Reviews

Great show. Probably the best I've watched in a while.

It’s a good documentary. Beyond the crime itself, it exposes deeper truths about humanity. A secondary investigation uncovering new crimes—including those committed by the original investigators—adds gripping complexity. But it's the raw grief and fierce love of the victims' families that lingers long after the credits roll.

Eva Green is the film’s saving grace. Her portrayal of Jake is a masterclass in emotional layering—resilient yet vulnerable, composed yet torn inside. As she grapples with both the horrors of war and her quest for redemption, Green grounds the film with palpable intensity.

Shot in Sofia, Bulgaria but depicting Denver’s tattoo culture, the geographical mismatch undermines the story’s authenticity. The tattoo parlors and bars look overly polished, lacking the 'lived-in' realism. The erratic camera work and rapid cuts provide adrenaline-pumping visuals but fracture the narrative flow. Worse still, the score feels emotionally disconnected, doing little to enhance the film’s tone.

The film feels aimless, with scattered storytelling and emotionally flat delivery. The voiceovers contribute nothing and could easily have been cut. During the Q&A, Naomi Watts barely spoke while the director kept repeating “it’s a New York story,” which was more tedious than insightful. The representation of Asian characters also felt oddly off, bordering on tokenism.

Looking back, the film feels empty—no depth, no coherent logic, and no distinct identity. The action is reduced to shaky-cam chaos, substituting camera movement for intensity. It skims over major themes like authoritarianism, social inequality, and rebellion, never delving deep enough to be meaningful. There's so much setup, yet the climax—the part that should hit hardest—is glossed over without impact.

Learning that the film was inspired by real events only at the end added a layer of unease, especially for a skeptic like me. Could demons really exist? The idea lingers uncomfortably. The film is ultimately disappointing. Several shots teased in the trailer never appear, the visuals are oppressively dark, and the pacing is sluggish. Too many narrative threads are left unresolved, leaving the story feeling muddled and incomplete.

As a horror film, the plot is riddled with logic gaps. But as a psychological study, it’s fascinating. Visualizing depression in a literal, even visible form—especially one that can be seen by children—is a rare and bold approach. Truthfully, the best part wasn’t just in the trailer; it was the poster itself. Nothing else in the movie quite lived up to it.

A biting anti-war satire from Godard that feels miles rougher than his "Contempt," though made the same year. It deconstructs myths in a much cruder, more literal way—filled with overt symbols, real footage, and silent film-style intertitles. The message is clear, but the execution is purposefully blunt.

Watching this film, I felt both sympathy and admiration for Suzanne. She knows exactly what she wants and what it takes to go after it. I respect her boldness. Meanwhile, Bertrand remains clueless—even at the end, he thinks Suzanne’s actions were about revenge, which is frankly laughable.

What stands out most is the literary quality of the dialogue. It’s rare to see a male character portrayed with such a blend of melancholia and inner fragility. I deeply admire the protagonist—his clarity and finality gave me a strange sense of empathy. Some of his lines will stay with me for a long time.

The 1963 debut of the "Pink Panther" series offers a lively blend of intrigue and humor, with vivid characterizations and a plot full of energy. Peter Sellers fully leans into his comedic brilliance here, bringing to life the unforgettable Inspector Clouseau in a performance that defined a genre.

I truly believe that the Marvel Cinematic Universe is back, at least for the next couple years. The latest is THUNDERBOLTS*, a movie about a rag-tag group of misfits who all have their own personal traumas. After being set-up, they decide to reluctantly band together to stop an overwhelming threat. If you’re thinking this sounds a lot like Marvel’s answer for DC’s SUICIDE SQUAD, you’re not alone. It's similar, but it eventually delves deeper than what we’re used to, especially for a superhero movie. Despite this team being comprised of people from different past Marvel projects, it does a good job filling you in enough to not be lost. If you do want to do the homework, I’d recommend seeing BLACK WIDOW, THE FALCON AND THE WINTER SOLDIER, and ANTMAN AND THE WASP. The team itself has Yelena (Florence Pugh), Red Guardian (David Harbour), Bucky Barnes/Winter Soldier (Sebastian Stan), John Walker/U.S Agent (Wyatt Russel), Ava Starr/Ghost (Hannah John-Kamen), Antonia Dreykov/Taskmaster (Olga Kurylenko), and Bob (Lewis Pullman). Despite a couple characters being short-changed, the rest are fully fleshed out and have a great dynamic together. Harbour and Pugh are the highlight of the movie. Their father-daughter bond and performances are amazing. Bob is a great character, and Pullman pulls off a great performance as well. Julia Louis-Dreyfus has a fun time stretching her VEEP muscles here as Valentina Allegra de Fontaine, the director of the CIA embroiled in an impeachment trial. The humour meshes so well with the overall darker tone and themes of the movie. Themes of light and dark are folded into the cinematography. Explores mental health, which is something I didn’t see coming from a Marvel movie. While the first half feels familiar, the second feels unique for Marvel. The writing blends humour with emotional moments really well. There’s a moment where I literally gasped. The movie has a smaller scale, more focused on the characters guiding the story and not some world-ending CGI-fest, which might throw people off. It has a strong focus on mental health, trauma, guilt, and regret. It’s refreshingly introspective. It has more going for it than just punching and shooting. THUNDERBOLTS* has a simple story wrapped in a complex character study of grief and trauma. A compelling, emotionally grounded group therapy session. This is a team that deserves to be on the Wheaties box, with the kiddie toy. You should know by now, to stay through the entire credits! After many years, it finally feels like Marvel is leading us towards something worth getting excited about. Remember, there is strength in vulnerability.

Rodrigo Manzanares
Hans Landa, El ideal de un villano.

Quentin Tarantino es reconocido por lograr personajes memorables, entre sus aún más memorables films, pero pocos se destacan tanto en todos los niveles como Hans Landa de Inglorious Basterds. La interpretación que le dio Christoph Waltz fue impecable y supo darle el nivel justo de carisma y psicopatía a su personaje, fue la gran revelación de la mano de Tarantino para el cine y no cabe duda que es su mejor villano. En cuanto al personaje en sí, nos revela la cara mas implacable y sofisticada del

Kill Bill, la venganza: Volumen I
Villanos encantadores
De culto
Bélica
6678 visualizaciones
21
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Timothée Chalamet’s performance has earned well-deserved acclaim. His singing and intimate portrayal reveal a Dylan caught between creativity and confusion, idealism and disillusionment. "A Complete Unknown" is an artistic, introspective biopic that doesn’t just recount a life—it meditates on the complexity of genius, identity, and self-invention.

I hoped the 2025 remake would bring something fresh, but aside from tweaking Snow White’s origin and turning the prince into a revolutionary, everything else feels dated. It’s unclear what writers like Greta Gerwig brought to the table—why still cling to the evil queen’s obsession with beauty? A lust for power would have made far more sense. The songs are passable, but the story is lifeless. None of the stakes ever feel real.

If you're into horror-comedy films, this one delivers. The terrifying demons and jump scares are offset by absurd humor, offering a wild mix of thrills and laughs. Fans of B-movie charm will appreciate the over-the-top performances and creative gore. But those looking for nuanced storytelling or layered characters might come away disappointed—it's more fun than substance.

The opening sequence is by far the film’s strongest—full of dread and well-executed suspense. But everything after that disappoints. The lead knows a child is in danger yet chooses to live separately? The idea of Bagman and his zipper motif is creatively promising, but the execution falls short. The film is formulaic, the dialogue clunky, and the supporting performances awkward. It plays by the horror rulebook but forgets to inject life into it.

The story follows a feral child raised by animals as he navigates jungle life, eventually facing down a tiger and returning to his village. The animal designs are memorable, and the backgrounds are beautiful like paintings. Still, the film can feel narratively loose and emotionally vague—its characters’ emotional arcs underdeveloped.

Much of the film is shot in tight close-ups, with actors delivering over-the-top lines through exaggerated facial expressions. It screams kids' movie, and on an IMAX screen, it borders on unbearable. There’s an overabundance of juvenile humor—burning your mouth on chicken becomes a running gag. While not totally cringeworthy, the comedy is clearly aimed at winning over the youngest viewers, often at the expense of storytelling or style.