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About Deviant Member Andrés RodríguezMale/Chile Recent Activity
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deviantART Page 63 is available here at deviantArt! Click here!

New and PAGE 64 is already up at the official site! Check it out now!

OMG MOAR POEMS! ¡y el cómic 63 ya está disponible en español en yendoacasa.koolyfish.com!


:pencil: So Super Smash Bros. For 3DS was released in the meantime without comics. Yeah, that’ll do as an off-topic intro to this week’s movie log. I got it in digital form, played it a good while, unlocked all the available characters. What do I think about it? Well…

:pencil: The game itself is pretty tight. Controls well, it’s got a hectic but manageable pace. I’m maining Pac-Man, but I’m also leaning towards Bowser every now and then. What else is there to say about it? It’s Smash – a game series that not only came up a new genre, but it’s the only good, worthwhile game in that genre. There’s Smash and then there’s the rest.

:pencil: However, just a week and a half later, I feel like I’m done with the game right now. I’ve still got some things to unlock – stages, costumes, … bonus modifiers, I think… but I feel like I’m done enough mileage with the game. I don’t know, I feel like it’s something like Mario Kart. Not a bad game by any means, but one that makes itself abundantly clear when you’re done with it. You’ve mastered your tracks, you constantly get the first place, there’s nothing more to gain from it other than competition with friends. I’m not saying I’ve mastered all the characters here – let alone Pac-Man, or hell, even finished the game with every single character at the highest difficulty setting –, but I feel like that was fun, and from now on playing it by myself it’s gonna be a bit of rinse and repeat with different characters.

:pencil: Part of this problem comes from the content found in the game. It feels kinda lacking. I don’t know, maybe something like a Subspace Emissary (a.k.a. a story mode) would’ve been fine here. SmashRun sort of serves a similar purpose, but it never feels like a experience weighty enough to be satisfying. It’s something you play once or twice and you move on. It feels anonymous.

:pencil: But other fighting games don’t even bother with a story mode or extra content like Smash, so what’s wrong here? Well, I like other fighting games better. I’m a traditionalist, I like my big-ass sprites with the lifebars and occasional super-meters. Still, the mechanics here are excellent – it just works. But it should work better, with far more content on the Wii U.

:pencil: I liked it, but I’m not in love with it. It was a fling that I’ll cherish and revisit every now and then. Alright, so what do we got this time?

:bulletyellow: First up is Kei’ichi Sato’s Seint Seiya: Legend of Sanctuary. A reimagening of the original anime series by Masami Kurumada, it tells the stories and struggles of “Saint” warriors who fight dressed in armor based on constellation mythologies, all to protect or kill Saori Kido, the current incarnation of Athena. Seiya’s the leader of the good guys here, and he’s donning the Pegasus Bronze Cloth. And I don’t know what I’m telling you all this, if you’re coming from either Tumblr or deviantArt, you already know what’s going on here.

:bulletyellow: I grew up with this series as a kid. It was pretty violent, and that’s all I needed to like it. But now that I think about it, the series was respectfully literal and solemn in its treatment of Greek mythology. The heroes must save Athena from a cursed arrow, and they have only until midnight to get to the top of the mountain and cast a moonlight reflection with a mirror on her to save her, but they’ll have to deal with 12 golden saints, all of them immensely strong – some of them are even godlike, no less, if they’re not gods themselves like Ares, Ades and Poseidon. Sounds like the adventures of Hercules, no less.

:bulletyellow: I don’t think that mighty and heroic status is ever reached here. I could go on for ages about what’s changed and what’s preserved from the source, but I’m not that big of a fan nowadays. I can’t get angry about adaption and reinterpretation. But speaking as a Chilean – or rather, as someone who lives in Chile, where Saint Seiya hasn’t been a thing for over a decade now, I just wonder what’s the point of having this movie at our local cinemas. The tone and the looks are clearly for a younger generation, looking like a bishie hybrid of Iron Man and the more recent Final Fantasy videogames, yet the only audience this movie could ever get are grown-ups like me that saw the original series when they were young. From a Chilean perspective, this movie was a non-starter. The intended audience was non-existing, and the real audience had nothing going on here.

:bulletyellow: Yes there is a musical number, and yeah, some characters and actions are changed to the point of nonsense. Some of them literally only appear to die, while others are shoved under the rug, only mentioned so fans could check them off their list. But no matter if it’s a Saint Seiya film or a brand new idea, it’s an incompetent, nonsense movie. It’ll make you mad if you’re a fan of the series, and it’ll leave you far, far behind if you’re not, with its penchant for references and quips.

:bulletyellow: It’s a waste of decent CGI. Don’t.

:bulletred: Up next is James Gray’s The Immigrant, a movie I should’ve seen WAY earlier in the year. One of my favorite film critics gave it a glowing review back in Cannes 2013 and later he mentioned it as one of his favorite films of the year. And now I’m just checking out how great is, nearly a year and a half later. So what is it about?

:bulletred: Escaping from the horrors of WWI, Ewa and her sister Magda arrive in New York hoping to start anew with their already-residing-there aunt and uncle. However, they get separated from each other because Magda has polio and she can’t leave Ellis Island. Hoping to buy her sister medication and a quick recovery, Ewa agrees to work for a local pimp who got her out charmed by her looks. A relationship already complicated between them will turn physical when his magician, romantic cousin arrives and fancies her too.

:bulletred: On the surface, this looks like like a run-of-the-mill period film, but what the plot hides is the tremendous sense of individuality and motivation behind each character. Ewa, a fantastic Marion Cotillard, will try everything she can to get her sister back – there’s no return for them, it’s here or nothing. Her pimp Bruno, played by Joaquin Phoenix, will keep a tight leash on her but he’ll let her roam around protected and cared for. She’s something special to him – but money must come from somewhere. And his cousin Emil, played by Jeremy Renner, is pleasant and entertaining, but he’s willing to go the extra mile to get her – he’ll declare his love to her whereas Bruno won’t.

:bulletred: It’s a fantastic film with deep, passionate performances, but what I like the most from here is that for a romance, this movie feels heartless. I’m not talking about it being cruel or hateful. I’m talking about every character saying what they have to say, doing what they have to do, in order to get by and see their goals met. There are no victims here, only ambitions. Even if the words hurt, they’ll say them not to cheat or steal from someone, but to tell an unavoidable truth. It’s never too heavy with the period framing to feel isolating, and it’s never too dark to let violence and explicitness take the wheel. It’s a maturely balanced film I can’t believe I didn’t check out earlier. Do yourself a favor and check it out.

:bulletgreen: Wes Ball’s The Maze Runner! A bunch of kids find themselves for no discernible reason in the middle of a gigantic, deadly maze. They don’t remember anything but their names. Still, though they’ve lost a handful, they’ve grown into a small, tight society with roles and protocols. Nevertheless, Thomas, the latest kid to arrive, will stir things up, leading up to a plan that will hopefully let them out of the maze, and/or answer why were they sent there in the first place.

:bulletgreen: Didn’t like this one. It’s LOST for kids. It’s a mystery inside an enigma covered by riddles. It’s exasperatingly inconclusive. Nothing leads anywhere – and spoiler alert: not even the ending will do much for you here. It’s all setting up for, get this: phase two. Everything you’ll see here is a prologue for something else, and I wonder why couldn’t give us something here? What is there to gain from being this diffuse and aimless? What if there is no Maze Runner 2 for whatever reason – why would you need a Maze Runner 2 to justify your first movie in the first place?

:bulletgreen: But hey. If you liked LOST, maybe you’ll find something to enjoy here. If I’m honest, I think the idea’s quite intriguing – yeah, I got myself caught on it despite everything. However, it’s the lack of any solid, tangible conclusion here what’s a serious turn off here. Just give me one thing I can look forward to. One answer that’ll be my north star when I get to the other side. Alas, nothing. This might as well be called “To Be Continued: The Movie, Part I”.

:bulletgreen: Anyways…

:bulletorange: Stop motion masters Laika are back with Graham Annable and Anthony Stacchi’s The Boxtrolls. This time around they’re telling the story of a city where boxtrolls (trolls wearing boxes) roam at night and under the streets, panicking the human population. But they’re far nicer than what they give them credit for, as they’ve adopted, raised and cared for a human boy with love. But a long gestating plan will put the Boxtrolls in trouble, and it’ll be up to this one kid to not just save them, but redeem them.

:bulletorange: Whereas Coraline and Paranorman got dark and nightmare-inducing with relative quickness and ease, this one’s more lighthearted and jovial. Nothing wrong there, especially considering all the rich ideas at work here: a kid raised by a tribe of monsters, only labeled as such by society. A city in which fine cheese and white top hats are major social symbols. Monsters wearing boxes, for crying out loud.

:bulletorange: What kind of troubles the movie is that it doesn’t really take full advantage of any of these ideas. There are too many things going on here – a forbidden friendship, a fish-out-of-the-water, a tribe of monsters, men hungry for cheese and power, conspiracies, murders, huntings, a master plan, a secret identity… so many things going on here and all they all clash against each other, stepping on each other toes so hard they’re not allowed to go far. This is a movie you could’ve taken out a couple of ideas, whichever they may be – even the Boxtrolls themselves – and it’d be better if only because of the optimization. This is not a bad story or a bad concept. It’s just a story too busy for its own good.

:bulletorange: If you’re into stop motion, you gotta check it out though, no question about it. But in any case, it’s their first misstep.

:bulletblack: From Chile, we’ve got debuting director Alejandro Lagos’s Génesis Nirvana. A mother devastated by the death of her young child Génesis gets even more devastated when she learns the murderer won’t even spend time in jail – they let him go right away. With the justice system failing her, she’ll make sure he gets what’s due for him. And she’ll record the whole process, too.

:bulletblack: I mean, if you’re calling your kid “Génesis Nirvana” – as in, “the origin of absolute bliss” —, least you could say there’s something undeniably pretentious going on here. The movie never dives into the metaphysical, but through music-video like editing and photography it aims for depth and resonance when it only comes across as largely context-free.

:bulletblack: But then, the absolute, nearly innocent seriousness going on here works wonders. Mariana Loyola gives a shattered, nervous, timid, desperate performance – she’s just fantastic. Props should also go to the editing here, shifting from long, tense takes to quick-paced, cut-happy montages – that’s not a choice most would take, but here it works great, making you itchy and nervous with how quickly things escalate, to then give you a time to decompress and reflect with a very state-of-mind sequence.

:bulletblack: The movie’s a bit short, though, clocking at about 80 minutes, if I’m not mistaken. I previously mentioned I’m glad the French animation industry were making their movies condensed yet rich, never staying for too long yet always giving you a warm, very positive impression. Here… I can’t say it’s time badly spent, but all in all, you’ll feel a bit dry. You’ll want something more from it. Check it out to find out what I mean, but still, it’s a unique, emotionally engrossing genre-flick.

:bulletred: And… oh boy. Our neighbors across the Andes have come up with something. Damián Szifrón’s Wild Tales (or Relatos Salvajes, as it’s originally called). Different, non-crossing stories of rage, tragedy and payback. The violent, unforgiving payback. They’re stories about the assholes who make our lives miserably each and every day with their tiny details and hidden bullshit – but one day, it’ll be the day. The Day.

:bulletred: What can I say about this movie? It’s just sensational. It’s terrifyingly funny, pushing buttons with such a bluntness you can’t help getting on these people’s side, trying to find a way you’d get away with murder in the scenarios they’ve made for themselves. Or even, how would you justify murder under these conditions. These stories are about broken minds, who were pushed so abruptly to the edge without any warning they’re willing to send everything to the everloving fucking shit.

:bulletred: The performances are all… just top notch. They all convey anger and frustration in their own ways. One case in particular will shine through complete absence! They’ll be explosive, blind, unforgiving… which makes the end result all the more surprising. When the dust settles in each of these little scenarios, all of them will make a different sort of silence. Awkward silence. Total silence. Unintended silence. Satisfied silence.

:bulletred: It’s a fantastic, thrilling film. Maybe these stories by themselves would’ve worked even better, but who knows. Who cares, even. The pace throughout the movie is a rollercoaster – it’s cyclical, but damn it’s a rush. If you’re having a shitty day, by all means, see this one. It’ll spiritually kick those motherfuckers who ruined your shit in the face. Even when our characters fail, you’ll feel pleased they didn’t go down alone.

:#1: That's it for now! It took me an extra day to get the log here because I couldn't access deviantArt for some reason. Anyways, best of luck!

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deviantART Page #62 is available here at deviantArt! Click here!

New and PAGE #63 is already up at the official site! Check it out now!

OMG MOAR POEMS! ¡y el cómic #63 ya está disponible en español en yendoacasa.koolyfish.com!



:pencil: We had national holidays over here in Chile, so I decided to take a little while longer in making this week's comic so I wouldn't explode, but something could be said about my tardiness when in between U2 drops a new album. Holy shit!

:pencil: I think I've already made it abundantly clear by now in nearly every social network I've been to. They're my favorite band. I know that's something unpopular to say... pretty much everywhere, considering Bono's world-saving antics and the fact that they're the de facto biggest rock band around, but what do you want me to say. I think they're musically great, they're a band with a tremendously rich catalog, spanning many genres and topics through the years, unafraid of experimentation within rock boundaries.

:pencil: I'd say that defines U2 up until the 90s. Then they released All That You Can't Leave Behind, a great album that made a teenaged fan with their “Stuck in a Moment You Can't Get Out Of” single; but the time since then hasn't been as productive as the couple of decades prior. Only two albums released, and while they were far from bad, it's definitely where they start becoming blander and soft-edged. How To Dismantle An Atomic Bomb is lots of fun, but largely unrewarding lyrically save for a couple of tunes. No Line On The Horizon is more introspective, like a state-of-mind situation, but overall that's a gray album with a gray cover. Nothing really stood out there. It's a bit of a problem when the best song from the album, “I'll Go Crazy If I Don't Go Crazy”, was largely skipped when they were touring in favor of... a remix. Said remix is great, by the way, far more desperate-sounding than the original.

:pencil: And out of the blue they release a new album, Songs of Innocence. At last. The wait since 2009 was a long, long one – I was kinda fearing they would say they're on an honest-to-God hiatus and be back whenever they felt like it. But they're here now. And it's free! And that pissed some people off, but whatever. I don't have an iProduct, I only made an iTunes account to get the album, and even if I owned an iPhone or whatever, they're my favorite band so I would be fine. But still, Apple decisions on how to handle the album's distribution was a mess. A mess Apple costumers didn't mind on letting it become a storm in a teacup. Who cares, really.

:pencil: In any case, the new album is great. Just great. While the album starts with its worst (or rather, less good) song, “The Miracle (of Joey Ramone)”, it builds from there towards goodness. U2's never been this catchy, with tunes that borrow and tweak from Franz Ferdinand, Led Zeppelin and Youssou N'Dour to name a few. What I love about U2 from the 80s to the late 90s is that they kept a very steady evolution, filled with change and expansion towards all sorts of genres. They'd explore their upbringing and the Irish climate with Boy, October and War; they'd fill stadiums with soaring chords from An Unforgettable Fire and The Joshua Tree; they'd dive into the american soundscape with Rattle & Hum; they'd (very positively) burn everything they did with Achtung Baby!, Zooropa and Pop; and they'd clear all the chaos and confusion with All That You Can't Leave Behind. The 2000s were quieter, more laidback – as if their work was already done, but now they're back at it. This is the U2 that I wanted to hear for so long. This album sounds like no other U2 album. It's weirdly upbeat, it's contagiously catchy, it's a clean slate for the guys. Lyrically they're going as back in time as they possibly can, yet the beats they make couldn't be any more fresher and new. It's wonderful.

:pencil: And Bono has come up saying he's working on a sequel, Songs of Experience. I'm not gonna hold my breath – last time I did I waited for nearly 6 years, but if this is where they're going, couldn't be any more hype.

:pencil: Favorite song? One day it's “Volcano”. The following day could be “This Is Where You Can Find Me Now”. And the day after that one it's “Raised By Wolves”. And then there's “Cedarwood Road” and “The Troubles” trying to sneak in to claim the title. Or the very Zooropa-ish “Sleep Like A Baby Tonight”. So many worthy candidates! Can't wait to see all these songs live.

:pencil: Anyway. Movies now.

:pencil: Averaged, this wasn't a particularly brilliant time at the movies or anything. It was a time, defined by a number of time units, in which movies were seen. Some of them were great, others not so much. But overall, nothing here really stood out with me.


:bulletred: I started with Phil Lord and Christopher Miller's 22 Jump Street – it's so rare to see anyone other than Spielberg with two movies within a year, as this is their second release after Lego Movie. But much like Steven, they're great at it. Two movies, both of them great. In fact, this one's way better than the original. Following 21 Jump Street, Schmidt and Jenko (Hill and Tatum, respectively) are now undercover agents acting as students at a college, aiming to take down an underground cartel that's developing a new, dangerous drug.

:bulletred: Honestly there's not much more plot than that. I can't add an “but there's a catch, you see...” in there. They go and handle college things individually, investigating and fraternizing at the same time. And their chemistry's better than ever. They're a supremely bromantic riot. They don't have to sell you the idea of them working together through easy, reference-laden setups like they did in the first one (they still keep the meta-humor though, but it's tremendously minimized). They just go at it, unworried now that they proved themselves. While I liked just fine The Heat, this movie makes me very hyped for its sequel. That movie also made lots of money, yet the original ones for both series were too uneven for me. Not bad, but never peaking hysterical levels. 22 Jump Street, however, was just there with enviable ease. Check it out.


:bulletblack: Up next is Frank Miller and Robert Rodríguez's Sin City: A Dame To Kill For. And I was complaining that U2's new album took forever to arrive. All the way from 2005, they finally made the side-pre-sequel to the strictly anti-gray, black-and-white-and-sometimes-other-colors vignette ultra-noir film starring Mickey Rourke, Josh Brolin, Bruce Willis and Jessica Alba. And... it's not terrible. But it wasn't worth the wait.

:bulletblack: While the visuals are still flawless, very well surviving the passage of time, the plot itself is a bit on the eh-side of things. Not bad by any means, but it's something that doesn't feel urgent enough for a sequel. It's stuff you could've annexed into the first movie. Nothing new or different is shown here. We get closure to some storylines, but they're dryly delivered. No impact at all. Maybe it's because of the time passed. Nowadays I don't really care that much about Marv or Nancy, yet this movie expects us to still feel the same way about them as we did back in 2005. As if nothing had happened in between. Maybe in Sin City things will remain forever the same, but as an audience, we've moved on, and A Dame To Kill For had not a whole lot to convince us to go back for more. Visuals and ambiance, they're still there and they're fine. But it's not enough. 


:bulletwhite: We had national holidays here in Chile, so how about a local film? It's Sebastián Sepúlveda's Las Niñas Quispe (The Quispe Girls). Based on real events, it's the story of the three middle-aged goatherding Quispe sisters, that tried to live their lives as normally as possible despite the times. It's 1973, and the coup d'etat in Santiago just happened, slowly but surely bringing its ripples towards their high on-the-mountain, desolate, lonesome valley.

:bulletwhite: While it's got a powerfully stoic cinematography and it's very well performed, with a deep level of characterization that pushes the three actresses (Francisca Gavilán as Luciana, Digna Quispe as Justa, and Catalina Saavedra as Lucía) to major physical commitments in the windy highlands and its volatile temperatures, … there's not a whole lot going on here. When I said “based on real events”, I should've said “barely based on real events”, because if there's a “real event” going on here, it's only happening at the LITERAL last ten minutes of the film. The rest is bloated silence. They're doing their everyday work, talking a bit, meeting someone, looking into the distance, and thinking about things going on elsewhere.  Nothing is truly formed that'd give the movie a much needed aim – until, as I mentioned, the last scene.

:bulletwhite: It's a pretty good, chilling scene, but talking about it would be a bit of a major, dealbreaker spoiler. I had no idea about the Quispe ladies beforehand, and should've I known maybe I would've liked the movie somewhat more, although the ending wouldn't impact me as much.

:bulletwhite: And also: what's the deal with the animal violence going on here? No “no animals were harmed during the making of this film” bit at the credits. Those goats go through some rough hands and... there's something going on here I'm not sure it's not an effect.

:bulletwhite: Don't know where to stand on this one. Leaning closer the “nope”, but still respecting fractions of it.


:bulletgreen: Another based-on-true-stories film. Jonathan Teplitzky's The Railway Man. Colin Firth plays a war veteran with a passion for trains who, despite having found love and just marrying Nicole Kidman's character, is still dealing with his very traumatic past as a prisoner of war at a japanese labor camp in southern-east Asia – and upon discovering the man behind his pain's still alive, he seeks him to finally get some... something, out of him. Catharsis. Answers. Revenge. Anything that'll set him free.

:bulletgreen: The acting's great here, but the cinematography's just outstanding. But I feel that before talking about both aspects, I should mention the wildly shifting tones going on here. It starts with a laidback, serene composture, and then it dives into a very warm and lush romance of a few words. Then we're dealing with some heavy, unaccounted ghosts that'll take the movie to dark, physical levels – past and present alike. And then it's something not far removed from Liam Neeson's Taken films. Interrogation scenes with huge amounts of intensity for both parties.

:bulletgreen: And then it ends with a nice, uplifting tone.

:bulletgreen: Despite the ups and downs, I can't fully claim the movie's inconsistent: it's at least consistently well made. The acting, as mentioned, is top notch stuff. Firth once again proves he's as lovable as ever, yet he's also got an amazing talent for tapping into darkness and violence. If I'm allowed some self-insertion here, … who does he remind me of?

:bulletgreen: Props should also go to Jeremy Irvine, who plays the younger version of Colin Firth's character Eric – he's the one who goes through it all, with a fierce solemnity against humanity's worse. He's fantastic too. And the cinematography by Garry Phillips's a sensational work of minimalistic art, making waves out of still shots and slow pans of very carefully composed scenes – something akin to the work of Florian Hoffmeister in Terrence Davies's The Deep Blue Sea. Top notch.

:bulletgreen: If I'm not liking the movie as much, however, is precisely because it's a bit all over the map. It's a movie a bit too hard to grab and appreciate as a whole, but in bits it's pretty good. And regardless, it's one of the you can't say the sum of the parts add more than the whole – both of them are nearly equally good.


:bulletyellow: And finally, straight out of Cannes, it's David Cronenberg's Maps to the Stars. It focuses on the lives of a past-her-prime actress played by Julianne Moore, who's hungry to play the lead in a film once made by her mother; a celebrity dynasty with a very popular teenage son who's an actor in a sitcom; and a young girl deformed by burns on her skin who's just arrived to Hollywood, looking for a job and her family over there. That's all I say about them, other than there's something going on with these characters – and coming from Cronenberg, it's not something nice.

:bulletyellow: Much has been said about Moore here. She's great. She's bipolar as fuck. Everyone here are bipolar as fuck. It's a movie a bit tough to like, with everyone living in a very compact First World, with First World Problems; but their inner demons and issues are what will keep you glued here. Cronenberg has always worked wonders with the morbid, whether it's about the gross and the gruesome, or the scrupulous and the secretive. This one leans towards the latter end with gusto, never fearing showcasing how assholes these guys really are.

:bulletyellow: However, it's strictly a Hollywood-based film. Not that there's any legitimate dirt going on here against a true-life celebrity, but the limits make the movie somewhat predictably sensationalist. It's all about their jobs and their wealth and their fame, and I'm usually tuned out whenever their arrogant, selfish nature surfaces, as if, for as legitimate as this movie could ever be, there was a little voice on my voice saying there's no way these characters could be real people. And it's not funny/funny enough to pass as comedy so you could let it pass – although Moore has some inspired scenes.

:bulletyellow: It's alright. It's a movie tough to swallow, but the taste, while strong and unpleasant at first, will leave a lasting, unique aftertaste you won't regret.

:#1: That's it for now! Best of luck, everyone.

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deviantART Page #61 is available here at deviantArt! Click here!

New and PAGE #62 is already up at the official site! Check it out now!

OMG MOAR POEMS! ¡y el cómic #61 ya está disponible en español en yendoacasa.koolyfish.com!


:pencil: Welcome back. It's been a bit of a while, hasn't it. I got caught up with a couple errands and unexpected appointments that delayed the last page quite considerably, but we're finally here so let's not waste any further time.

:pencil: This time around I didn't see anything blockbuster-y. Only If I Stay premiered that had any sort of major-ish US buzz, but honestly I wasn't so eager to check out what was in theory a sequel to The Fault in Our Stars. Maybe I'll catch up with it later, if I'm with someone willing to join me on my journey, or if I've got nothing else to watch and I've got some cheap seats available. Time will tell if I'll care.

:pencil: Instead, this time around I got to see a handful of author-driven movies, which either by concept, cast and/or crew could easily become a crossover hit, or at least a noteworthy cult hit. But I wasn't all aboard with all of them – although I'm certainly in awe and in love with the first film of this bunch.

:bulletyellow: It's Richard Linklater's Boyhood. When I wrote about Before Midnight for my in-spanish Top 10 films of 2013 blog entry, I mentioned you ought look out for this one – and boy, I wasn't wrong. This is something else, all while being something uniquely Linklater. “Masterpiece” is a word often thrown around for things we rave and gush over, sure; but it's so rarely that the word fits like a ring like in this case. This is undoubtedly Linklater's best film. It's the one that propels him to a “master” degree – he's the master of his own craft, of portraying the passage of life and time through the ages, forever wandering aimlessly, unsure of itself. He's the great cinematic painter of the imperceptible weight of time.

:bulletyellow: Through-out twelve years, Linklater tells not a story precisely, but... just stuff, really. There's this kid, Mason, played by Ellar Coltrane, and we see him grow up from age 5 to 18. Going through divorces, friendships, likings, fallouts, ideas... a stream of, well, things going on in anyone's life. He lives with his sister, Samantha, played by Linklater's daughter Lorelei, and their mom, Olivia, played by Patricia Arquette. Their dad, Mason Sr., played by Ethan Hawke, comes and goes, offering a chance for the kids to get away from their essentially careless next-in-line stepfathers.

:bulletyellow: I may be underselling the movie by not talking about, you know. Plot twists or devices. “Something around the corner will change their lives”, that sort of stuff that'll hook most. But honestly, seeing the kids grow up and the adult actors adapt to them growing up and the changing times is very much the one thing that comes up first to my mind. When I said “through-out twelve years”, I – and in reality, Richard – meant it – in little less than three hours, you're very much watching twelve years go by in real time. And the actors are never replaced. The little kid you see at the beginning of the movie, clothed and wallpapered with Dragon Ball Z goodies, is the same guy who grows up to be a laid-back college freshman with a passionate, though certainly pretentious, inclination towards photography. Maybe there's not a real, A-to-Z-through-C-and-J plot going on, but seriously, whose life has a plot? Boyhood could've been a movie of anyone else. It could've been a movie about me, you, your best friend, your worst enemy, anyone. It's time passing by. Increasingly thinking how distant last year was compared to how soon the next one will be. And everyone here's so engaged here it borders on documentary.

:bulletyellow: Good times. Bad times. Short times, long times. They're all here. It's casually epic. It's just a normal life, but that's what so great about it. Do yourself a favor and check it out.

:bulletred: Up next is Ari Folman's The Congress, the follow-up to his 2008 animated documentary Waltz With Bashir, about Folman's involvement in the 1982 Lebanon War, and the memories he long lost about it. That was a trippy, dreamy film of unexplainable sights and motions – and this one's not far from it. At least visually.

:bulletred: Robin Wright stars as herself. Once a go-to actress for big, promising projects, now she's become infamous for being overly picky, rejecting most blockbuster projects even if the producers are very willing to fulfill all her demands. However, this attitude has left her mostly unemployable, resorting to working on lame films that go nowhere. Her career's done, her agent tells her, but there's something on the horizon: if she's willing to let Miramount Studios (Miramax+Paramount) scan her body to be digitally used in whatever film they have in mind, she'll have a steady income through the involved contract. She VERY, VERY relunctantly agrees, and... the rabbit hole here's a deep, deep one.

:bulletred: What I've described here is the majority of the live action part of the film, which makes up for a third in my estimation. We then dwelve into the animated part and it's very intentionally a different movie altogether. It's a hectic, nearly liquid, kaleidoscopic landscape of varying cartoon styles, from the 1920s, peppy-and-bouncy types, to a colder, bolder, more geometrical design, akin to something from the Macromedia Flash boom of the early 2000s. But each individual here is so unique the disarray and general visual mess's a desired product. It's like Who Framed Roger Rabbit or Space Jam, if they had an greater drive to make the design clash as big as possible. The only thing that comes to mind that looks like this movie is Cool World; but that's more on a mood-and-vibe kind of comparison, since the characters there felt like all drawn by the same hand. Not to mention that The Congress's far more tolerable.

:bulletred: What you'll make out of it it's up to you, honestly – you can say it's about how the industry's overly relying on CGI and animation to cover up imperfections, whether at a skin or acting level. Maybe it's about the post-Facebook Internet age, and how we all live through avatars and virtual profiles that it's a self-edited reflection of ourselves, always positive and trying as hard as possible to be different from others. Maybe it's about drug use. Maybe it's about all those things combined, or about something else – I thought it was kinda hard to properly gauge when half the movie is told in a very straight-forward manner, going through each step of the many processes as slowly and carefully as possible, but then it goes the other way around, being narratively dreamy, and visually unruly. At times you'll feel like one scene of the movie is sort of contradicting, or changing something already mentioned.

:bulletred: In any case, it's a one-of-a-kind movie. It's supremely animated and performed. It's one you'll certainly want nearby whenever you're too tired from the same old popcorn nothings. Give it a look, you won't regret it even if the plot leaves you behind.

:bulletblue: Keeping up with Robin Wright (but more importantly, Philip Seymour Hoffman in his last leading role – then there's only the final two Hunger Games films and that's it, very, very sadly), we've got Anton Corbijn's A Most Wanted Man. Filmwise, it's my first Corbijn. But I've known the man from the long years he's been U2's go-to photographer, and often music video director. “One”, “Please”, “Electrical Storm”, and also Depeche Mode's “Enjoy the Silence”, and Coldplay's “Talk” – a devout black-and-white artist.

:bulletblue: Based on John le Carré's novel of the same name, it's a film about an espionage operative. A Chechen refugee enters Hamburg, Germany – but the team led by Hoffman's character's tracking him down because the Chechen's got deep, close connections to a terrorist cell. Soon enough an invisible web surface among individuals related in different degree to said terrorist cell, but it'll take some time and some definite evidence to get the full picture, and measure the real gravity of their intentions.

:bulletblue: If I keep this review shorter than the others it's because I didn't like it. I nearly fell asleep during it – I was tired, the screening was late, the seats were super comfy... and the movie wasn't starting properly anytime soon. It literally takes the movie one hour to get things going, to build any sort of tension or momentum. While I can't speak for le Carre's original work, under Corbijn, “Most Wanted” may be a couple of words too big for the Chechen character. There's nothing going on with him – he's one the dullest, most inactive characters I've seen all year, being kept away from most other character's reach, feeding what it seemed at times like a romantic drama set-up. But that would be changing into something else, and the movie's dryness wouldn't let it.

:bulletblue: The protocols and procedures are delivered safely cold. Nothing compromising or risky. I may be complaining on the agents's well-rounded competency, but their motions don't do much to give the film a much needed spice. It'll sound cheap and tacky, but man did this movie needed like an explosion or two. Cue in a fast car, Tokyo-drifting through the german streets, chasing the suspicious Chechen character through dank alleys and crowded ports. Sadly, by the time one of these happen, it's all over.

:bulletblue: Like mentioned, didn't like this one. Too impersonal, too meticulous to let fun, or something close to fun, sneak in.

:bulletpurple: But if it's about it being too dry, what about Steven Knight's Locke? Tom Hardy stars as Ivan Locke, a construction chief who, one night, travels from Birmingham to London – but not for pleasure or work. A while ago he had a one-night-stand with a co-worker and she's now pregnant and in labor in London, so he's running there. All while trying to explain, excuse, and justify himself over the phone to his distressed wife, doing his best to avoid divorce. And adding to that, there's the fact that the following day the team he's in charge of will conduct a major procedure and he won't be around, so he'll have to give his instructions by phone. But both sides are direr than Locke will admit.

:bulletpurple: The thing (or particularity, trick, what have you) with this movie is that it's told strictly from Locke's point of view. He's driving a state-of-the-art BMW with a phone built in. He talks to them through the speakers, and that's our movie. We never see his wife, his son, his co-worker who he nicknamed “bastard” in his contact list, or the lady he got pregnant. The camera's stationed on different points of the moving vehicle, largely staying still throughout the whole experience. And the English roads aren't lending themselves to pretty vistas and sights – it's nighttime, and we're on a highway. Any mile here is just like the mile before and the mile ahead. Though it's a clean looking movie, it's a boring looking movie. It's minimalism bordering on cheapness.

:bulletpurple: But if anything, it's an experiment I'm happy it happened. It's an intimate, seemingly casual affair (not too far from Linklater), of a man traveling from one city to another, dealing with his own demons and the burdens he places on others. Tom Hardy's pretty good here, donning a mask of civility, professionalism and responsibility, when in reality, he's gone too far to have it all as he so wishes. Also, the movie avoids falling into being a mere ad for the BMW he's driving by making it all about the fires he has to put out and not about the luxurious car he's piloting – needless to say, I feel the car was chosen not out of quality or prestige, but because it was one simple way to have the movie take place without having the character constantly breaking the law by taking out his physical phone every now and then to talk for 15 minutes while driving.

:bulletpurple: Very much like eavesdropping on someone you don't know, the movie makes you work to deduce his past and present, and the voids between him and the ones he's calling, so you can figure out the big picture. Its moods, its un-looks, and its plot will take a time and test your patience a bit, but you'll feel rewarded, trust me. By looking outside the window there may be nothing much, but inside the car there's a quiet storm slowly brewing.

:bulletblack: Last but not least, there's Tate Taylor's Get on Up. For this James Brown biopic, he brings Chadwick Boseman, fresh from playing Jackie Robinson in last year's 42, to play another important figure of modern black American history. Also from his previous work The Help, he casts Viola Davis and Octavia Spencer (who won an Oscar for her work there, if you remember) as Mr. Brown's mother and aunt. It's a biopic, from his childhood in the woods to the early nineties, then already a music legend having gone through major ups and downs.

:bulletblack: While tonally similar, I wasn't as engaged with this movie as I was with Jersey Boys, the Clint Eastwood film about Frankie Valli and the Four Seasons. I'm not gonna mix the Get on Up review by mixing it up with Jersey Boys through comparison, but where as Eastwood's film was straight-forward and focused, dealing with creativity spurs and meltdowns with a balanced, smooth grace; Get on Up's a bit all over the timeline. It'll go from 1939 to 1960 to 1993 to 1950 and so on, without letting things build or go somewhere proper regarding Brown's personality, behavior, or even, his creative process – this one's a bit of a major problem in the movie, considering everyone's calling James Brown a genius but the movie never address his own qualities in a justifiable form. We saw the songwriting process in Jersey Boys that not only showcased the talents of certain individuals in the group, but also highlighted how involved some were in its success. None of that is found here, other than whoever's willing to go against Mr. Brown's gonna pay for it. That may be true for him, that he was an asshole, but he was so good at it they let him to be an asshole, or something like that. But the movie never deals with the subject more than the bare minimum.

:bulletblack: It makes the movie an annoying sit for anyone who isn't a major fan of James Brown – why is he being heralded as a genius, where is all that coming from? We know the songs, and why they're so good. How did he come up with that? All we get is a redundant “funk is the one and all” mantra, echoed through times as Brown remembers instances of his life where he was down on his luck, and how music just came and saved him by encouraging him. Considering the aggressively in-your-face nature of James Brown, such things come as sappy.

:bulletblack: But in any case, Boseman's great. The music, as you can expect, is even greater. It's watchable for those two elements, but not for much else. Maybe it's more listenable than watchable, but it's certainly worth a part of your attention.

:#1: That's it for now! Until next time!

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:pencil: So Super Smash Bros. For 3DS was released in the meantime without comics. Yeah, that’ll do as an off-topic intro to this week’s movie log. I got it in digital form, played it a good while, unlocked all the available characters. What do I think about it? Well…

:pencil: The game itself is pretty tight. Controls well, it’s got a hectic but manageable pace. I’m maining Pac-Man, but I’m also leaning towards Bowser every now and then. What else is there to say about it? It’s Smash – a game series that not only came up a new genre, but it’s the only good, worthwhile game in that genre. There’s Smash and then there’s the rest.

:pencil: However, just a week and a half later, I feel like I’m done with the game right now. I’ve still got some things to unlock – stages, costumes, … bonus modifiers, I think… but I feel like I’m done enough mileage with the game. I don’t know, I feel like it’s something like Mario Kart. Not a bad game by any means, but one that makes itself abundantly clear when you’re done with it. You’ve mastered your tracks, you constantly get the first place, there’s nothing more to gain from it other than competition with friends. I’m not saying I’ve mastered all the characters here – let alone Pac-Man, or hell, even finished the game with every single character at the highest difficulty setting –, but I feel like that was fun, and from now on playing it by myself it’s gonna be a bit of rinse and repeat with different characters.

:pencil: Part of this problem comes from the content found in the game. It feels kinda lacking. I don’t know, maybe something like a Subspace Emissary (a.k.a. a story mode) would’ve been fine here. SmashRun sort of serves a similar purpose, but it never feels like a experience weighty enough to be satisfying. It’s something you play once or twice and you move on. It feels anonymous.

:pencil: But other fighting games don’t even bother with a story mode or extra content like Smash, so what’s wrong here? Well, I like other fighting games better. I’m a traditionalist, I like my big-ass sprites with the lifebars and occasional super-meters. Still, the mechanics here are excellent – it just works. But it should work better, with far more content on the Wii U.

:pencil: I liked it, but I’m not in love with it. It was a fling that I’ll cherish and revisit every now and then. Alright, so what do we got this time?

:bulletyellow: First up is Kei’ichi Sato’s Seint Seiya: Legend of Sanctuary. A reimagening of the original anime series by Masami Kurumada, it tells the stories and struggles of “Saint” warriors who fight dressed in armor based on constellation mythologies, all to protect or kill Saori Kido, the current incarnation of Athena. Seiya’s the leader of the good guys here, and he’s donning the Pegasus Bronze Cloth. And I don’t know what I’m telling you all this, if you’re coming from either Tumblr or deviantArt, you already know what’s going on here.

:bulletyellow: I grew up with this series as a kid. It was pretty violent, and that’s all I needed to like it. But now that I think about it, the series was respectfully literal and solemn in its treatment of Greek mythology. The heroes must save Athena from a cursed arrow, and they have only until midnight to get to the top of the mountain and cast a moonlight reflection with a mirror on her to save her, but they’ll have to deal with 12 golden saints, all of them immensely strong – some of them are even godlike, no less, if they’re not gods themselves like Ares, Ades and Poseidon. Sounds like the adventures of Hercules, no less.

:bulletyellow: I don’t think that mighty and heroic status is ever reached here. I could go on for ages about what’s changed and what’s preserved from the source, but I’m not that big of a fan nowadays. I can’t get angry about adaption and reinterpretation. But speaking as a Chilean – or rather, as someone who lives in Chile, where Saint Seiya hasn’t been a thing for over a decade now, I just wonder what’s the point of having this movie at our local cinemas. The tone and the looks are clearly for a younger generation, looking like a bishie hybrid of Iron Man and the more recent Final Fantasy videogames, yet the only audience this movie could ever get are grown-ups like me that saw the original series when they were young. From a Chilean perspective, this movie was a non-starter. The intended audience was non-existing, and the real audience had nothing going on here.

:bulletyellow: Yes there is a musical number, and yeah, some characters and actions are changed to the point of nonsense. Some of them literally only appear to die, while others are shoved under the rug, only mentioned so fans could check them off their list. But no matter if it’s a Saint Seiya film or a brand new idea, it’s an incompetent, nonsense movie. It’ll make you mad if you’re a fan of the series, and it’ll leave you far, far behind if you’re not, with its penchant for references and quips.

:bulletyellow: It’s a waste of decent CGI. Don’t.

:bulletred: Up next is James Gray’s The Immigrant, a movie I should’ve seen WAY earlier in the year. One of my favorite film critics gave it a glowing review back in Cannes 2013 and later he mentioned it as one of his favorite films of the year. And now I’m just checking out how great is, nearly a year and a half later. So what is it about?

:bulletred: Escaping from the horrors of WWI, Ewa and her sister Magda arrive in New York hoping to start anew with their already-residing-there aunt and uncle. However, they get separated from each other because Magda has polio and she can’t leave Ellis Island. Hoping to buy her sister medication and a quick recovery, Ewa agrees to work for a local pimp who got her out charmed by her looks. A relationship already complicated between them will turn physical when his magician, romantic cousin arrives and fancies her too.

:bulletred: On the surface, this looks like like a run-of-the-mill period film, but what the plot hides is the tremendous sense of individuality and motivation behind each character. Ewa, a fantastic Marion Cotillard, will try everything she can to get her sister back – there’s no return for them, it’s here or nothing. Her pimp Bruno, played by Joaquin Phoenix, will keep a tight leash on her but he’ll let her roam around protected and cared for. She’s something special to him – but money must come from somewhere. And his cousin Emil, played by Jeremy Renner, is pleasant and entertaining, but he’s willing to go the extra mile to get her – he’ll declare his love to her whereas Bruno won’t.

:bulletred: It’s a fantastic film with deep, passionate performances, but what I like the most from here is that for a romance, this movie feels heartless. I’m not talking about it being cruel or hateful. I’m talking about every character saying what they have to say, doing what they have to do, in order to get by and see their goals met. There are no victims here, only ambitions. Even if the words hurt, they’ll say them not to cheat or steal from someone, but to tell an unavoidable truth. It’s never too heavy with the period framing to feel isolating, and it’s never too dark to let violence and explicitness take the wheel. It’s a maturely balanced film I can’t believe I didn’t check out earlier. Do yourself a favor and check it out.

:bulletgreen: Wes Ball’s The Maze Runner! A bunch of kids find themselves for no discernible reason in the middle of a gigantic, deadly maze. They don’t remember anything but their names. Still, though they’ve lost a handful, they’ve grown into a small, tight society with roles and protocols. Nevertheless, Thomas, the latest kid to arrive, will stir things up, leading up to a plan that will hopefully let them out of the maze, and/or answer why were they sent there in the first place.

:bulletgreen: Didn’t like this one. It’s LOST for kids. It’s a mystery inside an enigma covered by riddles. It’s exasperatingly inconclusive. Nothing leads anywhere – and spoiler alert: not even the ending will do much for you here. It’s all setting up for, get this: phase two. Everything you’ll see here is a prologue for something else, and I wonder why couldn’t give us something here? What is there to gain from being this diffuse and aimless? What if there is no Maze Runner 2 for whatever reason – why would you need a Maze Runner 2 to justify your first movie in the first place?

:bulletgreen: But hey. If you liked LOST, maybe you’ll find something to enjoy here. If I’m honest, I think the idea’s quite intriguing – yeah, I got myself caught on it despite everything. However, it’s the lack of any solid, tangible conclusion here what’s a serious turn off here. Just give me one thing I can look forward to. One answer that’ll be my north star when I get to the other side. Alas, nothing. This might as well be called “To Be Continued: The Movie, Part I”.

:bulletgreen: Anyways…

:bulletorange: Stop motion masters Laika are back with Graham Annable and Anthony Stacchi’s The Boxtrolls. This time around they’re telling the story of a city where boxtrolls (trolls wearing boxes) roam at night and under the streets, panicking the human population. But they’re far nicer than what they give them credit for, as they’ve adopted, raised and cared for a human boy with love. But a long gestating plan will put the Boxtrolls in trouble, and it’ll be up to this one kid to not just save them, but redeem them.

:bulletorange: Whereas Coraline and Paranorman got dark and nightmare-inducing with relative quickness and ease, this one’s more lighthearted and jovial. Nothing wrong there, especially considering all the rich ideas at work here: a kid raised by a tribe of monsters, only labeled as such by society. A city in which fine cheese and white top hats are major social symbols. Monsters wearing boxes, for crying out loud.

:bulletorange: What kind of troubles the movie is that it doesn’t really take full advantage of any of these ideas. There are too many things going on here – a forbidden friendship, a fish-out-of-the-water, a tribe of monsters, men hungry for cheese and power, conspiracies, murders, huntings, a master plan, a secret identity… so many things going on here and all they all clash against each other, stepping on each other toes so hard they’re not allowed to go far. This is a movie you could’ve taken out a couple of ideas, whichever they may be – even the Boxtrolls themselves – and it’d be better if only because of the optimization. This is not a bad story or a bad concept. It’s just a story too busy for its own good.

:bulletorange: If you’re into stop motion, you gotta check it out though, no question about it. But in any case, it’s their first misstep.

:bulletblack: From Chile, we’ve got debuting director Alejandro Lagos’s Génesis Nirvana. A mother devastated by the death of her young child Génesis gets even more devastated when she learns the murderer won’t even spend time in jail – they let him go right away. With the justice system failing her, she’ll make sure he gets what’s due for him. And she’ll record the whole process, too.

:bulletblack: I mean, if you’re calling your kid “Génesis Nirvana” – as in, “the origin of absolute bliss” —, least you could say there’s something undeniably pretentious going on here. The movie never dives into the metaphysical, but through music-video like editing and photography it aims for depth and resonance when it only comes across as largely context-free.

:bulletblack: But then, the absolute, nearly innocent seriousness going on here works wonders. Mariana Loyola gives a shattered, nervous, timid, desperate performance – she’s just fantastic. Props should also go to the editing here, shifting from long, tense takes to quick-paced, cut-happy montages – that’s not a choice most would take, but here it works great, making you itchy and nervous with how quickly things escalate, to then give you a time to decompress and reflect with a very state-of-mind sequence.

:bulletblack: The movie’s a bit short, though, clocking at about 80 minutes, if I’m not mistaken. I previously mentioned I’m glad the French animation industry were making their movies condensed yet rich, never staying for too long yet always giving you a warm, very positive impression. Here… I can’t say it’s time badly spent, but all in all, you’ll feel a bit dry. You’ll want something more from it. Check it out to find out what I mean, but still, it’s a unique, emotionally engrossing genre-flick.

:bulletred: And… oh boy. Our neighbors across the Andes have come up with something. Damián Szifrón’s Wild Tales (or Relatos Salvajes, as it’s originally called). Different, non-crossing stories of rage, tragedy and payback. The violent, unforgiving payback. They’re stories about the assholes who make our lives miserably each and every day with their tiny details and hidden bullshit – but one day, it’ll be the day. The Day.

:bulletred: What can I say about this movie? It’s just sensational. It’s terrifyingly funny, pushing buttons with such a bluntness you can’t help getting on these people’s side, trying to find a way you’d get away with murder in the scenarios they’ve made for themselves. Or even, how would you justify murder under these conditions. These stories are about broken minds, who were pushed so abruptly to the edge without any warning they’re willing to send everything to the everloving fucking shit.

:bulletred: The performances are all… just top notch. They all convey anger and frustration in their own ways. One case in particular will shine through complete absence! They’ll be explosive, blind, unforgiving… which makes the end result all the more surprising. When the dust settles in each of these little scenarios, all of them will make a different sort of silence. Awkward silence. Total silence. Unintended silence. Satisfied silence.

:bulletred: It’s a fantastic, thrilling film. Maybe these stories by themselves would’ve worked even better, but who knows. Who cares, even. The pace throughout the movie is a rollercoaster – it’s cyclical, but damn it’s a rush. If you’re having a shitty day, by all means, see this one. It’ll spiritually kick those motherfuckers who ruined your shit in the face. Even when our characters fail, you’ll feel pleased they didn’t go down alone.

:#1: That's it for now! It took me an extra day to get the log here because I couldn't access deviantArt for some reason. Anyways, best of luck!

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OhNoAndrej
Andrés Rodríguez
Chile
I make some webcomics, I check out some movies.

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:iconsunao17:
Sunao17 Featured By Owner May 26, 2014  Student Traditional Artist
holaaa! estoy haciendo una encuesta para mi tesis de grado, y me preguntaba si podrias responderla  n.n me ayudarías mucho! es sobre contenido artistico en redes sociales. aqui esta el link (puse los ptos entre parntesis para que pa page no me lea el msje como spam)  www().onlineencuesta(.)com/s/0d73a2a


otra cosa, como aprendiste ingles?
Reply
:iconohnoandrej:
OhNoAndrej Featured By Owner May 26, 2014
Por cierto, en la pregunta de: "En estas redes sociales, ¿qué tipos de técnicas artísticas ves? (Puede ser 1 o más de las indicadas en las opciones; si la red social en cuestión no la visitas, dejar la fila de opciones sin marcas)", no pude dejar las redes sociales que no visito en blanco. :( Le marqué que no las visito para cosas artísticas, nomás.
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:iconohnoandrej:
OhNoAndrej Featured By Owner May 26, 2014
Ahí te respondí la encuesta ;) Y aprendí inglés desde chico. En tercero básico mis viejos me metieron a un taller de como tres meses en el Berlitz y desde ahí me fui por mi cuenta.
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:iconartemisiadark:
ArtemisiaDark Featured By Owner Jan 11, 2014
Thank you for the fav ! :thanks:
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:iconohnoandrej:
OhNoAndrej Featured By Owner Jan 11, 2014
You're welcome! :#1: Best of luck!
Reply
:icondanae141:
Danae141 Featured By Owner Jan 4, 2014  Hobbyist General Artist
Thanks for mentioning my Pussy Riot doodle :) it's nice to know the word is getting out!
Reply
:iconohnoandrej:
OhNoAndrej Featured By Owner Jan 5, 2014
You're welcome! Their HBO documentary is pretty good! :D And also, yeah, glad to hear they're all free at last.
Reply
:iconwebcomicunderdogs:
WebcomicUnderdogs Featured By Owner Oct 4, 2013
Hola, Underdog!
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:iconohnoandrej:
OhNoAndrej Featured By Owner Oct 5, 2013
Hey! A big hola for all of you underdogs, too :D :#1:
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:iconnkloud:
nkloud Featured By Owner Oct 2, 2013  Hobbyist Photographer
Hola, pasaba a saludar para que no digas que solo me acuerdo para pedirte favores! Éxitos!
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