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ATTENTION: This article contains details of the plot of 'Death on the Nile'.

The COVID-19 pandemic forced massive movie delays to escape theater closures and restrictions brought on by the coronavirus. One of those affected was Death on the Nile, the adaptation of the Agatha Christie novel by filmmaker and actor Kenneth Branagh, who after premiering Murder on the Orient Express in 2018 returned to the universe of the British writer leading Gal Gadot, Armie Hammer, Letitia Wright or Annette Bening to Egyptian lands with a new crime.

Its original premiere was scheduled for December 20, 2020, but finally its arrival in theaters has been this February 18, 2022, more than a year later. Throughout this long period there has been time for many events, including many controversies that have affected several members of its cast. It may be the case of Letitia Wright, the Black Panther actress whose anti-vaccine position has raised a lot of controversy.

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Also that of Gal Gadot, who in mid-2021 once again made a splash for his position in the conflict between Israel and Palestine. But the most serious is that of Armie Hammer, who was involved in accusations of harassment and even cannibalistic tendencies.

It all started when in early 2021 an Instagram account called House of Effie published alleged messages sent by the actor to women with risque words, descriptions of sexual situations and even confessions where the Call Me By Your Name actor declared himself a cannibal. At first it sounded surreal, but when Hammer began to abandon important projects and entered a rehabilitation center, the case began to be seen as true and terrifying.

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With the delay of Death on the Nile, this problem hit Disney squarely. The House of Mouse has always been very careful with his image, and having a controversial figure like Hammer in his production was not a dish of good taste. As The Hollywood Reporter reported, the company even considered re-recording its movie scenes with a new actor, and even removing it with digital techniques. But these options were not feasible.

With such a large cast, with so many top-tier actors with high salaries and with the pandemic making filming difficult and increasing production costs, it was mission impossible to carry out this task. In addition, Hammer plays Simon Doyle, who, as those who have read Agatha Christie's novel or seen the adaptation directed by John Guillermin in the 1970s will know, is one of the most important characters in the plot. Therefore, the elimination of him by digital techniques was unfeasible and the option of re-recording his scenes would have involved reshooting almost half the film.

Therefore, Disney jumped into the pool and decided to release Death on the Nile with the controversial actor. Of course, trying to hide his presence. There is more to see that, despite playing one of the most relevant roles, in trailers and other promotional materials he has been relegated to the background. And in the film they have tried to do the same, although instead of hiding it, they have made the controversy continue to be present in the viewer's mind.

And it is that after the presentation of the plot, the role of Armie Hammer, who during the first section of Death on the Nile already stands as one of the most important figures in the mystery, disappears completely during the middle of the footage. This part is where we see inspector Hercule Poirot interviewing all the travelers on the Nile ship where the murder took place. The characters expose their version of the facts in order to raise our suspicions or increase our doubts, assuming one of the most intriguing, emotional and interesting moments of the film. But Simon Doyle, Hammer's character, never becomes part of this dynamic. He doesn't even make a small appearance on screen, since he remains absent until the moment the mystery is solved.

At that key moment of the plot, where along with other characters Armie Hammer acquires an essential role in solving the mystery, it is when the absence of him in the previous part shocks you the most. And it is inevitable to assume that his presence has been reduced to a minimum by all the controversy that has surrounded the actor. The logical thing is to think that, having in mind the possible re-recording of his scenes with another actor, Disney wanted to reduce his presence as much as possible from the editing to save time and budget in supposed re-recordings. But this works against him and automatically leads you to think about the whole controversy. Even those who are unaware of the problems that have surrounded the actor will make them wonder about his absence at key moments, which when leaving the cinema can lead them to look for a reason.

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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.

Masterpiece Korean dramas that captivate the Arafie generation are appearing one after another. Ihoko Kurokawa, an artificial intelligence researcher who is a professional in "brain" and "dialogue", explains the lines that resonate with the charm of the popular drama starring a popular actor.

◆ Artificial intelligence researcher Ihoko Kurokawa
From the standpoint of brain function theory, she works on natural language analysis. Her latest issue is "Torisetsu at Work" (Jiji Press). In the spring of '22, "The Undateables of Love" (Kawade Shobo) for mature adults will also be released.

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"There are three levels of maturity in dialogue: shedding one's emotions (level 1), soliciting one's circumstances (level 2), and spinning words to comfort others (level 3). What's amazing about the style drama is that it's full of level 3 dialogue, "says Kurokawa. For example, the scene just before the final of the cooking contest of "Itaewon Class". "The words spoken by the protagonist to the chef of his subordinates who were exposed to being transgender were excellent. He was exposed to curiosity and still clenched his teeth. "Escape" is strange. You are you. You don't have to convince others. "He was worried that the souls of his subordinates would be polluted even though it was a decisive battle that would take the fate of the hero's business. If it's a Japanese drama, it's probably a scene that pushes your back, saying, "Prove your existence value." As a result, she resolutely stands on the stage and the announcer says, "Isn't it a stage to prove yourself?" "Proof? I don't need the understanding of others to be me."

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"Itaewon Class"
The original popular web comic. A revenge and success story in which Park Seo-joon challenges the outrage of a major restaurant chain in the guise of Park Sae-ro-i, a hero with a sense of justice. Exclusive distribution of Netflix series "Itaewon Class".

It is said that the dialogue between mother and son was very impressive in "Boyfriend" co-starring Song Hye Kyo and Park Bo Gum. "The hero's son, who was farewell to his beloved woman and was tattered, finds out that his mother asked her to farewell, but he just feels sad about making his dear mother feel that way. Don't blame your mother. And ask your mother, "How much do you like her?" "Like a mother." . Because I grow up saying "You were too hard", I get back "I made you sad". The brain is a device. If you don't input it, you can't output it. The conversations that often appear in Korean dramas are sometimes terrible. It ’s emotional, but it ’s a lot of gentle lines, and it ’s a learning experience. ”

"boy friend"
It depicts the sad and sweet pure love between a younger boy played by Park Bo-gum and an older girl played by Song Hye Kyo. The first beautiful Cuban location is also a topic. Now available on U-NEXT.

Interview / Original / Atsuko Yamazaki * Published in the February 2022 issue of Eclat

The popularity of Deadpool in recent years has made many see the Marvel character as the main representative of the publisher's humor. But the anti-hero, in fact, is much more violent and unscrupulous than his current popular image actually shows, as narrated in some comic books.
Wade Wilson's true nature is exemplified in the Despicable Deadpool series, when during an arc, to pay off his debt to the villain Stryfe after he saved his daughter, Ellie, from a deadly virus, the Marvel anti-hero is forced to kill four people chosen by the antagonist.

The first target Stryfe chose was Cable, his main enemy. Deadpool makes the request, taking advantage of the villain's failure to specify which version of the mutant hero should be murdered, traveling back in time and killing Scott Summers' son in his old age.

Stryfe then passes the next three targets to Deadpool in Despicable Deadpool #295: Irene Merryweather, a reporter for the Daily Bugle and Cable's friend, Kid Genesis, a young mutant who is a clone of Apocalypse and who Wilson became very close to during the war. Fabulous X-Force magazine, and Marietta Nelson, an innocent woman with no connections to the heroic Marvel universe.

Deadpool kills the two women, and creates a whole plan to keep Kid Genesis alive, starting with a non-lethal injection that simulates the young man's death - a fact that exemplifies who Wade Wilson is. He is faithful and protects his allies, without a doubt, but in a situation where innocents were killed, he never thought he could use the same method that saved his friend with Irene Merryweather or Marietta Nelson.

This moment serves as one of the main examples of what many writers interpret as Deadpool's moral code: he doesn't protect or save people out of heroism, but for reasons, let's say, "less noble" and more selfish, even if it's out of loyalty to his other colleagues. This was also explored in the Secret Empire saga, when Captain America, then a Hydra soldier, asked Wade to kill S.H.I.E.L.D. agent Phil Coulson—a request the mercenary accepted without questioning the Sentinel of Liberty.

In the end, the funny Deadpool ends up falling far short of Marvel's champions in terms of heroism, becoming a shadow of what's expected of heroes in this universe - although that doesn't affect his popularity in the real world, especially considering the opinions from the mercenary movies.

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