Reviews

En esta película predomina el color amarillo amarronado, tipo arena, o probablemente tipo café con leche...y esto, por alguna razón, me trajo reminiscencias de otras dos películas: Babylon (2022) y Bugsy (1991).
La historia de amor no me cautivó ni un %10.

The character of Superman is one of the most iconic and known superheroes, spanning generations. James Gunn, now co-CEO of DC Studios, has written and directed a new SUPERMAN movie. This is the first of a new DC Universe, which has many people apprehensive and worried. Do we really need another superhero universe? I understand that most people these days are burnt out on this particular genre. It really hasn’t been the same since AVENGERS: ENDGAME. I am a huge fan of Gunn and what he has done for Marvel, so I was super excited to see what he could do for DC. SUPERMAN is a movie that takes place three years after Superman became known to the world. This world that Gunn has created feels like a comic book come to life. It’s a much brighter, more colorful and lighthearted world than we are used to, which might throw some people off. It also has an entirely new cast of many, many characters, which also might throw some people off. I appreciate how the movie gives you all the information about this world in the very first minute, through text on the screen. Most people have already seen a version of the origin story, so it wasn’t necessary here. I’ll just cut to the chase. This is one of my favourite superhero movies, period. It’s unconventional in ways that really worked for me. Clark Kent AKA Superman (David Corenswet) and Lois Lane (Rachel Brosnahan) have been together long enough for her to know who he really is. He gets swept up in a political controversy, with him believing he did the right thing. This theme is great because it makes you think about how simply he thinks, bordering on naïve. Tech billionaire Lex Luthor (Nicolas Hoult) has a grand plan involving his utter hatred for Superman and everything he stands for. I could say Superman stands for “Truth, justice, and the American way”, but these days it’s just easier to say “hope”. Hope for a better world. The movie has surprising modern-day parallels, especially when you think about how Superman came from another planet. I see some people complaining about this movie having too many characters, being overstuffed, and undercutting some emotional moments with humour. They have a right to feel that way, but I disagree. Every character, no matter how small, fits in like a puzzle piece. Yes, the movie has a lot going on, but it’s never boring and the over 2 hours absolutely flies by. Yes, James Gunn tends to add humour where it might not fit, but that’s just his style, and it worked for me. I laughed so much. Oh, and Superman has a superdog named Krypto, who is actually a very bad boy, but he’s too cute so we can forgive him. It was hilarious how he actually acted like a dog, giving us some funny scenes. Every actor is fantastic in this. Including the three I’ve mentioned, the standouts were Nathan Fillion, Edi Gathegi, Anthony Carrigan, Skyler Gisondo, and Pruitt Taylor Vince. Much like Superman’s abs, this movie is perfectly toned. It’s heartfelt, funny, corny, and action-packed. The score blends in the John Williams classic, which gave me goosebumps every time I heard it. DC fans will enjoy the cameos. Everything worked for me in this movie, which is something I know not everybody will say. In some ways, SUPERMAN is an immigrant story, with him being an actual alien. This is probably why certain people are throwing the word “woke” around. In the paraphrased words of James Gunn himself, “Superman is an immigrant. This is a story that says basic human kindness is a value and is something we have lost.” I think more people should be as “woke” as Superman. This is a movie for today, about a hero who symbolizes hope for tomorrow. SUPERMAN gives me hope for the future of DC, and a bit of healthy competition for Marvel can’t hurt.

"Arlington Road" is a bold deconstruction of individual heroism. It challenges conventional notions of truth and justice, weaving a tale of trust, ambition, and sacrifice. Every detail in the film serves its central message, encouraging viewers to question their own beliefs and perceptions. It’s not just a film worth watching—it’s one worth contemplating.

Sure, the teen with supernatural abilities adds some novelty, but the storytelling is still pretty terrible. They dialed up the sex scenes, but Jason’s killing methods remain unchanged—just grabbing whatever tool is at hand and offing people with zero real suspense or punch. By this point, even die-hard fans are feeling the fatigue.

This series has always lagged behind its slasher peers, so it needed a fresh twist to keep us invested. The introduction of a heroine with supernatural abilities is a definite highlight.

Hollywood has long loved remaking European horror movies—and The Vanishing is right in that tradition. The remake allows the devil to die, but in contrast, the despair in the original truly qualifies as horror.

I prefer the original—its air of mystery has lingered in my mind for years, like the smiling face on a missing-person poster. The Hollywood remake, despite its big-name cast, feels noticeably lighter and even goes for an ‘eye for an eye’ reunion ending that’s oddly satisfying—almost like a second chance at a happy ending for a story so steeped in hopeless terror.

It’s a low budget feature, but the pacing is tight and the cinematography impressive. The story may feel a bit familiar, but on the whole, it’s well worth watching.

To me, a well-crafted low-budget film is far more engaging than the so-called "blockbusters". The story here is refreshingly simple: one villa, three main characters, and a standoff with guns from upstairs and downstairs that lasted a few days. Hollywood truly knows how to spin a tale.

In many films, men often feel the urge to enter their crushes' lives because their own hearts are already occupied by these ladies. Women, on the other hand, hesitate to enter into relationships. This mismatch in the pace of their commitment leads to misunderstandings. However, the male lead’s simplicity and kindness ultimately win the love he hopes for.

Loving Shadows in Paradise is all about embracing Aki Kaurismäki’s trademark “soap opera” style—same cast, dialogue, and tone every time—yet it never grows tiresome.

Through Louis Malle’s lens, the "American Dream" shines like a beacon for those striving in that era. Leading a purposeful, hardworking life is, in itself, truly beautiful.

In this film, Louis Malle delves into the issue of new immigrants in America, both directing and narrating it himself. It offers a Cold War perspective, spans Asia and Latin America, and provides a nuanced exploration of cultural conflict. Unlike Michael Moore, Malle’s goal isn’t to criticize; his approach is more measured. However, by adopting an outsider’s perspective, he frames the "American Dream" as something more ideological.

Not having read the manga of the same name doesn’t detract from the movie experience at all. The family setting evokes childhood memories—doing homework while adults chatter in the next room. The entire film has a slow pace, which is quite enjoyable. And the director avoids overwhelming viewers with too much information, allowing for deeper empathy and a comfortably attentive experience.

This film speaks for itself, following a traditional narrative structure—from buildup to conflict—all tinged with quiet melancholy, capturing the fading beauty of time. Hou Hsiao-hsien’s signature style shines through: ample negative space and static shots allow the characters to tell their own stories. Every frame is meticulously composed, with impeccable lighting and sound design.

Actually, it outshines the original: stronger villains, a juicier Superman romance, and fight scenes that are more intense than the rescue-heavy climax of the first. But remember, it’s a thirty-year-old film, so you can feel the rough edges.

With General Zod and Lex Luthor both on screen, it had the makings of an epic showdown. Instead, a change in director shifted the sequel from the first film’s lighthearted superhero epic into a darker tale of Superman’s downfall.

Shohei Imamura dissects the repressed, twisted Japanese psyche with brutal precision—shocking, disturbing, and profoundly ugly. The chilling absurdity of actions like urinating and then washing hands after a murder leaves an indelible mark.

Why doesn’t the protagonist dare to take revenge on his father? Just as his father wouldn’t dare strike back at the Emperor, or the innkeeper’s wife at her husband. It’s an era defined by patriarchy, hierarchy, and social obligation—a mirror of the distorted Japanese psyche.

Compared to the first film, A Better Tomorrow II does fall short in character development and has a somewhat contrived plot. However, the unwavering determination in the face of cruel fate still provides a touching interpretation of what it means to be a "hero." Visually, it even surpasses its predecessor, allowing John Woo’s “gun-fu” aesthetic to truly shine.