RYAN NEWMAN 🗿🌴🌊🐓

ADOLFO RÍOS EN TRIBUNA AZULCREMA 🎙️▶️🇺🇦 teapawt.org/i/spaces/1vOxwdBBNRoKB

Vamos A La Playa, 1983 A veces nos quejamos de la música de ahora 😂😂😂

When I started doing actual movie reviews and taking them more seriously, I told myself that I was NOT going to use the word ‘masterpiece’ often. In my opinion, that is a word that has begun to lose a lot of its meaning and weight because of how frequent it’s used to describe films. A term that used to be used to define an exceptional piece of art, now reduced to a buzzword for movies that are just great or even awesome. I wouldn’t shift blame on anyone for that of course because art can speak to people in different ways as a subjective form of expression, but I wanted to make sure that I reserved that word for only when it’s absolutely necessary. …and guys, I cannot think of any word to define Takashi Yamazaki’s GODZILLA MINUS ZERO… other than a MASTERPIECE! If Christopher Nolan’s OPPENHEIMER was the exploration of how us as humans have begun to push the moral limitations of our own ambitions and destructive nature, this film is the direct aftermath of what happens when we’re consumed by it. I was deeply moved by this film in ways that even I wasn’t anticipating despite adoring the first movie, and that’s because Minus Zero takes EVERYTHING that worked in the first film- both the SPECTACLE and the SUBSTANCE- and multiplies it by TEN! This film, like most of the better Godzilla films, is an anti war film. It’s the representation of how senselessly destructive both the world and the people who inhabit it can become, and how easily we can lose ourselves in the cycle of violence. Visually, this is a CINEMATIC SPECTACLE that simply soars in IMAX. It may actually be the best IMAX experience I’ve had this entire year, with its only potential rival being Dune Part 3 now (sorry The Odyssey). Cinematographer Kôzô Shibasaki retains all of the gritty tactile post war aesthetics of Minus One that gave the film its distinct charm, but also amplifies it to a whole new level where the new scope is both immersive and grandiose. Character interactions and general moments of silence feels as atmospheric and intimate as ever, and the battle sequences are more destructive and visceral than before- ESPECIALLY in that glorious third act. Despite this movie having an obvious budget increase from the first, the hard work and passion placed into the technical craftsmanship of its predecessor is absolutely still felt. Though what I’m even more thankful of is that despite its proportionally larger scale, the HUMANITY of this movie is just as large if not a bit larger than Minus One. This is a character drama film first and foremost and it’s absolutely better for it as Kōichi is still a protagonist rich in depth and turmoil alongside Noriko who are both challenged in new and entirely unexpected ways where you can’t help but deeply and emotionally invest in these two. I walked out of the theater at the end sobbing because of these two and now find myself desperate for a third installment to see their story continue. Various other characters throughout are also gripping to watch and feed directly into the overarching theme of war and how it affects people in the aftermath. Godzilla Minus Zero is just brilliant, and a reminder of how special these motion pictures can be when they’re helmed by a talented team of visionaries from all walks of life with something bold to say and the creative means to express it. This was nothing short of an artistic achievement, and has easily become my new favorite film of 2026. 10 / 10

Dice que Zelada tuvo qué ser expulsado en la final del 83. La IGNORANCIA. Hasta el mismo José Ramón se orinaría de risa si leyera esto. - Gol mal anulado en la ida. - Roja perdonada a Quirarte en la vuelta. - El 2do penal mal marcado a favor Chivas fue EL ÚNICO beneficiado