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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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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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