Change Your Image
pedroquintaoo
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try againReviews
Élite: Voy a acabar con esto para siempre (2023)
It's getting worse
Over the years, "Élite" has always been a series that, despite not being of high quality, knew how to entertain. I remember binge-watching the first three seasons in just one day each. It was my guilty pleasure: the narrative was shallow, problems were solved with sex or parties, but the characters were absolutely iconic, and the mystery kept us glued to the screen. In every season, someone died or disappeared, making all the characters suspects, and in the end, the mystery was resolved with a forced plot twist, but still captivating.
However, the seventh season failed miserably. It abandoned the main element of mystery/crime/death that was always its strong point (there is a mystery in the last episode, but I will talk about it later). Élite now tries to be more serious, addressing deep themes, but clearly shows its incapacity to do so. It tries hard to imitate "Skins," a British teen series that was extremely controversial and irreverent, becoming a cultural landmark by dealing with various themes of adolescence and adulthood from a unique perspective. But in "Élite," the themes are treated with the depth of a superficial Wikipedia search done by a 12-year-old. The mystery, previously used as a curtain to hide these flaws, only appears at the end, and in a way that insensitively romanticizes suicide, posing the question, "who will commit suicide?" There is even a scene where they try to create suspense by placing several characters on different rooftops to make us guess who will end their life.
In previous seasons, the weak narrative was compensated by memorable characters who, unfortunately, have been leaving the series. In the seventh season, they tried to appeal to old fans with Omar's return, but that wasn't enough. Omar never had the strength to carry the series alone; he always needed an "anchor," whether it was his sister Nadia or his ex-boyfriend Ander. The other characters that populate the new chapter of "Élite" are mostly irritating and poorly developed, with the same depth as the characters from "Morangos com Açúcar" in 2007. They can disappear for 3 or 4 episodes straight, and no one notices (this is exactly what happened with the character played by the singer Anitta). They are just there, existing and repeating actions we've already seen in other seasons. It feels like the series has entered a vicious and constantly declining loop.
Few characters have their own identity. Some are so uninteresting that I even forget their names. I highlight the girl with the personality of a white wall who suffers domestic violence, the boy with no strong characteristics to define him physically or psychologically, but who still manages to be irritating and is just there to make Omar suffer, and the brute character who was forcibly introduced to add more sex scenes.
The only positive point I can highlight is the soundtrack, which guarantees very good themes from indie, Latin pop, and even electronic music, all of which have the power to create some atmosphere in the series' scenes.
It took me about eight months to watch the 7th season of "Élite." I didn't give up and will give the 8th season a chance because I know it will be the last. It's a shame to see how the series declined after the end of the third season, finally proving that it was the mystery and charisma of the original cast that held the series together, not the sex scenes or poorly handled themes.
Hellraiser III: Hell on Earth (1992)
Campy but good
"Hellraiser 3" is a movie that will appeal to fans of the slasher subgenre. The story is interestingly driven by the protagonist Joey, bringing an engaging dynamic to the plot. However, it oscillates between campy moments and more serious ones, creating an imbalance that left me with mixed feelings, both pleased and disappointed at times.
One of the most memorable scenes delved into the backstory of the villain Pinhead, particularly Joey's interaction with the ghost of the human who became the villain. This approach adds layers to the saga's mythology, which was very interesting.
Visually, "Hellraiser 3" showcases impressive creativity in the design of the demons known as cenobites. While some are trashy but iconic (like the cenobite that shoots CDs), others are genuinely scary (the one with a machine drilling into his head is an example).
However, the film falls short in character development. I expected more depth in their personalities and more scenes exploring Joey's ambition to become a successful journalist. This aspect would have significantly enriched the narrative.
Even so, "Hellraiser 3" is a solid entry and possibly one of the best in the franchise. The film captures the unique tone of late '80s and early '90s horror releases, offering an experience that, while somewhat lacking, was satisfying. I would say it's an interesting recommendation for horror fans.
The Watchers (2024)
Surprisingly good
I watched "The Watchers" without any expectations and really liked it. The film managed to capture my attention until the end, maintaining a level of mystery that is rare and much appreciated. The plot is full of surprises and interesting twists, though I feel it lacked some development around these twists and other narrative elements, leaving some details unexplained.
Dakota Fanning shines in the lead role, marking a highly anticipated return to the big screen. The rest of the cast also performs well, bringing their characters to life in a way that complements the story as it progresses.
The atmosphere is very engaging, thanks to excellent cinematography, sound editing, and direction by Ishana Night Shyamalan, who shows promise in following her father, M. Night Shyamalan's footsteps.
Although it isn't the thriller of my life, "The Watchers" is a solid piece that delivers what it promises. Despite some unconvincing narrative justifications, it's worth watching. I'm puzzled by the negative reviews from American critics (currently 28% positive on Rotten Tomatoes). This may be due to the lack of a social or environmental message, which unfortunately seems necessary for American critics to appreciate a film.
In summary, "The Watchers" is an engaging and well-executed thriller that only falters by not fully justifying its twists and leaving some narrative elements unexplained. It's a film worth watching, especially for those who enjoy a good mystery.
Hellraiser: Hellseeker (2002)
What they did with Kirsty and Pinhead?
I started watching the "Hellraiser" saga randomly. A few years ago, I saw the first two films, recently I watched the 5th film, "Hellraiser: Inferno," and today I watched "Hellraiser: Hellseeker," the sixth chapter in the series. Unfortunately, this film turned out to be a disappointing experience. This title brings a sense of nostalgia due to the return of Kirsty Cotton, the protagonist of the original films. However, this nostalgia quickly turns into frustration because Kirsty's presence is minimal and insignificant, not doing justice to her character's importance in the first films. Her appearance is so brief and irrelevant that she almost seems like an extra.
The same unfortunate fate befalls Pinhead, the famous villain played by Doug Bradley. Although Pinhead remains scary and menacing thanks to Bradley's iconic performance, his presence in the film is minimal. The underuse of such a crucial character to the "Hellraiser" mythology ends up being a wasted opportunity, which was exactly one of the problems of the previous film.
The narrative of "Hellraiser: Hellseeker" is very similar to its predecessor, "Hellraiser: Inferno" (the fifth film in the series). It feels like they took the same script, reworked some parts, and executed it in an inferior way. While "Hellraiser: Inferno" managed to create an intriguing neo-noir thriller atmosphere, "Hellraiser: Hellseeker" fails to capture that vibe, opting for a confusing and uninspired psychological thriller. The story focuses on a man with memory problems who confuses reality with imagination, resulting in a series of disconnected sequences that never manage to impact the viewer.
The story is confusing and nonsensical. The more I think about it, the less sense it makes. The film ends with a feeling of emptiness, as if the story didn't take us anywhere. As someone recently told me, this sequel seems more like an effort by the producers to maintain the franchise rights without any clear purpose, just serving to "fill space."
Despite its flaws, it does have some merits. Considering it's a low-budget production released directly to the home video market, the film manages to be competent from a technical standpoint. The production quality is surprisingly solid for this type of work, surpassing other similar productions from the same era.
In summary, "Hellraiser: Hellseeker" is a mediocre entry in the "Hellraiser" saga that disappoints both in narrative and character development. The lack of significant presence from iconic characters and an extremely confusing plot make this film a frustrating experience for fans of the series. However, there is a technical effort that, while not enough to save the film, at least puts it above other low-budget productions of that time.
Hellraiser: Inferno (2000)
Doesn't look a Hellraiser movie
I decided to watch "Hellraiser: Inferno" simply because it was the first film directed by Scott Derrickson, the same director behind hits like "The Exorcism of Emily Rose," "The Black Phone," "Sinister," and "Doctor Strange." At the time, Derrickson was still an inexperienced director, but it was interesting to see small details that were already part of his creative signature.
There's an urban myth surrounding the plot of this film. Several sources claim that the original script was written as an independent police thriller with no connection to the "Hellraiser" universe, but the producers decided to change various parts and insert it into that universe. However, the writers themselves deny this version. Personally, I believe the first hypothesis because I felt that Pinhead and the other cenobites (creatures from another dimension known for bringing extreme pleasure that is understood as pain and torture by humans) were forcefully inserted, and both concepts don't match. It seems like they cut pages from the original script and replaced them with pages from the "Hellraiser" saga.
"Hellraiser: Inferno" could have been an excellent investigative thriller, but it ultimately stands out as an incomplete work. It fails to create an atmospheric and intriguing piece, and it also fails to invoke and respect all the elements of the "Hellraiser" saga. Just to give you an idea: Pinhead, the main villain, only appears for about 1 minute in the entire film.
I consider it average. It's far from terrible. I mainly liked the concept of the cenobites, who appeared in less than half a dozen scenes, and sometimes, the plot managed to pique my interest, even though some plot twists and situations were predictable. Still, it was interesting to observe how Scott Derrickson has evolved since the beginning of his career.
Baby Reindeer (2024)
A good surprise
I was curious and decided to watch "Baby Reindeer" without any expectations. From the start, I identified with the protagonist, especially because he easily feels sorry for people and tries to be kind to Martha, the woman who became his stalker. It made me more cautious and served as a reminder to sometimes limit trust and be tougher with strangers.
The premise of "Baby Reindeer" is intriguing, not only because of its plot but also because of how the story is told. I thought it was brilliant that the actual victim of stalking, Richard Gadd, wrote the miniseries and played a version of himself. This adds a level of authenticity and vulnerability that is rare to find. Gadd's courage in revisiting and sharing some of the most traumatic moments of his life is truly commendable. However, I feel ambiguous about Gadd's choice to narrate the story himself. At times I liked it, but other times I found him annoying and just wanted him to stop talking.
One of the highlights of the production is undoubtedly Jessica Gunning's portrayal of Martha. She brings to life a character who is simultaneously hateful, insane, and deranged. Jessica Gunning's ability to embody such a complex and disturbing character is impressive. I hope this role opens many doors for her career, as it is a performance that leaves no one indifferent.
Overall, the pacing is well done. We are constantly learning new details about the protagonist's life, as well as his ambitions and vulnerabilities. This approach allows us to create a deeper connection with him and better understand his motivations and fears. However, I did not appreciate the editing in the initial episodes. I felt that some moments were rushed, while others were unnecessarily prolonged. This lack of balance sometimes broke my engagement with the narrative.
Additionally, the final episode also felt a bit rushed. Although it wasn't bad, it left me with the feeling that something was missing to conclude the story satisfactorily.
Despite addressing a theme I have personally experienced, stalking, "Baby Reindeer" is undoubtedly a good production. However, I didn't feel as connected to the story as I had hoped. Even so, I acknowledge the value and quality of the miniseries.
I recommend watching "Baby Reindeer," not only for its artistic and narrative quality but also for the importance of discussing topics such as stalking, harassment, and other issues. It is a production that deserves to be seen and reflected upon, even if sometimes we do not fully connect with it.
Malignant (2021)
One of the best plot twists I've ever seen
I rewatched "Malignant" and, surprisingly, liked it even more than the first time. This second viewing allowed me to better appreciate how carefully James Wan concealed the surprising plot twist. What was unpredictable at first becomes more noticeable when you rewatch the film and analyze the meticulously scattered details throughout the narrative.
As for the story itself, while it isn't particularly innovative, I loved the mystery and suspense that were built up. The challenge of discovering who the mysterious killer is and their connection to the protagonist keeps you glued to the screen. The pacing rarely slows down, and James Wan deliberately includes confusing moments to mislead the audience and keep them from uncovering the truth too soon, setting up one of the best plot twists in horror cinema this century. The storyline is an emotional roller coaster, with each scene more intriguing than the last, keeping us hooked. I watched the movie with my stepfather, who is quite critical of these types of films, but he also really enjoyed "Malignant."
The setting and cinematography are another highlight, giving the film a distinct tone and an immersive atmosphere. From dark framing to strategic camera movements, every visual detail contributes to the tension and mystery.
The chilling sound editing takes us back to the slasher and giallo films of the 70s and 80s. The soundtrack and sound effects play a crucial role in intensifying the suspenseful moments.
Additionally, I appreciated the use of CGI, something I usually dislike in this type of production. However, here it was used effectively to enhance the atmosphere of the protagonist's visions whenever she observed the villain in action.
"Malignant" isn't exactly scary, leaning more towards a thriller than pure horror, but I consider it an excellent work by James Wan. It's a standout film that deserves to be seen by all fans of the genre. The combination of mystery, suspense, and a surprising twist makes it memorable and one of my favorite films in recent times.
Civil War (2024)
Defies expectations with a captivating journey
"Civil War" was a pleasant surprise for me, especially considering my low expectations, influenced by my experience with "Annihilation" and all the opinions I've read and heard about "MEN," the typical horror film I usually tend to abhor. My initial prejudice stemmed from the fear of facing an excessively political, monotonous film shamelessly designed to be Oscar bait (God knows how much I despise Oscar baits that American critics acclaim). However, this film completely subverted my expectations, offering a captivating and multi-dimensional cinematic experience.
The narrative of "Civil War" unfolds from the perspective of a team of photographers and journalists traveling across the USA, documenting the horrors of the civil war. This viewpoint is crucial, as it provides a profound reflection on the dangers of journalism in conflict zones, as well as the courage and ambition necessary to witness historical events firsthand. This aspect is well-executed and has the potential to increase the audience's respect for the hard and risky work of war journalists.
One of the most interesting narrative choices, which will certainly divide opinions, is the impartiality with which the civil war is portrayed. The protagonists are not presented as heroes, nor are the antagonists labeled as villains. This balanced treatment of the conflicting sides can be confusing for some viewers, but it is intentional. The script opts to hide several details, making us like the journalists: impartial, curious, and eager for new developments about the war.
The tension-filled scenes are plentiful, raising the audience's anxiety levels. One of the most memorable scenes involves an accidental encounter with a lunatic nationalist. These scenes are brilliantly executed and keep us in suspense, providing a dynamic rhythm to the narrative.
The cast's performances greatly contribute to the narrative's development. Kirsten Dunst appears exhausted, utterly tired, but ambitious and determined. Wagner Moura brings energy to his character, who seems to observe everything from a less dramatic perspective, as if he has already gotten used to the almost apocalyptic scenario. Cailee Spaeny emerges as a good revelation, delivering a performance that left me with ambiguous feelings about her character's intentions.
I'm pleased that this is a production with the quality seal of A24, a studio that, for better or worse, knows how to produce films uniquely and distinctly from other studios. Imagining "Civil War" under the work of studios like Warner Bros, Universal, or Disney could result in a more banal, tedious, and blatantly Oscar-targeted product.
However, there are a few points I didn't appreciate as much. They are not extremely negative and may improve with a second viewing. I refer to the final act itself, which paradoxically had both epic and anticlimactic elements, and the expectation of seeing more scenes of the civil war itself, with confrontations, demonstrations, etc. An additional 15 minutes to develop these moments would have been welcome.
In summary, "Civil War" is one of the best films I have seen this year, providing an intense and reflective cinematic experience. However, I warn that it may not be a film for all tastes due to its distinct approach.
Paddington 2 (2017)
Better than the original film
If I enjoyed the first movie, this one managed to exceed all my expectations. From the beginning, it draws us into an intriguing, fun plot with some surprises that make me call it a "Shawshank Redemption for kids."
Paddington Bear's innocence, always well-intentioned and pure-hearted, provides hilarious moments that bring out genuine laughter. His presence is a constant reminder of kindness and the importance of maintaining hope and optimism even in difficult times, and above all, being good and empathetic to one another.
One of the aspects that captivated me the most in this film was the development of the secondary characters. In the original movie, I felt that some of these characters lacked necessary depth, but this sequel corrects that weakness. Each person surrounding Paddington now has a richer, more engaging story, contributing significantly and captivatingly to the narrative development.
Moreover, the film has a unique ability to touch the heart. It not only makes us laugh but also deeply moves us. As I mentioned, there is an innocence in Paddington's interactions with the world that makes us wish he existed in our lives.
In short, "Paddington 2" is a film that leaves us with a smile on our faces. A movie that celebrates kindness, the importance of never losing hope, and human relationships. It's an experience I recommend to everyone, regardless of age.
Watcher (2022)
An Intense and Atmospheric Thriller
If you're looking for a slow but extremely intense thriller, you can't miss "Watcher" (2022). From the start, you're drawn into a constantly anxious atmosphere, questioning the protagonist's fate and sanity as she faces a potential stalker.
This film takes inspiration from Hitchcock, becoming a modern and alternative cousin to the classic "Rear Window" (1954). The influence is clear, yet it manages to create its own identity, capturing the audience's attention with carefully crafted scenes and excellent cinematography.
One of the film's greatest strengths is its atmosphere. The narrative is engaging, immersing us in an environment that keeps our senses on high alert. Every frame and shadow are used to create a persistent feeling of unease and doubt.
Maika Monroe delivers a solid and convincing performance, proving once again that she is one of the most underrated actresses of her generation. She brings depth and vulnerability to her role, making us empathize with her character's struggles, such as the communication difficulties in a foreign country that leave her feeling misunderstood and lonely. This adds interesting layers to the narrative.
However, "Watcher" is not without its flaws. Despite the initial development and tension building, the resolution is disappointing. The ending feels rushed and ironically becomes predictable by trying to be unpredictable. Halfway through, I thought, "The film might go this way," then concluded it wouldn't because it seemed too obvious for today's standards, only for it to follow exactly that predictable path. The last two minutes, in particular, are frustrating, presenting a twist that defies logic and breaks the carefully constructed immersion.
In summary, "Watcher" is an atmospheric and engaging thriller that deserves to be appreciated by genre enthusiasts or Hitchcock fans. However, be prepared for an ending that might not live up to your expectations.
Boy Kills World (2023)
Entertaining but tries too hard to be cool
"Boy Kills World" is a movie that keeps its viewers entertained with nonstop action, intense fight scenes, graphic violence, and a fast pace that keeps you glued to the screen. However, it tries too hard to be "cool," original, and provocative. This constant attempt to be like "Deadpool" ends up being its biggest problem. Many times, I felt that its forced charisma was exactly that: forced and NOT ORIGINAL.
The attempts to be crazy and irreverent are so obvious that they become annoying and, in some cases, even made me cringe. There's a fine line between charismatic and irritating, and "Boy Kills World" crosses that line too often.
Still, the movie managed to surprise me with a plot twist near the end. Even though it was a bit forced, it brought an unexpected element to the story that I appreciated.
However, there was one element that deeply bothered me throughout the film: the voice inside the mute protagonist's mind that comments on every moment. This was a disastrous choice. The voice sounds like a radio announcer after sniffing a line of cocaine. It never stops chattering and trying to be charismatic, but it fails miserably. The frustration I felt because of this was so great that I wished a mute character would just shut up. I believe the movie would have been much better if the director, Moritz Mohr, had chosen a different voice or taken a more experimental approach, leaving us with minimal sounds, similar to what we saw in "No One Will Save You" (2023). Unfortunately, "Boy Kills World" chose a louder and more forced path, compromising its potential.
Furiosa: A Mad Max Saga (2024)
A prequel with little fury
"Mad Max: Fury Road" is one of my all-time favorite movies, so I was eagerly anticipating the prequel "Furiosa." Unfortunately, the film feels like it took a typical "Fast & Furious" or generic action movie script and applied a visual template to resemble "Fury Road."
From the beginning, the narrative drags frustratingly. The story takes numerous twists in an attempt to develop, but it never reaches the expected level of excitement. I think cutting the runtime by 30 minutes would have been a significant improvement, eliminating redundant scenes and speeding up the pace.
The excessive use of CGI became apparent, especially with the noticeable presence of chroma key in various scenes, which detracted from the real and natural feel that "Fury Road" managed to convey so well.
"Furiosa's" story is generic and lacks charisma. There is a notable deficiency in character development, and ironically, despite the film being centered on Furiosa, I left the theater feeling like I knew more about her personality from "Fury Road" than from her own movie.
In this production, we spend almost an hour following Furiosa's childhood, with Anya Taylor-Joy only appearing later. Despite her talent, she couldn't shine in the role until the third act due to the limitations surrounding the character writing.
Additionally, I noticed glaring inconsistencies in the timeline and character portrayals. In "Fury Road," Max and Furiosa seem to be around the same age, and Max mentions being a cop before the apocalypse. However, in "Furiosa," the apocalypse had already started when she was a child. This doesn't make sense, as it implies Max worked as a cop during his childhood. Another negative aspect is that this prequel spans several years, yet the secondary characters always look the same, as if the lack of water, poor hygiene, and Wasteland dust miraculously prevented aging.
I felt deeply disappointed with "Furiosa." I was expecting a more impactful story that didn't fall into the banality of a generic action film. It reminded me of the case with "300": an excellent movie followed by a mediocre and forgettable prequel/sequel. Despite everything, the film is technically impeccable. The cinematography, soundtrack, character visuals, and Chris Hemsworth's performance are standout points, providing some moments of satisfaction.
However, the technical merits couldn't make up for the narrative and emotional flaws. "Furiosa" ended up being a missed opportunity to expand the "Mad Max" universe in an epic and memorable way.
The Strangers: Chapter 1 (2024)
Tension and Clichés: A Divided Experience with 'The Strangers: Chapter 1
"The Strangers: Chapter 1" was an experience that left me somewhat divided. On one hand, the tension and the way the film manipulates our anxiety deserve some credit. The director, who also directed "A Nightmare on Elm Street 4," my favorite movie of that saga, managed to create an atmosphere that, at several moments, made me feel tense.
The cinematography is one of the highlights, with well-thought-out framing and lighting that accentuates the sense of horror and despair. However, despite these positive aspects, the film falls into some horror genre clichés, which ultimately limit it.
Most of my dissatisfaction lies with the protagonists and their actions. The couple not only lacks chemistry, but their decisions are downright foolish. It's frustrating to watch these characters make completely irrational choices. One example is when they choose to hide inside the house instead of escaping outside. This lack of intelligence in their actions breaks the immersion and makes it hard to empathize with the characters, as it's difficult to root for someone who constantly seems to be courting a tragic fate at the hands of the three masked killers.
Another point I can't overlook is the post-credits scene. To me, it didn't make much sense and seemed completely unnecessary. Instead of adding an intriguing cliffhanger for the upcoming chapters, it only served to show a clumsy, senseless moment without a clear purpose.
Despite its flaws, "The Strangers: Chapter 1" still offers decent entertainment for those looking for a horror film to distract them for 90 minutes. The basic premise is effective, and the technical execution of the film is competent. I sincerely hope that the future parts surprise us and take the narrative to different levels, avoiding the mistakes made in this first chapter.
In summary, "The Strangers: Chapter 1" is a film that has its moments of brilliance but is hindered by clichés and unintelligent characters. However, the quality of the cinematography and the ability to generate anxiety are reasons enough to justify a viewing. I am hopeful that the sequels will add something new and redeem the weaker aspects of this beginning.
Mortal Kombat (1995)
A trip to the cringiest and campiest side of the 90s
"Mortal Kombat" is a true masterpiece of mediocrity, a classic example of something so bad that it ends up being good, taking us back to a time when dubious special effects, poorly choreographed fight scenes, and mediocre acting combined to create something incredibly bad and entertaining.
From the moment the iconic theme music starts playing, it's clear we're about to embark on a unique journey, like a roller coaster through the cringe-worthy side of the 90s. It feels as though the movie was produced with the budget of an episode of "Power Rangers" from the same decade. Just like in the games, the storyline doesn't innovate, but in this case, it manages to be even worse.
The sets look like they came straight out of a second-rate theme park. The special effects are so bad they border on hilarious, and there are moments when it seems the producers simply gave up on trying to make anything remotely believable. And then we have the acting, completed by dialogues so bad they've become iconic.
However, it's precisely this combination of disastrous elements that makes "Mortal Kombat" such a memorable experience. It's a trip to the cringiest and campiest side of the 90s, a period when technology hadn't yet evolved to support the ambitions of various film studios.
So, there's nothing in the movie that I can point to and say "this is really good," but that's exactly why "Mortal Kombat" has established itself as a sort of cult classic. An example of how, sometimes, fun can be found where we least expect it.
Paddington (2014)
It made me want to adopt that bear
"Paddington" had been on my watchlist for years, but it wasn't until recently that I decided to give it a watch, and it turned out to be a really positive experience. From the get-go, I was captivated by this light-hearted production, perfect for unwinding either on your own or with family.
The protagonist, the adorable Paddington bear, won me over right from the start, and I found myself rooting for him to succeed in his mission to find a home in this new, unfamiliar reality. The technical work put into bringing this character to life was impressive; he seemed remarkably realistic, and I felt a strong desire to hug him and welcome him into my own family.
However, I can't overlook some shortcomings. The lack of development for the supporting characters, especially the British family that takes in Paddington, was a downside for me. While some of them provided enjoyable moments, I felt they weren't fully explored, preventing the audience from forming a deeper connection with them. This is typically crucial in similar films, like "Stuart Little" or "Clifford."
Another negative observation, perhaps a bit nitpicky on my part, is how it seems odd that all the residents of London react so calmly to encountering Paddington, a talking bear, as if it's perfectly normal to see such a sight in the middle of the city. While suspension of disbelief is necessary in films like this, the lack of realistic reactions from secondary characters can feel forced and detract from the immersion in the story.
Despite these less-than-positive points, I really enjoyed this production. It was fun, charming, and left me feeling fond of the lovable Paddington bear. I highly recommend it for family viewing, especially to introduce it to younger viewers who will undoubtedly love the adventures of this friendly bear and the valuable lessons he teaches us along his simple journey.
Abigail (2024)
A funny horror movie
"Abigail," the latest film from the Radio Silence duo, quickly drew me into a plot that fulfilled its promised purpose: to be fun and entertain me from start to finish. The premise is intriguing, introducing a group of thieves/kidnappers who unexpectedly encounter a childlike vampire, leading to a series of exhilarating chases and gory moments, spiced with effective jokes and well-written dialogue.
The film starts promisingly, taking time to introduce the main characters and establish the group dynamics. Usually, I don't feel empathy for criminals in movies, but in this case, it's impossible not to like most of them, as they all have backgrounds that support them, are entertaining, and have a moral code, making each death in "Abigail" hard to digest.
We're faced with a dynamic, fun, and captivating work, but it's only after about 40 minutes that the real action and tension begin, starting a cat-and-mouse game that reminded me of another film of the same genre by the same directors, namely "Ready or Not" (though I found "Abigail" slightly inferior).
The frenetic chases and suspenseful moments are the highlights of "Abigail," keeping me engaged, and it's in these scenes that we see how the villain, despite her childlike appearance, can be threatening and even a bit scary. However, as the film progresses to its third act, writing problems start to emerge, affecting the overall experience. Characters undergo abrupt personality changes, making the narrative forced and inconsistent. Additionally, there are small errors that bothered me, like the scene where the characters are trapped in the mansion, and a pair goes to a corridor made of thin wooden panels, where they could easily escape with a simple kick. I just wanted to jump into the film and shout, "DESTROY THE DAMN WOODEN WALL AND GET OUT OF THERE." Another minor issue was the ending, which seemed predictable from the start.
Despite some setbacks, "Abigail" fulfills its purpose of entertaining and eliciting laughter from those seeking distraction for 110 minutes. It's not the best horror film of the year, nor do I believe it has the strength to become a classic or a reference within the genre, but it's still worth watching for its contagious energy and fun moments, which is undoubtedly due to the charisma of the Radio Silence duo, who always know how to capture the audience's attention.
Mad Max: Fury Road (2015)
One of the best action movies ever made
Watching "Mad Max: Fury Road" at the theater was a truly amazing experience. Watching it again at home isn't quite as powerful, but stills being fantastic. From the very beginning to the last scene, I was completely immersed in this wild and intense world created by George Miller. I think this movie is a real masterpiece, and it's not hard to see why.
The cinematography is breathtaking, the best I've seen in an action movie. Every scene is carefully shot and choreographed, resulting in a visual spectacle that's simply stunning. The deserts, cars, costumes, character looks, and color contrasts make this world unforgettable. It's one of those rare movies where every frame could be in an art gallery.
The soundtrack is amazing, taking the action to a whole new level. Every beat drives the story and the intensity of the action scenes, pumping up the excitement to the max. It's a truly unforgettable auditory experience.
And as for the story, I'd call it simple but spectacular. George Miller tells an exciting tale at a fast pace that never lets the audience rest. From the moment the action kicks off to the climax, there's not a dull moment. It's a rollercoaster that keeps us glued to the screen from start to finish.
But it's in the action scenes where the movie really shines. They're all simply epic, the most mind-blowing I've ever seen in cinema. The fight choreography and the car chases are masterful and breathtaking. Every stunt and explosion is done in an unmatched way.
In the end, "Mad Max: Fury Road" is more than just an action movie; it's an example of how to create a true cinematic masterpiece. It's one of those rare films that manages to be both visually stunning and narratively engaging. Alongside "Terminator 2," it's without a doubt one of the best action movies I've ever seen and an experience that no one should miss.
You'll Never Find Me (2023)
Another movie ruined by the ending
I watched "You'll Never Find Me" without knowing anything about the movie. Right from the start, the story led me into its main theme without hesitation, immersing me in uncertainty about the secrets the two strangers were hiding. Intriguing questions filled my mind: were they telling the truth or lying? Where would this all lead? Could the real villain be outside that caravan park?
This film creates a strong sense of suspicion and unease for about 80% of its duration. It's not for everyone, being a slow burn, possibly one of the slowest movies I've seen, set mostly in one location. However, it relies on strong dialogues that enhance the mystery and suspense, keeping us hooked until the end of that stormy night.
Speaking of the storm, "You'll Never Find Me" is immersive and quite atmospheric, perfect for a rainy night. The sounds of rain and wind make it an immersive experience.
Meanwhile, "You'll Never Find Me" reminded me of "Late Night With The Devil," as all the narrative work was destroyed by a poor ending. Well-written and captivating dialogues built my expectation for an intelligent and unexpected plot twist. Unfortunately, the movie opted for a predictable turn, making me question: "Did the movie really go this way or does it have another surprise in store?" Still, I held onto hope that the ending would be satisfying, but it turned out to be empty and bittersweet, perhaps closer to bitter.
It's disappointing to see a slow burn with so much potential go to waste. However, I still recommend giving this film a chance, especially if you're looking for something different from the typical thriller and horror scenes.
Tarot (2024)
Another mediocre PG-13 horror film
"Tarot" promised to be a breath of fresh air in the horror genre, bringing with it an intriguing concept that harkened back to the iconic "Final Destination" saga. However, it quickly proved to be hindered by its own limitations, resulting in an experience that, while entertaining, falls short of expectations.
From the moment I watched the trailer, I was intrigued by the premise of young people trying to escape a fatal destiny, immediately bringing to mind "Final Destination," one of my favorite horror franchises. However, my hopes were dashed when I learned that the film was rated PG-13, indicating that deaths would be censored to allow a younger audience to watch the film in theaters and thus generate greater financial profits. Violence isn't always crucial in a horror film; there are works that don't need it to be good, like "Insidious," "The Ring," or the fantastic "The Others," but in this case, it was necessary to ensure a complete experience. And as predicted, despite the potential in the horror scenes, I felt that it was all wasted.
The same sense of wasted potential also accompanies the film's narrative, which is rushed and superficial, sacrificing character development for a fast-paced rhythm, making it difficult to create an emotional connection with the characters, depriving us of empathy that could enrich our experience. An additional ten or fifteen minutes dedicated to character development would have been beneficial, providing greater psychological and motivational depth.
Despite these shortcomings, "Tarot" has its merits. The film manages to keep us captivated until the end, eager to discover the fate reserved for the characters and whether they will be able to change the course dictated by the tarot cards. Additionally, the visual of the creatures inspired by the tarot figures is one of the highlights, it's just a shame they didn't have a greater presence on screen.
However, it's in the final moments that "Tarot" truly reveals its wasted potential. The revelation of the origin of the cursed deck and the confrontation with the vengeful spirit are intriguing, but the way the characters deal with this situation seems unconvincing and even frustrating. The ending, in particular, feels forced and unsatisfactory, almost reminiscent of a parody rather than a genuinely tense and frightening moment.
In summary, "Tarot" had all the ingredients to stand out as a kind of cousin or even a worthy spiritual successor to "Final Destination" and impress fans of the horror genre. However, by choosing to stay in its comfort zone and not risk beyond established limits, it ended up confined to mediocrity, becoming just another generic horror title, suitable for a relaxed night among friends, but unable to leave a mark on the horror film landscape.
(SPOILERS SPOILERS SPOILERS)
Regarding the ending, we discover that the cursed tarot deck, used by the protagonists to read their destiny, was created many years ago by a psychic. This psychic created it to seek revenge against those who murdered her daughter, and near the end, her spirit appears to torment them. It was at this point that I questioned: "If the deck curses the person they read the cards for, why don't the characters do it with the psychic who cursed them?" I ended up feeling annoyed that it took them so long to do it, making them seem unintelligent.
Additionally, in this spoiler segment, I was surprised by how they revealed that Jacob Batalon's character survived. It seemed a bit forced, exaggerated, and out of place from the rest of the tone of the work. In fact, at that moment, I felt like I was watching a scene from "Scary Movie."
Fallout: The Beginning (2024)
The purest example of how a videogame adaptation should be
I started watching "Fallout" with a mix of skepticism and curiosity. I usually avoid series because I tend to get tired of them quickly, so I went into "Fallout" with low expectations. However, I quickly became fascinated in a way I hadn't experienced with a series in a long time. This production not only respects the key elements of the video games it adapts but also integrates them into the narrative in a genuinely engaging and respectful manner. As a fan of the games, it was a relief and a joy to see the universe I admire so much being adapted so competently.
One of "Fallout's" greatest achievements is its narrative. Full of intense plots and captivating characters, the series grips us from the first episode. The three protagonists, each with their own story and personal motivations, intertwine organically, creating a web of intrigue that keeps us eager to uncover their outcomes. The solid and striking performances by the actors significantly contribute to this immersion, bringing the characters to life in such a natural way.
Visually, "Fallout" is a masterpiece. Although it has a more colorful tone than the games, the settings and characterizations remain faithful to the identity established by the saga. Every detail, from the post-apocalyptic wreckage to the retro-futuristic attire, the dystopian and perilous world, but also the music, presents everything that fans of the games love so much.
In the end, "Fallout" is more than just a video game adaptation; it's a lesson in how to honor and expand an intellectual property. With an engaging narrative, high-level performances, and stunning visual aesthetics, the series proves to be a magnificent experience that satisfies both longtime fans and a new audience. It's the purest example of how videogame adaptations should be.
American Horror Story: The Auteur (2024)
Awful Horror Story
My experience with "American Horror Story: Delicate" started with a dose of excitement. The concept seemed promising, immersing us in a new plot full of mystery and psychological terror. Initially, the whole situation around the protagonist (Emma Roberts) conveyed a genuine sense of panic and mistrust, creating a tense and engaging atmosphere.
However, as the season progressed, that initial promise faded away. The subsequent episodes seemed to follow a predictable formula, repeating incessantly in moments that, instead of building suspense, bored the viewer due to the repetition of the same suspenseful elements. There were about 4 or 5 episodes where we only saw the protagonist dealing with surreal situations and doubting her sanity.
Amidst this sea of repetition, it was Kim Kardashian who surprised me. Her presence in the series was undoubtedly the big trump card (if not the only one), treating us to a solid and striking performance. Kim managed to bring to life a complex and interesting character, keeping our attention whenever she appeared on screen.
However, not even Kim Kardashian was enough to save "AHS: Delicate" from failure, as the character's fate became predictable. As we approached the end, the plot seemed increasingly rushed and absolutely disconnected from the "AHS" universe. Moments that were supposed to be shocking and surprising ended up being ridiculous and predictable, culminating in a finale that seemed more like something out of a parody.
Moreover, it's hard to ignore how the series lost its artistic identity over time. The grandiose cast, unpredictable plot twists, and impressive artistic direction that characterized "American Horror Story" gave way to a sense of low-budget production. Quality gave way to mediocrity.
Monkey Man (2024)
Better than John Wick
"Monkey Man" is a movie that plunges us into an exciting journey of revenge. The plot grabs our attention from beginning to end. One of its main strengths is the non-stop action, filled with adrenaline-pumping fight scenes that kick off around the 30-minute mark and hardly ever let up.
It's impossible not to compare it to "John Wick", and truth be told, I preferred the experience of "Monkey Man". It chose to stand alone as a film, without the ambition or greed of becoming a saga with open-ended movies, which is increasingly rare in today's action cinema. The violence is portrayed in a raw and realistic manner. There are deaths that surprised me, considering it's from a major studio like Universal. It may not be everyone's cup of tea, but it definitely adds to the intensity of the story.
Dev Patel's direction stands out, especially considering this is his debut feature film. He brings an evident artistic vision to each scene. I feel like we're witnessing a budding director with a lot of potential to offer.
However, it's not all sunshine and rainbows. The ending felt a bit abrupt to me, and I didn't appreciate some editing flaws, particularly concerning the flashbacks. At times, these flashbacks disrupt the viewer's immersion. I believe a different approach to contextualizing these scenes could have been more effective and helped maintain narrative cohesion.
In conclusion, "Monkey Man" is an excellent and must-see work for action movie fans seeking an exciting and visceral experience. Despite some minor flaws, the film delivers on its promises and stands out as a worthy piece of cinema.
Jason X (2001)
Funny but really bad
"Jason X" takes the iconic killer Jason Voorhees to space, providing an unexpected twist in the "Friday the 13th" saga. Its creative and absurd approach makes it so campy and bad that it becomes fun to watch, even though at the end of the experience, we may question what we just saw. Additionally, it features creative deaths, like the face frozen in nitrogen and the Crystal Lake camp simulation.
However, the story is predictable, fails to create effective suspense, the characters are underdeveloped, and the dialogues are simplistic and superficial. In summary, despite its potential, "Jason X" is hindered by a weak plot and lack of depth in various aspects, resulting in a mediocre cinematic experience.
Late Night with the Devil (2023)
Amazing until the third act
I loved the originality of "Late Night With the Devil," which feels like a lost episode of a 1970s talk show, blending horror and mockumentary. The authentic atmosphere of the era was captured flawlessly, transporting me back in time. The costumes, sets, and photography also added to the immersive and unique experience.
The performances of David Dastmalchian and Ingrid Torelli were outstanding, with Dastmalchian shining as a convincing TV host and Torelli delivering a chilling portrayal as the possessed girl. Moreover, "Late Night With the Devil" offers a realistic and terrifying portrayal of Satanism, unlike more superficial depictions seen in current cinema like "The First Omen."
However, while I wasn't bored at any point, I acknowledge that it might be a bit slow for fans of more mainstream horror. Unfortunately, the third act didn't live up to expectations, with an anticlimactic and overly expositional climax that detracted from the tension built up earlier. Additionally, the use of CGI, especially in the final scenes, was disappointing, giving the film a campy feel and undermining the previously established immersion.
Not Another Teen Movie (2001)
Reminds me my pre-teen years
"Not Another Teen Movie" is one of those films that takes me straight back to my pre-teen years. I remember sneaking to watch it away from my family because of the sexual jokes and graphic nudity, which made me feel like I was doing something forbidden back then. However, revisiting this movie, I ended up rediscovering a certain nostalgic pleasure.
The film stands out for its ability to satirize and parody the clichés of teen movies, which were so popular in the 80s and 90s. It's fun trying to catch the references to popular works in each scene.
Although they're not their best roles, I found the cast charismatic, delivering exaggerated yet enjoyable performances. Chris Evans, in particular, surprised me in a comedic role.
The soundtrack helped define the humor and atmosphere of each scene, making the experience more engaging. Often, it also helped us identify less obvious references to movies being satirized.
The humor of the film is irreverent and doesn't always hit the mark, but I had fun with its audacity and its critiques of the clichés and mistakes of the film industry itself. However, there are jokes that haven't aged well and seemed out of place, even for the time when the movie was released.
However, like many movies in this subgenre, "Not Another Teen Movie" lacks emotional depth and character development. I believe cutting out some nonsensical moments and using that time to deepen the main characters would have been beneficial and could have immortalized the film within the comedy genre of the 2000s.