SouzaBreno

The Nun 2 is another production that follows the recipe used in the films in its universe. In addition to being, of course, another generic production that uses this construction formula and jumpscares seen in practically all horror **** problem again is the script that starts well, but then falls into the curse of repetition due to the lack of creativity and originality. The text even tries to include elements of investigation, but everything is so superficial that it ends up not presenting any difficulties thanks to the facilitations and conveniences of the script. The ending is slutty and oops, guess what? nothing original. The build up to that point is predictable but functional, the end is yet another fight against the mega-powerful evil creature that is defeated in the most disappointing way by the protagonist who took power from the **** text also doesn't help the characters, they don't have decent arcs and most of the new ones that were introduced have no development and are left over from the **** atmosphere of the film has fallen a lot compared to the first, it is weaker, less dark and less dense. I must say that in the city parts the photography is very beautiful, the lights and the reconstruction of the old architecture give it an aesthetic **** soundtrack is lukewarm and the film relies on poor and predictable jumpscares, and even so it doesn't scare because of the (remembering) well-established **** Nun 2 is a poor, poorly written film that shouldn't even exist. Is it a sequence that has justification for existing? Yes, but one that originated from a scene that seems slutty because it was so obvious that it was made for profit and quantity, not quality.

A little better the second time, but still far from **** Nun does not cause fear due to its familiar tricks and predictable scares, but they are operational devices. In terms of atmosphere, the film does well and has a visual impact, all the locations from the abbey to the cemetery are dense, dark and **** problem is the script, nothing original, the construction and ending and very little development. The characters basically have one line of dialogue about their past and that's ****'s a watchable film, it's not bad, but it's weak to the point of disappointing.

They Cloned Tyrone is a surprising comedy/fiction that takes some ideas from other productions and mixes them into an authentic and very satirical creation. The script is intriguing and even intelligent in approaching cultural details in an ambiguous way and when making criticisms, whether expository or more meticulous. The text and the good performances of the central actors generate a sensational interaction between them, and it is precisely when the three are together that the most fun and funny moments happen. It's a well-written film with a script full of interesting insights and an intriguing plot that, together with the great performances, make They Cloned Tyrone one of Netflix's best productions this year.

Megaterrivil, an unnecessary sequel that doesn't know the tone it wants for itself much of the **** problem with Meg 2: The Trench is that the text doesn't know whether to fully embrace the joke. An example of this is at the beginning, the beginning is extremely boring, in addition the film initially begins with a serious tone of research and exploration, but this and all other secondary plots presented are discarded. When it embraces the joke, the film completely throws itself into a lie devoid of logic, and when that happens is when the film starts to be fun. The text as said is the problem, it is extremely cheesy, full of terrible dialogues and again the problem of whether it is serious or not, not to mention that it is ridiculous how many films have this same construction and revelations.Have fun? Yes, most of the time. But if you choose not to watch Meg 2: The Trench, you won't miss a thing.

With unreal scenes, the extinction of logic and plausibility, The Meg is an extremely fun silly film. The plot doesn't matter what it does, lots of conveniences and little use of some points. The text does not develop its characters, they are one-dimensional and extremely generic. The tough hero, the girl who initially doesn't like the protagonist but who changes her view as the plot progresses, the rich guy who pays for everything, the comic relief guy and so on... However, the plot succeeds in balancing the moments of action and suspense. The film has great action sequences and with interesting variations between them, it also has some very beautiful passages through the **** taking itself seriously because it knows it's not meant to be, the film embraces the silliness (in a good way) and delivers a popcorn film just for fun.

The Last Voyage of the Demeter is yet another forgettable adaptation/"expansion" of Bram Stoker's work. The original material doesn't have much content as it's just a single chapter, but it's interesting. Here in the film, this word falls into limbo due to the common tricks that are used throughout the construction. The script is obvious, poorly written and poorly developed. The text does not delve into some of the points raised and instead prefers to include some ridiculous monologues. The third act is annoying and the resolutions found here border on the height of **** script also fails with the presentation and development of the characters. They have very little charisma, which leads us to give a damn whether they live or **** atmosphere of the film is good thanks to the photography. It is a dense environment with cloudy weather, thunder and the deafening noise of the sea. These aspects instigate our curiosity to know where Dracula is and where and how he will **** film's CGI is good, the apotheotic sea is very real and Dracula's appearance is good and reminiscent of his classic appearance in ****'s a forgettable film that when it is remembered it will only be for being another Bran Stoker adaptation that didn't work.

Talk to Me stands out from other horror productions in recent years due to its subjectivity, the lack of cheap use of jumpscares and its own visual **** film is cohesive and very rounded, the plot does not get lost in its inventions or force shock on the viewer. The text manages to link issues such as grief, loneliness and depression together with the typical portraits of spirits and possessions in a well-done way that makes sense within its core. The film also manages to be unpredictable in its development, and with its subjective ending it manages to break away from the usual cliché endings of other productions. (And to see how the film can really succeed, the script manages to make us care about the characters in the plot). The cast here is very good and manages to sustain the events with veracity and even the naivety of real **** film generates impressive tension. This is thanks to the absurd photography and the organic use of cameras, always with natural movements. For these reasons, the film manages to establish tension in the viewer without using jumpscares, and when they are used, they are used naturally. The use of practical effects was also a good idea and the fact that those elements are not CGI makes the experience even better.Talk to Me is a technically impressive and original film that manages (almost always) to free itself from cheap artifices seen in poor films of the genre.

Without the subtlety of other Pixar productions, but still charismatic, Elemental is a "common" production, but well done and **** strong point of the production is in the world-building part. Like all Pixar films, Elemental City is colorful, vibrant and impresses with its vivid **** character design is also a point to highlight. In addition to being well made, the way each one interacts with the environment is very interesting, changing depending on the element **** script is a very basic water-and-sugar romance. The construction of the romance between the two main characters is convincing despite not having greater **** text has some interesting allegories and metaphors, but their potential was not properly used. The film explores very little some points that would give more scope to the plot, and some of these points are one of the pillars of the story.Elemental is very fun and has some very interesting passages, its impressive visuals and its basic (but well done) story leave a light and relaxed experience very good at the end of the day.

In addition to its beautiful aesthetics, finally, for the first time, a Ninja Turtles film focused on the teenage part.With a modern text (for better or worse) and several cool pop culture references and Easter eggs, TMNT: MM plays on all modern creations. With a new origin story in the audiovisual medium, the film manages to establish our attention to those characters in an inviting way. The text manages to highlight their personalities and desires through the enormous charisma of each of them. Overall, each character is visually interesting as are their personalities. Some changes to the essence of some characters may end up giving a bitter taste to long-time fans, but considering the product as its own, the show is not **** animation is very stylish and impresses in the action scenes, which are creative and very impressive. The aesthetics themselves match the age of the characters. The soundtrack is also sensational and evokes even more excitement about the scenes.With impressive visuals and several pop culture references, Teenage Mutant Ninja Turtles: Mutant Mayhem is the best ninja turtle film ever made and the top 3 animations of the year so far.

The same story, the same formula, but more uninteresting, weaker and not at all scary. Insidious: The Red Door is a film that mainly focuses on two aspects. First, the horror part. Second, the relationship between father and son. And oddly enough, it hurts both of them. The script is the same as the first film but with some changes. The climax of the film is very weak and even disappointing. The plot returns with the demons of the first two films, but they end up not adding anything. Another thing misused was the red door itself (subtitle of the film), in the end it ended up having no real meaning, it's just a door that happens to be red. The development of the characters is shallow and the construction of the relationship between father and son is almost non-existent, not to mention that it was sold as the last film in the franchise, but the film itself left room for more of the same. The horror part is weak, the production relies on cheap and predictable jumpscares. Even though the soundtrack is basically the same as the other films in the saga, it doesn't have the same brilliance here. The team is already beaten and she doesn't cause discomfort, discomfort or the shiver that the others did. It's the weakest in the franchise, it relies on references and appearances to mask the poorly written script, but they didn't succeed. Because the wear and tear on the formula and the lack of creativity in continuing this franchise with main titles are noticeable.

A predictable but very charismatic sugar water cliché. The film has a typical construction of films of this genre, it is a story with a very predictable outcome. The cinematography of the film is very good and the photography is quite sophisticated, sometimes even evocative, matching the lives of the characters. The main plot involving the novel is well constructed. The performances of the two main actors are good and their characters, despite being different from each other, end up complementing each other, and they also have a lot of chemistry. In general, the supporting characters are good even though they don't have focus. The other parallel plots are well developed and everything there has motivation, they are not matters thrown in just to complement. It's a little film that's nothing different but well produced and very enjoyable to watch.

A very fun romantic comedy that ranges from the most subtle humor to the famous nonsense. Without a doubt the best thing about the film is Jennifer Lawrence, she rocks the role and has an interesting chemistry with the other character. The script is not the strong point, when the plot focuses on humor, especially slapstick, it works and well, it's a real laugh. But when entering into certain dilemmas or dramas the text is unsuccessful. It's a stimulating and fun comedy reminiscent of teen comedies from the beginning of the century, great for passing the time.

Barbie is at its core a coming-of-age adventure with sharp sarcasm and a plot that involves questions within a film that is much more than it appears to be. Greta and Noah delivered a self-aware text from the start. It's well written and sarcastic with moments of superficiality (on purpose), a lot of humor, innocence and also of course, drama. The film's reviews, despite being expository and often redundant, are not boring or overwhelming, on the contrary, they are made with a lightness and humor to the extent leaving the viewer entertained, light and at the same time reflective on the issues exposed. But I must say that the script exaggerates in some ways and some things have no explanation, but they are points that do not disturb the show. Although the film has a lot of characters, only 3 have real narrative importance. Some supporting characters are interesting but there are a lot of characters left in the plot that would not be needed in the film, in addition some of them have bumbling level arcs. Among all, the highlights are Barbie and Ken. The change in personality, the maturation and the change in perception that both have with themselves and the world is remarkable and well constructed. Margot and Ryan managed to really be the characters and what we think of them. Technically the film is magnificent. The worldbuilding of Barbieland in particular is perfect, no more and no less. The photography is exaggerated and artistic. The production design is sensational and deliberately plasticized and caricatured, matching the aura of that world. Another positive point are the costumes, which, like the production design, are colorful, extravagant and beautiful. The soundtrack is sensational and all the musical scenes are done with an absurd execution of choreography. Barbie is a feminist film yes. But also necessary, funny, creative, smart and exciting, and who knows how to mock his own brand while questioning his place in the world and the world itself.

Totally surprised. Impeccable animation quality, it's amazing how the Japanese traits give such a sophisticated aesthetic to the productions. The story has significant changes, but what was told told well. As much as events occur quickly, the script is well written. The text is very serious and brutal from start to finish, but it also has its moments of humor, which by the way are well placed. The characters are interesting and their motivations understandable within that universe. Highlight for Vesemir, the key turn of his mentality is very well crafted and he has enormous charisma. I really like this difference in personality between him and Geralt in "youth". The brutality and gore of the animation, in addition to being necessary, perfectly matches the essence of the work, making it even more reliable. The fights are spectacular and dynamic and the carnage is visceral. It is a canonical production with references and Easter eggs that complement the series and make the new viewer even more curious and enchanted by this rich universe.

Definitive film of the genre. Perfect balance between humour, seriousness, drama and action. Breathtaking scenes, good characters, interesting story that gets more engaging as it goes on and a duration that goes by without us noticing. Dead Reckoning managed to be the best in the franchise and one of the best action movies ever made.