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

Temazapam Use In Dogs

Review: Road to Freedom



The triumph of the epic

What director Peter Weir is a brave and a very personal film, corroborating previous films as "Witness," "The Dead Poets Society" or "The Truman Show ". So it is not unusual to find a project of such magnitude involved in a dignified aura of humility accompanied by a small and unobtrusive commercial promotion.

Peter Weir faces in this film a chapter of history little known but no less interesting, as is the existence of the Gulag in Stalin's Russia. Escape from a Siberian prison, and all the way to find freedom will be the road to be both protagonists and spectators go in this epic drama based on real events.

Most notable of "Road to Freedom" is without doubt the tremendous work of both actors and director who is seen in the many aspects that the film gives us. The variety of languages \u200b\u200b(all perfectly consistent with the story), adaptations to climate, dangerous situations, etc, etc. allow us to verify that after the camera has been a commitment that goes beyond the purely commercial film, and professionalism For something more than mere applause interpretation. Both Ed Harris in a role perfectly designed for him, as the amazing Colin Farrell in one of the best work of his career, as the little-known Saoirse Ronan, and especially the great Jim Sturgess make a computer that fits perfectly in a limitless adventure where the complicity of every one of them can give or not to tear up the future of the film. The talks, looks, silence ... all forms an indispensable personal world that allows the story (perhaps too long) runs through a linear narrative and commendable that accepts the deal with the spectator in the universal language of entertainment . Because

Weir's film is very entertaining. And practically no longer be at any time. But having said that, one is left with the impression the missed opportunity. With existing molds, and more narrative approach and argument, we could be talking about the movie of the year for various reasons. Instead, "Road to Freedom" is just another good movie in which so much effort to some extent by the team remains in suspense to a story that fails to thrill, that despite the good complicity actors, is not convinced in the personal sense of their relationships, and ultimately lost in ways too epic adventure to end overlapping the emotional intensity, leaving a bitter dregs from seeing the broad spectrum in principle had created.

The superb performance by Jim Sturgess, which convince us with "50 men killed", allows us to confirm a rising star within the contemporary cinema, and the strength of feeling and good command of the direction of master Weir, allows us to enjoy recommended film, and expect in the future a new and surprising project.

is not, as it may seem, Weir's great film, but is instead an interesting option to further approach a little-known chapter of World War II, enjoy spectacular scenery, and admire the great interpretative moments caliber.


sergio_roma00@yahoo.es

Cinebulosa

Cute Ways To Wave Iron Your Hair

Review: The Sarah Key



Eternal sadness

Living with the weight of guilt, of what could have been avoided, of what should never happen, is a burden too big to cope without any problem over the years. When little Sarah, at the time of the hunt for Jews during the Vichy collaborationist government in France, trying to save the life of his younger brother will be created around it a situation of despair and anguish with the key as the main protagonist and only confidante.

Although the event occurs in 1942, the French director Gilles Paquet-Brenner, inspired by the successful novel by Tatiana de Rosnay, makes the whole story in two specific periods. On the one hand, the time when momentous events happen, and another in 2002, when the reporter Julia begins almost casually to investigate everything that happened and in particular the future of the life of Sarah. Departing

full of conventional sentimentality, and telling the story with a correction extreme and undeniable elegance, the French director brings both accounts with great success until they converge in a dynamic and firm style. Both interpretations of Sarah (Mélusine Mayance) and Julia (Kristin Scott Thomas) are so great, you can follow the story with coherence and emotion, with the necessary point of intrigue and drama that enhances the story to make the future of it in an intense moment and vibrant.
Although the film touches familiar themes on the Nazi, he does it so well structured and well coordinated completely interfere with the story is easy and makes the viewer not only a witness but a contemplative Visitors outraged and hurt by everything that happens.

Although Sarah had kept the key to save his little brother, Julia will be the key that allows you to research the life you lead after Sarah, the family that may have formed and mostly personal experience of those fateful dates.

A solemn drama, supported and protected by the success of the novel, but with their own personal traits that make it an excellent choice on the Billboard Christmas and an important opportunity to once again come to a historical period that how terrible it is eminently interesting.


sergio_roma00@yahoo.es

Cinebulosa

Do Grandparents Go On Wedding Bulletin

Review: Stories of the golden age



Romania legend

The review years after a dictatorial regime posed from a speech without losing the ironic position of compromise, is already a healthy exercise and rewarding not only for those who suffered, but for those who had little knowledge. The director Cristian Mungiu recognized in Cannes for his film, great film "4 Months, 3 Weeks and 2 Days" is the real motor behind this exciting project that aims at key tragi-comic to make a review in superficial appearance but political and social background to a complicated and extremely dark era.

Although this film is told in the same time that "4 Months, 3 Weeks and 2 Days" the tone is overtly different. If more bitter drama that enveloped all of a sublime, this time you choose to transmit the same but in a more friendly, burlesque and a level of apparent simplicity. Through five stories, five urban legends and Romanian directors with five different projects a historical moment, cultural and social momentous in European political life, and is becoming a sad reality in five amusing stories, curious and showing a look that no away from a veiled criticism of moves by land which has room humor, absurd situations and the most strict and thoughtful moral drama urban or rural. Although

the five stories were shot by five Romanian filmmakers, Mungiu's hand is evident, and very important not only in the international projection of the film, but in its narrative style and his way of proposing alternatives to a historical film and complicated many gaps.

actors are not known internationally, but we can rediscover that ruthless unscrupulous doctor from "4 Months, 3 Weeks and 2 Days" Vlad Ivanov in a very different role and a new interpretive skill that enriches its history significantly.

is undoubtedly the first story, the funniest, symbolic and that leaves a melancholy remembrance of our beloved "Welcome Mr. Marshall" Berlanga teacher. A great start to what will be an entertaining ride, funny and a great historical narrative disguise though superficial.

New report of a Romanian film apart from the aforementioned previous film Mungiu, recently left us an interesting "California Dreamin" by Cristian Nemescu sadly deceased. A film that looks out slowly, quietly but with great style, professionalism and apparent seniority.
legends
When we give thought.


sergio_roma00@yahoo.es

Cinebulosa

Menstrual Fluid Sperm

Review: Sad Ballad trumpet



All toys on the table

If anything characterizes the films of Alex de la Iglesia is perhaps his powerful attraction based postmodern bizarre devices. Excess capacity and the search for the unexpected, so sweeping, make Alex one of the most notable filmmakers nationally and internationally. Its interesting films has several features in common, and some of them, are reunited in this film, confirming a very special and inimitable stamp.
From "Dead of laughter" we have a fight between two characters (this time clowns instead of humorous), as well as "Community" can again enjoy a gallery of secondary characters essential and terribly funny black humor.

The problem is that there are other aspects that are less pleasant, because of its repetition. They always end so the limit (almost identical in this case that of "Community" or "The Day of the Beast") make us uncomfortable entering a "dejau vu" that can only work for someone who is a virgin at the viewing director's filmography. It is in this sense it is disappointing not to find alternatives that can amaze or not envision alternative paths for those who go without any complexes. Excessive end, loaded with action and excitement (sometimes sweetened) that sometimes the talent show (denied) by the director in their ability to transmit and to generate a movie, but lose effectiveness broadly based to be too recognizable.

The movie may have a stronger influence from the beginning, with some really great credits in music and in terms of image. Behind them the Civil War. This is where the movie starts limping due to the low likelihood of the historical narrative and especially the characters. The humor is mixed with the story in a way a bit strange, does not work nor the sense of the tragic or comic or dramatic, despite the efforts of secondary and Fran Perea and Fernando Guillén. The course of this "ballad" holds some interest and although he continues to irregularities in general has some appeal especially to those who have previously enjoyed with film director Alex de la Iglesia.

are certainly the two main actors, Carlos Areces sensational and especially Antonio de la Torre at all state of grace that give the best tone to the film, those who hold all the footage and boldly doing a fairly good script that seems to walk with standing too firm. Instead Bang Carolina, despite having their hands on a juicy role, fails to give sufficient consistency to catch up with his two companions.

For film lovers Alex, would be another opportunity to enjoy if you are not looking for three feet at the cat or the clown, no doubt. For those seeking a higher degree of demand can be disappointing. Overall box office triumph, but leave the bitter taste of lost opportunity, even seeming to have put all their eggs in one basket, or all the toys on the table.


sergio_roma00@yahoo.es

Cinebulosa

What Do You Write On A Wedding Card

Review: All the songs are about me



The Consequences of Love

Personal relationships in general and those of couples in particular is a fairly recurrent theme in English cinema. In a way it works, and in some ways because it has done with success in most cases. The precedents are countless references almost endless. In this case we are dealing with the debut of the son of Fernando Trueba, Jonas Trueba. And for his first film, we are faced with a work certainly remarkable. Modern in outlook, and classical in its approach, but with this point of personality that allows us to differentiate the work of the author, any other work of the plenty.

A couple who just put an end to their relationship is the starting point from where the story will move through different billing parameters, with the only common point of leaving to develop characters who are shipwrecked on the threat of cyclone despair and can survive as the specter of nostalgia.

In the cinema we find so many young Trueba film and musical references, all bathed in a heady soundtrack to contemporary. It is difficult to feel the echo of the best Truffau (Jules and Jim) on many sequences in the film and recognize the undeniable debt to the English filmmaker maintains the wonderful Novelle Vague and their influences. In this way the story unfolds smoothly, in many cases with a certain target bit, and sometimes with brilliant sequences bill allows us to recognize the personality of an author with talent and take into account in the future.

Madrid will be the essential and distinctive framework in which the characters will travel emblematic streets, interesting cafes and bars with charm, giving the city an important and prominent role, and getting the best out of it and most significant. Beside her, the music acquires its corresponding importance, and songs from Christina Rosenvinge, Nacho Vegas or music Perico Compose a soundtrack Sambeat dynamic, modern and independent fit perfectly with the climate of dissatisfaction and hopelessness in which the characters move. Even the sensual "Song to fuck" Aroah, is perfectly fitted without losing an iota of agreement at any time.

The two main characters are responsable for the correct Oriol Villa ("Salvador") and a very interesting Bárbara Lennie, that if they convinced us on the uneven "The thirteen roses" in this film is the easy checks and develops character with ease and considerable success. Around these two move side which provide the subtle comedy that the film contains a fair and rewarding as highlighting the discovery of a Bergonzini Bruno simply unusual.

Trueba In Jonah is also, as we said before, an important literary influence in every way enriches the film, both in dialogue and in attitudes. We are in this sense that "Ignorance" by Milan Kundera, or "Notes from all over" by Carmen Martin Gaite acquire an important role, as well as the poetry of Pessoa Pizarnik or become prominent poetic voices in either sense.

All this makes "All the songs are about me ', far from looking like a simple generational drama of manners, a drama is concerned with substance, in many original items and a personal touch and meritorious that make a small a small flash movie that stays in memory.


sergio_roma00@yahoo.es

doors

Cinebulosa

Gleem Toothpaste Cheap

Review: NEDS




Far from the masters of the genre.

is not the first time or anything, that there is a cinematic approach to the world of adolescence from a multitude of prisms. The more effective and less risky when making a movie is undoubtedly the conflicts that are created around this age, problems that occur and especially the search for an identity at a particular point has been lost or is blurred. In this sense we can speak from its more commercial with "Dangerous Minds" with Michelle Pfeiffer bold, even cruder films facing the problem from a deeper perspective, as the extraordinary "City of God."

"No educated criminals" is the basis on which this drama focuses juvenile taproot taken as the metamorphosis that occurs in almost a young mind to become pure and virginal in an adolescent delinquent studied as decisive influences the behavior of this new family foundations, cultural and social.

Actor and director Peter Mullan facing a project that it is not at all indifferent and has lived in her own skin though so probably softer. She does a lot of will, but with little success in many moments that seem fundamental. The film adds nothing to the subgenus, it enjoys relative ease and in this respect is nice, but not get the point of emotion or empathy you need to make more far-reaching runs through channels. There is one more in the strictly negative sense, but a movie that by not showing nothing new product is as pure fun to be able to compare and classify with others in the same style. All

both dramatic and emotional force is provided by the novel and non-professional actor Conor McCarron. Its concrete gesture, his ability to deal face to face to the camera without any complex, and especially his expression in apparently conventional gestures acquire a degree of realism that make it the real stronghold in which the film is held. In this sense, it is inevitable comparison with that debut of Thomas Turgoose who is also an amateur actor got an excellent job "This is England" and more later on "Somer's Town", both English Shane Meadows film with a certain similarity in the subgenus treaty, though with more success. Clearly Mullan
drinks from various sources about social film concerns, ranging from Einstein to Danny Boyle, obviously going by the Italian neorealism, and especially the real ruler of gender Ken Loach. With the latter appeared in films such as "Riff Raff" and "My Name Is Joe" (film won him the Best Actor at the Cannes Film Festival 98). De Loach absorbs almost everything. And some aspects are addressed with sensitivity, but others is a way too superficial. In this respect, is undoubtedly Andra Arnold, with films like "Red Road" or "Fish Tank" that has best understood the essence of this film and the one that has come to an underworld complex and intense, dark but vital.

"Neds" suffers from a deeper realism, has too many surreal moments that far to bring something interesting to ridicule the character, and still has a better approach to urban reality and the family situation so that the puzzle will be forming smoothly and without abrupt prospects of a difficult situation adaptable to the environment created.

A film that can be recommended, entertaining, but that does not rise to the level of essential and it is far from the masters of the genre.


sergio_roma00@yahoo.es

Cinebulosa

Lindsay Dawn Mackenzie

Review: Poetry



Eternal beauty

extol the beauty from a poetic side and the whisper of the word and the hint of a image is a privilege and author who is available to very few, and one of them is without doubt the filmmaker and leave us that wonderful "Secret Sunshine" just three years, Lee Chang-dong. In this particular odyssey Shin-ae was recently widowed mother you live in the hardest of experiences, and be their loneliness and helplessness engines will launch a world of sadness and longing. As in "Secret Sunshine" and giving the impression that this is a special leaflet on women's loneliness from different perspectives, "Poetry" delves into the suffering unfortunate parallel outcomes and loss of hope to characters who might have a predefined destination and hard switching, but in a permanent struggle against the target precisely and in constant search of a more dynamic channel to a life of its own too routine.

But this After Chang-dong Lee goes further in every way. Over the course of poetry, verses, builds a history laden with different nuances and connotations that brings us to position ourselves from many windows facing the same twilight landscape. Both the main character, the tender and sensitive Mi-ja, like all secondary amalgam essential, part of a scene bathed in verses say nothing of the poetry rather than in the abstract, creating a mesmerizing and highly emotional universe.

Mi-ja is played by the legendary (South Korea) Yoon Jeong-hee that after a prolonged absence from the screen, returns to prove he is the best actress in the history of Korean cinema, in what is probably the best role of his career. Yoon Jeong-hee brings both the character and enriches it in a way that allows an empathy so intense and emotional with a stunning total transparency and dramatic flow.

The story is dramatic from the beginning to a tragic event (the suicide of a teenager), but Lee Chang-dong is becoming with the absolute masters in a tribute to the story more poignant and varied, and a compendium of good arts in the service of an image as expressive as substantial.

"Poetry" is a cinematic postcard contains verses as enigmatic as simple as effusive as ironic as emotional and preoccupied. An encounter with this most tragic since been more misunderstood. A brilliant way to approach beauty.

An endless and eternal beauty.


sergio_roma00@yahoo.es

Cinebulosa

Kawasaki Monster Jacket

Pins And Needles In The Breas

Review: Crossing the boundary



The hellish boarding

The relationship between parents and teens in recent years, which has significantly reduced the paternal authority better or worse, is a genuine social problem and a torment to all parents who are unable to address a situation that repeatedly gets out of hand. The Psychology is emerging as one of the solutions, but the imagination of writer Peter Saballs i Nadal offers us another option in this strange film that navigates between two stools and that fails to reach safe haven in no time.

From this social conflict, Xavi Giménez directs this film that plays to stretch the ends, drives the essence of the extraordinary novel by Aldous Huxley "Brave New World" in its version of youth indoctrination taking him to the violent excitement, but not manages very well in this environment, and it suffers from low credibility is weak and most important in their approach.

This time, father have to mediate with rebel without a cause is the possibility of interning at a behavior modification with a reprehensible methods and results more than doubtful how could it be otherwise. Neither

good interpretations of Marcel Borrás and Adolfo Fernández as father and son get up at least one argument which arises initially as attractive and resulting in a history not known as it should fit the extreme with the most intimate , and where the parallel stories (especially the sweetened relationship infidelity) are uninteresting and remote at all times of the resulting climate. The music performed

by Macaco is the biggest success of the film and knows very well adapted to this story but it does not get enough stability to attract a viewer who just sit in the seat feels like you are mesmerizing and is predisposed to enjoy a captivating story.

If the recent French film "LOL" failed to be extremely superficial, "Yellow" (so called in their international) does not work for not knowing how to raise a social reality with an exaggerated fiction in a plane and not achieved the necessary balance .

"Crossing the border" that leave us it a good final scene of dialogue abrupt between father and son is well worth noting in a film that in any case can be entertaining in some ways a moral and aesthetic approach.


sergio_roma00@yahoo.es

Cinebulosa

What Happens If You Get A Whiplash?

Review: Scott Pilgrim



colorful pop Delirio

Placing a film in its proper context, understanding the ways to fund and accepting outside sources and references , one can fully enjoy the product so atypical as "Scott Pilgrim."

Based on a popular comic by Canadian Bryan Lee O'Malley, the film presents itself as a successful extension of the comic almost all its concepts, and from this premise, it works with absolute fluency and with a continued and little speculative detail.

Scott is a teenager living in Toronto, who dreams of conquering the mysterious Ramona Flowers. But to win the heart of this girl, you must defeat her seven "evil exes." This simple beginning narrative will be used by the director Edgar Wright, who strikes us as a romantic comedy with zombies (Shaun of the Dead) and with that subtle parody (Hot Fuzz) - to compose a colorful mosaic structured and where the form will pop superimposed on the background so that only the Finally acquire important enough to highlight in itself. In this sense one could say no problems that the film is pure comic with pieces of game. That is, it respects both the format and handle it with such ease and daring that comics-movie-game are a formal trick of undeniable visual interest and a few cracks.

Apart from this, Wright uses elements of comedy - sometimes surreal, but always bold, to support history and turn the narrative on a fun show and with massive doses of voluptuous essence burtoniana. " And is that if Tim Burton's influence can be seen in some details, such as the recent films "Kick Ass" or the work of Tarantino's "Kill Bill" are clear examples of a film where everything works in favor of spectacle, and the end result will look more favored the more they used alternative media to film enforcement mechanism. All this leads to a teen pop culture environment, where the staging is so important, like music (mostly independent) or literary and cinematic references. A compendium that inevitably forces us to remember Andy Warhol's work in all its aspects and the stela that has left over the years.

In this environment, the performances are in strict conformity format, and the same player Scott Pilgrim (Michael Cera) that bears some resemblance to that distant aesthetic Jack Putter (Martin Short) for the curious "Innerspace", an anti-hero is all old-fashioned but post modernist touches.

Yet risk and courage, the film works, and will appeal especially to those who feel more identified with the concepts provided (not necessarily geeks) and those who enjoy exalted fights to the "street fighter" junior and sometimes absurd comedy in a purely virtual environment and picturesque.


sergio_roma00@yahoo.es

Cinebulosa

Bad Cases Of Pityriasis Rosea

My Stomach Makes Weird Sounds When I Press It

Review: Certified copy




Doubling reality

Is it possible that a copy can be better than original? Probably the answer to the naked eye can be easy, especially if we speak of art as it begins "were certified copy" by focusing the argument. But the truth is we live in a turbulent world in which emotional states become more important than ever and where reality and fiction overlap and double as the original copy and art, so sometimes answer that initial question does not involve a simple exercise, and yes instead a moral dilemma and second intellectual.

Abbas Kiarostami is a master at exposing the focus of public miseries and misfortunes of the human soul, and give a confused but pragmatic category of transcendence. "The Taste of Cherry" assumed its definitive breakthrough as a filmmaker, but as essential titles like "Where is the house of my friend?" Or "The Wind Will Carry Us" certifying him as a director of the new wave paradigm Iranian and a cinema intimate and committed man like few others.

His first foray into western cinema could not have been brighter. Without losing sight of its characteristic at any time movies, we present in this occasion a game repairs, a journey that will lead to the transposition of the words and characters with the ghost of the paradox at the heart consensus. Kiarostami has fun, but equally is tested and checking on the ability of the viewer to assume a cumbersome but also enjoyable. A trap perfectly designed and equipped to build a story that seems far from lacking head and tail is a perfect structural building ideas, feelings and emotions which diverge in many ways and options, creating a wonderful web of imaginative and fun.

In a way we can talk about an attempt to find the essence and substance of relationships at various levels and ages , taking in this sense a slight autobiographical path and making the film at some stage in a detailed study of the different situations that you face a continued cohabitation , and makes the most original way, through the transfiguration of complex and dynamic characters. To do this, Kiarostami break-necessarily-with its commendable attitude to work with non-actors to have this time with Juliette Binoche as a key piece and extraordinary result, and William Shimell as valuable and successful partner "arms".

With the unbeatable Tuscan travels within the film (as Richard Linklater hiciese with "Before Sunset in Paris) in a slow but intense through some scenarios in a conversational enviable pleasant, entertaining and thoughtful course, there an intermediate point where the film will take different paths. An abrupt change at all, and yes very consistent with all previously created the climate and that can be monitored in the clear natural complexity in which we find ourselves. Abbas Kiarostami

signing a magnificent film, "I'll love you forever" as a reference Rossellini unavoidable, or the magic of the transposition of characters from the films of David Lynch as "Lost Highway" or especially "Mulholland Drive" as the key to tell the story differently than usual, but always with a sharp stamp author, and an enviable talent to develop a history a priori conventional and slow, in a marvel of narrative structure, dramatic and emotional.


sergio_roma00@yahoo.es

Cinebulosa

Minocycline Chlamydia

Review : Julia's eyes




Under darkness

Again we are talking about a new horror movie and intrigue by the hand of a young director of our film, albeit covered by a Guillermo del Toro sometimes hard to believe that actually engage in some projects. A genus very well treated in recent years in our country, and breaking new ground in terms of aesthetics and originality. In our eyes are still films like "The Others", "Rec," "The Orphanage" and directors like Pastor Fresnadillo or siblings, with some relevance outside our borders.

This time the film is signed by Guillem Morales, of which only know the modest "The inhabitant uncertain", and which has been given the opportunity to have a good cast and a careful production.
The end result can not be said that falls short of the above. With Oriol Paulo designing a script but has some appeal at the beginning of the film, as the story unfolds is becoming a collection of cliches and trite elements that force to go slowly losing interest.

Julia is a woman who is slowly losing his sight due to degenerative disease, as happened to her twin sister. This environment will take advantage of darkness to play with fireworks Morales fairly conventional although in a proper and acceptable in some moments. The problem is that all that surprising adventure, novel or intriguing is becoming lace script abrupt leave feeling we have ever seen this or another scene, and makes the story very conservative history and with little fanfare imaginative.

To raise the tone of the movie one better than Lluis Homar an excellent new paper, and the popular Belén Rueda, who while making a quite remarkable role is obscured by the limitations of the character created, and above all by the blatant recent copy of the character Laura in the movie "The Orphanage." And the truth is that there are some more similarities with this film that made us question cast the election seriously.

Morales also keeps us a little tribute to "The Silence of the Lambs" and allows us to recall happy times of gender, although the difference is palpable and too prominent.

Overall, the movie enjoys a more for fans of the genre, and with some appeal for the rest, with few ambitions in advance and with the urgent and implausible need to please all audiences.



sergio_roma00@yahoo.es

Cinebulosa