Compression Garments To Tighten Skin

Critique: Critical




Caught

The recent Oscar winner Danny Boyle has adapted so easily to contemporary film that moves with extreme ease and strength in each and every one of its sites, and lets you get a gold seemingly simple story.

With little characters, with a very simple script (based on the true story of an adventurer trapped on a mountain with minimal chances of being alive) and imagination as the only way to solve the film, Boyle is building a elegant product that traps us from the very beginning, almost from the first plane, and based on a camera restless, powerful and relentless music (AR Rahman returns to work, plus a sensational topic of Dido) and the extraordinary performance of James Franco gets in "127 hours" a great film where suspense, anguish, drama and even comedy mixed with sufficient skill to be talking about one of the films of the year.

And the director is English, far from settled behind his hit "Slumdog Millionaire" seeks atratctivos and risky projects, and "127 hours" could not be more. As Rodrigo Cortés with his recent "Buried," Boyle has little material to transform an accident in a wonderful example of narrative dynamic and a fascinating assembly (ie the difference of the above mentioned movie) does an exceptional fluidity of a story that must reason with the ability to achieve the ultimate goal. Entertaining

like few others, and superbly directed by those who have already amply demonstrated its ability to adapt knows no bounds, and especially exciting to the point of not knowing what will happen with this adventurous little by little we knowing a little better and is hovering between life and death due to a stroke of bad luck.

Boyle is still under way, and that's always good news for the world of cinema.


sergio_roma00@yahoo.es

Cinebulosa

Finger Goes Numb And Turns White

127 hours: Cousins \u200b\u200b




Decomposed without girlfriend

It is really strange and unusual case indeed in the world of cinema, a director to conduct the sensational Azuloscurocasinegro (pleasantly surprised at the time independent film) and more than worthy "Fat " where he learned to combine with some originality drama with light touches of comedy, is set in a far-fetched to a blatant and overtly commercial comedy, and does so with a product so loose and therefore disappointing.

The script, even though promising, almost instantly is transformed into a predictable story, a wonderful escape to the place of Comillas, a holiday and party atmosphere that encourages the humor and comedy but it sinks in a failed attempt to combine comedy festive superficial sentimental moments.

However, "Cousins \u200b\u200b " is emerging as an attractive fun product, which will be accepted, and that leaves us light comedic moments of success, where the potential of the actors keep the flame of laughter if only their interpretations. In this sense Quim Gutiérrez is shaped like the real engine of comedy (despite not being a comedian) and as tremendous character resonating as a sort of side Antonio de la Torre Raúl Arévalo or allow the film to develop an acceptable and pleasant land but runs through open enough. On the other hand, the fact of including the same actors for movies Daniel Sánchez Arévalo also confuse the characters, their ability to get the necessary credibility to the character, with its own personality, we raise effective and compelling situations.

gives the impression that " Cousins" might be a break in the promising career of Daniel Sánchez Arévalo, before tackling new projects stronger, and we find ourselves with a pure entertainment with no pretensions to please the audience and find their own fun.
In any case it is a step backwards in an attempt to create a comedy where only use the good offices of interpretation may give some potential and where the passage of events confirms that there has been much interest nor surprise nor innovate.


sergio_roma00@yahoo.es

Cinebulosa

What Does This Is A Over Night Flight

Review: Honey



Density & Beauty

As part of a trilogy that began with "Egg", which was followed by "milk" and preceded by the recent prestigious Golden Bear at Berlin (festival, which always seems to have pretty good taste), comes to the screen (without being released yet in our country the first two mentioned above) this interesting film nonetheless interesting Turkish director Semih Kaplanoglu.

The film tells the story of a boy of 6 years in a rural area and detail involved. The imagination, desires, fears or their own children's curiosities Yusuf focus the world on a journey into the unknown where many everyday situations will be novel, sometimes terribly sad and most strange. Yusuf
admires his father, collecting honey and inevitably will mark their lives forever.

Accompanied by a splendid chiaroscuro photograph of focus all the attention and illuminate the diverse landscapes at other times the film so remarkable, "Honey" is expressed as a deep and thoughtful contemplative study of the life of Yusuf, through several passages. Each and every one of these passages have a purpose and be part of a mechanized set of narrative structures that, while focusing the interest at the beginning of the film, eventually wrapping it in a certain density that prevents the fluidity developed with to gain attention steadily.

Interest, inevitable, for the future of Yusuf, is achieved and the strength of a narrative of remarkable high proportion influences and allow the film runs almost always in a plane and get invoice doubt that photographic art, silence imaginative and beautiful frames are based argument with the freedom to form a film that may well be considered a perfect finale to a trilogy that is set in a very original in reverse narrative.

Kaplanoglu culminates an extensive work of a remarkable quality to this film, that while infiltrated by surprise as the winner in Berlin, has gradually been gaining the applause and respect of who has approached her.

A risky proposition, but always with the snap of the quality that sometimes although the density does not allow us to contemplate the beauty of the forest.


sergio_roma00@yahoo.es

Cinebulosa

Imiges Of The Preceding Mucas Of Cat Labor

Review: Life Beyond



The art of storytelling as an

A story about craft. One way to tell stories in a calm, quiet non-speed events but are insignificant. The small art of cinematic storytelling.

This broadly is what characterizes master the latest Clint Eastwood movie, and this is what first gives us with his latest film "Beyond Life", which will disappoint a few of the followers of this particular filmmaker.

Three stories, with no apparent common thread but the main issue is none other than death. The dark lady lurks and that in this case raises thoughts about the afterlife without complexes, without a deep scientific analysis but attempt to give a strong moral character that goes beyond (pun intended) of a simple reading frivolous causing a slight feeling of interest even in the most skeptical mind these matters so little known. Nothing radically subjective dogmas, but a slight philosophical reading of an event not to be routine we still too enigmatic. It is no coincidence that the octogenarian director views this and other dilemmas the heights of his life, but it is amazing the clarity of approach, the radical departure from a position light or superficial.

The first story takes us to see as a successful professional life and sentimental by the French hostess Marie (Cécile de France), we can move to deeper isolation and homelessness because of approaching death through a natural disaster. The second story takes us to see the sadness and the disbelief of a child facing death of his twin brother, and a drug-addicted mother. Finally, Eastwood's character shows us that a priori might be the epicenter of history, through a medium (Matt Damon) apparently without guile and he is able to see beyond life.

Eastwood elaborates this trio of stories in an absolutely independent, but with the peculiarity linked somehow to keep the viewer's retina to enrich each and to some extent combined feeding and indirectly between them. One senses that these parallel stories, though geographically far intertwined somehow merge to achieve a final redemptive ecstasy as promising solutions to the dilemmas. Not until the final when they can see if there is such a merger, but in the meantime every one of the three stories contain both individual interest, which by themselves keep the film in a narrative and emotional high. In this sense it is impossible not to remember the trilogy González Iñárritu (Amores perros, 21 Grams, Babel) film by Rodrigo Garcia (Things You Can Tell Just by looking, Nine Lives, Mothers and daughters) or the excellent Paul Haggis Crash to get an idea of \u200b\u200ba cinema that effectively goes into the particular and always controversial personal stigma of the human soul.

The film also adheres to the contemporary moment of globalization and is framed in three completely different geographical settings and in two languages \u200b\u200b(English and French) while Peter Morgan's script uses relatively recent historical events and social impact the Southeast Asian tsunami or the London bombings, to add currency, currency, and a purely contemporary allows for strictly personal view events.

The music comes from the same accurate Eastwood and photography, Tom Stern of his faithful, he adds that dense, dark halo many times necessary to achieve a climax of mystery and intrigue that accompany more than a few moments of the film. A film that also contains murmurs dear, intimate approach a certain level of emotional and above all a narrative structure that moves so well developed and maintains the interest equally intense throughout the film.

Eastwood returns to find the appropriate key. Again to deepen the friendly and sensitive side of human beings, and gives us an interesting, thoughtful, and at times sublime.


sergio_roma00@yahoo.es

Cinebulosa