This film was produced for Netflix and Kweller.

I think the best part is the special effects at the end, in general everything is very poor

I can't believe that Nicolas Giacobone was the same one who wrote the script for Biutiful and Birdman, because this story is so poor.

The performances are not good and for the Argentine viewers the crude cameos of the kweller group do not look good (Kutnezoff, Lozano, O donell, Peña, is too much)

The movie seems to move from one direction to the next. And it is kind of hard to predict where it will turn next - no pun intended. It is about a weather man - but the story takes some interesting turns that I did not expect entirely. Maybe you'll do better in the guessing game.

The acting is really good and it is a feel good movie overall. Yes you could think about the repercussions - but you would do a disservice to the movie if you thought too much about it. I think it's nice that there are a lot of red herings ... that you may feel the movie would go one way and then it goes another. You may be annoyed by it - you'll be the judge of that.

All hail the ... king weather man ... although the real guy to thank is anything but a king ...

Summary

It gives the feeling that director Marcos Carnevale put together a supposedly satirical comedy that exhibits the most old-fashioned "costumbrismo" and embarrasses others with a drama about a family reunion, with Guillermo Francella displaying the clichés of Pepe Argento (a popular television character) for much of of the movie.

Review

Miguel Flores (Guillermo Francella) is a popular meteorologist who has never missed a forecast. And he had the dream moment of hosting his own program during prime time. But for the first time, in the premiere broadcast, he fails to predict a hailstorm that hits Buenos Aires that morning, which causes his immediate expulsion from the program and the fury of his (former) admirers, for which he flees to his daughter's house in Córdoba.

Director Marcos Carnevale tries a dramatic comedy, but the patches between comedy and drama are very evident.

In its first installment, it aims to be both ominous and funny. But as a comedy, it exhibits an old-fashioned "costumbrismo" that is more than 20 years old, with accelerated, vociferous and gesticulating characters, in situations that definitely do not cause any grace or at most an uncertain smile and almost always embarrassment. It is a pity that the irony appears in homeopathic doses and the satire and reflection on the media and the fragility and vanity of fame are supinely obvious.

A segment of the film focuses on the reunion of the disgraced meteorologist with his daughter Carla, a pediatrician who lives in the city of Córdoba, who seems to be the only normal human being (or just human) in the film and who has forward Romina Fernandes in a very good performance. The only good thing about the movie lies in the dialogues and the dynamic between the two.

In the case of Carnevale, redemption and the moralistic message could not be absent, in case something could be missing from this film to sink it again in its last third. He even flirts with catastrophe cinema in a way that doesn't even come close to bizarre.

The cast includes a multitude of figures from Argentine cinema and TV, some in cameos or very small roles (and yes, you have to eat),such as Pompeyo Audivert and a beautiful Viviana Saccone as Flores's current partner. The subplot about the taxi driver in charge of Peto Menahem and his family is as expendable as it is pathetic.

Guillermo Francella unfolds the clichés of Pepe Argento (a popular character from an Argentine television sitcom) without blushing for much of the film.

It is interesting to compare the old-fashioned Granizo with the modern and recent comedy Porn and Ice Cream, the Martín Piroyansky series. At least Carnevale should.