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I award this film the highest rating primarily for its audacity: it is one of the very few Chilean films that openly aligns with a right-wing perspective, a stance that virtually guarantees the absence of public funding or institutional support under the current left-wing government. The polarized critical reception-scores of either 1 or 10 depending solely on political alignment-confirms that the film is being judged less as cinema than as an ideological provocation. From my own political position, I mark it as a 10, yet this gesture is more symbolic than aesthetic, because as a film it leaves much to be desired.

The performances are weak across the board, but the acting is eclipsed by even poorer screenwriting and baffling production choices. The unnecessary Japanese scenes feel indulgent and disconnected, while the overuse of visual effects adds nothing but distraction. Several sequences, particularly those set at sea, are inert to the point of somnolence, emblematic of a broader pacing problem: the film stretches itself with scenes that add duration but no meaning.

For viewers who opposed the so-called "social uprising," the film is understandably unsettling. However, this discomfort could have been harnessed to deliver a sharper, more forceful message-one that confronts those who never showed empathy toward the victims of the violence. Instead, the film largely squanders this opportunity. Its dullness ultimately undermines its political intent, making it difficult to recommend. Regrettably, this is yet another case where the left demonstrates greater mastery of cinematic language, winning not the argument, but the art itself.

The Night Of is a true hidden gem from HBO - a series that quietly stands among the best modern crime dramas ever made. I discovered it by chance, without prior recommendations, and I couldn't be happier that I did. From the very first episode, it captures you completely, weaving a slow-burning narrative that feels both raw and authentic. While the intensity dips slightly toward the end, it regains its strength with a powerful and satisfying conclusion.

What makes this show remarkable is its realism. Every scene feels lived-in, every conversation natural, every detail believable. It's a rare production that doesn't need exaggeration to keep you immersed. The performances are outstanding, despite a cast without big Hollywood names - each actor perfectly embodies their role with nuance and restraint.

I sincerely hope HBO never attempts a second season. This story feels complete as it is, and extending it would only dilute its impact. The Night Of stands out precisely because of its simplicity and honesty - a grounded, immersive, and deeply human exploration of crime, guilt, and the justice system that lingers long after the credits roll.

The Running Man feels like the illegitimate child of The Hunger Games and Black Mirror on steroids - bursting with potential but squandered in execution. The concept itself is fascinating, blending social commentary and futuristic spectacle, yet the final product feels like a rushed, mass-market release straight out of the Netflix assembly line.

The cast does a decent job overall; no one delivers an exceptional performance, but each fulfills their role competently. Unfortunately, the script is riddled with inconsistencies, with several moments so implausible that even within its own fictional world, suspension of disbelief becomes difficult.

The ending isn't terrible, but it fails to leave an impact. What truly weakens the film is its outdated class struggle narrative, which might have resonated in 2015 but now feels overplayed and clumsily delivered. The social critique is presented in such an exaggerated, cartoonish way that it's hard to connect with or take seriously. In the end, The Running Man had all the ingredients for greatness but settles for mediocrity - a hollow echo of ideas that deserved far better treatment.