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Clasificación de ian-47918
By Ian Chandler - August 28, 2025
Relay is a paranoia thriller that quietly released last week, and I'd argue it's one of the better offerings in theaters currently. With a noticeably lower budget than other summer movies, the film relies heavily on its script to do the heavy lifting. The concept is interesting, and for much of its runtime, it delivers engaging tension. It also features two talented actors, Riz Ahmed and Lily James, whose performances elevate the screenplay, resulting in a gripping story. But, even with a lot of promise and mostly good execution, Relay eventually runs out of street-smarts, losing some of the momentum and intrigue that make its first two acts so compelling. It is a strong effort, but one that leaves you wishing for a tighter finale.
One of Relay's biggest strengths is its pacing. It isn't too quick where plot elements are lost, nor is it moving at a glacier's pace, wasting time on overview shots. It is a dialogue-heavy film that, like any good thriller, expects the audience to follow along instead of giving them long, forced exposition dumps. The tension gradually rises as the film progresses and it's a strange case where you know less about Relay's protagonists than its antagonists. There are some spots where characters are a bit too quiet, making potentially important dialogue hard to pick up, but it's so sparse that it doesn't interfere with the enjoyment. There are also a handful of decisions made in the movie that made me think, "Huh, that was pretty clever!" It felt like, up to a point, a worthy spiritual successor to the thriving paranoia thrillers from the '70s.
The first 85 minutes expertly relays solid, attention-grabbing suspense. Unfortunately, the last 25 minutes are undoubtedly mistranslated. It introduces a plot point that is plainly thoughtless and devolves into an unexciting action sequence. Characters who were usually careful and meticulous make multiple, easily avoidable blunders. It feels disconnected from the first two acts. Even worse is that the situations are resolved with multiple plot conveniences. It's a brainless exercise that is a stark contrast to the cunning mannerisms we got earlier in the film. Additionally, it's invalidating to see characters go through routine gunplay instead of hiding and entering a battle of wits, something that both worked and was the selling point of this movie. Was it tacked on solely to make an energetic trailer? Whatever the reason, the film should have just hung up at the 85-minute mark.
So, Relay remains to be an intriguing watch with two notable performances and a clear passion for the suspenseful pictures that came before. I kind of wish they replicated the color grading of a '70s film to make it both more unique and match its retro structure. Though its final moments do the film no good, it isn't damaging enough to ruin the movie. Given the endless supply of numbing blockbusters with no original ideas, Relay shines as one of those productions that tried (and mostly succeeded) to incorporate a neat concept into a breezy, entertaining movie. Despite its glaring flaws, it's still a cut above most of what's in theaters right now.
Grade: 71/100.
Relay is a paranoia thriller that quietly released last week, and I'd argue it's one of the better offerings in theaters currently. With a noticeably lower budget than other summer movies, the film relies heavily on its script to do the heavy lifting. The concept is interesting, and for much of its runtime, it delivers engaging tension. It also features two talented actors, Riz Ahmed and Lily James, whose performances elevate the screenplay, resulting in a gripping story. But, even with a lot of promise and mostly good execution, Relay eventually runs out of street-smarts, losing some of the momentum and intrigue that make its first two acts so compelling. It is a strong effort, but one that leaves you wishing for a tighter finale.
One of Relay's biggest strengths is its pacing. It isn't too quick where plot elements are lost, nor is it moving at a glacier's pace, wasting time on overview shots. It is a dialogue-heavy film that, like any good thriller, expects the audience to follow along instead of giving them long, forced exposition dumps. The tension gradually rises as the film progresses and it's a strange case where you know less about Relay's protagonists than its antagonists. There are some spots where characters are a bit too quiet, making potentially important dialogue hard to pick up, but it's so sparse that it doesn't interfere with the enjoyment. There are also a handful of decisions made in the movie that made me think, "Huh, that was pretty clever!" It felt like, up to a point, a worthy spiritual successor to the thriving paranoia thrillers from the '70s.
The first 85 minutes expertly relays solid, attention-grabbing suspense. Unfortunately, the last 25 minutes are undoubtedly mistranslated. It introduces a plot point that is plainly thoughtless and devolves into an unexciting action sequence. Characters who were usually careful and meticulous make multiple, easily avoidable blunders. It feels disconnected from the first two acts. Even worse is that the situations are resolved with multiple plot conveniences. It's a brainless exercise that is a stark contrast to the cunning mannerisms we got earlier in the film. Additionally, it's invalidating to see characters go through routine gunplay instead of hiding and entering a battle of wits, something that both worked and was the selling point of this movie. Was it tacked on solely to make an energetic trailer? Whatever the reason, the film should have just hung up at the 85-minute mark.
So, Relay remains to be an intriguing watch with two notable performances and a clear passion for the suspenseful pictures that came before. I kind of wish they replicated the color grading of a '70s film to make it both more unique and match its retro structure. Though its final moments do the film no good, it isn't damaging enough to ruin the movie. Given the endless supply of numbing blockbusters with no original ideas, Relay shines as one of those productions that tried (and mostly succeeded) to incorporate a neat concept into a breezy, entertaining movie. Despite its glaring flaws, it's still a cut above most of what's in theaters right now.
Grade: 71/100.
By Ian Chandler - August 27, 2025
Nobody 2, the sequel to its surprisingly good predecessor, was one of the more exciting movies in the 2025 release window for me. Given that it's been nearly half of a decade since the first one released, I was expecting a fun mix of creative action and hints of dry, dark humor. And although the film is chock full of exciting stunts and pure adrenaline, there are many hiccups that make this film as dull as a nobody. Under a new director and a writer out of ideas, this film is a misfire, albeit a very entertaining one. It's one of those films you'd see just one time on a streaming service, which is a shame given the talent involved.
First and foremost, the action in Nobody 2 is breezy, stylish, and exciting. The camera swings and twists during the more hectic moments, making for a sequence more interesting than a straight, still view of guys firing guns at each other. The cinematography and overall production are noticeably better, given the higher budget. However, none of these scenes are as memorable as the now iconic bus fight from the original. Don't get me wrong, some of the set pieces do stick out, with the fair, for example, having more creative potential than a warehouse. But, even with the larger ambition and bigger budget, Nobody 2 doesn't play its hand well, making for a disappointing thriller. The culprit for the undercooked action choreography and the bumpy flow can be blamed on the script. It is extremely bad, even for the admittedly low standards of a summer action flick. Furthermore, it loses what made the original so captivating: its restrained, laid-back thriller approach.
Derek Kolstand, the writer of the straightforward original, probably wrote both the story and the script in a day. I don't think it was generated by AI either, as ChatGPT would have made a more original and polished screenplay. The dialogue is noticeably awkward and frequently robotic. It's also just bluntly boring! It's also plagued with feeling insultingly adolescent. It's as if it was written by a 12-year-old who just learned the F-word and wanted to put it in every sentence, even where it makes no sense. Vulgarity is often seen as a tool to increase the edgy, tough vibe of these movies, but here it feels shoved in, kicking and screaming. So, a lot of the generic drama, repetitive plot points, and poor flow hold this film back considerably. Without exaggeration, this sequel copies the original's beats almost exactly, dooming the film to being just an inferior "remake" of its better focused predecessor. It feels very forced as the first film's structure does not in any way match the sequel's vacation setting.
If you have seen the original, you'd know that its villain was a bit weak and uninteresting. Well, the first feature's now looks like an exemplary antagonist in comparison to whatever this picture's big bad was. She is as generic as they come, and in a lot of ways, laughably lackluster. The most memorable thing about her is her petting her dog -- and that alone should make it clear she isn't a chilling villain. Side characters tell Hutch throughout the movie how relentlessly and consistently evil she is, yet when she's on the screen, she is by no means intimidating. The actress who plays her, Sharon Stone, brings energy to it; but it doesn't save just how poorly written she is as an action baddie. Nobody 2 also attempts to add some depth to some of its supporting cast, but the additions are minimal, invalidated, and generally uninteresting. Bob Odenkirk's Hutch, though, remains awesome and his character is still exciting to follow around.
The humor is a mixed bag for me. On the one hand, it is frequently funny and I even had a few laughs in some spots. The film has good comedic timing and it embracing absurd ideas certainly is delightful. RZA's character, Harry, in particular, was hysterically funny. However, on the other hand, it has become an action comedy instead of an action thriller with sprinkles of humor. Because of that, the film has less of a distinct identity when compared to the last entry. Additionally, it tries a little harder to be goofy, which makes some crazy shenanigans feel more forced than usual. It ultimately further moves the movie into being a disposable picture instead of a comfort watch.
Nobody 2 is, overall, an unapologetically energetic and entertaining watch. The pacing is breezy, the runtime is short, Hutch is still a great protagonist, but the film's writing department is lacking for those craving more substance as well as being too familiar for those looking for an interesting action flick. Its dialogue and character moments sometimes reach Tommy Wiseau's The Room levels of bad. And, because of Kolstand's uninspired work, Nobody 2's talented production crew, stunt team, actors, and more are undermined for it. I recommend it as a one-time viewing during a guys' night, but once the adrenaline wears off, nothing else of value remains.
Score: 60/100.
Nobody 2, the sequel to its surprisingly good predecessor, was one of the more exciting movies in the 2025 release window for me. Given that it's been nearly half of a decade since the first one released, I was expecting a fun mix of creative action and hints of dry, dark humor. And although the film is chock full of exciting stunts and pure adrenaline, there are many hiccups that make this film as dull as a nobody. Under a new director and a writer out of ideas, this film is a misfire, albeit a very entertaining one. It's one of those films you'd see just one time on a streaming service, which is a shame given the talent involved.
First and foremost, the action in Nobody 2 is breezy, stylish, and exciting. The camera swings and twists during the more hectic moments, making for a sequence more interesting than a straight, still view of guys firing guns at each other. The cinematography and overall production are noticeably better, given the higher budget. However, none of these scenes are as memorable as the now iconic bus fight from the original. Don't get me wrong, some of the set pieces do stick out, with the fair, for example, having more creative potential than a warehouse. But, even with the larger ambition and bigger budget, Nobody 2 doesn't play its hand well, making for a disappointing thriller. The culprit for the undercooked action choreography and the bumpy flow can be blamed on the script. It is extremely bad, even for the admittedly low standards of a summer action flick. Furthermore, it loses what made the original so captivating: its restrained, laid-back thriller approach.
Derek Kolstand, the writer of the straightforward original, probably wrote both the story and the script in a day. I don't think it was generated by AI either, as ChatGPT would have made a more original and polished screenplay. The dialogue is noticeably awkward and frequently robotic. It's also just bluntly boring! It's also plagued with feeling insultingly adolescent. It's as if it was written by a 12-year-old who just learned the F-word and wanted to put it in every sentence, even where it makes no sense. Vulgarity is often seen as a tool to increase the edgy, tough vibe of these movies, but here it feels shoved in, kicking and screaming. So, a lot of the generic drama, repetitive plot points, and poor flow hold this film back considerably. Without exaggeration, this sequel copies the original's beats almost exactly, dooming the film to being just an inferior "remake" of its better focused predecessor. It feels very forced as the first film's structure does not in any way match the sequel's vacation setting.
If you have seen the original, you'd know that its villain was a bit weak and uninteresting. Well, the first feature's now looks like an exemplary antagonist in comparison to whatever this picture's big bad was. She is as generic as they come, and in a lot of ways, laughably lackluster. The most memorable thing about her is her petting her dog -- and that alone should make it clear she isn't a chilling villain. Side characters tell Hutch throughout the movie how relentlessly and consistently evil she is, yet when she's on the screen, she is by no means intimidating. The actress who plays her, Sharon Stone, brings energy to it; but it doesn't save just how poorly written she is as an action baddie. Nobody 2 also attempts to add some depth to some of its supporting cast, but the additions are minimal, invalidated, and generally uninteresting. Bob Odenkirk's Hutch, though, remains awesome and his character is still exciting to follow around.
The humor is a mixed bag for me. On the one hand, it is frequently funny and I even had a few laughs in some spots. The film has good comedic timing and it embracing absurd ideas certainly is delightful. RZA's character, Harry, in particular, was hysterically funny. However, on the other hand, it has become an action comedy instead of an action thriller with sprinkles of humor. Because of that, the film has less of a distinct identity when compared to the last entry. Additionally, it tries a little harder to be goofy, which makes some crazy shenanigans feel more forced than usual. It ultimately further moves the movie into being a disposable picture instead of a comfort watch.
Nobody 2 is, overall, an unapologetically energetic and entertaining watch. The pacing is breezy, the runtime is short, Hutch is still a great protagonist, but the film's writing department is lacking for those craving more substance as well as being too familiar for those looking for an interesting action flick. Its dialogue and character moments sometimes reach Tommy Wiseau's The Room levels of bad. And, because of Kolstand's uninspired work, Nobody 2's talented production crew, stunt team, actors, and more are undermined for it. I recommend it as a one-time viewing during a guys' night, but once the adrenaline wears off, nothing else of value remains.
Score: 60/100.
By Ian Chandler - August 7, 2025
Ballerina, the latest entry in the universe of John Wick, is exactly what it's advertised to be: a bombastic action movie that is rich in superb choreography, and not much more. The film stars Ana de Aramas, who proved her worth as an action star in 2021's No Time to Die. The film gives her a perfect fit in the assassin-filled world, but frustratingly doesn't grant her as much prominence as it should If you're here for beautifully shot action and slick choreography, it absolutely delivers. However, when comparing to the rest of the franchise, it sits with Chapter 3 as one of the weaker installments.
This spinoff's core strength, unsurprisingly, is its nonstop, ultra-violent action. It, much like the entries before, meets the status quota. It's more violent than Chapter 4, but not as grisly as Chapter 3. But frankly, I don't care how much blood is spilled; what matters more is its famously glamourous, meticulous choreography. In that case, it is right at the middle. It doesn't reach the exemplary work found in Chapter 4, but it is still stuffed with amazing camerawork and impressive compositions from its actors. It's a lot of fun, even if the action becomes repetitive after a while.
On the world-building side, there are some bright spots. Even though the plot is rather basic, they add more to the franchise, such as different organizations and increased depth to the mysterious Ruska Roma crime family. It's exciting to see different set pieces and new characters, but unfortunately, its overall story is so unimaginative (even for Wick standards) that the characters and their whereabouts are not the most interesting to invest in. Eve, played capably by de Armas, isn't given enough standout material to be truly memorable. If they added more flavor to the script, its cast, new ideas, and locations would have stood out even more.
In the end, Ballerina is somewhat derivative of the first John Wick and revenge thrillers in general. Even so, it is a largely entertaining, gorgeously filmed expansion for the ever-growing series. Some action scenes drag on a bit too long, but at least the chaos is complimented by some of the best action filmmakers in the business. It also helps to watch this with a group of friends, as some of the more exciting parts should garner some reactions. It isn't aiming to be a genre defining picture, instead it's clearly targeting to be a very fun way to spend a Friday night.
Score: 71/100.
Ballerina, the latest entry in the universe of John Wick, is exactly what it's advertised to be: a bombastic action movie that is rich in superb choreography, and not much more. The film stars Ana de Aramas, who proved her worth as an action star in 2021's No Time to Die. The film gives her a perfect fit in the assassin-filled world, but frustratingly doesn't grant her as much prominence as it should If you're here for beautifully shot action and slick choreography, it absolutely delivers. However, when comparing to the rest of the franchise, it sits with Chapter 3 as one of the weaker installments.
This spinoff's core strength, unsurprisingly, is its nonstop, ultra-violent action. It, much like the entries before, meets the status quota. It's more violent than Chapter 4, but not as grisly as Chapter 3. But frankly, I don't care how much blood is spilled; what matters more is its famously glamourous, meticulous choreography. In that case, it is right at the middle. It doesn't reach the exemplary work found in Chapter 4, but it is still stuffed with amazing camerawork and impressive compositions from its actors. It's a lot of fun, even if the action becomes repetitive after a while.
On the world-building side, there are some bright spots. Even though the plot is rather basic, they add more to the franchise, such as different organizations and increased depth to the mysterious Ruska Roma crime family. It's exciting to see different set pieces and new characters, but unfortunately, its overall story is so unimaginative (even for Wick standards) that the characters and their whereabouts are not the most interesting to invest in. Eve, played capably by de Armas, isn't given enough standout material to be truly memorable. If they added more flavor to the script, its cast, new ideas, and locations would have stood out even more.
In the end, Ballerina is somewhat derivative of the first John Wick and revenge thrillers in general. Even so, it is a largely entertaining, gorgeously filmed expansion for the ever-growing series. Some action scenes drag on a bit too long, but at least the chaos is complimented by some of the best action filmmakers in the business. It also helps to watch this with a group of friends, as some of the more exciting parts should garner some reactions. It isn't aiming to be a genre defining picture, instead it's clearly targeting to be a very fun way to spend a Friday night.
Score: 71/100.