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Avatar

Avatar "
Director: James Cameron
Screenplay: James Cameron
Cast: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez, Giovanni Ribisi, Joel Moore
USA / UK, 2009
Twelve years
James Cameron took to the screen to launch this idea had been stopped only by technical problems. Thanks to new technologies, the barrier gave way and the field was wide to Cameron and his team, could do one of science fiction most striking of recent times. "Avatar" is the key component for the film dispenses with the footage: a solid storyline full of dynamism, with images and sounds that keep the senses alert - without age differences - for all viewers. The proposal of the director, despite being required by the inevitable expectations generated by the abundant pre-marketing, satisfied in several ways making a smile and enjoy that great feeling of having lived a different time.

no doubt that the material in 3D must be an event of another planet. However, what we will work is a pure strategy which Cameron is already getting great results. The inclusion of actors outside the home is certainly a risk, but the director managed to put the story on the names making it clear that his bet is only the work it represents, and nothing else. In this way the work of Worthington, Saldana, Weaver, Rodriguez and - at times hated - Lang, pass without explosions lighting set to dazzle the viewer, but play the role given by the director once again proving that James Cameron does not insist on running great performances.

"Titanic" (1997), the film directed by Cameron who won 11 Oscars and became one of the winning titles in history, got no recognition in terms of performance. "Terminator" (1984) - also directed by Canadian - produced a landmark in the film industry to create a character remembered until today and in which special effects - especially in the second part of 1991 - played a fundamental pillar to take it to that place of honor. This reinforces the idea that Cameron is concerned with two fundamental concepts in which there is no input that could give its actors: the history and how to run audio-visually. When I refer to the "audiovisual" is just such a separation, since apart from the visuals, Cameron gives great emphasis to sound and incidental music, which in the case of "Avatar" was composed by James Horner, composer other major works such as "Braveheart" (1995) or the same "Titanic."

Beyond the extraordinary picture, amazing sound, the imaginative quality of the team to create all those aspects that make the work as the nature of the planet (flora and fauna), machines and instruments that are part of this "virtual reality", the work falls on the argument that while it is robust and dynamic, has several edges somewhat hackneyed in the field of film as eternal struggle between good and evil, they do at times rather obvious plot. The macro approach that delivers the tape is similar to what we showed "WALL • E" a year ago when it emphasized "the mass escape" of the earth by the destruction of it, the help of all races and tribes to save the planet is the same as Tolkien introduced by Peter Jackson in "Lord of the Rings", George Lucas on "Star Wars", etc, etc. However, despite these similarities, "Avatar" is still standing, showing the full potential can have a film with today's technology and hinting that Cameron is still very much alive.

Rating: 6 / 7

Trailer "Avatar"

Black Urine And Belly Ache

Klaus Kinski : Being an actor

"I am a prostitute. I do this crap for the money, nothing more."

Orbital Diagram For Zinc

Coco Before Chanel Seven

"Coco Before Chanel"
Original Title: Coco Avant Chanel
Director: Anne Fontaine
Writer: Edmond Charles-Roux (novel) and Anne Fontaine
Cast: Audrey Tautou, Benoît Poelvoorde, Alessandro Levels, Marie Gillain, Emmanuelle Devos
France, 2009

Yesterday nominees presented Golden Globe, being the preliminary request to the Oscars. While the films selected for Best Foreign Film are quite measurable attributes, it is noteworthy that several others left behind who also had his own as the last of Juan Jose Campanella - "The Son of the Bride" (2001) - Fernando or Trueba - "Belle Epoque" (1992) -. However, there was a long list of candidates who could well be discarded in any event film for its instability in the story and its insignificant contribution to the audiovisual industry. One of these is "Coco Avant Chanel," which, despite having features of a clean image quality and luxury apparel, falls into a lethargy which is impossible colossal wake.

What if the main character was not Coco Chanel? The movie simply would not be worth very worthwhile. The big plus is that the work tells the courageous life of Coco before founding the empire of which we all know today, however, if the character were different, the film would go unnoticed because not have that special feature that marks the great works of cinema. Not that the main character has to be known for its history is worthy of filming, as a clear example of this is " The Diving Bell and the Butterfly " (2007), the great French film chronicles the life of Jean-Dominique Bauby - editor of Elle in the 90's - which could have the main character an anonymous anyway imply a work argument powerful advantage in its full power communication has cinematography .

"Coco Avant Chanel, directed by Anne Fontaine - who revealed himself as promised in 1997 when he made "Nettoyage à sec" - has a weary pace that at times ends up encouraging the display of the time. To think that time has been wasted in the movie theater is the worst that can happen to a director and unfortunately in this work of Fontaine what happens. However, a great grace of the film is that Audrey Tautou manages to distance himself from the character of Amélie Poulain, made a credible role and subject to interpretation as demarcated by the guideline of the tape represents the work of Fontaine who managed to bring out the talent of the young French actress who after working with Jean-Pierre Jeunet was encased in a fantasy role can not perform gauge other roles in future years.

is true that French cinema has a special aura and the taste for it is quite bizarre. However, perhaps the way to approach this film by the director was wrong to run a shallow story without delving into the details that internalize the viewer with vivid feelings of the work. The game is set between the audience and displayed on the screen is essential for spontaneous applause, and if it is not presented through the story, puts at risk the success of the film by which all gears are meshing seamlessly .

Rating: 4 / 7

Trailer de "Coco Before Chanel"

Swot Analysis For A Salon

Few Words: Oscar Fressler.


"Stanislavski's education system that forces the actor to the truth and teaches you how to behave naturally on stage does not contradict any style of artistic expression that the actor might be taken later. The natural learning is an essential basis (...) After the naturalness can start the art and style, but naturally will never begin. "

Fressler, Oscar, 1960: What we could learn from Stanislavski and Brecht on Theatre and University. Faculty of Arts, National University of Tucumán.

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Target, Action, Internal conflict, id

"With half of his soul the artist takes to the search superobjective, continuous action, context, vision, insight, line elements of their inner creative attitude, while the other half of his soul experiement of psycho ... This does not hinder desdoblameiento inspiration. On the contrary, both help each other. "

Stanislavski, Constantin, 1986: Theatre Works pick. Editorial Quetzal, Buenos Aires.

Filthy Marriage Jokes

"2012"
Director: Roland Emmerich Written by Roland Emmerich and
Harald
Kloser Cast: John Cusack, Amanda Peet, Chiwetel Ejiofor, Thandie Newton, Oliver Platt, Woody Harrelson, Danny Glover
USA, 2009

Roland Emmerich knows the taste of people. Your audience wants to see the quality of special effects than anything else. However, this does not give credit for missed two hours of exhibition, abusing effects and without giving any order to the argument proposed. Many such managers are saved as they are appointed only for the address without being able to participate in the script, but if Emmerich is different because he has been one of the initiators of the work involved in both the original idea, writing and production thereof.

"2012" is a bad movie. It's that simple. Although their effects at times surprising, there is a fee that ends up overwhelming exhaustion of all asking please complete the film as soon as possible. The story has nothing original except in the beginning when they explain the reason why natural events occur. However, this only extends over 1% of the footage, leaving the rest to Emmerich was entertained by natural disasters, mass destruction, human annihilation and the typical letter that the U.S. manages to save the world again.

In every respect, the possible visual quality and sound mixed with science fiction, is corrupted by a script full of jokes, useless, unnecessary drama scenes away from the realism of feelings can permeate the screen and a story quite obvious that it generates more expectation in the audience. That is why the film should have been locked into the special effects and a sample stage that could deliver public fear, and warning that 2012 is a date imminent. However, the work is bathed in waste level of surrealism to the veracity of this prediction of the Mayan civilization that informs a new cycle of the planet.

If you want to go see good effects, go see it because you will have the chance to see those who are accustomed to seeing in Roland Emmerich's films, including "Independence Day" (1996), "Godzilla" (1998) and "The day alter tomorrow" (2004). However, if you care about something the film's plot, discard it outright and invest your time into something more productive and the two hours are eternal.

Rating: 3 / 7

Trailer for "2012"

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2012 District 9

"Seven Souls
Original Title:
Seven Pounds Director: Gabriele Muccino
Writer: Grant Nieporte
Cast: Will Smith, Rosario Dawson, Woody Harrelson, Michael Ealy, Barry Pepper
USA, 2008

Hope is something that might not be possible to keep within one. Moreover when the pillars of life crumble in a blink of an eye, transforming the outlook much more nebulous and radical, leaving the determination to end all be much closer to the rational.

"Seven Pounds" is a film that while it may be criticized many prejudices, leaves something to the viewer that is valued and appreciated by so much banal offering in the movie listings. The film directed by Gabriele Muccino - same director of "The Pursuit of Happyness" (2006) - starring Will Smith, at first may be one more among many works that are attached to support his lead actor profitable yet the script grabs and displays an argument well worth being aware of it, as did the director with Smith years ago showing that among these are good films.

The film has no technical issues stand out, their actions pass smoothly through the argument, the format does not generate feelings handed marvel points nor call too much attention, but this is overlooked by the history. Everything from an accident that the roots desagarra the protagonist's life and leads him to take one of the most contentious decisions about life. Perhaps this is what leaves everyone puzzled by encouraging to leave the package of popcorn side and sharpening the senses in the direction of the film that seemed to be something else.

argument handling is remarkable. So interesting that keeps the tension at all times, revealing layer after layer each of the events that make up the final goal of the work. To this illusion the viewer is thoughtful in what is better in these cases, putting into question the good and evil, right and wrong, as some years ago on a platform we posicionábamos legal for judging " goodness of euthanasia "motivated by" Mar Adentro "by Alejandro Amenabar. What happens in a case as "Seven Pounds"? It's more a personal choice, although goodness towards others becomes one of the best gifts of generosity displayed on the screen in recent years.

Rating: 5 / 7

Trailer de "Seven Pounds"

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"District 9"
Original Title: District 9
Director: Neill Blomkamp
Writer: Neill Blomkamp and Terri Tatchell
Cast: Sharlto Copley, Jason Cope, Nathalie Boltt, Sylvaine Strike, John Sumner, Nick Blake
USA / New Zealand, 2009

Why New Zealand is among the countries filmmakers of this tape? Just because Peter Jackson - director of the trilogy "The Lord of the Rings" - was born and raised in that area, and exploiting this title Zealanders gained access to capital with a producer of this great movie. But there have been different the future of this work without the production of Jackson? We can never find out, though much speculation that the marketing carried by the King Midas ocean was very favorable for Neill Blomkamp, \u200b\u200bthe creator of this science fiction tale that originated through a short film years ago (2005) and for which Jackson learned of the issue.

The film is something that very few works around the world have: a new script that is strongly linked to both the entertainment and a social background promoting the rationing of the beholder. No doubt this is what critics call basis to bring forward an analysis of the works should be displayed daily. With this foundation, it is very difficult for artistic expression either in each wobble of the different ramifications that have arisen throughout history. "District 9" has inserted in his spine, placing the viewer on a platform in which plays the role of judge and defendant at a time.

With an unusual visual language in the bill, the film becomes a moment treated as fictional documentary about reality under the noses of the public, and that eternal breaking glass that separates the genuine from the merely imaginative. Thus we face a new vision of human being much more critical, to which again positions us as the "bad guys" to alien visitation. And I say again long as the aliens only came to destroy the Earth, human beings being victims of it and showing how the U.S. saved us from destruction. Perhaps the last great movie that put humans on the "enemy camp" was "ET: The extraterrestrial" (1982), so it took almost 30 years for a new science fiction film play a so sensitive, allowing the public took to the unknown beings apart from their peers planetariums.

photography, music, performances, editing, everything is overshadowed by the power of argument that full compliance the proposal submitted by the director. While special effects encourage grandstanding "District 9" without falling into those abuses that appeal to many, the film is applauded by those lines seem to converge so little support, but some works show their points of similarity. The entertainment can escape from the banality gentlemen, and this proves it "District 9".

Rating: 7 / 7

Trailer "District 9"

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souls Inglourious Basterds

"Inglourious Basterds"
Original Title: Inglourious Basterds
Director: Quentin Tarantino
Screenplay: Quentin Tarantino
Cast: Brad Pitt, Mélanie Laurent, Christoph Waltz, Diane Kruger, Daniel Brühl, Eli Roth
USA / Germany, 2009

Plastic and cartoonish. That's the first thing that comes to mind after assessing the latest film by Quentin Tarantino, the young - although not so much - director in the 90's impressed us greatly with "Reservoir Dogs" (1992) and "Pulp Fiction" (1994). Tarantino's name became a cult and his films became an obligation to be seen . Few directors have had that privilege and Tarantino are well aware, so you can give it the air of a diva at times begin to drain, allowing the viewer's mind to focus on its more bombast in his work. Did Scorsese has done through his years? Marty remains humble and simple reason for this more than their peers who have the adjective "arrogant."

But out of all the marketing director likes Tennessee native produce, is his work over the years has grown between expectations inversely and quality. "Inglourious Basterds" was announced with fanfare, but global criticism not attracted much attention, perhaps because of its excessive length and its little impact once the plot of his story. The work presents a curious and anecdotal story that manages to be novel, but the bombardment of figures or scenes ridiculous quasi-plastic, decanted in the storyline as banal rush down time being saturated that only add to the public start yawn.

Nevertheless, the film has its strengths and the extraordinary performance of Christoph Waltz - winner of Cannes for this role - who despite exercising extreme characters caricature, it establishes a connection with the credibility that the audience can appreciate. Not for Brad Pitt or the rest of the cast, who were not lucky - or well compensated by the director - to embody roles who did not have a space to release the stage act. But this is not their problem, but the script because it has not delved into the lives of the characters - except perhaps Shosanna Dreyfus - dismantling and projections that each performer could exercise.

What Tarantino has and to spare, is the proper use of audio-visual language. And it expressly separated audio and visual, as the director of "Kill Bill" (2003) is a genius in the soundtracks of his films, sparking a party in each of the cinemas as demonstrated with "Inglourious Basterds." From his early films has shown, with soundtracks of worship that have become required components within the collections of music lovers. And this talent Quentin have not lost any more of his photography, as the camera position is fundamental to the language that has developed over the years and is already installed as a trademark in the global film industry. The plans for this work are real moments odes to the image, which offset the sleepy history displayed after the best of the film: the first part.

Rating: 5 / 7

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Ingmar Bergman: Images


My piece begins with the actor down to the stalls and strangles a critic, and reads aloud from a small black notebook, all humiliations he has scored. Then vomits on the public. After which, he goes and shoots himself in the forehead.

work Journal, June 19, 1964

From: Pictures of Ingmar Bergman.

Mucus Where I Come From

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Solutions Hull Futures

Dawson, Isla 10

Dawson Island 10 "
Director: Miguel Littin
Screenplay: Miguel Littin
Cast: Benjamin Vicuña, Bertrand Duarte, Pablo Krogh, Cristian de la Fuente, Sergio Hernandez, Luis Dubbo
Chile / Brazil / Venezuela, 2009
When
touches a sensitive and important issue like this, the demand is higher calling. No need for attractive actors for the movie to work, since the value added is not there. The proposal should be an informative, artistic work for a not knowledgeable on the subject, is a simple way to culturizarse on the history of a nation. Chile experienced a period of military dictatorship that led to atrocities in human rights like the one lived in a remote island in the world order. I lived in Dawson is narrated by one of their prisoners - the current Public Works Minister Sergio Bitar - and taken to the big screen by director Miguel Littin. But how? Falling into a relatively flat, with no internalization of characters, with actions that do not contribute at all to the argument nonsensical jokes intended to put some comedy in a dramatic story and a scenic disorder does not allow the engine to decipher what the tape.

While the book is based may be interesting to detail the political life in captivity, the added value of audiovisual is wasted by the director, covered only by the beauty of the landscape that somehow protects the quality of the film. Without the beautiful landscape of Chilean Patagonia, the film could be forgotten in a matter of minutes by not contributing anything and just be a moment of "entertainment" for the viewer. If the plot was banal as it is 50% of Hollywood movies lovers of money, no problem and the viewer would be aware that just going to have a good time. However, the real story escapes being light when rendering the hard times that many Chileans lived at the time.

The inclusion of media players such as Cristian de la Fuente only demonstrate that the focus of the director is different, ruling out the depth as it should be touched on a topic that transcendence. De la Fuente is an actor who does not inspire any remaining credibility in the entertainment world only by their physical appearance. Otherwise it is the Benjamin Vicuña has hinted that vestiges of past works good actor, but however it is not used by the director to develop a rather confusing story line that there is no leading man. Implementation problems are noticed and at times becomes tedious. One example is the use / abuse of dubbing rather than clarifying the character dialogues, serves as another element of unreality which brings the final product adversely.

With so many negative things, well there are some that are valued and appreciated. Such is the case of audiovisual record of the period in which Salvador Allende is shown at the time of the bombing of La Moneda, or the always remarkable Luis Dubbo, which achieved a minor role in stealing the spotlight being the best role taken despite their dialogues unwelcome tax by the script. However, this fails to reverse the mistake of missing a story well worth developing it with more feelings, transforming it into a movie thinking of moving to stop both supporters and opponents of the Pinochet dictatorship.

Rating: 3 / 7

Trailer de "Dawson, Isla 10": the trailer is better than the movie

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Between the Walls

"Between the Walls"
Original Title: Entre les murs
Director: Laurent Cantet
Screenplay: François Bégaudeau
Cast: François Bégaudeau, Esmeralda Ouertani, Louise Grinberg, Franck Keita, Wei Huang, Boubacar Toure, Rachel régulier
France, 2008

Awards: Won Golden Palm, Cannes Festival, French Cesar Winner, Best Adapted Screenplay

The visual language is so broad that sometimes surprises. The touches of their creators are so characteristic that it is possible to identify a difference as a Van Gogh Dali. In the case of "Between the Walls", the director executes a work fiction so real that when frightened by the unknown - and not being able to see - the border between screen and reality. With a leisurely pace, without haste and absence of incidental music, the film places the camera as a sort of Rear Window that allows the viewer an accomplice of the French educational system around the marginal classes.

The word "suburb" is defined as the area located on the outskirts of the city, inhabited by poor especially. It is in this area develops the film, focusing on integrity in a public school led by teachers who can endure the unendurable. The story at the edge of the documentary, shows how day teachers and students to-day struggle to get ahead from each of the human vision. On the one hand, adults move with the sole purpose of teaching and make that grain of sand can change the lives of children, and the other youth are not even aware of what they live, are concerned with trivia by be and feel completely outside the system.

For there can be no critics to express their dissatisfaction with the lighting and so weary that becomes the argument, however this does not overshadow or in the least the tremendous development, greatly executed both for its technical team as art. Laurent Cantet, director of "Human Resources" (1999), through images, does not allow the clock to lift the audience despite the extensive scenes and the delicate mix of deployed locations. On the other hand, the actors are abstracted from the camera so that this seems to be a window that allows the viewer to appreciate, as well as each of their gestures, their innermost emotions. The cast is of a quality to cheer up, where the casting was made with precise detail, taking young people who by their very presence showed what they were in their role. François

Bégaudeau, author of the book of the same name on which the movie and main character of "Between the Walls" creates an atmosphere ideal to feel the plight of the "marginalized" in France and worldwide. The constant struggle is motivated by the empty gesture of hope, collapsing both for those who have the desire to emerge as to who help to bring them up. This vicious circle is to be destroyed and so we propose the tape. She just turns on the light we see, to observe the irrational, to understand that this can not happen anymore. You can not allow circumstances diverted to those with more trouble to a hopeless way, and every day it becomes more normal for them. The tools we have and only should apply. Why so late? Can we allow another child to tell us immeasurable fear has not learned anything for a whole year? The movies are for this too. Not only must we entertain, but also must be able to wake up to the neurons of the audience and take advantage of this huge media called "movies."

Rating: 7 / 7

Scene "Between the Walls"

How To Make A Tractor Cake

The Public Enemy

"The Nana"
Director: Sebastián Silva
Writer: Sebastian Silva and Pedro Peirano
Cast: Catalina Saavedra, Claudia Celedon, Alejandro Goic, Andrea García-Huidobro, Chile
Mariana Loyola , 2009

Two years ago I refused to perform critical Sebastian Silva's first feature entitled "Life Kills Me" (2007), because my sister was on a small role in that film that could lead to a some objective commentary. But now I can not abolish this critical second feature where Catalina Saavedra Silva stars in one of the best roles played in a Chilean band. A little over a month, I saw the tape in its avant premiere, and since then I have been overwhelmed by the representation of the female lead. That's why I have time to write this review, since the settling time is the best of ideas that might exist. And, of course! Catherine is my sister.

There have always been films that bear the seal of quality almost exclusively by the work of its leading actor. This is the case of "Awakenings" (1990) Robert De Niro without not be what it is, or "Perfume de Mujer" (1992) that no one would remember Al Pacino. Many other works are saved by the actor or actress protagonist due to a notable role has been recorded in the history of cinema, let alone the rest of the edges that make up an important film as it is the argument itself.

"The Maid" is one of those movies, where Catalina Saavedra attacks with all his talent to impress the audience with a paper loaded with drama and intrigue, hinting at the harsh reality that thousands of live housekeeper the planet. While the film takes place in a wealthy Chilean house, this does not stop showing beyond the borders of your plot will not be pigeonholed in a home-court advantage, but very on the contrary it is possible to extrapolate to different geographies of the globe.

The film tells a story written by Sebastián Silva and Pedro Peirano, creators of "Life Kills Me," which contains a touch of drama and comedy just for the balance of a specific argument and without unnecessary wandering, supporting the praise he has received in areas as diverse as USA, Switzerland, Australia, Mexico and Colombia. While this could become monotonous at times, the same monotony is what Rachel's character feels about their daily lives which allows viewers to live the same feeling. The story is accurate, very well run along the line argument, on all sides than the first work of Silva in the air that you could see the operator innovatory, but even then was not well polished.

International critics have praised "The Nana" . has been one of the most honored films in cinema history Chile. For the first time, Chile has been recognized by one of the world's major festivals such as Sundance . Catalina Saavedra has been honored as the festival has presented and recently The NY Times has devoted a special note . However, this has not been enough for Chile's proposed as a letter to represent it in the next edition of the Oscars. What went wrong? I think it would be nice if someone could clarify this muddle of proportion as this country is losing the opportunity of its bicentennial.

Rating: 7 / 7

Trailer de "La Nana"

Pakistani Walima Dresses

Yoshi Oida: Make "theater"

"When two actors are really acting together (not just the text saying to each other) the public may feel that "something" happens between them. This "something" is not emotion or psychology. Is more basic. For example, when you reach and touch someone's hand is a simple action. May not have any history or psychological reason, or emotion behind the gesture, but emerges a fundamental and genuine exchange between two people. It is difficult to find the words to DESCRIBES exactly what has been exchanged. Perhaps we could call it "physical sensation" or "fundamental human energy." Whatever you call it, the actors must engage in this exchange process to create "theater." For more deftly explaining things through the words of the text, without this essential exchange, the "theater" does not happen. Each actor must strive to find and retain this level of contact, and when it arises, the full text comes alive. "

Yoshi Oida, 2002, An actor adrift . Trad.

Fernando Bercebal

The System Has Not Been Modified

Shakespeare - Midsummer Night's Dream

Physics Of Continuous Matter

Peter Brook: Kick in the Balls

... all in the work is intended to hit the viewer in the jaw, quickly alleviate cold water with cloth, then force him to intelligently process which has just experienced, and immediately kick in the balls, and finally back full control of his senses.

Peter Brook

Cited by Marita Foix: Peter Brook Theater Theatre Sacred Immediate .

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of myself as another Roberto Bolaño


Q ant start recalling some beautiful words of Peter Sloterdijk, because in her breath I can find the right tone of the scene:

He who is not a prisoner of his self or is a prisoner of his self-denial free. He who knows freedom created himself as a child born into the world ... Makes his life an expedition to the wilds of Being found between sincerity and the gift of invention ...

The call that brings us together referred to fight a possible split I against me, apparently assumes many things, unusual ones, conventional others, a tight, open others. It's a metaphor but also a structure invites the freest passage and hide their traps without warning. Presupposes the existence of such self-criticism, which can in turn necessarily implies the possibility of criticism, whose rationale presupposes autonomous work of art, which in turn presupposes the existence of the artist genealogically, which is one condition that the person reaches precisely by virtue of the existence of the work, and assumes that it is capable of being recognized as such beyond the person the artist separate himself from other work and turn his status as a person of artistic attribution.

A labyrinth indeed. And the mazes are metaphors, but they are also architectural structures invented to play to ensure lost or hidden in secret. Imprisonment and a trap game in which people succumb to the pleasure of the loss. The

Myth tells us that the enigma was defeated by false wings of Icarus and the thread that Ariadne was undressing. In both cases, out of the labyrinth was a trap worse for Icarus was the vacuum, Ariadne was Naxos, the island's obsessive circular thinking.

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"Public Enemies"
Original Title: Public Enemies
Director: Michael Mann
Writer: Ronan Bennett and Michael Mann
Cast: Johnny Depp, Christian Bale, Marion Cotillard, Channing Tatum, Stephen Dorff, Christian Stolte, David Wenham, Stephen Graham
USA, 2009

Michael Mann has set a very particular trajectory. With "The Last of the Mohicans" (1992) began his wanderings, creating a film that even today has adherents. Then spent a time of introspection where he developed perhaps his best films from the hand of Al Pacino in "Heat" (1995) and "The Insider" (1999), to take one of the great American athletes to create their biopic in 2001. However, in 2004 proposed a new trend that developed with digital audiovisual treatment expertise with his film entitled "Collateral." After this, you hit the bump of his life to bring to the big screen's classic series "Miami Vice" which undoubtedly was a stain in his films, perhaps mesmerized by the vile and dirty money.

Now, once again an actor grabs idolotrado by producers because of the economic performance that entails - not detract from his tremendous acting chops - and make history John Dillinger, a character in American criminal history, which has been interpreted in film several times.

Through a markedly different picture to which we are accustomed to witness in a room, the plot develops slowly in the path of a tiresome script, which is not spin any more dynamic and effect change rhythm that simulates an alarm clock. Thus, the obvious becomes an attribute that pervades the work face to smother the viewer.

Unfortunately, the script is low-rate changes causing drowsiness free, which manages to defeat the big plus to have the tape - the seal that is letting Michael Mann in his current filmography - which is the image. With a digital texture, and against the freedom granted by this action, the director of sense pervades the film so that the viewer will internalize it and can see better the picture clean and decorated house it always pays worth appreciating. Although these aspects make the film a good deed, poor plot development causes the assembly to collapse despite having good elements that were reminiscent of other works.

For example, the position too stupid to lie to the police, is a common theme in movies because of the time. Recently " Changeling" proposed something similar but with a much more serious awakening the viewer with feelings of impotence brutal errors of human behavior, however, in "Public Enemies" and no clutter has limits and the police comes as a troop of patients, who follow a leader played by Bale who apparently has a single purpose: to be the game winner to capture the "evil" Dillinger.

Is this an attractive proposition? In my opinion it is not, and is very far from it. If not for the technical innovation that shows Michael Mann, the picture that displays or some other scenes are notable for their detail - plus the good performance of Depp and Cotillard of which we are used - the film would be forgotten. However, what does happen?

Rating: 5 / 7

Trailer of "Public Enemies"

Sarah Johnson Pattycake Model

2666 at Teatro

In adapting Pablo Ley and Alex Rigol and under the direction of the Rigola, the vast 2666 novel by Roberto Bolaño has been taken to the tables. Had to be a draft Barcelona Teatre IIiure , the city where he was living just Bolaño until death surprised him at fifty years old.

The link referred to above, is all the information about the theater project in 2666. In addition, about 2666 can be read the following comments:

The New York Review of Books - The Triumph of Roberto Bolaño

The Posthumous Fiction of Roberto Bolaño

Roberto Bolaño - 2666

2666 - New York Times

Wethepeople Zodiac 2010 Price

Nana Ice Age 3

"Ice Age 3"
Original title: Ice Age: Dawn of the Dinosaurs
Director: Carlos Saldanha and Mike Thurmeier
Screenwriter: Peter Ackerman, Michael Berg, Yoni Brenner, Jason Carter Eaton and Mike Reiss
Cast: John Leguizamo, Denis Leary, Queen Latifah, Ray Romano
USA, 2009

After Chris Wedge left the direction of "Ice Age", the sequel was never the same. The endearing story of the first film was the dressing that man was also a participant in the leading roles. Perhaps this made the tape was closest to the viewer, seeing represented on the screen and feeling the main creatures were part of history. While Wedge did not have a race deploy its expertise and is perhaps only just lucky that the script was that it contained something more interesting than the later history sometimes shows evidence to discover the errors.

"Ice Age 3" has few positives and many negatives. We highlight in good and original, the new character "Buck" who was quite capable of keeping the public waiting around the time of exposure. However, the stories and situations that are projected not have any significance in the plot falling in typical situations silly cliché and more to amuse eventually wear out. On one side is Scrat falls this time: How many hearts are "drawn" for these scenes? What was the purpose?. Then there are the dinosaurs: what they have to see the dinosaurs with the ice age? Why were included? "Sid had only the feeling paternal / maternal or add to the story something new?.

I think the story does not propose anything new. While there are times when you can create a laugh in the audience because of their creativity, as they pass through the gas that affects the voice as it does the helium or so is Sid sympathetic to draw faces to its children These moments are minimal compared with the history presented, thus losing the opportunity delivered to the public that for a given marketing mass falls within the cinema world.

The foundation of a good movie is its good script. We must not be very smart to realize it. Although there are few who manage to accomplish a good work without a great script - as happened with "Slumdog Millionaire " - there is a lot that is not even capable of presenting an argument as to achieve sustainable position without problems the minds of your target audience. "Ice Age 3" is that percentage: lacking a powerful idea that slips and falls down the abyss of forgettable films, saved at times by scenes that provoke laughter are always nice to receive.

Rating: 4 / 7

Trailer "Ice Age 3"

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The Illusionist

"The Illusionist"
Original Title: The Illusionist
Director: Neil Burger
Screenplay: Neil Burger Steven Millhauser and
Cast: Edward Norton, Paul Giamatti, Jessica Biel, Rufus Sewell, Aaron Johnson, Eleanor Tomlinson
USA, 2006

The same year he released "The Illusionist," another movie magicians appeared in the film industry under the tutelage of the great Christopher Nolan. And it is after its major foray into the field of comics with Batman when Nolan proposes this new work to the world disappear again surrendered to his charms, overshadowing any movie that tries to make the weight. Is not new to film formats and similar issues come to light on similar dates - only to remember "Armageddon" and "Deep Impact" in 1998 launched the subject of meteorites to the mat - and when this occurs only turns out to be the winner. Unfortunately for Neil Burger, the film succumbed to the power of "The Prestige", but not for this, "The Illusionist" ceases to be a film worthy of appreciation.

There are some things that are important in the development of a work. A good beginning, a powerful development leave the viewer intrigued and alerts the outcome, and an end that impacts so as to leave a sweet taste when reading the credits of the tape expires. "The Illusionist" has these three characteristics, with some seasonings that make it sweeter or more bitter for a few passages, but in a balance sheet is possible to obtain production accounts happy. While the plot development does not give a cultured look to give away wisdom to the viewer, the film is well aware that their role is to entertain and that is why your line is kept up throughout their development, providing a voltage that is applauded by the constant that appears.

The great Edward Norton portrays Eisenheim, an accomplished magician impresses greatly with his actions, causing illusions in the audience at a level to become idolized. However, the great grace of the film is that the illusion goes beyond fiction and tightens with the audience interaction loop so that it is a participant in the character's magic acts, causing a strange relationship to wonder hearing. With a final powerful and intelligent, "The Illusionist "is positioned as a work capable of arousing the senses of the most moribund, triggering feelings and calling to be fun to sit and enjoy an entertaining story that may well serve as a distraction.

The movie has a picture you wonder, or with outstanding performances - but in any case include the roles of Norton and Giamatti - nor a harmonious music. It may be that highlights its concern from the art scene as to turn the locker room. However, "The Illusionist "will be remembered for being a work not stressed at all in theaters worldwide, despite having a dynamic script is well able to entertain the viewer, moving and shaking more neurons than those typical films "stupid" Americans developed exclusively for entertaining .

Rating: 6 / 7

Trailer of "The Illusionist"

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She was

"She was"
Original Title: Grace Is Gone
Director: James C.
Strouse Writer: James C.
Strouse Cast: John Cusack, Shel O'Keefe Gracie Bednarczyk, Alessandro Nivola, Doug Dearth, Katie Honaker
USA, 2007

Chile recently became known in the Sundance Film Festival because a film of this country won the Best Film Award. However, to criticize the lack of culture of this long stretch of land in the film industry, since it is well known throughout the world the importance of this festival in the independent film market. "She was" two years ago won the Audience Award and Best Screenplay Award from the American competition, thus positioning itself in the eye of the distributors of the globe. Despite this, we had to wait two years before the debut James C. Strouse landed at local venues so that the public can appreciate why John Cusack was applauded standing in various international exhibitions.

With the music of Clint Eastwood film shifts between the concise and formed, finding edges of emotion that can not reach a successful conclusion by the lack of character that the play presents. While Cusack creates a character who is greatly complex living communication problem, the rest of the characters does not exert a role in the plot to build a direct line of communication with the viewer. Thus the emotion that is formed is not capable of moving as it should, considering that original screenplay based on a real idea has all the features to do so.

The loss of a mother is always a subject that moves. In fact, I can personally say that one of the most terrible feelings I had in my short life is waking up after having had the bad dream that my mother died. Thus, the issue is always latent in the history of humanity - and even more so when put in the context of war - with the same power and the complicated task of informing those who still belong to the living world . How is this done? What is the best way to tell a son or daughter that her mother just after forever? The problem is that word always . The storm that has just absoluteness by rational minds abrasion factors, falling into the complex situation of helplessness.

perspective lines that the director proposes to make the plot a little boring with a known end from the beginning that only has the excitement of waiting. Although one must appreciate that with a small ensemble cast manages to maintain tension without falling into the yawning easy, the film leaves a little taste accompanied by not taking advantage of a good idea. New Feature Strouse is apparently more potent than reflecting work that is learned making movies and trying to "The Winning Season" that comedy could be the gender which should be spent.

Rating: 4 / 7

Trailer de "She was"

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dies at 68 years German choreographer Pina Bausch Die

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dancer and choreographer Pina Bausch (Solingen, July 27, 1940) died today at age 68, five days after being diagnosed with cancer. "He was up on the same Sunday on stage with her dance company," said Ursula Popp, spokeswoman Wuppertal Opera House, where Bausch was a resident choreographer.

consecrated as one of the key figures of contemporary dance of the twentieth century, its influence over three generations of choreographers from around the world testifies to the uniqueness of his talent. In fact, it is considered as the axis of the crystallization of the so-called dance theater (or dance theater, according to other definitions), a way of conceiving the show from an optical complex, open and non-linear.

Since the late seventies filed as resident choreographer of the Wuppertal Opera, the company that gathers around it nurtured by dancers from various disciplines and from all over the world. One of its original members and still remained at his side, is the Madrid Nazareth Panadero. Philippines

Bausch began her training in 1955 in Essen Folkwangschule (institution which always remained tied) with Kurt Jooss and Sigurd Leeder. When he graduated in 1959 won the first award granted to a German dancer to go to the Julliard School in New York, where the company became Paul Sanasardo. Another American stage next to his was Paul Taylor, who debuted in 1961 Ballet Tablet. At the time New Yorker Bausch find the basis of its style and its creative, his passion for old opera of his time in the Metropolitan Opera and that experience will be born today devoted repertory pieces worldwide as Iphigenia in Tauris, or Orpheus and Eurydice (Gluck both). Her Rite of Spring became part of the repertoire of the Paris Opera and its short Café Müller (1978) was filmed with his unique dance hieratic. Last week was scheduled landing of the company in the Spoleto Festival with a revival of one of his last choral works: Bamboo.

His last visit to Madrid, went first to the Teatro de la Zarzuela in 2006 and then in 2008 the New Theatre of San Lorenzo de El Escorial. Pina Bausch was scheduled to open next Autumn Festival in Madrid on November 4 with the Kontakthof (1978).

Taken from Diario El Pais. ROGER SALAS - Madrid - 30/06/2009

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"Up"
Director: Pete Docter and Bob Peterson
Writer: Pete Docter and Bob Peterson
Cast: Edward Asner, Christopher Plummer, Jordan Nagai, Bob Peterson
USA, 2009

Pixar always surprises us . However, we try to pigeonhole his majestic animation in another plane, thereby bringing to compare his work with the rest of animated films, and so far has very few competitors. In fact there are some works of the great producer that can be compared with non-animated films, as his narrative style does not get caught by the typical stereotype of children's films, making cross generational barriers to encompass the broadest spectrum viewers that a film can have.

Anyway the idea is not to compare to "Up" with other animated films, but is intended to be as objective as possible so as not to be impressed only by the quality of your picture or cleaning with the features are exposed. Because in this battle Pixar has an unprecedented weapon, under which it protects and manages to destroy his rivals no matter what is presented. However, the grace of the production is that not only has the resource to be positioned in the top of the industry, since their arguments have the impact necessary to deal with the great stories that have appeared in film history.

"Up" is one of them. Pete Docter - creator of 'WALL-E , "" Monsters Inc. " and "Toy Story" - met with Bob Peterson - author of "Ratatouille" and "Finding Nemo" - to form an atomic pair capable of surprising the world with a fairly simple story, which has the ability to charm both smaller as the oldest of the room. And the story expands the pupils of the spectators from the start, when less than 5 minutes, tells the love story of the protagonist Carl Fredricksen with Ellie showing that in that space of time so we can experience sensations such as frames are shown in screen. In fact, the relationship they have with the character is so close, you can understand every emotion provided by their body language while only an animation.

The story, full of originality, potently begins to rise as it makes the house as the protagonist, declining only when the talking dogs on the scene. These, along with Kevin prehistoric bird, do nothing but put a note of humor out of context to the film, which at times the line out of your paint consistent with features of superficiality. Perhaps the way to promote the humor is not necessary for the strong argument, since it deflects some attention smart well take advantage of situations that could have increased the impact of history. However, this does not hinder the tape to a successful conclusion to be applauded for standing, thus becoming one of the best films of the year, as did " WALL-E" last year.

Calificación: 6/7

Trailer de "Up"

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Jerzy Grotowski, theater visionary spectacle stripped of all

Jerzy Grotowski, famous Polish stage director and theatrical theorist and great boldness visionary innovative, died last Thursday at age 65 at his home in Pontedera, near Pisa, Italy. Born in 1933 in Rzeszow, Krakow and studied in Moscow and achieved fame and across Europe in the sixties, with mounts outside of the laboratory standard of Wroclaw. He was exiled from Poland in 1982, spent three years in Paris and finally settled in Italy in 1985. In this country and organized workshops with marginalized groups in New York continued until his death, completely apart from conventional theatrical life. His dedication to train actors almost entirely occupied the last years of his life, in which he made no assembly, focusing on experimental studies stage.

Nudity, dispossession, poverty, severity, renunciation, and transgression, intimacy, transubstantiation ritual. And the "negative way" ... Eight, ten words, continually appear in the texts that gave the theater Grotowski in the sixties, seventies. Whoever gives me the news of his death, he says: "I knew he was so young." Born in 1933, but had disappeared long ago. The age of an artist is not available from birth, but since he fails to appear, to be subject, being active, and he was held in Pontedera, Italy in the Workplace Jerzy Grotowskj, where small groups to receiving, transmitting, now, the essence of his method. This has grown older than I was.

I just had an influence, or, more accurately, had lost all broadcast and admiration he had in Poland Communist. It is possible that schemes such strong, tough and vigilant in creating a school literary and artistic resistant, antimatter, and that is terminated with the system. Poland was rich with him, Gombrowicz and especially with Kantor, which he gained international public, or a public medium, while Grotowski remained in an intellectual force. Humanity

In Spain he loved some of theater artists. Like Brecht or the old Stanislawski, which were above but which, nevertheless, continued. It was logical, and this, in the good years of Grotowski, was a country with a regime under which the theater was decorative, emphatic, class, if not crude, boorish, subarctic. I'm using the word art too, or artistic, it was just something repudiated what Grotowski, sought an elemental and direct humanity. It is not yet clear that the counter is not, above all, culture, and even a sobrecultura, exquisite and difficult, or that the theater "stripped" of Grotowsk: i have managed to never be a theater naked.

Here came to him as a hot nail to claw in the middle of a tailor. Not achieved, none of the moves that were cultured began, mixed or hybrid made in the historic and never sufficiently recognized theater group, or test, went to the public. Of course, with Grotowski the front reached the destruction of the "forty years right theater, "as critic Triunfo, Monleón, but could not put anything in place. So we are. And we're also out of the other schools that followed in the theatrical world.

nudity, Grotowski said, is a revelation of the human being if the theater is no longer what is aesthetic, or what is public and became the territory in which we face with our own reality, whether we disclose it , we get not just the nakedness of the skin, but "the whole man, the human being." To that end, the base is the personality of the actor. Is he, as a "son of humanity": this "son of man-out all religious concept-who has to give proof of nudity, sexuality, disarmament, the sincerity in the integrity of being human. "Stripped to the end, even in the public exercise of his act is veiled by clothing." Philosophy

Practically, this philosophy of theater, or philosophy, or poetry or painting, everything is applicable to these heights of art-had to see it in his shows: in the Marlowe's Faust, that of Goethe, in reviews of Hamlet or Calderón ( The Constant Prince), but soon found that even in the representation, including some masterpieces that got to the school of actors, the impurity could be created, that the topic and repetition could taint the outcome. He dedicated his workshop paratheatrical activities: he dedicated himself to teaching, at conferences, lectures and books. Like all great creators of the arts, was unique: they disappear, or fall, is his work remains, and seldom his theory. You learn from what he did rather than what he said.

Taken from newspaper. Written by Eduardo Tecglen Haro.

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