Just watched Atlas on Netflix, and while Jennifer Lopez did her best with the material, the film fell short in several areas. The plot leans heavily on the outdated “AI as the enemy” trope, much like the old Cyberdyne Systems/Skynet narrative, without bringing anything new to the table.
One of my biggest issues was the cringeworthy interactions between J-Lo’s character, Atlas, and her AI companion, Smith. Instead of sophisticated mental exchanges that could illustrate a seamless human-AI integration, we got overly explanatory dialogue that detracted from the film’s potential.
Atlas’s character was also a bit off. For someone with a deep distrust of AI and a high level of intelligence, she was portrayed as overly emotional and sociable. A more reserved, introspective portrayal, similar to Antonia Scott from Juan Gómez-Jurado’s novels, would have made her character more believable and compelling.
The film missed a significant opportunity to explore deeper themes, like the ethical and existential implications of integrating AI into human biology. Instead, it settled for a straightforward plot without delving into the potential awe and fear that advanced AI brings to our current era.
Critics have pointed out that Atlas struggles under the weight of a script that feels artificially intelligent rather than genuinely clever. It fails to capture the complex and nuanced discussions about AI that are so relevant today. For a more thought-provoking take on AI, I recommend Sam Harris’s TED talk, “Can we build AI without losing control over it?” It offers insights that the film could have explored but didn’t.
In 2024, we need sci-fi films that trust their audience’s intelligence and show, rather than tell, the complexities of AI. Let’s hope future films rise to the challenge and bring the innovative storytelling this genre deserves.
This move should’ve been called: Janet Van Dyne’s Adventures in Star Warsmania.
Quantum Physics has so many incredible theories and hypothesis that could be explored and Marvel decided to take us to some random Star Wars planet / galaxy.
The jokes weren’t even that funny.
It's been a long time since I haven't been hooked on a Spanish show like I'm with this one. Very well produced with a great script and actors.
Seriously, I can’t understand why people complain about this show. I thought the pilot was cool. Quite fun and entertaining, in the best spirit of the original comic.
Denzel Washington is just killing it as Robert McCall. That man could read the phonebook and still be captivating, but here he's upping the ante with every fight scene. I didn't think it was possible, but the brutality level actually went up a notch, and I was all in for it!
The pacing had its slow moments, sure, but it wasn't a buzzkill for me. It's like savoring a fine wine before you get to the fireworks; you appreciate the explosions even more when they come. Plus, the total running time felt just right, you know? Kept everything on an even keel.
And let's talk about Dakota Fanning! Loved how her role wrapped up in this installment. It felt like the story threads finally wove together into this complete tapestry. Kinda gave me that "Aha! So that's where it was going!" moment, and I live for that in a trilogy.
The cinematography? Spot-on. Very slick shots, it all pulled me deeper into McCall's world. And those fight scenes—they were few, yes, but, come on! It's like watching a dance, if that dance could incapacitate you in five seconds flat.
So, yeah, I had an awesome time with this one. It's like the film grabbed me by the collar and didn't let go until the credits rolled. If this is how they're closing out the trilogy, then bravo! They stuck the landing, 100%
This is one of those films that, after watching the trailer, you think it’s gonna be quite shitty, but you watch anyway because you like the actors and the director has made one or two decent films, but once the action starts, you tell yourself… yep! It’s a shitty film. I should’ve trusted my gut feeling.
Everyone in Spain (and many Latin American countries) knows who Cristina "La Veneno" (Poison) was, to a greater or lesser extent. Many will remember her for her famous intervention in the long-gone "DEC" hosted by Jaime Cantizano on Antena 3 and the iconic phone prank she was played there, in which a woman posing as her neighbor insulted her to piss her off. I certainly recall the times in which she faced Nova, another trans woman who criticized Cristina for not standing up for Trans rights. Others may remember her for her appearances on "Esta Noche Cruzamos el Mississippi" (Tonight we cross the Mississippi), Pepe Navarro's well-known program thanks to which she came out of her anonymity.
From her first appearance on television until her death in 2016 under strange circumstances, many things have been said and published about the life of Cristina Ortiz, but the truth is that they have never been told with such sensitivity and respect for her figure. Cristina worked as a streetwalker, one of the few outlets that hundreds of trans women in Spain were forced to go to in order to make a living.
Inspired by the book of her memoirs: "¡Digo! Ni puta ni Santa: Memorias de la Veneno" (I Say! Neither a whore nor a saint. The memoirs of La Veneno), "Veneno" is much more than an autobiographical show about the life of Spain's most famous trans woman. The mini-series, of 8 one-hour episodes, paints a faithful portrait of the skeevy, homophobic, and ultra catholic Spain of the late Francoism that mistreated and humiliated anyone who did not meet or fit certain standards. The series is a work of great maturity that mixes comedy, tragedy, and kindness in just the right doses to create a cocktail that, as a whole, is balanced and satisfactory.
One of the highlights of "Veneno" is in the successful cast of actresses who give life to Cristina throughout her life (from younger to older; Jedet, Daniela Santiago and Isabel Torres), as well as Paca la Piraña (played by herself), a mythical friend of Cristina's, who provides the comic relief of the series. Special mention should be made of the young Guille Márquez and Marcos Sotkovski who bring to life the Cristina of childhood when she was still known as Joselito; and of course Lola Rodríguez and Mariona Terés, two actors who grow up and shine even more with the course of each episode.
This new series by "The Two Javis" (Javier Ambrossi and Javier Calvo) is certainly the most original and groundbreaking work they have done to date, both in terms of script and production. The fact that a series like "Veneno" has managed to see the light (and even reach the big screen) is a milestone in the Spanish audiovisual scene. Because although it is true that we see more and more gays or lesbians or bisexuals in series and films, we finally find a series that features transgendered people as the main event. Equally or more important is the openness with which the series shows and raises awareness about this reality that is so important and so mistreated: transgender issues.
"Veneno" is an unprecedented revolution in the Spanish audiovisual industry. It gives us sex, violence, and insecurities without any concealment, with all the rawness with which it is sometimes associated, without leaving room for imagination. Probably, this series has also achieved more than any public awareness campaign promoted by many NGOs.
But the important thing is that "Veneno" exists and is necessary. You should see it, regardless of whether you like the character of La Veneno or not. Cristina Ortiz is just one more example of how much trans people suffer throughout their lives, of how difficult it is for them, physically and emotionally, and of the challenges they face every day. And so I would like to end by congratulating Javier Ambrossi and Javier Calvo for making this series that brings to light a reality that, unfortunately, many still see as taboo.
Just coming out of the Madrid premiere. Mmm… I really wanted to like it, but I’m afraid it’s messy at times and many lines are cringeworthy. There’s way too much exposition in the first act. It’s supposed to be brutal but they make the constant joke that Adam kills indiscriminately and in the end the joke gets kinda tiring. But it’s true that Dwayne Johnson was born to play Black Adam. My favorite was Doctor Fate and even Hawkman, despite his obnoxious black and white view of heroes and villains. I don’t even know why he’s the leader of the JSA. But his wings are something else!
Cyclone and Atom Smasher… a bit forgettable.
The post credit scene… it’ll make everything worthwhile.
I’ve watched the first episode and didn’t even bother checking it in. I was literally waiting to see some hardcore sex scenes because this show looks EXACTLY like one of those “high budget” XXX films. The costumes, the VFX, the story, the acting… everything screams porn movie, except that there’s no porn. So… what’s the point? I’ve always wondered what the pitch of TV shows like this one are like, that there are people who actually think it could be a great idea.
Take it from me… I’m Venezuelan. This second season is an absolute waste of time. I can accept that it was entirely filmed in Colombia, but the story and the way they portray Venezuelan culture is preposterous. It’s evident they didn’t do ANY research. Reyes’ accent is all over the place, at times he sounds Colombian and at others, he sounds Cuban. It’s just lame, lame, lame.
If you enjoy a languid two hours of Keanu Reeves relentlessly punctuating his enemies with a bewildering variety of firearms, then “John Wick 4” might just be your idea of cinematic nirvana. But for the rest of us mere mortals, it’s more like being held captive at a party where the only entertainment is the sound of a leaky faucet.
For starters, the killing scenes seem longer than a winter in Siberia, and I found myself pressing the fast-forward button with such regularity that I’m concerned I might have developed a repetitive strain injury. Perhaps in the next installment, the filmmakers might consider introducing some commercial breaks, so viewers have the chance to rest their fingers. But I hope they keep their promise and this is the last JW.
And let’s talk about the villain. Have you ever tried to build a sandcastle with dry sand? That’s how solid and compelling the villain was in this movie. They had about as much threat level as a half-deflated helium balloon and as much depth as a paddling pool in a summer drought.
The biggest tease of all? The all-knowing, all-powerful High Table. With each film, they promise us more, and each time we’re left holding an empty bag of revelations. In this chapter, we still didn’t get the payoff we’ve been waiting for. The High Table seems as elusive as Bigfoot, just with more tailored Kevlar suits.
And then we come to the stunts. I’m all for suspending disbelief, but there are limits. Even the dog was pulling off moves that would make a Cirque du Soleil acrobat raise an eyebrow. Next time, I fully expect to see it juggling chainsaws while riding a unicycle on a tightrope.
All in all, “John Wick 4” has the depth of a kiddie pool and the subtlety of a sledgehammer. But if you’re a fan of endless gunfire, weak villains, and dogs that get hit by cars and come out of it unscathed, you’re in for a treat.
Is this the way a very promising story should end? After four installments, this not even disappointing… we’re way past that.
Just finished watching M3GAN, and it was an absolute letdown. The film suffers from one-dimensional characters, making it difficult to connect with their stories. The plot is disappointingly predictable, with no real twists or surprises.
M3GAN had the potential to be a thought-provoking exploration of AI dangers, but instead, it offers a superficial take on the subject. The film barely delves into the ethical and societal implications, leaving the audience wanting more.
The pacing and suspense are also subpar, making it hard to stay engaged throughout the movie. To make matters worse, the visual effects don't meet the standards set by other films in the genre.
M3GAN could have been a captivating sci-fi thriller, but it falls short in delivering a meaningful experience. A missed opportunity, indeed.
It’s not that bad when get inside the story. I had low expectations but I was happy to see how Lana managed to make sense of how things evolved. I feel, in general, the story advanced and even opened new ways in which the story can continue. They even made fun of the studio and themselves. I like it when moviemakers don’t take themselves so seriously. They knew it was difficult to continue with the old plots and characters, so the had to make do with what they had. I did enjoy it.
This show is freaking joke… hahahaha such bad writing, bad acting… I don’t even know where to begin. The protagonist is a freaking disaster, she doesn’t even know what she wants to do with her life. I guess majoring in Psychology didn’t help her that much. I can’t even believe I went through all the episodes. And the ending? It’s the cherry on top. It’s an absolute WASTE OF TIME!
There’s a fine line between smart jokes and cheap play with stereotypes. The way the French are portrayed is simplistic and almost insulting. First episode and it’s the last for me.
I think it’s quite an enjoyable film. Despite its downs, it fulfills its purpose, which is to entertain, and it’s definitely NOT the worst movie of the year, as I read somewhere. I guess the movie is centered in the relationship between Daryl and Nick and the story develops from then on. I wish Ayer had delved a bit more in the mythology of the film, but if Netflix decides to give this film a sequel, it can be the main attractive.
So, I caught "All of Us Strangers" over the weekend - Andrew Haigh's latest. And man, it's like everyone's been talking about this one. The whole vibe of the film, the way it looks and feels, it's just... there's something about it. And Andrew Scott, I mean, come on, the guy's a genius. From his days as Moriarty to now, he just nails it every time.
But, okay, here's the thing. The whole storyline with the protagonist's parents being gone from the get-go... it kind of just set this tone, you know? Like, you could see where it was headed, and it sort of took the wind out of the sails for me. Even when Paul Mescal's character took that dark turn, I wasn't shocked. It felt like the movie was laying it on thick with the whole trauma angle, without giving us that light at the end of the tunnel kind of vibe.
Now, don't get me wrong, the acting across the board was top-notch. Critics have been saying the same, pointing out how everyone in this film just brings their A-game, making these really intense emotions feel super real. And the whole thing about Adam trying to connect with his past, with his parents, I get that it's deep, it's moving. But for me, it was like, where's the hope, you know? After everything, you kind of want to see a glimmer of something good on the horizon.
So, yeah, it's a beautiful film, no doubt. The colors, the shots, the performances, especially Scott – it's all there. But by the end, I was left feeling a bit... I don't know, empty? Like we went through all these emotions, but for what?
Rating it? I'd say a solid 6 out of 10. It's worth watching for the performances alone, and there's definitely something haunting about it that sticks with you. But just be ready for that heavy vibe, without much to lift you up by the end.
So, I dove into "Barbie" expecting some fun, flashy visuals and, well, it didn't disappoint on that front. The start was pretty solid, with all the glitz and glam you'd expect from a Barbie world. They even threw in some cool messages about loving yourself and all that jazz. But then, things got... weird. The movie started going on this whole "women rule, men drool" vibe, which kinda felt like they missed the mark on the whole equality thing.
Greta Gerwig seemed like she was trying to juggle a million things at once. It's like she wanted to wink at the audience every two minutes, saying, "See what I did there?" Margot Robbie as Barbie was cool and all, but Ryan Gosling as Ken? He stole the show. Dude was hilarious!
The visuals? Top-notch. The music? Catchy as heck. But the story? Kinda felt like they were trying to please everyone and ended up pleasing no one. It's like they wanted to make a point, but then they'd immediately backtrack, probably scared of stepping on toes.
The movie was a bit of a bummer for me. It had its moments, but also left me scratching my head a few times. If you're in for some laughs and eye candy, give it a go. Just don't expect a clear message by the end.
After watching the 2023 version of Disney's "The Little Mermaid," I feel like I've dived into shallow waters of disappointment. While Halle Bailey undoubtedly shines with her talent, the film fails to capture the essence of the beloved classic.
The dark lighting, seemingly aiming for "realism," only manages to dull the vibrant and colorful underwater world of Ariel. And let's not even get started on the CGI, which often feels subpar and detracts from the immersion. It was just AWFUL.
Melissa McCarthy's performance, which I had high hopes for, unfortunately, fell flat. It lacked the depth and charisma one would expect from such a seasoned actress, especially in a role as iconic as Ursula.
Why the decision to introduce unnecessary political and family subplots? Sacrificing iconic moments, like the hilarious chase scene with the Chef and Sebastian, for narratives that don't enrich the core story was a misstep. That scene in the original was a guaranteed laugh, and its absence is deeply felt.
Moreover, the film's geographical setting is puzzling. The Caribbean? While celebrating cultural and racial diversity is commendable, the choice of a "kingdom" with a medieval-looking castle on a Caribbean island feels out of place. I'm left wondering what role this setting plays in the narrative, and I feel a missed opportunity to delve deeper into the rich Caribbean culture.
Despite being touted as revolutionary, especially with the inclusion of a Black princess, the film doesn't bring anything new to the table. It feels like another attempt by Disney to revive their classics without truly grasping what made them special in the first place.
In short, if you're seeking the magic and simplicity of "The Little Mermaid," I'd recommend revisiting the 1989 version. This new adaptation, unfortunately, doesn't measure up to the cherished memories of the original.
Oh boy, where do I start? “Smile” is a queasy, nasty horror-melodrama from first-time feature director Parker Finn. It’s shot in a dull, blank, subdued light into which hallucinations and supernatural incursions can insinuate themselves without warning. Sosie Bacon (Kevin’s daughter) plays Dr. Rose Cotter, a consultant psychiatrist who has chosen to work in the most challenging environment possible: a hospital ER in which patients are invariably at their most violent and troubled. But let’s be real here, her acting is as convincing as a politician’s promise during an election campaign.
The movie’s influences are certainly detectable: we are admittedly close to It Follows and The Ring territory. It could have been the kind of sinister flick that follows you home, slipping through the door, up the stairs, and curling up deep inside your head, daring you to sleep. Instead, Smile feels as disposable as a candy wrapper. And let’s not forget about the dialogue. It’s as cringeworthy as a dad joke told at a funeral. In short, if you’re looking for a good horror movie to watch, keep looking. This one will leave you with nothing but disappointment and regret.
What did I just watch? Definitely not my type of film. Boring and nonsense AF.
I’m not even going to check it in.
The first episode lasts 19 minutes and I could only get to see 14 minutes. I told myself “it’s not even 20 min”, if it’s bad, I won’t continue. But no… not even that. Really… bad…
I honestly thought it was going to be way worse… better than Venom 2 it is… I wouldn’t watch it again but at least the effects are good. It reminded me of the way Alex Mercer flies in Prototype… if a Morbius game came out, I’d play it!
I swear… I had no idea it was written and directed by Roland Emmerich… halfway through the film, I tell me husband: “don’t you think this movie is like a hodgepodge of Emmerich’s apocalyptic films?”… the same shitty formula, lame pep talks and trashy plot line.
I promise I didn’t know it was by him, otherwise I wouldn’t even have entertained the idea of watching it. What a waste of money…
The second season starts off well. The group of teens poses a bigger challenge than the first season, but… there’s always a but. The episodes go from bad to worse. By the end of the season, the story loses its course and the writers even include earthquakes. Dunno, I almost didn’t even care how it ended.
The show’s ok. As a stand-alone series, it isn’t very strong, but just because it’s connected to the MCU, it automatically becomes better. By the way, I truly hope that the musical stays in this series… good lord! It’s cringeworthy!
I thought it was gonna be worse than I had expected. That alone deserves a 5, the extra point comes from some character development and their moral dilemmas. The rest is just boring stuff… there were quite a few things that bothered me… silly things like why create an Eternal with hearing impairment, I wish they’d included her impairment as part of the story. Don’t know… something like… she decided to go silent because of… whatever. Some of them had pretty useless powers… creating illusions? Really? Ajak’s healing factor was ok, but her death happened so stupidly. It’s also very slow… I did enjoy some of the battles and a little more.
I have a serious problem with films that depart from an ethical question, such as “who must die to save the others?”. Basically because writers usually pose the most difficult circumstances and situations for the characters to face. This makes it hard for me to really connect with the story. The acting doesn’t help either. What’s more, writers’ not knowing much about how things work in space makes me angry. They conveniently have the spaceship provide artificial gravity and the crew back on earth are incapable of predicting when a solar storm will occur or are so inept that they can’t anticipate problems with the life support system, like having just enough oxygen for three people and not four. Some writer do abuse of Murphy’s Law.
I haven’t read the source material. I didn’t even know it was based on a novel until I read it in the opening credits. That said, I can’t make any comparisons, but if the novel is at least 50% the same as the movie, then it’s a waste of time.
Although I find interesting the premise of a planet whose atmosphere (or magnetic field) has that effect on all males species, I think it was poorly executed. I’m a linguist and I feel that the writers have no idea what cognitive science says about Steven Pinker’s “Mentalese”. The human brain doesn’t work with a specific language and the visible effect would probably be more abstract, with more images and fewer words. Also, given that Todd grew up in the planet, it’s only natural that he would become a freaking expert on how to control his noise and use it in the most creative ways, pretty much as the Mayor. After all, it’s nothing more than an extension of your way of expressing yourself. It’s just clumsy and lazy writing… the possibilities are endless. What I get is that the noise is gone when they speak, as if the brain stops thinking when they speak.
Instead, we get a story that doesn’t even explore what it shows. What about the native species? It leaves you with nothing.
I don’t know… it’s just a very lazy movie.
