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'Bird Box Barcelona' Review: Netflix Horror's Spanish Spin-Off Launches A Thin Concept With Minimal Earnings

Susanne Bier’s 50 for Netflix, Bird Box , is a half-cooked stew, will be familiar The idea of ​​the film was elevated to its Sandra Bullock spin-off concept, bravely facing a mysterious alien threat and leading two children to safety in a show of grim determination. Trauma, grief and parenting under extreme duress are once again the follow-up to Spanish siblings Alex and David Pastor, Bird Box Barcelona, this is more of a spinoff than a sequel. It starts from scratch, anthology-wise, adding new details that expand on the original threat without providing much inspiration.

Skillfully crafted, well acted, disturbingly atmospheric, this film is certainly worth seeing. As an extension of its hits, Netflix doubles down on international productions, which serve a dual purpose. But as genre material, it’s generic, as if the filmmakers randomly mixed elements from A Quiet Place, The Last of Us, The Walking Dead and other dystopian nightmares about humanity being pushed to the brink of extinction by a deadly force of unknown origin, creating a world in which the number of survivors dwindles and it no longer knows who to trust. Barcelona Bird Box

The bottom line Engaging enough, but not memorable.

Release date : Friday, June 17

Throwing: Mario Casas, Georgina Campbell, Diego · Calva , Naira Schubert, Alejandra Howard, Patrick Criado, Celia Frajeiro, Lola Dunas, Gonzales Lou de Castro, Michelle Jenner, Leonardo Sbaraglia

director and screenwriter : Alex Pastor, David Pastor, based on the novel by Josh Malerman Bird Box
1 hour50 minute

From Josh Malerman 2014 The central character of the source novel and Bullock’s Mallory, the priests hope to achieve both by explaining how the phenomenon works – anyone who sees these creatures is driven to To end one’s own life in the fastest possible way – while preserving ambiguity. They’ve done too much and not enough with their script to justify a deep dive into a story that already suffers from design and shaky logic the first time around.

Catholic countries allow for a slight interesting religious twist. Father Esteban (Leonardo Sbaraglia) welcomes the deadly entity with wide eyes, viewing it as a divine miracle that frees lost souls from hell on earth. The priest, accompanied by a small group of “seers” who had witnessed the phenomenon but resisted the curse, roamed the streets, smearing the foreheads of survivors with their third eye, forcing them to accept their fate.

An important new development in the spin-off is that the corpse emits a flash of light immediately after death, indicating a spiritual release, adding to Father Esteban’s belief that “we God and his angels have come” credibility. Walk the earth. ’ A dying man said, as if ecstatically, “Their ship has traveled millions of light-years to get here. ”

But the more rational characters are no closer to determining exactly what caused the mass suicides. Some see demons, some see outsiders. Starmen, some see their tormentors, some see their God. Played by the underused Diego Calva (Babylon) speculate that they are some kind of quantum beings with wave form , watching prey and immediately absorbing their fear, anxieties and sorrows to manipulate their minds.

We shake leaves and debris blown up from the ground to experience the arrival of these creatures, and occasionally we see what they see. But the audience still doesn’t get a good look at them, only glimpses of parts of them in the final scene.

While the sudden violence of some of the suicides is appalling, it’s all a bit too vague to convey much horror, and its ever-increasing death toll is too overwhelming Avoid, can’t contain too much suspense. The movie doesn’t engage the audience enough, with thin characters whose backstories are mostly hinted at by whispered voices from their past, blowing on the wind with the presence of invisible threats.

Brother Pastor has traveled to neighboring areas, related to previous feature carrier deadly virus threat, and​ ​The Last Days, an alternative vision of life after the disaster. They structurally mirror the cumbersome flashback structures of Beale’s films, which cram the central characters Bastian (Mario Casas) is set up as a desperate man prowling the streets in dark goggles, hiding in abandoned buildings in Barcelona, ​​trying to keep himself alive. He ‘s daughter Anna (Alejandra Howard), 20, was spared harm.

But after Sebastian is made into a vulnerable hero when he is attacked by three blind robbers, the script quickly changes our perceptions, leaving us in He questioned his motives as he gained the trust of one survivor community after another. “Am I the shepherd or the wolf? ’ he asks himself in moments of crisis when his behavior causes him to lose confidence, pointing out that duality gives Casas something relatively fulfilling. We also realize early on that Ana isn’t quite what she seems .

First jumping back nine months, the film looks back at the beginning of the outbreak. Newscast reports that Sebastian stormed out of the city from his office , chaotically crossing the city to pick up Anna from school, and narrowly escapes being involved in a mass suicide on a subway platform, Sebastian has a wave of psychotic behavior.

The storyline shifts again to seven months before the opening scene, after Sebastian is accepted as part of a community hiding in a bomb shelter.The group includes leader Rafa (Patrick Criado); Psychologist Claire (Georgina Campbell, in “” “Savage” with more collaborators ); teenage German tourist Sofia (Nella Schubert) gets separated from her mother in the chaos; elderly couple Roberto (Gonzalo de Castro) and Isabel (Lola Doñas); and Octavio of Calva.

The plot drive, which ideally should start earlier, involves a group of blindfolded survivors trying to reach their sanctuary on the other side of town, Montjuic Castle, 11 century hilltop fortress, reachable by cable car from the city. Naturally, the group’s numbers dwindled along the way, leaving a core group of characters facing a double threat – from the human crusaders from Death Force and determination to open their eyes to see the “miracle”.

The fortress scene is a compelling location for a climactic struggle for Further sequels point the way. Overall, Laia Colet’s production design is effective — even if the CG team’s brushstrokes are clearly visible, seeing a wrecked cruise ship half-sunk in a port or strewn with dead bodies on a bridge gives the impression of A vivid sense that this is a world without mercy or hope. However, the film’s most impressive neurological element is its dense sound design, which subtly blends with Zeldia Montes’ ominous soundtrack. All in one. Too bad there’s very little in the story that’s as deeply engaging as similar techniques. Full credits 17

Distributed by: Netflix Production companies: Chris Morgan Productions, Dylan Clark Productions, Nostromo Pictures Cast: Mario Casas, Georgina Campbell, Diego Calva, Naira Schubert, Alejandra Howard, Patrick Criado, Celia Frageiro, Lola Dunas, Gonzalo de Castro, Michelle Jenner, Leonardo S Balaria
Director and Screenwriter: Alex Pastor, David Pastor, adapted from the novel Bird Box , by Josh Malerman
Producers: Dylan Clark, Chris Morgan, Adrian Guerra, Nuria Vals
Executive Producers: Ainsley Davis, Brian Williams, Josh Malerman, Ryan Lewis, Suzanne Beal
Director of Photography: Daniel Aranyó

Production Designer: Laia Colet
Costume designer: Alberto Valcárcel Music: Zeldia Montes
Editor: Martí Roca Sound Designer: Oriol Tarragó,
Marc Bech Special Effects Supervisor: Pao Costa
Visual Effects Supervisors: Carlos Zaera, Martin Hall
Casting: Ana Gonzalez 1 hour50 minute

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