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