Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
El compañero califica como “parida” a venom 2, y aclara entre comillas que dice parida por no decir algo peor, para continuar diciendo que hizo “buenos” números compitiendo con películas que se suponen mejores. La parida es venom, no su rendimiento en taquilla. De hecho si quitas el “por decir algo suave” se ve más claro…
“Una parida como venom 2 hizo ese…”. Para cobrar el significado que dice Prime, debería haber un punto tras “parida”.
Última edición por jmiguelro; 08/03/2022 a las 07:03
«James, hágase digno de esto... merézcalo».
Capitán John H. Miller.
Por mi comentario habrás comprobado que, personalmente, me ha volado la cabeza, que dirían mis hijos.
Mi hijo mayor dice que la peli es genial adaptativamente, en cuanto a la esencia del persoanje y demás. También se ha convertido en su película favorita en solitario de Batman.
Tengo una anecdota, por cierto.
Una señora saliendo del cine diciendo... acabo de ver una película de cine negro, muy buena y eso, pero Batman nunca ha sido cine negro.
Y a mi hijo mayor se le escapaba la risilla....
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What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Bottom line is, even if you see 'em coming, you're not ready
for the big moments.No one asks for their life to change, not really. But it
does.So what are we, helpless? Puppets? No. The big moments are
gonna come. You can't help that. It's what you do afterwards that
counts. That's when you find out who you are. You'll see what I mean.
Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)
Yo creo que no.
Creo que efialtes habla de que Venom 2 tuvo ese mismo multiplicador con tres films como Dune, No Time to Die y Halloween Kills (vamos, que tuvo una competencia mayor) y seria una parida que The Batman tuviera ese mismo multiplicador, compietiendo con The Lost City.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Sobre la "escena" final tras los créditos finales:
Spoiler: