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Burns Interview / and 2



Here the second and final part of the extraordinary interview with Jorge Ayala Blanco. On critics and criticism and books still can not see light, among other things.

If Im 6 Weeks When Did I Conceive

An interview

What Are The Hardest Credit Cards To Get

Piranhas

Perhaps the only positive of a bad movie made by a director who has been raising expectations, is that your next bet can be seen as a masterpiece. By comparison and contrast. Aja Alexadre speak French and her latest Piranha (EU, 2010) which is neither a masterpiece nor reinvented for nothing but his former side and very disappointing Mirrors (EU, 2008) reaches dimensions worthy This emphasis.

is a remake (seems to Axa, for better or for worse, is working on it) of the classic movie seventies horror film and a half trashero parody Joe Dante signed immediately as gold standard Spielberg's Jaws . A re-check that little bit more than the original more than wet T-shirt and willingness to tanorexia, a self-consciously cynical exploitation product that basks in its status and development (beyond - or closer, almost nonexistent a dramatic progression / narrative), by exercising cumulative visceral gags courtesy of legendary craftsman gore makeup hyper and therefore unlikely bordering on Nicotero, an argument of ironic double standard: conservative fable provided to broach a moral prescription of the family, the temptations and vices, we first unwrapped hyper attests an orgy of carnage and hemoglobin. Piranhas perform the same function as the Gremlins (EU, 1984) also Dante's own: go to stop right in the moment of ecstasy holiday (Christmas in the case of Dante, springbreackero in the case of Aja) to transform in chaos and tragedy on a large scale, in this case in a delirious version deformadísima-if you can more-and all too bad milk of any media product irritating to Wild On.

Imperfecta yes, very imperfect, but Piranha as an antidote to the smug vampire adventures of chastity so dominant in recent horror film, something of perfection is found.

(Joseph Abril)

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Lent love in Brief / VIII

Although I agree with some considering the fact Hell (Mexico, 2010) the best film of Luis Estrada (I prefer to think of it as the least worst ), not finished completely empathize with her. And yes: it has a brisk pace that helps a lot, some, not many achieved and-gags some-very few lines of dialogue, silly. But it has so many flaws and among those many the most annoying, irritating, is the conception of certain characters. A Estrada what happens to Novaro (Mary director, Beatriz writer) who from his mentality coyoaquense corner given by the countess imagined "ideal types" and therefore unlikely to believe in fiction name basis (or twitter ?) with reality, if the latter the Working Class Goes to Paradise workers and their wives-course-speak with an awareness of class and gender and political agitator like any shift and with such resources as political science students at UNAM are treated (I think especially in the Tiare Scanda of No trace / 2000), in that the narcos show such awareness of the Mexican reality and would like any avid committed reader "ideal" La Jornada or process.

Estrada claims that his Cochiloco (a heavy Joaquin Cosio), which has as much capacity for thinking out loud (and the slightest provocation, external) to the trigger, is something like the carrier, and forgiveness with the term "ethos of hell, and that makes their obviotes, politically and impostadísimos aclichados dialogues contribute to the whole thing is dangerously close to swallow.

(Joseph Abril)

Learn To Stitch Churidar Pajami

few years ago, in the second half of the nineties to be precise, Peter Greenaway Britain tried to create some controversy about the nature of cinema. For multimedia artist now too has yielded the medium, the art of the moving image, to literature. Thus, the ballast narrative logic, because in traditional narrative greenawayniana meant "little positive beginning to find it. With their ideas tried to claim that enormous debt that the film had (and no doubt it continues to some extent have) with art and that few, very few he said, were aware. Much of what Greenaway shouting seemed to cause a nearby cinema with video art video installation or after something closer to the cosmopolitan gallery to the vulgarity of the multi-room shopping. postmodern provocateur and as a good beginning to discount heads: from classics veneradísimos by tradition to contemporary pop. Few managed to escape from their perspective views. For this writer these thinking aloud were merely deceptions that little echo, fortunately, have.

The Greenaway at that time comes about because the Steve McQueen of Hunger (Hunger, England v Ireland, 2008) reminded me. But let's be clear: it reminded me in a different sense. Now let's put this in perspective: McQueen comes from the area in which Greenaway seems to feel quite comfortable in his element: video art and video installation (in the case of Greenaway's film-installation), the media and the so-called avant-garde art in which the moving image bit is understood narrative conventions and the moments are almost always represented by digital image, decontextualized abstractions become, purely formal exercises and somewhat cryptic. And coming from these areas can be imagined that his foray into movies would be a large format translation, expensive and extended so that it has garnered a reputation in the ways of the biennials, art shows and art festivals. To put the logic of Greenaway: McQueen is someone who by training and background could understand those concerns. But NO. McQueen, fortunately, is not flagged "enfant terrible" of self-conscious esthete Greenaway provocative, but not give up the look of the aesthetic (in this case as well, to dry) which Greenaway bet.

Indeed, McQueen does not give the look of the "artist", but also underestimates the narrative nature of the medium and its power and emotional impact. Hunger therefore not a sham and in that sense is not an arrogant exercise Mannerist rehearsing with the frame stiff and cold plastically evocative compositions. It is urgent to put an extraordinary work of comprehensive and complex, organic if it fits the definition, assumed that while a trial is serves in a sensitive and warm the fund , events and characters give absolute substance. There's history (some structure but not quite conventional narrative governed by the logic of causality) and History (the recreation of some events more or less recent past in the troubled relations between Ireland and England). There are contemplative distance against certain situations but also room for introspective mechanisms of the characters (notably Bobby Sands, IRA activist, which focus the film ends, formidably played by Michael Fassbender). And although every once in a while we left off listening the stern voice of the infamous Margaret Thatcher to specify its context, there are resources McQueen (or the lack of certain resources) the possibility of giving the (s) history (s) a timeless and universal dimension.

There so many things I want to talk about hunger . The organic conception and poetic spaces, complete with feces or urine, including the outstanding balance is achieved, at times, including a formal stasis and flow of blowing up the routine dialogues shot / reverse (the scene stars between Bobby Sands and the priest should blush with shame Tarantino) or very Freudian (Lucien, not Sigmund) approaches to the agony and damage to the body. But also There are so many things I have to do and do not want englosinarme until I leave here.

Greenaway, apparently, has created monsters.

Another McQueen film aesthetics that seems close to everything and distances: Derek Jarman. But this is already a pending matter.

(Joseph Abril)

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Hunger Something I'm ready for my close up, Mr. DeMille

60 years of an absolute masterpiece, the best film in the first half of last follow if not the century dry, even better yet Citizen Kane, even though the "official" list indicate otherwise. (Well, I think in this hierarchies Night of the Hunter-Laughton, 1955 - he is on the heels of that this year, incidentally, turns 65.

(Joseph Abril)

H. Pylori Post Treatment

has been

Academic Workers' Union of the University of Sonora (staus) and the University of Sonora cycle we invite 30 international forum of the National Film. Projections are made daily from 20 to 30 of the current month, in three times, 11:00, 18:00 and 20:30, at the Teatro Emiliana de Zubeldia. And most importantly, Admission is free, so it does not cost anything. Excuses for not going there, unless some of the movies that intgran the sample and have been and, at worst, some of the directors called them allergic to.

For there we shall see (For more information here.)

(Joseph Abril)

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Events ... Flashback

... a personal favorite: Claude Chabrol (1930-2010). Whenever something happens and I like to think of an outstanding sentence of Guillermo Cabrera Infante, "The old dierectores never die: they just like to finish the film, a fade out - which means close to black. "

(Joseph Abril)

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14: Lovers

is a pity that some filmmakers have forgotten and even more painful when this oversight has contributed to the lack of interest in his films and awaken gradually manifest, beyond the little or no national distribution in soil have suffered. And I speak, I clarify, a personal view. At least some of that has happened to me with Catalan Vicente Aranda, a filmmaker whose career I've been more or less attentive and although my memory that some, if not all, registered. Aranda was a filmmaker and expected more of that shortly, I feel, has offered. Responsible

such expectations was the first film I saw of him, though not the first of his now extensive filmography. This is Lovers (Spain, 1990), a remarkable melodrama, black and sordid, about a pair of cursed lovers decided to take their relationship to its ultimate consequences. Borrower the best tradition of American film noir but Hispanicized the context of Franco gray and miserable and performed splendidly by Victoria Abril at its best (who was, in fact, a significant part of his films his favorite actress), Lovers was not a masterpiece, its shortcomings have them, but not as much to worry about. And allowing me to oversize it contains one of the best and most beautiful scenes that have server memory, one in which an emotionally destroyed Maribel Verdú begs his death to a dubious Jorge Saenz in a lonely place in a snowstorm . Compelling and frightening at once. Devastating.

What did happen? I have the impression that gold Aranda us the pill, since we are still telling the same story again and again, under the pretext of "Authorial obsession" with which some critics seek to legitimize the work of certain filmmakers repetitive. And may have introduced some variations diegetic (the context, the characters age, profession) but basically all your movies, or at least I've seen after lovers are the perfect example of déjà vu . A Aranda, I think what's happened to Arturo Ripstein : turning what in the more open criticism in the laudatory sense is designated as "personal universe," his "obsession" because, in a formula, with all its schematic steps.

Yes, a lot of hysteria, and true (in the pure sense of the term nymphomania), overwhelmed blind, unbridled passion that invariably lead to tragedy, or poisoned happy ending (including the convergence of both.) Something that, frankly, did a great work Lovers, exceptional in an era in which almodovoriana saturation began to emerge. Unfortunately, all that too, I think, has led to today Aranda look with indifference.

grave error, "said the Argentine critic Federico Karstulovich-believe that the obsessions and the universe are the most fantastic personal that can happen to a director.

(Joseph Abril)

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Lynch Dior (1) Dior

A spot made recently by David Lynch for the House of Dior. It is not the first time the director ventures into the realization of this type of advertising. Previously he had done for Calvin Klein and Yves Saint Laurent (in both cases for a perfume). In this case, the spot was done under the form of short (lasting approximately 16 min.) With the presence of France's Marion Cotillard. Lynch assumed the role of man orchestra here. script, editing, part of the picture and music. Lynch's style is very clear, very in tone, especially of his two latest creations. Lady Blue Shanghai is the title and the cover of this fantasy dream is a handbag. Down here in two parts.

(Dsculpen but since I do not know how to design this, I made two separate post, here is the first part and in the previous post - the one below, is the second).

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Lynch (2)

Using Motorcycle Engine In Dune Buggy

"Geniuses"

dreams of a genius not necessarily have to be a genius. Fewer still are the dreams of those who consider themselves as such-a genius-not, objectively, be, and does -dream-or presumed it to be consistent with the impressions he has sown in those enrolled in their worship . Cinematically geniuses who dream and make your stuff smaller works have been many, megalomaniacal geniuses are created or start to believe it has been many more. I sleep here, we clarify, we use it metaphorically to talk about movies, calling that figure a little kneaded so that the film is objectified and sleep a bit to get in tune with that movie runaway ambition of genius conceived by someone who begins to believe, yes, a genius ... with big dreams. In other words, someone who begins to show alarming signs of delusions of grandeur: The origin (EU, 2010), Christopher Nolan.

Following the logic, Nolan has dreamed that dream of certain people for their dreams, so help me the trestristestriguismo - multiply in a progression most abysmal and that its proposal maintains, or seeks to maintain the original formal finish , bold, half way between cinematic art and videoclipero neobarroquismo shields; appearance, because we talked film appearances so as not to disappoint the spectators started (cinephilia "exquisite") and seduce viewers formed under visual paradigms (the Jonze-generation-plus Cunningham, Gondry who leave come, including stylish fantasies of Matthew Barney, and video games). Of course, Nolan's genius for his film, his dream is therefore not, or should not be - for anything because she has raised a dream world (is reminiscent dream world but virtual Matrix), Freudian terminology and symbols as a basic introduction to psychoanalysis (in talks that line self-parody by a solemnity unsustainable), impostadísima tragic dimension to the (anti) hero unit (the one who believes DiCaprio still travel on the island Shutter-EU, 2010 - Martin Scorsese), and exotic underworld of film noir classic. But this, to be honest, seems to be an alibi, a great alibi of an arrogant filmmaker who refuses to see his film as a basic argument, in spite of its pretentious premise, in line routine and overwhelming any action movie, with persecutions and infinite number of shooting that would pale in comparison the latest Rambo (Stallone, USA, 2008) if not for the absence of hemoglobin.

We will not deny that the film has its moments, especially visually. And we will not deny nor to Nolan as a filmmaker more than estimable (mainly Memento / 2000 The Prestige / 2006 and The Dark Knight / 2008). But at the end to see The origin not remember avoid New York on stage (2008), similar in more ways than one, of that other writer / director, Charlie Kaufman, that it itself has always played a genius with great ideas but only lo crean él mismo y sus apologizadores (digo, no extraña nada que para su debut tras la cámara haya escogido como título la palabra-figura-concepto ¡ Synecdoche !). En ambos casos la impresión/idea pretendidamente “inoculada” es la misma: “somos genios y soñamos a lo grande”. Uhm!

A manera de epílogo: Quizá pecamos de reduccionistas, pero esto de intervenir los sueños de los personajes en una ficción para transformar, aquí sí, radicalmente su consciencia ya lo había hecho en otro registro, más modestamente y sin tanta sobreescritura y giro abismal Wes Craven Freddy Krueger with ... incidentally.

(Joseph Abril)

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About The road

is quite common when it comes to film adaptations are often done without neglecting the most obvious reference: the literary text. Is understandable if we consider that the novel or story has been the starting point for this or that project is unnecessary, from a personal standpoint, always look askance at the written material as a stick to measure qualitatively the result final screen.

Unnecessary, yes. For search for possible virtues make a great literary work on a film is demanding, a posteriori, the director that mimics the writer and is, therefore, try to find in the movie series of resources that are foreign because they are exclusively literature in both language. The film, therefore, has, while also language, its own resources, as the wit, sensitivity, the ability of the filmmaker to use, make the existence of great films regardless of whether they have taken as a starting point the literary world or not.

Perhaps wary too, but I do not entirely trust those who talk about the film, product adaptation, always making reference to the novel or story. And trust me, for always, or almost, I leave the impression of wanting to discuss the text on the pretext of the movie, as if it were required to serve the window. Typical: the movie is bad because the novel is very good. Bah! The movie is bad because bad is your manager or is a masterpiece because he has made known to use their resources. Owes nothing to the literary work, except the premise-premise and subject to appropriation process - which allows for the story presented in images. Point.

On one occasion a colleague quite rightly said that a smart filmmaker ignores - or at least should, in the shadow of the original author to bring the material to their own land, their own universe. Thus, a Thomas Mann became a Visconti (Death in Venice , Italy, 1971) although in this case I was with Death in Venice the first and not the second, because the land of Visconti, ie his style, sometimes I was a little excessive given to aestheticism and irritating. My problem was with Visconti as a writer, then, and not so much the greater or lesser fidelity to the novel itself Mann.

But why all the cantinfleo, you ask. What happens is that I thought writing about The road (EU, 2009), the film that made John Hillcoat from Cormac McCarthy's novel, and I have found such thoughts that appeal to the superiority of the novel as to discredit the film. In my case, both the novel and the film I found products full of successes, successes that in each case are due to the enormous capacity of both writers (literary and cinematic) to use the resources that each language provides. Possibly, in the case of Hillcoat should be noted the certain proclivity toward sobremusicalización (obviously, signed by Nick Cave that enamored), but otherwise there is otherwise in place.

thought delve into further detail about the movie, but you are not to know ... within hours I'm going on vacation to San Francisco, California, jejeje. So I do not have much time, then we are better - or we read.

(Joseph Abril)

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Wise words

About what comes - The rear (yes, with z, such as underwear) Twilight: Eclipse (Slade, USA, 2010) - a well-chosen words that I met there :

"The Twilight saga supposed to Goth culture as well (or at least something very similar) which resulted in the emergence of Christian rock for the legitimate spirit of rock and roll : its key neutralization parish, filing of all potentially offending edges. (Stephanie) Meyer, the highly respected practitioner of Mormon faith, he copied the archetype of the vampire to emasculate symbolically served as dapper as undead, akin to a totally unnatural chastity for those born precisely the vital requirement to exercise venereal infection through the incision of his tusk erect. "

Jordi Costa

The Country

25/06/1910

(Joseph Abril)

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The Devil ... Dennis

time, so help me the cliche, goes very fast, and although I do not create the five years that we meet today June 10, with this space, I think they are much less. Let's be cynical: some of it has to do with the irregularities that have characterized The devil probably -blog-in that (not so) new word is "post", because in five years I should have written more, but much more than they've accumulated to date today. Not justify my lack of evidence because if there is something that bothers me is justification, nor promise more active because I truly believe that the dynamic that has characterized the blog will not change at all. Ie the time between one text and another is and will remain fairly relative.

We do argue and I for sure is the enthusiasm to keep this homepage for the same reasons that brought it. As follows

1. Because we like Bresson although to date we have not written anything about it (in fact the name of the blog is in his honor).

2. Because we love movies of terror but is no longer the only subject line to be followed by this writer.

3. It is the only place where texts safely maintain the integrity of the scissors of any editor in turn, in a newspaper or magazine printed in turn, provided arbitrarily altering the order of things (and therefore the proposed contents.)

4. Free writing because if other media is (if anything underestimated here in Sonora that is the film critic), best free writing and when we choose for ourselves and our own space - and friendly and obviously for patient readers that here is looming.

5. We are masturbatory, if we look at what we said so ironically the Master Ricardo Ribeiro (QPD) on film criticism: heck pure mental.

6. Because, as suggested by the Master Jorge Ayala Blanco, if watching movies is a pleasure to write about it is and should be an extension of that pleasure.

7. Because, already installed in the melodrama of Fassbinder hardest hit, love is colder than death, but the film is warmer than life (well ... not so much).

8. Because we recognize that complexity implies that the movie phenomenon as an object of study, but always looking over his shoulder and his "healthy" ignorance and postgraduate scholars consider the opposite (at least here in Sonora).

In short

9. Because, as Paxton says, we are obsessed with film and everything else like it.

Thanks ...

atte.

José April

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five years later ... Argento and alchemy

... Hopper (1936 - 2010)

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vaginocrática

Pope, and now what?

"S i ever decide to return to that atmosphere will be because they really I feel a strong desire ", Dario Argento commented some years ago, many years, cuestionársele on the possible closure of the-until then hypothetically Mothers trilogy started with Suspiria (Italy, 1977) and continued with Inferno (Italy, 1980). Well, the drive appeared : Mother of Tears (Italy-EU, 2008) we now have as the closure of the delusional and nevertheless fascinating saga on transvestite evil witch (witches, mothers, therefore, that they hold together "conceptual" to the set) in the middle of the contemporary world with tired desire to undo and make further life miserable heroines who go there, Some Like It Hot, in plan skeptical cosmopolitan cities of the first world.

But, "because" but "there is, of creative impulses to whims is less than a letter, and that strong desire which required motivationally Argento seems tied more to an effort to try to strengthen and be faithful to that idea living legend in which he believes to have become (very common in the good old horror filmmakers who survive) that the fact that he found the exact history to close in a logical and worthy of alchemy vaginocrática this cycle.

And is that Mother of tears is, unequivocally, the worst movie of the author. What if you have had a masterpiece? No. But his films less worse despite plot traps suffer from multiple, bizarre situations even in the parameters of gender ( thriller, horror), turns of the screw along the ridiculous, unintentional humor in abundance, Argento knew compensate defects with a huge visual inventiveness, with a stranglehold on key scenes (mostly violent) a decision near flawless perfection in tempo and rhythm, an almost master planning, creating atmospheres and certain expressionism understood grating much to his way but working quite well. Argento's cinema is cinema of moments, rather than movies, and unfortunately there's no room in this time for typical Argento moments.

The manager here unknowingly opened Pandora's box is Asia, the daughter of the filmmaker, and it is she who will walk, run, stumble, cry, for that Open City witch the siege, without ever knowing fully what happens (diegetic and extradiegética). Because the feeling that neither the director himself knows it is installed from the beginning to the end. Argento seems to shoot blindly groping and seems to improvise in each scene as if it had occurred each second before issuing "action." Characters come and go, not black magic, but by an argument that seems to exist. Udo Kier your minutes just to say "present" and remind us in passing that, in effect, this has something to do with the infinitely superior Suspiria and Inferno.

With Mother of Tears of alchemy vaginocrática what Argento has a strong flavor of kidding. Or perhaps the explosion to open laughter from Asia Argento in the end, no logic has been to free?

(Joseph Abril)

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Flashback 13: Losey, Joseph Losey

Shadow of the Vampire

Sometimes I have the impression that Joseph Losey (EU 1909 - Ing 1984) is unjustly forgotten and often. Forgetting of that, shame assumed, often server has also been involved. May be due to the fact that Losey of very large and extensive filmography, held in little more than four decades, very few films, if any, acquired the canonical dimension, the iconic value the passage of time given to the classics. Clarify: I do not mean that his films are without value or interest, they have it and perhaps much more than any of those movies that critics and historians very often attributed to a filmmaker who, in retrospect, it overrated. Even in spite of possible irregularities in its path. But his presence in the film, to be realistic, it was rather quiet. And speaking of discretion when compared to the rest of his generation: Kazan, Huston, Wilder, Hitchcock perhaps.

De Losey, when speaking, usually through The messenger (England, 1971). But The messenger or The go-between (title gave rise to one of the Australian pop bands of the 80 most interesting, incidentally), but is usually remembered as his work summit, is far from being the most interesting, at least for server. Yes, that is a moving and beautiful love story where the difference in class is a drag, as in most personal films Losey, no doubt, of his setting, and action photography (Julie Christie and Alan Bates extraordinary items) are in for good measure, either. But his excessive formal correctness, its academic aestheticism, its decadence protoviscontiano enough away so the best Losey.

soon to say: The Messenger ended so pompous to the teamwork that Losey had established with the playwright Harold Pinter from what was his best work: the very modest but very powerful The servant (England, 1961).

And it The servant has such complexity that, among other things, offers the ease of being seen through the prism of psychological terror, always give the impression of being filmed hand and eye nerve impulse (especially in its second part), even under its obvious staging calculated, controlled to the smallest detail. The servant it is a movie with that modern spirit, bold, very personal film that was emerging in those years in England (the angry young men, that of cinema Free ) signed ironically by an American exile and veteran.

I know that the ideological positions of Losey (avowed communist and therefore exile in England to escape the witch hunt maccarthysta) its most obvious reading is that of class struggle, metaphorically speaking, and a final settling of accounts, a rematch of class. But I've always liked to see the film as an ingenious variant while updating the figure of the vampire. And from the figure of a vampire, here on earth, too earthly, human, close, as Losey and Pinter develop the chronicle of a master-servant relationship, work more or less conventional in the beginning, degraded, perverted to unsuspected land towards the end. Here the "victim" (for their class), or the servant, is actually a potential perpetrator, a serial sociopath who appropriates, as any vampire, of aristocrat's will as it crosses over to vivify the moral degradation that has pushed. In The servant with whom there are no good because empathize that repels both Butler (huge Dirk Bogarde) Machiavellian social climbers, more sinister meaning, as the inevitable pathos of that aristocrat free will.

At the opposite end of the messenger , The servant is a disturbing film in which the dark, literally and symbolically, dramatic and formally, is gradually taking control. Is a Expressionist film, at the wrong time if you will, but expressionist. Expressionists are the games of lights and shadows, outlining the shades that will house taken, intervened. Expressionist compositions are those that tend to distort space and those that return reflections distorting mirrors that fits so obsessively Losey. Expressionist gestures are remarkably low light Bogarde almost spectral. And, finally, is the oppressive atmosphere expressionist, tense, which gives us the director, ultimately pessimistic, as the only possible landscape.

delire Perhaps, but those moments when I thought of Losey via Servant were those moments that I saw some films of Polanski, as many of Fassbinder and, lo and behold, one of Cronenberg (Dead Ringers especially ). No way, ideas of one.

(Joseph Abril)

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The Scorsese "postmodern" Happy end

New from Martin Scorsese has its features of ambiguity. You do not know whether to take it as a (late) "postmodern" and Mannerist style exercise in the manner of vintage sangrona the Coen brothers ( The man who was not there ) or Steven Soderbergh (T have good German ). Or as a thriller as serious as could habérselo taken the production team led by Scorsese to tackle Dennis Lehane's literary material.

As things first: the only explanation that Shutter Island (EU, 2010) abuse of a score emphatic on the verge of a parody of film noir series B, to seek some Kafkaesque atmosphere based on obvious symbolism about madness and take a medium development unabashedly bizarre (the plot that flirts with madness and paranoia, Nazism overshadowing, psychiatrists with more than one suspect in tow, secret scientific experiments, a prison, mental hospital in each corner suggests mysteries, and what you like to add). Suddenly, it gives the feeling that Scorsese has curly lock of pastiche calculated to gloat over the surface reminiscent of a classic film with a plot that does not stop blinking.

As second: hard to do, because Shutter Island, Though technically irreproachable, photographically impeccable, environmentally sound, is the typical movie that advocates a surprise ending that comes to resemantizing all that the script has to carefully and slyly put before our eyes. An ending that is not so surprising because since the arrival of that same pair of detectives (Ruffalo and DiCaprio) to the island madhouse and the whole thing starts to guess. And is that the predictability of the case, because I personally was predictable, contributing resources as apparent Mannerist style exercise features, sabotaging any hint of a revelation.

way: who remembers this master piece eighty pure and simple camp where Lucia Mendez, within their histrionic skills (which were few). the detective did, came to a mental hospital to solve a mystery y. ..? Well, for some strange perversion that I remembered.

(Joseph Abril)

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Photo source: elmundodeportivo

Quotes Similiar She Cheese My Macaroni

I know, say via Park (Mexico, 2008) follows the stylistic Reygadas, as assessment is, by now a cliché. But either way, I assume no remorse cliché use that line as a style, that of Reygadas, at this point, so is. Hence the film has me Enrique Rivero predictable result: it seems designed, written and directed, following to the letter the manual, because it seems that he had "proposed, separate formal platitudes (non-professional actors, synthetic rate, long shots, little dialogue, many time-outs, etc..) minimalism bet that leads to a climax abrupt abruption but here works better than films Amat Escalante. via Park has seams that are struggling to get noticed (you know: the movie by calling attention to their own style) and a scheme that tells us where it is headed, but is favored by the strong construction of a beloved character and his strange addiction to incarceration, and development of a simple linear story that allowing the use of aggression to the viewer is not merely provocative, is to make way for a very peculiar, logical, consistent and forceful happy end, as few, very black humor.

(Joseph Abril)