Descuida, yo te cuido

¡Esta es mi Promising Adult Woman! Un tema novedoso con una definición moderna de los personajes, una inteligente batalla de egos a flor de piel donde nadie es un ángel y todos merecen una bofetada. Un thriller y una película de gángsters, protagonizada por un personaje femenino tan soberano como los westerns de Clint Eastwood, y un acertado espejo de la sociedad estadounidense con la inserción del autor. Rosamund Pike ofrece aquí la mejor interpretación femenina en una película en lengua inglesa de los últimos tiempos, no en cuanto a la profundidad premiada, sino en cuanto a la joya de cada escena con expresiones faciales quirúrgicamente precisas. Ella es la columna vertebral de esta mezcla de elementos de género audazmente concebida. El casting de Peter Dinklage parece extraño al principio, pero poco a poco encaja perfectamente en el concepto caricaturesco de la película. Una película que podría haber resultado un fiasco, pero que gracias a una gran dirección y a Pike, resultó ser una pequeña joya posmoderna. (22.02.2021)

Of course, I'm glad it turned out the way it did .... but had it ended a few minutes earlier, I would’ve tipped my proverbial hat because a film with such big cynical balls would be remembered years from now. Blakeson just went soft, but it doesn’t matter, my idealistic little soul was relieved, so at least I send my kisses to Rosamund, those mischievously ironic pursed lips of hers at exactly the right moment, that eye play, it was an acting recital. (26.02.2021)

An excellent, cynical, motherfucking thriller about the conflict between two assholes. Rosamund Pike enjoys herself plenty playing a despicable being who abuses defenceless old people, until one day she messes with an old woman who has very dangerous friends. It’s brisk, with excellent performances and a lot of fun, but unfortunately not so well written. In the last act things go a bit too over-the-top and the script begins to rely too much on unlikely coincidences. But I’m willing to turn a blind eye to it, because the ending was pleasant. In short, great satisfaction. (19.02.2021)

Rosamund Pike plays your typical, ruthless, evil, confident bitch who literally gets away with everything. The film has a compelling story about a woman who steals from defenseless pensioners and always gets away with it, until she runs into a lady who has dangerous friends. In addition to Rosamund Pike’s great performance, there is an excellent antagonist in Peter Dinklage (known to most as Tyrion). It’s nicely and engagingly shot, it has style, swing and panache, and plenty of twists and turns are not spared and suspense. I certainly wasn't expecting such an entertaining, engaging and intelligent film. Netflix is on. Story****, Action>No, Humor** Violence**, Funniness****, Music***, Visuals****, Atmosphere****, Suspense***. 7.5/10: (19.02.2021)

With our government’s policies, I probably (luckily) won’t survive until my retirement. It’s just a matter of time until Marla inspires somebody to open a similar professional care service in this country. This cynical, female version of Scarface surfs on the waves of modern trends and, but still comes across subversively. It has a perfect screenplay which doesn’t falter, even at the end, and it manages to squeeze both comedy and a good portion of tension from the ridiculous premise about a "carer" who (completely legally) robs the mother of a white slave trade boss. Rosamund Pike’s acting recital is tastefully seconded by Peter Dinklage. Unexpectedly satisfying. (24.02.2021)

I don't really like it when a professional killer in a film decides to kill someone professionally, he does it craftily and cunningly, but then he fails to completely professionally convince himself that he actually did it. This scene, along with one final plan, which was probably successful only thanks to a happy coincidence, lost the film one star from my review. Otherwise, I surprisingly had fun, especially thanks to the perfect Rosamund Pike. (07.03.2021)

Un tema imaginativo, un enfoque simpáticamente cínico y un gran esquema. Y luego la decepción. Con un concepto cinematográfico tan sólido y un protagonista tan extravagante, es una completa lástima que el cineasta haya decidido insertar villanos dignos de los dibujos animados Looney Tunes y renunciar por completo a cualquier decisión audaz. Además, es una de esas películas cuyo acto final se desarrolla según lo que le convenga al guionista. Una película honesta, pero podría haber sido muy diferente. (01.05.2021)

SPOILERS: No lo parece, pero básicamente es la realización de un esquema típico de gánster sobre el viaje de un mafioso a la cima y su posterior caída, al estilo de Scarface (con el mafioso siendo la antiheroína principal, una hiena humana amoral y manipuladora disfrazada de cuidadora atenta), sólo que envuelta en un abrigo emancipado y satírico adecuado para el cine (post)moderno del siglo XXI. El mafioso Peter Dinklage y sus secuaces aparecen como ridículos e incompetentes a propósito, representando un modelo anticuado de criminales que se acobardan en el submundo ilegal y cultivan un aura del mundo de sobornos, contrabando y secuestradores que cortan dedos, mientras que la innovadora Rosamund Pike y su banda femenina aparecen para fuera como legítimas bienhechoras, regodeándose bajo las alas protectoras de la legislación estatal y el favor judicial. Sin embargo, no controlan sus negocios como la mafia clásica a pesar del mal sistema, sino que cooperan con el sistema y se aprovechan de sus debilidades, y la película muestra entonces a sus víctimas inocentes indefensas concretas, de modo que es imposible identificarse con ellas (lo que al final también afecta a Dinklage como único personaje potencialmente simpático con cierto desarrollo, que al final ve la luz de manera tal que se pone del lado de los que no pueden ser vitoreados). Lo que probablemente será desagradable para algunos y molestará a muchos (a pesar de la débil satisfacción en el último momento), así como algunos momentos bastante poco creíbles que fundamentalmente jugarán a favor de la antiheroína principal en varias ocasiones. Sin embargo, las buenas interpretaciones de todos los participantes son sin duda un punto a favor. (25.02.2021)

It’s pretty much a slam dunk by the halfway point since the central pensioner scam is a believably foul business, the plot unravels slowly and suspensefully, Peter Dinklage has a great accent and charisma, and Rosamund Pike successfully makes progress in her acting struggle not to come across as a living being. Plus, it has an interesting unspoken subplot at the start about there being a skeleton crew of women in executive positions across the system who look out each other and watch each other's backs in various types of semi-legal trouble. Once the cards are laid on the table, it knocks itself down a few times, stops making sense, and starts peppering us with one tendentious cliché after another. In bullet points (spoilers): 1) the film outright states several times that this will be a conflict of different ways of solving problems, i.e. the fear and brutal violence the mafia antagonist works with versus the cunning and outwitting of the system within it, which is the protagonist's domain. In the end, however, she achieves victory by electrifying the antagonist's security guard with tasers and then drugging him and leaving him dumped in the woods, thus achieving victory over him by his own means, in exact opposition to what she has convinced us of so far 2) Rosamund Pike's character here comes across as a clichéd Strong Woman (TM). To support her, the film thus puts her in situations where a dirty redneck in a red baseball cap threatens to rape her. I find this translation of the Twitter mindset into the medium of film extremely annoying 3) the film is shot in such a way that it could take place practically anywhere there are a few houses, as the camera doesn't take up any space at all and we mostly watch static focused faces in a narrow focus strip with a completely blurred background. Most of the semi-closeups and closeups of faces look like something out of a corporate annual report. 4) When the film does dare to go all in with everything and familiarize us with the space where the scene takes place, for some reason some places are completely nonsensically lit in purple or red, for example, and there's a turquoise light shining out of the windows of a normal apartment building that no one really shines at home. This isn't the first contemporary film where I've seen this, and I'd like someone to explain why they’re doing this to me. (28.02.2021)

Parádní thriller, u nějž se nedá vydechnout, napínavě jsem sledoval osudy postav od začátku až do konce a málokdy bývám tak ukrutně zvědavý, jak všechno skončí. A jsem nadmíru spokojený. Vlastně se jedná o zvrácené a úchylné vylíčení amerického snu. Rosamund Pike má bezcitné a psychopatické mrchy nejspíš v krvi. (05.03.2021)

The opening monologue appealed to my cynical side, so I was looking forward to a movie that would be right up my alley. At first, it seemed that way. But the filmmakers obviously overestimated their abilities. As time went on, some things stopped making sense and the story started clashing with logic, and the ending was downright pathetic. Despite all my reservations, I'm giving a slightly above-average rating for the very good first half. (09.05.2021)

It hasn’t happened to me in a long time that I've had this much trouble rooting for a character in a movie. Because the problem here is the lack of any "character" in the good sense of the word. Besides, the way the main character justifies his own actions here (lioness or lambs) is insanely banal in every way. Of course I can't say that I don't care how the whole thing turns out and that I wasn't entertained. I Care a Lot combines thriller elements with Coen-esque absurdity quite playfully, and of course tries to put everything into a current social context. Rosamund Pike is OK, though she was a bit more demonic and believable in Gone Girl. In the end, though, it's a pretty cool one-off with a cool story. The ending is a bit overladen and makes a statement more tragicomic than believable on the current status of women in society, but who cares. As long as you don't have exaggerated expectations involving major statements and don't look for any deeper meanings, you'll be reasonably satisfied. It's such a nice play on the genre. [65%] (12.04.2021)

I never thought that Rosamund Pike could play an even more cynical bitch than in Gone Girl. Little did I imagine how she would outdo herself and nail the character of total human scum so perfectly. It’s been a long time since I felt like strangling a character through the movie screen for two hours straight. Peter Dinklage also plays quite an asshole, but you can't help but root for him against Pike. In the end, the authors might have gone a little overboard with the unlikely events, but despite that, this movie about a slightly different version of the American dream is entertaining, with brilliant acting performances, and perhaps a satisfying ending. Although the authors seem to have gone soft towards the end. (08.03.2021)

An unusual subject, the great R. Pike, excellent costumes, and all to the sound of a perfect soundtrack. The only thing that stopped me from giving it the highest rating was the relatively predictable plot (including the ending), but it didn't spoil the fun for a moment. There are wonderful scenes that give you the chills or make you laugh. I am glad that the creators were able to make the best of such an imaginative subject. (03.04.2021)