las otras que he visto es de las mejores películas de la época en DBZ más no de Broly, esa es otra de la que ya hablaremos. Para aquellos que no sepan mucho de la historia de estos personajes secundarios de DBZ estas películas son ideales. En mi caso es porque quiero refrescar la memoria, son muchos años que han pasado desde que vi todo esto y siempre es cool regresar. Muy recomendada, está interesante de ver. La animación es lo de siempre. Lo que si es que el doblaje al latino no es el mismo al conocido, hay personajes que se escuchan igual, algo pasó ahí. Un poco más de una hora de historia, les dejo el tráiler por acá abajo.

Source!

***

Well folks, that's all for today. I hope you enjoyed it. ¡Hugs to everyone, see you next time!

Bueno mi gente por hoy es todo, espero que les haya gustado. ¡Un abrazo a todos, nos vemos en la próxima!

to play your game

Who Goes There (S1x04)

Airdate: 9 February 2014

Written by: Nic Pizzolatto Directed by: Cary Jo Fukunaga

Running Time: 55 minutes

The fourth episode of True Detective arrived burdened with an extra week's delay, HBO having adjusted its broadcast schedule around the Super Bowl. The knock-on effect for an international audience was a prolonged wait that sharpened expectations considerably — and with sharpened expectations comes a sharper critical eye. The creators, whether they intended to or not, were thereby obliged to deliver something the series had not yet managed, or at the very least to signal a meaningful gear change.

The preceding episode had done the important work of identifying a principal suspect, which meant that the murder investigation — nominally the engine driving the entire show — could no longer idle on the hard shoulder whilst Nic Pizzolatto indulged his evident fondness for probing the private lives of his two detectives. The structural shift in Who Goes There reflects this: the 2012 framing device, in which Cohle and Hart are questioned by younger colleagues, is reduced to a handful of shots — a few dry, self-aware remarks, the occasional retroactive gloss on their actions from 1995. It functions here less as a narrative mechanism and more as punctuation.

Fans of Alexandra Daddario will, if the episode is any indication, be bidding her farewell — and those of a certain disposition may additionally abandon whatever hopes they had harboured regarding HBO's customary generosity with its female dramatic talent. The resolution of her storyline, however, is handled with the restraint that has become the series' signature. Pizzolatto and director Cary Joji Fukunaga resist the obvious; the fallout for one protagonist's domestic life is conveyed obliquely — through reactions to letters, overheard telephone conversations, and a quietly devastating sequence in which the other half of the partnership attempts to manage the resulting disorder with a conspicuous and almost comic absence of empathy or tact.

Once the episode has dispensed with its personal entanglements, it turns its attention to the professional — and here the picture is equally compromised. Cohle and Hart, pressing deeper into an investigation that begins to suggest something far larger and more monstrous than a single murder, resolve to go underground. For one of them, a former undercover operative, this constitutes a homecoming of sorts — a return to the reckless, "cowboy" mode of existence he has never quite relinquished beneath his veneer of respectability. Laws are broken. Procedures are abandoned entirely. This goes some considerable way towards explaining why, seventeen years on, the two men are so carefully "economical with the truth" when recounting their methods to their interrogators.

Their descent into what might fairly be called a criminal heart of darkness is anything but understated — and here the episode departs decisively from the implicit register it has favoured up to this point. The climactic sequence — a routine undercover operation that deteriorates, with a kind of grim inevitability, into a robbery that then deteriorates further still into sustained and bloody chaos — is executed in a single, unbroken, multi-minute take. Fukunaga, who over the preceding three episodes had appeared content to serve as Pizzolatto's obedient technician, here seizes his moment with considerable authority. The long take unfolds primarily from one character's point of view, pulling the viewer directly into the violence rather than allowing any comfortable critical distance.

It is, frankly, a stunning piece of filmmaking — and it is also, frankly, what saves the episode. Who Goes There is not particularly well-constructed as a whole; it is uneven, and its constituent parts feel imperfectly balanced. But that final sequence is remarkable enough to recalibrate one's overall impression substantially. It also, somewhat inconveniently, raises the bar to a height that Pizzolatto, Fukunaga, and HBO will have their work cut out to clear in the remaining four episodes.

RATING: 8/10 (+++)

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

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

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I'm very much a fan of BBC dramas - they are very well polished and easy to watch, even if the content isn't particularly your jam. In the wake of watching Louis Theroux's Manosphere documentary and award winning Adolescence, and having enjoyed Baby Reindeer, Half Man seemed a good choice.

I'm still not sure it was.

Has anyone read 'A Little Life' by Hanya Yanagiha? Set in NY, it tells the story of four friends as they struggle with substance abuse, sexual assault and depression. People loved this book, but I found it tedious and it's main character, Jude, absolutely intolerable. I wanted to scream at him to get over himself. The book went on for far too long, detailing the most abject depression for the reader. The phrase 'trauma porn' came to mind as it seemed to focus on suffering to emotionally manipulate the reader. It seemed to just intensely escalate the suffering of the character to the point I just felt that it was overdone and failed to land sympathetically. Yes, people suffer terrible things. Surely there's a less relentless, overwhelming way, disproportionate to real life?

I felt this way about Half Man. It very topically - in the light of critiques of the manosphere and toxic masculinity - explore the suffering of men struggling with their sexual identity, abuse, and sexuality. Like Adolescence, this could have been done masterfully, yet I found it to be tedious, repetitive and overdone, and the very unlikeable characters seemed to repeat their behaviours so often that they seemed not real, but charicatures.

Image source

The older 'half' brother is violent, manipulative, and brutish, solving his personal suffering with rage and brutality and fear. The younger 'half', although terribly frightened of his brother, is unable to inhabit his true self as a homosexual (although he argues bisexual) man, particularly as he desires his brother's approval and is overly worried about what people think of him.

Over thirty years, the brother's traumas are played out over and over. Feelings of poor self worth resulting in substance abuse and putting oneself in sexually 'deviant' situations, or beating men to within an inch of their lives, both men play out a version of masculinity that doesn't bring either happiness and results in terrible consequences. And despite being told many times, by lovers and family members that they are worthy, it doesn't hit home for either man.

In the end, I was sick of the grunts of performative masculinity, the whimpering of men who could not take positive action to overcome the influence of those they blamed for their lives. But then perhaps this is what toxic masculinity does - it takes the promise of a positive life and turns it into a claustrophobic, cloistering prison of bitterneess, shame and self-destruction. It teaches men that to be vulnerable is weak, that real intimacy is to be suspicious of and that may harm, and that to ask for and recieve help is to be a failure. The half brothers in Half Man totally get this - particuarly in the final scenes, finding it almost a hilarious, cosmic joke they shouldn't have taken so seriously - yet are trapped by it emotionally.

I guess that's the point - I wasn't meant to enjoy watching these men self sabotage. That awful and endless cycle of poor decision, addictive and self loathing is the reality of trauma itself, and who am I to be annoyed by it when that's a lived experience for many? I may have found the experience as a viewer exhausting over illuminating (though many others felt it explored it well) but that doesn't mean it isn't a version of a truth.

I may have been worn down, but then imagine what it is like to be in these half-men's shoes?

Yes, it's undeniably an important story here about masculinity, sexuality, abuse and generational trauma. Whilst I didn't like the characters, I can admit the performances were strong, although perhaps a little overworked and cliche, and the production was polished to the usual degree you'd expect from the BBC.

However, I couldn't shake the feeling that the series repeated itself as a play of depth - like A Little Life, it piled on suffering which took away from the emotional impact. I found myself knowing that the characters had no other option but to die, rather than the more inspiring story of how to overcome their demons. I'm definitely not saying 'get over it', as if that's an easy thing to do, but I was frustrated by the tragic porn of it.

For many viewers, it clearly worked. For me, it simply became another reminder that showing the truth of trauma is not the same thing as saying something deep and meaningful about it.

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