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Two years after winning the Oscar for Quentin Tarantino's Once Upon a Time in... Hollywood, Brad Pitt returns with a bang in 2022 with a non-stop of projects. We will see the first of them on April 13, when he joins Sandra Bullock and Channing Tatum in the comedy The Lost City, which aims to be one of the craziest titles of the year.

Although not the most, because among his next films is also Bullet Train, an action thriller with comic overtones that has just released its first trailer and aims to be one of the most explosive releases of the year.

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Bullet Train is the adaptation of the novel of the same title by Kotaro Isaka. It is a dark and satirical thriller about five contract killers with the same objective who cross paths on a bullet train, but their opposing interests will make them fall into a parody spiral of violence and confrontation. Beyond Brad Pitt, who returns to exploit all his charisma on screen in this preview, we can also find other prominent names in the cast such as Joey King, Aaron Taylor-Johnson, Michael Shanon, Logan Lerman or Sandra Bullock, who this year coincides with the actor from The fight club in up to two projects. In addition, it also has the participation of the singer Bad Bunny, whom we can see confront Pitt in the trailer.

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If there is a movie that this first trailer for Bullet Train refers to, it is without a doubt John Wick, the action thriller that Keanu Reeves starred in in 2014 about a hitman seeking revenge. That film, which also alluded to Asian culture with aesthetic elements or martial arts fights, not only relaunched the Matrix actor to stardom, but also became an instant box office hit with $86 million worldwide and gave rise to another iconic saga in Hollywood.

In fact, David Leitch, one of those responsible for John Wick, is the director of Bullet Train. The filmmaker is also behind other great action-comedy hits such as Deadpool 2, adrenaline-pumping proposals like Fast & Furious: Hobbs & Shaw or that female version of John Wick that was Atomic with Charlize Theron. So we would have to expect a job to match.

Of course, Brad Pitt does not need Bullet Train to catapult him anywhere, but given John Wick's data and the good acceptance he had among the public, it is obvious to think that this new action proposal can repeat play and ring the bell in ticket office. Its premiere is scheduled for July 22, an ideal summer date to go to theaters to cool off with this succession of frenetic action, shootouts, battles, explosions and chases in the midst of an aesthetic context as captivating as Tokyo. And let's not forget his humor either, which aims to reach a perfect black and hilarious tone to finish conquering us.

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After multiple delays due to the pandemic, The Batman, the new Gotham dark knight movie starring Robert Pattinson, has finally hit theaters. It portrays a new vision of the superhero under a police thriller approach, a film with a dark, intense and realistic tone that, through a detective investigation structure, introduces us to a plot of power corruption, influence peddling and crime with Enigma as the great villain of the show.

I think it is something never seen in the adaptations of the character to the big screen, being more of a thriller in the line of films like David Fincher's Seven or Zodiac than a superhero movie to use. Hence, I think it is one of the best and most interesting versions of Batman that we have had the opportunity to see. In addition, his flirtation with other genres such as horror, the great atmospheric work behind the direction of Matt Reeves, the gloomy photography of Greig Fraser, the intense melodies of Michael Giacchino or the power that Pattinson radiates behind his Bruce Wayne, the They are close to perfection.

But no. It's not perfect. The Batman makes a major mistake that responds to a whim that Hollywood has clung to in recent years and to which I see less and less sense: its duration of 176 minutes.

There are almost three hours of footage available in this new Batman movie, which breaks the record for being the longest film adaptation of the solo character after surpassing the 164 minutes of The Dark Horse: The Legend Rises. It could be justifiable in the event that the story had a lot to tell, many edges to stop at or action sequences that deserve to be lengthened to increase the degree of spectacularity. But is not the case.

The story proposed by The Batman is simple. It is a detective story of crime and corruption where the bat man tries to stop Enigma and the macabre games of him, who in his attempt to take justice on his own account is creating chaos in Gotham City. It is an argument that could perfectly have been told in an hour and a half, and stretched out to almost three hours, presents considerable rhythm problems that at times translate into boredom and saturation.

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I have to admit that, although in general terms I loved The Batman, the first section of it was uphill for me. Its slow pace, the time it takes to put us in context and introduce the characters, and the intensity of its atmosphere, made it very difficult for me to digest in its first half hour. I felt that the scenes were taking place in slow motion, that the film needed a lot more pizzazz, and that it was far from being the superhero show I was looking to see.

Fortunately, once the plot is introduced, the film comes into its own and all these problems disappear. It was then that I felt captivated by this new approach to the character, by its police thriller tone, by how great and insane Paul Dano's Enigma is, by the spectacular nature of its action sequences or by its fantastic fusion of a Gotham City realistic with the universe of comics.

But the feeling that I was watching an unnecessarily long movie returned in the second half of the footage, when from the middle stretch to the final climax I felt that little or nothing was happening on screen and that Warners should have seriously considered putting the scissors. However, it seems that nowadays every big budget blockbuster must respond to this elongated structure, even if it goes against what the film requires.

It is Hollywood's way of selling the viewer that they are going to see a great event, that the ticket price is going to be justified by these long hours of footage. A whim that seeks to boost the box office despite the fact that the productions may be harmed because the excess footage does not adapt to its structure. And I've been having this feeling for quite some time. Even with movies that I love and don't mind spending extra hours watching footage.

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For example, last 2021 I left the cinema delighted and excited after seeing No time to die, the latest James Bond adventure. But thinking about it cold, the film has plenty of duration everywhere in its 163 minutes of footage. Without going too far, its prologue was excessive, almost half an hour of introduction with unnecessarily long dialogues and an action sequence that, as spectacular as it was, could have been told in much less time. And it could even have been much more intense and dynamic. I can understand these exaggerated lengths in movies like Marvel's Eternals, whose large number of characters, plot and context even required more than its 156 minutes to be properly explained, but not in the case of stories like The Batman.

There have always been films of extreme duration, and you only have to look at classic Hollywood where this effort to create a cinematographic event was even greater and the productions usually exceeded four hours. But you have to know when it is necessary and when not. And I think that, given what happens in The Batman, the industry should stop to criticize itself and assess whether it is really worth using these elongated structures as a commercial claim when they seriously hinder the films. And honestly, it made me quite angry that the great experience that The Batman is supposed to be affected by this, because it could perfectly have been a movie of 10.

Following Russia's invasion of Ukraine, there were many responses from parties, including Hollywood.

In response to this, Hollywood has stopped the distribution and screening of films in Russia, including Warner Bros. which stopped the release of the film 'The Batman' in Russia a few days before the opening of cinemas there.

According to Warner Bros., the Walt Disney Co and Sony Pictures will also temporarily suspend the release of their films in Russia.

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Meanwhile 'The Batman' is the most anticipated film of the year which is scheduled to be screened this week in America and following screenings abroad including Russia.

A spokesman for the studio responded that the suspension of distribution and screening of the film in Russia was a humanitarian measure against the crisis in Ukraine.

"In light of the humanitarian crisis in Ukraine, Warner Media has stopped the release of the film 'The Batman' in Russia," he said.

"We will continue to monitor the development of the current situation. We hope for a speedy and peaceful resolution to this tragedy," he continued, quoted from the same page.

On Monday, Walt Disney Co., following in the footsteps of Warner Bros., also suspended its screenings in Russia, even though the studio had planned to open Pixar's 'Turning Red' in Russia on March 10 and hit Disney in the US.

Disney representatives or spokespersons shared the same thing with Warner that the humanitarian crisis that occurred in Ukraine due to the Russian invasion led to the termination of the release of the film 'Turning Red' in Russia.

"In light of the unprovoked invasion of Ukraine and the tragic humanitarian crisis, we are halting theatrical releases of films in Russia, including Pixar's upcoming 'Turning Red'," he said.

“We will make future business decisions based on the evolving situation. Meanwhile, given the scale of the emerging refugee crisis, we are working with our NGO partners to provide urgent assistance and other humanitarian assistance to refugees,” he added.

The Ukrainian Film Academy on Saturday also voted for an international boycott of the Russian film industry.

The strength of Texas Chainsaw Massacre, or a good part of it, lies in the dread and madness that Leatherface conveyed in the midst of a photograph and strong themes about the 1970s and, consequently, replicated itself in the eyes of young hippies who tried to escape it. The first film is one of those that sounds like free horror, but has shaped slasher cinema and is a reference for any fan of the genre, whether you are a spectator or a filmmaker.

In this context, Netflix has decided to make its move on the regeneration of modern horror, already reinforced by Scream and Halloween, and resurrects the chainsaw killer in a direct sequel to the first film that doesn't skimp on visual references, but sounds as free in themes as one could imagine. It's cowardly to compare it with the original, but in the wave of reinterpretations we see today, there's no room for a horror without content or more devoted to the style than the genre itself.

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The story of Leatherface Returns shows a group of young people back in the city of the murderous family from the first film and, after being attacked by the same serial killer from the past, they receive the unlikely help of Sally, the survivor of the first Massacre. Nothing inventive, but so far, no problem.

The handling of the horror scenes, by the way, is firm and stylish, as the duo that directs the film, David Blue Garcia and Kim Henkel, are not shy about showing any innards or human pieces flying on the screen. For those who like gore, here's a full plate and short, since rightly the feature doesn't even have 90 minutes long.

The biggest problem with this sequence, however, lies in the emptiness of the speeches that it tries to deliver to give context to the new Massacre. Whether it's the trauma of the protagonists (uninspired) or Leatherface's family problems, nothing sounds strong enough to hold the plot - and it's even more evident that it needed little drama to sustain the story. As David Gordon Green's great Halloween taught, the slasher's foundation is suspense, lurid situations and a chase that involves the intensity of prey and predator.

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The Oscars 2022 announced on Tuesday the list of films that can be voted on by the public via Twitter, in a new initiative to involve more fans in the ceremony.

Twitter users will be able to vote for their favorite movies using the hashtag #OscarsFanFavorite. In addition, it will also be possible to vote for the favorite scene of 2021, through the hashtag #OscarsCheerMoment. The voting limit is 20 per day per user.

Formally, the Academy will not consider voting as a new category, but rather a fan engagement initiative in partnership with Twitter.

Check out the list of films eligible to receive the Fan Favorite award:

“Army of the Dead: Invasion of Las Vegas”

"Cinderella"

"Dune"

"Malignant"

“Minamata”

“Attack of the Dogs”

“Sing 2”

“Spider-Man: No Homecoming”

“The Suicide Squad”

“Tick, Tick… Boom!”

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From the list, two films were nominated for the category of Best Picture at the Oscars: “Dune” and “Attack of the Dogs”. Already “Spider-Man: No Return Home“, which can be considered one of the favorites for its success at the box office, was nominated only in the Visual Effects category.

The most voted scene and film will be announced during the 2022 Oscars ceremony, which will take place on March 27.

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