#eduardo fajardo

[weirdlookindog]

La tumba de los muertos vivientes (1982) - French poster

AKA Oasis of the Zombies; Oasis of the Living Dead; Grave of the Living Dead; The Treasure of the Living Dead; Bloodsucking Nazi Zombies

[l-ultimo-squalo]

Django (1966) dir. Sergio Corbucci

[cinemaquiles]

Um clássico e dramático sobrenatural: o primeiro filme mexicano indicado ao Oscar!

[clemsfilmdiary]

Long Live ... Your Death! / ¡Viva la muerte... tua! (1971, Duccio Tessari)

10/22/22

[abs0luteb4stard]

W A T C H I N G

Based on Yojimbo by Akira Kurosawa & Ryūzō Kikushima (both uncredited)

I've seen the movie about 4 times. Now, seeing it with good restoration. First time since my dad died. It's not the same without him to share it with.

My mom has her own interesting takes on it. She's got a retroactive crush on Franco Nero.😅 It's still as good as I remember it.

[moviesandmania]

THE EXTERMINATORS OF THE YEAR 3000 (1983) Reviews and free to watch in 4K

The Exterminators of the Year 3000 is a 1983 Italian-Spanish post-apocalypse action science fiction film about survivors searching for water. Directed by Giuliano Carnimeo [as Jules Harrison] (RatMan; The Case of the Bloody Iris; I Am Sartana, Your Angel of Death) from a screenplay co-written by Elisa Briganti, Dardano Sacchetti and José Truchado [as James A. Prich], the movie stars Robert…

[perfettamentechic]

4 luglio … ricordiamo …

4 luglio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Robert Hoffmann, attore austriaco con 21 film nella sua filmografia. La sua carriera tra cinema e televisione fu esercitata prevalentemente in produzioni europee. Dopo aver studiato recitazione in Francia, Hoffmann debuttò in Le avventure di Robinson Crusoe del 1964, serie televisiva che ebbe molto successo in varie nazioni. (n.1939) 2022: Mona Hammond, pseudonimo di Mavis Chin, attrice…

[cinevisto32]

No es bueno que el hombre esté solo (1973)

[adamwatchesmovies]

Exterminators of the Year 3000 (1983)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

There are many Mad Max ripoffs and the most ripoff-iest of them all must be Exterminators of the Year 3000. The few original ideas contained within feel like asterisks, tiny details thrown in to “prove” this cheapo action adventure isn’t simply The Road Warrior on shuffle mode.

It's the year 3000. Nuclear war has destroyed the ozone belt. It hasn’t rained for years and the remnants of humanity battle on the roads for every remaining drop of water. When lone marauder Alien (Robert Iannucci) stumbles upon young Tommy (Luca Vennantini), he agrees to bring the boy to the source of water his tribe was desperately trying to reach. But even with the demented Crazy Bull (Fernando Bilbao) and his raving gang of lunatics forcing them to work in unison, Tommy can't trust his new partner.

You’ll immediately notice the Italian cast and the dubbed dialogue; dialogue so poorly written it confirms director Giuliano Carnimeo (as Jules Harrison) only had a tenuous understanding of the English language. It’s hard to determine if the villains’ constant references to “mother-grabbers” or “lousy splots of aberration” are attempts to self-censor and make the film available to those under 18 (they failed, it’s still rated R) or some of the weakest bits of world-building you’ve ever seen. Generally, I’d call the film tedious, but the dialogue is full of gems: bits of random words strung together that’ll make you laugh out loud. “Nothing is impossible with faith and prayer; even miracles!” indeed. Characters frequently tell you how they feel instead of letting their words, inflections or actions do so. Even if they were given brilliant lines to barf out, it wouldn't have matted. The people chosen to read the script are dreadful.

Giuliano Carnimeo makes you appreciate the skill and artistry of George miller. In this picture, there’s no escalation in the action, whatsoever. The climax has a big body count, but it’s nothing compared to a big sequence about 20-minutes in - a scene shamelessly lifted from the climax of The Road Warrior. It’s a pool of quicksand you’re only barely making your way through when finally, we’re properly introduced to this film’s Max Rockatansky: Alien. While Mel Gibson's character has charm and you can sense a heart beating beneath his bitter exterior, Robert Iannucci is like an unwrapped chocolate bar that’s been sitting on the pavement on a hot summer day. Even if you wanted to dig in, he wouldn’t be worth the effort. The guy’s just a jerk with no bargaining skills, and he’s not even good at what he does! Sculpting an anti-hero is delicate work and Exterminators of the Year 3000 is not up to the task at all.

Plot points frequently come out of nowhere, characters act illogically, their dialogue feels like a crossbow bolt through the palm and their performances are worse. Don’t even get me started on the scenes that demand they shed tears. You’d think the Italian movie people could at least get the stunts right, but they can’t. The gore isn’t convincing, and neither are any of the punches or kicks thrown. It then makes the fatal mistake of showing every explosion and crash in slow-motion. Now you'll definitely spot the helmet-wearing stunt drivers who have replaced the actors and their cheap costumes.

Exterminators of the Year 3000 (a title that is neither memorable nor appropriate for this film) is amusing for a while but sitting through the entire thing is a bore. You can have fun at its expense but eventually, the overwhelming, ever-pervasive shoddiness gets to you and you simply want it to end. (On Blu-ray, June 15, 2018)

[theeboyracer]

Flashpoint Beyond

[graphicpolicy]

Power Girl #1 is an entertaining but forgettable debut

Power Girl #1 is an entertaining but forgettable debut #comics #comicbooks #ncbd

After the events of Knight Terrors, a long-dormant Kryptonian threat has returned to take down Superman and his family. Who could possibly stop it? Well, according to the Man of Steel, it’s Power Girl! Power Girl #1 kicks off a new adventure introducing the character to new readers while continuing Paige’s adventures and story. Written by Leah Williams, Power Girl #1 is honestly just ok of a…

[why-i-love-comics]

Power Girl #1 - "Gang's All Here" (2023)

written by Leah Williams art by Eduardo Pansica, Julio Ferriera, & Romulo Fajardo, Jr.

[cinemaquiles]

Ver para crer: "Quando Marta gritou da tumba" (La Mansión de la Niebla, 1972)

[dccomicsnews]

Review: Power Girl #8[Editor's Note: This review may contain spoilers] Writer: Leah WilliamsArt: Eduardo Pansica and Julio FerreiraColors: Romulo Fajardo, Jr.Letters: Becca Carey Reviewed by: Matthew B. Lloyd Summary Power Girl and Omen get drawn into the Brainiac/ Czarnian affair currently taking place in Action Comics.  Why isn't Power Girl taken with the rest of the super-beings in Metropolis? Positives With Eduardo Pansica and Julio Ferreira returning to the art chores on Power Girl #8 after the past two issues by Marguerite Sauvage, it's clear that the Pansica/ Ferreira team (and Farjardo Jr.'s colors!) are a pretty darn good combination for Power Girl.  They handle the action well and give Power Girl a much more recognizable personality visually.  She gets that angry face that one expects. (And, they even do a good job communicating the emotions that are out of character for her!)  They draw her more confident than she's written at times, and even manage to get a bit of attitude across as well.  Overall, their stuff looks good and despite the poor characterization of the lead character, the art invites the reader to like the book.  They are doing their damnedest to combat what Williams is doing with the character in the script.  It makes one wish the concept wasn't so poorly conceived and executed from a writing standpoint. There's even a single moment, maybe three panels where Power Girl seems to almost be at odds with what's going on with her characterization, the look on her face, something in her eye and the emotions passing beneath the surface may in fact betray something  larger at play...that somehow...the real Power Girl will emerge.  Perhaps, Williams is playing some long game (and playing it poorly) and Power Girl IS being directed...controlled...it appears it's possible in the sequence on the bottom of page 9.  In the middle of that page, PG expresses that attitude...not of the co-dependent, insecure character Williams writes earlier in the same issue, but the attitude longtime fans EXPECT from the character, the attitude that talked back to the stalwarts of the JSA in her earliest appearances in order to be taken seriously.  It's noticeable that when Power Girl is in combat or in action mode in this issue, she is more recognizable and enjoyable because of it.  Even if it's just a glimpse it gives hope as does the fact that there's another aspect that could be interpreted as a clue Power Girl is being manipulated. The fact that we also get a "Psychic Jerk Jar" revealed in the apartment that PG shares with Omen leads credence to the idea someone may be controlling her...and it may be Omen, who's been right under the readers' nose from the very beginning of this new (and wretched) iteration of Power Girl.  Strangely, this version of Power Girl is beginning to feel more familiar as this off brand characterization is what's expected and feels familiar.   Negatives It's very difficult to read a Power Girl who is insecure, lacks confidence in her abilities and is generally shy and dependent.  Williams gives us that as we learn she can't roller skate...(when she loses balance wouldn't she just levitate herself unconsciously since she can fly?).  She's afraid to run into Lois who also happens to be at the park where she and Omen are skating because she has a column due.   The dynamic between Power Girl and Superman in Power Girl #8 is still awkward...both in story and through Williams characterization of Power Girl.  Williams subtly shows us that PG's feeling are hurt because SHE wasn't also abducted with the rest of the super-beings of Metropolis.  She seems to need Superman's reassurance when he finds her...(um...why wasn't he abducted?)  And, it will never makes sense that she's identifying with the main Earth's Superman as family....  It's these moments that take away from the positive steps noted above.  It would be easier to take Power Girl's struggles to make it in this version if she were attempting to do things on her own and for herself, but wedging her into the Super-family eliminates any sense of individuality which has been a hallmark of her character from her inception.  Williams has yet to show WHY Power Girl feels she needs to fit in with the Super-family, WHY she isn't getting what she needs from her friends (AND surrogate family!) in the JSA, WHY she's unable to make her way on her own.  There's a story missing that needs to be told in order to make sense of all these "why's." Verdict The real question that must be answered with Power Girl #8 is whether or not this version of Power Girl can be enjoyed on its own terms or even in spite of itself.  Lord knows I WANT to like a Power Girl solo series.  Williams has stated that she wanted to show the differences between Power Girl and Supergirl… and she’s doing that.  She may not understand either character in terms of established histories and characterizations, but she IS making them different.  Can Paige Stetler be enjoyed as a bit of a mess trying to navigate her way through a world Williams assures us she doesn’t understand whilst consumed with feelings of insecurity and redundancy?  I don’t know that a reader who has a history with Power Girl, a reader who understands the substance of her character and identifies with/ enjoys her established characterization can make the leap…it’s too … different.  The art from Pansica and Ferreira want to make you like it.  It’s effective in that way, but unless an audience embraces this iteration it feels hopelessly at odds with what people have always liked about Power Girl, and this issue gives the reader very little of that.  As a Power Girl fan for nearly the entirety of her existence, this issue continues to disappoint.  The art is able to raise this issue a bit, surprisingly.

[angelariasdominguez]

§ 3.405. Tristeza de amor (Eduardo Mallorquí, 1986)

 

Recuerdo algunas noches cuando se emitía la serie y me quedaba a ver algún capítulo. La música es preciosa, la canción en realidad.  Vista con perspectiva se ha quedado un poco antigua.

Muy amanerada, algo acartonada. Incluso los actores no están tan expresivos como en una película. Alfredo Landa está hasta vulgar. Un personaje que hace de sí mismo pero que refleja un tipo de hombre no sólo que ya no se lleva, sino que probablemente nunca se ha llevado. Varonil pero rústico, escaso de palabra y firme de convicciones.

Concha Cuetos está espléndida, pérfida, ambiciosa, malvada, cruel... Carlos Larrañaga también está muy bien. Y Eduardo Fajardo, haciendo de un playboy español cincuentón pero con fondo y solemnidad. Emma Suárez, Nadiuska... Fernando Hilbeck, Walter Vidarte.

La serie es imperfecta, pero tiene un encanto especial. Interesante por la temática y bien desarrollada. 13 capítulos en una sola temporada. Cortito y al pie.

Me ha encantado.

[flamingstaromunicacionnews]

Jairo Martín presenta el video de ¨Todos los payasos somos tristes¨

La vuelta a la más rabiosa actualidad de Jairo Martín ha sido por la puerta grande. ¨Todos los payasos somos tristes¨ nos presenta una canción con tintes épicos, con la que el artista canario nos muestra su lado más veraz y sincero. Por si todo esto no fuera poco, en el día de hoy llega el video oficial de este nuevo single. Un video que completa todo lo que rodea a esta canción y le dota de una vida propia con la que consigue engancharnos una vez más. Con este nuevo single Jairo Martín pone en marcha la maquinaria que nos llevará directos a su nuevo disco.  Este video fue grabado en el marco inconmensurable del Teatro Cine Fajardo de Icod de los Vinos, con la dirección de Marcos Sanz. Ha contado con la asistencia en la dirección de Jonathan Guttmann y asistente de rodaje Alejandro Hernández «Guinchero».

En el plano músical ha contado con Jairo Martín a la voz, piano, hammond, guitarras acústicas, Manu Clavijo tocando violín, Pedro Cuevas a la batería, Damián D’Alessandro con el bandoneón, Kike Eizaguirre al bajo, Eduardo García con la guitarra y L Ykay Ledezma con la Guitarra R y solo.

¨Todos los payasos somos tristes¨ es, antes que nada, un homenaje al mundo de los artistas, a aquellos que se olvidan de sí mismos cuando suben a un escenario a contar o entretener a una audiencia. A los que se entregan y se desnudan ante extraños, y a todo lo que se oculta detrás de eso. De ellos y de la humana fragilidad que se esconde tras la aparente seguridad que otorgan los focos habla esta canción. Pero también de la necesaria y aceptada mentira que hay en ello, convenida por todos nosotros. Del disfraz, de cómo admitimos esa aparente realidad que regala cualquier espectáculo para poder entender mejor el mundo y seguir viviendo. Si aún no lo has escuchado, no dudes en pinchar en este enlace.

Después de colaborar con nombres como Rafael Berrio, Jaime Urrutia, Ariel Rot, Rubén Pozo o La Unión, a Jairo Martín le vuelve a picar el gusanillo de presentar nuevas composiciones propias. ¨Todos los payasos somos tristes¨ es la primera muestra de lo que será el nuevo disco de Jairo Martín, un trabajo que se está terminando de cocinar a fuego lento y que en breve estará disponible junto a las primeras fechas de su gira 2024.