With four films and two spin-offs (those dedicated to the Annabelle doll already The nun) which, in turn, have generated multiple sequels, The Warren File has become the dominant franchise in horror cinema of the last decade. A success underpinned by the artisanal craftsmanship of its scares, and also by a classic conception of horror, which presents an Absolute Evil with diabolical roots facing the forces of Christian good. This conservatism is the result of the debt the films owe to their source of inspiration: the couple formed by Lorraine and Ed Warren, pioneering researchers of the paranormal and practicing Catholics.

We're in a good season of film releases by Chinese filmmakers of the so-called sixth generation, those who debuted at the end of the century under the shadow of Tiananmen Square, with an alternative aesthetic compared to more veteran directors and a more critical attitude towards state policies. Adrift by Jia Zhangke and Black Dog by Guan Hu, is now added They have unfinished film (released here with the title in Spanish: An unfinished film). The director is Lou Ye, known for titles such as Suzhou River (2000), a filmmaker with a special sensitivity for melodrama and dissident sexualities who has often had problems with the authorities.

The sensational and surprising success of Talk to me (Talk to me) in 2023 made the doors of Hollywood open for brothers Danny and Michael Philippou, with million-dollar proposals such as making a new adaptation of the video game Street FighterHowever, the Australian duo managed to avoid (for the moment) the siren calls of the blockbuster and returned to his native Adelaide to tell another scary tale, with a more dramatic, but not necessarily more mature, delivery than his debut. The filial relationships, which were already central to Talk to me, they gain even more weight in Bring her back (Give it back to me), which introduces us to two siblings on their father's side who have been left alone in a hostile world. The youngest, Piper, has serious vision problems, and the eldest, Andy, has three months left until he reaches the age of majority and can apply for legal guardianship of his sister.

Whitewashing a recent children's comic that young readers haven't had any problems with is already a big deal. But this is exactly what happened with the 2022 adaptation by DreamWorks of the work The Bad Guys by Australian Aaron Blabey. His talk about ferocious animals aims to change society's perception of them (see how Zootopia) appeared on screen with sharp teeth, mime, without venom. Any joke or script discovery that might seem a bit exaggerated or dissonant was systematically watered down. In the traffic to the cinema, moreover, the charismatic drawing style, which tended towards the dirty line of the comic, was standardized according to animation standards of blockbuster Summery. This means that the Hollywood reel broke down other possible dialects of humor, adventure, or children's stories, as if there were only one way in the world to laugh, to vibrate, or to connect with children, or, according to the logic of the offices, to succeed; The Bad Guys It has already been published for more than twenty issues and sold over thirty million copies worldwide. Anyway... Bad Guys 2 Nothing is amended from the first installment. In fact, it adds new grievances. Confusing breakneck pace with oppression, and comedy with infinitesimal gags, this sequel is completely indistinguishable from the first. There are more female characters, yes, but they carry the weight of a footnote.