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"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.

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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