El juego del calamar

Un cruce de temas Battle Royale y Saw, brillantemente desarrollado en un pasaje colectivo de ocho horas por el infierno. De forma atractiva y colorida, con decorados y trajes espectaculares, personajes bien construidos y exploración sociológica de su comportamiento, juegos ingeniosos con más de una sorpresa inteligente y una buena dosis de sangre y brutalidad. Dong-hyeok Hwang combina con audacia todo tipo de tendencias de la cultura pop y del género en una película comercial de masas y gana por goleada. Episodio 6 es un golpe emocional que realmente no esperaba aquí. El único tropiezo en la credibilidad del comportamiento de los personajes llega en el último episodio. Además, se cierra con un pretendido y sorprendente remate que contradice ciertos acontecimientos anteriores. (18.11.2021)

Entretenida en el esquema, pegadiza en los visuales minimalistas y con la duración justa para la riqueza de la historia que quiere contar. Habría criticado el destino quizá demasiado predecible de algunos personajes y el extraño giro del último episodio, del que podría haber prescindido. Por lo demás, se trata de un espectáculo muy sólido de Corea del Sur. (18.11.2021)

Hollywood is done, Korea dulez!! The combination of Netflix and South Korea is the best thing anyone has ever thought of, and it has once again resulted in an awesome spectacle with all the Korean parameters, traits and attributes, and the same big names have come together to make South Korea a powerful mainstream hit that is shaking up the world. A variation on Battle Royale and Hunger Games along the lines of Japan's Alice in Borderland has never been more entertaining, smart and disturbing. Squid Game follows the die-hard Korean template and has all the elements every fan expects: an original twisted theme, perfectly written and acted characters with strong progression and changes, the requisite dose of action, violence and high body-count, built-up suspense, believable twists, ornate visuals, compelling dialogue, well-conceived melodrama toying with the audience's emotions, and it wouldn't be Korean if there wasn't also people trafficking. Only the Koreans can incorporate so many elements and present it confidently with a raised middle finger, and they do it again with clarity and breathlessness. Episode 6 is probably the strongest for me and the reveal of the White Horse put a smile on my face, I didn't expect it in the least. Excellent Job. I loved the cameo by Gong Yoo and Lee Jeong-jae in the lead, but in a very unconventional role. Story 5/5, Action 4/5, Humor 1/5, Violence 5/5, Fun 5/5 Music 4/5, Visuals 5/5, Atmosphere 4/5, Suspense 5/5, Emotion 4/5, Actors 4/5. 9/10. (24.09.2021)

1st season – 70% – The concept is enticing, the plot is uncompromising, and the characters are concrete and honest to the point that it is impossible not to give in and continue watching, getting caught up in the madness where even viewers who a week ago wouldn't have given Korean cinematography a second thought are wearing geometric patterns on their faces. However, the best moment is the initial shock at what is happening to the protagonists. At that moment, anticipation, tension, and the feeling that I have been waiting for a spectacle like this for years all come together. But that moment can't be surpassed, and I quickly become frustrated that the audience constantly stays one step ahead of the main characters, without realizing what will happen next. The naivety of what awaits the poor souls in the next game and their surprised reaction that it's a matter of life and death becomes more and more irritating, as well as their way of thinking and their desire to ally with those who clearly have ulterior motives and only play for themselves. By the end, many questions have been pushed hurriedly aside, and even the non-game storyline gleefully mocks me, saying that the answers may come someday next time. The impact is gone, but the curiosity still remains, albeit to a lesser extent. (18.01.2022)

Yeah, a pretty cool Korean take on Battle Royale, Hunger Games, Saw, Cube, and Escape Room that goes out of its way to attempt some relatively adult social insight. But in spite of how serious it wants to look at times, the core of the whole thing is completely banal, and the execution of the action is quite logically haphazard in the details. That is fine with stuff like Escape Room (it's basically identical in concept), which is not trying to be anything other than a fun B-movie, but Squid Game wants to be more like Parasite and I found that quite distracting at times. And the awful line with VIPs is a chapter on its own, terribly cringe. In its strongest moments it’s excellent (the sixth episode in particular is amazing, though actually quite predictable from the beginning), but lame in its weakest. Either way, compared to last year’s Alice in Borderland, it’s light years ahead. (23.09.2021)