S4doll

"It's a game that Snyder plays (the voiceover will repeat at least 3 times 'so who is the real narrator?') which he plays with the viewer." Let's quote the good Nes, who calls me an ostrich. I have no idea what the hell version you watched, I suppose the Italian one, because in the original one he doesn't say anything like that but alludes to who pulls the strings, not 3 times, but about ten. In short, you're seeing stuff that even Snyder probably hasn't seen.

Lynch has nothing to do with it; this is to silence all the bullshit about "the incredible complexity of the plot" and the fact that "the critics didn't understand the film," just as the masses would say, given that it flopped badly. However, there is a crucial point in this comparison: Lynch makes niche films for crazies who enjoy searching for the needle in the haystack, and sometimes Lynch, out of sympathy, doesn't even put the needle there but lets them search until they go insane. Snyder, on the other hand, makes a completely different type of film. This one in particular, where he shamelessly gives in to the producers and slaps a PG-13 rating on a film meant for an R rating, robbing us of the violence and adult content that could've potentially made the film profitable. After all, it’s aimed at guys between 15 and 30 years old; why waste the best cards? Oh right, to let the younger kids into the theater… too bad it seems to have backfired. Let me preface this: I don't hate Snyder; on the contrary, I like him. The remake of Dawn of the Dead is his best film, Watchmen is a worthy adaptation (the extended version is more than worthy), and 300 is a raw but effective blockbuster. But damn Sucker Punch, it's wrong on so many levels that it can't help but infuriate. Just to be clear, I gave the film a 2, not a 1, because you can see that the craft is there, and it’s frustrating to see how poorly it's utilized. In fact, I don’t hate the film; it’s mediocre, but it’s not the worst thing I’ve ever seen. However, I do hate the fanboys of this film, with their arrogance in telling the rest of the world that "the plot is complex," "you don't get it because it's thought-provoking," and all the other bullshit that follows. You are incredible. My grandmother understands that the different layers of reality are the individual interpretations of each girl's experiences. To be honest, there's nothing written that states there’s an action universe, as my friend Popcornsomething says; maybe the Nazi-zombies are Amber's thing and the fantasy medieval world belongs to Blondie, we see Rocket die on the cyber-train, but it’s not stated anywhere that it’s hers. All we know in the end is that the real plan is B.Doll's business and the strip club is Sweet Pea's territory, while the other three worlds are scattered among the other three girls. And anyone can get this, and there's nothing revolutionary or that requires more than 30 seconds of thought in that. The key is taken in S.Pea's world because the other three dummies are dead, and there’s no action phase. All clear, sticking to the four basic elements of a plot written in 15 minutes on a toilet seat by good old Zack, no upheavals, nothing unpredictable. S.Pea then sees B.Doll in costume and it turns out that the strip club is her territory. We saw Inception before this, and I think even good old Zack did. Now that we’ve flipped "the incredible complexity of the plot," let’s move on to the nastiness. This is a film with hot girls to attract horny teenagers; the rating is disgraceful (as I've already mentioned), the music is horrible (unlistenable remixes and covers, even Bjork horrifies me in this film), and it conveys a sense of plastic and mushiness, unlike that of 300, which fit perfectly. Then there's the level of corniness, never so empty and boring, while in any other Zack film, it was always exciting and exhilarating. What else should I add? Oh right, the video game setup (choose the weapon, kill the enemies, defeat the boss, collect the item), something that could sink the film all by itself: while it's not forbidden for video games to draw inspiration from films, the further films stay away from video games the better. And here Zack has messed up everything he could mess up. To recap, the level of ridiculousness with which anyone talking about "the complexity of the plot" of this mainstream, glossy product covers themselves is embarrassing; just think about the target audience to reali

But just think, after years of Lynch unraveling the impossible to unravel, there are still people who come to discuss the sophisticated plot device in this film and accuse me of burying my head in the sand. You haven't seen many films in your life, have you?

we were also missing here someone to come and tell us "you didn't get it"... hooray.

Zack should stick to directing; writing isn’t his strong suit, and it shows. Visually, the film is majestic, but the screenplay is truly bland and predictable, and I’m fed up with reading people saying “you didn’t get it,” “it’s a thought-provoking film,” and other nonsense: there’s absolutely nothing to understand in this film. I swear, after the introduction I had high hopes, but then the film takes a turn that basically undermines everything. The abundance of action and its underlying cheesiness serve no purpose; unlike 300, there’s nothing here that saves the film.

It is with a resounding alcoholic revelry and a flaming 2 of spades that I set out to write the following: MGS is not quite something that can aspire to the title of a work of art. Let me explain; MGS does not utilize the medium in an innovative way, it has the particular merit of pushing the narrative towards new horizons on consoles, but it does not bring anything strikingly remarkable from any perspective (and no, not even under gameplay). However, it is definitely a successful combination of various elements within the context and the period in which it was released. Masterpiece? Certainly, in fact, probably the best title on Psx. Work of art? Nah. Memorable? Yes. "Groundbreaking" enough to develop new genres? No. Essentially, the evolution of the medium does not benefit much from the release of this title, which remains wholly anchored to a gaming experience (and not for a second will you forget that you are in front of a game) alongside a fictional narrative. Some may disagree, but the subsequent chapters undoubtedly show that the direction taken was anything but revolutionary. In fact, it is better to cast a veil especially over the second chapter and remember MGS as a title with production values so high that it justifies the purchase of the console. We're not kidding if we are talking about over 12 years ago.

No but people, have you managed to make a duplicate of a de-ludica? I mean, one already comes out every X months, and on top of that we're making duplicates? But then, what’s the point of a review that is practically a rehash of the summary on Wikipedia? Bad story.

It's a blockbuster, there's little to add without being banal or repetitive. Good review.

I don't think the criticisms of the dubbing refer to the voices (even though Homer's voice is definitely different), but rather to the actual scripts, which are obviously superior in the original language. The voices in Italian are generally well-made; my favorite was Lionel Hutz, who disappeared with the death of the original voice actor and, incredibly, with the passing of the Italian one as well.

I think I would struggle to see it; these movies are either well made and coherent, or they’re just a mountain of unwatchable nonsense. And if you tell me that there’s a guy without a glove who falls asleep with his hand on the bar, I already understand that it’s better if I don't watch them.