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Roberto
@nameless16 (75)
📍 Venezuela
1,027 followers
666 following
Conocedor de Futbol y las MMA pero malo practicando deportes, me gusta las peliculas y series por eso ahora..."Soy critico de Cine". Viviendo en Venezuela
588d
Movie · on Woman of the Hour
Woman of the Hour - Movie Review [ES - EN]

Películas o series basadas en crímenes verdaderos, en muchas oportunidades dependen de la unión de la verdad y la ficción para mantener la tensión y la atracción de quien decide ver este tipo de producciones; ese tipo de unión debería tener cierto cuidado en el relato porque al final se cuentan las historias de víctimas reales así como de quién fue el victimario al cual siempre se le debe mostrar como el monstruo que es; en mi opinión estás característica están presentes en el nuevo film de Netflix basado en un despiadado asesino serial.

Films or series based on true crimes, in many opportunities depend on the union of truth and fiction to maintain the tension and attraction of those who decide to watch this type of productions; that kind of union should have certain care in the story because at the end the stories of real victims are told as well as who was the victimizer who should always be shown as the monster he is; in my opinion these characteristics are present in the new Netflix film based on a ruthless serial killer.

Fuente / Source

"Woman of the Hour" film original de Netflix el cual está basado en los crímenes que realizó "Rodney Alcala" en los años 70'; la historia se enfoca en "Sheryl Bradshaw" una hermosa joven mujer, aspirante a actriz que por falta de empleo decide participar en un famoso show televisivo llamado "The Dating Game", en dónde deberá decidir entre tres aspirantes que estarán a prueba de sus interrogantes y dependiendo de sus respuestas podrá elegir entre un tonto y tranquilo hombre o en uno que solo piensa en divertirse o en un asesino serial.

"Woman of the Hour" Netflix original film which is based on the crimes committed by "Rodney Alcala" in the 70's; the story focuses on "Sheryl Bradshaw" a beautiful young woman, aspiring actress who for lack of employment decides to participate in a famous television show called "The Dating Game", where she must decide between three applicants who will be tested on their questions and depending on their answers she can choose between a silly and quiet man or one who only thinks about having fun or a serial killer.

Fuente / Source

Este film significa para Anna Kendrick, su debut como directora y puedo decir que hace un excelente trabajo, toda imagen captada por la cámara es una genialidad, puedo citar muchas de las tomas que decidió usar Kendrick no solamente para el relato del personaje que ella interpreta en el film, sino para el relato de las víctimas, así como el modus operandi que usaba "Alcala" para cometer sus crímenes. En la película hay un magnífico uso de la luz, así como colores como marrón, naranja, azul cielo y beige, pero lo que más me sorprendió fue el uso de la oscuridad para cierta escena, la cual es mi favorita del film en donde se trata de ocultar un monstruo que está escondido para la vista de todos.

El guion escrito por Ian McDonald en un principio se puede sentir misógino, pero es que porque el relato va cambiando dependiendo el punto de vista de quien sea el dueño de la historia, pero si, la misoginia está presente en muchas partes de la historia y más cuando todo se enfoca en el personaje de "Sheryl", desde un principio se nota la imposición del hombre en muchas actividades y más cuando se muestra como funciona el mundo del entretenimiento en esa época y mucho tiempo después, con esto digo que existe una notoria crítica al cómo se maneja el mundo de la actuación, los castings y demás, pero también la visualización de la mujer como un objeto o víctima, algo que podrá hacerse ver qué ha cambiado, pero al final es más de lo mismo.

This film means for Anna Kendrick, her debut as a director and I can say that she does an excellent job, every image captured by the camera is a genius, I can quote many of the shots that Kendrick decided to use not only for the story of the character she plays in the film, but for the story of the victims, as well as the modus operandi that "Alcala" used to commit his crimes. In the film there is a magnificent use of light, as well as colors such as brown, orange, sky blue and beige, but what surprised me the most was the use of darkness for a certain scene, which is my favorite of the film where they try to hide a monster that is hidden for all to see.

The script written by Ian McDonald at first can feel misogynistic, but that's because the story is changing depending on the point of view of who owns the story, but yes, misogyny is present in many parts of the story and more when everything is focused on the character of "Sheryl", from the beginning you notice the imposition of men in many activities and more when it shows how the world of entertainment works at that time and long after, with this I say that there is a notorious criticism of how the world of acting is handled, casting and so on, but also the visualization of women as an object or victim, something that may be made to see what has changed, but in the end it is more of the same.

Fuente / Source

Con respecto al desempeño actoral de Anna Kendrick, creo que su trabajo en la dirección opacó todo lo que hizo como "Sheryl Bradshaw"; aunque crea que en mi opinión interpreta al mismo personaje en cada film que veo en donde ella protagoniza, no puedo negar que su actuación es correcta para esta historia; es una mujer inteligente, con sueños, esperanzas, pero que es víctima de una imposición o de la idea de ciertos hombres sobre las mujeres, su personaje es divertido, es dulce, pero también es vulnerable, la característica preferida de un asesino; justamente el que interpreta a "Rodney Alcala", me refiero al actor Daniel Zovatto, es el que más me sorprendió, tiene la naturalidad en demostrar el ser confiable, agradable y divertido, justamente son las características que se convierte en su carta de presentación a cada una de sus víctimas, pero también sabe realizar esa transición al convertirse en un vil y despiadado asesino, un trabajo correcto para el principal protagonista de la historia.

Regarding the acting performance of Anna Kendrick, I think her work in the direction overshadowed everything she did as "Sheryl Bradshaw"; although I believe that in my opinion she plays the same character in every film I see where she stars, I cannot deny that her performance is correct for this story; she is an intelligent woman, with dreams, hopes, but she is a victim of an imposition or the idea of certain men about women, her character is funny, she is sweet, but she is also vulnerable, the favorite characteristic of a murderer; The one who plays "Rodney Alcala", I mean the actor Daniel Zovatto**_, is the one who surprised me the most, he has the naturalness to be reliable, nice and funny, these are the characteristics that become his letter of introduction to each of his victims, but he also knows how to make that transition to become a vile and ruthless murderer, a correct job for the main protagonist of the story.

Fuente / Source

Como dije al comienzo de la reseña, para mí es importante el cuidado del relato en este tipo de films y en Woman of the Hour, se hace un buen trabajo mostrando diferentes puntos de vista en una historia, cada una tiene una alta relevancia para demostrar ciertos hechos, como por ejemplo la critica a la sociedad, en especial los comportamientos de hombres y mujeres, la misoginia, algo que es tema importante en el film por el hecho de obviar a las víctimas mortales y sobrevivientes, de ver a las mujeres como un objeto, también al sistema policial y judicial, al mundo del entretenimiento, son muchos temas que fueron parte de la historia de un asesino que acabó con la vida de muchas personas, siempre he pensado que este tipo de films así demuestren verdad y ficción, son películas con un relato de verdadero terror por la demostración de lo vulnerable que podemos ser; espero que puedan dar oportunidad a este pequeño film, muy buen dirigido y actuado, una verdadera sorpresa por parte de Netflix.

As I said at the beginning of the review, for me it is important the care of the story in this type of films and in Woman of the Hour, a good job is done showing different points of view in a story, each one has a high relevance to demonstrate certain facts, such as criticism of society, especially the behaviors of men and women, misogyny, something that is an important theme in the film by the fact of obviating the fatal victims and survivors, I have always thought that this kind of films, even if they show truth and fiction, are films with a real horror story because of the demonstration of how vulnerable we can be; I hope you can give a chance to this little film, very well directed and acted, a real surprise from Netflix.

Woman of the Hour - Official Trailer

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

I have used deepl.com as a translator

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@wiseagent
@wiseagent (81)
📍 Brazil
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Hive's first BRAZILIAN ORCA.
588d
Movie · on Saving Private Ryan
CineTV Contest: “Saving Private Ryan”, the purest destructive essence of a war.
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

Released in 1998, skillfully written by Robert Rodat and directed (masterfully, by the way) by Steven Spielberg, I can say (without having to think twice) that Saving Private Ryan is one of my war movies favorites of all time. Apparently simple in its initial purpose (which revolves around the rescue of a single soldier), the plot manages to stand out precisely because of the way it is constructed on screen and how the effects of these choices create unforgettable moments (which are incredibly well conducted by Spielberg).

Esquire

Set during the Second World War, the viewer follows the journey of Captain Miller (played by Tom Hanks, who here delivers one of the best performances of his career so far) at the head of the high command of the United States army to rescue the last of the soldiers of the Ryan family. In the midst of this objective, the drama experienced by the rescue team involves (in addition to many enemies) their own fears and traumas. War plays a brutal role in the movie (in addition to the graphically violent aspect), and this is portrayed as an extra character.

Ranker

The drama is partially based on real events (which makes this whole experience of watching it on screen something more meaningful and more substantial), bringing the sad and shocking reality of war in its rawest layer, and proving that in periods like This one, there are no winners... Only losers. The story is very striking, and touches deeply on dramatic issues of immeasurable weight, however, without ever resorting to the well-known clichés of this genre. Filled with many iconic scenes, this is one of those timeless war movies that is very difficult to forget.

The War Song Series

In an immersive way, the war is worked (and conducted) within the script, offering the public a “first class trip” to hell. Since the drama of this bloody period is portrayed with so much realism, the subplots gain a much deeper space, raising the quality of what was already great. Showing the war and the battlefronts from the inside is one of the most incredible things about this movie, because it is as if the dynamics of the period were being “dissected” before our eyes. The morbid interest is understandable, because the movie is captivating.

Letterboxd

Technically, it is an impeccable movie in all its aspects. Absurdly well produced, and carefully of stupendous quality, I could write for hours and hours and not be able to point out how incredible the technical part of the project is. When all this is added to the textual and narrative quality of the movie as a whole, it is impossible not to mention this title as an unforgettable war movie (and one that was very well portrayed by a very good cast) and that certainly ended up influencing a later sequel to so many other movies within this same genre.

[ OFFICIAL TRAILER ]

This post is my entry for the CineTV Contest #119, which is being promoted by the CineTV community.

Concurso CineTV: “Salvar al soldado Ryan”, la más pura esencia destructiva de una guerra.

Estrenada en 1998, hábilmente escrita por Robert Rodat y dirigida (magistralmente, por cierto) por Steven Spielberg, puedo decir (sin tener que pensármelo dos veces) Salvar al soldado Ryan es una de mis películas bélicas favoritas de todos los tiempos. Aparentemente simple en su propósito inicial (que gira en torno al rescate de un único soldado), la trama logra destacar precisamente por la forma en que está construida en pantalla y cómo los efectos de estas elecciones crean momentos inolvidables (que están increíblemente bien llevados). por Spielberg).

Ambientada durante la Segunda Guerra Mundial, el espectador sigue el viaje del Capitán Miller (interpretado por Tom Hanks, que aquí ofrece una de las mejores interpretaciones de su carrera hasta el momento) al frente del alto mando del ejército de los Estados Unidos para rescatar a los El último de los soldados de la familia Ryan. En medio de este objetivo, el drama que vive el equipo de rescate involucra (además de muchos enemigos) sus propios miedos y traumas. La guerra juega un papel brutal en la película (además del aspecto gráficamente violento), y ésta se presenta como un personaje extra.

El drama está parcialmente basado en hechos reales (lo que hace que toda la experiencia de verlo en pantalla sea más significativa y más sustancial), trayendo la triste e impactante realidad de la guerra en su capa más cruda, y demostrando que en períodos como este, No hay ganadores... Sólo perdedores. La historia es muy llamativa y toca profundamente temas dramáticos de inconmensurable peso, aunque sin recurrir nunca a los conocidos clichés de este género. Llena de muchas escenas icónicas, esta es una de esas películas de guerra eternas que es muy difícil de olvidar.

De forma inmersiva, la guerra se trabaja (y conduce) dentro del guion, ofreciendo al público un “viaje en primera clase” al infierno. Al retratarse con tanto realismo el drama de este período sangriento, las subtramas ganan un espacio mucho más profundo, elevando la calidad de lo que ya era grandioso. Mostrar la guerra y los frentes de batalla desde dentro es una de las cosas más increíbles de esta película, porque es como si la dinámica de la época estuviera siendo “diseccionada” ante nuestros ojos. El interés morboso es comprensible, porque la película es cautivadora.

Técnicamente es una película impecable en todos sus aspectos. Absurdamente bien producido, y cuidado con una calidad estupenda, podría escribir durante horas y horas y no poder señalar lo increíble que es la parte técnica del proyecto. Cuando todo esto se suma a la calidad textual y narrativa del conjunto de la película, es imposible no mencionar este título como una película bélica inolvidable (y que estuvo muy bien interpretada por un muy buen reparto) y que sin duda acabó influyendo en una secuela posterior de tantas otras películas dentro de este mismo género.

Esta publicación es mi entrada para el Concurso CineTV #119, que está siendo promovido por la comunidad CineTV.

Concurso CineTV: “O Resgate do Soldado Ryan”, a mais pura essência destruidora de uma guerra.

Lançado no ano de 1998, escrito habilmente por Robert Rodat e dirigido (magistralmente, diga-se de passagem) por Steven Spielberg, eu posso dizer (sem ter que pensar duas vezes) que O Resgate do Soldado Ryan é um dos meus filmes de guerra favoritos de todos os tempos. Aparentemente simples no seu propósito inicial (que gira em torno do resgate de um único soldado), a trama consegue se destacar justamente pela maneira como ela vai sendo construída na tela e como os efeitos dessas escolhas criam momentos inesquecíveis (que são incrivelmente bem conduzidos por Spielberg).

Ambientado durante a Segunda Guerra Mundial, o telespectador acompanha a jornada do Capitão Miller (interpretado por Tom Hanks, que aqui entrega uma das melhores performances de sua carreira até então) à frente do alto comando do exército dos Estados Unidos para resgatar o último dos soldados da família Ryan. No meio desse objetivo, o drama vivido pela equipe de resgate envolve (para além de muitos inimigos) os seus próprios medos e traumas. A guerra tem um papel brutal no filme (para além do aspecto graficamente violento), e isso é retratado como um personagem extra.

O drama é parcialmente baseado em fatos reais (o que torna toda essa experiência em assisti-lo na tela em algo mais significativo e mais substancial), trazendo a triste e chocante realidade da guerra na sua camada mais crua, e provando que em períodos como este, não existem vencedores... Apenas perdedores. A estória é muito marcante, e toca fundo em questões dramáticas de pesos imensuráveis, porém, sem nunca apelar para os tão conhecidos clichês deste gênero. Repletos de muitas cenas icônicas, esse é um daqueles filmes de guerra atemporais muito difíceis de serem esquecidos.

De uma maneira imersiva, a guerra é trabalhada (e conduzida) dentro do roteiro oferecendo ao público uma “viagem de primeira classe” ao inferno. Uma vez que o drama desse período sanguinolento é retratado com tanto realismo, as subtramas ganham um espaço muito mais profundo, elevando a qualidade do que já estava ótimo. Mostrar a guerra e os fronts de batalhas por dentro é uma das coisas mais incríveis deste filme, porque é como se a dinâmica do período estivesse sendo “dissecada” diante dos nossos olhos. O interesse mórbido é compreensível, porque o filme é cativante.

Tecnicamente, é um filme impecável em todos os seus aspectos. Absurdamente bem produzido, e cuidadosamente de uma qualidade estupenda, eu poderia escrever por horas e horas e não conseguir pontuar o quanto a parte técnica do projeto é incrível. Quando tudo isso é somado a qualidade textual e narrativa do filme como um todo, é impossível não mencionar este título como um filme de guerra inesquecível (e que foi muito bem retratado por um elenco muito bom) e que certamente acabou influenciando uma sequência posterior de tantos outros filmes dentro desse mesmo gênero.

Este post é a minha participação para o Concurso CineTV #119, que está sendo promovido pela comunidade CineTV.

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Erika Mendoza
@erigm (73)
📍 Argentina
189 followers
190 following
Libros, películas y series, videojuegos, música y mucho más. Acá van a encontrar reseñas de todo lo que me gusta y les quiera compartir.
589d
TV · on Daryl Dixon
🎬 Serie Review: Daryl Dixon season 2 [ES/EN]
_{Cover made in Canva. Image}

¡Hola amigos! Hoy les quiero compartir la reseña sobre la segunda temporada de la serie de Daryl Dixon en el mundo de The Walking Dead versión París. En esta ocasión siguiendo las aventuras tanto de Daryl como de Carol que va en su búsqueda.

Hello friends! Today I want to share with you the review of the second season of the series of Daryl Dixon in the world of The Walking Dead Paris version. This time following the adventures of both Daryl and Carol who goes in search of him.

Trama - Plot

_Source

Tras la última comunicación con Daryl, y pese a no tener noticias suyas de a dónde fue, Carol decidió ir en su búsqueda. Al enterarse de que fue llevado en un barco hacía Francia decide buscar la manera de llegar hasta allí. Para su suerte, da con un hombre que posee un avión y tras una mentira, el hombre decide ayudarla y así van rumbo al país europeo. Por el otro lado, Daryl termina no subiendo al barco que lo llevaría a Estados Unidos para quedarse con Laurent e Isa, hasta saber que se encuentran en un buen sitio, pero todo se termina complicado y ya no hay un lugar seguro en Francia para el niño. Así que será momento de tomar decisiones que cambiarán sus vidas.

After the last communication with Daryl, and despite having no news of where he went, Carol decided to go in search of him. When she learns that he was taken on a ship to France, she decides to look for a way to get there. Luckily, she meets a man who owns a plane and after a lie, the man decides to help her and so they go to the European country. On the other hand, Daryl ends up not getting on the boat that would take him to the United States to stay with Laurent and Isa, until he knows that they are in a good place, but everything ends up complicated and there is no longer a safe place in France for the child. So it will be time to make decisions that will change their lives.

Reseña - Review

_Source

Me está gustando muchísimo la serie en general, es de mis spin off favoritos de la saga. Me resulta muy interesante la trama de Francia, aunque es bastante enredada y descuidada por momentos, pero sin dudas nos dio grandes momentos del personaje de Daryl, y ahora de Carol también. Además de momentos tensos, variantes de zombies y escenas de acción.

I'm really liking the series in general, it's one of my favorite spin offs of the saga. I find France's plot very interesting, although it is quite convoluted and sloppy at times, but it certainly gave us great moments of Daryl's character, and now Carol's as well. In addition to tense moments, zombie variants and action scenes.

Pudimos ver un Daryl al que de nuevo se le abrió la oportunidad de vivir un romance, pero todos sabemos que él es un lobo solitario y así va a ser siempre. Para eso fue hecho su personaje, sin embargo, me encanta este tipo de desarrollo y que él siga siendo fiel a su estilo. Por otro lado, vimos a una Carol que todavía siente dolor por la pérdida de su hija Sophia y cómo no pudo superar lo del granero, ya que todavía se paraliza cuando tiene que ingresar a uno. Pero este viaje será la clave para poder superarlo.

We got to see a Daryl who was once again given the opportunity for romance, but we all know he's a lone wolf and that's the way it's always going to be. That's what his character was made for, however, I love this kind of development and that he remains true to his style. On the other hand, we saw a Carol who still feels pain from the loss of her daughter Sophia and how she couldn't get over the barn, as she still gets paralyzed when she has to enter one. But this trip will be the key to overcome it.

_Source

Por otro lado, como toda serie de zombies y más de este universo donde los humanos parecen perecer más por la lucha que tienen con sus pares que con estos seres, lamente varias muertes que se dieron esta temporada. Pero me gustó el resultado final, aunque siento que estuvo un poco agarrado de los pelos. Es una temporada de 6 capítulos y en la última mitad pasaron varios sucesos definitorios que me hacían pensar que estuvieron un poco apresurados, sobre todo porque en cada uno de esos 3 últimos capítulos murieron 3 líderes sucesivamente que iban tomando el lugar del otro para llegar al mismo fin. Me pareció un montón, aunque tengo que reconocer que tuvo bastante acción y escenas de tensión que mantuvo todo el asunto entretenido.

On the other hand, like all zombie series and more of this universe where humans seem to perish more for the fight they have with their peers than with these beings, I regret several deaths that occurred this season. But I liked the final result, although I feel that it was a little grabbed by the hair. It is a season of 6 chapters and in the last half several defining events happened that made me think that they were a bit rushed, especially because in each of those last 3 chapters 3 leaders died in succession that were taking the place of the other to reach the same end. I thought it was a lot, although I have to admit that it had enough action and tension scenes that kept the whole thing entertaining.

Sin embargo, estoy conforme con el resultado final. El reencuentro entre estas dos potencias se hizo esperar, pero fue muy lindo y emotivo, adoro este dúo y espero que sigan para rato, por lo que estoy deseando una próxima temporada que los lleve cada vez más cerca hacia su destino. La verdad disfruté mucho esta segunda temporada.

However, I am happy with the final result. The reunion between these two powerhouses was a long time coming, but it was very nice and emotional, I love this duo and I hope they continue for a long time, so I'm looking forward to a next season that will take them closer and closer to their destiny. I really enjoyed this second season.

_Source

Bueno amigos, hasta acá mi opinión acerca de la serie. Espero que les haya gustado y los invito a verla si no lo hicieron. Si ya la vieron me encantaría conocer qué les pareció a ustedes. Gracias por llegar hasta acá y apoyar mi contenido. ¡Hasta la próxima!

Well friends, this is my opinion about the series. I hope you liked it and I invite you to watch it if you haven't already. If you have already seen it, I would love to know what you thought about it. Thanks for coming this far and supporting my content. See you next time!

_{Separador de texto hecho en Canva - Text separator made in Canva}

_{Traductor - Translation}
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If its on Tv I'll write about it || If its on Tv they already doing it
589d
Movie · on The Apprentice
The Apprentice (2024) - Love Story for Power and Ambition - REVIEW
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I never really knew what to expect when I first heard about The Apprentice (2024), well yes the obvious is that its a movie related to Donald Trump although what was going to be the perspective or point of view was unknown to me, a biopic was expected. Ali Abbasi could have taken Donald Trump’s biopic in so many wrong ways, but after all I was really impressed. It’s a gritty depiction of Trump’s first days in the cutthroat world of New York real estate and it doesn’t sugarcoat the fact that it’s a kind of know it all sleek rich kid who becomes the ruthless figure we know today, its almost like iterally nothing stands out about the story, but it’s told so well with the help of stellar performances by the cast and a visual style that sucks you right into the raw atmosphere of 1970s and 80s New York.
- IMDB: https://www.imdb.com/title/tt8368368/
- Platform: AppleTV+
Rottentomatoes Rating

Source
From the first time you see Sebastian Stan on screen as a young Donald Trump you can feel the tension. Trump is a man who’s always trying to prove himself, constantly seeking approval from his father and the elite circles he’s attempting to join. It doesn’t really start to change for him until he meets Roy Cohn , played by Jeremy Strong. Trump becomes Cohn’s pupil, learning the ropes of New York real estate from the master and fast learning every trick in the game to make it his own, good part of the film is about their relationships. Cohn, in many ways teaches him how to manipulate the system, evade taxes and crush his enemies with three simple rules: Attack relentlessly, never admit fault and always claim victory.

And we see Trump ascending New York’s real estate scene with more and more of Cohn’s ruthlessness, manipulative and willingness to do whatever it takes to win, at a certain point you start to see how the movie is not shy of showing Trump’s darker side. He turns his back on his brother when he asks for help with addiction, sexually attacks his wife Ivana, played by Maria Bakalova, and eventually throws Cohn to the wolves when he becomes sick with AIDS.

In my opinion, the reason The Apprentice is such a good movie is because it shows us how Trump’s character evolves into the man we all know today, the man has answers for any question you throw at him. We don’t see him make an overnight change but rather we see him slowly cultivating and improving Cohn’s methods and making them his own, latter on when Cohn dies, Trump has taken all of his tricks and teaching to heart but has never acknowledged how much he owes his mentor "always claim victory".

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Sebastian Stan as Donald Trump is something else, during this movie with his blond hair, you will never imagine this is The Winter Soldier, similar to when Chris Hemsworth did Dementus on Furiosa (2024), its so compelling and goes deep into the character that changes any impression out of the actor. He doesn’t try to mimic Trump’s voice or manners too closely, it mostly seem that he focuses on capturing the essence of who Trump was during this period: ambitious, insecure and becoming more and more ruthless, he probably figure out to come up with his own version of Trump but still generate this big impact on the audience. The film is able to make Trump pathetic and terrifying at the same time and that’s no easy task. There’s one standout scene in which Trump cruelly dismisses his brother Fred Jr., who is fighting addiction, you can see the fear in Stan's performance, fear that Fred's weakness might somehow bring Fred's weaknesses back on him.

The cast on this movie really went to work, its impressive, Jeremy Strong as Roy Cohn. Cohn is played strong as a man who loves power and is simultaneously quite vulnerable underneath the tough exterior. Every single time Stan and Strong were together on this movie, this are some of the best in the movie, the tension between them is palpable as their mentor mentee relationship grows more and more dark and toxic, like Cohn was creating this monster in purpose. There is one particularly chilling moment when Cohn shows Trump his stack of blackmail material on various public figures. “But isn’t that illegal?” Trump asks nervously while Cohn smiles, and replies: 'That's the point.'

I also want to mention Maria Bakalova, who portrayed Ivana Trump, she adds depth to a character who could have easily been a more flat simple person, and she shows Ivana to be both ambitious on her own, and deeply affected by Trump’s cruelty.

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Source
It’s no surprise that The Apprentice has caused mixed response from audiences online, while some viewers have embraced its unflinching description and development of Trump’s rise to power, others see it as too sympathetic like its almost made too commercial to make it look good in the eyes of the public when the truth might be way more dark. Love it of hate it, specially during a year of presidential elections in the US, this is a movie that created a certain impact.

I would not call this the best movie of the year, although a good candidate for best biopic, not sure if that's is a category but would not be ruling for Stan or Strong for an Oscar to be honest. I'm the type of guy who does not believe everything they say on the screen so I bet things were much worst than the movie shows, not everyone feels that the movie goes far enough at exploring the effects of Trump's actions on those around him Ivana's character gets some screen time, but others like Fred Jr. are underdeveloped.

For me personally, The Apprentice worked because it didn’t try too hard to be either a take down or a glorification of Donald Trump it simply showed him as he was during this period: ambitious, flawed, and growing more and more monstrous as he climbed higher and higher up the ladder of success. It does a great job of explaining how power can corrupt, always keeping that mindset and fixed on a certain phase of his life, very different to what Napoleon (2024) did that try to explain so many aspects of Napoleon across his entire life.

Something I still remember is how Trump was obsessed with always claiming victory no matter how badly he lost, which is a theme that rings especially loud considering recent political goings on. It’s made me think about how much a society like ours values winning at all costs and what the hell happens when you let people like Trump rise unchallenged through systems built to reward ruthlessness over integrity. At the end Donald Trump has truly absorbed the lessons of Roy Cohn, but refuses to acknowledge how much he owes his mentor, how he almost forgot Cohn

There’s also a controversial ending where Trump gets liposuction and nails his bald spot down like he’s completing his transformation, both inside and out, really looks into something monstrous, this was symbolic moment, his final form if you want to call it that way; it wasn’t about vanity, it was about erasing any sign of vulnerability or imperfection of himself, on most true villain stories once you see them cry or weak they going after you because you have seen their weak side. At the end of the movie during an interview with Tony Schwartz, Trump talks about his business deals, which to him aren't just transactions, but the art itself and not the means to any end goal, but winning itself.

Either you love him or hate him we can not denied Donald Trump story is a very interesting one and can learn a few things from it, either they are good or bad every lesson is knowledge. This is not just another biopic but is a story of love for power between two men who form a relationship that definitely change both of them and probably Cohn is the responsible to plant the seed that created the Donald Trump of today, the man who became president of USA. Either it is out of curiosity or purely entertainment value or even for a deeper reflection on corruption in the world of business during the 80s, The Apprentice is a great one time watch.

#skiptvads, #inleo, #hive, #trump, #biopic, #realestate, #newyork, #sebastianstan, #jeremystrong, #roycohn, #ivana, #power, #corruption, #mentor, #transformation, #80s, #visuals, #performance, #ambition, #manipulation, #ruthless, #aids, #narcissism, #cinematography, #greed, #violence, #success, #betrayal, #flixfinder

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Paloma Peña Pérez
@palomap3 (76)
📍 Zaragoza, España
1,245 followers
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Humana curiosa buscando respuestas // Curious human searching for answers
589d
TV · on Game of Thrones
Juego de Tronos T.4: Todos los hombres deben morir // Game of Thrones S.4: All men must die

Hola, querido hiver.

Bienvenido a una nueva entrega de esta serie de reseñas sobre Juego de Tronos en la que comento una por una cada temporada. Hemos superado ya la mitad de la serie y las tramas siguen entrelazándose. Los personajes empiezan a recibir las consecuencias de sus acciones, en algunos casos con destinos más que merecidos y en otros nos toca seguir sufriendo por ellos, jeje.

Antes de seguir con la reseña, debo hacer el pertinente...

Aviso de spoiler

Para continuar con las reseñas debo desvelar lo que va sucediendo en la serie, así que estás avisado. Es tu elección continuar leyendo o no.

En esta temporada Tyrion Lannister recupera el protagonismo aunque no para bien. En el banquete de bodas de su sobrino el rey Joffrey con Margaery Tyrell, el soberano es envenenado y Cersei acusa a su hermano Tyrion. Se celebra un juicio amañado que termina por resolverse con un duelo entre el príncipe Oberyn Martell y el caballero que llaman la Montaña. El juicio saca a la luz traiciones y apoyos familiares que el espectador podía intuir y ahora ve confirmados.

Sansa Stark, recién casada con Tyrion, consigue escabullirse y huir del banquete en el que muere el rey Joffrey. Termina en las manos de Meñique, quien la lleva al Nido de Águilas donde gobierna la tía de Sansa. Meñique y la tía se casan, pero él enreda para que su mujer sea presa de un ataque de celos y acaba lanzándola al vacío.

Meñique es acusado de la muerte de su esposa pero consigue salir airoso de la situación con el apoyo de Sansa y actúa como regente del nuevo Señor del Valle.

En Rocadragón Gendry Baratheon logra escapar con la ayuda de Davos. El rey Stannis decide salir rumbo al norte y se lleva con él a su familia y a Melissandre. En esta parte no hay mucha acción respecto a estos personajes.

El Castillo Negro recibe el ataque coordinado de los salvajes por el norte y por el sur del Muro. La situación se complica de modo que Jon Nieve debe hacerse cargo del mando de la Guardia de la Noche en los momentos cruciales. Esto no gustará al comandante en funciones, que ya le tenía suficiente ojeriza.

El amigo de Jon Nieve, Samwell, envía a Elí y a su hijo a la aldea más cercana para mantenerlos a salvo. Al poco tiempo los salvajes asaltan la aldea y consiguen escapar, regresando de nuevo al Castillo Negro. En el gran ataque permanecen ocultos en la despensa y quedan a salvo.

Ramsay utiliza a Theon Greyjoy como cebo para recuperar una fortaleza rebelde para su padre. Su victoria trae como consecuencia que su padre le concede su apellido y le nombra heredero de la casa Bolton.

Después de liberar a los esclavos de Yunkai Daenerys Targaryen consigue lo mismo en la ciudad de Meereen. Aquí se establece y comienza a reinar de verdad, descubriendo que las cosas no son tan sencillas como pensaba.

Arya Stark viaja con el Perro hacia el Nido de Águilas. Allí el desertor de la Guardia Real pretende entregarla a su tía para recibir una recompensa. Por el camino mantienen una relación de protección y defensa mutua, saliendo al paso de las dificultades.

Brienne va en busca de cumplir la promesa que hizo de recuperar a las chicas Stark. No lo hace sola, cuenta con la ayuda de Pod, el que fuera escudero de Tyrion. Consiguen encontrar a Arya y al Perro pero Arya no cree que ella y la rechaza.

Al norte del Muro Bran Stark sigue con la búsqueda del cuervo de tres ojos y con la ayuda de los hermanos Reed y de Hodor. Se enfrentan a unos seres que no mueren hasta que son salvados por un niño que les lleva hasta un hombre que dice estar esperándoles.

Esta temporada es más oscura que la anterior, pues el peso de la acción se desarrolla en su mayor parte en la zona norte. El clímax se alcanza en el capítulo noveno, dedicado íntegramente a la contienda librada en el Muro y el asalto al Castillo Negro. Para mi gusto es excesivo, terminé agotada de escuchar disparos de flechas y golpes de espadas.

Reconozco no obstante el mérito de los efectos especiales. Los gigantes y los mamuts parecen reales, están bien logrados. Tampoco le quito valor a la coordinación de decenas de personas manteniendo una batalla en escaso espacio. Es un trabajo de coreografía espectacular. Pero mantener ese nivel de acción ininterrumpida hizo que por primera vez desde que comencé la serie mirase el reloj esperando que el capítulo terminara.

Créditos: Diseño de la portada en Canva. Todas las imágenes de la película obtenidas de IMDb. Trailer oficial obtenido de YouTube

Hasta la próxima publicación. Mientras tanto, ¡cuídate!

Reseñas de las temporadas anteriores Temporada 1: Ganas o mueres Temporada 2: Cinco reyes. Un trono. Temporada 3: Todos los hombres deben servir

Herramientas: Cámara iPhone 13 Pro, editor de fotos Mac. Mis publicaciones en Worldmappin pinchando aquí Si te gusta lo que publico, únete a mi Fanbase pinchando aquí

©️Copyright 2024 Paloma Peña Pérez. Todos los derechos reservados.

Hi, dear hiver.

Welcome to a new instalment in this series of Game of Thrones reviews in which I comment on each season one by one. We're over halfway through the series and the plots continue to intertwine. The characters begin to receive the consequences of their actions, in some cases with more than deserved fates and in others we have to continue suffering for them, hehe.

Before I go on with the review, I must make the relevant...

Spoiler warning

To continue with the reviews I must reveal what happens in the series, so you are warned. It's your choice to continue reading or not.

This season Tyrion Lannister is back in the limelight, but not for the better. At the wedding feast of his nephew King Joffrey with Margaery Tyrell, the ruler is poisoned and Cersei accuses her brother Tyrion. A rigged trial ensues that ends with a duel between Prince Oberyn Martell and the knight they call the Mountain. The trial brings to light betrayals and family support that the viewer could have guessed and now sees confirmed.

Sansa Stark, newly married to Tyrion, manages to sneak away from the banquet at which King Joffrey dies. She ends up in the hands of Littlefinger, who takes her to the Eagles Nest where Sansa's aunt rules. Littlefinger and the aunt marry, but he entangles her so that his wife falls prey to a fit of jealousy and ends up throwing her overboard.

Littlefinger is accused of his wife's death but manages to extricate himself from the situation with Sansa's support and acts as regent for the new Lord of the Vale.

At Dragonstone, Gendry Baratheon escapes with the help of Davos. King Stannis decides to leave for the North and takes his family and Melissandre with him. In this part there is not much action concerning these characters.

Castle Black comes under coordinated attack from the wildlings to the north and south of the Wall. The situation is complicated so that Jon Snow must take command of the Night's Watch at crucial moments. This will not go down well with the acting commander, who has had enough of a grudge against him.

Jon Snow's friend Samwell sends Eli and his son to the nearest village to keep them safe. Before long the wildlings raid the village and manage to escape, returning to Castle Black. In the great attack they remain hidden in the larder and are safe.

Ramsay uses Theon Greyjoy as bait to recapture a rebel stronghold for his father. His victory results in his father granting him his surname and naming him heir to House Bolton.

After freeing the slaves of Yunkai Daenerys Targaryen achieves the same in the city of Meereen. Here she settles down and begins to truly reign, discovering that things are not as simple as she thought.

Arya Stark travels with the Hound to the Eagles Nest. There the deserter from the Kingsguard intends to hand her over to his aunt for a reward. Along the way, they maintain a relationship of mutual protection and defence, and overcome difficulties.

Brienne goes on a quest to fulfil the promise she made to get the Stark girls back. She doesn't do it alone, but with the help of Pod, Tyrion's former squire. They manage to find Arya and the Hound but Arya doesn't believe her and rejects her.

North of the Wall Bran Stark continues his search for the three-eyed raven with the help of the Reed brothers and Hodor. They are confronted by beings who do not die until they are saved by a boy who leads them to a man who claims to be waiting for them.

This season is darker than the last, with the bulk of the action taking place in the North. The climax is reached in the ninth chapter, devoted entirely to the battle at the Wall and the assault on Castle Black. For my taste it is excessive, I ended up exhausted from listening to arrows shooting and swords clashing.

I do, however, recognise the merit of the special effects. The giants and mammoths look real, they are well done. Nor do I detract from the coordination of dozens of people holding a battle in a small space. It's spectacular choreography. But maintaining that level of non-stop action made me look at the clock for the first time since I started the series, waiting for the episode to end.

Credits: Cover design in Canva. All images from the film obtained from IMDb. Official trailer obtained from YouTube

See you next time. In the meantime, take care!

Reviews of previous seasons Season 1: You win or you die Season 2: Five kings. One throne. Season 3: All men must serve

Tools: iPhone 13 Pro camera, Mac photo editor. Translated with DeepL My publications in Worldmappin by clicking here If you like my content, join my Fanbase clicking here

©️Copyright 2024 Paloma Peña Pérez. All rights reserved.
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591d
Movie · on The Babysitter
MOVIE REVIEW: “The Babysitter” (2017)
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

Synopsis: Little Cole has a platonic crush on Bee, his beautiful and fun nanny. However, during a seemingly ordinary night, he ends up discovering that, in fact, she is a worshiper of occult forces and that she commits a series of murders to steal the blood of her victims and perform satanic rituals in exchange for wishes.

Mixing the comedy and horror genres within the same project is always an interesting challenge. Not only because there is a question of balancing between the types of approaches, but because of the weight of these choices within the narrative that the script tries to establish. In this movie, the dosage is well done and the result is devilishly fun. Horror has a cartoonish dimension, and this ends up communicating very well with the purely comic side, which is very functional. I always like bold and authentic projects, even if they are part of a previously known pattern.

The M Report

In the middle of an ordinary night, young Cole's parents decide to go on a short trip and leave their son in the care of Bee, a nanny who is apparently helpful and committed to what she does. Cole has a platonic passion for her, but he ends up discovering the hard way that Bee is actually a real nightmare in the form of people, and upon discovering her deadly secret (Bee is a devil worshiper and performs satanic rituals with blood from each of his victims in exchange for wishes), he needs to find a way to survive a night of deadly games.

Embracing many clichés to consolidate its story, the movie is not ashamed to do this in a very explicit way. Perhaps this is its greatest success, showing the public that it is not doing anything so original, but it is very substantial within the fun atmosphere that surrounds it. The result is a violently creative movie, with a direct reference to the 80s and 90s (especially due to the vibrant rhythm, which makes the project something more dynamic) and a really vibrant ambiance, although limited to a few scenes (which are purposefully dark).

Subversive Rabbit

The way the plot is presented to the audience has an engaging touch. Cole and Bee reach the audience in different ways. Cole is a young teenager who is bullied at school and feels slighted for not being a normal child. Bee is the opposite, a confident, cool teenager who ends up being an important foil in his life due to the values she represents (and the passion he feels for her). The script works this idea well, but it sticks to the basics just to establish the main dynamic between the protagonist and the antagonist (and it works).

When the script tries to expand its scope and include new characters, the dynamics lose some of their quality weight. This ends up happening because there is no depth to their plot. Everything is very superficial and there is no space for the audience to care about them (the only exception here is Bee, who suffers from this same problem, but because she is a charismatic character she manages to be on another level) as it should happen. The highlight is the duo Judah Lewis and Samara Weaving, who are very good in their respective roles.

MUBI

Investing in a frequent comic content, the script still finds space to deal with family issues and psychological conflicts lightly inserted to “stretch” the script and try to justify some actions. There are moments when everything becomes very exaggerated (because there is an insistence on spreading comedy everywhere), but looking at the project and its narrative as a whole, it is highly understandable that these exaggerated decisions are orbiting the plot. This ends up bringing good jokes because there is a naturalness that favors the situations presented within the movie.

McG directed this movie with a very interesting look. Typically, this is not the type of project he usually has on his resume, but considering the fact that he has been diversifying his cinematographic “portfolio”, it is not new to see him in front of a project like this. Personally speaking, I was surprised to learn that he directed this movie, but I really liked the final result. If he matures this vision, he can still do something much better. For now, I'd say he's on the right track to work with genre mixing in his future.

New Horror Express

Amidst a chaotic atmosphere, The Babysitter tries to create a game of cat and mouse between Cole and Bee (along with their helpers) that most of the time works very well (not just because it's funny, but because it has a good atmosphere). horror with touches of suspense). Having some efficient special effects, with brutal murder scenes, the main pursuit of the script is the search for its authenticity, which despite not being achieved, is favored by the accumulation of good and exaggerated ideas presented (although there is not such a satisfactory development for each of them).

[ OFFICIAL TRAILER ]

CRÍTICA DE PELÍCULA: “The Babysitter” (2017)

Sinopsis: El pequeño Cole está enamorado platónico de Bee, su bella y divertida niñera. Sin embargo, durante una noche aparentemente normal, acaba descubriendo que, en realidad, ella es una adoradora de fuerzas ocultas y que comete una serie de asesinatos para robar la sangre de sus víctimas y realizar rituales satánicos a cambio de deseos.

Mezclar los géneros de comedia y terror dentro de un mismo proyecto siempre es un desafío interesante. No sólo porque hay una cuestión de equilibrio entre los tipos de enfoques, sino por el peso de estas elecciones dentro de la narrativa que el guión intenta establecer. En esta película la dosificación está bien hecha y el resultado es endiabladamente divertido. El terror tiene una dimensión caricaturesca, y ésta acaba comunicando muy bien con la vertiente puramente cómica, que es muy funcional. Siempre me gustan los proyectos atrevidos y auténticos, incluso si forman parte de un patrón previamente conocido.

En medio de una noche cualquiera, los padres del joven Cole deciden realizar un viaje corto y dejar a su hijo al cuidado de Bee, una niñera aparentemente servicial y comprometida con lo que hace. Cole tiene una pasión platónica por ella, pero termina descubriendo por las malas que Bee es en realidad una verdadera pesadilla en forma de personas, y al descubrir su mortal secreto (Bee es una adoradora del diablo y realiza rituales satánicos con sangre de cada uno de sus víctimas a cambio de deseos), necesita encontrar una manera de sobrevivir a una noche de juegos mortales.

Abrazando muchos clichés para consolidar su historia, la película no se avergüenza de hacerlo de forma muy explícita. Quizás este sea su mayor éxito, demostrar al público que no está haciendo nada tan original, pero sí muy sustancial dentro del ambiente divertido que lo rodea. El resultado es una película violentamente creativa, con una referencia directa a los años 80 y 90 (sobre todo por el ritmo vibrante, que hace del proyecto algo más dinámico) y un ambiente realmente vibrante, aunque limitado a unas pocas escenas (que son deliberadamente oscuras).

La forma en que se presenta la trama al público tiene un toque atractivo. Cole y Bee llegan al público de diferentes maneras. Cole es un joven adolescente que sufre acoso escolar y se siente menospreciado por no ser un niño normal. Bee es todo lo contrario, una adolescente segura y genial que termina siendo un contraste importante en su vida debido a los valores que representa (y la pasión que él siente por ella). El guión funciona bien con esta idea, pero se ciñe a lo básico sólo para establecer la dinámica principal entre el protagonista y el antagonista (y funciona).

Cuando el guion intenta ampliar su alcance e incluir nuevos personajes, las dinámicas pierden algo de peso de calidad. Esto termina sucediendo porque no hay profundidad en su trama. Todo es muy superficial y no hay espacio para que el público se preocupe por ellos (la única excepción aquí es Bee, que sufre este mismo problema, pero como es un personaje carismático logra estar en otro nivel) como debería ser. Lo más destacado es el dúo Judah Lewis y Samara Weaving, que son muy buenos en sus respectivos papeles.

Invirtiendo en un contenido cómico frecuente, el guión todavía encuentra espacio para abordar cuestiones familiares y conflictos psicológicos ligeramente insertados para “estirar” el guión e intentar justificar algunas acciones. Hay momentos en los que todo se vuelve muy exagerado (porque se insiste en difundir la comedia por todas partes), pero mirando el proyecto y su narrativa en su conjunto, es muy comprensible que estas decisiones exageradas estén orbitando la trama. Esto termina trayendo buenos chistes porque hay una naturalidad que favorece las situaciones presentadas dentro de la película.

McG dirigió esta película con una mirada muy interesante. Normalmente, este no es el tipo de proyecto que suele tener en su currículum, pero considerando que ha ido diversificando su “portafolio” cinematográfico, no es nuevo verlo al frente de un proyecto como este. Personalmente me sorprendió saber que él dirigió esta película, pero me gustó mucho el resultado final. Si madura esta visión, aún podrá hacer algo mucho mejor. Por ahora, diría que está en el camino correcto para trabajar con la mezcla de géneros en su futuro.

Invirtiendo en un contenido cómico frecuente, el guión todavía encuentra espacio para abordar cuestiones familiares y conflictos psicológicos ligeramente insertados para “estirar” el guión e intentar justificar algunas acciones. Hay momentos en los que todo se vuelve muy exagerado (porque se insiste en difundir la comedia por todas partes), pero mirando el proyecto y su narrativa en su conjunto, es muy comprensible que estas decisiones exageradas estén orbitando la trama. Esto termina trayendo buenos chistes porque hay una naturalidad que favorece las situaciones presentadas dentro de la película.

McG dirigió esta película con una mirada muy interesante. Normalmente, este no es el tipo de proyecto que suele tener en su currículum, pero considerando que ha ido diversificando su “portafolio” cinematográfico, no es nuevo verlo al frente de un proyecto como este. Personalmente me sorprendió saber que él dirigió esta película, pero me gustó mucho el resultado final. Si madura esta visión, aún podrá hacer algo mucho mejor.

En medio de una atmósfera caótica, The Babysitter intenta crear un juego del gato y el ratón entre Cole y Bee (junto con sus ayudantes) que la mayoría de las veces funciona muy bien (no sólo porque es divertido, sino porque tiene buen ambiente). terror con toques de suspense). Contando con unos eficientes efectos especiales, con escenas de asesinatos brutales, el principal objetivo del guión es la búsqueda de su autenticidad, que a pesar de no conseguirse, se ve favorecida por la acumulación de buenas y exageradas ideas presentadas (aunque no haya un desarrollo tan satisfactorio para cada uno de ellos).

CRÍTICA DE FILME: “A Babá” (2017)

Sinopse: O pequeno Cole tem uma paixão platônica por Bee, sua linda e divertida babá. No entanto, durante uma noite aparentemente comum, ele acaba descobrindo que, na verdade, ela é uma adoradora das forças ocultas e que comete uma série de assassinatos para roubar o sangue de suas vítimas e fazer rituais satânicos em troca de desejos.

Misturar os gêneros comédia e horror dentro de um mesmo projeto é sempre um desafio interessante. Não só por ter uma questão de balanceamento entre os tipos de abordagens, mas pelo peso dessas escolhas dentro da narrativa que o roteiro tenta estabelecer. Neste filme, a dosagem é bem feita e o resultado é diabolicamente divertido. O horror tem uma dimensão cartunesca, e isso acaba conversando muito bem com o lado puramente cômico, que é muito funcional. Eu sempre gosto de projetos ousados e autênticos, mesmo que eles façam parte de um padrão até então já conhecido.

Em meio a uma noite comum, os pais do jovem Cole decidem fazer uma pequena viagem e deixam o seu filho sob os cuidados de Bee, uma babá aparentemente solícita e comprometida com o que ela faz. Cole tem uma paixão platônica por ela, mas ele acaba descobrindo da pior maneira que na verdade, Bee é um verdadeiro pesadelo em forma de gente, e ao descobrir o seu segredo mortal (Bee é uma adoradora do diabo e faz rituais satânicos com o sangue de cada uma de suas vítimas em troca de desejos), ele precisa encontrar um jeito de sobreviver a uma noite de brincadeiras mortais.

Abraçando muitos clichês para sedimentar à sua estória, o filme não tem vergonha nenhuma de fazer isso de um jeito muito explícito. Talvez, esse seja o seu maior acerto, mostrar ao público que não está fazendo nada tão original, mas é muito substancial dentro da atmosfera divertida que o cerca. O resultado é um filme violentamente criativo, com uma referência direta as décadas de 80 e 90 (em especial pelo ritmo vibrante, que torna o projeto em algo mais dinâmico) e uma ambientação realmente vibrante, ainda que limitada a poucos cenários (que aliás são propositalmente escuros).

O modo como a trama é apresentada ao público tem um toque envolvente. Cole e Bee chegam até o público de jeitos diferentes. Cole é um jovem adolescente que sofre bullying na escola e se sente menosprezado por não ser uma criança normal. Bee é o oposto, uma adolescente confiante, descolada e que acaba sendo um contraponto importante na vida dele pelos valores que ela representa (e pela paixão que ele sente por ela). O roteiro trabalho bem essa ideia, mas se mantém ao básico apenas para estabelecer a dinâmica principal entre o protagonista e a antagonista (e isso funciona).

Quando o roteiro tenta ampliar o seu escopo e incluir novos personagens, a dinâmica perde um pouco do seu peso de qualidade. Isso acaba acontecendo porque não há um aprofundamento na trama deles. Tudo é muito superficial e não há espaço para o público se importar com eles (a única exceção aqui é a Bee, que sofre com esse mesmo problema, só que pelo fato dela ser uma personagem carismática ela consegue estar em um outro patamar) como deveria acontecer. O destaque fica mesmo com a dupla Judah Lewis e Samara Weaving, que estão muito bem em seus respectivos papéis.

Investindo em um frequente teor cômico, o roteiro ainda encontra espaço para lidar com questões familiares e conflitos psicológicos levemente inseridos para “esticar” o roteiro e tentar justificar algumas ações. Há momentos em que tudo fica muito exagerado (porque há uma insistência em espalhar a comédia por todos os lados), mas olhando o projeto e a narrativa dele como um todo, é altamente compreensível que essas decisões exageradas estejam orbitando a trama. Isso acaba trazendo boas piadas porque há uma naturalidade que favorece as situações apresentadas dentro do filme.

McG dirigiu esse filme com um olhar bem interessante. Tipicamente, esse não é o tipo de projeto que ele costuma ter no seu currículo, mas considerando o fato de que ele vem diversificando o seu “portifólio” cinematográfico, não é uma novidade vê-lo a frente de um projeto como esse. Particularmente falando, eu fiquei surpreso de saber que ele dirigiu esse filme, mas gostei muito do resultado final. Se ele amadurecer essa visão, ele ainda pode fazer algo muito melhor. Por enquanto, eu diria que ele está no caminho certo para trabalhar com mesclagem de gêneros em seu futuro.

Em meio a um clima caótico, A Babá tenta criar um jogo de gato e rato entre Cole e Bee (junto com os seus ajudantes) que na maior parte do tempo funciona muito bem (não apenas por ser engraçado, mas por ter um bom clima de horror com toques de suspense). Tendo alguns efeitos especiais eficientes, com cenas brutais de assassinatos, a perseguição maior do roteiro é com a busca pela sua autenticidade, que apesar não ser alcançada, é favorecida pelos acúmulos das boas e exageradas ideias apresentadas (ainda que não haja um desenvolvimento tão satisfatório para cada uma delas).

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592d
Movie · on Transformers One
Transformers One (2024) - Unraveling The Untold Story of Optimus Prime and Megatron - REVIEW
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Throughout my 90s childhood Saturdays were for cartoons and one of my favorites was for the different incarnations of Transformers. I loved the Autobots and Decepticons so much, had quite a good amount of transformers and if ONLY I KNEW as a kid that they were going to be so valuable now days I would have keep them in good shape, same for my Silver Hawks collection but anyways, fast forward 20 plus years, and my enthusiasm for the series hasnt fade out. And when I heard about an animated Transformers movie set on the storied planet of Cybertron, I was way too excited. On the surface, Transformers One is just another summertime action flick, but one that dives much deeper than you might think, in a way that is surprisingly entertaining and insightful.
- IMDB: https://www.imdb.com/title/tt8864596/
- Platform: AppleTV+
Rottentomatoes Rating

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Before the Autobots and Decepticons fought on Earth, the planet Cybertron is fought over by another race the Quintessons, since the all powerful Matrix of Leadership is gone, the people of the Matrix are struggling to produce enough Energon power. Sentinel, voiced by Jon Hamm, the sole surviving Prime, goes on a search of the surface of the world to find the Matrix that his race has abandoned. Orion Pax voiced by Chris Hemsworth is a mining bot without the cog he needs to transform, who is trying to find it to prove he’s worth more than his lowly station in life. When Orion Pax finds the likely coordinates to the Matrix he drags his best pal D-16, voiced by Brian Tyree Henry, and his co workers, Elita-1 by Scarlett Johansson and B-127 by Keegan Michael Key on a mission to save their people.

The plot might not seem too outlandish for an action adventure storyline but it’s the characters that Transformers One focuses on and unlike any other action adventure story before it, giving away so many details on how this relationship between Megatron and Optimus happen. This movie is much wiser, it hasn’t jump in as many characters as possible with even lesser distinctive character traits than previous Transformers movies have, it has chosen a few core characters and takes time to develop their personalities and the way in which the characters work together, but of course it’s the story between Orion Pax and D-16, the split which eventually leads to their upheaval as Optimus Prime, Autobot leader, or Megatron, Decepticon leader.

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Referring to Orion, writer Abrams develop a cheerful, bloody, gun loving bot who knows what he wants, even if he runs the risk of dying in the process, he is not battle hardened, leader we know from previous films. Orion weighs his decision throughout the story to discover how much weight this decision carries and the effects of being a leader on his followers, he is less interested in his glory and more interested in finding a Matrix of Leadership that will not only make a better life for his people, but establish lasting peace. Orion’s complement is D-16, relatable is the path of righteous vengeance that D-16 sets himself and his people on after that faith is violently shattered with his actions are sometimes admirable, heartbreaking, appalling, but this transformation is all the more poignant because it shows us the hopeful bot he used to be.

The voice cast do a great job with these characters, Chris Hemsworth and Brian Tyree Henry nail their characters in the voice acting department, taking the classic Optimus and Megatron sound bites and putting their own spin on the younger versions of the characters. Scarlett Johansson and Keegan Michael Key are equally impressive as Elita-1, beginning by being indifferent with Orion, moving to resent him, then respect and admiration for Orion in order to help give him the leadership qualities without taking away from Johansson’s character.

Another high light of the movie is the animation style, the planet’s surface has a nostalgic vaporware ‘80s vibe, the underground world of Cybertronian civilization refreshes the retro futurist vibe of original cartoons. The bot design also has a nice variety of it, which will make any fan nostalgic for classic toys. Blaster shots are solid and satisfying, and blows from laser or melee weapons ring out as though they were actually being wielded by massive robots.

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Although the movie isn’t perfect, towards the end it feels that it drags, and though it's crucial to the plot information we get during this time, the predictability of the story feels as if you want to skip past as quickly as possible. The break from friends to enemies is shocking and should’ve been handled much more smoothly with more time spent on the shattered relationship and climactic conflict between Orion and D-16.

Transformers One ends in a way that sets up a brand new future for the franchise, probably the necessary reboot that it needed, after years of live action movies. Paramount and Hasbro brought Transformers movies back to animation to explore the origin stories for Orion Pax and D-16 as they become the legendary and powerful Autobot and Decepticon leaders. Following Orion Pax and D-16, the story tells of the journey the future Transformers One Autobots and Decepticons take when B-127 and Elita accompany them on a quest to locate the Matrix of Leadership in order to unearth the dirty secret about Sentinel Prime’s reign on Cybertron.

The climax of the movie is a big action one, and an emotional one, as Orion Pax and D-16 become Optimus Prime and Megatron. Primus gives Optimus Prime the Matrix of Leadership from the middle of Cybertron because he also saves Orion from sure death, after which Optimus Prime emerges empowered by the Matrix. Officially, he is transformed into Optimus Prime and he leads Cybertron into a new age, a time when the civilians of Cybertron can live safely. After Optimus defeats Megatron, he shows mercy and does not kill him instead banishing him from Iacon City and telling him to take the High Guard's with him, the friendship between Optimus and Megatron is over, but we really know and as the movie implies this is just the beginning to a never ending war between the two.

The post credits scene shows Megatron now fully in charge of the former High Guard members, embracing the Megatron logo as the symbol for his new group: the Decepticons, with their future actions remain undetermined, the Quintessons the overall threat to Cybertron, are left with an undetermined fate too. It sets up a sequel to develop further on the relationship between Optimus Prime and Megatron and the Quintessons to come.
Transformers One is a great addition to the franchise in terms of providing a detailed and interesting look at the origins of Optimus Prime and Megatron. The movie has its problems though, with pacing and predictability being its two biggest flaws, but it’s excellent when it comes to character development and animation. What a setup for a whole new Transformers era I can’t wait for what they will come up with next time we either have a sequel animated movie or the story moves into live action movies. A long time fan of the series, I was very involved in the movie. There was palpable nostalgia in the beautiful landscape, the cameos of other Transformers, I really enjoy and had a good time watching this movie, reason I give it a 8/10.

#skiptvads, #inleo, #hive, #transformers, #cybertron, #optimus, #megatron, #prime, #decepticons, #autobots, #movie, #review, #animation, #character, #development, #story, #franchise, #nostalgia, #cartoon, #film, #action, #adventure, #origin, #leadership, #friendship, #betrayal, #quintessons, #energon, #flixfinder
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Steve Clark
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Geeky guitarist, drummer, runner and not the only Hivian in the village
592d
TV · on The Umbrella Academy
Recent views: What I've been watching
I have not done one of these posts in a while. There are a few shows we finished in the last couple of months, so I will go through those.

The Umbrella Academy

This was the final season of this Netflix show. My daughter got me into it as she is a fan of Gerard Way (of My Chemical Romance) who created the original comic it is based on. I have to say that I have enjoyed it. It is about a group of young people with special powers, but they have real personal issues. I have read the comics and the show is only loosely based on them. This season brings it all to a conclusion without fully explaining everything, but that is okay as the journey was fun. We have seen these characters grow up over a few years. One (Elliot Page) has transitioned to male in real life and in the show. That was handled well.

I like shows to have a definite end rather than being dragged out indefinitely.

Kaos

Also on Netflix this is a re-telling of ancient Greek myths as Zeus suspects his family will fall. It is set in a version of modern times where those gods are still worshipped. We have Orpheus journeying to the underworld to retrieve his lover, who may not love him back. I knew enough of the myths to pick up on who various characters were, but I would still like to read more of them. It is pretty brutal, but very good with Jeff Goldblum enjoying himself in the lead role. Nice to see a few Brits in there too. This is one my other half and I both enjoyed, but it seems there will not be a second season despite leaving various plots hanging. We have a few shows we bond over, but then watch others alone. She was not into Umbrella Academy or some of the Star Wars and Marvel (with exceptions).

Agatha All Along

I said my other half is not so into Marvel, but she did like Wandavision and I got her into the Deadpool movies that she enjoyed. This is a sequel to Wandavision on Disney+ with ancient witch Agatha Harkness trying to regain her powers with the help of some other witches. It has a different tone to the general Marvel superhero shows with a bit more humour, but it does get quite dark. It is all about the magic and the interaction of the characters who each have their own agendas. Having been to Salem last year it had extra resonance with us even though we do not believe in the magical part. With Marvel you have to expect that the story will continue in some form, but they spread it across movies and TV.

Only Murders In The Building

This star-studded show is into its fourth season on Disney+. We were left with yet another murder at the end of season three that needs investigating. The podcast run by the leads (Steve Martin, Martin Short and Selena Gomez) is being turned into a movie, so we get to meet the real actors who will play them in that. It all gets a bit meta at times as they refer to the podcast seasons that match the show. It it fairly light stuff, but entertaining. I think another season is planned.

Ludwig

We do watch some British shows too and this one is from the BBC. It stars David Mitchell as a puzzle setter John Taylor (aka Ludwig) whose identical twin police detective brother James has gone missing. James's wife (Anna Maxwell Martin) asks John to impersonate his brother to recover information from the police station, but he gets dragged into murder investigations that he manages to solve with his puzzle skills. It is a different type of puzzle each time. It is set in Cambridge, which is a place we know well, so that adds to the fun. It is a clever show with some nice twists. There is some appropriate Beethoven music in the soundtrack to continue that theme. The Guardian even had a crossword set by Ludwig. I had a look, but it was too tricky for me. I like a cryptic, but some are on a different level. This show should be back for more puzzles.

Other viewing

I am still working my way through Game of Thrones and am up to season five now. I know people say the last couple are not so good, but I have a way to go yet. I also got to see some of the locations in Split at Hivefest.

We are on the final season of Young Sheldon. This spin-off from The Big Bang Theory has been quite touching. It is another where we have seen a young cast grow up.

We quite like the Lego Masters shows where teams build amazing creations on a theme. We have mainly watched the ones from Australia and New Zealand, but there are more on the Channel 4 streaming platform.

I sometimes think I do not watch that much TV as I spend a lot of time online, but I do see a fair bit. At least a few things have ended so that frees up some time. I have to be selective in what I commit to.

Happy viewing.

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Movie · on Blink Twice
My opinion on Blink Twice - Review and Thoughts || Mi opinión sobre Parpadea dos veces - Reseña y pensamientos
Review

A technology tycoon holds a fundraising gala inviting celebrities and personalities, at this gala Frida is one of the waitresses who attended to work in logistics, she is a fan of this tycoon and dreams of being able to approach him so together with her best friend they manage to sneak into the event and are invited to spend a week on the private island of this man. From the moment they arrive, they are treated like queens, enjoying the pleasures of exotic drinks and food, wild parties. They can't believe they are enjoying life as millionaires, but as the days go by everything becomes confusing and they realise that something is wrong.

Spanish Version

Un magnate tecnológico realiza una gala de recaudación de fondos invitando a famosos y personalidades, en esa gala Frida es una de las mesoneras que asistió para trabajar en la logística, ella es fanática de este magnate y sueña con poder acercársele así que en conjunto con su mejor amiga logran colarse al evento y son invitadas a pasar una semana en la isla privada de este hombre. Desde que llegan, las atienden como reinas, disfrutando de los placeres de bebidas y comidas exóticas, fiestas desenfrenadas. Ellas no pueden creer que estén disfrutando la vida como millonarias, al pasar los días todo se vuelve confuso y es cuando se dan cuenta de que algo anda mal.

Plot

It is common for people of limited means to admire celebrities and millionaires, for their altruistic acts and for what they have achieved in their lives on a material level, many fans go out of their way to follow the news related to these people, so is Frida the protagonist of this film of psychological stress, From the beginning you can feel the same anxiety of Frida who is played by Naomi Ackie, actress that I don't remember having seen her in another production, her anxiety is to meet the tycoon Slater King and who I recognized from the beginning, because he is played by the handsome Channing Tatum.

Frida, although she doesn't like what she does, works in that place just to have the opportunity to meet Slater King, and she never imagined that she would be so close to him, but she got a big surprise when she was invited by the same tycoon to spend a holiday on his private island and without thinking she accepted and went with her best friend, they got on his plane and from that moment on the attention for the guests did not stop because along with them also attended another group of people, some famous, but all unknown to this pair of girls. When they arrived at the island, the first thing they noticed was that they had no reception, and they were asked to get rid of their mobile phones, the only means of communication with their families and the outside world. From there it was already looking strange, it was too good to be true.

The atmosphere of the film took place on a farm surrounded by exotic nature, i.e. dangerous plants and animals such as poisonous snakes, there was luxury and also dark areas such as rooms full of old furniture. The estate was surrounded by a lot of jungle, as remember it is a private island.

The costumes were always the same, they gave all the guests white dresses or robes and the same underwear, even Frida and her friend make jokes about whether they were part of a cult or some religion and at what time the human sacrifices will start. Until that moment the joke was also part of the viewer because it made me laugh, but it did set off the alarm bells, in that first part of the film there was humour and suspense, then from there the tension started, during the dinners they were getting a bit strange, the dishes looked beautiful, made by a great chef, But no one knew what they were eating, nor the ingredients with which they were prepared, after eating the laughter and games were manifested, it seemed like children playing and hiding, there I understood that they were drugged in the food, something was put in them that caused them hallucinogenic effects.

The guests woke up beaten, scratched, with black eyes, and Frida, with her pretty ones, some full of dirt or broken, they didn't understand what was happening or how they got to their rooms after the party. The momentary amnesia started to make them uneasy, and suddenly they wanted to leave, but they couldn't, that's when they realised they were in the middle of a very strange kidnapping, and they tried to find out what was going on, but every night when they ate their memories were erased, and they woke up every day more dishevelled and with less strength, that's when Frida is seduced by Slater King and forgets the fear she felt, from here onwards the story starts to change genre, there is no more humour, and it becomes very suspenseful, crimes and scenes with some Gore.

Spanish Version

Argumento
> > Es común que las personas de recursos limitados admiren a famosos y millonarios, por sus actos altruistas y por lo que han conseguido en sus vidas a nivel material, muchos fans se desviven por seguir las noticias relacionadas con esas personas, así es Frida la protagonista de esta película de estrés psicológico, suspenso e intriga, desde el inicio se puede sentir la misma ansiedad de Frida quien es interpretada por Naomi Ackie, actriz que no recuerdo haberla visto en otra producción, su ansiedad es por encontrarse con el magnate Slater King y a quien reconocí desde el inicio, pues lo interpreta el guapísimo Channing Tatum. > > Frida, aunque no le gusta lo que hace, trabaja en ese lugar solo por tener la oportunidad de coincidir con Slater King y ella jamás imaginó que estaría tan cerca de él, pero se llevó una gran sorpresa cuando es invitada por el mismo magnate a pasar unas vacaciones en su isla privada y sin pensarlo acepto y se fue con su mejor amiga, se montaron en su avioneta y desde ese momento no pararon las atenciones para los invitados porque junto a ellas también asistieron otro grupo de personas, algunos famosos, pero todos desconocidos para este par de chicas. Cuando llegaron a la isla, lo primero que observaron es que no tenían cobertura y que les pidieron despojarse de sus celulares, el único medio de enlace con sus familias y el mundo exterior. Desde allí ya la cosa pintaba extraña, era demasiado bueno para ser verdad. > > El ambiente de la película transcurrió en una finca rodeada de naturaleza exótica, es decir, plantas y animales peligrosos como serpientes venenosas, había lujo y también zonas oscuras como cuartos llenos de muebles viejos. La finca estaba rodeada por mucha selva, pues recuerden que es una isla privada. > > El vestuario siempre fue el mismo, les dieron a todos los invitados vestidos o túnicas blancas y la misma ropa interior, incluso Frida y su amiga hacen chistes sobre si eran parte de un culto o alguna religión y a qué hora empezarán los sacrificios humanos. Hasta ese momento el chiste también formo parte del espectador porque me causo risa, pero si encendió las alarmas, en esa primera parte de la película había humor y suspenso, luego de allí empezó la tensión, durante las cenas se ponían algo extraños, los platos se veían hermosos, hechos de un gran chef, pero nadie sabía que era lo que estaban comiendo, ni los ingredientes con lo que los preparaban, después de comer las risas y los juegos se manifestaban, parecían niños jugando y escondiéndose, allí entendí que los drogaban en la comida, algo les ponían que les causaba efectos alucinógenos. > > Los invitados amanecían golpeados, arañados, con ojos morados, y Frida, con sus lindas, unas llenas de tierra o partidas, no entendían lo que sucedía ni cómo llegaban a sus habitaciones después de la fiesta. La amnesia momentánea les empezó a causar inquietud y de repente querían irse, pero no podían es cuando se dieron cuanta que estaban en medio de un secuestro muy extraño e intentan averiguar qué pasa, pero cada noche al comer se les borraba la memoria y amanecían cada día más desaliñados y con menos fuerza, es allí cuando Frida es seducida por Slater King y olvida el miedo que sentía, desde aquí en adelante la historia empieza a cambiar de género ya no hay humor y se vuelve con mucho suspenso, crímenes y escenas con algo de Gore.

Opinion

I began to feel frustrated, with a lot of anger and impotence for what I was seeing. It was a power struggle of money, as if they had bought their lives in exchange for some ephemeral pleasures. These women fell into the trap and the dazzle of wealth and ostentation, in the end I don't blame Frida because her very innocence made her admire this person and think that because she had money she was good, because that was the image she managed and bought in the media, but it is a good lesson for all the young people who get carried away by the impression of money and go with anyone without knowing what awaits them, although they were always surrounded by people, they were all victims of atrocities, rapes, deaths and murders.

When it was believed that there was no escape for the survivors a few women fought and used all their memories to unleash a war, in this part if there were scenes that I found somewhat ridiculous and even unimportant, but I highlight the female strength and culminating there was an unexpected twist of the whole plot that left me very surprised, It is not a film that I would not repeat, but I would like to see again the last minutes to understand the final psychology of the protagonist, there prevailed revenge, ambition and anger.

If you have already seen this production, tell me what you thought of it? And always remember, blink twice.

Spanish Version

Opinión
> > Comencé a sentirme frustrada, con mucha ira e impotencia por lo que veía. Era una lucha del poder que da el dinero, es como si hubiesen comprado sus vidas a cambio de algunos placeres efímeros. Esas mujeres cayeron en la trampa y, deslumbre de la riqueza y la ostentación, al final no culpo a Frida porque su misma inocencia la hizo admirar a esta persona y pesar que por tener dinero era buena, pues esa era la imagen que manejaba y compraba en los medios, pero es una buena enseñanza para todos los jóvenes que se dejan llevar por la impresión de dinero y se van con cualquiera sin saber que les espera, aunque siempre estuvieron rodeabas de personas todos fueron víctimas de atrocidades, violaciones, muertes y asesinatos. > > Cuando se creía que ya no había escapatoria para los sobrevivientes unas pocas mujeres lucharon y usaron todos sus recuerdos para desatar una guerra, en esta parte si hubo escenas que me parecieron algo ridículas y hasta sin importancia, pero destaco la fuerza femenina y culminando hubo un giro inesperado de todo la trama que me dejo muy sorprendida, eso hizo que le diera una puntuación de unos 8 sobre 10, no es una película que no repetiría, pero sí me gustaría volver a ver los últimos minutos para entender la psicología final de la protagonista, allí impero la venganza, la ambición y la ira. > ¿Si ya has visto esta producción, dime qué te pareció? Y recuerda siempre, parpadea dos veces.

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@wiseagent
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593d
Movie · on Smile 2
MOVIE REVIEW: “Smile 2” (2024)
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

Synopsis: Planning a world tour to try to rebuild her career after a scandal, pop singer Skye Riley begins to experience mysteriously inexplicable experiences. Infected not only by horror but also by the pressure of fame, Skye is forced to confront her past in search of answers before it's too late.

In one of the rare cases where a sequel manages to be better than its original movie, I can confidently say that this project managed (on all scales) to be superior to its primary material. Maintaining the “backbone” of what was previously seen, this new projection of fear takes place through a very interesting escalation, which was capable of not only increasing the level of suspense, but also the level of graphic violence, blood, and scenes with greater “immersion” in narrative issues (although in this aspect there are brief fluctuations within the script).

Frist Showing

The plot begins exactly a few days after the events of the first movie. Everything that happens before the opening credits (which, by the way, are very “psychedelic” due to their relatively “hypnotic” visual and musical aspect) translates as a perfect “bridge” to connect the past, present and future. Within a violent approach, the script begins to efficiently sediment everything that happened in the first movie, and paves the way for this second part with a very evident naturalness, thus justifying the existence of an “unexpected” project.

Skye Riley is a sensation in the world of pop music. However, she needs to deal with the consequences of a serious car accident, which resulted in not only the death of her ex-boyfriend, but also a real stain on her career. After spending a year in a rehab clinic to get rid of alcohol and drugs, Skye seems ready to take her old place in the spotlight, and to do so, she is planning a world tour that could be the salvation for her problems, but everything changes again in a rather very strange way.

Deadline

Without realizing it, she is “swallowed” into a spiral of fear where psychological terror mixes with different elements of unknown proportions, and the more she tries to escape this situation, the more immersed the young singer finds herself within it. The script works very well as a complement to the first movie, but it doesn't take long to find its own way. In a completely different universe to what has been seen before, the narrative has a faster pace, a more dynamic approach and a more challenging and very attractive set of elements.

Inside a paranoid dome, the world of music becomes the perfect storm to pour a new “range” of merciless and evil smiles (which are the trademarks of this possible franchise... considering the possible sequels that are yet to be made) onto the screen, thus creating new possibilities for the materialization of horrifying scenarios where the real and the unreal end up converging into a single reality in the minds of its mentally disturbed protagonists. The rescue of fame, pressure from the media, mental health... Everything ends up collapsing.

IMDb

CBR

Screen Rant

A good part of the conviction that ends up encompassing the horror of the movie happens through the construction of the character played brilliantly by actress Naomi Scott. By far, this is the best performance of her career so far because what she does with Skye Riley is create a “second skin” full of realism, emulating very well the entire stereotype of a pop singer living under constant bouts of nervous breakdowns. The rest of the cast is functional, but does not stand out because they are treated only as “accessory characters” with no greater relevance (which ends up being a mistake).

Even though it is a movie with a “recycled” script (mainly because it uses some resources already seen before with an even higher level of frequency... something that ends up minimizing the impact of some scenes that should be more tense due to their depth), there is enough space to develop its own originality throughout its almost two hours (and here I highlight, in particular, the higher level of gore scenes). However, the plot ends up making little progress in terms of the mythology of all evil (which continues to not be properly explained) and once again, it is very subjective.

Variety

None of this takes away from the brilliance of Smile 2 as a sequel that is largely superior to the first movie. Technically, the production also has a much higher quality (where the editing of scenes and the soundtrack are two elements that stand out very easily among many other positive technical aspects) and the directing work was once again done by Parker Finn (who also wrote the script) appears to be something more mature, despite its excesses. Fear is more tangible here, it is more inviting, it is more immersive, it’s more frightening and it can “transcend” into the real world more easily.

[ OFFICIAL TRAILER ]

CRÍTICA DE PELÍCULA: “Smile 2” (2024)

Sinopsis: Al planificar una gira mundial para intentar reconstruir su carrera después de un escándalo, la cantante pop Skye Riley comienza a vivir experiencias misteriosamente inexplicables. Infectada no sólo por el horror sino también por la presión de la fama, Skye se ve obligada a afrontar su pasado en busca de respuestas antes de que sea demasiado tarde.

En uno de los raros casos en los que una secuela logra ser mejor que su película original, puedo decir con confianza que este proyecto logró (en todas las escalas) ser superior a su material principal. Manteniendo la “columna vertebral” de lo visto anteriormente, esta nueva proyección del miedo se desarrolla a través de una escalada muy interesante, que fue capaz no sólo de aumentar el nivel de suspenso, sino también el nivel de violencia gráfica, sangre y escenas con mayor intensidad. “inmersión” en cuestiones narrativas (aunque en este aspecto hay breves vaivenes dentro del guión).

La trama comienza exactamente unos días después de los acontecimientos de la primera película. Todo lo que sucede antes de los créditos iniciales (que, por cierto, son muy “psicodélicos” por su aspecto visual y musical relativamente “hipnótico”) se traduce como un “puente” perfecto para conectar el pasado, el presente y el futuro. Dentro de un planteamiento violento, el guion comienza a sedimentar eficientemente todo lo ocurrido en la primera película, y allana el camino para esta segunda parte con una naturalidad muy evidente, justificando así la existencia de un proyecto “inesperado”.

Skye Riley es una sensación en el mundo de la música pop. Sin embargo, debe lidiar con las consecuencias de un grave accidente automovilístico, que resultó no solo en la muerte de su exnovio, sino también en una verdadera mancha en su carrera. Después de pasar un año en una clínica de rehabilitación para deshacerse del alcohol y las drogas, Skye parece lista para ocupar su antiguo lugar en el centro de atención y, para ello, está planeando una gira mundial que podría ser la salvación para todos sus problemas, pero todo vuelve a cambiar de una forma bastante extraña.

Sin darse cuenta, es “tragada” por una espiral de miedo donde el terror psicológico se mezcla con diferentes elementos de proporciones desconocidas, y cuanto más intenta escapar de esta situación, más inmersa se encuentra la joven cantante en ella. El guión funciona muy bien como complemento a la primera película, pero no tarda en encontrar su propio camino. En un universo completamente diferente a lo visto antes, la narrativa tiene un ritmo más rápido, un enfoque más dinámico y un conjunto de elementos más desafiantes y muy atractivos.

Dentro de una cúpula paranoica, el mundo de la música se convierte en la tormenta perfecta para derramar una nueva “gama” de sonrisas despiadadas y malvadas (que son las marcas registradas de esta posible franquicia... considerando las posibles secuelas que aún están por realizarse) sobre el pantalla, creando así nuevas posibilidades para la materialización de terroríficos escenarios donde lo real y lo irreal acaban convergiendo en una única realidad en la mente de sus trastornados protagonistas. El rescate de la fama, la presión de los medios, la salud mental… Todo acaba por derrumbarse.

Buena parte del convencimiento que acaba englobando el horror de la película pasa por la construcción del personaje interpretado brillantemente por la actriz Naomi Scott. De lejos, esta es la mejor actuación de su carrera hasta el momento porque lo que hace con Skye Riley es crear una “segunda piel” llena de realismo, emulando muy bien todo el estereotipo de una cantante pop que vive bajo constantes ataques de crisis nerviosas. El resto del elenco es funcional, pero no destaca porque son tratados sólo como “personajes accesorios” sin mayor relevancia (lo que termina siendo un error).

Aunque se trata de una película con un guión “reciclado” (principalmente porque utiliza algunos recursos ya vistos antes con un nivel de frecuencia aún mayor… algo que acaba minimizando el impacto de algunas escenas que deberían ser más tensas por su profundidad), hay espacio suficiente para desarrollar su propia originalidad a lo largo de sus casi dos horas (y aquí destaco, en particular, el mayor nivel de escenas gore). Sin embargo, la trama acaba avanzando poco en cuanto a la mitología de todos los males (que sigue sin estar bien explicada) y una vez más, es muy subjetiva.

Nada de esto quita la brillantez de Smile 2 como secuela muy superior a la primera película. Técnicamente, la producción también tiene una calidad mucho mayor (donde el montaje de escenas y la banda sonora son dos elementos que destacan con mucha facilidad entre otros muchos aspectos técnicos positivos) y el trabajo de dirección corrió a cargo una vez más de Parker Finn (quien también escribió la guión) parece algo más maduro, a pesar de sus excesos. El miedo es más tangible aquí, es más atractivo, es más inmersivo, es mas aterrador y puede “trascender” al mundo real más fácilmente.

CRÍTICA DE FILME: “Sorria 2” (2024)

Sinopse: Planejando uma turnê mundial para tentar reerguer sua carreira após um escândalo, a cantora pop Skye Riley começa a viver experiências misteriosamente inexplicáveis. Contaminada não apenas pelo horror, mas também pela pressão da fama, Skye é forçada a confrontar seu passado na busca por respostas antes que seja tarde demais.

Em um dos casos raros onde uma sequência consegue ser melhor do que o seu filme original, eu digo com tranquilidade que este projeto conseguiu (em todas as escalas) ser superior ao seu material primário. Mantendo a “espinha dorsal” do que foi visto anteriormente, esta nova projeção do medo acontece através de um escalonamento bem interessante, que foi capaz não apenas de aumentar o nível de suspense, mas também o nível de violência gráfica, de sangue, e das cenas com maior “imersão” em questões narrativas (embora nesse aspecto hajam breves oscilações dentro do roteiro).

A trama começa exatamente há poucos dias depois aos acontecimentos do primeiro filme. Tudo o que acontece antes dos créditos iniciais (que aliás, são bem “psicodélicos” pelo seu aspecto visual e musical relativamente “hipnótico”) se traduz como uma “ponte” perfeita para conectar o passado, o presente e o futuro. Dentro de uma abordagem violenta, o roteiro começa sedimentando de maneira eficiente tudo o que aconteceu no primeiro filme, e abre o caminho para essa segunda parte com uma naturalidade muito evidente, justificando assim a existência de um projeto “inesperado”.

Skye Riley é uma sensação no mundo da música pop. No entanto, ela precisa lidar com as consequências de um grave acidente de carro, que trouxe como resultado não apenas a morte do seu ex-namorado, mas também uma verdadeira mancha para à sua carreira. Após ficar um ano em uma clínica de reabilitação para se livrar do álcool e das drogas, Skye parece estar pronta para ocupar o seu antigo lugar sob os holofotes, e para isso, ela está planejando uma turnê mundial que pode ser a salvação para todos os seus problemas, mas tudo muda novamente de uma maneira bastante estranha.

Sem perceber, ela é “tragada” para um espiral de medo onde o terror psicológico se mistura a diferentes elementos de proporções desconhecidas, e quanto mais ela tenta fugir dessa situação, mas imersa dentro dela a jovem cantora vai se encontrando. O roteiro funciona muito bem como um complemento ao primeiro filme, mas não demora muito para encontrar o seu próprio caminho. Sob um universo completamente diferente ao que já foi visto antes, a narrativa tem um ritmo mais acelerado, uma abordagem mais dinâmica e um conjunto de elementos mais desafiador e bem atrativo.

Dentro de uma redoma paranoica, o mundo da música se torna a tempestade perfeita para despejar uma nova “gama” de sorrisos impiedosos e maléficos (que são as marcas registradas dessa possível franquia... considerando as possíveis sequências que ainda serão feitas) na tela, criando assim, as novas possibilidades para a materialização dos cenários horripilantes onde o real e o irreal acabam convergindo entro de uma única realidade na mente dos seus protagonistas mentalmente perturbados. O resgaste da fama, a pressão da mídia, a saúde mental... Tudo acaba entrando em colapso.

Uma boa parte da convicção que acaba envelopando o horror do filme acontece através da construção da personagem interpretada brilhantemente pela atriz Naomi Scott. De longe, essa é a melhor atuação da sua carreira até então porque o que ela faz com Skye Riley é criar uma “segunda pele” repleta de realismo, emulando muito bem todo o estereótipo de uma cantora pop vivendo sob constantes crises de ataques de nervos. O restante do elenco é funcional, mas não se destaca por serem tratados apenas como “personagens acessórios” sem maior relevância (o que acaba sendo um erro).

Mesmo sendo um filme com um roteiro “reciclado” (principalmente por utilizar alguns recursos já vistos antes com um nível de frequência ainda maior... algo que acaba minimizando impacto de algumas cenas que deveriam ser mais tensas pela sua profundidade), há espaço suficiente para desenvolver à sua própria originalidade ao longo de suas quase duas horas (e aqui eu destaco, em especial, o maior nível de cenas gore). No entanto, a trama acaba avançando pouco em termos da mitologia de todo o mal (que continua não sendo devidamente explicado) e uma vez mais, é bem subjetiva.

Nada isso tira o brilho de Sorria 2 como uma sequência majoritariamente superior ao seu primeiro filme. Tecnicamente, a produção também tem uma qualidade muito superior (onde a edição de cenas e a trilha sonora são dois elementos que se destacam muito facilmente dentre tantos outros aspectos técnicos positivos) e o trabalho de direção novamente feito por Parker Finn (que também escreveu o roteiro) se mostra algo mais maduro, apesar dos seus excessos. O medo é mais tangível aqui, é mais convidativo, é mais imersivo, é mais assustador e consegue “transcender” para o mundo real mais facilmente.

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Movie · on Slingshot
Slingshot (2024) - Messy Journey Through Mental Mayhem - REVIEW
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I always look for something in space movies that's not a typical explosion filled space garbage, that's an actual problem from what I have seen online, lots of things from satellites floating around. Spicological trauma that affects astronauts to the point that make them crazy has always been a cliche on this types of stories although interesting to watch, having a mental toll of deep space exploration is the goal of the film, directed by Mikael Hafstrom and starring Casey Affleck, but it doesn't always hit the mark.

The plot I would say is interesting enough with three astronauts out on a mission to Saturn's moon Titan, hoping to save a dying Earth from its own demise, isn't that cliche already?, by finding a new energy source. The film isn’t exactly blazing new territory, but it’s trying to look out its own space in the crowded space thriller genre. Risky gravitational slingshot maneuver around Jupiter, immediately creating tension, and potential disaster, classic space movie stuff.
- IMDB: https://www.imdb.com/title/tt12616480/
- Platform: AppleTV+
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John, played by Casey Affleck, is one of three people in a three person crew, Captain Franks played by Laurence Fishburne and Nash played by Tomer Capone. Things get interesting, and weird, when you realize that their journey requires 90 day hibernation cycles. John's mind starts to short circuit with the hibernation drugs resulting in hallucinations and the loss of memory as the lines between reality and imagination disappear, is this movie about space junkies? kinda of if you ask me.

Even if the script doesn’t always provide the most compelling material to work with, Slingshot really shines with its cast, Casey Affleck, John a man who is slowly falling apart. The performance takes more out of internal struggle rather than dramatic outbursts. Nearly every scene Laurence Fishburne is in he steals, he brings a commanding presence that lift up the movie, just form the cover you can tell he is in charge, with a paranoid crew that cant really handle the trip, at several times you will be asking "who in their sane mind approve and accept this mission?", well desperate times desperate measures.

The movie visual approach is minimalist, but effective, something very hard to achieve when you have close spaces scenes specially with only three guys on board. Director Hafstrom sets almost everything inside the small spaceship, and it’s a claustrophobic, futuristic, trip with a ton of emotional drama. The sterile white interior and the bright computer screens add to a sense of isolation and psychological tension, clearly the director had a small budget, but he makes every penny count.

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I could not ask more from the audience when I saw how mixed reception is for a movie launching so many ideas trying to pull one of the hardest task aside from a biopic, close spaces movies. The psychological depth and implied ambiguity of the storytelling was welcomed by some and repelled by others, people are use to action and confine into a small ship with a small crew well there is not much, recently on Romulus at least the ship was big enough. It’s more of a niche experience, you’re going to find some people who are going to be into this, but it’s not going to be for everybody, but for some people it might be fascinating, mind bending sci fi, you probably need to find psychological struggle fascinating trying to explore what someone under those circumstances could be thinking or experiencing.

My personal opinion?, well I would say it's a fascinating mess, continually throwing new interpretations of what is actually happening, keeping you guessing of whats real and what is just product of the drugs they take. Are these events real or elaborate hallucinations?, both its greatest strength and its most significant weakness is that it doesn’t let you have a simple answer. It’s also got moments that genuinely get under your skin, especially as John’s grip on reality becomes less firm.

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Things really get wild at the ending, the movie gives away too little and shows you multiple realities that challenge everything you know. That's the sort of conclusion that will have you debating friends for hours, trying to work out what actually happened. It will be frustratingly ambiguous to some and mental gymnastics to others.

Slingshot never fully disappoints because it is dedicated to exploring psychological trauma and isolation. It does so in ways that really do ask some genuinely interesting questions about human endurance, the nature of reality, and the psychological challenges of space research. The mission to Titan is not the movie so I can understand why most people are disappointed about it, you might also feel you jump in to this movie thinking is all about space exploration or something else, aliens?, well not any of the above, it’s the internal journey of its characters.

It has its share of flaws, obvious plotting hammer my head during the entire movie as it is predictable, a bit of uneven pacing and a conclusion that will upset as many as it impresses. Its ambition is compelling, but it’s in a genre that tends to be a spectacle, trying to do something a little more intimate and psychological.
It would be a solid 6.5 out of 10 but not in a bad way, a 6.5 that tells this is a niche movie with a very specific topic at hand, you’ll want to talk about it right away about the multiple what IF!.

If you’re a sci fi fan and like movies like the most recent space movie by Adam Sandler, Spaceman (2024), with more emphasis on inner space than outer space, Slingshot is worth a showing. Don’t expect clear cut answers or a traditional story line, this is a movie that wants to play with your head and it does a pretty good job of it, I love when directors try to do this. The scariest things might not be external threats in space exploration, but the psychological strains of isolation.

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Movie · on Venom: The Last Dance
Venom The Last Dance (2024) - Symbiotes Ambiguous Ending and Beginning - REVIEW
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Back in 2018 when the first Venom movie dropped, nobody had much hope and I think this was mostly because how the Symbiote appear for the first time during a Spider Man 3 movie with Tobey Maguire, where Topher Grace did Venom so it was a total different scenario. Tom Hardy playing a weird alien human hybrid that talks to himself and occasionally eats people? That sounded like a recipe for disaster, a mix of dark humor comedy with a very less known character from the Spider Verse. Yet somehow it stick and the Venom franchise has turned into this not bad after all anti hero, on the last dance the Symbiotes are the good guys, Venom IS A GOOD GUY!!!.

Venom: The Last Dance it’s not going to win any Oscar awards, and it’s definitely not going to be studied in film schools, but that’s exactly the kind of wild, unpredictable ride that makes comic book movies fun. This isn’t your typical superhero story, it’s a kind of road trip adventure where finally Venom gets to be the weird, hilarious, slightly unhinged character fans have always known from the comics, I remember that even on the 90s Spider Man animated series it was one of the less evil villains.
- IMDB: https://www.imdb.com/title/tt16366836/
- Platform: AppleTV+
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Eddie Brock and Venom are on the run in the first plot, which honestly seems the most natural thing for these two, Venom constantly gets Eddie into trouble, big trouble because of his wild nature but this time they are been look under every rock by special ops. Comes into the stage "<a class="wpil_keyword_link" href="https://sonys-spider-man-universe.fandom.com/wiki/Knull" target="_blank" rel="noopener" title="Knull" data-wpil-keyword-link="linked" data-wpil-monitor-id="562">Knull", the God of symbiotes, imprisoned and wants out, is this time the main antagonist. He needs something called the Codex, which just so happens to be in Eddie and Venom, Codex can only exist when the Symbiote revive his host creating this unique bond that only becomes active when they transform.

The thing that makes this movie work is that it embraces the fact that Venom is a trouble maker, he doesn't mean too but he just can't exist within normal humans without causing problems even when he wants to be the good guy, the real reason why they looking for them since this makes other fear what might happen if Venom does goes rouge. The Last Dance also bring some other aspects we didn't know about Venom, it’s a film where Venom turns into a horse, dances to ABBA, and has more personality than most human characters. Tom Hardy is still the absolute MVP of the duo, and I mean that in a compliment, playing Eddie and Venom with a dedication to stay funny, look guffy and wild since Tom does both Venom and Eddie, its like talking to himself since in his mind he already know both lines, he’s got the kind of chemistry with himself that is nothing short of miraculous, he’s performing a one man show where he’s arguing with himself and it’s completely compelling.

The movie also got a great supporting cast and characters starting with Rex Strickland, played by Chiwetel Ejiofor, is a more tame military guy than we've seen on the big screen in a tough guy antagonist. Dr. Teddy Payne is a scientist with her own complicated motivations is played by Juno Temple. They’re all just background noise to the main event of Eddie and Venom’s relationship, but the truth is that both play important parts during the movie and even keep the door open for a next appearance of Symbiotes in the future or even Venom himself?, I'm not too sure about the last one but for sure more Symbiotes.

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Online it seems audiences are mixed but mostly positive, I went to the movies on past Monday to watch the movie and people seem to enjoy it. The movie for sure is not about a villain and actually lack Villains since all we see is Knull complaining and the Xenophages after Venom but nothing else, but for most fans it's just happy to see Venom being Venom. It feels like they figured out what people actually like about the previous movies, MORE VENOM, an alien symbiote guy who talks to himself and sometimes eats bad guys.

On The Last Dance, Venom goes over the top to been silly and stupid, for example when he turns into a horse or when they are at the casino, the type of comedy use on this scene are very extremist and people laugh about it so much, as I mention probably part of the code that was cracked by the two previous movies.

The movie doesn’t really serve as closure for Eddie and Venom’s story, but it does set up a potential future for the symbiote universe. From the moment Venom explains what the Codex is, there’s a suggestion that either Eddie or Venom has to die to stop Knull, which gives the movie some real emotional stakes that sparks the curiosity of viewers who want more and more about it so they can figure out who will die at the end, we knew one had to die period. The film uses the notion of sacrifice and the powerful bond between Eddie and Venom to turn what would be a throwaway superhero film into something surprisingly touching.

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The Last Dance, doesn’t try to be a masterpiece, and it knows it isn’t, instead it doubles down on what works, the weird chemistry between Eddie and Venom, the creative action sequences and just plain fun of seeing a guy with an alien symbiote run wild, on this movie is also the first time that Eddie kills someone almost intentionally as himself and not Venom, makes him feel guilty and accuse Venom from all this mess. The kind of movie that doesn't blame it for being what it is, a wild, ridiculous ride that cares more about being entertaining than Oscar bait, but also touching and giving a future for Symbiotes in the SSU (Spider Man Universe).

The climactic battle as the final stage for the movie, is chaos involving multiple symbiotes, the Xenophages striking in mass destruction. The end credits see Knull make a more substantial appearance after he's been mostly sitting on the sidelines until now, a badass reveal that leaves the door open for future story lines. The movie wants to have it both ways, it wants to be a conclusion but also sell itself as a means to an uncertain franchise future. The movie toying and exploring the idea of their complete connection, are they two different entities or just one being?

The ending is meant to be ambiguous, but the movie implies this might be the end of the road for Venom, but in my opinion this was not necessary although I can understand how some characters need to be refresh before they become old news, just as Iron Man in the MCU and Thor should be on that spot by now as we have seen Chris Hemsworth play the role so many times that I think is starting to faint out. It looks as if Sony is playing a long game, keeping their options open for future symbiote related movies.
Is it a perfect movie? Absolutely not, some of the side characters feel like they're from a whole other movie and the plot has more holes than you can imagine, but for fans of Venom, like me, people who enjoy their superhero movies with a little bit of weird, this is a fitting conclusion to a trilogy that didn’t ever quite play by the rules.

I'm giving Venom: The Last Dance a good solid 7.5 out of 10, since it won’t change the world of cinema, but it could make you laugh, cringe, and oddly love a guy and his alien symbiote buddy, sometimes, that’s exactly what you want from a movie, just to have fun on a a good one time watch.

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