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I have been a fan and collector of MM since 1993 and I am somewhat involved in the fandom of the most beautiful in the world, I follow several fan accounts, including the official account and one of a very thick and average collector who was all calling for a boycott , it is not a big deal if it is defined on what we are going to base ourselves to make the criticism.

Namely, if we look at it as a cinematographic event, that is, we see beyond whether or not we like how it was represented, we pay attention to technical aspects, we enjoy seeing recreations copied from photos and moments, we do not lose sight of the fact that it is not only a recreation (more or less free) of a book, but that book is a fiction and not a biography and finally we know that it is a recreation of a fiction and not a biopic... so it is a good movie that we enjoy sitting in the armchair at home (although I personally would have gone to see it in the cinema without hesitation).

Now if we are going to see it with the intention of finding a linear movie, with a beginning, middle and end that shows us the life of MM as if it were a biopic, without a doubt we are going to face the wall because it is far from that. To make matters worse, it is closer to being an experimental film than a commercial film and there I give the right to director Andrew Dominik (CHOPPER, KILLING THEM SOFTLY, 2 episodes of the 2nd of MINDHUNTER), who said that it was a film like an "avalanche of images and events.

Basically the film is like when you dream, everything mixed and confused, with dreamlike and impossible images, we don't dream a plot with feet and head, or are they going to say yes? Good that's how they decided to do it, who are we to say it's wrong? No one.

There are very good moments cinematographically speaking, the recreations are down to earth, superlative photography and by far the best of the film is Ana de Armas, who in my opinion does an excellent job, consecrating and at least deserving of an Oscar nomination, more so when Michelle Williams was nominated for the same character in MY WEEK WITH MARILYN, also very successful, but the Cuban is better.

Those who criticized her even for her accent already in the trailer that they rub her, she is not only beautiful (in my opinion) but also characterized as the only and best, doubly beautiful. She does a job with feeling and sensitivity, all the others rotate like a set around her, as if they were the solar system around the sun. She is everything in this film, a hypnotic performance (like the incidental music by Nick Cave and Warren Ellis) any way you look at it.

HBO documentary about the famous case of the two 12-year-old girls who tried to murder a friend, as a tribute to the character from the Creepypastas in 2009.

On May 31, 2014, in Waukesha, Wisconsin, USA, Anissa Weier and Morgan Geyser lured their friend Payton Leutner into a forest and stabbed her 19 times in an attempt to take over the fictional character Slender Man. Leutner survived and recovered. After six days hospitalized. Weier and Geyser were found not guilty for mental illness, being interned in mental health institutions with sentences of 25 and 40 years, respectively.

The documentary emphasizes the testimonies of the parents of the victimizers, but the most interesting are the images of the interrogations hours after the attack and in them you can see how convinced they were of the existence of the terrifying being and that what they did was something necessary.

The bad thing about the document is that it is from 2016 and it was released in 2017, so there is only the hearing in which a judge decided that they should be tried as adults and not as minors (remember that they were 12 years old at the time of the event ), so there is no trial that sentenced Weier to 25 years (she was paroled on September 21) the ideologue of the fact and Geyser to 40 years, after diagnosing her as schizophrenic, since she was the one who stabbed her friend.

A high school girls soccer team is flying to Nationals but crashes in the middle of a wooded area. 25 years later, the survivors return to remember the dark secrets that they thought were well kept.

The adult cast is monopolized by the 90s universe: Melanie Lynskey (HEAVENLY CREATURES, TWO AND HALF MEN), Christina Ricci (ADDAMS FAMILY, CASPER, SLEEPY HOLLOW) and Juliette Lewis (CAPE FEAR, NATURAL BORN KILLERS) who are joined by Tawny Cypress (HEROES, THE BLACKLIST), they play the survivors who 25 years after coming back to relive their secrets, because nobody has a clean ass here.

What is clear is that something happened there, somehow they survived more than a year and a half in the middle of impregnable forests and with little it is assumed that they sent the great VIVEN but in a slightly more sectarian way.

The series alternates two temporalities: 1996, the year of the accident and with the characters in their adolescence in high school, and 2021, when the anniversary of the tragedy is celebrated and mysterious postcards that reach everyone and an alleged suicide bring them the dark memories that they believed buried by a pact of silence and the years.

The young cast includes Ella Purnell (ARMY OF THE DEAD, Miss Peregrine's Home for Peculiar Children), Sophie Nélisse (THE BOOK THIEF), Sophie Thatcher (THE BOOK OF BOBA FETT, PROSPECT), Jasmin Savoy Brown (SCREAM 2022, THE LEFTOVERS) and Liv Hewson (SANTA CLARITA DIET) among the best known.

The combination of survival + mystery + horror + sense of humor + good characters, with ingredients with some LOST, some LORD OF THE FLIES, some ALIVE! And the student-oriented adolescent narrative, but with a touch of gore, led Stephen King to award it as the best series of the year.

Far but sooo far the best is Ricci playing Misty, that raving madwoman but who ends up causing tenderness, followed by Lynskey who fits right into Shauna's skin, the chubby girl who never raises her voice and is impassive even when she has to dismember a corpse, finally Lewis who, emaciated and wrinkled as he is, suits Natalie, a recovering drug addict who drives a Porsche with a shotgun in the trunk.

Luckily they have already renewed for the 2nd season because they do not expect answers to all the questions raised in these first 10 episodes.

If you could have any doubts about this new Batman, mainly because of the anticipated criticism for not trusting Robert Pattinson, who did not give the physique du role, that the caped suit was going to be too big for him, etc, etc, just watch the film to get all the comments in the ass.

Dark as hell, more than Nolan's trilogy and more than Tim Burton's haloweesque style; raw, rude, punk, almost all the scenes take place at night, with continuous rain, oppressive, gray, a state of constant depression to graph the decadent state of a Gotham that we already know consumed by crime and corruption.

The new Batman, despite being directly dressed in armor, in contrast to the hood that seems to be sewn to Frankenstein (it is noticeable only in the photos), shows the most detective side of him, although he always seems to be running from behind. Another point in favor is that as Bruce Wayne appears only a few minutes, all the rest of the long 3 hours is the Bat Man. Here he is allied with the very sexy Selina Kyle (Zoe Kravitz) who is never named as Catwoman, but is replaced by a balaclava with little ears, a whip and many cats in her house, she works for the bad guys but has reasons for revenge. Rounding out the cast are good guys Jeffrey Wright as Gordon and Andy Serkis as Alfred.

The bad guys are The Riddler (Paul Dano), an avenging serial killer who makes SAW-style gadgets and leaves Zodiac-style coded messages in his eagerness to clean the city of corrupt people, and the Penguin/Oz (a very characterful Colin Farrell) who plays it. Carmine Falcone's right-hand man, exquisitely played by John Turturro, the eternal mob boss of Gotham City.

Matt Reeves (CLOVERFIELD and two of the PLANET OF THE APES) manages with a master's hand the tension, the darkness and the outbursts of violence, in a long film, which could easily have been a little shorter, with a setting reminiscent of the two by Burton from the early 90s crossed with SEVEN, a batmobile out of a FAST AND FURIOUS from hell (the car chase is one of the high points) and a score as ominous as a horror movie, so much so that the reversal of Something in the way of Nirvana as a leitmotif seems to be sung by Cobain from beyond.

It's so good that they have time to put a Dory that reminds her of Aunt Harriet, a bust of Shakeapeare (see photo in comments) both referencing the '66 series and even put the little joke of "walking penguin" within so much ominousness .

After so many problems, the stoppage due to covid and the falls turned into memes, an adventure to see in a highly recommended movie.

Terrible miniseries, adapted by Aitor Gabilondo from the book, which they say is very good, "Patria" by Fernando Aramburu.

Two friendly families who later find themselves confronted by ETA terrorism, one because they kill the father of the family, a small businessman who refuses to pay the "revolutionary tax", the other because the eldest son is part of the command that murdered him. .

In a coming and going of 2011 that is the present, with two broken families each in their own way and coping with their dramas and complexes, at the beginning of the 90s with the maelstrom of blood and terror in which the organization had embarked, with many Basques supporting the cause for an independent Euskadi ..

The performances are impeccable (also the makeup work), Bittori (Elena Irureta) the widow dying of cancer, exiled from her own town for being the wife of an "exploitative oligarch" Txato the executed, her son Xabier who could never remake his Life or smile and Nerea, the daughter with bad choices of a partner who can't wait to move and leave everything behind. On the other hand, the Garmendias, Miren (excellent Ane Gabarain) the mother who is invested in the Basque cause, who defends her son above all else; Joxian the somewhat cowardly husband, Joxe Mari the imprisoned ETA member who participated in the attack and it is not known until the last if he was the one who fired, Arantxa married to an anti-ETA and who to top it off suffers a stroke and remains bedridden in wheelchairs and Gorka the gay younger brother.

In 8 episodes it is enough to show those two sides of the same coin, the same Basque society divided between those who wanted independence at all costs, even if it were killing left and right, and those who did not agree, at least in the methods. The other side is also shown, that of the torture of the security forces who were also no saints, even after being imprisoned with that policy of deliberately sending them to prisons far from their villages.

Hard, with an accompanying photograph that never changes the shade of gray, added to a constant rain that apparently is a registered trademark of the area, all filmed in the town of Elgoibar, Guipúzcoa in the heart of the Basque Country. A production that shows hopes, fears, bitterness and the pain of the weight of decisions, an obligatory appointment with history ... another full of HBO.

Already in the trailer she looked sinister and did not disappoint. Full of terror, on the one hand the story of a haunted house or rather ghosts, since that concept is used of saying that ghosts do not inhabit the house but that they inhabit us, on the other the drama of the refugees, which is also horror. A Sudanese couple escapes from the war in their country and lose their daughter in the process of fleeing to England, after a time "detained" they are transferred to a dilapidated but spacious house where they can rebuild their lives. It will not take long to realize that they are haunted by terrifying presences, a masked child brandishing a knife and a witch (according to the cast but in the translation he is named as a witch) who asks for a blood sacrifice to bring back to the life to the minor. Terribly gloomy, it appeals to the atmospheric heaviness and the social and family drama that adds to the share of terror, plus successful moments that make the hairs on the back of the neck stand up (be it the cliché of the genre or what refers to the tragedy of the refugees). Compact, original and as ominous as it is simple, they have in the performances of the Nigerian Wunmi Mosaku (Fantastic Beasts, Batmans vs Superman, Luther) and the British Sope Dirisu (The Hunter and the Ice Queen, Humans) one of the high points of the film. Also appears Matt Smith (Dr Who, Charlie says) and when not playing amorphous bicharraco the Spanish Javier Botet (It, Mara, Polaroid, Slender Man, Insidius 4, The mummy, Alien Covenant). An intelligent terror very close to Get Out (2017), not far from the conventions of the genre but without the rubbish of a serial killer reaching teenagers.

Detail: both protagonists participated in Black Mirror in 2016 but in different episodes.

Very very good, with the Disney formula of + family + tragedy + adventure + fantasy + musical + emotion the one that Pixar also knows how to use and that gave it an unequaled quality leap. Of course, the thing closes when one finds out that it is directed by Glen Keane, one of the rude ones who dipped into the best classics of the mouse company in the 2nd golden age of the company, such as The Little Mermaid, Beauty and the Beast , Aladdin, Pocahontas, Tarzan, and then go to work at Google. In 2017, he created the short "Dear basketball" alongside the late Kobe Bryant, which won an Oscar the following year. Driven by her determination and passion for science, little Fei Fei builds a rocket to travel to the moon and prove the existence of the legendary Moon Goddess Chang'e (a very popular myth in China) by discovering a world of wonderful creatures . A lunar "world" in the line of beyond @coco or The Book of Life (2014), colorful, fun, pyrotechnic and meaningful. With a goddess like a popstar but not as nice as he imagined her, a younger stepbrother ready for the steps of comedies, ultra adorable little animals, millenary issues, beings as amorphous as they are colorful, a display of unbridled adventure but with a message of improvement and acceptance. The plot becomes more important and emotional when knowing that the screenwriter Audrey Wells (The truth about cats and dogs, George de la selva, We dance?) Wrote it already knowing that she was going to die (of cancer in 2018), thinking of it as a species of legacy for his daughter, a hopeful message so that she would feel that she was there, that she would not close her heart and that she would have the freedom and decision to continue. The musical parts have two high points, the presentation of Chang'e and hip hop playing ping pong, then the classic descriptive or emotional songs with too many highs. Visually as beautifully appealing as it is personally designed. Known voices include John Cho (@Star Trek) as the father, Sandra Oh (@KIlling Eve) as the new mom, and Phillipa Soo (@Hamilton) as the singing goddess. If he won the Oscar it would be more than fine.

The combination of simple comedy and ultra violent and bloody deaths works again, less original for sure, but it works. Two years after surviving the satanic-bloody cult (three since the previous production), Cole (an older Judah Lewis) while being treated like a madman by the events that happened but that he cannot prove, faces the deadly cult again, with new and surprising members and the return of the original four, the sexy Bella Thorne and "naked torso for no reason" Robbie Amell from Upload (and Arrow's brother) among them. What is missed is Samara Weaving, who appears but little, the little friend (also older) Emily Alyn Lind from Doctor Sleep plays her replacement and Jenna Ortega (from the 2nd of YOU Netflix) joins, as a companion of misadventures . Returns to direct McG and manages to entertain with funny and humorous moments typical of pastist comedy, a class b horror movie tone and tons of blood (even in impossible moments like a hemoglobin splash from under the water!) of the gore cinema.

Interesting Korean production released in June but launched yesterday internationally via Netflix. With a zombie theme, you could easily coexist in the same universe as Train to Busan, a zombie infection that develops at high speed, inexplicable and terribly deadly. A young man is isolated in his apartment, without his family and without a digital connection that isolates him even more and on the verge of committing suicide, he will be able to establish "friendship" with a neighbor and together try to stay #alive. With exactly the perfect time of almost 1.40hs and very well filmed, the doses of tension in isolation and action with bloody and extremely violent zombies are impeccably balanced. You really end up feeling trapped in a catastrophic and very real situation, similar to 28 Days Later and something that you don't quite feel on The Walking Dead.

Excellent wherever you look at it, produced by Sony and Will Smith's production company (who produced the remake with his children) for YouTube Premium and now in the Netflix catalog, it is a more than welcome sequel to the well-known eighties martial arts saga But it does not stop with that alone, it is not just a sequel to squeeze an old success of yesteryear, it is not just a way to look for something "new" in something that already worked at the time in a fairly short current of ideas, no no and no, it is much more. From the title we already guess where the hand is going to come and therein lies the best of the proposal, the thing centers on Johnny Lawrence (William "80s Bad Guy" Zabka) and his failure in life (in his belief) after having received the famous kick from The Crane. On the contrary Daniel Larusso (Ralph Macchio) is all successful, owner of a chain of dealerships, typical family with beautiful wife, adored daughter and son caught by the screens and ABC1 status. In his eagerness to vindicate himself, the blond refounds the dreaded dojo, which in the movies was played as bad, but here is the center for the outcasts to find their place, mainly the Latino neighbor (Xolo Mariduena) and other school compas like Jacob Bertrand (Disney's former KIRBY Buckets) who, bullied by a bad lip, reformulates himself as Hawk with so much confidence in himself that he becomes an abuser or the chubby Aisha (Nichole Brown), who finds friends in the dojo that she can't find at school . The series is pure reference, not only to the original films but to all the 80s, from a walkman, printed T-shirts or even a playlist without waste. It is a tribute, a constant celebration spread over 20 episodes that are too short for how good they are. While updating a classic from our childhood, the series gives more substance, more depth to the classic flat characters of a youth film from the mid-eighties, which pointed more to the emotion from the actions than to the depth of the characters. Both now somehow stuck in the 80s, seeing them in their adulthood, with the passage of time and their mistakes, one as a loser, a failure and alcoholic who did not prosper and who tries to resurface but without making the mistakes of the past, the other as a winner but who cannot escape the resentment towards that figure that caused so much pain. On one side and the other, the series focuses on showing the changes they have to provoke in order to improve as people, beyond the quarrels of the past. To them is added a group of young people that gives continuity to the story, Miguel the good Latino who is harassed and wants to defend himself and sees in his sensei the father who does not have, Eli-Hawk who goes from harassed to non-stop stalker, Robby (Tanner Buchanan) Johnny's son who has to deal with an absent father since he was born and an addicted and light-hoofed mother who does not give him ball and finds in Dan a surrogate father, Samantha (Mary Matilyn Mouser) the daughter Larusso who falls in love with Miguel, but they fight and hooks up with Robby or Demetri (Gianni Decenzo), a neurotic adolescent Woody Allen. In both seasons it closes with an episode full of action and comebacks, in the 1st it takes place in the old karate tournament (which turns 50 years old) to which Cobra Kai can return after more than 30 years prohibited and they achieve what could not be in 1984, plus the return of Martin Kove's ineffable John Kreese; in the 2nd with a spectacular fight in the middle of the school, between the groups of adolescents confronted by the conceptual differences of their respective dojos, massively and excellently choreographed and filmed, plus the "possibility" of the return of Elisabeth Shue's Ali for the 3rd , already under the umbrella of the Big Red N for 2021. There are even cameos by former Cobra Kai companions (including Tommy who is dying of cancer and whose actor Rob Garrison died months after a liver failure), there is a tribute to Noriyuki Pat Morita who died in 2005 (although on his tombstone character says 2011), in short, there is pure nostalgia but with foundations. Unmissable, fun, emotional, entertaining, meets everywhere and more. Without doubting the best of recent years.

Five American soldiers - Brenton Thwaites from DC's Titans, Theo Rossi from Sons of Anarchy, Skylar Astin from Pitch Perfect, Kyle Gallner from The Haunting in Connecticut, and Alan Ritchson Raphael from both Ninja Turtles - are assigned to guard a French mansion near the end of World War II, formerly occupied by the Nazi high command, where they had massacred the family that lived there. The situation quickly descends into madness when they encounter a supernatural enemy seeking revenge, far more terrifying than anything seen on the battlefield. It is known that if there are themes that always fit well, they are ghosts and WW2, so combined they could work well, half in the Overlord Movie line and without the satire of Dead snow and his zombie nazis. If we add to that the script and direction of The Butterfly Effect, Eric Bress (who also scripted two of the Final Destination (Movie)), an ominous staging, a couple of jumps with screaming ghosts all at once, results in something more or less worthy, which in just over an hour and a half entertains. Ultimately the thing starts half Saving Private Ryan and ends House on Haunted Hill. Now the end is something else, I do not advance so that it does not lose effect if they wanted to see it, it did not bother me in itself, what if it does not convince me is that it is half as if there is no resolution, it seems an episode of series that we have to wait until next week to see how it ends. But well, taking that out is not bad. At the end appears the come down Billy Zane who also goes as producer. Cast peculiarities, Thwaites and Ritchson work together on DC's Titans, one as Robin-Nightwing and the other as Hawk.

After having given it a worthy end in 2019, this spin-off of the Spanish series created by Alex Pina pre La Casa de Papel arrives, to see what happened to the life of Maca and Zulema post Cruz del Norte. The former rivals now coequipers in crime decide to give a final blow, just against a Mexican drug lord (Diego Ostrosky of La Casa de las Flores), who can think of ??? To do so, they bring together Goya (the unpleasant fat woman who also comes from the series), La Flaca, a convicted ex-military man, Triana, a punk teenager, Goya's girlfriend, and Mónica, a singer, stepdaughter of the narco and a delivery girl. After the robbery, they will go to the hotel with the title run by the Argentine Ana Maria Picchio, who has some connection with Sandoval (the other sergeant Ramiro Blas and who, like Berlin, manage to make him appear again through flashbacks) and not there will be another to wait for the inevitable, the arrival of the Pancho Villa Army but at the service of the falopa and finish clean. Was the spin-off necessary? certainly not, something predictable but it is undeniable that it is well filmed, entertaining although it is stretched a bit, with the good pace that we already know that the production team can give you that these days will be doomed to finish LCDP5.

Very dark Italian film, twisted, at times surreal, with an aesthetic that owes much to Twin Peaks. Spoken in Italian except in the scenes that Dustin Hoffman appears, who plays a profiler who interrogates a reappeared young woman who had been kidnapped 15 years earlier. On the other hand, a private detective (Toni Servillo) who dies at any moment from a heart condition, who investigates doggedly to discover the elusive kidnapper who is wearing a rabbit mask with luminous red eyes. It is an ominous thriller with overtones of terror and mystery, cleverly designed to end in a made in M. Night Shayamalan ending. It is directed by Donato Carrisi, who debuted in 2017 with "La ragazza nella nebbia", also starring Servillo and with the participation of Jean Reno.

Amber Heard's baby girl (I could say Aquaman but now she is better known for being the one who hit Johnny Deep) is given the mission of eliminating the baton "The Wolf" (Richard Sammel of The Strain), so in one Extremely weird story turn "Outsources" Kevin Costner, a veteran secret agent who is dying of a raging tumor and she miraculously has an experimental serum that can save him. Forced on one last mission in hopes of retiring to live with his teenage daughter (Hailee Steinfeld from Bumblebee) whom he barely knows and his ex the ever-beautiful Connie Nielsen from Gladiator, he will walk the streets of Paris with a shot but also with good heart. Good action with touches of humor, directed by McG, the same of the first two of Charlie's Angels and The Babysitter and screenplay by the French genius Luc Besson, there is time even for a small tribute to The Bodyguard, meet and entertain.

Peacock TV production, created by Mick Mohammed and starring Ross from FRIENDS (TV Show). An NSA agent (Ross), arrogant like all the USA are, is assigned to a government cybersecurity agency in the United Kingdom, where he will deal with a group of capable but throwing clueless computer analysts: Joseph (Mohammaed himself), clumsy, nerdy, belittled, Mary a disheveled older lady who everyone thinks wears a wig, She had a quirky hacker now working for the government, and serious, buxom boss Christine, who doesn't bank the Yankee. Six episodes of 20 and both minutes, with good gags and hilarious lines. Entertains and makes you laugh.

Without a doubt the series based on a more psychotic and delusional Marvel character that was on the market. The mutant David Haller (a deranged Dan Stevens with one of the worst haircuts on TV) lives for years believing that he is schizophrenic but it turns out that, not only does he have telekinetic powers, but he is also possessed by another mental mutant, one who He can have various shapes, a dark and nasty fat man with yellow eyes or the funny and sexy Lenny (Aubrey Plaza of Parks and Recreation) who wants to dominate him to seize his powers. Our powerful but unfortunate mutant will be seen in the middle of the fight between the paragovernmental organization Division 3 with the visible face of Hamish Linklater (Battleship) and a version of the Marvel: X-Men but devalued, led by Jean Smart (of Watchmen HBO) , among which is his beloved, the beautiful Rachel Keller (In the shadow of the moon, Fargo, Dirty John 2) who does not support human contact but by kissing can change her body. Ultra psychedelic and pop delirium (the art of the posters already shows it) that makes us see madness as a stylized and aesthetically colorful state, it has three high points in which its value resides: the impeccable performance of Stevens, the Keller's beauty and optimal technical effects and editing work. In Season 2 with a Lenny on the loose, the mutants allied with the dark organization that had been chasing him before to join forces against a greater evil, with a presumably boss who is carrying a basket on his head and surrounded by mustachioed women who speak like Daft Punk, the bad guy to beat is now one with the name of an Islamic terrorist and there is a bald monk who speaks as a lysergic Vin Diesel who is infecting everyone and leaving them as shivering zombies, ufff too! With a rhythm totally different from the 1st, everything is slow now, with disconnected scenes, too metaphysical, introspective, all very confusing, without the grace of the beginning. It honestly doesn't seem like a television product, too "special" for a channel like FX-Channel. Maybe that's why he only gave him the gasoline to arrive and close with the 3rd in 2019 that next week Netflix will upload to its platform.

The first original Apple that I see, created by Tony Basgallop (writer of several episodes of 24: The Series) and produced by M. Night Shyamalan (who directs 2 episodes including the presentation one). It tells the story of Dorothy a news reporter and Sean a chef who works from home making elaborate ABC1 recipes, a couple who are grieving after losing their newborn baby. To overcome this, they acquire a Reborn doll, a hyper-realistic silicone baby that is used as therapy. This therapy becomes so extreme that the mother decides to hire a babysitter to take care of the doll. Lindy Lauren Ambrose (from Six Feet Under) plays the hyperactive and decompensated Dorothy able to go from abstraction to motor excitement in seconds, Toby Kebbell (from Rock N Rolla) is the husband who serves as a counterpoint, calm, almost balanced How perplexed, Nell Tiger Free (from Game Of Thrones) is Leanne the nanny-servant between monastic and murky and Rupert Grint (the colo of the Harry Potter Saga - movies), far from that endearing character, composes the brother-in-law lonely, heavy drinker and past merchant, as excited as the sister. Compact series and strange if there is, with that trademark of the director of the unsurpassed Sexto Sentido, with a duration of sitcom gives dramatic concentration to show the essential without fillers, everything happens within a closed space, those very Philadelphia manor house with busy narrow streets along a couple of steps that go up to the house, the usual shyamalesco landscape, where always dim lighting gives more a sense of confinement. The discomfort in coexistence is what sets the rhythm of the series, where the run over Dorothy is one of the best characters with an impeccable interpretation of the actress, with the strange noose crosses on the cradle that baffle if they have supernatural powers or the The strangeness of the situations are of a different order, without losing sight of the fact that the basis of the concern that Leanne transmits lies in the fact that her character is a mask, rigid and expressionless, which passes from a peasant farmer to a desirable woman. Warning, do not see it hungry or thirsty as they spend eating gourmet meals and sucking wine, where the food plays a dramatic role, with eels to be beaten to death, jumping crickets, crabs with ice cream or cooked placenta. The staging is precise and beautifully ominous, with a very successful handling of cameras and environments. She has a 2nd season assured and according to the producer she wants them to be 6, we will see if the "benefits" (as streaming is governed) accompany.

Documentary that portrays the process of creating Star Wars: Skywalker's Rise and since it is the last film in the series there is also a combination of scenes and interviews from the original series. Originally it appeared as extra material from the home edition of the film, it shows all the behind the scenes of the filming, better known as backstage, with the main emphasis being on the entire technical team, on all facets of production, be it design, construction, effects or even the overwhelming amount of extras from some scenes. It is interesting because we can see details that watching the film of course escape us, such as the scene in which John Williams appears, all the objects that surround him represent some of the 52 films for which he was nominated for an Oscar or that one of the Extras as a First Order officer is Sir Alec Guinson's granddaughter, the original Kenobi. Beyond tastes or grudges for characters or the evolution of history, it is a must for any fan of the saga.

One-hour documentary originally extra footage from the film on blu-ray, then broadcast on TNT. It shows the creative process of the movie "Star Wars: The Force Awakens", mainly with interviews with its management team and cast, not so much showing the backstage of the filming. The good thing about it is seeing a Princess Leia - Carrie Fisher still alive and the participation of the real Chewie Peter Mayhew - The Wookiee Roars, who later was directly replaced by his double. The bad thing is to constantly see Kathleen Kennedy, in my opinion the culprit of the big blunders of this great saga. Less interesting than The Skywalker Legacy (2020), because it lasts half the time and does not emphasize the behind the scenes which is definitely the most interesting thing. What yes some of the interviews here are repeated in that one.

It is a horror movie inspired and looooooong loosely based on the Manson family murders. Although the film claims to portray the "true story" of the infamous murders and the real names are used, there are several changed situations and the only thing sought is the tension through gloomy silences and haunting silhouettes in the dark. In that sense it is very similar to the very good LOS EXTRAÑOS (2008). Basically the plot of the innocents stalked by murderers is quite common within the genre, so The Manson Family can be considered as precursors. Here it is not understood much what they wanted to do, if they tried a new vision it contributes absolutely nothing, if they wanted to "fictionalize" the most famous crime in American history they made several mistakes. To make things more muddy, they close with documentary-like images, wanting to contextualize what has just been seen. It has two points in favor: on the one hand, never show the murderers clearly, always from behind, from afar, in the shadows or off camera, and on the other, it is super brief, a very rare 1.06hs that extends to 1.12hs only for the credits. The film's most common criticism was that it was exploitative and disrespectful to the nature of its source material. The cast is led by Elizabeth Henstridge (Marvel agent's of Shield) as Abigail, KatieCassidy (from the Arrow series, horror films such as When a Stranger Calls (2006) and A Nightmare on Elm Street The Origin (2010) and daughter's friend who couldn't save Liam Neeson in Relentless Search) as Sharon. Adam Campbell and Miles Fisher who play Wojciech and Jay, have the particularity of having acted in an episode each on the sitcom Two Broke Girls. Directed by John R. Leonetti, from the Wan team since he directed Annabelle (2014), director of photography in Insidius (2010) and El Conjuro (2013) and cameraman in Insidius2 (2013).

Kevin Bacon, a wealthy retired banker with a traumatic past, Amanda Seyfried, his actress wife several years younger and their little daughter, reserve a luxurious secluded home in the middle of the Welsh countryside. The guy not only suffers from ugly nightmares, but he will also experience strange situations with a very modern but also very demonic house, corridors that seem to multiply, endless lights that operate alone, loss of sense of time, doors that suddenly appear, leading to rare habitats or rooms that measure more on the inside than the outside. Labyrinth or hell? Theo will have to face a perverse alter ego to discover his destiny. Interesting, at times sinister, well run, it certainly helps a lot with the design of the house (see detail1) and my dear Kevin who produces and replaced Nicholas Cage who was going to star in it; written and directed by David Koepp (screenwriter for Jurassic Park, Spider-man, Mission Impossible, who already directed Bacon in 1999's Stir of Echoes) based on the 2017 novel by German writer Daniel Kehlmann.

Translated as The woods, it is a Polish six-part series passed in the book by Harlan Coben (the same from The Stranger). Pawel Kopinski, is a prosecutor who is forced to review a tragic event from his past, when a corpse with some kind of link to him is found, so much as to make him suspicious, who realizes that he is a friend who last saw time at summer camp in 1994. Through a series of flashbacks, we discovered that one night two teenagers were killed and two disappeared, including Pawel's sister. At the same time that he has to consider the possibility that his sister is still alive and discover why his mother abandoned him shortly after, he is also dealing with a rape case in which the father of the accused, a prominent journalist, is pressing for that the case be withdrawn, the drama of having lost his sick wife and the reunion with Laura, an old love that summer. The thing goes back and forth from 2019 to 1994 and with those we are discovering small pieces that fit into the great panorama, intelligent, dramatic. Interesting performances, well filmed with interesting shots, good music, some plot bumps are forgiven. In this one the forest is not ominous and central as in The zone blanche or The forest, but it is where all the drama that spans 25 years passes. He, Grzegorz Damiecki, was an SS sergeant in "SCHINDLER'S LIST" (1993) and she, Agnieszka Grochowska played Nina Andreyeva in Child 44 (2015).

The 5th movie of the great ALEX DE LA IGLESIA, introduces us to Julia (Carmen Maura), a woman who works in a real estate agency that is suddenly 300 million (I calculate that pesetas in a format that I imagine would become unmanageable ) hidden in a flat, so you will have to face the crazy community of neighbors, headed by an unscrupulous administrator who had just gone on vacation to Disney and a myriad of characters customarily delaiglesianos, that is, neighborhood cartoons but recognizable : the Cuban heartthrob, the old rabble, the bad mother, the innocent woman, the curmudgeon, the Star Wars fan (unmissable and with preponderance), the interested person, etc., who will do everything possible to retain her and keep the Fortune. Comedy but with the classic dramatic touch of the director, without losing sarcasm and humorous bizarre.

A multi-international production (France, Brazil, Spain, Belgium) deserved a premium Latin cast: Spanish Penélope Cruz, Venezuelan Edgar Ramírez (with two Netflix releases in less than two weeks), Brazilian WagnerMoura, Argentine Leonardo Sbaraglia, the Cubans Ana de armas and Tony Plana and the Mexican Gael Garcia Bernal. In just over two hours, the story of Cuban spies infiltrating the Miami exile network against the Fidel Castro government is told. And I recommend seeing the movie as if it were a fictionalized documentary, because the counter is as we already know what happens there is neither suspense nor emotion, and beware that I do not say it because it is bad, even the performances are very good, mainly that of the Spanish. I say this for example, the characters are shown as deserters, "worms" who escape from Cuba to go over to the enemy, that is exactly halfway through the film, only to show them as spies at the service of the revolution to anticipate and avoid attacks on Cuban soil. That if it were an invented story would have been an interesting plot twist, but as we already know what they play, it is like that remains in the air and is not surprising, even when they are captured. With a bit of general knowledge on the subject, we know that all of them were apprehended for about 15 years (some more others less), so that in the end it is not that there is a tension to see if they are caught or not or if they escape or what I meant that with no suspense or emotion. Features: the scenes in Cuba that seemed to be actually filmed there were made on the Gran Canaria Island of Spain, which aesthetically has a very similar "colonial of the 50s" vibe. De Armas and Moura pair up and do it again on Sergio Netflix Movie - 2020 The film functions as fictionalized news, at most as drama, not as one of spies or action or suspense.

Jose (and his dependent son) and Toni rob a gold buying business. With the booty in their hands and chased by the police, they try to flee to France, getting into a taxi (with a passenger included) but on their way they pass through the Navarrese town of Zugarramurdi, where they will be arrested by three witches, for believing that the child is the chosen one of a witchcraft prophecy. With this story plus the typical corrosive humor of ALEX DE LA IGLESIA and a horror film aesthetic (as in his 1995 debut El Dia de la Bestia) he uses to tell an urban fable of the eternal struggle of the sexes: the disputes of separated parents with a child in between ("do you want to be with mom or dad?"), the macho vision ("women are like a sect, they share secrets"), the "poison" of women ("I'm going to nail you a lawsuit"), the eternal dichotomy of interests ("you'd rather be with your friends than be with me", "or me or nothing"), man's "ignorance" ("I don't know what to say no there are those who are right "," I do not know very well what I should be saying but I say what must be said ") and the ease with which women psychopathy (" do not contradict me "," you are giving me reason as fools "," I'm not enough for you or what? "). The cast almost entirely or sooner or later worked with the director: the thieves Hugo Silva (not directed but produced in CFO Musarañas (2014)) and Mario Casas (Mi gran noche (2015) El Bar (2017)), the leading witch Carmen Maura (The Community (2000), 800 bullets (2002), the cute and sexy witch daughter Carolina Bang (the Pluto series BRB Nero (2008/09), Sad Ballad of Trumpet (2010), Shrews (2014), MI gran noche (2015)), the former Macarena Gómez (MUsarañas and the series 30 coins (2020)), the taxi driver Jaime Ordoñez (30 coins), the grandmother witch Terele Pávez (The day of the beast, The community, 800 bullets , The child's room, Sad ballad ..., My great night, The bar) and playing a witches-travas, Santiago "Torrente" Segura (The day of the beast) and Carlos Areces (Sad trumpet ballad). Finally we see the face of Javier Botet, who always plays a terrifying monster as in both It, Alien covenant, Polaroid, Mara, Slender man, Insidius, The Mummy, and many etc. Extraordinary the coven scene, for production design, for music , for quantity of extras (which feminazi march), for fx. Film with a lot of rhythm, excellently filmed, funny without losing the sinister, extraordinary musicality, which is added to the theme specially composed for the film, Zugarramurdin Akelarrea by Fermin Muguruza.