Películas vistas el 2020
List activity
605 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
152 titles
- DirectorDavid LeitchStarsCharlize TheronJames McAvoyJohn GoodmanAn undercover MI6 agent is sent to Berlin during the Cold War to investigate the murder of a fellow agent and recover a missing list of double agents.¿La vi porque realmente me interesaba, por Charlize Theron o porque vi que había una pareja sapphic? Las tres, pero más de las últimas dos.
- Tiene excelentes actuaciones.
- En un principio me hizo sentir que era medio futurista y luego en la época en la que ya se supone que sucede (1989), aunque para haber sido de ese año quizás no lograron ambientarla del todo bien.
- Me dio mucha pena la muerte de Delphine.
Calificación: Buena.
Vista: 1 de enero, 2020. - DirectorJames GrayStarsBrad PittTommy Lee JonesRuth NeggaAstronaut Roy McBride undertakes a mission across an unforgiving solar system to uncover the truth about his missing father and his doomed expedition that now, 30 years later, threatens the universe.La vi en la casa de Fer Candia.
- En la escena en la que aparece el mono ella dijo "monos en el espacio" o "monos pirata en el espacio", soltó un comentario así que me hizo reírme un montón.
Frases:
"The attack, it was full of rage. I understand that rage. I’ve seen that rage in my father, and I’ve seen that rage in me. Because I’m angry that he took off. He left us. You know, but when I look at that anger, and if I push it aside, and just put it away, all I see is hurt. I just see pain. I think it keeps me walled off, walled off from relationships and opening myself up, and, you know, really caring for someone. And I don’t know how to get past that. I don’t know how to get around that. And it worries me. And I don’t want to be that guy. I don’t want to be my dad."
"The son suffers the sin of the father"
Calificación: Buena.
Vista: 15 de enero, 2020. - DirectorRichard KellyStarsJake GyllenhaalJena MaloneMary McDonnellAfter narrowly escaping a bizarre accident, a troubled teenager is plagued by visions of a man in a large rabbit suit who manipulates him to commit a series of crimes.Me hizo pensar en la vez que Valeria me dijo "me recuerdas a Donnie Darko", ¿qué característica de todas las que tiene la hizo pensar en mí?
Calificación: Excelente.
Vista: 22 de enero, 2020. - DirectorLars von TrierStarsWillem DafoeCharlotte GainsbourgStorm Acheche SahlstrømA grieving couple retreat to their cabin in the woods, hoping to repair their broken hearts and troubled marriage, but nature takes its course and things go from bad to worse.Encuentro una similitud entre Lars Von Trier y Gaspar Noé; ambos buscan que sus personajes toquen fondo, y desarrollar la película mientras siguen dando vueltas en la vorágine de la mente humana. Les gusta ser explícitos, no hay nada de "Ethos" en sus películas, si tienen que mostrar algo, así sea una cruda realidad -o tan desgarradora como me resultó Irreversible-, la muestran tal y como es, sin tapujos.
Calificación: Excelente.
Vista: 29 de enero, 2020. - DirectorGaspar NoéStarsSofia BoutellaRomain GuillermicSouheila YacoubFrench dancers gather in a remote, empty school building to rehearse on a wintry night. The all-night celebration morphs into a hallucinatory nightmare when they learn their sangria is laced with LSD.Calificación: Excelente.
Vista: 31 de enero, 2020.
Vuelta a ver: 6 de abril, 2022. - DirectorJustin DecStarsElizabeth LailJordan CallowayTalitha Eliana BatemanWhen a nurse downloads an app that claims to predict the moment a person will die, it tells her she only has three days to live. With the clock ticking and a figure haunting her, she must find a way to save her life before time runs out.Esta peli la vi con Cejota, Leo Marañón y Edwin en el Cine Center.
Calificación: Regular.
Vista: 5 de febrero, 2020. - DirectorBong Joon HoStarsSong Kang-hoLee Sun-kyunCho Yeo-jeongGreed and class discrimination threaten the newly-formed symbiotic relationship between the wealthy Park family and the destitute Kim clan.Me iban a hacer una sorpresa por mi cumpleaños pero mi mamá, para variar, me lo dijo y al final no la hicieron.
Así que fuimos a verla con Kathiane, Jorge, Laura, Matías, Oscar y yo.
https://www.vulture.com/2020/01/parasite-ending-explained-by-bong-joon-ho.html
Bong Joon-ho movies tend to end where they begin: The detective in Memories of Murder returns to the ditch where he discovers one of the serial killer’s first victims; the titular mother in Mother dances, her arms swaying like wheatgrass; the little girl Mija returns to the countryside after saving her pet from a slaughterhouse in Okja. The world appears unchanged, but they are no longer the same. Instead, there’s a disquieting dread. Despite the unspeakable horrors each character has witnessed, the world still spins, impassive and unmoved by the preceding events. As with many of his films, Bong Joon-ho has his eye on the superstructure that binds society together and continues to grind down the bones of its protagonists long after the final frame.- The Park child faints, and his parents demand the father, Ki-taek, drive them to the hospital, even as his own daughter is bleeding to death. That moment clarifies what they should have known all along: that their lives are still constrained by servitude, and that they work merely at the whims of their employer. So Ki-taek stabs the wealthy Park patriarch and runs away.
- The coda of the film was the second epiphany Bong had while working on the script. (The first was the very idea of a third family hidden underneath the house.) He was waiting at a crosswalk in Vancouver when he suddenly realized how to end the movie after a sensational, bloody climax: The father would become the new resident in the bunker, hiding from the police in the last place they’d look to find him. The Parks would move out, only to be replaced by a German family. The particularities may have changed, but everyone’s station has remained the same. There would always be another wealthy person to live upstairs, just as there would be another poor person positioned beneath them.
Parasite’s penultimate shot is swathed in fantasy: father and son hugging on the bright, green lawn of the Park house that is now rightfully theirs. Bong could have ended the film on that note of dreamlike ambiguity, but instead he returns to the half-basement where the movie started, descending from the cramped window space down to Ki-woo writing the letter to his father. There is no mistaking what the reality is. His desire to continue striving is Sisyphean and is the boulder that will eventually crush him. Hope is the emotional parasite in the film: the thing that keeps us going but sucks our marrow dry.
“Maybe if the movie ended where they hug and fades out, the audience can imagine, ‘Oh, it’s impossible to buy that house,’ but the camera goes down to that half-basement,” he says. “It’s quite cruel and sad, but I thought it was being real and honest with the audience. You know and I know — we all know that this kid isn’t going to be able to buy that house. I just felt that frankness was right for the film, even though it’s sad.”
Bong Joon-ho’s worldview comes through most clearly in his endings: clear, bleak, and unrelenting. While his films aren’t necessarily autobiographical, they are personal in the sense that what he wants the audience to feel is the same dread, terror, and anxiety that he feels about the world: the impending climate catastrophe, human-rights abuses, and the ever-widening gap between the rich and the poor. The detail in Snowpiercer of the small children being used as labor to keep the engine running, for instance, was inspired by news of child-labor practices. Parasite, too, took some inspiration from the Papin sisters, two live-in maids who killed their employers in 1930s France. The horrors in his films often mirror what he sees in the world.
“There are people who are fighting hard to change society. I like those people, and I’m always rooting for them, but making the audience feel something naked and raw is one of the greatest powers of cinema,” he says. “I’m not making a documentary or propaganda here. It’s not about telling you how to change the world or how you should act because something is bad, but rather showing you the terrible, explosive weight of reality. That’s what I believe is the beauty of cinema.”
Calificación: Excelente.
Vista: 14 de febrero, 2020.
Vuelta a ver: 15 de febrero, 2020. (A pesar de que ya la había visto, esta fue la primera película que vi con Luciana Torquati por mi cumpleaños) - DirectorLana WilsonStarsTaylor SwiftAndrea SwiftScott SwiftA look at iconic pop artist Taylor Swift during a transformational time in her life as she embraces her role as a singer/songwriter and harnesses the full power of her voice.Calificación: Buena.
Vista: 17 de febrero, 2020. - DirectorCéline SciammaStarsNoémie MerlantAdèle HaenelLuàna BajramiOn an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.Adèle Haenel gritando «Vive la pédophilie, bravo la pédophilie» en los premios César, fue lo que me llevo a ver esta película, luego de que Roman Polanski ganara como mejor director.
Los César de la vergüenza, como lo definió el público, son la otra cara de lo que son los Oscar, pero la misma mierda. Por un lado se encuentran los César impregnados de machismo y fobias; y por otro lado se encuentran los Oscar, que se muestran más "inclusivos" por conveniencia, por tokenismo.
Polanski le ganó a Céline Sciamma, la directora de esta película, en la categoría de mejor dirección. Todavía no puedo hacer una comparación ya que no he visto la de Polanski y aunque su película fuese mejor no tendrían por qué galardonear a un hombre que desde 1977 recibe acusaciones de abuso sexual y violaciones. Tal y como le comentó Haenel a The New York Times: "distinguir a Polanski es escupirle a la cara a todas las víctimas. Quiere decir: ‘No es tan grave violar a las mujeres'”.
Quizás cuando tenga más claro e investigue más sobre lo de "separar el arte del artista", pueda hacer un comentario más extenso , ya que el tema sería bueno hasta comentarlo con el resto de mi semestre o hacer un debate, y por lo menos tener un argumento más fijo de por qué no deberían consumir los productos audiovisuales de esta clase de artistasvioladorespedófilos. Porque también reconozco que es un completo desperdicio que personas tan repugnantes puedan ser tan talentosas a la vez.
Pero en fin, ya hablando de la película, puedo decir que no conectó conmigo. Sentí una rabia contradictoria de no poder estar juntas, y el climax terminó con el rostro inanimado de Héloïse con música orquestal de fondo. Música hermosa y situaciones que no encajan con lo que se escucha son las escenas cliché que me encantan. Se busca contrariedad para que la persona quede desencajada, pero no me dejó así. Quizás por pequeños baches que fueron siendo un obstáculo a medida que avanzaba la película, siendo parte de esto las escenas en las que se presenta a Héloïse como un holograma en en un vestido blanco.
El único sentido que le puedo hallar a eso, es que al ser narrado todo desde el punto de vista de Marianne, está relacionado con la última vez que vio a Héloïse en esa casa, usando un vestido blanco. Un recuerdo intermitente mientras narra la historia.
It’d be tempting, and not entirely off-point, to read Portrait of a Lady on Fire as a deconstruction of the male gaze. (There are even a number of overt allusions to Alfred Hitchcock’s Vertigo, plus some sly references to whether Héloïse smiles enough.) But the film isn’t nearly so schematic, or simplistic; it exists not to undermine an idea but to make us see a world anew. Héloïse lives in a huge empty house, where the unfurnished rooms and stone halls echo with the crackle of fireplaces and the rustle of dresses. Outside, all we hear is the blowing of the wind and the rushing of the waves. It all feels so lonely and desolate, and yet over the course of the film, this initially confining bleakness transforms into possibility, as we begin to understand that the emptiness surrounding Héloïse is a measure of her freedom, not a sign of her spiritual or marital deprivation. When Marianne first sees her, Héloïse breaks into a run toward a cliff overlooking the sea. “I’ve dreamt of that for years,” she says. “To die?” Marianne asks. “To run,” Héloïse replies.
I was certainly tempted to read the film, at least in part, as a repudiation of male directors’ approaches to lesbian storytelling, especially in arthouse and prestige cinema. Where Park Chan-wook’s otherwise spectacular erotic thriller The Handmaiden deploys a number of sensationalized and rather obscenely fluid-heavy sex scenes, Sciamma forgoes graphic depictions of intercourse entirely (save for a delicious shot of the women rubbing a hallucinegetic drug into each other’s armpits). Over the past decade, well-regarded films about women who love women, directed by men — from Abdellatif Kechiche’s Blue Is the Warmest Color to Olivier Assayas’s Clouds of Sils Maria to Todd Haynes’ Carol (beloved by many lesbians but, alas, not this one) — have to varying degrees expressed a breathless wonder at the beguiling sexiness of two femmes getting it on. The characters are not so much real, fleshed-out women as they are archetypes, or foils of each other, or overwrought artistic metaphors. In Blue, for example, the leads’ naked bodies are graphically matched with statues in museums; a man at a party, seemingly a stand-in for the director himself, waxes poetic about the mysteries of the female orgasm. Women have been male artists’ models, as well as their (uncredited) partners or collaborators, throughout much of human history, so two women together offers male creators still more opportunities for inspiration (and, of course, titillation).
But Ebiri is right. Sciamma is not rejecting the male gaze so much as she’s offering us an entirely new way of looking. Her film isn’t in conversation with those male directors’ works; Portrait is a universe unto itself. In interviews, Sciamma has refused to dignify certain male directors’ substandard efforts with the respect required of legitimate cultural criticism, even the harshest kinds: “I don’t give a fuck,” she told the Guardian when asked about Kechiche’s controversial film. “I don’t give a shit about it.” (She and Haenel recently walked out of the Cesar Awards ceremony, the Oscars of France, when the top prize was awarded to convicted rapist Roman Polanski.)
Though men and their dangerous, undeserved powers hover ominously just outside the trio’s idyll — the faceless, nameless stranger who got Sophie pregnant; the man Héloïse is supposed to marry, sight unseen; Marianne’s artist father, from whom she’ll inherit the family business, and under whose name she’s sometimes forced to submit paintings — the women wield their own powers of generation and destruction. The first time Héloïse and Marianne meet, Héloïse sprints out toward the cliffs and stops just short of tumbling over the edge, as her sister had before her. “I’ve dreamt of that for years,” she says. “To die?” Marianne asks. “To run,” Héloïse says.
One night, after Héloïse reads Ovid’s “Orpheus and Eurydice” aloud to Marianne and Sophie, the three women debate about why Orpheus, upon leaving Hades, looked back at his lover Eurydice — the one thing he was expressly told not to do — thus dooming her forever to the underworld. Héloïse wonders if maybe Eurydice told Orpheus to look back; perhaps she played a role in her own end. Marianne thinks differently: “He doesn’t make the lover’s choice, but the poet’s. He chooses the memory of her.” Later, when Marianne and Héloïse are forced to part themselves, neither is without agency: Like her imagined version of Eurydice, Héloïse encourages Marianne to look back at her — and like her Orpheus, Marianne chooses not to regret, but to remember.
For Marianne and Héloïse, as has been the case for so many lesbian couples throughout history, there simply cannot be a future. But that doesn’t make their romance, however brief, any less passionate or profound. In fact, their shared love for the pleasures of sex and drugs, for art and music (a Vivaldi piece is played twice, in different contexts, to revelatory effects), is what will always connect them, long after they see each other for the last time.
Sciamma baffled readers when she told Vox she was inspired in part by James Cameron’s ’90s behemoth, Titanic, not only because it’s “a love story with equality and with emancipation,” but also “because it’s totally queer.” Though straight people were confused, as usual, all lesbian Titanic-heads know that Jack and Rose’s affair is actually as gay as a seemingly hetero love story gets. Though it’s a tragedy — which is the case for all too many queer movies, even today — Titanic imbues so much power in the gift of memory, of treasuring human connection and joy and pleasure, of being truly seen by another person, that you can just as easily read the film as a story of love’s triumphs against the ever-present backdrop of pain and despair.
Every love story, after all, ends in tragedy. It’s just a matter of when. You need only look to the surprising, gorgeous romance tucked into HBO’s Watchmen to learn that lesson. There are no guarantees. No happy endings. There’s only the moments we have right in front of us — and the best and the worst of our memories. It feels like a particularly poignant, if heartbreaking, takeaway for our current moment, when any future at all seems terribly uncertain. But hopefully that just makes our love, however fleeting, however finite, all the sweeter.
https://www.buzzfeednews.com/article/shannonkeating/portrait-of-a-lady-on-fire-queer-romance-lesbian-lockdown
Sin embargo, el mensaje de la película es refrescante. El retrato de la mujer que ama tal y como quisiera que sea recordada. Probablemente hay alguna metáfora que no estoy logrando descifrar, pero más adelante puede que la vuelva a ver con otros ojos.
Calificación: Muy buena.
Vista: 28 de marzo y 5 de abril, 2020. - DirectorJennifer FoxStarsLaura DernJason RitterCommonA woman filming a documentary on childhood rape victims starts to question the nature of her childhood relationship with her riding instructor and running coach.Tanto que mencionan los documentales durante la pelicula, parece un documental que rellenaron con diálogos innecesarios. Un mal guion, mala dirección, mala continuidad, malos actores. Mal todo.
El esposo de Jennifer no aporta en nada a la historia, y el personaje de su madre estuvo mal desarrollado. Resulta tedioso que por guardar fidelidad con los hechos no hayan sabido seleccionar cuáles aportaban a la historia y cómo se vería esto en una película.
Para dar un ejemplo de por qué digo que fue un mal guion, hay una escena en la que siendo mayores, Jennifer se encuentra con Mrs. G, y tiene que averiguar información para saber más del asunto que va la película. Entonces se reúnen, no hay asombro ni nada, y cuando entran para comer algo tienen una conversación que se desarrolla así: Jennifer le comenta de su abrigo a Mrs G y luego a los cinco segundos sin que se lo pregunten dice que se arrepiente de muchas cosas, al rato Jennifer le dice que cree que nunca supo de dónde provenía ella, y así sigue el diálogo, sin congruencia... Solo me recordó a esa escena en The Room, cuando están en una cafetería hablando de trabajo, no han terminado de hablar de eso y Johnny lo interrumpe para decirle "anyway, hows your sex life?"
Luego en la continuidad hay errores tan notorios como el fuego. Una escena en la que se encuentra Jennifer hablando con Bill en la sala, y se ve el fuego de la chimenea. Luego se lo enfoca a Bill para preguntarle si tiene frío, y que no encendió la chimenea porque era muy tarde. Cuando se lo enfoca y al decir sus líneas caen en cuenta de su error, apagan el fuego y enfocan la chimenea para que el público vea que estaba apagado, siendo que fue un error notorio.
El final también fue desabrido y podría seguir, pero me reduzco a decir que es una mala película y que no vale la pena verla.- Tal vez la protagonista no sea una maravilla, pero cuando se encuentra con mejores actores, la dinámica cambia por completo
- Es tan conveniente que para darle un final a la historia justo aparezca un personaje que ni siquiera estuvo en la escena en la que volvieron a remontarse, tienen unos fallos terribles en la continuidad
- Gran parte de las líneas de los diálogos están tan sueltas que ni los actores saben cómo responder o interactuar con eso
- La última escena donde se encuentra ella con su versión adulta sí me gustó y también la música del final
De las reseñas de Imdb:- This should have been an emotionally wrenching story of a woman coming to grips with the fact that she was repeatedly raped as a child by an adult she trusted. Instead, it plays more like an ABC After School Special. None of the characters have any depth or layers. I felt as if I were watching a rehearsal for the finished film. One of the problems is in the writing. Scenes just seem to exist for the purpose of conveying information, but no one seems invested. Viewers should be terrified and repulsed by Jason Ritter's character, but I found him to be dull and predictable. Even Ellen Burstyn appears to be picking up a paycheck and nothing else. Only John Heard, in the film's only honest moment at the end, comes off as real. I cared about what was going through his mind. All the other scenes were like those bad industrial films they showed you in high school.
The director (and writer), Jennifer Fox, has no point of view. And that's the main problem. Had a more competent director and writer helmed this project, I may have felt what these characters were supposed to feel - completely drained at the end. Instead, I felt like an important story was given the Cliffs Notes version.- How could such a big and bold story end up being told in such a flat way? The script is terrible, the acting is below par and thirty minutes into the film I was completely disinterested and walked away.
- Very repetitive and messy plot. some sentences are repeated over and over. very slow pace and there isn't anything really surprising or that makes you think "wow! what a story, or what a great film", too many cliches and things heard and seen HUNDREDS of times. If you read the synopsis, you already know pretty much everything.
Calificación: Mala.
Vista: 14 de abril, 2020. - DirectorNancy MeyersStarsMel GibsonHelen HuntMarisa TomeiA cocky, chauvinistic advertising executive magically acquires the ability to hear what women are thinking.Me sorprendió mucho que una película en la que el punto de vista está impregnado de machismo, haya sido dirigida por una mujer. El argumento habla de ejecutivos de una agencia publicitaria, en la que tienen que hacer una campaña para que se revierta las publicidades en las que sexualizan o cosifican a la mujer, y se las empodere. Y para desarrollar eso lo hacen con un desagradable romance, donde el player consigue la habilidad de leerle la mente a las mujeres, y busca sabotear a la directora creativa de la agencia que le ganó el puesto. Se roba sus ideas, la usa, y construye una verdad, su "amor", en base a una mentira donde la co-protagonista lo perdona fácilmente.
¿No es algo contradictorio que hagan una película donde se busca empoderar a la mujer con una campaña publicitaria, y por otro lado su insípido romance demuestre lo contrario? Porque claro, que te usen y te saboteen no es tan grave. Y obviamente no desaprovecharon una película que por los 2000 pudo haber tenido relevancia. También por el 2020, pero aquí estamos.- Prolongaron mucho el conflicto e hicieron que su confesión parezca honesta siendo que omitió varios detalles. Admito que sería una locura que le diga que podía leer sus pensamientos y que ella le pida que lo haga ahora para comprobarlo siendo que perdió su poder.
- Quedé sorprendida por la actuación de Judy Greer, ya que la conocía por Two and a Half Men, una serie a la que estuvo confinada durante años sin poder demostrar el potencial que claramente tiene.
Calificación: Mala.
Vista: 15 de abril, 2020. - DirectorBahman GhobadiStarsSoran EbrahimAvaz LatifSaddam Hossein FeysalNear the Iraqi-Turkish border on the eve of an American invasion, refugee children like 13-year-old Kak (Ebrahim), gauge and await their fate.
There can hardly be any film-maker with a more urgent, and a more desolate sense of the contemporary than Bahman Ghobadi, the Iranian-Kurdish director who made the lacerating A Time for Drunken Horses. Again, Ghobadi has written a spiritual bulletin from the war-ravaged Middle East, and placed children at the centre of the action.
Ghobadi has some extraordinary crowd scenes and remarkable spectacles involving non-professionals: an authentic landscape of deprivation which he weaves into a heartfelt story of his own devising. He also has a journalist's feel for what is relevant combined with a distinctively spiritual capacity for calm. It is a fiercely sombre story, compellingly sited in the here and now.
https://www.theguardian.com/film/News_Story/Critic_Review/Guardian_review/0,,1384427,00.html
I didn’t have a script. I had only written about 20% of it. I went there knowing that I had to quickly make a film in the situation that existed in Iraq at the time. In two, two and a half months, with five cars and five people including myself, each of us had a small video camera, we searched all the northeastern area of Iraq. Several towns and villages, and the roads, both to find actors and locations and to complete the script…Along the way I saw thousands of children and each was better than the other. I had so many choices. I just picked these ones. They were all talented. They were all amazing. If I wanted a child with no hands, in that border region I could find a thousand children who had lost their hands and feet walking on the mines…It was both easy and hard, but in the end, what I want to tell you is that I enjoyed very much the whole process of making this film, especially finding the actors.
You assume the movie is a liberal attack on George W. Bush’s policies. Not at all. The action takes place just before the American invasion begins, and the characters in it look forward to the invasion and the fall of Saddam Hussein. Nor does the movie later betray an opinion one way or the other about the war. It is about the actual lives of refugees, who lack the luxury of opinions because they are preoccupied with staying alive in a world that has no place for them.
Others have, alternately, maintained that the film clearly opposes war, but gently, without dogmatic fervour. It is, writes Michael Howard of The Guardian, “an anti-war movie without slogans”.
Ghobadi possesses the impressive ability of exacting spectacularly powerful performances from non-professional actors, and that, with minimal equipment over very short spans of time. Turtles Can Fly is not exactly a happy film but it is far from defeatist (as can be surmised from the title). Chaos and sorrow are punctuated by interludes of fun and humour. Overall, the film is a brutally honest documentation of the impact of conflict and tyranny on concrete, individual human lives. The stories it sets out to tell one never gets to hear on television news channels or newspapers. There, war is represented in an incomplete and reduced form – as statistics of the dead or abstract ideological debates.
https://onartandaesthetics.com/2016/04/15/turtles-can-fly/
Ghobadi, himself Kurdish-Iranian, expresses that the very exile that defines the Kurds also allows them to remain attuned to the world’s hypocrisies. This group of 25 or so million Sunni Muslim minorities, scattered mostly throughout Turkey, Iran, Iraq, and Syria, remain drifting, their desperation for a national identity is manifest in “Turtles Can Fly” in the youngest generation, each character able to express a lifetime of pain on their weathered baby-faces. The mysterious young girl Agrin (Avaz Latif), on whom Satellite develops a chaste crush, particularly embodies her people’s generational sadness: though barely in her teenage years, Latif projects middle-aged wisdom and weariness in each startling closeup. Ghobadi’s characters indeed all seem to age rapidly within the course of the film; moving from hope to disillusion to self-destruction and back again. For all the dreadful, powerful imagery Ghobadi serves up (children dousing their clothes in kerosene, sobbing toddlers grasping barbed wire fences in mud-splattered rainstorms, an armless boy unscrewing a land mine cover with this teeth) he never seems to be attempting to shock; his camera simply captures a spot of earth in which daily ritual slowly becomes the stuff of global tragedy.
This film is neither pro- nor anti-U.S. in sentiment; simply put, the film is pragmatic, more concerned with individual response to daily conflict than overarching analysis, yet thoroughly aware of the political machinations that bring about change. Yet the U.S.’s penchant for using the Kurds for leverage during wartime and then abandoning them when it no longer suits them, is reflected in the film’s ultimate disillusionment and shattering final images. American heroism, initially championed by Satellite, doesn’t save anyone in the end. Rarely does a film feel this urgent, like a message in a bottle accidentally washed ashore. Ghobadi dares to tell the story of a corner of the planet in which there is no resolution, no matter how hard those half a world away try to impose a happy ending.
A devastating tale of a Kurdish refugee community just before and after the American invasion of Iraq, Bahman Ghobadi’s “Turtles Can Fly” manages to be both a piece of instant-history reportage and a mysterious modern folk tale with allegorical underpinnings, as well as one of the best films ever made about children in wartime, equaling and echoing such masterpieces as “Germany Year Zero” or “Ivan’s Childhood” in its unsentimental take on the way kids live, cope, and die in a wartorn landscape. This is due in large part to the performances of a handful of nonprofessional child actors, many of whom were real refugees from the Iraq-Turkey border region and some of whom bear the mutilating injuries of life among land mines. What sounds like a potentially disastrous exploitation of human suffering becomes totally compelling and even occasionally comic thanks to the believable and fully realized little society drawn by these youngsters.
“Satellite” (Soran Ebrahim), the local handy-boy who commands his own gang of urchins who make a living scavenging land mines, reminded me of a middle-eastern Max Fischer, whose know-it-all adolescent arrogance is constantly being punctured (just like Max, he goes down with one punch — by an armless boy, no less) but who remains endearing in spite of himself. His authority is threatened by the arrival of two inscrutable strangers: the clairvoyant amputee Henkov (Hirsh Feyssal) and his sister Agrin (Avaz Latif). The nearly mute Agrin — whose suicidal leap opens the film — haunts the desolate landscape like she’s stepped out of “The Long Black Veil” or some other mournful ballad and carries an unexplained child with her everywhere. Though there’s some gentle humor surrounding Satellite’s romantic crush on her, she’s already too far gone on her self-annihilating quest to much notice.
A dead ringer for Corey Feldman in “Stand By Me,” Kurdish refugee Satellite, resplendent in thick specs and pre-adolescent braggadocio, keeps the villages dotting the Iraqi-Turkish border up to date on information of the impending U.S. invasion. Though most of Satellite’s hard news comes from the mysterious predictions of an armless orphan, the villagers and refugees are so hungry for information that they’ll trust the pronouncements of a 12-year-old. Such is life in Bahman Ghobadi’s bleak pre-apocalyptic Iraq, where limbs are less valuable than the mines they might be able to dismantle and sell, and where adults seem as helpless to alter their own fates as blind infants wailing at spools of barbed wire. They must simply wait for a war that could very well change nothing for the better, citizens of a country whose future is not theirs to build. Satellite, a firecracker not yet snuffed out by the wet fingertips of despair, tries to reclaim as much autonomy as he can among the wasted tent-towns and dirty faces. That Ghobadi can find humor amidst all this desolation is a testament to the filmmaker’s talents and the spontaneity of his nonprofessional actors, rather than say, to any ray of sunlight on the horizon. Because what’s most troubling about watching “Turtles Can Fly” a week after Iraqi elections is the knowledge that the fates of these lost children still sway in a fog as dangerous and uncertain as the border on which they live.
https://www.indiewire.com/2005/02/message-in-a-bottle-bahman-ghobadis-turtles-can-fly-78403/
If you have been wondering about the miraculous power of cinema and have felt most films these days just do not have it, watch this film and your faith in movies will be restored.
The film, with a cast of non-professionals who also happen to be refugees in a Kurdish village in Iraq, has been winning critical acclaim and awards at numerous festivals. It was one of the better appreciated films at the Toronto and Berlin Film festivals last year. It won the audience award at the Rotterdam International Film Festival as well as the Sao Paulo festival. It also won in San Sebastian, Tokyo and Chicago.
It's also a fine film about survival. In fact, the actors, who play fictitious characters on screen, have shown plenty of resilience in their own young lives.
Hiresh Rahman, who plays the armless boy in the film, saw a bird caught in electrical cables not too long ago, according to writer and filmmaker Ghobadi. While he freed the bird, he was electrocuted and his arms were burnt beyond recovery. Yet, he had no fear of the camera, Ghobadi said.
'The reality is very, very hard and difficult,' Ghobadi was quoted as telling a festival audience. 'Many times we were shooting and had to stop to cry.'
Though all the amateur actors are splendidly engaging, Soran Ebrahim, who could be 14 and whose name in the movie is Satellite, draws the most attention. Nicknamed Satellite for his ability to install dishes that help his people receive news from non-official sources, he is endearing as well as brutal in his dealings with other children.
The sad and intriguing (and in a way colourful) refugee camp includes, apart from Satellite and the armless boy Henkov (Hiresh Rahman), his frail, suicidal sister Agrin (Avaz Latif). The armless orphan, the other kids whisper, can predict the immediate future, and Agrin is a sorceress. And then there is a very small kid, maybe just a year-old, who has to be kept on a leash; he is prone to wander onto the landmines.
Ghobadi has dedicated the film 'to all the innocent children in the world -- the casualties of the policies of dictators and fascists.'
Saddam Hussein is clearly the unseen villain in the film but Ghobadi, who, like his mentor, was refused a visa by the US to attend American film festivals two years ago, doesn't miss an opportunity to question the attitude of the 'liberators.'
https://www.rediff.com/movies/2005/feb/22turtle.htm
Calificación: Imprescindible.
Vista: 21 de abril, 2020. - DirectorNicolas GessnerStarsJodie FosterMartin SheenAlexis SmithA thirteen-year-old girl, who lives with her absentee father, befriends a disabled teenage amateur magician and invites him, gradually, into her tenuous struggle against a predatory local neighbor.
- Fue innecesario que mantenga una relación con Mario y fue mucho menos necesaria la escena en la que se sobreentiende que se están acostando, es una niña de 13 años, y por más inteligente y madura que sea no era necesario.
- Una buena idea que no supieron cómo desarrollarla, y como en su hilo conductor hubieron demasiados baches que les impedía darle un buen final a la historia, lograron arreglarlos con conexiones innecesarias.
Calificación: Buena.
Vista: 21 de abril, 2020. - DirectorClint EastwoodStarsSean PennTim RobbinsKevin BaconThe tragic murder of a 19-year-old girl reunites three childhood friends still living in Boston--the victim's gangster father, a detective, and the disturbed man they both suspect of killing her.Hubo algo del final que no terminó de cuadrarme, lo sentí muy flojo y me dio mucha pena que por hacerle justicia a los Markum, Celeste tuvo que pagar los desastres de ese hombre.
Calificación: Muy buena.
Vista: 25 de abril, 2020. - DirectorNicole KassellStarsKevin BaconKyra SedgwickYasiin BeyA child molester returns to his hometown after 12 years in prison and attempts to start a new life.La película debería haberse llamado empathy for the pedophile, porque eso es lo que busca. La película se narra desde el punto de vista de Walter, y con eso hace que se sienta cierta lástima por el trato que le dan, pero falta la visión que tienen ellos de él: un monstruo. Justo lo que son los pedófilos. ¿La película busca sentir lástima por un pedófilo que intenta contener sus instintos? ¿El mismo que dice: “Im not a Monster”?
El arco dramático del personaje de Walter comienza con un hombre frívolo, y termina con un hombre "renovado", uno que a lo largo de la película intenta matar algo que está fuera de su control, algo que le impide sentirse "normal". Y justo encontré a alguien más que se dio cuenta de esto en una reseña de imdb:
However the film is exceedingly unrealistic by giving the impression that all Walter needs to straighten him out is: (a)the love of a good woman (b)the realization that a little girl is already being abused by her father and (c)turning violently upon another pedophile. In the latter case, I wasn't so sure but what his violence had more to do with the other pedophile being interested in little boys rather than little girls, then it did with actually realizing the destructive nature of pedophilia on its victims.
Calificación: Regular/Buena.
Vista: 30 de abril, 2020. - DirectorJohn Patrick ShanleyStarsMeryl StreepPhilip Seymour HoffmanAmy AdamsA Catholic school principal questions a priest's ambiguous relationship with a troubled young student.
- Excelentes actuaciones y adoro lo tierna que es Amy Adams.
- Como están llenos de superticiones, los fuertes vientos y lluvias parecían ser un indicio de lo que el Padre había hecho.
- Doubt... un título ambivalente para una película que busca dejarte con la duda de si el Padre realmente abusó del niño, si la monja cometió un error en busca de proteger al niño (con una percepción mucho más sensible que la de la propia madre), o si los superiores de la Iglesia son un anillo de pedófilos que se protegen entre sí. Por eso es que la Hermana dice que ese tipo de gente es la más inteligente. Esto no es algo que sucede solamente en la iglesia, los que más tienen poder y dinero siempre se salen con la suya. Doubt resume toda mi desconfianza y la de mucha gente, porque realmente no sabemos qué creer. Es lanzarse el mundo encima por tratar de hacer algo bueno, y denunciarlo frente a una "justicia" que está igual de manchada o peor.
Entonces:- Una monja que busca proteger al niño porque sabe cómo son los Padres de la Iglesia y lo que serían capaces de hacer. Observó que el Padre tiene una actitud extraña no solo con ese niño en particular sino que ya lo había observado tocarle la cintura a otro niño y ver cómo este lo apartaba.
- Un niño desprotegido y rechazado por su propio padre que solo busca un poco de amor. Una presa fácil para el Padre de la iglesia, que lo manipula haciéndole creer que es amado y protegido por él, siendo que solo lo está abusando y aprovechándose de sus condiciones.
- Una monja inocente que busca el bien en todos los seres humanos y piensa que todos son buenos. Intenta convencerse de que el Padre es inocente cuando ella misma tiene sospechas de que hizo algo malo, incluso cuando lo vio meter la camiseta del niño a su casillero. Un personaje casi tan manipulable como un niño.
- El Padre de la Iglesia que cuenta con el apoyo de sus superiores para que le socapen todo lo que él haga, porque ellos son la misma basura. Trata de sonar convincente con la monja haciéndola dudar de lo que ella tiene claro. Muy astuto, busca piedad y dar lástima al retirarse siendo que cuando la monja le dice que ya había hablado con la monja de otro lugar en el que él estuvo anteriormente, este parece estar asustado y a la vez cuidadoso de todo lo que dice.
El guion logra sustentar a la perfección el título de la película. Me hubiera gustado que sea más cruda y que despejen un poco toda la mierda que se encuentra detrás de esa benévola cortina de humo de la Iglesia. Tan densa, que hasta da miedo saber qué se esconde ahí.
https://www.reddit.com/r/movies/comments/1fpq5v/spoiler_question_the_ending_of_movie_doubt/- Not only this but also her doubts were rooted in her faith. If you remember, they kept doing a close-up on the cross. She had been through the death of her husband and was a pretty joyless woman, always looking for the bad in people.
For a woman of her stature and years in the Catholic church, to not truly have faith in God, it must have been horrendous. She thought that Father Flynn was an evil man and the fact that he was moving up in the hierarchy of the religion she had devoted her life to made her feel doubt.- Do you think she may have also doubted her motivation? Throughout the film, Father Flynn tries to get in step with Vatican 2 and modernize his parish, while Meryl's character fights hard against change: the picture of the old Pope, the ball point pens, secular Christmas songs, etc. I think she wanted to rout out Father Flynn as a symbol of progress and used her hunch of indiscretion as a vehicle to attack him. Maybe she had doubts about her true motivation.
- The reactions to this movie baffle me. I have always felt, with great confidence, that when she says "I have such doubts" she is doubting the correctness and righteousness of her religion and the Church, because she doesn't doubt that Father Flynn has done something bad. The entire movie portrays her as having an uncanny, almost mystical, hawk-like ability to detect Father Flynn's badness. She knows, in her heart, that he's done something bad, and his reactions to her accusations are hardly reassuring. Nothing happens in the movie, as far as I remember, that would make her waver from that confidence in her accusations.
More importantly: it simply makes for the best story. It's ironic: her certainty makes her doubt. It's tragic: she's given her whole life to the Church, and now questions its authority. It comments on the human condition: bad things happen to good people, and seemingly get away with it. It's profound: it enlarges the theme of the movie from arbitrary specifics about random characters, into questions of religion and philosophy more generally. We go from "do we doubt that this particular person did this particular deed" into "do we, more generally, doubt that a loving God exists and protects us?" It's subtle: the entire philosophical point is made without hitting the audience over the head with a neon sign saying "the argument from evil shows that religion is bullshit." That's a much better story than any other interpretation I've heard.
All of the other interpretations amount to: "you never were really sure what happened between these characters, and you'll never know for sure." That's like the ending of Burn Without Reading: a giant exercise in absurdism with no answers or insights. Doubt is much better than that.
What blows my mind is that there is no consensus about my interpretation. People I know and respect come away from the movie with a completely different interpretation, even if I think the interpretation is, in my view, awful and inferior to mine. And, no, I don't think this "everyone interprets it differently" effect is a good one. It makes me doubt my own sanity. I find myself like Sister Aloysius: confident that I'm right, which makes me doubt the opinions of everyone I loved and respected.
https://www.rogerebert.com/reviews/doubt-2008
De uno de los comentarios:
The entitled "doubt" was not about Father Flynn's guilt (which I believe becomes apparent toward the end of the film). The "doubt" is manifested in Sister Aloysius as she comes to doubt the institution of the Catholic Church she has devoted her life to.
Instead of getting rid of the priest, the church covers up the crime and promotes him to pastor a more thriving parish. I think that would be enough to cause anyone to have "doubts". This was the last straw that caused this nun to have an emotional break down, reducing a once rigid and stoic woman certain in her beliefs to a sobbing and lost wreck of a human being.
Viola Davis's performance was fine, but it was way too small and not interesting enough to be worthy of a nomination. Streep on the other hand is masterful here and is far more deserving. So if any performance in this movie is worthy of special attention , it is her's.
https://www.pluggedin.com/movie-reviews/doubt/
Still, Donald’s mother recognizes her son’s “tendencies” (the unspoken implication is that he is attracted to men) and says she appreciates Father Flynn’s attentions even after Sister Aloysius expresses concern about inappropriate activity. You can’t hold a boy responsible for what God made him to be, Mrs. Miller says. “I’ll be standing with my son and those who are good with my son.”
Calificación: Excelente.
Vista: 1 de mayo, 2020. - DirectorDavid SladeStarsPatrick WilsonElliot PageSandra OhHayley's a smart, charming teenage girl. Jeff's a handsome, smooth fashion photographer. An Internet chat, a coffee shop meet-up, an impromptu fashion shoot back at Jeff's place. Jeff thinks it's his lucky night. He's in for a surprise.Quizás de las mejores o la mejor que he visto sobre pedófilos.
- No todo me quedó claro, se puede pensar lo que uno quiera de los personajes porque realmente no sabemos el origen de ninguno y es probable que ni siquiera el mismo guionista lo sepa. Igual me encantó.
- Me sorprende la cantidad de comentarios que representan a Hayley como un monstruo, siendo que el monstruo es otro.
https://fathersonholygore.com/2015/09/01/hard-candy-2005-review/
What Father Gore found interesting, mostly funny, is how so many MALE viewers are totally offended by this film. Especially how they’re threatened by the character of Hayley. There are men who stick up for the character of Jeff. It’s actually insane how many people— all men— defend him, saying he didn’t deserve what happens. Hayley never ACTUALLY cut his balls off, she only psychologically tortured him. She never forced him to walk off that roof, she merely presented him with all the possibilities.
Hard Candy. 2005. Directed by David Slade. Screenplay by Brian Nelson.
Starring Patrick Wilson, Ellen Page, Sandra Oh, Odessa Rae, and G.J. Echternkamp. Vulcan Productions.
Rated R. 104 minutes.
Crime/Drama/Thriller
★★★★1/2G2B8ZEPs1KojJcFveVgsqKeD-2Even while I don’t think 30 Days of Night is as great as some believe, there’s still good horror and blood in there. Always fun. That’s not even David Slade’s best work. The stuff he did on Hannibal (particularly these three specific episodes: “Savoureux“, “Ko No Mono“, & “Mizumono“) is masterful in so many ways, the best work he’s done.
As far as his films go, Hard Candy, his debut feature, is most certainly the best. It’s an engaging and definitely disturbing film. The subject matter is extremely edgy and a difficult one for many people to indulge, but I think with Slade’s direction and the screenplay from Brian Nelson the whole thing is handled in an incredible way. This could’ve easily strayed into an actual full on horror with certain directors and writers. Instead this is a tense, raw, thriller held up by two absolutely wonderful performances from Ellen Page and Patrick Wilson.
Hardy Candy begins with an online conversation, obviously between an older man and a younger girl. It’s flirtatious and slightly sexy, clearly very wrong. Afterwards, we watch as the fourteen-year old teenage girl named Hayley Stark (Ellen Page) meets with photographer Jeff Kohlver (Patrick Wilson) at a coffee shop. They have casual conversation, though, immediately Jeff initiates physical contact: he wipes chocolate from her lip, licking it off his own fingers.
They go back to his place, where screwdrivers are had; Hayley makes them. She asks if he’ll take her picture, after conversation about his past with young models, but as he begins to shoot some film he becomes dizzy, passing out on the floor.
Once Jeff wakes up, he discovers himself bound to a chair and being interrogated by Hayley. What begins as a simple talk about his possible paedophilia, the fact he might have raped and murdered a young girl, soon boils down to something more vicious.
During a struggle Jeff is knocked out when Hayley chokes him out with plastic wrap across his face. Again he wakes up, bound, yet this time it’s to a table. And he’s got a bag of ice against his balls. Then Hayley explains she’s about to castrate him.
Surprisingly, and unfortunately for him, Jeff’s day and night of horror has only really just begun.
CandyWhat Father Gore found interesting, mostly funny, is how so many MALE viewers are totally offended by this film. Especially how they’re threatened by the character of Hayley. There are men who stick up for the character of Jeff. It’s actually insane how many people— all men— defend him, saying he didn’t deserve what happens. Hayley never ACTUALLY cut his balls off, she only psychologically tortured him. She never forced him to walk off that roof, she merely presented him with all the possibilities.
So anyone who tries to say Hayley had no proof? Not sure we watched the same film. Not saying vigilantism is the proper way to conduct our lives. We do need law and order at times. However, it’s hard not say “Fuck Jeff” because he’s, by all accounts, a paedophile and he may as well have been the killer. Standing there and watching anyone get killed is a shame. Not to mention the fact he clearly raped her or assaulted her in some sense. He admits to everything, and Hayley reveals to Jeff she already knows who the other half of the duo was concerning Donna’s death. So how can anybody defend this man? It boggles my mind.
Yes, for a certain amount of time it’s meant to be unclear whether or not Jeff is who Hayley claims. But by the finale, it’s pretty god damn clear who Jeff is behind the curtain. Anybody who says otherwise has NOT WATCHED IT. You either fell asleep, or you’re a moron. Sorry, but it’s clear. Jeff confesses – not just under stress of being psychologically tortured by Hayley, he admits with details and confirms everything she already knew.
Did people not SEE the finale? The whole kicker is she’s already gone through this with the other man involved in the death of Donna. If people can’t pay attention to films enough to figure out the clearly demarcated premise, then they ought not be online or anywhere else criticising the film. Again, yes, vigilantism is not right. However, it’s a film. Are you really so against women that you’re siding with a FICTIONAL PAEDOPHILE? What a world. Honestly, if you’re still against this when knowing Jeff confesses at the end, you are strange, sick, and probably most fucking definitely a misogynist. You don’t have to think she should’ve done what she did, but Hayley is not the character to be disgusted with in the end. Jeff is the one who you owe disgust.
Calificación: Excelente.
Vista: 2 de mayo, 2020. - DirectorJ.A. BayonaStarsBelén RuedaFernando CayoRoger PríncepA woman brings her family back to her childhood home, which used to be an orphanage for handicapped children. Before long, her son starts to communicate with an invisible new friend.https://www.espinof.com/criticas/el-orfanato-huerfana-de-ideas
Probablemente el más referenciado sea Steven Spielberg, con clarísimos guiños a 'E.T.' y a 'Inteligencia Artificial', y cómo no, a uno de esos productos producidos por el Rey Midas, 'Poltergeist', con la aparición de una médium en mitad de la película, y que a un servidor le ha parecido el momento más bochornoso de la cinta, con las frases de diálogos más lamentables que he oído en bastante tiempo ("la poli mola").
Pero además tenemos ecos de 'Suspense', la inmortal película de Jack Clayton, basada en la no menos inmortal obra de Henry James, de la que también bebía la magnífica 'Los Otros' de Amenábar, de la que también coge prestadas algunas cosas, aunque menos de las que cabría esperar. Se ven referencias a 'The Haunting', film de Robert Wise que consigue crear verdadero miedo, o incluso de 'The Wicker Man' de Robin Hardy, de la que coge en cierto momento en el que se celebra una fiesta la enrarecida atmósfera que tenía aquella película. Y así podríamos estar durante un buen rato.
Con esto no quiero decir que la película sea mala, que no me lo parece, pero no encuentro ni un sólo punto de originalidad en la misma que le permita subsistir como película propia sin necesidad de depender de todas esas películas. En lo que sí me parece que el film tiene algunos errores es en su parte argumental, la cual, en la parte real, por así llamarla, está llena de incongruencias, y todas giran alrededor de cierto niño deforme, y de su madre, que también parece la madre de Mortadelo. Y es en este punto donde yo quedo un poco desconcertado. Si se quiere hacer que un personaje tenga un aire amenazador o de misterio, evidentemente no hace falta ponerle la cara más siniestra del mundo, pero lo que tampoco se puede hacer es que ese personaje tenga cara de chiste. También encuentro algún que otro momento innecesario en el film, argumentalmente hablando, como esa efectista secuencia en la que vemos las consecuencias físicas de cierto atropello, o el epílogo de la película, ese pegote que viene a ser como una vuelta de tuerca más, cuando en la escena anterior la película terminaba perfectamente.
Por supuesto la película tiene virtudes, y todas se encuentran en la puesta en escena de su director, J.A. Bayona, que se aparta muy considerablemente de lo que nuestro cine nos ofrece en ese aspecto. Por fin un director que sabe que la cámara hay que moverla y lo hace bien, aunque en ciertos momentos se le vaya la mano, y al respecto cito la carrerita que el personaje femenino hace por la playa perseguida por su marido, en la cual Bayona se olvida de la sobriedad que hasta ese momento estaba demostrando, y se convierte en un director nervioso que recurre a efectos absurdos de luz y sonido, o sea, cae en lo de siempre. Pero el resto es para aplaudir, sobre todo los excelentes últimos 15 minutos, cuando el film presenta todas sus cartas, y el director lo resuelve con inusitada elegancia sin caer ni un sólo momento en ningún tipo de exceso.
Calificación: Muy buena.
Vista: Ya la había visto antes, pero la volví a ver el 18 de mayo, 2020. - DirectorLewis TeagueStarsDee WallaceDaniel Hugh KellyDanny PintauroCujo, a friendly St. Bernard, contracts rabies and conducts a reign of terror on a small American town.Esta peli la vimos con Fer Candia por Netflix party, ella me prestó su cuenta.
Calificación: Regular.
Vista: 20 de mayo, 2020. - DirectorCraig JohnsonStarsMichael AbelaDaniel DohenyBrendan ArcherAlex, high school class president, nerd and a straight A student, has been dating Claire a long time. They decide to sleep together but then he meets a gay guy and he's confused.Apenas vimos como 20 minutos de esta peli con Fer y no quisimos perder más el tiempo.
Calificación: Mala.
Vista: 20 de mayo, 2020. - DirectorChristophe CharrierStarsFélix MaritaudNicolas BauwensTommy-Lee BaïkTwo moments of Jonas's life intertwine, each reflecting the other: in 1995, when he was a secretive teenager, and 18 years later, as an attractive and impulsive thirty-something looking for balance in his life.Siempre recordando tu primer amor. Esta voy a seguir siendo yo de aquí a unos años, hasta que encuentre a un nuevo ser tan fascinante que me
resulte imposible no enamorarme de nuevo.
PD: Con Fer terminamos de ver películas como a las 5 de la mañana.
Comentarios que habían en un video de youtube:
https://www.youtube.com/watch?v=HHigllswzSc
Everything about this movie was amazing, the cinematography, the parallels between past and present, the acting! Well done to the whole cast for such a masterpiece, it was so tragic and heartbreaking in the end but it's worth watching!!
It’s hard to digest that we won’t ever know what happened to him. One day you are certain he’s dead, others that we might be involved in a human trafficking ring in a foreign country. So many variables. Certainty of death is not the worst. It’s the uncertainty of not unknown. Very tragic. Reminds me of a girl abducted over 6 months ago in NJ. Families still without answers. It’s so cruel and heartbreaking.
Calificación: Muy buena.
Vista: 20 de mayo, 2020. - DirectorGalder Gaztelu-UrrutiaStarsIvan MassaguéZorion EguileorAntonia San JuanA vertical prison with one cell per level. Two people per cell. Only one food platform and two minutes per day to feed. An endless nightmare trapped in The Hole.Esta peli la vi con Fer Candia en Netflix.
En resumen: el consumismo desmesurado que caracteriza a nuestra generación. ¿Referencias culturales que pueda decir de esto? Quizás The Cube, y eso que ni la recuerdo bien.
A pesar de que me habían dicho que esta película era española, el doblaje en inglés encajaba tan bien que pensé que ese era el idioma original en el que fue grabada, mi error. Escuché el tráiler español para saber de qué me perdí y puedo decir que de nada, pero de igual manera tengo que volver a verla y esta vez, en español.- Le pongo un 7 solo porque el final de la película no termina de gustarme.
De las reseñas de imdb:
The movie hints that there is actually enough food for everybody on all floors because the administration puts every prisoner's requested food on the table. This is evidenced when the protagonist is interviewed by the administration official about his favorite food (snails) and that it will be served while he is imprisoned. We also see that the protagonist sees his requested food for the first time when he is on floor no. 6 because none from the upper floors has touched it yet (but he doesn't eat it). He did not get to see his requested food before because those on the upper floors always ate it before it arrived to him. If every prisoner in the facility kept his or her requested food when it arrived at his or her floor, the floor will not turn hot or cold. This is evidenced by one of the last scenes when the protagonist keeps the Panna Cotta when he is at the girl's floor, which must be the favorite food of the girl. All the prisoners had to do was to take their requested food, and not eat the others' food, so the food would be equally distributed all the way to floor no. 333. However, the prisoners from the upper floors greedily ate more than their favorite food leaving less to the ones on the lower levels. So the main message of the movie is that people are very greedy and are ready to take more than they need, and not so much that the system is flawed. We see that the alternative system that the protagonist tries to enforce by distributing little food to everybody also leads to violence and deaths and is not much better.
https://www.diezminutos.es/teleprograma/series-tv/a31925614/el-hoyo-final-explicacion-netflix-pelicula/
Como se comentó líneas arriba, Goreng no era el mensaje, tampoco la panna cotta, sino la niña. Él solo era el transmisor, punto importante para que el mensaje llegue a su destino. A pesar de que la niña haya existido o no, simboliza la nueva generación y la esperanza. Los jóvenes son los únicos capaces de cambiar el sistema mirando cómo es la realidad en la que vivimos.
¿Y si está muerto desde el principio?
Otras teorías suponen que la película es una metáfora de dos historias bien conocidas: la Divina Comedia de Dante Alighieri y El Quijote de Miguel de Cervantes. Es bastante fácil encontrar la similitud con la primera: Goreng decide descender hasta el nivel más bajo de El hoyo imitando el descenso a los infiernos del protagonista del poema del escritor italiano. ¿Y si Goreng está muerto desde el principio y es todo una alegoría del cielo y el infierno?
https://hipertextual.com/2020/04/que-explicacion-mas-correcta-sobre-final-hoyo-no-es-alucinante
Y el plan insensato de estos dos personajes para subvertir la mecánica opresiva de El Hoyo, reconducido por el sabio Brambang (Eric Goode), se resuelve de una forma que ha dado mucho que hablar, el meollo de las discusiones bizantinas sobre la interpretación del filme. La que opta por el pesimismo defiende que Baharat y Goreng murieron antes de que alcanzaran el supuesto nivel inferior, el 333, por sus lesiones tras enfrentarse al asesino de Miharu (Alexandra Masangkay) y a su compañero de reclusión, que Mali (Zihara Llana) es una alucinación agónica y postrera del segundo y que el sótano tampoco existe.
Según este planteamiento devastador, Miharu estaba desquiciada hasta la locura de inventarse una hija y los dos jacobinos fracasaron en lo que se habían propuesto: lo que subió, no obstante, fue la panacota, tal como quería Brambang, pero el chef tal riguroso del nivel cero (Txubio Fernández), jefe de la cocina, se lo toma como si los de El Hoyo hubiesen rechazado el postre porque tenía un pelo, si es lo que queremos considerar que ocurre en la muda escena del minuto treinta y seis, tratándola como un flashforward imprevisto. Así, ni Goreng envió a la niña desde el sótano ni sería posible escandalizar en lo alto con su presencia.
Y, sin que los trabajadores del nivel cero se horroricen porque hubieran metido a una menor en El Hoyo, contraviniendo las normas, se conciencien de la perversidad del sistema, la noticia corra como la pólvora y puedan decidir echarlo abajo, el pérfido statu quo se mantiene y la revolución acaba antes de empezar; como con la panacota. Y, en la misma entrevista con Digital Spy, Gaztelu-Urrutia se adhiere a esta versión: “Para mí, ese nivel más bajo [el 333] no existe”, declara. “Goreng está muerto antes de llegar, y eso [las alucinaciones de un moribundo] es solo su interpretación de lo que sintió que tenía que hacer”.
No en vano, la primera secuencia del filme transcurre en la cocina. Pero ¿por qué contemplamos la tremenda bronca del chef quisquilloso en el minuto treinta y seis? El propio Gaztelu-Urrutia nos da una pista en su conversación con Digital Spy: “Realmente, filmamos un final distinto con la chica que llega al primer nivel, pero lo sacamos de la película”. Es decir, en el guion de David Desola y Pedro Rivero y con el montaje que estaba planeado no había duda posible de que Mali es real y Goreng no alucina con el nivel 333, pero cortaron esa última escena reveladora en posproducción. Así que la bronca del chef está en ese minuto probablemente porque ahí estaba desde el principio, y tampoco era crucial.
https://cinemania.20minutos.es/noticias/el-hoyo-final-explicacion-netflix/
· Lo que dice el propio director de El hoyo, Galder Gaztelu-Urrutia. “Para mí, el último nivel no existe. Goreng muere antes de llegar, y lo que vemos es su interpretación de lo que habría hecho”, según el cineasta bilbaíno en la entrevista de The Digital Spy. “Quería que el final estuviera abierto a interpretaciones, como si el plan realmente funciona o si la gente de arriba siquiera se preocupa por los del hoyo”.
“Dejo lo que ocurre a la imaginación de cada uno”, reflexiona el director. No sin antes asegurar que se llegó a filmar un final alternativo muy diferente a su propia interpretación. “Rodamos un final distinto donde se veía cómo la niña llegaba al primer nivel, pero lo quitamos del montaje final”, concluye.
Calificación: Excelente.
Vista: 14 de junio, 2020. - DirectorDiego CohenStarsEduardo NoriegaEivaut RischenArantza RuizKarl, a man who suffers a demonic possession, together with Tomás, a priest with addiction problems, embark on a hunt for demons, finding the case of Camila, a girl who attacks her family while controlled by a demon. Karl and Tomás try to save her by starting a battle; Karl has faced many beings from beyond but never one like this.Esta también la vi con Fer y apenas vimos como 20 minutos porque no nos gustó para nada.
Horribles los ángulos y un uso innecesario de los drones desde los primeros minutos, pésima composición. Demasiado movimiento de cámara y los cortes son muy notorios. Los diálogos son forzados solamente para presentar a los personajes pero son innecesarios.
Calificación: Pésima.
Vista: 14 de junio, 2020. - DirectorRichard ShepardStarsMarie MaskellAllison WilliamsChristina JastrzembskaWhen troubled musical prodigy Charlotte seeks out Elizabeth, the new star pupil of her former school, the encounter sends both musicians down a sinister path with shocking consequences.Esta también la vi con Fer.
La cantidad de giros en la trama que tiene esta película es sorprendente y me encantó lo retorcida que es, obviamente también que haya sido gay porque haber sentido desde un principio el interés de Charlotte hacia Lizzie me activó mi radar.
Calificación: Excelente.
Vista: 14 de junio, 2020. - DirectorYoshifumi KondôStarsYoko HonnaIssei TakahashiTakashi TachibanaA love story between a girl who loves reading books, and a boy who has previously checked out all of the library books she chooses.Me hace recuerdo de esa pintura que ni siquiera sé si se llama así, "El tiempo mata al amor", pero digamos que en este caso no es así. Me recuerda a Valeria, y ella no a mí.
Calificación: Buena.
Vista: 14 de junio, 2020. - DirectorFrank TashlinStarsDean MartinJerry LewisShirley MacLaineRick Todd uses the dreams of his roommate Eugene as the basis for a successful comic book.Definitivamente no soy fan de los musicales.
- El que actúa de tonto fue el Jim Carrey de su generación, exagerado pero con otro papel quizás podría haber sido gracioso, no me gustan sus expresiones porque solo me hace pensar en falta de chiste de Lele Pons.
Calificación: Regular/mala.
Vista: La terminé de ver el 14 de junio, 2020. - DirectorIsabel CoixetStarsNatalia de MolinaGreta FernándezSara CasasnovasIn 1901, Elisa Sanchez Loriga took on the identity of Mario Sánchez to marry her lover of fifteen years, Marcela Gracia Ibeas.Calificación: Regular.
Vista: 14 de junio, 2020. - DirectorTom HooperStarsColin FirthGeoffrey RushHelena Bonham CarterThe story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer.Calificación: Muy buena.
Vista: Ya la había visto anteriormente, pero la volví a ver el 14 de junio, 2020. - DirectorAlfonso CuarónStarsMaribel VerdúGael García BernalDaniel Giménez CachoIn Mexico, two teenage boys and an older woman embark on a road trip and learn a thing or two about life and each other.Calificación: Imprescindible.
Vista: 14 de junio, 2020. - StarsMichael ReiterAnnie FarmerShawna RiveraSurvivors reveal the manipulation, abuse and emotional scars suffered at the hands of Jeffrey Epstein and Ghislaine Maxwell. Their stories expose a sex trafficking ring of powerful enablers leading up to his 2019 arrest.No estoy segura de si los documentales y mucho menos esta serie documental cuentan como película pero de igual manera lo voy a incluir aquí. Algo pesado que hayan sido casi 4 horas, pero un caso tan extenso y crímenes tan prolongados como los que cometió Epstein fácilmente podrían durar mucho más tiempo, aún falta mucha más evidencia y destapar toda esa mierda que lleva estancada durante años.
Calificación: Buena.
Vista: 18 de junio, 2020. - DirectorClay StaubStarsAmanda SchullShawn AshmoreMilo VentimigliaSeeking a missing woman in North Dakota, an FBI agent and a sheriff focus on her religious zealot husband but discover something far more sinister.
- Esta peli la vi con Fer Candia en Netflix.
Me sorprende que tenga una calificación tan baja. Sin embargo, reconozco que el inicio es algo flojo desde que se ve eso del auto, aunque después mejora (y ahora que lo recuerdo, la muerte de este hombre, ¿quedó como un cabo suelto o se lo resolvió?).
Aparte de eso, hubo una muy mala presentación de personajes, y se supone que si es posible todo esto tiene que quedar claro desde el principio y no, tiene que haber pasado casi una hora para que recién se sepa más o menos quién es quién.
Para variar, nos encontramos con "la vieja loca" que delira como en "Scary stories to tell in the dark", la cual, no era necesaria que se encuentre en la historia pero recurrieron a ella para que se sepa que algo anda mal.- La actriz que interpreta a María es muy linda aunque su actuación no fue nada del otro mundo. La actuación de ninguno llegó a serlo porque no hubo un buen guion.
Sin embargo, considero que se presentó una buena idea y que fue refrescante verla, sobre todo por el final cuando se nos habla de "The harvest", relacionado a los aliens y a la teoría de como somos una granja esperando ser cosechada.
Calificación: Regular/Buena.
Vista: 20 de junio, 2020. - DirectorKuan-Hui LinStarsTing-hu ZhangSing HomHe-Hsuan LinThree youngsters meet by accident at a mysterious hot springs hotel. There, they fall into an unforgettable adventure. It starts off scary but soon turns funny when they have to try and save a family.
- Esta peli la vi con Fer Candia en Netflix.
Es curioso ver el humor chino, siendo que estoy tan acostumbrada a consumir el humor estadounidense, debería ver más películas de humor oriental.
Un desarrollo de amistad muy rápido entre los personajes y una mala presentación ya que no se aclara bien el rol de todos. Pésimo final y hubieron varias ideas sueltas que no supieron cómo conectarlas.
No terminó de gustarme, pero al menos estuvo entretenida hasta cierto punto.
Calificación: Regular.
Vista: La empezamos el 20 y la terminamos el 21 de junio, 2020. - DirectorNoah BaumbachStarsAdam DriverScarlett JohanssonJulia GreerNoah Baumbach's incisive and compassionate look at a marriage breaking up and a family staying together.Ver a la misma actriz que protagonizó tan mal The Tale se siente raro, lo que demuestra que NO es una mala actriz sino que tuvo un mal guion como todo el reparto.
- Hay varias partes que no me gustan de la actuación de ambos en la escena en la que él golpea la pared, muy sobreactuado, y no parece natural
Calificación: Muy buena.
Vista: 5 de julio, 2020. - DirectorMark WatersStarsJamie Lee CurtisLindsay LohanMark HarmonAn overworked mother and her daughter did not get along. When they switch bodies, each is forced to adapt to the other's life for one freaky Friday.Su amiga (Peg) es como me gustaría verme :)))
- Hmm... Teenage rage?
Calificación: Excelente.
Vista: 18 de julio, 2020. - DirectorBarry LevinsonStarsDustin HoffmanRobert De NiroAnne HecheShortly before an election, a spin-doctor and a Hollywood producer join efforts to fabricate a war in order to cover up a Presidential sex scandal.Nos pidieron verla en Diakonia.
"Why does the dog wag its tail? Because a dog is smarter than its tail. If the tail were smarter, it would wag the dog."
usingenglish.com states that "to 'wag the dog' means to purposely divert attention from what would otherwise be of greater importance, to something else of lesser significance. By doing so, the lesser-significant event is catapulted into the limelight, drowning proper attention to what was originally the more important issue. The expression comes from the saying that 'a dog is smarter than its tail', but if the tail were smarter, then the tail would wag the dog. The expression 'wag the dog' was elaborately used as theme of the movie. 'Wag the Dog', a 1997 film starring Robert De Niro and Dustin Hoffman, produced and directed by Barry Levinson." - La película se resume en esta frase.
Calificación: Excelente.
Vista: 11 de agosto, 2020.
Vuelta a ver: entre el 13 y 14 de agosto, 2021. - DirectorPeter WeirStarsJim CarreyEd HarrisLaura LinneyAn insurance salesman discovers his whole life is actually a reality TV show.2020 y aún seguimos viviendo una mentira tan cruel como esta.
- Nos pidieron verla en Diakonia.
Calificación: Imprescindible.
Vista: 16 de agosto, 2020. - DirectorRon FrickeStarsPatrick DisantoA collection of expertly photographed scenes of human life and religion.Baraka es un retrato del mundo. Vida y muerte, pobreza y opulencia, creación y destrucción. Busca retratar las distintas realidades que vive el ser humano, así sea consigo mismo, con los otros o con la misma naturaleza. Cómo todas sus acciones repercuten sobre su entorno. El mundo siendo un testigo que guarda todo lo que ha pasado, la historia, el sufrimiento, las guerras y confrontamientos. Lo efímera que es nuestra existencia y cómo todo puede acabar en cualquier momento, por nuestras propias manos.
https://en.wikipedia.org/wiki/Barakah
Baraka can be found within physical objects, places, and people, as chosen by God. This force begins by flowing directly from God into creation that is worthy of baraka. These creations endowed with baraka can then transmit the flow of baraka to the other creations of God through physical proximity or through the adherence to the spiritual practices of the Islamic prophet Muhammad. God is the sole source of baraka and has the power to grant and withhold baraka.
Tenía pendiente ver Koyaanisqatsi porque Oscar me había hablado de esa película y por lo que me contó puedo asumir que la premisa es similar, pero aún así quiero verla y voy a tratar de ver entre estos días otras que sean similares (a TRATAR :D)- Nos pidieron verla en Diakonia.
Calificación: Muy buena.
Vista: 16 de agosto, 2020. - DirectorDamien ChazelleStarsRyan GoslingEmma StoneRosemarie DeWittWhile navigating their careers in Los Angeles, a pianist and an actress fall in love while attempting to reconcile their aspirations for the future.A veces perseguir un sueño es renunciar a otro. Siempre pensando en qué podría haber pasado.
Heres to the ones we lost.
Calificación: Imprescindible.
Vista: 22 de agosto, 2020. - DirectorPaul VerhoevenStarsIsabelle HuppertLaurent LafitteAnne ConsignyA successful businesswoman gets caught up in a game of cat and mouse as she tracks down the unknown man who raped her.Judith Magre me hizo pensar en Yubaba de Chihiro.
- La verdadera psicópata era Michéle.
Calificación: Imprescindible.
Vista: 23 de agosto, 2020. - DirectorJuan José CampanellaStarsRicardo DarínSoledad VillamilPablo RagoA retired legal counselor writes a novel hoping to find closure for one of his past unresolved homicide cases and for his unreciprocated love with his superior - both of which still haunt him decades later.Ya había visto el remake de esta película y no recuerdo muy bien cómo era aunque en su momento me sorprendió un montón. Tendría que volver a ver la otra película para saber cuál es mejor, aunque dudo que el remake.
Calificación: Excelente.
Vista: 23 de agosto, 2020.
Vuelta a ver: 22 de agosto, 2021. - DirectorBarry JenkinsStarsMahershala AliNaomie HarrisTrevante RhodesA young African-American man grapples with his identity and sexuality while experiencing the everyday struggles of childhood, adolescence, and burgeoning adulthood.First love never die.
Me habían dicho que era aburrida y que no se merecía el Oscar, pero luego de verla sé que puedo recomendarla.- Tendría que ver el resto de las películas que fueron nominadas ese año para saber si se lo merecía o no, aunque por el tema era algo de esperar el tokenismo de la academia.
Calificación: Imprescindible.
Vista: 26 de agosto, 2020. - DirectorRichard Bates Jr.StarsAnnaLynne McCordRoger BartAriel WinterA disturbed, delusional high-school student with aspirations of a career in medicine goes to extremes to earn the approval of her controlling mother.Una mezcla entre comedia y más allá de terror, morbo. No hay cómo no sentir empatía por Pauline.
Es increíble el parecido que hallo con su mamá y la mía, y ni qué decir la relación que mantiene con ella :))))
Calificación: Muy buena.
Vista: 27 de agosto, 2020. - DirectorSusanne BierStarsSandra BullockTrevante RhodesJohn MalkovichFive years after an ominous unseen presence drives most of society to suicide, a mother and her two children make a desperate bid to reach safety.A quiet place solo que en esto es con los ojos??? Vaya coincidencias las de Netflix, siempre tan originales.
- Desde el inicio es la clara muestra de cómo SÍ usar un dron y no hacer un montón de tomas innecesarias, sino que aquí quieren poner en contexto con el ambiente y es necesario, no como en otras producciones que parece que usan el dron porque consiguieron uno y listo, nada que aporte a la narrativa.
- Cómo es que habían tantos extraños en la casa que parecían conocerse pero en realidad no???
No terminó de gustarme el final y aflojaron mucho.
Realmente es increíble la cantidad de baches que hubo en el guion:
https://www.popbuzz.com/tv-film/features/bird-box-unanswered-questions/
Calificación: Buena.
Vista: 27 de agosto, 2020. - DirectorMarielle HellerStarsMelissa McCarthyRichard E. GrantDolly WellsWhen Lee Israel falls out of step with current tastes, she turns her art form to deception.Amar el arte y saber que estás condenado a ser un simple espectador con el sueño frustrado de ser más que eso. :)
Calificación: Muy buena.
Vista: 28 de agosto, 2020. - DirectorRobert EggersStarsRobert PattinsonWillem DafoeValeriia KaramanTwo lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s.Me da mucha pena que solo se acuerden de Robert Pattinson por su personaje en Twilight siendo que es un muy buen actor, no tomó una buena decisión al estar ahí pero si no fuera por eso quizás no hubiera tenido estas otras oportunidades. A ratos sentí su actuación un poco exagerada y eso no me terminó de gustar porque me hizo recuerdo A The Shining y como Jack Nicholson exageraba demasiado las expresiones.
https://filmschoolrejects.com/the-lighthouse-ending-explained/
Thomas and Ephraim are similar to the Greek figures Proteus and Prometheus. The former is an ocean god, also known as “The Old Man of the Sea,” who was a keeper of knowledge and a friend of the water creatures. He also kept all of that knowledge to himself, much like Thomas refusing to tell his colleague what’s being kept at the top of the lighthouse.
Prometheus, meanwhile, was a trickster who climbed Mount Olympus, stole fire from the gods, and created humanity. This pissed off Zeus, who had the trickster chained to a rock and feasted on by an eagle. Ephraim climbing the lighthouse, discovering its secrets, and being eaten by seagulls is an obvious nod to Prometheus’ story.
https://www.reddit.com/r/TrueFilm/comments/dra1fv/the_lighthouse_2019_feels_similar_in_many_ways_to/
Both films tackle identity, as Winslow in The Lighthouse is discovered to have the same first name as Thomas Wake. This allows Robert Eggers to explore the psychology of the characters and for the audience to view the film as a symbolic representation of man’s duality. This was a major theme of Persona as well, with the two main characters in that film sharing a physical resemblance. There are also dreamlike qualities to both films, and I got a distinct feeling watching The Lighthouse that I only felt while watching Persona as well.
What do you all think about this? It’s possible that Eggers has never seen Persona and that the connection is one I’ve made independently, but it’s interesting to consider.
Calificación: Excelente.
Vista: 29 de agosto, 2020. - DirectorRon HowardStarsRussell CroweEd HarrisJennifer ConnellyA mathematical genius, John Nash made an astonishing discovery early in his career and stood on the brink of international acclaim. But the handsome and arrogant Nash soon found himself on a harrowing journey of self-discovery.Algunos planos no me los puedo tomar en serio considerando que han hecho tantos memes a ese estilo.
Calificación: Excelente.
Vista: 31 de agosto, 2020. - DirectorIngmar BergmanStarsIngrid BergmanLiv UllmannLena NymanA devoted wife is visited by her mother, a successful concert pianist who had little time for her when she was young.Es increíble la influencia que tuvo ese plano en el que las dos mujeres de Persona convergen, mientras veía la película me puse a pensar en cómo influenció a un montón de directores y no sabía que el director de esta película era el mismo de Persona. Y solo por algunas escenas fue que caí en cuenta de que también era la misma actriz que sale en Persona.
Rompen la cuarta pared (no recuerdo si lo anoté por el opening pero bueno):
https://tvtropes.org/pmwiki/pmwiki.php/Film/AutumnSonata
Breaking the Fourth Wall: Viktor in the opening scene address the audience talking about his feelings for Eva and how they met.- La hija tenía un complejo de Edipo? Porque admira y ama a su madre pero a la vez la odia por eso. Aparte de que siempre buscaba su aprobación en todo lo que hacía y eso la llevo odiarse a sí misma.
Calificación: Excelente.
Vista: 1 de septiembre, 2020. - DirectorJoachim TrierStarsAnders Danielsen LieHans Olav BrennerIngrid OlavaOne day in the life of Anders, a young recovering drug addict, who takes a brief leave from his treatment center to interview for a job and catch up with old friends in Oslo.Calificación: Excelente.
Vista: 3 de septiembre, 2020. - DirectorGuy RitchieStarsJason FlemyngDexter FletcherNick MoranEddy persuades his three pals to pool money for a vital poker game against a powerful local mobster, Hatchet Harry. Eddy loses, after which Harry gives him a week to pay back 500,000 pounds.Los personajes son increíblemente graciosos, me encanta cómo vuelven a estos "matones" o mafiosos en unos tontos que si no fuera por las estupideces que hacen no sería gracioso. Me encanta el constraste con personajes más serios que detrás de esa seriedad son increíblemente graciosos.
Los personajes que más me gustaron son los que fueron interpretados por Vinnie Jones, P. H. Moriarty y Lenny Mclean.
Calificación: Excelente.
Vista: 3 de septiembre, 2020. - DirectorPablo LarraínStarsGael García BernalLuis GneccoMercedes MoránAn inspector hunts down Nobel Prize-winning Chilean poet Pablo Neruda, who becomes a fugitive in his home country in the late 1940s for joining the Communist Party.
- Por que el actor que interpreta a Neruda cada que recita parece como si estuviera dando predica, lol
- Los chilenos dicen pelotudo o por qué Neruda dice pelotudo en una parte
Calificación: Regular.
Vista: 3 de septiembre, 2020. - DirectorCarlo Mirabella-DavisStarsHaley BennettAustin StowellDenis O'HareHunter, a newly pregnant housewife, finds herself increasingly compelled to consume dangerous objects. As her husband and his family tighten their control over her life, she must confront the dark secret behind her new obsession.Esta peli la vimos con Fer Candia y con Matías en una plataforma llamada Caracal, al comienzo de la película Fer preguntó: ¿Este es el tráiler?
https://www.moviemaker.com/how-swallows-director-chose-the-odd-objects-haley-bennetts-housewife-eats/
MM: What is the meaning of the lambs in the beginning?
Mirabella-Davis: As far as the lambs are concerned. I’ve always been intrigued by the idea of the Buñuelian opening, the opening that Luis Buñuel perfected, where you feel the theme of the movie in a brief parable in the beginning of the film. David Lynch does this really well in Blue Velvet, when the camera drifts down from suburbia into the dirt. You see all the bugs eating each other below. So this is kind of my version of that. We start out with the lambs in their pen together. We cut to Hunter packing and prepping for this dinner. We cut back and forth as the lambs are eventually slaughtered. The meal is prepared. We cut back to Hunter. She’s going to the meal and the two converge.
The idea was that it shows us that even though a meal could seem like a normal everyday experience, we’re familiar with it in this controlling patriarchal culture. There is this hidden violence. This hidden unseen oppression that is lurking. Hunter is like the lamb kind of being sacrificed by the family, or led to the slaughter. That was kind of the idea, and it also automatically set up where the movies going to go. And it lets you know, don’t get too comfortable. This film is going to be a little bit of a wild ride.
Calificación: Regular/mala.
Vista: 4 de septiembre, 2020. - DirectorMatt EskandariStarsNora-Jane NooneAlexandra ParkDiane FarrTwo sisters are trapped under the fiberglass cover of an Olympic sized public pool and must brave the cold and each other to survive the harrowing night.Esta peli también la vi con Fer Candia y con Matías en Caracal.
La idea en sí no es mala. Ese tipo de películas que te demuestran que no se necesita un gran casting ni una gran producción para hacer una película, lamentablemente no supieron desarrollar la idea y el guion fue desastroso a un punto en el que todo parece relleno y nada tiene sentido.
Calificación: Mala.
Vista: 4 de septiembre, 2020. - DirectorCharlie KaufmanStarsJesse PlemonsJessie BuckleyToni ColletteFull of misgivings, a young woman travels with her new boyfriend to his parents' secluded farm. Upon arriving, she comes to question everything she thought she knew about him, and herself.Esta peli la vimos con Fer en Netflix por la noche del 3 -que fue el estreno-, pero la terminamos en la madrugada del.
No he buscado mucho sobre Charlie así que no tengo ni la menor idea de si esta es la primera película que dirige, pero me llamaba mucho la atención saber cómo iba a salir esta película por sus anteriores guiones y estoy más que contenta.- Por el título pensé que la película trataba de suicidio.
- Cuando están cenando y en una escena la madre se encuentra con el cerquillo recogido y en la siguiente lo tiene suelto creí que era un error de continuidad. Si no observé mal, este fue el primer indicio de que todo estaba cambiando a una velocidad increíble porque no hay continuidad y tampoco existe el tiempo.
- Ella dijo que baby its cold outside es una canción sobre violación y tiene toda la razón, en cierta forma eso es lo que le está sucediendo a ella con él porque tampoco la quiere dejar irse y eso va en contra de su voluntad y de lo que ella quiere
Did she have a girlfriend or why did she said one year anniversary
https://www.denofgeek.com/movies/im-thinking-of-ending-things-ending-explained/- Here we get an alternative look at who the real version of the narrator might have been. At first she tells him she is looking for her boyfriend, but when he asks what he looks like her aspect changes. In this telling of their first encounter, she was at the bar with her girlfriend – it was their anniversary, she says – and Jake was there, but he was a creeper. She then wishes her boyfriend was there, saying that the only time pushy blokes are deterred is if women are with other men. She can’t remember what Jake looks like, she says, any more than she could remember a mosquito that bit her 40 years ago.
Entonces... se encontraba en un bar celebrando con su amiga un año de aniversario con su novio, o su amiga era su novia?- Sospecho que el final es una pequeña sátira de A Beautiful Mind por la premiación que hacen o incluso como se nota que los personajes fueron envejecidos forzosamente. También porque cuando recibe el premio agradece por su pareja como lo hacen en la otra película.
https://screenrant.com/im-thinking-ending-things-charlie-kaufman-ending-change-explained/- Charlie Kaufman's I'm Thinking Of Ending Things features an ending that is drastically different from its source material—here's why he changed the ending. The film is adapted from Iain Reid's novel of the same name that follows a young couple as their relationship begins to deteriorate. As it progresses, it becomes increasingly clear that it isn't their bond that's breaking apart, but rather the boyfriend's mental stability. With a bizarre ending that features a speech from A Beautiful Mind and music from Oklahoma!, the end of Kaufman's I'm Thinking Of Ending Things could not be more different than the original.
- Iain Reid concludes his novel with a brutal scene between the young woman and Jake. The Janitor (older Jake) gives her a coat hanger, which she then forces through her neck, killing them both. It reveals the novel's two biggest twists: the young woman was always a figment of Jake's imagination, and he had been thinking of ending his own life for its entirety. Kaufman altered the scene in order to capture the same realizations in a much more subdued way. It's quite possible that he was also avoiding a controversial portrayal of self-harm which could have mirrored Netflix's infamous Hannah Baker scene in season 1 of 13 Reason Why. The director also didn't want to rely solely on the big reveal.
https://www.cnet.com/es/noticias/im-thinking-of-ending-final-explicado-pienso-en-el-final-netflix-kaufman/
Así que lo primero que debes tener en cuenta es lo siguiente: lo que estás viendo es una proyección de la psiquis del protagonista, Jake, interpretado por Jesse Plemons uno de los mejores actores de la actualidad y que parece una reencarnación de Philip Seymour Hoffman.
En consecuencia, la voz que domina la película realmente no existe. Es una invención de Jake. Por eso cambia de nombre en la medida que pasan las escenas (Lucy, Louisa, Lucía y Ames) y de profesión (estudiante de física cuántica, escritora, pintora). El protagonista ha elaborado una mujer "perfecta", que carece de una estructura solida de identificación porque en lugar de sangre y huesos está hecha de otros personajes. Por esa razón muestra lagunas sobre el tiempo y el espacio en el que de desenvuelve. Incluso es incapaz de recordar si tomó vino, como le advierte su compañero de viaje.
Sobre esto hay una pista muy clara cuando comienza la cinta: Jake parece leer los pensamientos de su pareja. Puede hacerlo porque simplemente él fue quien creó esos pensamientos. La otra pista es mucho más evidente: Lucy ve una foto de un infante y cree que es ella, pero Jake le dice que no, que es él. Todo esto lo vamos uniendo como un rompecabezas con el paso del tiempo.
2. Entonces, ¿el conserje tampoco existe?
Esta película se basa en el libro del escritor canadiense Iain Reid. En la obra, el conserje (Guy Boyd), que le da un aire siniestro al argumento, es quien toma la voz de la narración en la etapa final, sustituyendo a la mujer "joven", como se le describe. Esto facilita la comprensión de que todo lo que ha pasado no es más que un delirio, por ponerle un nombre, de los minutos finales de vida de un hombre que no tuvo la vida que quiso. En la película es más complejo. Intuimos en todo caso que por sus miedos para acercarse a una linda joven (inseguridad que la protagonista resalta en la primera parte del film), el protagonista quedó frustrado.
Esta película se basa en el libro del escritor canadiense Iain Reid. En la obra, el conserje (Guy Boyd), que le da un aire siniestro al argumento, es quien toma la voz de la narración en la etapa final, sustituyendo a la mujer "joven", como se le describe. Esto facilita la comprensión de que todo lo que ha pasado no es más que un delirio, por ponerle un nombre, de los minutos finales de vida de un hombre que no tuvo la vida que quiso. En la película es más complejo. Intuimos en todo caso que por sus miedos para acercarse a una linda joven (inseguridad que la protagonista resalta en la primera parte del film), el protagonista quedó frustrado.- 6. Las referencias a A Beautiful Mind
Bueno, primero debemos devolver de nuevo la cinta y encontraremos en el cuarto de Jake un DVD de la obra que dirigió Ron Howard. Por lo tanto, es lógico que en su fantasía desarrolle un final feliz. ¿Es una critica a la edulcorada cinta sobre la esquizofrenia? Aquí cada quien puede sacar sus conclusiones. Sin embargo, es clara la relación entre dos personajes que sufren de un desequilibrio mental.
Calificación: Excelente.
Vista: 4 de septiembre, 2020. - DirectorMichael ChavesStarsLinda CardelliniRaymond CruzPatricia VelasquezIgnoring the eerie warning of a troubled mother suspected of child endangerment, a social worker and her own small kids are soon drawn into a frightening supernatural realm.
- Desde que hicieron ese intento de plano secuencia que parece que fue grabado con una steadicam y se siente muy plano y robótico, no como si fuera el ojo humano y eso hace que se sienta muy lejano al espectador, encima de que el movimiento es demasiado rápido y por eso mismo hacen que la coordinación de los actores vaya a ese ritmo y en vez de verse como que están apurados solo se siente como una toma desordenada. Un plano secuencia completamente innecesario.
- Por lo visto la escena del pasillo de Scarie stories to tell in the dark va a ser un nuevo formato de escena para las películas, y antes de eso estuvo lights out
- Que mal actúa la que hace el rol de la madre, se entera de que encontraron a los niños y la madre de estos le echa la culpa y la otra sigue impertubada.
- El niño actúa muy bien y eso lo recompensa, voy a fijarme si realmente habla ingles o si es latino o ke pedo
- Si el niño le dice que “imagino” cosas, la reacción de una madre sería preguntarle qué, no decirle “okay” sinónimo de mevaleculo
- Lo conoce al padre o por que tanta confianza en regalarle una cruz que ni siquiera parece barata
- No me gusta que en la escena de la bañera se haya visto la silueta de la niña y cuando la madre la saca de la tina, no era necesario y es una niña :))))
- El Padre que sale en esta película es el mismo de Annabelle? Porque en una escena se lo ve a el cargándola y si es así, esta película tiene alguna conexión con eso?
https://www.refinery29.com/en-us/2019/04/229118/how-la-llorona-connects-annabelle-conjuring-universe
In The Curse of La Llorona, Tony Amendola plays Father Perez, a man who offers Anna assistance with her demonic spirit problem. He tells Anna that he never used to believe in such extreme supernatural forces, until he was faced with a particular case that changed his mind, several years earlier.
The case that Perez is referring to is the case from the original Annabelle, which took place in 1967, just a few years before the 1973 events of The Curse of La Llorona.
In La Llorona, we see a flashback of Perez holding Annabelle (it's a scene from the 2014 movie), suggesting that, while the Warrens are not present in this movie, this film exists in the same universe as the other ones within the Conjuring extended universe.
The Curse of La Llorona suggests that the possibilities for The Conjuring universe are truly endless. What other ghost stories can this franchise weave together? We're already spooked thinking about it.- Que estresantes e innecesarios los gritos de la madre, en vez de que diga algo solo grita toda la película
- Acaso no se supone que la niña estaba obedeciendo a la llorona? Porque a los cinco minutos ya se le pasó sin explicación alguna
- El niño le mostró volcado el collar y en la siguiente toma ya está bien, quién se encargó de la continuidad de esta película?
Calificación: Muy mala.
Vista: 5 de septiembre, 2020. - DirectorTomas AlfredsonStarsMichael FassbenderRebecca FergusonCharlotte GainsbourgDetective Harry Hole investigates the disappearance of a woman whose scarf is found wrapped around an ominous-looking snowman.De las películas que tenían potencial para que todo salga bien pero por algún motivo salen mal :)))
De una de las reseñas de imdb:
How The Snowman became the film it ended up being will likely forever remain a great mystery of bad movie history.
The Snowman's director Tomas Alfredson has publicly stated that his movie makes no sense, is missing a large percentage of its script due to filming time constraints and generally has stated that this is not the film he intended to make but that's no real excuse for the sleep inducing police thriller we get here.
That The Snowman has been so universally panned and lamented is not surprising, as Alfredson is a filmmaker whose got run's on the board with brilliant vampire tale Let The Right One In and the great cold war thriller Tinker, Tailor, Soldier, Spy, but his not the only reason why so many were genuinely surprised by the downright blandness that was this adaptation of Jo Nesbø's famous series of book's.
Starring Michael Fassbender (whose literally never been less charismatic or uninterested looking and is now officially in dire need of a hit) and such co-stars as J.K Simmons, Toby Jones, Val Kilmer and Rebecca Ferguson, produced by Martin Scorsese, scripted by competent screenwriters that includes Hossein Amini and even edited by Scorsese's long time editing master Thelma Schoonmaker, The Snowman has all the talent in the world and manages to squander it in a genuinely frustrating and uninvolving fashion as we slog through 2 hours of an indescribable mess of proceedings.
The Snowman may not be the worst film of 2017 but it's clearly the biggest waste of potential and Alfredson's claims that some hugely important parts of the story weren't even filmed don't seem too far off the mark as characters come and disappear, important story strands are seemingly passed over, while the central story of a brutal killer building snowman with severed human heads whilst taunting Fassbender's alcoholic detective Harry Hole with letters and phone calls just never becomes even slightly thrilling or engaging against all the odds of it doing so.
It's a bizarre experience witnessing a film with all the elements of being something of note and just never taking hold on any facet of its being, Alfredson ads no flair or imagination from behind the camera, Fassbender sleepwalks through his turn, Marco Beltrami's intrusive score annoys from the outset, even some badly computer generated seagulls look like they've been animated by Microsoft Paint.
With everything and everyone in The Snowman failing to make a mark or even give off the vibe that they care, it makes you wonder if this was a case of no one really being truly invested in making a good film, or at the very least thinking that it would all just fall into place with the minimum effort exerted, proving that you can have all the talent assembled and still make a downright poor excuse for a feature.
Final Say -
Not 2017's worst film but certainly the most disappointing, The Snowman could've been (and really should've been) one of the year's best thriller's, that not only had audience's on the edge of their seats, but eagerly awaiting more Harry Hole adventures in what's clearly supposed to be a franchise set-up.
What we get instead is a movie more likely to lull you into a sleep, than raise any form of interest or suspense.
1 fork out of 5
Calificación: Regular/mala.
Vista: 8 de septiembre, 2020. - DirectorLeigh WhannellStarsElisabeth MossOliver Jackson-CohenHarriet DyerWhen Cecilia's abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see.Esta peli la vimos con Matías, Ariana, Jorge y Oscar que no la vio pero se quedó hablando con nosotros por discord.
No me terminó de gustar pero logró su propósito más que todo por el enfoque que daba la cámara haciendo creer que de verdad hay un hombre invisible.- Lo más gracioso de esta película fue escuchar los comentarios de Ariana y que la hagan creer que su esposo la maltrataba porque era vegana y que Ariana pregunte si es que es tan malo para un vegano comer carne. También que pregunte si la película es de miedo.
Calificación: Buena.
Vista: 12 de septiembre, 2020. - DirectorAlexandre BustilloJulien MauryStarsAlysson ParadisJean-Baptiste TabourinClaude LuléFour months after the death of her husband, a woman on the brink of motherhood is tormented in her home by a strange woman who wants her unborn baby.Esta peli la vimos con Kathi y con Matías en Caracal y hablamos por zoom.
- ¿Por qué la besó? Si quería matarla. Lesbianas asesinas.
De una de las reseñas de imdb:
No doubt, Alexandre Bustillo and Julien Maury are skillful directors but what's way more dominant here is the visual experience. The team responsible for the lighting does an amazing job, perfectly complemented by cinematographer Laurent Barès, a name that will be worth paying attention to in the future. The real edge are the gore effects though. The make-up department simply outdoes itself, as far as I'm concerned, this is as good as it gets. Also the performances by the two leads don't leave any room for complaints. This truly is an exceptionally well executed movie.
Still, it didn't work for me. As a scriptwriter, director Bustillo leaves a lot to be desired. First off, the movie has next to no plot. The setup and the climax are suitable for a flick like this, but there is really not much in between, leaving you utterly uninterested in where this is going, or why it is not going anywhere at all, ever. Nor does Bustillo really try to produce any character development. The protagonist is a depressive, bad-tempered woman who doesn't care about anything (including the child in her womb, making it little more then a plot device for reduction of her mobility) and the fact that her agony is justified doesn't make her any more interesting as a lead either. The antagonist on the other hand has about one line of informative dialog all together. Nevertheless, the death toll is over the top as Bustillo mindlessly throws one puppet after the other into the blender to be slaughtered within minutes to seconds without ever giving us the slightest reason to shed a tear for them. They really are just sacks of blood wandering up and down a set of stairs before tearing open, spilling their content on the walls. If nothing else, this fact makes the movie feel like a film-school experiment concerning make-up effects.
Now watching the last shot, I can't deny, at this level, the visual experience does to some degree substitute for the lack of script. With all the gore, the seas of blood, the perfectly composed lighting and shots, the agonizing atmosphere and generally the direction itself the movie has a certain poesy about it, which probably was the directors goal.
Verdict.
If you are a rather sensitive person, the visceral stimulation might blow your mind and you won't care too much about a plot all together. If you are a fan of horror flicks, the movie really has the gore and some uniqueness going for it. "Experienced" audiences might feel a bit too much to be desired. Nevertheless, an interesting experience.
Calificación: Buena.
Vista: 12 de septiembre, 2020. - DirectorJ.-P. ValkeapääStarsPekka StrangEster GeislerováEllen KarppoJuha has lost his wife in a drowning accident. Years after he still feels numb and unable to connect with people. Meeting Mona, a dominatrix, changes everything.La doble vida de Mona.
- No me gusta que cambien tan de golpe la iluminación: un rato se encuentran en un cuarto que apenas y tiene luz, y en la siguiente toma se encuentran con los rayos del sol dando directo a la cámara. Lastima la vista :)
Calificación: Muy buena.
Vista: 13 de septiembre, 2020. - DirectorRaúl RuizStarsHugues QuesterAnne AlvaroMelvil PoupaudA surreal odyssey in which a melancholic maidservant crosses paths with a homicidal little boy, travels to a tiny island and encounters a man with multiple personalities.Conocí a este director y me interesó gracias a unos conversatorios de unos chilenos.
Calificación: Excelente.
Vista: 13 de septiembre, 2020. - DirectorRobert ZemeckisStarsMichael J. FoxChristopher LloydLea ThompsonMarty McFly, a 17-year-old high school student, is accidentally sent 30 years into the past in a time-traveling DeLorean invented by his close friend, the maverick scientist Doc Brown.Otra película de la que hablan tanto que al momento de verla me deja con ansias.
Para mí Crispin Glover hubiera sido un mejor galán.- La actriz que interpreta a su hermana es graciosa.
- El padre se comporta igual a Tiru hasta en la risa innecesaria
Calificación: Buena.
Vista: 14 de septiembre, 2020. - DirectorRobert ZemeckisStarsMichael J. FoxChristopher LloydLea ThompsonAfter visiting 2015, Marty McFly must repeat his visit to 1955 to prevent disastrous changes to 1985...without interfering with his first trip.
- ¿Por que decidió repetir esa parte del final de la anterior película?
- Es tan notorio que el auto volando fue editado.
- Aunque fallaron en mucho de lo que predijeron que sería en el 2015, quien sea que haya sido el de la indumentaria sí le acertó al menos en la de los bullys
- Hay cambios en los personajes que demuestra que no los desarrollaron bien, Doc insistiendo tanto en que todo lo que se haga puede cambiar el futuro y luego leyendo la carta que le dio Marty e incluso cambiando de actitud. Minutos después volviendo a repetir que todo lo que se haga puede cambiar el futuro. Biff pasando de ser un bravucon a alguien que por lo menos aparenta ser bueno y en la siguiente película volviendo a ser un bravucon asqueroso ??? no necesitaban sacar mas películas de esto ni hacer conexiones forzosas en la historia solo porque les fue bien en taquilla.
Calificación: Regular/buena.
Vista: 14 de septiembre, 2020. - DirectorRobert ZemeckisStarsMichael J. FoxChristopher LloydMary SteenburgenStranded in 1955, Marty McFly learns about the death of Doc Brown in 1885 and must travel back in time to save him. With no fuel readily available for the DeLorean, the two must figure how to escape the Old West before Emmett is murdered.
- Hacen referencia a Taxi Driver cuando Marty se ve frente al espejo y dice "You talkin to me?" y cuando dice "go ahead make my day" hace referencia a Sudden Impact (1983).
- Completamente innecesaria porque ni siquiera se necesitaba una trilogía de esto. Si cerraban la primera no buscando comercializar el producto hubiera quedado perfecta. No es que la anterior haya sido precisamente mala, pero es que no era necesaria, lo único que hicieron fue darle unas vueltas a la trama de la primera y de nuevo, conectar los nudos forzosamente con tal de sacar una tercera película. No les importaba que quede bien, sino que sabían por adelantado que les iba a ir bien y buscaron como seguirla explotando.
- Error: Dice que el barranco se llamaba Clayton porque ahí se cayó esa maestra hace 100 años, pero en la tumba de Doc decía que Clara Clayton era su amada o algo así. Se supone que Doc tenía que recogerla y cuando Marty le dice que en su tumba la mencionaba a ella, entonces Doc decide no recogerla y por eso cuando ella va en esa carroza y los caballos se descontrolan es porque se iba a caer en el barranco y en un futuro les iban a enseñar eso en historia. Entonces, por qué en historia les enseñan eso y por otro lado la tienen en la tumba del Doc? No tiene coherencia y la única justificación seria porque el pasado se modifico y en historia no les van a enseñar eso, pero igual la película esta llena de baches.
- Haciéndose la burla de la masculinidad frágil y de como no es capaz de apartarse de situaciones estúpidas solo porque le dicen que si no lo hace es una gallina. Ya pasaron 35 años de esto y sigue siendo la misma mierda.
Calificación: Buena.
Vista: 15 de septiembre, 2020. - DirectorCharles ChaplinStarsCharles ChaplinVirginia CherrillFlorence LeeWith the aid of a wealthy erratic tippler, a dewy-eyed tramp who has fallen in love with a sightless flower girl accumulates money to be able to help her medically.
- Ver esta película solo me hace pensar en ese libro que nos pidió leer la profe Vivi: Vida y muerte de la imagen. Antes no se necesitaban de diálogos para que les resulte gracioso lo visual, el público se impactaba mucho más que el de ahora. Aumentaron los elementos visuales y disminuyó la sorpresa del público.
- La escena en la que se traga el pito me dio mucha gracia por lo que también me pasó a mí jAJHSJAKBDK
- Gravísimo error de continuidad en el min 1:13:23 – el hombre se encuentra sentado recto y en la siguiente escena se encuentra recostado y hasta cambiaron los cojines
https://www.reddit.com/r/CharlieChaplin/comments/3m95r4/what_is_your_interpretation_of_city_lights_ending/
If that's not enough, and defenders bring up her behavior at the end, I cannot disagree that she is being insensitive. But being shallow is not a crime, nor does it make anything definitive for me. She is arguably trying to be nice; she sees him ruin his flower, she offers a new one; she sees he's down on his luck, and she offers him money (not unlike he does for her in their initial meeting). Consequently, Her demeanor changes drastically when she realizes it's him- a slow realization does not a rejection make. Yes, he may not be what she was imagining, but should that automatically mean they don't end up together? Cause Chaplin isn't hot and rich? The world may be superficial yes, but she is not. She was blind for a large part of her life; You learn to rely on other senses. She knows his heart. Even earlier in the film her grandmother makes a comment that he must be rich/good-looking and the girl says "Yes, but he's so much more than that". My interpretation of that is that it wouldn't matter to her. She was getting ignored when the Tramp first sees her (much like he always is). She was just as happy to be shown attention as he was when she gave him his first flower. In the end, if you watch, she actually pulls his hand (still entwined with hers) closer to her heart and a smile plays on her lips. The very next scene is the Tramp slowly smiling back and fading out. This ending shot seems supremely hopeful for an ending that everyone reads negatively.
De una reseña de imdb:
Film has become a medium that is strongly influenced by nostalgia. Old films have become journeys to the past; ways to visit times and people that no longer are. Since film is an art that is based on the innovation of previous works, it has an element of nostalgia in its foundation. We look on the old to find what elements should make up the new. In City Lights, and other silent works of film, a passion emerges that is uniquely honest and sincere. While watching the film, I was impressed that Chaplin really did love the story, the sets, the crew; the whole project. While this may not have been the complete reality, it felt that way, and thus made the film more enjoyable. In silent films the audience is forced to be completely reliable on the visual elements of the film; there are no elaborate sound effects or dialogue to provoke an emotional response.
Since film is at its very core a visual medium, I find silent films to be the basic form of the medium. I don't use the word basic here in a demeaning sense, but I compare the beauty of silent films to the beauty of early European art, before the concept of perspective was developed in the Renaissance. Many books and tomes featured people as tall as the castles they stood in; these works of art were not technologically advanced, but they were, and are, beautiful. The same example is found when comparing early darreographs of wild animals to contemporary photographs found in National Geographic. There is a warmth found in City Lights, and other Chaplin films (The Kid, Modern Times) that would be lost in the sea of cinematic technology that floods films today. Maybe it's just that with simplicity comes honesty, and honesty is perhaps the most powerful emotion that can cross through the screen and be felt by the viewer.
Calificación: Muy buena.
Vista: 15 de septiembre, 2020. - DirectorDavid CronenbergStarsJames WoodsDebbie HarrySonja SmitsA programmer at a Toronto TV station that specializes in adult entertainment searches for the producers of a dangerous and bizarre broadcast.
- Un orgasmo visual con los efectos
De una reseña de imdb:
"Videodrome", in my point of view, is a prophetic movie of David Cronenberg. The first time I saw this movie was in 1985 or 1986, when video-clubs where novelty in Brazil, and the local price of a videocassette was more than US$ 650.00. In that occasion, I recall that I was visually impressed with this gore, weird and bizarre movie. Twenty-three years later, I have just seen it on DVD and I realize the vision of this great director. He was able to foresee the importance of television for mankind, influencing people with sublimated messages, manipulating audiences and becoming very powerful, and how violence on screen can generate violence. I particularly like the following quotes: "The television screen is the retina of the mind's eye" and "Television is reality, and reality is less than television." Last but not the least, Brazil is not located in Central America, but in South America. My vote is seven.
Calificación: Imprescindible.
Vista: 15 de septiembre, 2020. - DirectorRichard BrooksStarsElizabeth TaylorPaul NewmanBurl IvesBrick is an alcoholic ex-football player who drinks his days away and resists the affections of his wife. A reunion with his terminal father jogs a host of memories and revelations for both father and son.Brick amaba a Skipper en un sentido romántico y la ambiguedad de los diálogos confirma que sí, que estaban tratando de retratar a un homosexual o bisexual (por lo que también está con Maggie, aunque no se sabe si realmente siente algo por ella o solo se vio obligado a casarse en una sociedad de los 50's).
Calificación: Buena.
Vista: 16 de septiembre, 2020. - DirectorJoel CoenEthan CoenStarsWilliam H. MacyFrances McDormandSteve BuscemiMinnesota car salesman Jerry Lundegaard's inept crime falls apart due to his and his henchmen's bungling and the persistent police work of the quite pregnant Marge Gunderson.La forma en la que muere al final me recordó a la muerte que hicieron en The Snowman.
- Ryan Reynolds se parece demasiado a Peter Stormare hasta en las expresiones que hace y en lo caídos que son sus ojos.
Calificación: Buena.
Vista: 16 de septiembre, 2020. - DirectorFritz LangStarsBrigitte HelmAlfred AbelGustav FröhlichIn a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working-class prophet who predicts the coming of a savior to mediate their differences.Fritz Lang es un genio y probablemente esta sea mi silent film favorito.
- Fritz Rasp hubiera quedado perfecto en alguna película de vampiros.
- El protagonista corre como Naruto
Calificación: Imprescindible.
Vista: 17 de septiembre, 2020. - DirectorMakoto ShinkaiStarsMiyu IrinoKana HanazawaFumi HiranoOn a rainy morning in Tokyo, 15-year-old Takao, an aspiring shoemaker, decides to skip class to sketch designs in a beautiful garden. This is where he meets Yukari, a beautiful yet mysterious woman. They strike an unlikely friendship.No me terminó de gustar la historia y me incomodó mucho que ella tenga 27 y el 15 porque no se está retratando solamente como una amistad, más bien parece una adulta reprimiendo lo que siente por un adolescente de 15 años. Por lo menos no permitieron que el personaje se deje llevar. De resto la animación es muy buena como suele ser la del anime :)
Calificación: Regular/buena.
Vista: 17 de septiembre, 2020. - DirectorBilly O'BrienStarsMax RecordsChristopher LloydLaura FraserIn a small Midwestern town, a troubled teen with homicidal tendencies must hunt down and destroy a supernatural killer while keeping his own inner demons at bay.Yo también actuaría como Brooke si me encuentro con un John.
- Me encanta cuando las películas logran hilar tanto suspenso, SÍ tienen un buen final, y no fue que solo te mantuvieron enganchado para dejarte con un mal sabor de boca.
- Físicamente, el actor que interpreta a John parece la versión masculina de Valeria y me encanta :))))
- Acabo de ver Back to the future hace poco y no reconocí a Christopher Lloyd, increíble como lo distintos que pueden ser en una película de otra puede hacer que parezcan otra persona.
- Max Records era el niño que sale en Where the wild things are, lol
- Por que dijo que su padre no le había regalado nada?
Lo entendí mal, lo que dijo fue que estaba vacío, pero yo creí que se refería a la caja, por eso más adelante lo vende.
De una de las reseñas de imdb:
This movie by Billy O'Brien is set in a small town in the Midwest and was filmed in rural Minnesota. This certainly is not where you'd expect a series of super-grisly murders to occur, but that's exactly what happens soon after the picture begins. Body after body begin piling up and naturally the townspeople are scared. They don't know it, but their only hope is a very strange young high school student. You see, this story is told from the viewpoint of this very strange misfit high school student...a kid unfortunately named John Wayne Cleaver (Max Records)! With a name like this, it's not at all surprising that he's obsessed with serial killers. And, because of his strange obsession he decides to start investigating on his own into who is eviscerating folks in town...eviscerating and stealing some of their organs! His trail leads to one of his neighbors, a nice old man played by Christopher Lloyd...yes, the Christopher Lloyd who used to play Jim on "Taxi"....and in this case his character is far, far stranger...that's for sure! I'd love to tell you more about the plot but had better not, as it might spoil the suspense...and wow is there a lot of suspense!
While I generally do not like violent or bloody films, I was captivated by this picture because it was not simply blood and gore but offered far more. The actual murders are far, far more complicated than you can imagine and the film has an amazingly gory yet exciting finale. And that, naturally, brings me to mention the blood, guts and gore. This is not a family film and don't even think of showing it to your mother, children or Reverend Fletcher! Well worth seeing and I'd love to see more from these folks!
Calificación: Muy buena.
Vista: 17 de septiembre, 2020. - DirectorAntonio CamposStarsBill SkarsgårdTom HollandBanks RepetaSinister characters converge around a young man devoted to protecting those he loves in a postwar backwoods town teeming with corruption and brutality.Esta peli la vimos por Netflix en la madrugada con Fer Candia y Matías.
- Un domino de tragedias.
- Lo mejor de la película son las actuaciones.
- Qué gusto da cuando vas reconociendo rostros del mundo del cine, la actriz que interpreta a la madre de Arvin es la misma de Swallow.
- Qué lindo ver a Tom Holland fuera del rol del Hombre Araña que no pone a prueba su capacidad actoral. También me alegra que Robert Pattinson está borrando poco a poco su trayectoria como Edward Cullen.
Calificación: Muy buena.
Vista: 18 de septiembre, 2020. - DirectorPablo LarraínStarsAlfredo CastroRoberto FaríasAntonia ZegersA crisis counselor is sent by the Catholic Church to a small Chilean beach town where disgraced priests and nuns, suspected of crimes ranging from child abuse to baby-snatching from unwed mothers, live secluded, after an incident occurs.No sé cómo pero me olvidé de anotar esta película.
- Es difícil ver a un hombre trastornado por lo que le hicieron en su niñez. Es repulsivo saber todo lo que le hizo gente "buena".
Calificación: Buena.
Vista: Debo haberla visto como por marzo del 2020. - DirectorJoachim TrierStarsEili HarboeKaya WilkinsHenrik RafaelsenA confused religious girl tries to deny her feelings for a female friend who's in love with her. This causes her suppressed subconsciously-controlled psychokinetic powers to reemerge with devastating results.Estaba casi segura de haber anotado estas dos películas o por lo menos algo sobre ellas pero por lo visto no, ojalá no me haya olvidado de otras.
- Tengo que prestarle más atención al cine de Joachim Trier.
Comentarios que encontré en un video de Youtube: Thelma and Anja - take me to church
"This movie isn't about paranormal activities or whatsoever. It is about how homosexual people have to limit themselves, mainly because of religious matters. Every time she felt desire, she had intense convulsions, which leads me to believe this is a metaphoric masterpiece :)"
this is so well said!!! i think it is at large a metaphor for how we (queer people) often times feel the need to tarnish our uniqueness (superpowers) under the pressure to fit in
I completely agree! There is such an important part of a queer person's personality forgotten when he/she decides to reject their own sexuality... I'm glad you understood what the movie is actually about!
Entonces, el momento en el que Thelma comienza a tener un despertar sexual por alguien de su mismo género, y comienza a desearla, comienzan sus convulsiones cuando descubre su propia homosexualidad y también desarrolla un poder ligado a eso. El acto final de este poder que se le otorga es desaparecer a Anja, y cuando rechaza por completo su homosexualidad al hacer esto, es casi como si el poder que se le dio haya desaparecido, y por eso mismo no puede hacerla regresar. Podría decirse que es una metáfora incluso del desarrollo de la relación de ellas dos. Las dos se conocen y las dos se desean, pero una de ellas proviene de una familia bastante religiosa y cuando finalmente pueden estar juntas, por cuestiones que ya se mencionaron, siente que lo que está haciendo está mal y tiene que cumplir con lo que se le ha enseñado. Y cuando Anja cae en cuenta de que es una relación que no va a funcionar, desaparece de su vida.- También siento que toda la actividad paranormal que le añadió a la película, fue para hacer una alusión a la experiencia terrorífica que pueden atravesar muchas personas al darse cuenta de que son homosexuales, no todos lo llevan de la misma manera. Quizás era la primera vez que Anja estaba sintiendo atracción por una chica y sin embargo, no lo experimentó de la misma forma en la que lo hizo Thelma, en parte porque ella se crió en otro entorno. Las dos se encontraban en un contexto muy distinto y eso influyó bastante en el desarrollo de ese deseo.
Calificación: Buena.
Vista: Debo haberla visto como por marzo del 2020. - DirectorMaïmouna DoucouréStarsFathia YoussoufMédina El Aidi-AzouniEsther GohourouEleven-year-old Amy starts to rebel against her conservative family's traditions when she becomes fascinated with a free-spirited dance crew.Esta película la vimos con Matías, Ariana, Kathiane y Oscar por Netflix y hablamos por discord en la madrugada.
Probablemente la película más controversial del año.
Nadie sabe cuáles fueron las verdaderas intenciones de la producción y si la película fue dirigida por una mujer, con un hilo argumental que parece demostrar la liberación de una niña que no quiere vivir
El hilo argumental es muy débil y me preocupa que el mensaje que aclaman que quisieron darle solo haya sido una excusa para exhibir a las niñas. La producción se respaldó con una mujer siendo la que dirige la película y una niña musulmana que no quiere seguir el mismo camino de las mujeres de su familia. Casi como lo que hacen con las películas sapphic, que con tal de mostrar alguna escena sexual entre dos mujeres, le otorgan algún argumento mal construido que más parece la trama de una película porno barato. Solo que en este caso se trata de unas niñas.
La película tiene estos puntos que parecen avalar lo que quisieron demostrar supuestamente:- Una niña que realmente no quiere pertenecer a ese grupo ni hacer lo que hacen las otras, sino sentirse libre de lo que le están inculcando en casa. De su (abuela?) diciéndole que no tiene que preocuparse por su menstruación porque ella se estaba casando y teniendo hijos a los pocos años. Una niña que no quiere seguir el mismo camino sino formarlo ella misma.
- La niña no quería hacer nada de eso, por eso cuando se encuentran en el baile y esos papelitos se le caen de la cabeza, le recuerdan la boda de su padre y se rompe en llanto. Eso no es lo que ella quiere, pero sí es lo más cercano que ha tenido a sentir "control" sobre su vida.
¿Pero eran necesarios tantos planos detalle en los que se muestre el cuerpo de las niñas? ¿Era necesario que hagan un baile erótico? ¿Era necesario abordar la historia con esa edad? Y si es así, ¿acaso no había otra forma de que transmitan este mensaje? Con los niños hay que tener sumo cuidado y una producción no es la excepción a esto.
Fue una idea mal ejecutada y quizás modificada al sexualizar a las niñas para que tengan quién los financie. Muchos hemos visto y me incluyo, esta película para saber de qué están hablando las críticas, pero hay mucha gente que la va a ver con otras intenciones.
Comentario aparte: Reconozco que gran parte de lo que reflejan en la película también da miedo porque sí es algo que sucede. Ahora que ya soy grande me quedo espantada, pero esto también me hizo recordar a como eran mis compañeras a esa edad y es triste saber que gran parte de lo que hacían no es nada lejano a lo que muestran en la película.
De las reseña de imdb:
This is not a compelling drama about the cultural and social challenges Muslim girls of colour face in contemporary France. Nor is, as the film-maker and fans of the film would have us believe, "Cuties" a bold statement against the sexualization of children. I have read that Maimoune Doucoure had made about three years ago a critically-acclaimed short about an 8-year-old Senegalese Muslim girl's distress when her father takes a second wife and brings her into a polygamous home. That is something I would have liked to have seen expanded into a nuanced, feature-length film.
"Cuties" lacks authenticity. Here is my imaginary scenario to the history of the film's genesis. An ambitious, talented young film-maker seeks financial backing for a feature length film about the social and cultural struggles a young Muslim girl of Senegalese heritage faces as she deals with her sexual awakening within the confines of a strictly conservative home. A cynical potential financial backer says he/she will help but says nobody is going to want to pay to see a nuanced movie that addresses these touchy issues. However, if you sex it up, then I'll take a serious look at your script and bring money to the table.- Shaming this movie for what it depicts it's like blaming a thermometer because it says we have fever. This is just a picture of our horrible reality.
https://theconversation.com/netflixs-cuties-ignites-the-wrong-debate-on-young-girls-sexuality-146666
The male gaze describes how cinema distinguishes between the male protagonist, who drives the plot, and the female spectacle, whose value to the film is more for her visual appeal than her contributions to the plot, what Mulvey calls her “to-be-looked-at-ness.” The male gaze isn’t only for men in the audience. It defines how the film is constructed so that everyone sees through its gendered perspective. Cinematic techniques from lighting to editing and camera work induce this voyeuristic and even sadistic gaze on the actress.
When the girls dance in Cuties, the camera travels slowly down their bodies, lingering on their midriffs and crotches. There are quick cuts to close-ups on spread legs and gyrating bums. The girls are not clumsy or awkward, intensifying the male gaze with a dazzlingly flawless spectacle. There is a lot to criticize here — but blaming sexualization makes things worse.
Calificación: Regular/mala.
Vista: 21 de septiembre, 2020. - DirectorDerek CianfranceStarsRyan GoslingMichelle WilliamsJohn DomanThe relationship of a contemporary married couple, charting their evolution over a span of years by cross-cutting between time periods.Calificación: Muy buena.
Vista: 21 de septiembre, 2020. - DirectorTodd SolondzStarsHeather MatarazzoChristina BrucatoVictoria DavisAn awkward seventh-grader struggles to cope with inattentive parents, snobbish class-mates, a smart older brother, an attractive younger sister and her own insecurities in suburban New Jersey.Algo preocupante que una niña de 11 esté dispuesta a tener sexo con un chico mucho mayor y que otro de los niños haga chistes de que la va a violar.
- La actriz que interpreta a Lolita (Victoria Davis) es lo que quisiera encontrar en una versión de 25 años.
Calificación: Buena.
Vista: 22 de septiembre, 2020. - DirectorJennifer Siebel NewsomStarsJoe HermanMichael KimmelCaroline HeldmanExplores how our culture's narrow definition of masculinity is harming our boys, men and society at large and unveils what we can do about it.Para abordar un tema como el de la masculinidad necesitas una investigación profunda, no solo opiniones de lo que a ellos se les ha enseñado que significa ser hombre y ser masculino.
Reconozco que hay buenas intenciones al mostrar lo que hoy en día significa la nueva masculinidad, un nuevo concepto de que la violencia no tiene que ser la realidad de los hombres, que está permitido que muestren sus emociones, etc.
Calificación: Regular.
Vista: 23 de septiembre, 2020. - DirectorJohn McNaughtonStarsMichael RookerTracy ArnoldTom TowlesArriving in Chicago, Henry moves in with ex-con acquaintance Otis and starts schooling him in the ways of the serial killer.Esta peli la vimos por Caracal con Matías, Ariana y Jorge. Kathi y Oscar solo estuvieron en un rato pero no la vieron.
Pésimo guion, me sorprende la calificación que tiene.
Calificación: Mala.
Vista: 24 de septiembre, 2020. - DirectorWes AndersonStarsJared GilmanKara HaywardBruce WillisTwo 12-year-olds, who live on an island, fall in love with each other and elope into the wilderness. While people set out on a search mission, a violent storm approaching them catches their attention.Esta peli la vimos con Matías, Ariana, Oscar y Jorge.
Calificación: Excelente.
Vista: 24 de septiembre, 2020. - DirectorJeff WadlowStarsLucy HaleTyler PoseyViolett BeaneA harmless game of Truth or Dare among friends turns deadly when someone - or something - begins to punish those who tell a lie or refuse the dare.La película cumple con su función: entretener. No tiene el propósito de ser una obra maestra ni súper aclamada por la crítica, si alguien busca distraerse o ya por último pasar un buen rato con sus amigos -como fue mi caso-, la película cumple con lo que promete.
Los puntos que conectan la historia son algo forzados y predecibles pero eran la única forma de que le den un poco de sentido a la historia. El final es muy flojo y se nota que no supieron cómo más terminar la historia, pero pudo estar peor.
De las reseñas de imdb:
The movie did not receive the bad amount of comments or opinions it got from other users. Quite frankly, they are wrong in calling Truth or Dare a bad movie, as it is not meant to be a masterpiece but a fun movie to watch in a rainy day scenario.
If you are looking for a movie that you can switch off to and just watch a movie that is mindless entertainment then Truth or Dare is a movie i recommend it if you can look past of the cliche horror tropes.
Overall the movie as some decent young actors in it and is a passable horror movie so i suggest giving Truth or Dare a chance.
Calificación: Regular.
Vista: 26 de septiembre, 2020. - DirectorGareth EvansStarsDan StevensRichard ElfynPaul HigginsIn 1905, a drifter on a dangerous mission to rescue his kidnapped sister tangles with a sinister religious cult on an isolated island.La vimos en la madrugada por Netflix con Kathi, Ariana, Jorge y Oscar.
Quizás la película tenía potencial para más porque la historia es interesante, aunque en sí no supieron cómo conectar algunas cosas, y hubiera sido interesante que profundicen en el personaje de la anciana, su origen, etc.
El desarrollo de los personajes fue muy débil, primero se nos presenta al apóstol como alguien malo y luego su personaje decae, lo mismo pasa con el de Thomas. Si querían generar empatía por los personajes no lo hicieron bien.- Lucy Boynton de peliroja se ve muuuy linda.
https://collider.com/apostle-ending-explained/
When I spoke with Evans at Fantastic Fest, where Netflix premiered the film, the director explained,
“What if these people arrive on this island and it’s perfect — You’ve got this goddess of the island, she’s almost a little bit like mother nature in that respect, she feeds off of it and then she replenishes. The sea would be perfect, the harvest is amazing, it’s all clean and beautiful crops. They turn up and they find her, instead of revering her they want to abuse the power they can get from her. They enslave her. From there on, that’s when the crops become toxic, because it’s not because of her natural ability but because she’s forced to. That became a mechanism, which is kind of used as an allegory for what we were talking about with the politics, religion and corruption of both.”
Confessing his truth to Malcolm’s daughter Andrea (Lucy Boynton), Thomas reveals his history as a Christian priest and how his faith was taken from him in Peking, where he brought his Parish to “show them the glory and the love of god himself,” and they showed him “the devil,” aka slaughtering much of his parish and branding him with a giant cross, leaving behind the physically and spiritually broken shell of a man we meet at the beginning of the film. (este es otro punto que tampoco aportaba nada a la historia)
https://www.reddit.com/r/horror/comments/d11t48/what_drug_is_the_guy_taking_in_apostle/
What drug is the guy taking in Apostle?
My first thought was a heroin tincture.- Pretty sure it was laudanum/tincture of opium. It was pretty commonly abused and available via mail order/otc until the early 1900s.
Calificación: Regular/buena.
Vista: 27 de septiembre, 2020. - DirectorPedro AlmodóvarStarsPenélope CruzCarmen MauraLola DueñasAfter her death, a mother returns to her home town in order to fix the situations she couldn't resolve during her life.Calificación: Imprescindible.
Vista: 28 de septiembre, 2020. - DirectorUli EdelStarsNatja BrunckhorstEberhard AurigaPeggy BussieckA teen girl in 1970s Berlin becomes addicted to heroin. Everything in her life slowly begins to distort and disappear as she befriends a small crew of junkies and falls in love with a drug-abusing male prostitute.Detlov es DEMASIADO lindo.
- La escena en la que los chicos corren por los pasillos de ese centro comercial años más tarde le hicieron su versión en Breakfast Club solo que esa peli es mala xd
- Me da gracia que Sense Of Doubt de David Bowie la hayan usado en un momento de drama siendo que la canción parece ambientar algo de comedia. Ah, pero como es David Bowie es profunda y te teletransporta y te xd
Calificación: Buena.
Vista: 29 de septiembre, 2020. - DirectorEric ValetteStarsEdward BurnsShannyn SossamonAna Claudia TalancónSeveral people start receiving voice-mails from their future selves - messages which include the date, time, and some of the details of their deaths.Me acuerdo que cuando era niña tan solo escuchar el tono de llamada me daba miedo y era lo único que sabía de la película hasta ahora. Me pregunto el impacto que hubiera tenido en mí en ese entonces, y ahora que solo me pareció una mala película.
- Qué irritantes los personajes.
https://en.wikipedia.org/wiki/One_Missed_Call_(2008_film)
One Missed Call is a 2008 supernatural horror film[3] directed by Eric Valette and written by Andrew Klavan. An international co-production between the United States, the United Kingdom, Japan and Germany,[1] it is a remake of the 2003 Japanese film of the same name directed by Takashi Miike, which itself was based on the Yasushi Akimoto novel Chakushin Ari. The film stars Shannyn Sossamon, Edward Burns, Ana Claudia Talancón, Ray Wise and Azura Skye.
Calificación: Mala.
Vista: 29 de septiembre, 2020. - DirectorCatherine HardwickeStarsEvan Rachel WoodHolly HunterNikki ReedA thirteen-year-old girl's relationship with her mother is put to the test as she discovers drugs, sex, and petty crime in the company of her cool but troubled best friend.Un final predecible para todos menos ella.
Calificación: Buena.
Vista: 30 de septiembre, 2020. - DirectorJohn WatersStarsDivineDavid LocharyMary Vivian PearceNotorious Baltimore criminal and underground figure Divine goes up against a sleazy married couple who make a passionate attempt to humiliate her and seize her tabloid-given title as "The Filthiest Person Alive".La empezamos a ver el 21 de septiembre con Matías y con Jorge, y cuando nos tocó terminarla el 30 de septiembre, llegada la escena traumante de la fiesta que hace Divine por su cumpleaños, Jorge no quiso terminar de verla.
- Quitando todo lo explícito y repugnante, es una película con un humor bastante extraño y quizás no para cualquier público porque sí, es difícil de digerir, pero es divertida a su retorcida manera.
Calificación: Buena.
Vista: Empezada el 21 de septiembre y terminada el 30 de septiembre, 2020. - DirectorTrey Edward ShultsStarsJoel EdgertonChristopher AbbottCarmen EjogoSecure within a desolate home as an unnatural threat terrorizes the world, a man has established a tenuous domestic order with his wife and son. Then a desperate young family arrives seeking refuge.Esta peli la vimos en la madrugada con Jorge, Matías y Kathi.
- Una película que parece ser prometedora que al principio parece ser prometedora, pero no lo es para nada.
https://popculture.com/entertainment/news/it-comes-at-night-ending-title-explained/#1
The filmmaker has expressed that "it" can also represent the moments in which Travis, or the audience, tries to get rest; but when looking back on the day's events, your own fear and anxiety begins to take over, festering in your mind like a disease. This means the title can be interpreted as fear/paranoia/anxiety is what "comes at night" for Travis and many other characters.
Another thing that occurred during the night is Travis hearing the new family's young son in a different room, investigating that the child must have been sleepwalking, so Travis takes his hand to bring him back to his parents. This ends up being the incident that drives the two families apart, as we know that physical contact can spread the disease.
The boy's parents are upset, as they don't know if Travis is infected, while Will and Sarah are upset, because they don't know if the boy is infected. Shortly after, the visiting family makes their escape at gunpoint, wanting nothing more to leave, as the audience hears their boy crying in agony.
Sadly, the departure doesn't go how either family has wanted, leading Will and Sarah to kill the other family, knowing that if that had nefarious motives, they could easily return to Will's house will reinforcements and take their resources. After killing the other family, Will and Sarah return home to discover Travis is infected, with the film ending on a shot of just Will and Sarah sitting at a kitchen table.- The ending explained
In the film's opening scene, Paul and Travis kill Travis' infected grandfather by shooting him in the head after making peace with him and burning the body. The implication of just Will and Sarah sitting at the family dinner table is that Travis has undergone the same eradication, as it was the only way to stop the spread of infection.
A big question about these final sequences is the ambiguity of whether Travis infected the boy, if the boy infected Travis, or if the boy was even infected at all. If you've come looking for the answer, you're out of luck, as the most effective elements of Shults' film are those that remain unknown. Whether or not the boy was infected or not has nothing to do with how the events transpired because what matters is Paul thought the boy could be infected, meaning he was worth killing.
Calificación: Regular.
Vista: 1 de octubre, 2020. - DirectorDuwayne DunhamStarsDebbie ReynoldsKimberly J. BrownJudith HoagWhen a young girl living with her secret witch mother learns she too is a witch, she must help her witch grandmother save Halloweentown from evil forces.Esta peli la vimos en la madrugada con Matías, Ariana y Kathi. Estuvimos esperando no sé cuántas horas para escoger una pelicula (para variar), para que terminemos viendo esto.
Calificación: Regular.
Vista: 3 de octubre, 2020. - DirectorMark WatersStarsLindsay LohanJonathan BennettRachel McAdamsCady Heron is a hit with The Plastics, the A-list girl clique at her new school, until she makes the mistake of falling for Aaron Samuels, the ex-boyfriend of alpha Plastic Regina George.No estaba del todo segura de si ya la había visto anteriormente, pero por las escenas puedo decir que sí.
- Probablemente de las mejores películas de adolescentes que he visto.
El diálogo de:- So, are you a Puerto Rican?
- Lebanese
Calificación: Imprescindible.
Vuelta a ver: 3 de octubre, 2020. - DirectorKiyoshi KurosawaStarsMasato HagiwaraKoji YakushoTsuyoshi UjikiA frustrated detective deals with the case of several gruesome murders committed by people who have no recollection of what they've done.Calificación: Buena.
Vista: 4 de octubre, 2020. - DirectorNicolas RoegStarsAnjelica HustonMai ZetterlingJasen FisherA young boy stumbles onto a witch convention and must stop them, even after he has been turned into a mouse.La actuación de Anjelica Huston es lo mejor de la pelicula, un 645684/10 esa mujer
Calificación: Buena.
Vista: 5 de octubre, 2020. - DirectorJohn Erick DowdleStarsJennifer CarpenterSteve HarrisColumbus ShortA television reporter and her cameraman are trapped inside a building quarantined by the CDC, after the outbreak of a mysterious virus which turns humans into bloodthirsty killers.Cuándo irán a entender que esto del found footage ya no funciona.
- La protagonista se pasa de estúpida y encima parece que ella es la que estuviera contagiada de rabia con lo histérica que es, ni siquiera sabría decir si le pidieron que así lo interprete al personaje o si es que a ella se le ocurrió sobreactuar.
Calificación: Mala.
Vista: 5 de octubre, 2020. - DirectorGeorge A. RomeroStarsLane CarrollWill MacMillanHarold Wayne JonesThe military attempts to contain a manmade combat virus that causes death and permanent insanity in those infected, as it overtakes a small Pennsylvania town.Es innecesario que suene un redoble de tambores cuando el cambio de escenario es más que obvio, por qué lo hicieron?
- Que final mas malo
Calificación: Regular/mala.
Vista: 5 de octubre, 2020. - DirectorBong Joon HoStarsSong Kang-hoKim Sang-kyungKim Roe-haIn a small Korean province in 1986, two detectives struggle with the case of multiple young women being found raped and murdered by an unknown culprit.https://www.latimes.com/entertainment-arts/movies/story/2019-09-30/bong-joon-ho-south-korea-serial-killer-memories-of-murder
During that span of time, 10 women between the ages of 14 to 71 were found raped and murdered in Gyeonggi province. One of the murders was later determined to be a copycat killing, but the trail ran cold for nearly 30 years before the statute of limitations expired on the remaining crimes.
That is until earlier this month, when Korean authorities announced that a DNA match had been made linking evidence from some of the crime scenes to a suspect already behind bars. According to South Korean media reports, he is a 56-year-old man serving a life sentence for the 1994 rape and murder of his sister-in-law.
https://lwlies.com/articles/memories-of-murder-bong-joon-ho-hwaseong-serial-murders/
With one man’s sudden confession, one of the most notorious crimes in South Korean history has been flipped on its head. Last week, 56-year-old Lee Choon-jae admitted to being the serial killer who held the city of Hwaseong gripped with fear from 1986 to 1991. Imprisoned for raping and brutally murdering his sister-in-law in 1994, Lee was recently identified via DNA profiling 30 years after the crimes took place, and has now confessed to killing five people in addition to the nine known victims.
Though many details were true to the original crimes, some were added purely to add a layer of dramatic tension. Thanks to Bong’s film, it is widely accepted that the killer only chose to hunt down fair-skinned women dressed in red clothing, and that his sinister intent became heightened on stormy nights. Both are misconceptions, and consequently the film has been criticised for sensationalising the case.
Calificación: Excelente.
Vista: 6 de octubre, 2020. - DirectorBruce McDonaldStarsStephen McHattieLisa HouleGeorgina ReillyA radio host interprets the possible outbreak of a deadly virus which infects the small Ontario town he is stationed in.
- La voz de Stephen McHattie me estresó.
- Georgina Reilly se parece demasiado a Anna Faris, al menos por el corte de pelo que tiene en la película pensé que era ella.
No terminó de gustarme, pero por lo que veo no tuvieron un gran presupuesto, el suficiente para hacer lo necesario y generar pánico sin salir de su escenario. Pero se puede imaginar lo que sucede, le dan vida a la imagen a través de la radio.
Calificación: Regular/buena.
Vista: 6 de octubre, 2020. - DirectorEli RothStarsJordan LaddRider StrongJames DeBelloFive college graduates rent a cabin in the woods and begin to fall victim to a horrifying flesh-eating virus, which attracts the unwanted attention of the homicidal locals.
- Joey Kern se ve hermoso en esta peli.
Calificación: Regular/buena.
Vista: 6 de octubre, 2020. - DirectorTobe HooperStarsMarilyn BurnsEdwin NealAllen DanzigerFive friends head out to rural Texas to visit the grave of a grandfather. On the way they stumble across what appears to be a deserted house, only to discover something sinister within. Something armed with a chainsaw.Tal vez una de mis pelis favoritas de terror
- Ya había visto una de estas cuando era niña, pero no recuerdo cuál fue, solo recordaba una escena en la que corre por una ropa que está tendida pero por lo visto no fue esta peli sino otra de la serie.
De las reseñas de imdb:
The (original) Texas Chainsaw Massacre, is without a doubt in my mind, the most impressive horror film to date. No other horror film stays with you in the same way. You feel not only fearful for the characters, but at times feel afraid for your own safety. The natural lighting and loose, improvised acting style creates a strong sense of reality that no other horror film can possibly achieve. Under a thin layer of dated aesthetics (1973 style of dress) lies the most dangerous, horrifying and psychotic world ever committed to script or screen. As the first of its kind, this movie set the mold for the modern horror film, though none were ever to realize any comparable distinction. It gave birth to the "slasher" genre (for better or for worse) . It is also one of few timeless films that has managed to combine horror and avant-garde styles, successfully. Unlike its remake, this one is more of an exercise in minimalism and simplicity (think even Dogme). The expert subtlety of the filmmakers; Tobe Hooper (writer/director), Kim Henkel (co-writer) and Daniel Pearl (cinematographer) results more in
psychological terror than in gore. The air-tight script, jarring realism and attention to detail are unparalleled in practically any film, horror or otherwise. And last, but by far not the least Marylin Burns PHENOMENAL performance is the only in cinematic history (a close second by that of Shelly Duvall in The Shining) that evokes such a nature of desperate and primal fear. You truly believe in every single one of her screams that her life is hanging by a single, thin thread.
https://serialkillershop.com/blogs/true-crime/texas-chainsaw-massacre-true-story
https://en.wikipedia.org/wiki/The_Texas_Chain_Saw_Massacre#:~:text=The%20film%20was%20marketed%20as,its%20plot%20is%20largely%20fictional.
The film was marketed as being based on true events to attract a wider audience and to act as a subtle commentary on the era's political climate; although the character of Leatherface and minor story details were inspired by the crimes of murderer Ed Gein, its plot is largely fictional.
Calificación: Imprescindible.
Vista: 7 de octubre, 2020. - DirectorBreck EisnerStarsRadha MitchellTimothy OlyphantDanielle PanabakerAfter a strange and insecure plane crash, an unusual toxic virus enters a quaint farming town. A young couple are quarantined, but they fight for survival along with help from a couple of people.Esperaba que sea mejor que la original pero ninguna resultó ser buena.
Calificación: Mala.
Vista: 8 de octubre, 2020. (Vista hasta el min 40) - DirectorEli RothStarsJay HernandezDerek RichardsonEythor GudjonssonThree backpackers head to a Slovak city that promises to meet their hedonistic expectations, with no idea of the hell that awaits them.Hay algo que no terminó de gustarme y ni qué decir el final, muy flojo.
- Me hizo recuerdo de Martyrs, creer que este tipo de élites no existen es ser muy ingenuo.
Calificación: Regular/buena.
Vista: 8 de octubre, 2020. - DirectorJohn WatersStarsDivineTab HunterEdith MasseyA suburban housewife's world falls apart when she finds that her pornographer husband is serially unfaithful to her, her daughter is pregnant, and her son is suspected of being the foot-fetishist who's been breaking local women's feet.
- Por lo visto voy a estar bien encariñada al extraño humor de este hombre.
Calificación: Buena.
Vista: 8 de octubre, 2020. - DirectorKevin SmithStarsMichael ParksMelissa LeoJohn GoodmanSet in Middle America, a group of teens receive an online invitation for sex, though they soon encounter fundamentalists with a much more sinister agenda.Calificación: Regular/buena.
Vista: 8 de octubre, 2020.