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Episode after episode, season after season, Breaking Bad continues to improve, one of the most common problems in tv shows is that it loses its essence and quality with the passage of time, GoT, Sons of Anarchy, The Walking Dead and Other shows have suffered from this problem, you can rest assured that Breaking Bad at no time becomes boring or incoherent, and this is partly thanks to the excellent script work that the series has, each episode written with total mastery, at the height of the greatest dramas in cinema and the tragedies of Shekespeare, no episode in this series will leave you indifferent, each of them maintains its own essence and does not become repetitive, the story seems to get more and more intricate and at some point the moment needs rest equivalent cumulative stress, but BrBa is so addicting that you won't be able to stop.

Breaking Bad is loaded with a drama of colossal proportions, an overwhelmingly intense story, filled with very outlandish supporting characters, as if they were written by the Coen Brothers or by Quentin Tarantino himself.

Walter White's story is made up of a rise, a fall and a transformation, really the whole series is about the transformation and change that people can experience, chemistry is like a metaphor for this, everything evolves, everything changes, shape part of a cycle that Walter explains in the pilot episode, Walter is the character that undergoes the most drastic change, Walter's change is one of the most incredible character developments written in a script, at the end of the series Walter is unrecognizable, that sweet and loving man we knew no longer exists, cancer has eaten Walter, metaphorically cancer is evil, Walter's change to an amoral man feels authentic, since the journey feels real, the situations that have endured Walter are overwhelming and have pushed him to the limit, to bring out the darkest of the character.

The rest of the characters have an equally deep and intelligent story, Jesse suffers collateral damage from the actions of his partner and throughout the story, everything seems to go from bad to worse for him, and his damage is understandable, heartbreaking and empathic.

Breaking Bad is an achievement for Tv if someone asks me what is the best movie in history, probably my answer would be 'The Godfather' if they ask me what is the best tv serie in history, probably my answer would be 'Breaking Bad 'and has that well-earned position, BrBa is a chaotic story that intertwines lives of an entire city and becomes a microcosm of chaos, a story in which everyone involved is injured in one way or another, Walter ends up being the representation of the ambition and despicable greed, although at first he shows us as a hero, by the end of the series, we can question his supposed heroism, he ends up being the villain of the story, a perversely evil and unscrupulous villain, one of the best studies As a character in history, he could even serve in film, psychology and even philosophy classes.

Breaking Bad is one of the most cinematographic tv series, each of the episodes are at the level of cinematographic productions in most of the visual artistic aspects, it has a beautiful cinematographic one that reminds us of western movies, in desert landscapes and claustrophobic settings, beautiful sunsets, poetic images and a highly intelligent visual narrative.

Martin Scorsese grew up making gangster movies, for over 40 years he became the mainstay of modern gangster movies, along with Coppola marked a before and after in the genre, Scorsese immortalized gangster movies with Mean Streets, Goodfellas and Casino, films full of moral dilemmas, corrupt and proud characters and the typical final act of the film of the descent into misery. The Irishman brings all these elements together in a more existentialist and reflective way, despite being a movie about the mafia it feels more two-dimensional than most crime movies, especially because it is a very personal story told by Scorsese himself, unlike most mafia movies, The Irishman takes time to reflect on the passage of time, repentance, devotion, loyalty, and oblivion, all these doubts drown Scorsese and the main actors of the film who they have reached old age and are reflecting on their own lives.

The Irishman has all the features of the Scorsese cinema, long shots, sharp and precise dialogues and dynamic camera movements, every time there is a shooting Scorsese manages to make it look more stylized than the previous one, we all know that the scenes of the Scorsese movies where the violence overflows are excellent, except for the scene of Frank kicking a man in the wax, De Niro's performance is quite disappointing considering that he is a 78-year-old man playing someone in his thirties. Like any Scorsese film, the story is marked by one betrayal after another, the mafia world is not the best to trust other people, loyalty is ephemeral, except that of Russel and Frank that is maintained until the end, when someone makes mistakes the mafia has no other solution than death, Frank was on the verge of making mistakes on multiple occasions but Russel was always there to rescue him as a sign of his true loyalty.

The Irishman has an unconventional epilogue for the Scorsese films, we are used to seeing a spiral descent by the characters into madness or misery, or in both directions as is the case with Goodfellas. The Irishman for his part presents a reflective, emotional, sad and cold epilogue, Frank is alone in an old age telling us his story but continues to remain faithful to his ideals, this is demonstrated when he prefers not to tell the police about Jimmy Hoffa even after that all the mafia he knew is dead, that is his loyalty to his religion, the mafia.

There are several peculiar scenes in this epilogue filled with a strong emotional charge, the ending leaves a strange feeling of mixed feelings, nostalgia, euphoria or confusion, but above all satisfied when seeing a film that refreshes the current cinema as only Scorsese could have done.

Little Miss Sunshine manages to balance comedy, drama and satire in an incredible way, all that balance gives rise to a high-level dark comedy, which manages to talk about many themes that define american culture, it is a film with uncomfortable comic situations, is a sharp and dangerous comedy, but incredibly smart.

This movie plays with the premise of the dysfunctional family, a premise that has been exploited to the point of exhaustion in Hollywood, but let's remember that what matters is the way you tell the story, Little Miss Sunshine is original and raw, unlike other movies about dysfunctional families this movie gives a different portrait of what we already know as the basic american family, each of its members is at the same level of depth and personal conflict, they face suicide, obsession, failure, to despair, frustration and death, throughout the film each of them deals with their own fights but by the end of the story, they are fighting as a family, it doesn't matter if you don't have a good relationship with your family this movie is probably not going to fix it but it is a lovely portrait of family ties.

Like any good satire, you can notice the social comment that the film makes on different topics, whether it is from the hypocrisy of society and the bad education that is given to children in a quite stressful scene in which little Olive is shown Under the pressure of deciding between her beauty or enjoying his ice cream, this enters a different context when we analyze that Olive is a 6-year-old girl in full development of learning.

This movie feels like a real journey, a journey through American culture and finds a way to satirize it all, beneath the laughter hides a charming depth.

'Y Tu Mama Tambien' is not exactly an erotic film, it is a complex film made up of many layers, it can even be seen as a romantic comedy, as a road movie and covers an infinity of genres, that is one of the qualities of this movie, it manages to count so much with so little, if you only notice the sex scenes in the movie and you don't get to delve into its context, you have not understood this movie, obviously YTMT is incredibly sensual and has much better stylized scenes than the erotic movies of the mound , most of the time in the supposedly erotic movies sex is used in a banal way, to surprise the public, sometimes simply unnecessarily and other many times to seem like a sensual or erotic movie, when they really make ridiculous scenes (The Trilogy of Christian Gray for example) however YTMT is a visual and narrative exercise that uses sex to tell its story and infuse its ideas, sexual relations They are not trivial or unnecessary, they are here to teach us something about the story or the characters, this film understands sex better than many movies, in the first instance it is the trigger for the initial conflict of the film and demonstrates the consequences of sexual relations in the balance of human relationships, drags the characters to the deepest of their personalities, leaving any morality aside to have sex.

Tenoch and Julio can be the perfect portrait of the ills of Mexican society, Luisa is like her priest but due to the prejudices in which they live locked up they are unable to take into account the help that Luisa is offering them, who sees this trip as a rederecovery of herself, and wants it to be the same for them, she from the beginning can notice the erotic attraction between Julio and Tenoch and we could say that her true plan was to show them what they really are, however they flatly reject it.

The end of the film is poetic, existential and real, apart from putting all the pieces of the film together clearly, show the inexplicable fear like that Luisa felt during the trip also shows a sad look at a lifelong relationship, friendships can break easily, but remember that this time it was not sex that separated them both, it was prejudice.

Maybe you just are not understanding it, it may sound pretentious but Ari Aster's Hereditary is a story that is told metaphorically beyond the literally, I had to read about this film to receive details that I could not capture before, the film would not leave indifferent to nobody, breaks with the conventions of the genre and shows something totally different from the current horror movies, this film must be seen with an open mind to interpretations of all kinds to various scenes and history as such.

A great achievement of the movie is to avoid all kinds of cliches from current horror movies as religious symbols like back crossings or five-point stars, bible verses or priests, Hereditary creates his own totally different symbol world.

First-time director Ari Aster plays with the camera and refuses to make a film with conventional shots, preferring to have subjective and risky shots that show the situation of the characters and surreal and dreamlike scenes that explore the mentality of the characters that goes in decline with the passage of the film.

Like 'The Exorcist' this film has great skeptical potential, fear and doubt to believe what is happening, in 'The Exorcist' the priest covers himself diagnosing possible mental illness from the girl's attacks, in this film We are told that throughout family history there has been an endless number of mental illnesses that have terrified the family, this makes us doubt everything we are seeing. Can everything be the product of Annie's damaged mind? and his children begin to suffer the consequences, the end of the film is ambiguous and does not answer this question.

As in 'The Exorcist' Peter's character jumps out the window as the priest did at the end, Peter dies and Paimon enters In his body, the latest revelations of the cult that was staying in the tree house suggests that Peter is no longer there, Paimon has possessed him, all these pieces fit perfectly at the end of the film, as because Joannie and Annie's mom knew each other from before and what was their relationship, or the reason for the grandmother's irrational affection towards Charlie and because she always preferred a boy, the grandmother only wanted a male body so that Paimon could inhabit it.

Hereditary easily scrolls through so many genres, from a family drama to a terrifying tale of human insanity, Ari Aster is definitely one of the most promising names of his generation.

The Invisible Man is a pleasant surprise in February, a month that is not famous for premiering films that are very good, however sometimes these kinds of surprises are released, a film that is a remake of a 1933 film and at the same time a adaptation of a book by HG Wells, one of the greatest and most innovative geniuses of science fiction. How would a story from more than 100 years ago fit today? This film succeeds and with honors, manages to cover current issues but maintaining the original premise, it is a story that has parallels to other science fiction movies in which man abandons his real form to become something else, this film is not exactly a mutant transformation like David Cronenberg's The Fly, but it is about a man who plays with technology to improve his skills, although it does not show the same level of depth as The Thing, it is a very well made film whose story is quite flat but satisfactory.

The Invisible Man constantly breaks his own internal logic, has great technical achievements, very well directed, can be seen in some scenes, as the main scene that shows that the director knows how to create suspense and also shows an ability to make us feel that there is someone in between but we cannot see it, just feel it, this same resource is repeated later, an action scene that is made as a long shot is simply fascinating, another conventional film has action scenes full of unnecessary cuts that do not let the action taste at the moment, for that reason this scene is exemplary. The performance of Elizabeth Moss also gives many points to this film.

The King of Comedy is an unfairly undervalued film, I daresay it is one of the best collaborations between Scorsese and DeNiro, even above Cape Fear, this last film earned him a Robert DeNiro Oscar nomination, and the performance of DeNiro in this movie was terribly ignored by the academy.

The King of Comedy would have been a perfect movie for the Coens, so it feels like a mix between the Coen brothers' sharp and dark comedy and Scorsese's authorial style, the result being an exhilarating dark comedy and uncomfortable most times.

An extremely interesting story full of clever and abrupt turns, especially the final turn that mixes crime with the comic rhythm of the film and becomes a film of idiotic criminals, idiots like the characters written by the Coen brothers.

This film has a unique visual style, striking and attractive for its time, it was recently impudently imitated but cleverly by Joker, the film color palette is rich in eye-catching colors.

The King of Comedy does not sink into its beauty cinematography as it also tells a story with complex characters, Rupert Pupkin is one of the most iconic characters in a Scorsese movie.

Scorsese moves in a different genre this time around and does it in a very decent way, creating one of the funniest, darkest, and smartest satires of the 80s.

Gone Girl compared to the rest of thrillers created by the hand of David Fincher, is an uneven comparison, Gone Girl as the story progresses does not have the same captivating rhythm of Fincher films and revelations throughout history are not as consistent and surprising as its other thrillers that are made up of amazing revelations after revelation.

The story really is not so difficult to follow or understand, it is not a story so twisted to have to see several times to understand if you are attentive, as is the case with Fight Club.

Some internal logical failures of the script make the movie lose a bit of strength and emotion, however here are all the resources used by Fincher in his other films and that is why I like it so much, the atmosphere of the film is mostly uncomfortable, dark and captivating, like every good Fincher movie has a unique style full of neo noir cinema inspirations, such as Brian dePalma, Paul Verhoveen and the most obvious Alfred Hitchcock.

The climax of the film is the most unsatisfactory of the thrillers that David Fincher has made, constantly the endings of his film are surprising and suffocating, although the end of Gone Girl works, it extends so much that it seems stupid and loses strength, the last 10 minutes of the movie are an explanation of everything that has made us understand the movie, it's as if at the end of Fight Club they had interviews with Marla and The Narrator.

Gone Girl is suffocating most of the time, intelligent both to develop her story and to give a different and uncomfortable portrait of marriage, the best thing about this movie is that there is no hero, all the characters here are morally wrong, an essential characteristic of the thrillers.

One of the most intense emotions that a movie can give, The Lighthouse is a movie that at times is irritating, unbearable, exciting but never ceases to be captivating especially for its beautiful and great photography that emanates feelings of madness, sadness and total despair because of the focal effect that gives a sense of confinement with the characters and the environment.

The environment where the story unfolds is also incredible, the artistic decoration is one of the most beautiful works of the past year, The lighthouse where the story is developed so I read it was built from scratch for the movie, this construction puts the movie on another level since it is as if every centimeter was planned in detail to explore the themes of history, one of the qualities of the artistic work of the film is the representation of the time, it really takes us to the place and atmosphere where the film is It develops, probably in the late nineteenth or early twentieth century, even the film is occasionally edited as a classic movie of the 20s or 30s, but we can also see some more modern and current editions without losing the rhythm.

Another quality of the film is that surprisingly each of the objects in the film has its own life and function as characters, from the waves that break the silence of the island, The lighthouse that hides a terrible secret, the room where they sleep, the shadows , the lamps, and obviously the seagulls that are a fundamental part of the story.

I have never liked to talk about the performances in my reviews, because most of the reviews do the same and always say the same, however this movie works thanks to the insane perfomances that Dafoe and Pattinson do, although most put Dafoe for Above Pattinson for me it is not so easy, since both show traits of extreme dementia and convey the feeling of despair and anguish and somehow or other make us feel descending into the abyss with them.

I loved the dialogues of the movie that are mostly strange and scarce but fulminating and direct, talking about nature and the human mind, there is a specific dialogue in which Thomas Wake affirms how close the man can be to reach madness, it makes Ephrain question what is happening: Everything that is happening is it real? Is it just a product of your imagination? We also began to question the reliability of the story and the ambiguity of the film keeps us in doubt even after watching it.

The initial scenes of the movie seem sublime to me and I think they define the movie perfectly, Wake and Winslow arriving on the island with the exciting background sound that will remain throughout the movie, at a certain moment both men come to the camera breaking the fourth wall, subliminally near the end of the movie they do it again, after many minutes of silence and after presenting the island and the environment where the story will take place, the character of Dafoe says a kind of prayer in the middle of dinner, this is also the last quote said in the movie but this last time Winslow says it.

Few films have left me with as much uncertainty and desire to debate as i left The Lighthouse.

The 90s were a great decade for thrillers, in fact, they took a lot of popularity during these years thanks to movies like Se7en, the movie that would mark the second half of the decade, no 90s movie was as influential as Se7en (maybe Pulp Fiction also) many thrillers began to launch quickly and the genre quickly polarized.

8MM is written by the same screenwriter of Se7en in a second failed attempt to revolutionize the genre. 8MM is not as grotesque as Se7en, but tries to be, Joel Schumacher although he does a good job proves that he does not have Fincher's abilities to exploit the decadent environment and the dark underworld in which he submerged, Schumacher's address is very poor and is one of the problems of the film, although the story is a great study on the nature of evil.

The final moral dilemma of the film in which Tom depends on Mary's mother to kill someone, since he feels no power over the matter and is not a murderer, but on the other hand is Janet and could justify the murder as a revenge family, obviously, this type of scene is what makes the movie more interesting, but unfortunately there are no more scenes like that in the movie.

the suspense never gets to develop as it should, and although it is a brutal and grotesque thriller, this movie It would not be something that I would recommend to anyone, not only because it is indigestible at times, but also because it is boring during the development of the story and the discovery of clues does not keep you interested.

This is the kind of movies that I have been looking for all my life, a metaphysical, surreal and philosophical journey that explores different issues of human nature, this film has docile dyes of comedy, but has all the potential of being a dark and grotesque thriller, nevertheless that is what gives the touch of originality to this film released in 1999, that year all the films wanted to look like Seven, the theaters were mined of dark thrillers, both good and ridiculous, Being John Malkovich does not need to be dark and Grotesque to talk about complex and deep issues.

The story is so difficult to explain with words that I'm going to skip that part of the reviews and go straight to the point, Being John Malkovich is about of people's desire to be someone else, the feeling of not feeling comfortable with them himself and this film portrays a society that does not feel comfortable in their bodies, a society in search of satisfaction that cannot be achieved by being themselves, people who need attention, most of us want to be a movie star or at least live a life so.

The central issue of the film is the loss of identity of people, we realize in a moment of the film that there is a long line of people wanting to be John Malkovich, wanting to forget who they are for 15 minutes, but that does not mean That is the only thing that this movie is about, since it is a gallery of topics related to the human mind, there is even a chimpanzee that takes its own identity and even seems to be aware, Craig in an early scene of the movie he say that animals don't have conscience, this is one of the dialogues of the movie that caught me the most.

Curiously Maxime is the only character that does not enter the head of John Malkovich, she does not want to be John Malkovich, it is because she is the strongest and controlling character in history, all who enter John Malkovich end up losing their minds, Maxime He only takes advantage of the characters throughout the story, even at the end when he confesses to Lotte that the son he expects is from her, a certain tone of manipulation can be noticed in her, perhaps she lied only to get away with it.

Being John Malkovich is a story with the most notable features of Charlie Kaufman; Depressive characters and an existentialist vision of the world, we are lucky to have a screenwriter like Charlie Kaufman among us.

The Coen brothers are one of the best comedy writers in the cinema today, this film has all the components of its history; characters that are complete idiots and losers whose lives are altered as a result of a crime, Burn After Reading seems to be a silly film at first sight but it is not, in fact it has a very intelligent and well thought out story that works like a satire of American adult society, the film presents complex and deep characters very well written with the characteristic seal of the Coen.

The hilarious performance of Brad Pitt and his character is one of the best things about the movie, by the time Pitt made this movie he was over 40 years old, however here he looks like a twenty-year-old gym instructor in very good shape, the character of JK Simmons, although it almost does not appear, is one of those powerful characters that the Coen put in their movies for a short time but their weight in the plot is surprising, every word they say leaves their mark.

The violence in this film is not stylized or aesthetic, there is a half-way murder that is depicted as dry as it should be and something very common in the Coen films, the film's comedy is limited to physical comedy and witty dialogues, this is probably the weakest work of the Coen brothers so far, but even a lazy Coen movie ends up being interesting and not disappointing at all.

The critics were very hypersensitive and had a very closed mind when reviewing this movie.

JoJo Rabbit is a satirical vision of the Second World War, when dealing with an issue like this in a satirical way you have to be very careful not to seem so insensitive, Waititi uses the necessary touch of satira and social issues to create a kind of criticizes to the neo-nazist movements and the use of the naivety of children to take him to political issues, Waititi knew how to get there and does not explore the theme of nazism in a deep and somber way, however the movie gives a heartbraking scene whose protagonist is the feet of Scarlett Johansson, incredibly Waititi created an emotional scene involving feet better than Tarantino.

The film has a scene that involves the Nazi greeting that makes us laugh intelligently, that scene more than a criticism is a mockery, That no neo-nazi see this! Sincerely Waititi had never convinced me, however JoJo Rabbit is his best work Until now, Waititi cinema is full of satirical comedy and this film is its best and boldest demonstration, a sentimental story about the hate instilled in children irrationally, JoJo is a boy with little mind of his own and everything he knows It is practically things that his imaginary friend has put in his brain that turns out to be a child representation of Hitler, but it is obvious that this representation of Hitler is like that since it is the product of a child's mind and this reinforces more the naivety and JoJo's good heart.

When I watch time travel movies I hope to be stuck in a story full of paradoxes and that it is difficult to rationally follow the film due to the constant change of time flow, About Time by Richard Curtis is a time travel movie, but the conductive thread of the story is the romance between two young Britons, Tim fulfills his whims thanks to his ability to travel through time by locking himself in a closet and closing his fists as if he were going to hit someone, on one occasion Doc Brown said that if they were going to travel in time they would do it in style, traveling in a Delorean, obviously About Time is not very interested in the science that time travel, temporary fluctuations or paradoxes entail, the most serious thing that caused Time travel in Tim was that his children to change genetically. I was waiting for the moment when the film reached another level of depth, however it always remains on the same level, in fact I realized that one of the big problems of the movie are the female characters, Mary looks like a blank board, no It is a character that undergoes major changes throughout the film, it is a device of the script but it does not work like a real character, the same goes for Tim's mother, however Tim's sister is a very well explored character and she It gives the necessary dramatic touch that the film lacked so much.

At the end of the movie Tim says goodbye to his father, but can really continue to visit him without breaking the rules, Tim's father tells him specifically that he cannot travel before the baby is conceived , so if he travels during pregnancy he would not pass nothing, I'm probably wrong with this, but it is undeniable that at the beginning of the movie it is clear that it is impossible to return to the present once you have returned to the past, however this law is constantly breaking in the film without any reason.

The final act of Bad Boys For Life seems a soap opera drama with many explosions and unreal situations, obviously silly jokes can not be missed, the film is silly most of the time, full of cliches of action movies of recent years and a caricatured villain, who is there just to shoot the good guys, the unnecessary use of Latin culture and religion is irritating.

It addresses two interesting premises that are retirement after a long career and nostalgia caused by retirement and parent-child relationships, all these issues are addressed superficially, but do not be pretentious, this is the third part of a saga created by Michael Bay, and in fact this movie is the most mature of all or at least tries to be, although the plot twist is a last stupid letter that the scriptwriters were removed from the sleeve without analyzing it and deepening it a lot, the film remains thanks to a funny story that doesn't make much sense if you think about it.

This movie was intentionally released in January, the studio knows that this is the month of launching regular movies that will go to the dump directly and that will be quickly forgotten, however Bad Boys For Life is an interesting surprise among this cinematographic drought.

Probably the question that approaches this film with the naked eye is can men and women be friends without a sexual attraction involved? However, this film addresses a couple of other questions that I have realized are going unnoticed in the reviews of most people, this movie also talks about the gap between love and friendship, how easy it is to pass from one point to another without knowing it, Harry and Sally probably knew that they were in love from the beginning but refused to accept it and here another interesting subplot opens that addresses another question, or rather the issue of unrequited love affairs.

WHMS is an open book on problems of adult life related to love and portrays how women and men face it in different ways, this film, like most, states that men do not pay much attention to this and spend their days having forced relationships without any connection or compassion, just thinking about pleasure, while women cry and suffer thinking about loneliness, it is probably a real portrait, however when Harry discovers that he loves Sally he begins to face these problems more mature way and begins to imagine a life without Sally, Harry goes into shock and runs to look for Sally, this is the moment when Harry really matures, in an early scene Harry tells Jess that he is maturing because now he can having a friendship with a woman without sex in between, however, this is when he discovers that the true way to mature is to have a woman and love her without the sex in between, and this is exactly what he feels for Sally.

This movie is a gallery of deep and well-written characters and each one with its well-detailed personality, occasionally Sally's character took a different direction from the original configuration of the script but these problems were only momentary so it practically does not spoil at all the experience and history that apart from talking about sexuality and adult romantic relationships presents other problems of age such as fear of loneliness and becomes the main cause of depression for many people.

WHMS also presents a a different portrait of relationships and love, with an existentialist and depressing tone in the style of Woody Allen, full of interesting dialogues that also has many similarities with the epigramatic and sharp dialogues of Woody Allen that evoke extensive discussions on seemingly banal themes.

The story of a sex addict man seeking satisfaction on the streets of NY can be good material for a romantic comedy, however Steve McQueen wrote a dark, deep and depressing story about sexual addictions of a man whose sexual desire is stronger than to live, leaving aside comedy and romance.

After all, nymphomania is a serious mental disorder, the character of Brandon takes it to another level, he no longer gets pleasure in sex, now it depends on him, how a cocaine addict depends on cocaine, the film represents his addiction like the addiction of a drug addict or an alcoholic, it is not good for him and is killing him little by little.

We can completely rule out an incestuous story with her sister, since she is only the trigger for his crisis by breaking into his private life and is probably the only person who can understand him, he may also suffer the same illness as his brother, but linked with a terrible depression. One of the strengths of the film is the photograph of the film that represents the frivolous world that Brandon lives, and the way in which the film has an incredible shortage of dialogues, as I have said before, it seems to me that movies that tell a story without spelling them seem to me to be above conventional narrative movies.

This film did not win a single Oscar, although Fassbender and Mulligan deserved it more than anyone that year, but this is not the type of movies that win Oscars, not because they are bad, quite the opposite, they are too much cinema to winning an Oscar, Steve McQueen returned a year later with 12 Years a Slave which is also a great movie (9/10 for 12 Years a Slave), but is at the opposite pole of Shame; It's a movie made to win Oscars. Hopefully Steve McQueen returns to make movies for lovers of a more intelligent and deep cinema and not for the academy.

I am probably not the best person to say this, I have never visited Iran, and the only information I have had about them is what the media that tell me things at their convenience provide, however I have read enough about this movie and I know that it is a fairly accurate portrait of Iranian society, especially in regard to the dogmas and religious devotion of the Iranians who constantly put it above the laws and feelings but it is something that cannot be done so easily and obviously will bring complications, this film addresses that universal dilemma, but that feels much stronger in eastern society where religious dogmas are even more sacred, the film is not against this, it just proves it, this makes this movie quite risky since this type of countries prefer that their truths are hidden.

The whole moral dilemma of the film is due to the divorce of a couple that triggered a series of events that questioned the devotion of their characters for religion.

The movie's script is set up to create situations in which the characters have to choose between remaining faithful to their religion, remaining faithful to the people they love or simply obeying the law.

This is an expert thriller, surprisingly it is the prime opera of its director and if I had not investigated it I would not have noticed it, it is a film so well maintained that it seems made by professionals of the genre.

Oriental cinema has a gift to create twisted stories, The Chaser has one of the most twisted stories, in turn speaks deeply about human morality. The film presents two characters that are so opposite that we could say that they are the protagonist and the perfect antagonist, both men enter a fascinating and captivating cat and mouse game, with each sequence and new track that discover did the tension increases, this is partly thanks to a script so intelligent and intricate that at no time seems to stop, although from the beginning we know the culprit, taking into account that in thrillers of serial killers is a routine that the clues are given to us as the characters discover it, but it is not a universal rule for the films since The Chaser tells us who the murderer is from the first moment, however the characters they live an intricate story behind the murderer who seems to be a master and disturbed mind.

The film does not give us a puzzle like most thrillers but a fight of moralities and incredibly twisted characters, the characters obviously had to be written in this way so they could fit into the movie's history. I don't remember having so much anxiety and anguish in just the first 30 minutes of a movie, this is just the preamble to the true story full of smart twists, situations ranging from the hilarious to the grotesque and a depressing representation of the streets of Seoul and its incompetent police forces.

"It's so metaphorical" is what Kevin says when they show him Da-Song's paint, he makes a statement without knowing absolutely nothing about what he is talking about, most critics of this movie say exactly that "It's so metaphorical" obviously Most know what you are talking about, when writing something about a movie I have to be 100% sure that I have understood.

"It's so metaphorical" This comment on this movie is quite fair and precise; Parasite is built on the basis of visual symbolism that for some it will be an easy task to find them and for others a little more difficult because it also does not put this type of visual metaphors in the foreground, sometimes leaves it to the public's interpretation and in others simply play with the camera and film techniques to tell us the story, a clear example is the first time Kevin visits the Park house, the house is shown in a low-angle shot from the ground showing the superiority of the house and the environment over the character, the rain scene in the middle of the movie is simply wonderful: the family plummets to its miserable reality and the camera descends in a peculiar way, as there are many examples throughout the film; the fight over the cell phone in the Park house looks like an animal fight, the shots in the Kim's house are closed and in the immense Park house they are open and wide, a lot of voyeuristic Hitchcokian shots and provocateurs of vertigo, the symbolic use of the stairs throughout the film, something quite coherent since the film speaks especially about the socioeconomic classes and the social and race stairs, are some simply steps over others. Who are the real Parasites? the Kims or the Parks? the film plays with this question and leaves the answer to the interpretation, the Kim who represent the great majority of the poor class in Korea and in the world act as parasites that will gradually owe the class that is above them, taking advantage of the comforts that it offers them without any difficulty, living under the ground and in precarious conditions, but on the other hand the Park are practically useless beings, there is nothing they can do: their children are educated by others, their clothes are ironed and washed by others and their food is made by others.

Kim's family at least shows that Kevin is good at Languages, even better than many college students, his sister has great skills that lead her to create the perfect plan, even she manages to do what no sophisticated teacher did; control and support Da-Song, but due to their poverty their hopes that they can take advantage of this kind of talent are minimal. The final shot of the movie plays with us and gives the perfect blow to culminate this story: Kevin writes a letter to his dad that he probably won't be able to read, while he has a dream, after the dream the shot is the same that of the beginning, he It shows the exterior of the house from the basement this time without sun, showing that he it is where it began and that now its life is dark and empty of hopes.

When this movie ends tells us that Facebook has 500 million users, this was the figure in 2010, 10 years later this figure was tripled and now there are more than 2 billion people registered in this social network, it can be said that this film talks about the theme that defined this decade of 10s "social networks" although its height began in the 2000s, it is obvious that its frenetic growth happened during this decade, it could also be said that The Social Network defined the decade, as Fight Club defined the decade of the 90s, touching issues of importance and relevance of the time, both making an accurate and deep portrait of their respective generations.

David Fincher creates a film as intelligent and cold as his main character, although the story can be reliable and not yet, since Mark Zuckerberg himself has said that the most accurate of this film is the use of his character's clothes , the other characters in the story and even Sorkin and Fincher indicate otherwise, The Social Network is not a documentary, it can be taken as a work of fiction that recreates a situation of betrayals and pure frivolity, does not give us information that we should take as totally correct since it has a certain tone of the famous Rashomon effect; which is that several people testify to a fact until the original version is so eclipsed that it is impossible to find a truth among so many points of view.

This movie is undermined by pure irony; Harvard's least associative boy with no knowledge about human relationships creates the greatest source of communication between people today, and the film ends with the creator of Facebook himself waiting that his friend's request to be answered. The direction of Fincher and the script of Sorkin make this film look like a thriller, a dark thriller, when in one of its many layers it is a film about envy and teenage immaturity, one of the greatest qualities of the films of Fincher is that they are very complex, and can cover as many topics as they want.

The Social Network with Se7en, Fight Club and Zodiac joins the list of masterpieces created by the hand of David Fincher, one of the artists more prolific of the seventh art.

Although I almost never talk about such repetitive themes as the interpretations in my reviews, since it is obvious when the performances are good and not, and most of the reviews say the same about that, but this time the young actors who keep this movie afloat deserve a line of recognition or more.

Obviously you will feel identified with this, whether you are a basketball fan or not, whether you are a Kobe Bryant fan or not, it is simply a conventional short film that plays the right keys to create melancholy feelings in us, superficially speaking of inspiration, perseverance and our constant struggle to fulfill our dreams, but there really is nothing new here, we already know that old story, obviously you will love it if you are a fan of Bryant and this short will probably make you cry, but if we see more objectively It is out of level Oscar's I didn't let Kobe Bryant's sudden death just a couple of hours ago eclipse my vision of this, I saw it objectively and found nothing exceptional, if not a story of universal motivation, a message that can be expressed by any profession, a filmmaker I could do something like this and call it "Dear Cinema" is a love story for the profession, any profession.

Most user reviews say that Tom Cruise saved the movie, however I think Brian dePalma is the one who deserves all the credit, the style of the filmmaker makes this movie does not fall into cliches of action movies, there are some that other scenes full of cliches of spy movies like the initial scene but technically no movie of this genre has such a good direction as this movie, dePalma creates sequences that remind the thriller master Hitchcock, and thanks to this the movie has some scenes that overflow the suspense and intrigue, but as I said before it is thanks to the skills of dePalma and his stimulation of our perception with dynamic shots that disturb our senses.

The story is difficult to follow with the naked eye, however the more you think it is the less complicated it is, I guess I only have to see it one more time to get some details to overlook. The film's title is true to its history, totally impossible, 100% of the action scenes are impossible to perform in reality, I read in the book by Robert McKee about the script that all films must comply with the rules of their own established universe, this movie is set in a universe where these things are possible so I don't see any problem there, the biggest problem of the movie is that the scenes of the movie without action are empty, there is no interesting story to tell and it seems impatient to jump to the next sequence of action so that the film entertains us again.

Ray Kroc did not steal McDonald's empire, just like Mark Zuckerberg on The Social Network, Ray formed the idea into an empire, something that the McDonald brothers and the Winklevoss brothers would'nt have achieved due to lack of ambition and greed, the two values least ethical but more productive for society. So we should thank Ray for expanding to this level the largest fast food line in the world, however Ray Crok is in the minor leagues of selfish and twisted characters, compared to Jordan Belfort, Gordon Gekko, or his greatest analogue; Mark Zuckerberg.

If the film was not so interested in staying under the shadow of the great films of this genre and if i had tried to find its own vision, it would have triumphed much more, unfortunately John Lee Hancock directs conventionally and Robert Siegel writes a rather dysfunctional and full of cliches script.

The final scene is the biggest demonstration of Crok's cruelty, he is preparing a speech in which he will fool an entire country and seems to be very calm, repeats self-help phrases and is with his new wife, who took it from one of his partners, in these few minutes Ray becomes a memorable character, if the film had portrayed Ray Crok in this way throughout history the result would have been more interesting.

I think this is one of the films that best addresses the question of "Is there anything else after death?" Although it has always seemed stupid to think about that, since death is an imminent logical end, this film poses how this scenario would be, the ghosts roam to eternity without any sense or reason, they even lose track of time, life after death would be that sad and empty, if life itself seems empty I can not imagine if we continue to live and feel after death, and that is something that this film captures very well and transmits it with so much emotion, nostalgia and depth that will have a sharp effect on you.

This movie is also a technical and narrative achievement, films that try to tell history through cinematographic techniques without resorting to silly explanatory dialogues without underestimating their audience have always seemed superior to me with conventional narrative films. This film has such a shortage of dialogues but the faces of their actors are so expressive, and even Casey Affleck's face under a sheet, and the camera moves so well that the film only uses its shots to tell the story.