I came in with the “horror film of the year” buzz and, honestly, left disappointed. There are a couple of set pieces that freeze your blood and the craft is strong —disgustingly effective makeup, some unsettling daylight shots— but when it needs to sustain fear, it leans on shock and gore. That’s not the same. Rugna nails unease and harshness, yes, but he often confuses discomfort with horror: it churns your stomach more than it scares you. The opening teases a rural folklore and a universe of “embichados” that could’ve been fascinating. Yet the rules never feel clear, the script lurches forward, and characters stack up head-slapping choices that pull you out. When the film explains its mythology, it loses steam; when it accelerates, it piles on splatter to cover the lack of tension. There are bold, bright ideas, but they don’t quite cohere. On the minus side: uneven rhythm, talky exposition that punctures atmosphere, and a finale that doesn’t land the blow. On the plus: a few devastating moments, a lean, no-nonsense staging, and a ruthless tone some will love. I left thinking it’s more brutal than truly terrifying.

Revisiting Prison Break end to end (revival included) confirmed two things: its opening run is dynamite TV, and the farther it gets from the prison, the more wear shows. Season one is a breathless puzzle—inked blueprints, micro-missions, tension episode by episode, and suspense paced almost like music (Ramin Djawadi’s score helps). It’s high-grade entertainment. The cast clicks, too: Wentworth Miller crafts a cerebral hero without losing humanity, Dominic Purcell balances him with weary grit, and Robert Knepper makes T-Bag an unforgettable villain; in season two, William Fichtner (Mahone) elevates the manhunt as Michael’s dark mirror. Then the cracks appear: conspiracies that balloon, miracle coincidences, and a repetition of beats that sometimes demand more faith than logic. Sona (S3) injects fresh air but briefly; S4 pivots to a “heist squad” vibe with mixed results; the 2017 return is fun, though it feels more espionage than escape. Even so, Prison Break remains a highly watchable binge: addictive, expert at cliffhangers, and driven by characters who hook you. If you once dropped it, the full ride is worth it… even if the best memories stay behind bars.

[spoilers] There just wasn’t enough story here to make me care. The characters felt thin and underdeveloped. The film opens with the death of a parent we know nothing about, revolves around a daughter we barely get to know, and ends with the death of a sister whose relationship to the protagonist is never meaningfully explored. The writers seem to think these moments will land emotionally, but there’s no real foundation for them. The near-constant action is solid and expected in the John Wick universe—and there’s no shortage of explosions (possibly a record of grenades used in film)—but after two hours, I needed something more. The film needed stronger narrative depth and character work to balance the chaos. 3-2.5.

aight chef I'm just not feeling the whole "we're turning this modest take-away place in a sterilized high cuisine restaurant" because I feel it winks way too much at the american way of doing things in which you can only aim extremely high in order to feel succesful. Stopped at the ending of season 2 because you can only push highschool-level drama so far before it turns into straight up annoying.