Reviews

Close Enough is a surreal animated comedy about a couple, their five-year-old daughter and their two best divorced roommates, all living together in eastern Los Angeles. They are sailing in that time of transition in their 30s, when life is about to grow, but not aging. It's juggling at work, kids and chasing your dreams, avoiding time-traveling snails, stripper clowns and killer mannequins. Their life may not be ideal, but for now it is close enough.

The Close Enough comedy works on two levels: the extended family dynamics and the bizarre surreal settings in which they usually find themselves, very typical of just one show. It's a little bit of life, a little old-fashioned American animated comedy, and I can't help but consider it somewhat autobiographical, giving a mirror to the personal life of Quintel and his team of writers. Some scenes seem to be derived in a very specific way and are still totally related to viewers of a certain age and demographic.

Close Enough advances greedily into a strange world, where a hunting session at home turns into a fight for your life. In point, Close Enough is a departure from the Quintel Regular Show in infinite ways, but the heart and the humor serve as the guiding threads. Former fans of the old Cartoon Network can appreciate a slightly older and more ruled version of Quintel's comedy.

The setting is totally different, the characters are mostly new, to be sure, but the sometimes chaotic flow to the narrative and the band of non-kidnappers remains. That's what made the original series and spin-off so unique. And yet, Adventure Time: Distant Lands - BMO is also more streamlined, a little bit smaller, as it does not have the advantage of exploring its mythology over dozens of episodes like its predecessor.

The little saga includes a reasonable amount of knowledge and characters at that time of execution. We met the young teenage scientist rabbit Y4 who makes observations on a failed space station called 'The Drift'.

The problem is when you feel a little rushed when it comes to stories and development of relatively new characters. There is simply no time for fans to develop an emotional and deep attachment to these characters when their lives are overturned, we feel something strongly in one way or another. Fortunately, BMO acts as an emotional anchor in this case. If this freelancer had simply started following these new characters, he would have felt derived, a pale imitation of what made the original Adventure Time so good. For both the characters in this special and the viewers at home, BMO is here to save your day.

The Old Guard carries proof that adaptation is not synonymous with quality. The infamous comic book writer Greg Rucka, already famous for his facets in DC, assumed for the first time the responsibility of writing the script for a film adaptation, in the case of the miniseries he created at Image Comics with Argentine artist Leandro Fernandez. Having modifications with respect to Netflix, we accompany a group of warriors that do not die, and that it was after age they watched the wars of men until arriving these days, when they act as a squad of special operations trying to do good in the world . Charlize Theron leads the internationalized cast, whose ethnicities and origins correspond to their characters in the miniseries, from rival knights to the Crusades to the survivor of the Napoleonic wars. In the centralism of Old Guard there is disillusionment with the viewer, coming in the cold behavior of the characters and in the shootings of Tarantino. The quality of the structure is not able to give a voice to HQ that does not come immediately. This is the work of an epic distinction that different media do not have the same simulated content as other militarized scenes. It is a great orgasm of violated trivialization. Part of the responsibility is, of course, with Greg Rucka, whose script combines Highlander with Sense8 but lacks the charm of the former or the globalizing wit of the latter. As a construction of a historical and geopolitical universe, his text is satisfied with clichés of the American imagination (the maximum of exoticism in the world is always to return to the mud houses of Afghanistan) and with jokes of namedroping (it is very symptomatic that there is grace with the fact that Andy had sex with Auguste Rodin but there is no mention of the current affairs, which would humanize the character as in the HQ, however empty). These moments are supposed to take the viewer on a journey through history and its famous famous figures, but in reality they are a pedantic list of references that only evidence the laziness of the script in seeking any specificity. What is left is the result of a look at violence and speeches over paranoia trying to be an adaptation, taking refuge in the violent action accumulated in non-adaptation but in strangeness.