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1,900 | archivos_extraidos/MCE-Corpus-main/Dataset/2083 | Francisco Bellón | Una mujer invisible | 2 | 5 | muchocine | An Invisible woman denounces a reality which many take back, but as a film proposal, the truth is that it leaves something to be desired. | There are few so prolific filmmakers on the scene today, both nationally and internationally, as Gerardo Herrero. For several years, Madrid filmmaker has caught the pace of making a film per season, as Woody Allen, and in addition, via Tornasol Films serves as producer in almost a dozen of titles per year. It's a true lover of cinema in the dimension of the word, although paradoxically, his film is not the most loved by the undersigned these lines. An Invisible woman is considered the successor of the reasons for my friends and the principle of Archimedes. To do so, Herrero has Belén Gopegui, screenwriter of the Archimedes principle, to tell us the story of a woman who feels invisible. Luisa (María Bouzas) is 44 years old, and feels invisible in his work for both men. To recover their self-esteem, decides to seduce George (Adolfo Fernández), co-worker, which maintains a relationship with a young girl, Marina (Nuria Gago). With A women Invisible, Gerardo Herrero explores the female universe with a sensitive look, which is not intended to judge his characters neither nor justify their actions: only the muesra as they are for that value judgements are in the hands of every viewer. The main virtue of the Belén Gopegui script is the great feeling of verisimilitude that transmits, with characters that any viewer can recognize and identify with them. However, despite this remarkable virtue, the text also has flaws, such as its lack of originality in many aspects, as well as predictable which is its final. Blacksmith does not end to find the appropriate pace for the film, sometimes too slow, and in other too fast. A point in favor of Herrero is the well that fits everything about the character of Cuca scribe (which outboard), as well as the dialogues of the dangerous friendships. The best of the film are their interpretations, stressing its protagonist Maria Bouzas that unlocked a fine work full of subtleties. Adolfo Fernandez also signed a good interpretation which could be his year, as well as Nuria Gago. An Invisible woman is a film denouncing a reality which many take back, the problems faced by many women from 40 years to be recognized in our society. As a film proposal, the truth is that it leaves something to be desired, and is not the best work of Gerrado Herrero. |
1,901 | archivos_extraidos/MCE-Corpus-main/Dataset/664 | Rafa Ferrer | El laberinto del fauno | 5 | 5 | muchocine | A tremendous film, well shot, built on a solid script, without gaps. Everything about her surprise and leaves very good taste. | Composed Guillermo del Toro, a tremendous film, well shot, built on a solid script, without gaps, which makes it perhaps the best of the Mexican director, (with permission of "Cronos", to my taste her another best work), and say it is composed and not directed, because, like Juan Palomo, he does everything, directs, guioniza and produces a tape that, based on the stories that envisioned in his childhoodmixed with the cruel and already distant post-war, leaves the viewer with the mouth open, or even, noses, wanting much more. In fact, this poor mortal, expected eager to the third installment of this, curious trilogy that began with "The Devil's backbone" (another of those master piece of the orondo director) and it will take title "3993" uniting a history, again from the civil war with another current, and a nexus of Union between the two.I I can not anyone in the dark, from Sergi López, as Captain Vidal, which you get to hate and loathe from the beginning until the end of the projection, Maribel Verdú, that has completely changed the concept inept and bobalicón who had her as an actress, Ariadna Gil, that the few minutes that appears on screenpaints, as no one, the suffering of a mother, who knows well that he suffers from no doubt to protect the small Ophelia performed masterfully (and looks that except Dakota Fanning, never a child actor I had come to surprise both) by debutant Ivana Baquero, Alex Ángulo, as the physician of double standards (perhaps his best performance since "The day of the beast" by Alex de la Iglesia), and could not forget me Doug Jones, the man of a thousand faces, to the service of the bull, which had previously worked in "Hellboy" as Abe Sapiens, the companion of adventures of the Red very Devil created by Mike Mignola, giving life on this tape to the labyrinth of the title, before I forget, the thousand and one criticism have come to the conclusion from the resemblance of this tape with the work of Lewis Caroll, "Alice's adventures in Wonderland".I have always loved movies of missions, those where the protagonists have to do a thousand things different, this is one of them, and this double aspect, blending fantasy with the stark reality, is a success, especially when the reality is harsh and cold which rock, and foul and gloomy fantasy (that is perhaps the reason why the film is not for children).Both the characterization of the characters, and this dark picture, sound and even what one can feel by the protagonists is amazing, one from the first minute is based on the motivations of Ophelia in the stubbornness of Vidal, and the fight mercilessly Mercedes out with yours.Anyway, no need too be surprised if I say that the movie I loved, and that everything about her surprise and leaves very good taste. |
1,902 | archivos_extraidos/MCE-Corpus-main/Dataset/1598 | Puspus | The host | 2 | 5 | muchocine | With some brutal beat downs, with a viral subplot that nobody ends up understanding and a finish that is pure delirium... | Soon after a decidedly dramatic start "The Host" reveals its Achilles heel: is 100% Korean. And this explains that in their country of origin has raised more than sixty million dollars and Spain, France or United States just get staying in the top ten more than a couple of weeks. The public West, between which logically myself, is not yet ready for Asian cinema. Yes. The Japs movies are cool. The Korean also. And the Chinese, as no. They have disturbing images, they are original, not draw attention. But we will never achieve that they fill us at all, we persuaded. These guys are really very disturbed. Comes to the head "Old Boy", "The curse", "Hero", "Audition", "Kung-Fu-Sion", "Battle Royale". What happens to these people? Is there something in the water who drink again them tarumbas? Are there other bacteria in the sushi that we had not spoken? All the named are tremendously innovative films that revolutionize, one way or another, the thriller, horror, martial arts, suspense, comedy, action. but with which they never connect because, unfortunately, we do not have slanted eyes. "The Host" has magnificent scenes, transgressive humor, characters that you adoptarías and visually is cane. But the Japs are the Japs and not conform to, easily and simply, a monster film. They have to mix the horror and humor, politics and al gore, Spielberg and Lynch. and clear, so get them. With some brutal beat downs, with a viral subplot that nobody ends up understanding and a finish that is pure delirium. What going you to do. These guys are as well. They prefer to complicate the existence of sign masterpieces. Nevertheless, and as the gafapastas we are already almost legion, "The Host" will become collector's item when it comes out on DVD. I would never say that it is a good film (God frees me) but yes I would dare to say that you it's an entertaining rarity that won't leave anyone indifferent. How many films American or national killed by a review as well! |
1,903 | archivos_extraidos/MCE-Corpus-main/Dataset/3963 | Rafa Ferrer | Across The universe | 4 | 5 | muchocine | Thank God and removing it, the tape has an entry, and a pretty good end and is of that kind of films that one enjoys also of actors with the excellent band sound, highly recommended for all fans of the British group, becomes so intense that it arrives to thrill. | Some time ago someone told me (or maybe I read it somewhere?) the news of this pseudomusical on the Beatles, the truth is that I thought it was funny especially when my friend Pa (now in Madrid, before in NY) told me that he had loved, also as a of criticism of Muchocine left delighted the press pass, as well as the criticism (most excellent) that I have read I have pushed more if possible interested me for the tape of Julie Taymor.Es true that its Director, saving the musical "The Lion King" (which is the author, and, which has been gold, earning the respect of to' kiski in Hollywood), because if we look at his filmography are clunkers as "Titus" a strange adaptation of ancient Rome (with cars and bikes) or the biopic Frida Kalhoportrayed by Salma Hayek, as this tape has excellent moments with each other I guess that just means the author; and is that, "Across The Universe" is an excellent musical, but. (always has to be one of these for teasing one criticises), has moments where, as if I did a musical envelope R.E.M. has parts that only appeal to the author, and is that it loses in rolls psychotropic (at that time 70's where the Liverpool given by experimenting.), as well as a couple of musical numbers (the bonus and the circus character) that I did not like tootrue, it is true that Taymor thought to lengthen the footage until the satiety and is that good Julie does not know what is the simplicity and honesty and cataloging as "the theatre Spielberg" wanted to give with this tape the chime failed with his previous films already mentioned above.Thank God and removing it, the tape has an entry, and a pretty good finish, and is that kind of films that one enjoys also of with stakeholders (must see that they sing well all without exception.), with the excellent band sound, highly recommended for all fans of the Group British, not only doesn't disappoint but that sometimes it becomes so intense that it arrives to thrill. |
1,904 | archivos_extraidos/MCE-Corpus-main/Dataset/2162 | Rafa Ferrer | Érase una vez un cuento al revés | 1 | 5 | muchocine | It won't be to the history of the cinema of animation (eso no doubt), but once again, drag the kids to the movies. | Since "Shrek" collapsed the ticket offices of half the world, with its original way to destroy the fairy tales, more than one producer, has tried to, thanks to the animation, follow the play, with dubious success (e.g. "Hoodwinked" which premiered last year), and others like this that brings us today, with greater or lesser success, repeating already seen prior situations.Is to the downside of "Once upon a time." not only is the (little elaborate) plot but simplistic animation, that it is not diminishing, noooo to vaaa, but seeing work of people such as Pixar or Dreamworks, one sees in this film a "I want and I can not", well, so a tape made with 4? and with peanuts (I mean strange "Cries in the corridor"), most attracts my attention, one of the few positive points that I give is that at least his dubbing is not full of famosetes of middling.In V.O. have the voices of Sarah Michelle Gellar, Freddie Prinze Jr., and Sigourney Weaver. Incidentally, the stepmother reminds me waaaaay to the latter, seems to be the only one to which the animators have had some consideration, as the main character to look like Sarah Michelle, reminds me more Winona Ryder, and given his bad reputation in Hollywood, that is have a bit of bad milk.Ah! by the way, is another tape must be added to the list of films of quasi-ridiculous duration, which is that, in an hour and 15 minutes, little more can be counted not true?Anyway, to sum up, it won't be to the history of the cinema of animation (eso no doubt), but, once more, drag the kids (and parents, uncles, cousins, all accompanying them together) to cinema what more can we do? Suffer her with patience, there is another. |
1,905 | archivos_extraidos/MCE-Corpus-main/Dataset/3729 | Jack Torrance | Soy leyenda | 4 | 5 | muchocine | The film is a post-apocalyptic story that some want to see a copy of 28 days later but that it hides inside a sediment of sorrow and deseperanza as few tapes of fantasy have never had. | Before you begin, a few preliminary words for those who opine that the film before us is not a good adaptation of the novel by Richard Matheson. They don't know what they are talking about. "Lose the sense of the I am Legend of the novel" may argue some, and indeed, in this regard the film not opts for placing Neville as a legend for the vampires. But is it film gentlemen, that possibility does not exist, the fact that the novel was a bidisección of the myth of the vampire as legendary Monster and as highlight of this, the human ends up being the monster, the legend that vampires have been created. The premise of the film, adapted to the times, leaves little room for such a possibility, however here Neville remains the monster at the end and after. But faithful to the novel is not based on the repetition of the argument or the recreation of classic passages of the material original(como_la_primera_versión_The_last_man_on_Earth) or in the reiteration of Neville as a monster for the vampiros(Motor_principal_de_The_Omega_man) if not in the very essence of the story: the day to day of Neville, and the effects of loneliness on the human mind. In this respect I am Legend not only picks up perfectly the feelings of Neville if not that recreates them emotional, unique shape and form fideligna to the original material.I am legend also adapted the script for the second version with Charlton Heston, but its structure is quite similar to the novel. Thus, the third Act, very spectacular and without great force, is at the bottom, similar to the book (in its own way) finishing a bit abruptly and leaving no doubt with wanting more. But overall, there is one more than notable film. In no time the tape is felt as a Blockbuster, but a small and intimate, story except few action scenes, effects are put at the service of the story or the stage, music is little hyperbolic, rather minimalistic, sad and used at specific moments. A pity that the design and finish of the creatures, completely created by a pobretón CGI, are not at the height of a very high budget. Removing these problems, the film is a post-apocalyptic story that some want to see a copy of 28 days later but that it hides inside a sediment of sorrow and deseperanza as few tapes of fantasy have never had. Who expect a tape of action is very disappointed because instead there are empty spaces and melancholic images, without just lines of script, showing a world without humans as a film had ever shown before. That, gentlemen, it is at least worthy of mention is. It will Smith does, undoubtedly his best performance to date, only showing gestures all the pain and nihilism that Matheson described with words, being very significant for just a moment, choosing their reactions to relate the survivors: an example of fidelity to certain passages of the novel. The use of the flashback explaining how Neville lost his family, while the way of doing it is not like the book, if there are passages of memory and here, like that, help to understand the importance of his family and his pain for the loss because of the pandemic is also a success. I am legend is almost an independent film disguised as a blockbuster. It is not boasting in the majority of footage shot without emphasis and the absence of any other free fright maintains a tone of film rare intimate in the current fantastic cinematography. However, it has its bad parts, some of the class "what could have been and was not" as the wastage of the locations and scenarios for some moments of action, suspense or tension.Others fall into that "it should have been and was not" as the inexplicable choice of zombies made by computer. Finally, the great flaws are that weak climax with a somewhat messianic script and out of place. and, in general, decaffeinated conclusion. Despite this, the truth is that it is not a significant adaptation of the original material and is, without doubt, a rare bird in what usually offer the factory of hollywood in recent years. |
1,906 | archivos_extraidos/MCE-Corpus-main/Dataset/4159 | Jeremy Fox | Rec | 4 | 5 | muchocine | One of the most terrifying films of recent years, with a voltage that is on the rise, with the well dose Summit moments and an impressive final climax. | Finally this Christmas I have seen one of the great successes of the Spanish cinema in 2007. It is not that I fiase not liked by the public, that I I do not trust a hair, but the film has meant for me one of the great surprises of last year. "[Rec]" tells the story of a reporter and a cameraman of television, to conduct an interview, spends a night in a fire station. Everything seems to pass as normal, even in somewhat boring way, when a distress call become that night the most terrifying in their lives.Without disclosing anything about the causes of such terror say that the idea seems good and has sufficient doses of originality to be surprising. The film is shot from the point of view of the camera of the television crew. However, the action is not confusing even in the moments of increased agitation where, while images may be blurred or shaky, we always know what is happening and everything has a sense of narrative.The majority of viewers they go unnoticed the work of actors and that is because they are so well in their respective roles we have come to believe that they are real. Special mention for Manuela Velasco, that bears the weight of the film and plunges his character of program journalist television type "Direct Spain".As all good horror film fan knows, the hardest thing is not scare the viewer but an atmosphere as unhealthy as this film, transmitting a bad feeling to the viewer that is hard to beat. However, in "[Rec]" there are some of the best scares seen in a movie in a long time and without need of subidones of volume on the soundtrack, resource impossible helpings here by the absence of the same.All of the above in order to achieve one of the most terrifying films of recent years, with a voltage that is on the rise, with the well dose Summit moments and an impressive final climax. The truth is that I spent so afraid that I was delighted to be in a film with more people and not seeing the film I only at home.An example of how to maximize the physical space and the means available to make a not especially expensive movie that Spanish Cinema should draw many conclusions and not only the obvious of how well it works the horror genre today.Ultimately, the film by Jaume Balagueró and Paco Plaza is, in my opinion, the most interesting proposal of Spanish film of 2007. final assessment: 8.5 out of 10. |
1,907 | archivos_extraidos/MCE-Corpus-main/Dataset/2807 | Andrés Pons | Death Proof | 3 | 5 | muchocine | Too many ups and downs with memorable moments and other of authentic boredom give a great irregularity leaving us half-way in a project where expected much more. | Comes the other half of the film GRINDHOUSE where sorprendementé is quite more loose than PLANET TERROR of Rodríguez. why I think it is surprising? Because any fan that can meet the filmographies of both authors will agree in the superiority of talent that is overflowing with Mr TARANTINO to his colleague.But it is clear that in is occasion Rodriguez understood that was the draft and we much more amused with a badass, fun, proposal in line with a series b ZOMBIES old-fashioned.It is not that the film before us should be totally despicable, has a really marvelous last Chase, KURT RUSSELL returns to demonstrate his enormous charisma and the beauty of the actresses wanders without complexes to the delight of our eyes.But it is a film that makes long before endless dialogues that are not to the heights of the master in what is one of their strengths. Too many ups and downs with memorable moments and other of authentic boredom give a great irregularity leaving us half-way in a project where expected much more. |
1,908 | archivos_extraidos/MCE-Corpus-main/Dataset/3184 | Emilio Calvo de Mora | El Orfanato | 4 | 5 | muchocine | Entertaining, recommended, almost a masterpiece. The debut of Bayonne has the stamp of the bull, but contains enough charms (however) to understand it as a speech separate... | There is a reasonable rule which prescribes that Gothic breath Spanish film died with Narciso Ibáñez Serrador, but Alejandro Amenábar turned the pattern and invoiced an outstanding exercise in aureolado ghosts film melodrama and pure fantastique. Juan Antonio Bayona, the director of the orphanage, weapon another solid exception and without reaching the classicism of Amenábar or the re-birth of Ibáñez Serrador, recover - from cara patria gallery - the genre in a way we hope that final.Everything can argue to overturn the general tone of magnificence awarded the tape no longer excess critic committed to impartiality - or we all unequivocally partial and that, ultimately, this is - an outburst of intransigence. Because the orphanage is a very interesting film and their successes shine above shortcomings (natural). Also the film as an industry requires orphanages such as this, which they acceptation our noticeboard and seek abroad, an image which until now had only manchega signature or specific products already installed in the memory of the time (Bardem, Saura, Erice, Neville, Berlanga).More than a movie (or the time) than a movie the orphanage is a path where should develop the film industry to own and strange rejoicing and consolidation of a market and profit expectations reasonable and worthy.Bayonne, which comes from the video clip, relaxes the dynamism of concise writing three-minute song to shoot a horror story that never attends the predictable inventory of syncopated scares, the American cinema of identical pulse picks up perfectly, but that gathers handmade perhaps, voices, bells, echoes, landscapes and views already sounds. It seems that the film has already been seen, and that perception late during any part of the footage. Not so in the end, poetic, exalted, chivado a producer as Guillermo del Toro to print the film air that you like, that mixture special where the dreams, reality, tales and the greed of life embrace to create a narrative frame only, important, worthy to be included in our memory time after having attended his staging.The orphanage is an irregular piece, that is sure. Lasts too: it could not incurring the resource of the filling, but stimulates even those pieces hollow, possibly difficult to baste with the main subject of the film. There are lost, even missing characters. This unquestionable evidence has its justification: the tape rests on the bony shoulders of Belén Rueda, is sublime. It is a film absolutely overturned on the sentimentality of a character thrown on the brink of the abyss and buffeted by forces that do not know and that you must pay due respect in this threshold. The prodigious script by Sergio g. Sánchez, which took to write ten years, as he has in a press interview, enables the fantastic artifice, the mist of the Gothic tale which referred to start this review. The impeccable technical invoice dazzles over the certainty of knowing that we are witnessing a scramble of scenes seen throughout life in a multitude of tapes. Excuse: Bayonne reformulates the clichés, narrow them in a very precise drawing of characters, in a lavish display of knowledge of classic cinema. I thought that Hitchcock would have enjoyed it, but there will be who deny me this whim. Mine is.Outside sensiblerías, Bayonne has built a sensitive filmic space. It is not the same. That no one expected a melodrama, a tour of interpretative force supported by outstanding dialogues. They are not needed. The (I insist) intelligent script pespunta ideas that do not require subsequent seams. Or semantic fanfare. Everything you said is very well said, and could not be said otherwise.If the Viewer is no friend of childhood as an engine of a story and they are loaded landscapes idealized around the mist and mystery, then this is not his film. The orphanage abuses of this intriguing atmosphere of classical easements and murky visual style. The intimate story of the girl Laura (Belén Rueda) and his adopted son is a modern extension of the tale to the Poe or the Lovecraft, but without the competition of evil entities. The horror that we are witnessing is poetic in nature: disturbed, but not saturated; It shocked, but it not shocked. Everything is bathed by the investment of the myth of Peter Pan and his offspring of lost boys who want to at the bottom of the tunnel of metaphors, return to life or, in any case, life to do something so your lethargy (his placid dream, its games and silent cosmos) looks as much as possible to it. This deconstruction is the unmatched bet of Bayonne: an update of the power of faith and how beliefs can open doors to new worlds and consent that we go into them. The Poltergeist effect could have been omitted. It is the weaker, despite being one of the most showy and mounted. Geraldine Chaplin does not credible a merely casual, barely relevant character in the narrative journey of the film.This chronicler of his vices not enjoyed, although it seems, so much as I would like to: was left to carry by an excess of love for the genre and did not respond with the proper delivery. Only he felt relieved, rewarded, when he attended the final Vertigo, that content and prodigious episode of pure poetry. Laura/Wendy is the heroine of this risky (and healthy, and achieved) ghost story. It is not terrified of others heroin because it discovered the truth in fear and this, here are the outstanding turn, seeks the truth in it and, ultimately, to Miss Miss also. |
1,909 | archivos_extraidos/MCE-Corpus-main/Dataset/2913 | Plissken | Caótica Ana | 1 | 5 | muchocine | Medem discovers his letters to the end and confirms that both formal chaos hides a childish simplicity in speech. | The people will and ripping the robes with 'Caótica Ana', the new film by Julio Medem, the poet of the Spanish film, the King of the Palindrome. That if unrecognizable, that if chabacano, that if disjointed, which if absent sense. I don't know what is so surprised. It seems to me, 'Caótica Ana' the natural evolution of its film bet, which although it has moments that I liked ('pelota', something of 'Land'; I have pending 'Lovers of the Arctic circle'), mostly seems already worthy of the same apítetos engaged you now so happily. Me I bored a bit with 'Earth', I much bored with 'Sex and Lucia', because now I I'm bored a lot with 'Caótica Ana'.Initially conceived as a tribute to his sister, painter who died in car accident, 'Caótica Ana' has the initiatory journey of Ana, a young painter which is carried to the city by a patron (do?) and discover love, sex and a vast amount of lives (and deaths) of young women in the depths of your psyche. Open the doors to these women will mark its destiny as mother of the Hombres Buenos, able to challenge the powerful lords of the Guerra. There is that.Since very soon, Medem has started to use symbolism to a server catches the first: the Falcon and the Dove, Cave and light, del mar as uterus, doors. all that stylish between naturalist and pedantic that often permeate to the characters of the director. Later, the thing gets worse: the portrait of the young prodigies of the school hippiesca where he studied Ana (more than acceptable Manuela Vellès) is frivolous and away from the reality in the extreme (do patron? here is patron?). The secondary characters, little more than stereotypes with legs: the Arab artist young tortured/súperdotado; amigaza odiahombres (normalita baby); the "provocative" performancer; Gay full task. gives all such creeps that appears to be last of the director intended to criticize this superfluous scene in which allegedly involved his deceased sister. Often tribute.Then comes the supernatural plot development: Ana discovers, accidentally and in the presence of a famous hipnotizadora, one of their previous "lives" and decide it is best for her to hypnotize her to find out more. The task falls to a young disciple of the hipnotizadora, an American who speaks as the blond of los Morancos. In full hipnotizadora work, Ana feel the impulse to break with everything, and suddenly (literally), is located on a ship bound for New York, where culminates its search in a grotesque scene that hides all who actually cares tell Medem: "I shit in the USA". And they say that Tarantino is empty.Of course, there are plenty references to the 11-S (with metaphorical plane of the destroyed twin towers included), because it is set in 2001, nor the war of Iraq, or the Western Sahara conflict (blame also the States). Medem discovers his letters to the end and confirms that both formal chaos hides a childish simplicity in speech. But at that point, the truth is that the vital journey of Ana I mattered little.Technically, Medem is capable of mixing powerful images visually (the "flashbacks" of Ana, tables) with the tacky look of digital video of low-end, something which has also recently made David Lynch. The difference between the two is that Lynch builds an atmosphere thanks to such material, and Medem jumps from form in format, without more.For little else gives this 'Caótica Ana', one of the most high-profile slips of recent Spanish cinema. I, for my part, hope that Medem is able to someday make a movie to someone rather than for himself. A 2. |
1,910 | archivos_extraidos/MCE-Corpus-main/Dataset/4179 | Txapulin | Sweeney Todd | 4 | 5 | muchocine | We have a different movie that mixes several genres (musical, terror of psicokillers, Victorian drama, and a point of gore) in a way as only Tim Burton can do it, and certainly meets expectations. | Notice that my vision about this film is completely deviated by the fact that two of my cultural passions come together: Stephen Sondheim and Tim Burton. The Sondheim Broadway musical is a musical masterpiece and has the strange point in its favor that is a musical of terror, with the apparent contradiction that this entails. When many years ago (more than ten) started the rumors that Burton wanted to make the movie, I thought there was no one better than him so, and when it really began to make and began to leave the news about the cast (Johnny Depp, Helena Bonham Carter, Alan Rickman, Sasha Baron-Cohen), all tallied perfectly.And yesterday I saw the film, and all block perfectly. Any expectation that I could have met in the film. Refers to all expectations, except one: the surprise factor. What had I given yesterday by to enter to see the film without knowing anything about it, without having previously seen the musical, without knowing me the Catalan version of the songs from memory, without even knowing nothing of the plot, or unaware even that is a musical. For whoever comes to the Virgin film about the film, the shock must be very strong, and that so much envy.I wrestled at the moment against the temptation to write in this review a comprehensive study on the small differences between the film and the musical theatre. First because the majority of those who read me have seen none of the two things (missing three weeks so they release the movie in Spain), and second because it is a futile exercise, the musical and the film should be treated as different though in my head things have tangled. In any case, that you may know that there are some small details that I liked most in the theater and I think they improve the story and the characters and in the film are not so well treated.Step directly to enumerate all the good things we find in Sweeney Todd, and to see if I encourage you to see it and contéis me. First, the cast is exceptional. Johnny Depp, superb, as always, his interpretation is at the height of the character (all is said is a caramel character for any actor). Helena Bonham-Carter in general I dislike, but here is exceptional, his Mrs. Lovett manipulative, interested, but fragile and blind love is the perfect counterpoint to his partner, his impossible love. As I am in love with Alan Rickman and his voice, I cannot be impartial, as neither the immoral Judge Turpin, his character is. The rest of the side, including children and this so different from his Borat Sasha Baron-Cohen, are great.What Tim Burton always leaves more footprint in aesthetics, but it is what more I have been fascinated here is the costume. These dresses and costumes Victorian and somethings that are incredibly beautiful. And then there is the apparent technical "carelessness" in two other fundamental aspects of the film: the sets and makeup. Of the sets is also typical of Burton, is that since you're using models, you notice that they are models. The same goes for the makeup; It is deliberate that note the makeup of the characters and you notice that it shows his mood and his inner torment. And the same is true with, call it "bloody exaggeration" of the movie, which seems out of the films of Dario Argento. I am sure that Burton had the means to do the blood, make-up and much more realistic sets, but then had lacked several homages to the film kitch and naïve than her own film is product, including autohomenajes to his own movies (about the mock-up is mark of the House) and the musical that originated the movie (where the blood sprinkled literally to the public of the first rows).Total, that we are dealing with a different film that mixes several genres (musical, psicokillers, Victorian drama, and a point gore horror) of one way in which only Tim Burton could have done it, and certainly meets expectations. |
1,911 | archivos_extraidos/MCE-Corpus-main/Dataset/1995 | Jeremy Fox | Dame 10 razones | 3 | 5 | muchocine | Without being no wonder, and thanks also to their very short duration, he recalled with sympathy and appreciation. | Brad Silberling is a curious director able to make films of fantasy genre ("Casper", "A series of unfortunate events by Lemony Snicket"), almibarados commercial products ("City of Angels") or an intimate story on their own traumas ("the compromise")."This time he comes to our screens with smaller jewel-minded film that fails to meet all those expectations.""Give me 10 reasons" (Ten Items or Less) tells the story of a famous actor (Morgan Freeman) low hours, in preparation for a new role, visiting a supermarket in a working class district of Los Angeles. There you will learn to Scarlet, a vigorous cashier (Paz Vega) that will engage a peculiar relationship.It was perhaps predictable by the synopsis but the argument is somewhat forced and not very credible, but not get the feeling that it intends to. It is more a mere plot excuse to create a fresh, simple and nice film interpretations of Morgan Freeman and Paz Vega, full of naturalness and spontaneity that has as strong points.Both note them comfortable and thanks to that develops between them a certain chemistry in which, I feel, there has been room for improvisation. Perhaps the fact that Freeman is also the Executive producer has given them more freedom than usual but the fact is that it shows that all have spent it big during the filming.This relaxed atmosphere seems to have moved even to a fun soundtrack, whose original songs have been composed by Antonio Pinto.De such way that we have a film that can remember for his approach to tape as "before the dawn" or "before sunset", with funny, tender moments, even, emotionally intense, without being no wonder, and thanks also to their very short durationHe is remembered with sympathy and appreciation.Final evaluation of moonfleet.es: 6.5 out of 10 |
1,912 | archivos_extraidos/MCE-Corpus-main/Dataset/1650 | Emilio Calvo de Mora | Detour (El desvío) | 5 | 5 | muchocine | A troubled work, open to many lectures. The most obvious, its beauty, its own way of telling a story... | Always maligned serie B, managed budgets and creative pulse with the majors, they impose their aesthetic criterion on coup d ' book, detour (Detour) has one of its summits and the time, the implacable judge, has respected and established itself as a cult film.This road-movie (the term was not yet exploited) was recorded in the amazing space of six days and cost even more staggering 20. all dollars. There are lost roads, pictures that deep America grim as an accomplice in the iconography of the film noir, squalid motel rooms, women live dubious and even German Expressionism brought to the United States.UU by a formidable barque of directors who saw a vehicle to enlarge his art and make history (Lang, Sirk, Wilder or this Edgar g. Ulmer of minor fame) in Hollywood.It is not that the script is formidable. There is a cast in State of grace, as it is often said. The reason why this thickened film classics payroll is its genuine condition rarity, their ability to make a gem of film with such fragile mimbres (money, anonymous actors campus, the indent of B series) while another film of conditioning similar as So dark the night of Joseph H. Lewis.Flashbacks, voice-overs and a master's degree absolute in the treatment of the abrupt landscape make Detour a troubled workopen to many lectures. The most obvious, its beauty, its own way of telling a story (everything happens through the sieve of the eyes of Robert, the protagonist, pianist who goes in search of his girlfriend and encountered, on the road, with a murder he did not commit and a fatal woman, another that blackmailing him). Tom Neal, actor who gives life, takes in real life the reins of serie B and the film noir he went to prison in 1965 for killing his third wife. |
1,913 | archivos_extraidos/MCE-Corpus-main/Dataset/3546 | Andrés Pons | Hitman | 3 | 5 | muchocine | Not all the juice is removed the character but the director knows give what he asks, dispatching an entertainment to spend the afternoon at the end and at Cape is what it is. Another thing is that they think the fans to the game. | Another film emerged after a popular video action game which seems to take the baton of RESIDENT EVIL or LARA CROFT among many others.The direction is entrusted in the French XAVIER GENS that with his previous work with the terrifying FRONTIERES gave enough to talk.Relying on a cast popular with the bad 4 jungle "Timothy Olyphant" and always sober DUGRAY SCOTT "Mission impossible 2, Enigma" is one of action with all the constants of the genre. Persecution at frenetic pace, some well choreographed fights with the typical girl of heart in the seductive model OLGA KURYLENCO seen in PARIS JET AIME is occasion.Not all the juice is removed the character but the director knows give what he asks, dispatching an entertainment to spend the afternoon at the end and at Cape is what it is. Another thing is that they think the fans to the game. |
1,914 | archivos_extraidos/MCE-Corpus-main/Dataset/1235 | Yojimbo | Domino | 1 | 5 | muchocine | It is outrageous so that has made me laugh, get me and thrill me at times. | Delirio:1. d. disturbance and mental excitement, caused by a disease or strong passion: hallucination is one of the clear signs of delirio.2. Excited state which not due to reason or to the voluntarily: This infatuation is a delirio.3. Nonsense, nonsense: this film is the delirium of a fool.Well, I think that it had never begun with a dictionary definition, but is that what can better be the last film by Tony Scott: DOMINO. Her I was waiting with eager expectation after the great fire of revenge. It already ahead much of a new style more extremist, if possible, in the use of Visual effects. This film is only a crude copy of his previous film but multiplying by 1000 dramatic Vertigo. And that is a pity, because for the first hour I put love and had a true pass, but then falls. Falls in a very insulting and shameless way that already do not know where you get. Gives me just to get out two of the guys on 90210 as comical and autoparódico element, there is a cameo appearance of Tom Waits, Christopher Walken made of hysterical funny, that Mena Suvari reappear on screen to the delight of many, there are good suicide bombers and tramas calcadas of his previous movie, Keira Knightley do so fairly well, that Mickey Rourke is okay in its roledo, that Gregson Williams copy and paste sentences of his own works, which the director has a good taste in music? It is a dramatic truño, videoclipero, and worst of all: there is no who see him. Not because it is very bad (there are quite attractive incorrect times) but because if her you are going to see the film will have to include a bag against the dizziness in the seats. It can be fatal. A film not recommended, not because it is bad, but because it can not be seen.But I liked: PEs outrageous that has made me laugh, get me and thrill me at times. What can I do? for a story that could be interesting written by evil and what little attraction so throw overboard a stylish stripping seriously misplaced.Mr Scott, recovering?Perhaps see this film again, but more than anything as Visual effects and postproduction. Come on, for professional inspiration |
1,915 | archivos_extraidos/MCE-Corpus-main/Dataset/120 | Flopir | Hostel | 3 | 5 | muchocine | Left me with nausea two hours after leaving the room, this makes her a good movie? | If it were forced to fozar a moral of this film would be as follows: the lack of control is usually expensive. Of course that Americans Paxton and Josh (Jay Hernandez and Derek Richardson) and the Finnish Oli, not imagined that the price would be so high. Touring Europe arrive in Amsterdam where, after days of drugs and sex nights, known to another tourist, who shows them a few photos taken with your mobile, where looks it in bed surrounded by women of Slovakia, who, according to him, are all beautiful and easy, especially when it comes to American tourists.This reference do you not think a second, take a train to the next day and staying in a hostel recommended to them by the same guy. There are two girls (one Russian, another Czech) willing to everything and more. "All" is obvious but it is up to the "more" reveal it in the peíìcula and not in a review of the same. I am only obliged to prevent to the impressionable who should refrain from submitting to this film. Because that is what makes the story: submitted to the Viewer, who does not want to and at the same time cannot help but look at some of the more violent scenes that I ever have seen, and I am not referring to psychological violence but violence that splatters blood off the screen.Eli Roth (new director for these payments), with a small little help of Tarantino, I submitted to my also and still left me with nausea, two hours after leaving the room. This makes her a good movie? Not necessarily, but certainly it is very effective and complies with its purpose. Recommended. |
1,916 | archivos_extraidos/MCE-Corpus-main/Dataset/1621 | Ramón Balcells | Invisibles | 4 | 5 | muchocine | Invisible, a true documentary, portrays, with the support of five magnificent directors and a star producer, the current injustice with a realism rarely seen and without any spectacular scene. | Or stories of love and corruption, or productions Hollywood with a touch of complaint, nor nor international films where rub injustice in some countries. Invisible, a true documentary, portrays, with the support of five magnificent directors and a star producer, current injustice with a realism rarely seen and without any stage spectacular or anything of the sort. It is not that it is criticizing other movies, all the contrary, I think all of them are very good, but it is that to see this documentary you is the desire to compare them. Anyway, that both Isabel Coixet, Wim Wenders, Fernando León de Aranoa, Mariano Barroso and Javier Corcuera explain, one way or another, the injustice being committed throughout the world with poor people. All of them, produced in an exceptional way by my admiradísimo Javier Bardem, have a raw, realistic and respectful manner several of the lives that are in our world and for some reasons we are unaware of them. These people, the documentary called "invisible", and hence its excellent title. This is a clear homage to all them, a film shot with intelligence and well informed, and above all, very well done. He could not stay with one of the shorts, because they all have their special things. Coixet shows us a reality that exists in Barcelona and many other cities and also the health problems that exist in other countries; Wenders manages to catch the viewer with its so incredibly dursa interviews; Aranoa plunges us into the world of children in Uganda in an exceptional manner; Barroso leans towards the subject of companies pharmaceutical (in a manner nothing similar to the film by Meirelles) and makes us aware of an intelligent way; and finally, Corcuera performs the longest short, perhaps, deeply analyzing the problems in Colombia on IDPs because guerrillas occurring there. Five great, nothing unbalanced short despite being some longer than others, and above all, facts with a conscience, something that today is difficult to find. Although it is perhaps a little weak in the wider sense, since they are all so different, that it may seem excessively risky or personal result. In short, we would have a solid, well narrated documentary and above all, varied mu. |
1,917 | archivos_extraidos/MCE-Corpus-main/Dataset/906 | Tito Chinchan | Agitese antes de usarla | 2 | 5 | muchocine | Many grumosos jokes, and hundreds of naked women, which are attractive to Pajares and Esteso, which is why still find me science fiction films. | Sunday at noon, rebusco in the caspoteca and bag a classic uncover. "Are going to get that shit?" says relax my medium kiwi. "Only a little, to see that will" I answer in my role of man crouching ears. Begins the film, the three minutes I'm going to remove and she says that let a little, out of curiosity. Two hours and half we woke up all three, that good NAP covered by the golden age of the Spanish film.The film is a hospital that is almost in bankruptcy by the infamous. In these appears a new doctor (Pajares) which is actually a con man that gives you fear the blood. Providence drops the Minister of "incompatibilities" with a hangnail, which takes advantage of the surgeon Chief (Ozores) to enter and give prestige to the hospital. And the thing is entangled, appearing there Esteso, Arévalo, Juanito Navarro and many women in pelotas. A classic.It is assumed that we were a sour criticism of social security of the time, but reality more resembled a comic book Mortadelo y Filemón. Absurd situations resolved even more absurdly, based on a script without rhyme or reason. Many grumosos jokes, and hundreds of naked women, which are attractive to Pajares and Esteso, which is why still find me science fiction films.In short, very bad film uncover, whose principal virtues are the joy in nudes and sympathetic critique of Social Security. As pathetic as always gangoso Arévalo.Scene at random to give us an idea: the first, a girl that her boyfriend has cracking a tit. Esteso says there need to inflate, Pajares which make him a boca-teta and Ozores to be blowing covering the raja that doesn't come out the air that mess. A nurse enters and tells Ozores "you want something or touch their noses?" Jajajajaja, I is me mondo with these people. |
1,918 | archivos_extraidos/MCE-Corpus-main/Dataset/2872 | José A. Peig | La Jungla 4.0 | 2 | 5 | muchocine | McClane wanders through a dark and apocalyptic universe in which the loss of values and collective disorientation motivate their participation in this new adventure. Action movie, rather modest, outstanding, although others sometimes lacks credibility. | The computer as a weapon of attack and manipulation in the world post-11-S, a State of civilization whose traits derived from diverse social expressions, attitudes, jargon, beliefs and methods from the legitimate power or from the underground society and the same industry on which maintains the system. Anarchy, in the final analysis, is the common factor, West dragging a guilt complex which leads us to consider methods of self-destruction, take advantage of the global network to destabilize what this same network aims to stabilize and unify. The "geek" unconscious and scary played by Justin Long dreams of ruin the entire system with just a keystroke. In fact, the idea seemed so sinister as attractive, and this character largely reflects a latent in our social gear delirium, although never stated clearly: destroy the system because of the idea of guilt. John McClane, living myth of the cinema of the 1980s, appears in this context as an element of sanity and social sensitivity and replica that he is not the system, but people who suffer. McClane is as a hero who travels from his past deeds, which saved the lives of many people, and that never had the deserved recognition, until our present governed by corruption and a nebulous sense of social, effective counterpoint to the chaos and the inconsistency of Matt Farrell. In this way, the story provides a significant chemistry between two characters who bear the weight of a very simple speech, but effectively synthesizes the secondary elements which allude to various nuances of the global delusion in which we live. Therefore, the jungle 4.0 is not so much a film about John McClane in his twilight as on the present state of the society, from a prism of delirium, sponsored by disinformation and the incompetence of the State authorities. The question is whether the role played by a character as McClane fits in the different strata of the film: on the one hand, the preponderance of information technology, computers as "leit-motiv" visual. On the other hand, the representation of global chaos. McClane from die hard (movie of which we will talk about in the coming days), passing by the sequels that followed, was an involuntary and anonymous hero that "was always at the place and time less timely". That, together with its form of expression (Campeche as well as direct and bluntly, with use and abuse of tacos) is the essence of the character, a profile designed to develop in small places in which happen events of maximum tension. Introduce McClane in the current context to be the hero who will save the system (the system, not a particular group of people in a particular space) is create a bias with respect to characterology and texture. I.e., we notice the capricious way to recover the character to be used as propaganda and element related to the "post-11-S syndrome" at the expense of greater consistency and coherence thematic and narrative. First and foremost, it remains a very decent movie, despite the bias to which we have referred, this portrait of John McClane aged, embittered in a life in which not received rewards for their heroic and a dysfunctional family, mistrust regarding her daughter's suitors, the Grouch and impertinent, father agrees, broadly, with the outbreak of total chaos, which involves informalization and distrust with the neighbor.Chaos, emphasized Visual through the dark and ochre tones that predominate in the picture, is not confined to the spectacular artifacts and the vision of the crazed masses, that emphasizes the atomisation of society, in particular, aspects and excessive specialization in the various areas of our - alleged - "knowledge society": see how a computer expert or even know what is morphine. Or the character known as "El brujo", detained in his "throne" computer and enjoying the exclusive control of the electricity grid, example not devoid of cynicism social unconsciousness. In short, McClane wanders through a dark and apocalyptic universe in which the loss of values and collective disorientation motivate their participation in this new adventure. Outstanding film of action, rather modest, at times, while in others there is no likelihood (see the "duel" between McClane and all a sophisticated combat aircraft.) (McClane is an anonymous hero and a human being, not a superhero). But the transcendent tone of discourse, which refers to a global tragedy involving institutional and spiritual degeneration surpasses and exceeds the role of the character.In the last scenes, before he died, Thomas Gabriel (lunatic which represents the destruction of the system under the auspices of a creator of the same system), speaks to McClane and mentions the refrain of "wrong place and less timely", a forced attempt to return the character to its original scope. The phrase does not fit with the story or the situation of the moment. It is then when we notice more bias and when we discovered that this film, McClane with or without him, would be another product again, among the many that lie ahead, on the current state of things. |
1,919 | archivos_extraidos/MCE-Corpus-main/Dataset/3983 | Oscar Martínez | La Búsqueda: El Diario Secreto | 3 | 5 | muchocine | There is nothing out of this world, but at least it is more entertaining than the rest of fantastic films and adventures starring children repellents. | Directed by Jon Tuntertaub and starring Nicolas Cage, John Voight, Ed Harris, Harvey Keitel, Diane Kruger, Helen Mirren, Bruce Greenwood and Justin Bartha, a few weeks ago came to our charts search 2: secret diary, film that Disney returned to bring us the adventures of buscatesoros Ben Gates.En this time, Gates will be involved in an incredible adventure that has arisen following the discovery of one of the lost pages from the diary of John Wilkes Booth, the assassin of Abraham Lincoln; According to that page, the great-grandfather of Ben would be a martyr for the American cause to be identified as one of the conspirators of the assassination, which is why Ben Gates will try to prove the innocence of his ancestor in an adventure that will take you to travel the world to find one of the most famous lost cities of the pre-Columbian civilization.In short, more of the same, with all that this entails.As it happened with his first delivery, search 2: secret diary continues playing him to a server as an Indiana Jones of lower levels, in line with the Mummy saga although without its inherent Egyptian charm, both by the abysmal gap between to Harrison Ford of Nicolas 'have not quiff' Cage, as by the own treatment of the story. And it is trying to perform a consistent script at the same time varied from the history of a nation as young as United States, seems it one tired chimeric, not to say bizarre task.In spite of this, the search 2: secret diary is quite entertaining if you have to see her without too many expectations and long passes both its patriotic exaltation and his blatantly family air, in which the Gates family aunará the entire forces leaving aside their personal differences to embark on an adventure to a server pointed you to the mythical Goonies, although neither could tell very well why.Two minutes in Paris, five in London and more than an hour and a half in United States touring from the monument to Abraham Lincoln to the library of Congress, through the oval office in one of the saddest scenes of the film, Ben Cage will deshilvanando different puzzles that will lead you to a substitute for Atlantis through sequences mix of action, comedy (at least, I guess that was the intention of the writers) and completely impossible situations, that manage to keep to a greater or lesser extent the expectation of the espectatdor, at least until its final half-hour, which is already completely tired.And it is nor Nicolas Cage seems an actor capable of sustaining itself a film of this type, nor interested in the ins and outs of the history of United States too much to the viewer with the exception of the own Americans, so the film is sometimes rather monotonous despite its fast pace. On the other hand, the wastage of the character played by Ed Harris is one of the greatest scourges search 2: secret diary, because its role but could disappear for the benefit of a more bearable footage, or grant him a greater presence, because the actor of New Jersey Eclipse to the rest of the cast with its single presence.Anyway, nothing out of this world, but nor is it insulting. What expected? |
1,920 | archivos_extraidos/MCE-Corpus-main/Dataset/3034 | José A. Peig | 300 | 3 | 5 | muchocine | 300 is a representation (again) of the epic of the war, makes use of the usual reasons in this topic using the battle of Thermopylae as a basis from which to develop the show with good pace and an absorbent staging. | Against a product as before us in these days, the first thing is to define the scope and the spirit that gives life to the film directed by Zack Snyder. Combinatorics of elements and colors, it is a pastiche that breaks with the texture itself the historical folletín and epic fantasy, he synthesizes both to find its raison d ' être in a mesmerizing spectacle that justifies itself despite its flaws. 300 is a representation (again) of the epic of the war, makes use of the usual reasons in this topic using the battle of Thermopylae as a basis from which to develop the show with good pace and an absorbent staging. If we look at history, we can consider it as a historical account in key Pulp (and bias that entails from the point of view of historiography), trivialization of a genre and style to create a universe akin to the work on which it is based (the comic book by Frank Miller), maintaining fidelity to the original andat the same time, the narrative force in its transposition into the film.With regard to its possible artistic values, dominates the shape on the background, the use of photography and the composition of mythological and historical elements that encourage in a landscape close to the epic of Wagner that Homer's, no doubt we are before a film visual above any other attribute, dotted with sporadic oniric tables or others in which the battle takes on biblical intensity and bombast. Although, as a result, its imbalance between form and substance from an irregular set ranging from sublime moments until Mannerism efficiency and the most vulgar clichés, cannot be denied that there is some consistency between tonality and development of the story and the expressive configuration in the use of photography and other plastic resources. The voiceover, which often contributes significantly to strengthening the dramatic meaning of the scene, it ends up minimize narration a single-issue and repetitive exposure. There comes a time in which redundancy is produced by the joint use of visual representation and Word, very common problem in movies that make use of the Narrator absent from the scene. The characters are reduced to a crude gesture and a few images of violent outpouring, but based on the nature of the story and the preponderance of aesthetics on content, this is a film of profiles and archetypes, and is therefore not necessary demand much more, while it is true that with complex characters it would gain in depth and narrative dynamism in concordance with the range of reflections and socio-cultural pretensions to be learned of a war drama.The story becomes an elegy for the fallen heroes thanks to which a civilization perseveres in its own myths and faith by the sword and the homeland, and for the love of the family.The realization is the real Builder of the original spirit of the work, with a profusion of Visual tricks very close to artifice developed by the Wachowski brothers in Matrix, which, in perfect concordance with the various records used in storytelling - violence testosterónica, hemoglobin to abundance, sex, electronic music alternating with the Wagnerian epic, world freak and dream - configures the coherent idea which gives itself to this banal product uniquenessno doubt, but that does not exclude the fact that possesses a spirit itself and legitimate film expression. In short, the operatic pop is consistent and brilliant, complies with the sequence "the idea idea-ejecución" quite accurately and without pretensions to go beyond itself. Superfluous and Mannerist idea in many respects, therefore conclude that its flaws are inherent in the characteristics of the product, but at least it has squeezed all its possibilities with honesty. |
1,921 | archivos_extraidos/MCE-Corpus-main/Dataset/4077 | Luna | La boda de Tuya | 5 | 5 | muchocine | A twisted story without artificial realization, Wang Quan'an creates a masterpiece that speaks directly to our hearts. | Dir: Wang Quan'anInt: Yu Nan, battery, Senge, Peng Hongxiang, Zhaya arrived at the Berlin Festival with his sincere nature and naturalism achieved and took, as well as the hearts of the jury, the Golden bear of the 57 Edition of this festival.It does not have a complicated script of convoluted story, but quite the opposite. This Chinese film tells the vicissitudes of yours, a young woman that cares for her children from her invalid husband of livestock in a region of Mongolia. She is strong and is tanned in the hard physical work, but their body deteriorates. If don't want to die (and his family) must divorce her husband (who loves) and find a new husband that can be responsible for the family.Wang Quan'an ' an not used artificial realization for telling the story, they resorted to the less complex motto better. Abound the flat long, camera in hand to feel the greatest spectator verismo, and balanced compositions.It has a minimalist aesthetic, but strong colors and striking elements of culture where elapses the story, which are visually stunning to the Western Viewer.All this is the wrapper that presents this little masterpiece. Really admirable of this story are the great verismo of interpretations and the fact that it is one of those movies that you come direct to the heart and are a breath of fresh air on the Bulletin Board, saturated with topical and boring films. They could already learn certain screenwriters and directors of this film and the motto less is more. Hollywood should be noted that the important thing are not the great Artifice, nor the most luminous Fireworks. Important thing is to have a story to tell and tell the tale with the heart. And that is what succeeds admirably well Wang Quan'an. A touching story that allows us to sneak in the experiences of other coetaneas realities from ours and gives us a small pill of wisdom: it seems that you will make happy is not always what will make you happy.Not let escape this film of Billboard, which although it has been since October in poster, in January still filling the room in which it is projected. |
1,922 | archivos_extraidos/MCE-Corpus-main/Dataset/3490 | Kiko de España | Beowulf | 2 | 5 | muchocine | The movie is a bit boring and extremely long (two horazas) and I suppose that it will be technically brilliant, but my grieved me for the mogollon eyes. The cinema of the future... buf to laziness. | There is not much difference between Shrek and Beowulf if you see the two in a conventional movie theater. If instead you enter to see the last movie (!) by Robert Zemeckis to a room that has projection in three dimensions also unbearable brain pangs guaranteed you during the first five minutes, until that man gets used and focusing with both eyes. Then you have some little beater something, but do not think you that you will see how a sword you approaching the fronted and such, that is in the amusement parks. Beowulf is the cinema of the future. and that'm me afraid.The story we already know all and know very well that is quite heavy, so suspicions are confirmed quickly.The movie is a bit boring and extremely long (two horazas) and I suppose that it will be technically brilliant, but my grieved me for the mogollon eyes. The characters are the image of its actual performers except the prota, is a fat Lord and that it not end catch.The big question is. what not lasts eighty minutes pelaos, Robert? |
1,923 | archivos_extraidos/MCE-Corpus-main/Dataset/223 | Jesus Lens | Volver | 5 | 5 | muchocine | Almodóvar has achieved a resounding and accurate full: the heat of criticism, the heat of the public, a taquillazo and a peliculón | "Back" returns us to an Almodóvar wrapped in the clothes of costumbrismo well understood and better digested, a tradition, rather than colliding with modernity, linking it to complement, join, and to multiply.For me, most detestable universe Almodóvar were those extreme characters that, frankly, seemed a real pain in the ass. I never could with both travelo-male locked in the body of a woman who, however, falls in love with a girl who had finally, implanted an artificial penis and silicone tits.Therefore when Almodóvar began filming more classic stories, talking about universal themes such as loneliness, the loss of the loved or love, his films won many integers. In this line were "All about my mother" and "Talk to her" and with "Volver", Pedro has borne him a masterpiece that you can not put a only but.Already in the boot, the credit titles, removed by the unforgiving wind of La Mancha, are a genuine Declaration of principles. And, from there, Almodovar is the presentation of the scenarios and characters, both major and minor, in fifteen minutes, with a concise, a neatness and a capacity of synthesis that will make the script of "Volver" in compulsory subject of study in any writing workshop film self-respecting.Then, of course, history. A story that intersects characters, legends, myths, superstitions and secrets of family, that mixes drama with comedy, the city with the people, the large family with the tiny apartment house, the gossip to the old-fashioned and which uses television as amplifier to reach all corners, etc.Because "Volver" is full of details, winks and gestures together and link the two Spains: rural Spain and urban, Spain half of 20th century and which wakes up with the Millennium, the Spain of traditional cuisine, anise and the point of a cross with the Spain of the catering, the mojitos and lycra. Two Spains in which, however, they are not so different things, then and now, as it handles well demonstrate an Almodóvar in State of grace.And it does so using a rich, dramatic and glorious ensemble cast monopolized by women. Barely leaving two men throughout the film and make it tangential and almost anecdotal way. The masculine gender, by Almodóvar become mere Mc Guffin narrative, which demonstrates that the parity by Decree, when there are genius and talent, does not lack.With "Volver", Almodóvar has managed a resounding and accurate full: the heat of criticism, the heat of the public, a taquillazo and a peliculón. Now only missing the awards. That it does not take to arrive. |
1,924 | archivos_extraidos/MCE-Corpus-main/Dataset/3032 | Tito Chinchan | Plauto, recuerdo distorsionado de un tonto eventual | 1 | 5 | muchocine | Coto Matamoros film about a multiple murder in a circus that haunts the sole survivor, a clown called Plautus. A professional had done so, I would say that it is like hitting a parent, but as the work of an amateur, I would say that it is like paste God. First, and last, hope drama geek. | Tonight I wanted to see one of those movies that you can get hundreds of bad jokes, amazing (of bad) scenes and things like that. Why I have the deuvedeteca jewels like this of Plautus. So saying seems an interesting film, but if you say that the writer is Coto Matamoros entendereis front had a juicy reason to adorn me. But it turns out that the cast of geeks who go through the screen, do so in dramatic roles. I swear, Nuria Bermúdez felaciona (come on, that the chupa) dramatically. By my children.The truth is that you admittedly you screenwriter documented on the subject greatly, trying to get a moralina on how bad the cocaine that tug of war not accustomed sphincters. Or well, perhaps was not the idea, but if metiendote by the napias finish Tertullian selling miseries or making movies geeks, not was I if the message was "drug you like me, that look at the far have come in life". Country gentlemen, that country.The film is about a crime committed in a circus, which is not live or the bearded woman, nor the Human Cannonball, even the bombero torero. To the bewilderment of the police, a clown called Plauto, occurs as a culprit, allowing two seconds to become a reporter. So they put us a flashback to tell us what has happened.Little remains for me to tell. Since Santiago Segura you gave to bring their buddies in the movies, anyone believes you can do it. Here we have those characters who passed by the television selling their miseries. Well, at least I have brought clear that what they say on TV is true, that as bad acting everything must be true. It has left me cold film, as the photo of the espatarrada women who say that not having sex and believe me a pixel of Japanese porn movie, I wanted to uncouth jokes and humor lumpy, and it is that they have gotten them into a drama. As if you put an elephant in a China shop.In short, Coto Matamoros film on a multiple murder in a circus that haunts the sole survivor, a clown called Plautus. A professional had done so, I would say that it is like hitting a parent, but as the work of an amateur, I would say that it is like paste God. First, and last, hope drama geek.Besitos.P.D: Seen from the distance, has subtle touches of humor, how to put lamepenes to Nuria Ber, call the Dioni vans, or take a drug dealer with more nose than Dumbo.P.D.2: the paste to God is a phrase from the movie, that would not be me occur a blasphemy as well.P.D.3: I forgot, Nuria Bermúdez dies of a camouflaged on the cheek, that from Karate to death in Torremolinos and the ninjas sacándole casings were as a kind of coarse rope, I have not seen anything worse.P.D.4: Good things is, the apotheosis of naked women. Not to mention the Dioni in his underwear. Art in motion. |
1,925 | archivos_extraidos/MCE-Corpus-main/Dataset/4274 | Jaime Martínez | Annie Hall | 5 | 5 | muchocine | From the care and full script up witty dialogs laden with a brilliant sarcasm and subtle irony Alvy us spit, make the tape an overwhelming statement of intent. | Annie Hall: excellent x-ray about human behaviour and romantic relationships between men and women. Annie Hall was the Catapult enabling the rise to fame of the today master Woody Allen in the seventh art. Annie Hall turned out to be a film jewel unprecedented and Woody Allen was the kick-off of his extensive career and one of the tapes celebrated, award-winning and acclaimed of his filmography. For Allen, was his first Oscar as best director in 1977, as well as the Oscar for best original screenplay co-written with Marshall Brickman and with certain autobiographical touches. Allen was also nominated for best actor for his performance in Annie Hall. Nevertheless, Allen even went to collect the awards who had won his film, and still failed to attend until the 2003 no the Oscar ceremony on the grounds of a tribute to New York City. In addition to these two Oscar, Annie Hall also won the statuette for best actress, thanks to the performance of a splendid Diane Keaton; and the Oscar for the best film from 1977. Annie Hall, talks about the relationship between Annie and Alvy, their different stages of falling in love and passion, and the subsequent inaction and routine.Alvy is a comedian forties, neurotic and sickly, with thousands of obsessions and panic to compromise after two frustrated divorces. Annie is younger than him, is pretty and insecure, and not know he wants to devote his life. Through different temporary changes in narration, we discover what happens with his love story. Woody Allen is allowed the luxury of playing and break the canons established by the code of film and narrative, introducing dozens of flashbacks, interactuaciones of Alvy directly with the viewer thus seeking complicity, scenes of animation (tribute to snow white), a division of the screen for interpolation of messages between the protagonists, the physical and spiritual unfolding of Annie when you don't want to make love with Alvy, dreams, images with subtitles etc. The truth is that the viewing of Annie Hall is a delight. From the care and full script up witty dialogs laden with a brilliant sarcasm and subtle irony Alvy us spit, make the tape an overwhelming statement of intent. As always in the Allen characters, include obsessions and tics of the human being. He is a genius at capturing all the obsessions and neurismas of a maniac as it is himself, and knows how to combine perfectly the scathing and ironic humor in the style of Billy Wilder, with surrealism and brilliance of the film silent Chaplin. The work, narrates the difficulties of personal relationships, moral obsessions about love, sex, friendship and fidelity of the couple, the doubts to a reality that we do not want to arrive and therefore on the emotional immaturity. Annie Hall is reflected to perfection all irrational romantic relationships that may suffer the human being, recreating with appalling sincerity every day of a loving relationship, with all its phases; Because love is not always beautiful as paints it Hollywood, and Allen draw it in Annie Hall with a strength and passivity is concerned. After some thirty works in his filmography, Annie Hall is destined to become the cornerstone of his entire career, the pillar basic and most important of his films, and one tape key of the 1970s. The film was shot mainly in New York and briefly in Los Angeles. It is well known by all, the love that Allen granted to the city of New York and as always reflected in his films. In short, a romantic and dramatic comedy that will go down in history its structure and narrative and address resources by both the wonderful script and interpretations of the two protagonists. Finally, just me analysis with the last sentences of the film, which I believe condense perfectly all stated above: well. that's more or less what I think about human relations, do you know? They are totally irrational. and mad. and absurd. but. I guess we continue keeping them because most need them. Big Woody, large. Score: 8.5 out of 10. |
1,926 | archivos_extraidos/MCE-Corpus-main/Dataset/1510 | Francisco Bellón | Venus | 3 | 5 | muchocine | Peter or?Toole gives life in a masterful way that hardened cynic who is Maurice, filling the screen with each appearance, doing every gesture and every look a real lesson in interpretation. | Do four years ago, Peter O.?Toole, one of the best British actors of all time, received his first Oscar, the honorific. And in his speech he said that he still wanted to win a statuette for best actor. Do many laughed at the comment, taking it as part of English humor, but this year Peter O.?Toole returned to being nominated, and remember that there has already been a case in which an actor has won an Oscar after receiving the honorific, Paul Newman.Maurice (Peter or?)(Toole) and Ian (Leslie Phillips) are old friends and semijubilados actors in second row. Its comfortable routine and his morning talks at a café are interrupted by the arrival of Jessie (Jodie Whitaker), the great-granddaughter of Ian. Jessie takes not crazy to his great-uncle, but Maurice will engage a very particular relationship with her, which will exercise as a guide and mentor. Venus is one of those movies that it seems that only they can do well the English, that combines tenderness, fine irony and some touches of melodrama. A combination that could easily fall on a tear, and sentimental story that Roger Michell however manages to avoid. The film is based on a solid script with a few well built characters, with two distinct parts, the most ironic first, and a second more bittersweet. Venus reaches have some brilliant moments of fine British humor, but when the irony becomes sweet and sour, the history lapses significantly. Despite being almost as backdrop, the film pays a deep, heartfelt and very necessary tribute to the big players already retired and unfortunately, almost forgotten. Peter or?Toole gives life in a masterful way that hardened cynic who is Maurice, filling the screen with each appearance, doing every gesture and every look a real lesson in interpretation. Leslie Phillips, Richard Griffiths and Vanessa Redgrave are perfectly their roles, while Jodie Whitaker is not only able to endure the type opposite to Peter or?Toole, but get that their work shine, always in the shadow of such giant of the performance.Venus is a beloved film, seen with a pleasant smile from start to finish despite the bitter taste of the endgame. And more than anything, have the immense pleasure to see Peter O.?Toole with a character is a luxury that is priceless. |
1,927 | archivos_extraidos/MCE-Corpus-main/Dataset/1282 | Verolindapechocha | Happy feet | 3 | 5 | muchocine | Finally, let me say that history is nothing new. Of all the films animated 2006, definitely I prefer Cars. | Happy is how I would describe myself as I was traveling and I went into a city with two rooms Imax! IMAX = Maximum Image. I.e., watch movies on giant screens in 22 m x 16 m, with a quality and sound spectacular.There are few films designed for this format and are less commercial films developed for Imax (also) (although it seems that they are increasingly more.) and was fortunate to be at the premiere of the latest animated film in IMAX version: Happy Feet (2006).I thought it was a premiere global, but one of the kind Knights of EBC informs me in Peru it opens on 7 December, I imagine that you as commercial Christmas play. But I am sure that all have already seen a preview of the film of cute penguins singing well-known songs, right? In addition Happy Feet merchandising issues are everywhere.The story goes thus: each Penguin Emperor (the same as in the documentary film March of the Penguin, reviewed in EBC) has in its interior a song which will define his life romantic and family therefore. It was by their large voices that the parents of (Nicole Kidman and Hugh Jackman) Mumble, the main character, they met and fell in love and was therefore by other inexplicable that Mumble (Elijah Wood) can not sing or a note. Always Mumble is the rare Penguin Group. Instead of singing, zapatea (without shoes obviously) which is regarded as a very antisocial behaviour. He is disowned by his clan and soon is hosted by another more relaxed group of penguins (commanded by Ramón with the voice of Robin Williams). The funny thing is that these are the Latin penguins. When they stop to see us that way the Yankees?Finally, let me say that history is nothing new. It is an "ugly duckling" with more ambitions, but the songs are nice and is super good to nephews and sons guys, who's insurance will spend a good while violence-free.Now, are so much film about the emperor penguins will be having a good environmental effect? In the same movie plays the theme of humans, that be alien that can destroy the nature and also to save her.Another plus of having seen when traveling is that I could listen to the original voices, hopefully reach Peru in subtitled version. Worth, because the actors interpret all songs. Nicole Kidman already had shown us his skills of singer previously in Moulin Rouge.De all animated films of 2006, I definitely prefer Cars. If they did not see it, rent!! |
1,928 | archivos_extraidos/MCE-Corpus-main/Dataset/2596 | Tony Astonish | Next | 1 | 5 | muchocine | Do without the? power? does your protagonist, it is easy to guess that?Next? It won't be the history of the cinema as a good movie, but rather by having wasted 80 billion dollars and 90 minutes of footage... | Few films have the "virtue" of disappoint me ten minutes, but that is precisely what happened to "Next", the last film by Lee Tamahori.Asistimos to a story in which the protagonist is a "magician", which acts in Las Vegas, with real mental powers that want to pass unnoticed. Said it might seem even interesting, but then we are witnessing shocked a myriad of absurdities: on the one hand, that "superpower" is just the ability to see the immediate future (only two minutes following!!!); on the other hand, "savvy" agents of the United States national security (without knowing how or why) go after the protagonist to propose the "original" Mission of "save the country against a terror alert"; and finally, the "painful" more concerned terrorists in search for who is going to try to stop that own preparation of the attack.History decorate Visual effects that hinder follow-up since the plot is not easy to differentiate between real actions that seek to "views" of its protagonist. The interpretation of Nicolas Cage in the role of the protagonist is so poor as expressions of his face; and his partner Julianne Moore in the role of agent of the national security, is harmful to giving the sensation that is does not believe that he got into "tremendous" filming.Without having the "power" of its protagonist, it is easy to guess that "Next" will not go to the history of the cinema as a good movie, but rather by having wasted $ 80 million and 90 minutes of footage that I might add is the best of the film. |
1,929 | archivos_extraidos/MCE-Corpus-main/Dataset/3393 | Jeremy Fox | La Jungla 4.0 | 3 | 5 | muchocine | One leaves cinema with good flavor of mouth despite the conviction that the time has come to retire John McClane. | The return to the screens of a legendary character as John McClane could not be but one of the film events of the year. If the already known and well proven charisma Bruce Willis will add some young actors and a director of true prestige among the new breed of spectators, not in vain Len Wiseman is the director of the correct "Underworld" and "Underworld: Evolution", the result could only be a commercial success and artistic?Let's talk about this I would like to emphasize that this film has been titled "The jungle 4.0" (Live Free or Die Hard) as it could have titled "Bourne it gets", "James Bond against the world" or "Transporter 3 and a half". The only thing that unites this film with the previous is the name of the central character, a couple of references to his ex-wife and the actor who embodies it, Bruce Willis, true engine of a movie without him would have no sense. He filled with his charisma and his force on screen the holes of a script that has the justito and little else. Opts Wiseman for a hyperbolic cinema more in line with "Transporter 2" that in the of "the Bourne Ultimatum", so we understand. A type of action totally dependent on Visual effects that allow McClane to jump on a plane, shoot down a helicopter or single avoids flying cars. Once again, as you can imagine, the spectacle through the dramatic.What saves the film of the wreck, as well as Bruce Willis, is does not intend to be nothing more than what is and therefore Wiseman endows her with a fairly intense pace which takes you for an action in another (could be phases of a video game) without that look at the clock in the two hours that lasts for the film.Thus one goes on film with good flavor of mouth despite the conviction that the time has come to retire John McClane. Just the opposite happens to Bruce Willis I believe that, in the action genre, as in others, yet you can give us many joys.Moonfleet final valuation: 6 out of 10 |
1,930 | archivos_extraidos/MCE-Corpus-main/Dataset/1804 | Florinda Chic | Después de la boda | 2 | 5 | muchocine | It is obvious that Susanne Bier has not wanted to make a thriller, but in my opinion, some situations are misplaced - as the discourse of the bride in her wedding - and are at the service of a drama, which for me touches the melodrama. | The Danish films coming into our country are discussed between the family drama, the shameful secret and emotional autopsy. After the wedding he is no exception. Mads Mikkensen is very far away from the role that mostly we remind you: in Casino Royale as a torturer of Daniel Craig in pelotas starring that so memorable scene in the agent tied to a Chair laughs in the face of this evil poker player lose while it tells him something - so little Bond-like:?All know that you died scratching me the fuck?.A role radically opposed, with the same face of man with a past, here is a soul of charity. Literally, that you find in Mumbai at the head of an orphanage bode of the bankruptcy. One day, get the offer of a Danish millionaire offered a generous donation in return that he will visit him to his native Cophenague.Once in Europe, the philanthropist invites you without coming to tell at the wedding of his daughter and there the drama for Milkkensen is reunited with his past. I will not say more because if something is not liked anything about this film is that it is absolutely predictable. It is obvious that Susanne Bier has not wanted to make a thriller, but in my opinion, some situations are misplaced - as the discourse of the bride in her wedding - and are at the service of a drama, which for me touches the melodrama. That, or the Danes love to use the celebrations to dust off the skeletons in the closet.To me the film I did not bored but not excited me as I have read in other reviews. Do some I see that like when a film is Iranian and has gone to see original version is a masterpiece, I think many were excited by the mere fact of being in a? offcinema? listening to eloquent parliaments in Slavic language - or Mandarin. I prefer other works of the same writer as Mifune or Wilbur wants to commit suicide - also with Mikkensen-this Rosary of existential dialogues that I specifically left me pretty cold.However, he refuses well primarily because the actors are great and impeccably carry the weight of a film that was nominated for an Oscar as best foreign language film - snatched by the much more exciting and contained the lives of others - justísimamente. I put it on my list of films overvalued in the history of cinema with the strength of love and the club of dead poets. Here I am, as Daniel Craig tied to the Chair, waiting for the clubs that I will fall. |
1,931 | archivos_extraidos/MCE-Corpus-main/Dataset/3829 | Andrés Pons | La masacre del microondas | 2 | 5 | muchocine | With friends, beers and leaving the brain at a dead you can enjoy as nice without trying to give the sense at least, one of these disastrous films but with a priceless freshness in every scene. | The work of movie buff can be really hard, I try to cover several clubs I must submit to my brain to you authentic jewels of STANLEY KUBRICK and ORSON WELLS to suddenly move to a premiere of extreme mediocrity as e.g. ALIEN VS PREDATOR 2 Requiem, a third changes that can harm the mental health of anyone.Then comes the film more FREAK live where the amateur, the most extreme GORE in experiments that tends to produce authentic attacks of ulcer.In this type of art which is predominantly scurfy, managers who did not know how to turn on the camera much less use it, music that has a single chord, the actors caught from the street and a few special effects designed with clay and a little paint, effectively the script is usually performed in a couple of hours by writers up to eyebrows of several suspicious substances.The such WAYNE BERWICK "the naked monster" rodeo a crusted cast of half fans who tried to earn a living participating in all living by-product to the TROUPE collaborated in classics of dandruff with FEAST and the beautiful ANNA MARLOWE walked light clothing in THE MUTILATOR or BEYOND EVIL.Once someone utter a memorable phrase that opened my eyes, "have to learn to enjoy bad films because they may be surpassing".No doubt this product is one of the greatest exponents of the phrase, an authentic desmadre PSICOTRONICO and COOL where a man kills his wife for not giving him good to eat, is it so absurd that it is really hilarious to the wave of laughter causing a few dialogues written in full collective insanity.So cheap it is everything that a small production of TROMA is a blockbuster in comparison.With friends, beers and leaving the brain at a dead you can enjoy as nice without trying to give the sense at least, one of these disastrous films but with a priceless freshness in every scene. |
1,932 | archivos_extraidos/MCE-Corpus-main/Dataset/3997 | Andrés Pons | Sweeney Todd | 5 | 5 | muchocine | We are in the bloodiest musical in the history of the cinema, shot thousand revolutions per minute in an authentic masterpiece that us into a world of evil genius. | TIM BURTON with his favorite actor JOHNNY DEPP in his sixth collaboration after wonders of the seventh art with Eduardo back hands scissors or ED WOOD repeating again his wife HELENA BONHAN CARTER that without a doubt the world of her husband already you is not unknown to participate in their previous films BIG FISH or factory of chocolate.The director leaves children's stories or works commissioned with soporíferos results, not remember the planet of the apes? The author recovers his darker, more Gothic vein of his early work providing a bad milk never seen until now.The famous BROADWAY musical moves to the rhythm of blood to the exploits of the master and disturbing interpretation of JOHNNY DEPP I love this actor that is a reflection of its director in eccentric personality an air of authentic madness that it brings to each of his roles in is opportunity fits perfectly.We are in the bloodiest musical in the history of the cinema, shot thousand revolutions per minute in an authentic masterpiece that us into a world of evil genius.Other side of luxury above give luster in always convincing performances, the English TIMOTY SPALL "the wisdom of crocodiles, the last samurai," and ALAN RICKMAN "perfume, sense and sensibility" accompanied by comedian SACHA BARON COHEN the revelation of BORAT.All in State of grace are just a tool in a perfect film on all fronts. Technically flawless with an outstanding photography, wonderful music, a mise en scene which radiates elegance in a terrifying musical that rescues the mastery of a man illuminated by the gods. With letters TIM BURTON. |
1,933 | archivos_extraidos/MCE-Corpus-main/Dataset/3396 | Kiko de España | La Torre de Suso | 3 | 5 | muchocine | Pleasant, charming and very funny. One of the best national films of the year, which is not something easy to achieve. Not too difficult either. | La Torre de Suso is the debut as director of Tom Fernandez, screenwriter tanning in television is launched in the film with this nice story.After ten years when outside returned to its homeland by the death of his best friend without no intention other than getting drunk with his old colleagues, pretend a little and get legs. But will not be as easy as I thought reunion or friends of Peter are two referential theory films for the film by Fernández, but only in appearance because the director manages to move the history to its terrain and recreates, in part, his reality of the basin because let us not forget, La torre de Suso has a lot of autobiography. Javier camera is great (in all senses) and the rest of the cast manages a chemistry unusual for this type of our film making an emotional x-ray on family and friendship that avoids falling into the fussiness resulting surprisingly fun.Special mention for an immense Emilio Gutiérrez Caba as Tino, the father of Cundo and a cercanísima Malena Alterio who is responsible for the part, bridging the gap, wesandersoniana of history with the way its special relationship with Cundo.Una film that deserves all the luck in the world because it is well shot, has rhythm, much humor and know when give the key of emotions. A very pleasant surprise. |
1,934 | archivos_extraidos/MCE-Corpus-main/Dataset/3982 | Oscar Martínez | This is England | 4 | 5 | muchocine | A first half of truly attractive footage, a sort of manners portrait of workers England in the 1980s. | Directed by Shane Meadows and starring Thomas Turgoose, Stephen Graham, Jo Hartley, Andrew Shim, Vicky McClure and Joseph Gilgun, This is England has been one of the most acclaimed British critically films, as well as obtain the award for the best film in the last edition of the British Independent Film Awards.La film puts us in the Thatcherite England 1983, and schools are on holiday. Shaun, from 12 years of age, is a lonely child that grows in a very grey coastal village, whose father has died in combat in the Falklands war. During these holidays, find new male models when adopt you the local skinhead. With his new friends, Shaun discovers a world of festivals, meets his first love and discovers the charms of boots Dr Martens. It is then when she meets Combo, one racist skin quite older than him, that just came out of prison. While Combo band harassed local ethnic minorities, everything seems prepared for the start-up of a maturation process that will lead to Shaun's innocence to experience.Putting us in particular, we could say that This is England is a mixture of the aesthetics of Trainspotting (despite being located a decade later) and the fabric of American History X. In fact, the fourth film of Shane Meadows has quite a few (and inevitable) points in common with this small wonder Tony Kaye directed in 1998, both in the own correlation of events many symbolism.Odious comparisons aside, This is England is really a great movie, although neither the wonder that some British critics have wanted to see: history does nothing new in itself, while the atmosphere is very successful with these industrial areas as a backdrop background, reggae music, the Falklands war and the iron lady in TVs. But let us be realistic, any degeneration of the patriotic glorification for racism contains the same elements as he is call national socialism, fascism, Nazism, Francoism or nacionalcatolicismo, so This speech is England loses some of its charm to the already ubiquitous. Instead, what it offers us the Shane Meadows film is the counterpoint to the original skinhead, embodied in the characters of Woody and Milky. so therefore, This is England is very well carried and, above all, it is very pleasant, with a first half of footage really appealing and interesting, a sort of manners portrait of England working in 1980s to, unfortunately, lost (something of) force with the arrival of Combo, not because her character lacks interest, but by the mere fact that does not add anything new.Anyway, it's a fairly round film. |
1,935 | archivos_extraidos/MCE-Corpus-main/Dataset/2033 | JLO | Hable con ella | 5 | 5 | muchocine | Mañosa, passionate, provocative, delirious, sentimental, brilliant, excessive, emotional, cheesy, all descriptions that fit you and define it this both entire Filmography of Pedro Almodóvar. | Films of Almodovar - mainly from Attalus I (1989) this part - is always the same and leaves no room for doubt: he loves or hates it. The loas sometimes exaggerated his work, make more widen that gap and siding with one or another option. Today we are facing one of their very good movies, the best meat Trémula, having in common with this male roles and physical impediments of the same and Matador. Talk to her is one of the melodramas to which we are accustomed, although this time with less touches of comedy but with the same characteristics of his film, a recognizable world in which live the sexual with the mundane, the kitsch with random. It's about the birth of the friendship of two men United by the convalescence from his two loves. A journalist (Darío Grandinetti, content) and his ill-fated Bullfighter (Rosario Flores) and on the other hand, a bisexual (Javier Cámara) nurse caring for her ballerina neighbor and platonic love, character in which Almodóvar focused all their phobias and feelings into almost his alter-ego. Intersect other stories love, loneliness, not correspondidos love, all dyeing of a constant and ever-present sexual patina, with backward and forward temporary routes that make fear for continuity but coming afloat with elegance. What the difference of his recent films is that it does not under a strictly feminine look, or guide you its strong female leading, but the aforementioned male. The route - with few low blows but that limits - is entertaining despite its confrontational theme (rape, vegetative life) but without explicit scenes or in bad taste, with something of which to critics of his film will not be able to deny any of his films: well directed, well acted and very emotionally charged from beginning to end.Only in an Almodóvar film (or in one of Woody Allen) can coexist and intermingle without risk of dementia, a collage of diverse more namely: a Spanish singer (Rosario), an Argentine actor, the daughter of Chaplin, Caetano Veloso, dance body (at the beginning and end, that remind you both powerful Aphrodite and Greek choir) etc., etc. Mañosa, passionate, provocative, delirious, sentimental, brilliant, excessive, emotional, cheesy, all descriptions that fit you and define it this both entire Filmography of Pedro Almodóvar. In the should we mention the end, which is ambiguous optimism continued in his later works, closer to hollywood and further away from the same film. |
1,936 | archivos_extraidos/MCE-Corpus-main/Dataset/869 | Dario Lavia | Blood creature | 3 | 5 | muchocine | The film, by its origin, its absence of pretenciones and its visual daring approach, is just initiator of the subsequent cycle of Philippine terror. | Richard Derr - amateur science fiction of the 1950s film will remember this for WHEN WORLDS COLLIDE (when the worlds collide-1951)-, sole survivor of the wreck of an important freighter arrives to Blood Island, where a doctor (Francis Lederer) experiments with a Panther that, over fifty operations for two years, is gradually turning in an anthropomorphic being. When this beast manages to escape, their escape causes desolation and death on the island. Philippine version of "Island of Dr. Moreau" H.G. Wells, which is located a scale below the classical versions of Charles Laughton (1932) and Burt Lancaster (1977) only for budgetary reasons and aspirations. In fact, the director Gerry De Leon has a visual development, especially in what refers to the mobility of the camera, which is even a little ahead of its time. The problem is that, in the absence of cast and budget, we do not have a pack of men beast but only be monstrous (this therefore eliminates the interesting role of the "behavior of the law"), the romance between the Castaway and the mujer-pantera is replaced by the interest among the doctor's wife (the evocative and generous Greta Thysen) and the hombre-pantera, and there is no "House of pain", but just, an operating room where doctor Assistant (Oscar Keesee Jr.) sticks with a wood to the monster. Finally, the potential interesting dialogues are replaced by filling dialogues (although this is no longer the director fault), so that, after a superb initial appearance in which the murderous Monster two natives, the film crawls for hour and fraction until the outcome (which we also disappointed and fails to be equal to the beginning). Even so, the film by its origin, its absence of pretenciones and its visual daring approach, is just initiator of the subsequent cycle of Philippine terror (of unequal interest) who arrived until the mid-1970s. Note: perhaps inspired by the advertising tricks of William Castle (by then brand new), the film begins with a prologue in which it warns will that, given the nature of certain scenes, ring a Bell to forestall the soft and delicate stomach. During the movie, the bell sounds at the previous time that Francis Lederer is operating to the patient and the camera shows how his scalpel festively a what appears to be a piece of cuerina. |
1,937 | archivos_extraidos/MCE-Corpus-main/Dataset/1075 | Oscar Cantero | Serenity | 3 | 5 | muchocine | One of those cases in which a series of low impact Gets a much better film than expected. Fresh air for a genus for which times of decadence. | Based on the series Firefly, of ephemeral passage through the Fox channel, reaches the Spanish charts the last film by Joss Whedon, Serenity. The director of successes such as Buffy the Vampire Slayer and Angel, makes the leap to the big screen with a title that shows that Whedon has few rivals in fiction today, more pending of the technique of the plot.The screenplay of is film, which incidentally has just opened the Festival of Sitges, is witty and dynamic, spiced with a few special effects used in its fair measure and characters beautifully defined and correctly interpreted by semidesconocidos actors. Perhaps say something negative, sobran some excessively bombastic speeches at times. Grosso modo, the argument tells the adventures of a former pilot of the Galactic civil war to win life with smuggling and the rental of his ship, the Serenity. At any given time, Captain Malcolm Reynolds serves a couple turns out to be fugitive of the ruling coalition (are fashion coalitions), which ends with hair-raising adventures. For those who need to find a political message, my congratulations, as I believe that in this, it was quite clear in the background of all science fiction films: If someone does persist in intervene where they have not be requested under the guise of making the world a safer, can end up causing a worse situation that he intends to correct. I do not believe that it is necessary to be more explicit. In short, a good movie for lovers of science fiction or unconditional followers of Whedon. I confess, I'm one of them. |
1,938 | archivos_extraidos/MCE-Corpus-main/Dataset/818 | Robgordon | El ilusionista | 4 | 5 | muchocine | The illusionist is a pleasant surprise, very well structured, mysterious and beautiful. A small production within the current Billboard, without artifice, big budgets or turgid ambitions. | The magic back fashion film. Gone are those beginning of this art, in which Melies played a fundamental role supported in conjuring tricks, contributed to that cinema as we know it today, possible already. This year, magic, as in the early years of the seventh art, again starring in various productions.On the one hand we had Woody Allen as a shabby Wizard of Splendini name at the service of a story eminently comic in "Scoop". Allen already had shown years ago his taste for the prestidigitadores and magicians, playing with that element in "The curse of the Scorpion of Jade". After "Batman Begins" and the excellent "Memento" and "Insomnia", Christopher Notan has also pointed to the magic. "The Prestige" we speak of two magicians in continuous struggle for being the best magician in the world, Hugh Jackman and Christian Bale, which not hesitate to steal tricks in his eagerness to achieve this distinction."And now, comes"The illusionist", a film based on a short entitled Steven Millhauser story" Eisenheim the Illusionist "and under the direction of Neil Burger (responsible for the mockumentary" Interview with the Assassin ").""The illusionist" is one of those small and modest productions Hollywood which emit tremendous respect for history that have been proposed to count. One of these films under his guise of low-budget film, caring for the maximum setting, resulting collected and more successful than many of the tapes with dollars and dollars invested in them.We can say that "The illusionist" is a small great filmic achievement. A drama of time simple but very effective, able to hypnotize the viewer with their images in order that this not take-off eye of the screen.The tape puts us in the imperial Vienna, where a mysterious magician's name "Eisenheim the illusionist" (Edward Norton) will come to surprise its citizens. "There you will find Sophie (Jessica Biel), his childhood sweetheart and now promised the Crown Prince Leopold (Rufus Sewell).""The illusionist" has the necessary elements to achieve the interests of the audience as Eisenheim the illusionist succeeds with his amazing magic tricks. Imperial Vienna, magnificent and beautiful, political and cultural, is very well recreated (and with a laudable economy of means), the careful setting and sober decorations, the music of Phillip Glass (who reminds that the composer made for "The hours") very in tune with the images and a photograph of the British Dick Pope that perfectly evokes the beginnings of the 20th century in which is situated the plot, as well as the still tender cinema of those years.Moreover, "The illusionist" has an added incentive of the magic tricks carried out Edward Norton, as sober and elegant as the set of the film, and that make the audience to the room to see a double show; film and magical.The direction of Neil Burger is commendable. With an own script and adapting a short story which lengthens while the script will suffer, Burger has created a romantic narrative that takes classic elements, such as the love between people of different class or a corrupt power. Burger manages and executes all technical and narrative elements to perfection and leave that in the raised wrapper, Edward Norton, the secondary luxury, Paul Giamatti, Jessica Biel and the eternal villain Rufus Sewell (bad very bad in "The legend of zorro" or "Fate of Knight") enforce their talent and veterania in their roles. The ongoing duel between Giamatti and Norton is high-flying and their meetings are one of the many strengths of this film has it."The illusionist" is certainly a pleasant surprise, very well structured, mysterious and beautiful. A small production within the current Billboard that without artifice, big budgets or inflated ambitions, offers 110 minutes of good cinema, with a well orchestrated elements for the enjoyment of all attendees to the room. A film you must see with the same eyes that see a magic trick, without asking too many explanations before the end of the trick. |
1,939 | archivos_extraidos/MCE-Corpus-main/Dataset/1595 | Dragon negro | Inland empire | 4 | 5 | muchocine | Fear, despair, boredom, curiosity, exhaustion, intensity, frustration, fascination, despair, will leave the film mulling over what you've seen or tried to forget it. | Fear, despair, tedio, curiosity, exhaustion, intensity, frustration, fascination, despair, all these feelings and more can/can have during the three hours that lasts the new torment or genius perpetrated by David Lynch.Para start do not case of the official synopsis can be found around the film, little have to do with what you are going to see. The film begins with a girl watching television and crying, a scene ira reappearing over the footage and is one of the keys to unravel this complex film. The next scene is another good example of the film to which we have become accustomed to Lynch, the visit of the new neighbor that gets a dialogue that it will gradually grow in tension and absurd, what promised to be an innocent visit just turning into something really strange, evil and terrifying. From here and during the first hour of film everything seems to be more or less coherent and meaningful, but the entrance through a mysterious door with a strange name marked chalk in an alley will the protagonist to find evil (already prophesied in the scene with the neighbor) and it is here where go backwhere everything starts to become confusing and where the nothing seems to make sense.And it is in Inland Empire around a turning back is back, everything is cyclical, it mingle the yesterday, today and tomorrow without that we know very well which is which, like the real life of the actress and her character in the filming of a movie that is a remake of a cursed film that never saw the light. Lynch plays with the love and sex, and again mix of real life and fiction between the Idyll of the actress and actor, both married in real life and in fiction and whose acts will have serious consequences, as we are already warns.The succession of scenes, in principle without sense, seems to have some consistency in small details, every scene is reference in another and everything seems to be a confusing dream, or nightmare, in which things are mixed and tells us the same over and over again but with different scenario, at various times, but with some similarity. There are guidelines that are repeated during the footage, and when everything seems to come to an end, we again bring back to the beginning of the film and misplaced us once again. New references to the film within the film, reality and fiction fused in the mind of a Hollywood star that comes at the end of the journey of the film really emaciated, a Laura Dern in an interpretation of luxury.There are a thousand details to decipher in Inland Empire, renumbered them all here would be impossible, but I have already given some, the rest will have to find you and put together the pieces to try to give some meaning to the film, if it is that you really get found it, probably will have to see the film twenty times and still be doubts, perhaps only Lynch has in his head the solution or perhaps neither he knows herin any case you will be the film mulling over what you've seen or tried to forget it. |
1,940 | archivos_extraidos/MCE-Corpus-main/Dataset/4069 | Silvia Giner | Elizabeth: La Edad de Oro | 2 | 5 | muchocine | When a historical film pass historical accuracy by the nose, it is frankly difficult to concentrate on the other. | The Indian director Shekhar Kapur brings us the sequel to Elizabeth, masterfully played by Cate Blanchett overflowing to build this character, by providing it with the claw and magnetism that the historical figure deserves. I have to say that if something worth this film is only to see Cate in so beautiful exercise because it in essence, the film is failed.When a historical film pass historical accuracy by the nose, it is frankly difficult to concentrate otherwise, true is that locations and costumes are notable but honestly the story has many black holes. If you are a gourmets of history, believe me, you'll like.Mention the role of Jodi Mollá little gives us to enjoy.Cate accompanies a most interesting Clive Owen that after "Children of men" seems to have made an accurate jump on the starsystem Hollywood, but whose interpretation in this film is not and if you want to need to speak for his character like the rest are a mere adornment of the character of Cate which is which carries the entire weight of the narrative pulse. |
1,941 | archivos_extraidos/MCE-Corpus-main/Dataset/53 | Dino | Orgullo y prejuicio | 4 | 5 | muchocine | The best British film of the year | There are moments in life in which cold solves better than heat problems. Lock in oneself and traverse a copious snowfall becomes solution to avoid issues that caused in the head and the heart. For those moments where the icy winter blows forcefully invented movies such as "Pride and prejudice", in its most recent version, and that is, long, the best British film of the year. They are complete, undefiled, bright stories from beginning to end, free of faults or points. This does not mean perfection, but it comes very close. While I must admit that I have not enjoyed the mini-series by the BBC starring Colin Firth (highly reviewed by some people close), I can not hide my absolute enthusiasm for this tape of Joe Wright. For the delicacy of its images parading the purity of Keira Kinghtley, one of those thin, simple beauties of disturbing smile by his candor and, at the same time, complicity. Levite through the exquisite rooms where to set history with a gracilidad unique, semi-divine, to what accompanies a performance perfectly suited to the role of Lizzie Bennet. more beyond the unspeakable charm of its protagonist, nominated with credit-worthiness Oscar for best actress, there is a commendable cast of artists. Since the shy gaze of Rosamund Pike up the powerful presence of Judi Dench, without forgetting the sweet Mr. Bennet of Donald Sutherland. But my favorite, even though it sounds like a cliché, that stretched, proud, rational and conceited noble of Mark Darcy, despite all their prejudices just in love with who should not. Ignores any obstacles (jumps them), any mistake (attempt to correct them at any price), any disagreement of its environment (face plant) to deliver their feelings to this unique creature found on Elizabeth Bennet.Junto to all this delicious music Dario Marianelli (also nominated) piano and the photography of Roman Oshin, warm, delicate, accurate. Maybe my circumstances influence too much when a judgement of value about this film, but even so, I think that he deserves my recognition as one of the best things I've seen lately. Simply, a film pleasure for all the senses. and for the heart. |
1,942 | archivos_extraidos/MCE-Corpus-main/Dataset/3383 | Ana Belén Pacheco | Promesas del Este | 4 | 5 | muchocine | A Standing Ovation for David Cronenberg is able to elevate the genre to unsuspected heights with a certain balance and drama that is not on a screen so easily. | An actor who is able to give life to this mafia climbs only occurs to me and has the face, the body and if you press me the voice of Viggo Mortensen. I don't know if I'm the only one who has noticed that Viggo has the ability to put all the spectators on the edge of the armchair for reasons unrelated to the film. It is undoubtedly one of living beings that vocalizes worse in the history of the cinema. If it was almost impossible to know what he said in his Spanish in Alatriste drag ' or is even worse when leave you the Argentine accent in interviews. Or when it was the imposing Aragorn could avoid talking with the neck of his shirt is normal being a Russian thing worse. The type took very chest thing make a credible role so was to ignite the language to fake accent and the result is that as always there is no way to understand half of what comes out of his mouth and get your half ass seat to see if by proximity listeners better dreaming that you could have a remote control everytime he opens his mouth to raise the volume. Precisely for this reason that Viggo block as perfect mafioso, is a huge, scary, is not understood and has objection to teach their tattoos, characterization or naked If the script requires (and those that have been shocked by the naked should worry more about mamporrazos that berate during the aforementioned scene) and still attracts the Viewer. His recent films have been a genuine Declaration of principles. After the characterization of the Lord of the rings has bothered to Peck by half the world and with the best directors and independent productions more risky without blinking. My most sincere applause for that reason but by God vocalize me Mr Viggo. I have not been able to remedy this and I chopped on the dark side watching you and the version dubbed (in that order) but I must admit that, as always, is resounding multilingüistica English and unquestionably better than adaptation to the Castilian (always with my respect to translators and magnificent dubbers of this country). In fact, Eastern promises is one of those films that is worthwhile to be viewed with subtitles to appreciate the performances and interpretive work of all its participants.In Eastern promises is a driver that monitors the back of the son of the largest mafia capo. A woman dies leaving a baby and a journal with its history that goes to the midwife of a London hospital. Her Russian ancestry makes that very take chest discovering what is written in these pages and find those responsible for the death of the girl so much and his family to be able to deliver them the baby. But we all know how they are Russian with these things gangs so Naomi is consigned to a couple of quite interesting trouble to dress with a bit of glamour the history of violence and mafia intrigue of this group. Indeed the emergence of Naomi Watts, although they sold otherwise, is merely incidental. You are welcome to see a friendly face among so many manly testosterone and settling of accounts but in reality the important eastern promises is Viggo Mortensen, Vincent Cassel and Armin Mueller-Stahl with very decent and risky work of interpretation. Reminds me of the good films that years ago made our screens and where we learned to value a villain in his authentic measure, although updating technique, methods and giving to the wild and realistic stamp of its director. That Yes, a Standing Ovation for David Cronenberg is able to elevate the genre to unsuspected heights with a certain balance and drama that is not on a screen so easily. |
1,943 | archivos_extraidos/MCE-Corpus-main/Dataset/2107 | Taliesin | Piratas del Caribe: En el Fin del Mundo | 3 | 5 | muchocine | Jack Sparrow returns to command the Black Pearl to conclude the adventure that began with the chest of the dead man. Although a bit long, arriving in a few billboards that usually do not offer anything in the adventure genre is appreciated. | It seems that this year is the thing of third parties. After the adventures of the trepamuros, hits theaters the conclusion of the saga of pirates led by Johnny Depp, Pirates of the Caribbean: in the end of the world. The adventure which led to Jack Sparrow and his group in search of the chest with the heart of Davy Jones, that ended with the death of the charismatic pirate and the reappearance of Barbosa, will be resolved after another two hours and a half film with action, adventure, exoticism and some straw to fill.And it is that the story he told us in two installments could have only one. But of course, nothing better than shooting two films at the same time, almost for the price of one, and doing box twice. The problem is that fill in five hours of film of adventures with interesting material, without think the viewer has already seen twice the same scene is almost impossible and, of course, Gore Verbinsky and his team not have succeed. In the previous installment, in the end of the world also has to go forty or fifty minutes of footage. It is ridiculous that they bother to submit an a priori interesting character as the pirate captain Sao Feng (Chow Yun Fat) so then it has no weight in the plot. Neither means that an idea as attractive as the brotherhood of pirates will remain only for a scene.Fortunately, for the conclusion of the series it seems that they have focused more on the characters and, although there are, the scenes of fighting in which can not see anything have been for the start of the story. In fact, the return of Geoffrey Rush with his Captain Barbossa makes upload many integers to the film and the poor Orlando Bloom, protagonist is a priori of the saga, relegated to third Division, behind should Depp and his captain Sparrow. East final, except in a couple of scenes, has lost much of the freshness and the ability to surprise that we caught in the curse of the Black Pearl. In part because the Viewer already knows that it is what is expected of the only pirate that looks like Woody Allen, and partly because it is possible that the own Depp no longer has the goal scored in the first installment, which was not simply to become the true protagonist. Despite everything, Sparrow and Barbossa are a couple that work perfectly on screen and dare with both the action and humor. Keira Knightley outboard his role as Captain monísima Elizabeth Swann and during the film boasts several models of the collection spring-summer of female piracy.There is nothing to discuss at a technical level. There are many digital effects, but all in the service of the plot and with those that have created a compelling mix of the historical epoch in which pirates furrowed the seas and a fantasy in which almost everything is possible. The soundtrack, signed again by Hans Zimmer is perfect for this type of film and differs little from what we have already heard in the past.In summary, Pirates of the Caribbean: in the end of the world is a film to which takes it to boot (does not until that Jack appears) and whose last-minute footage is film adventures of the good: action, excitement and humor in their dose fair, with a pace that keeps you glued to your seat until the end. The penalty is that we have to go through almost an hour and a half of filling to get up there. At least one leaves cinema with best taste that left us the previous delivery, although equally tired of pirates for a season. |
1,944 | archivos_extraidos/MCE-Corpus-main/Dataset/4031 | Ana Belén Pacheco | Interview | 3 | 5 | muchocine | Despite being an entertaining and correct exercise in all fields Interview makes water at times and the dialog is forced and even turns you can see come without much effort but you can enjoy fairly. | Pierre Peders does not have a good day. You need to interview an actress in B-movies and cheap television programs and the truth is not very aware. So from start attempts to boycott the interview to go to more interesting things. What does not expect is that the stubbornness and tenacity of the actress you will become entangled in an interesting night full of discoveries where he'll realize what kind of person she is and even what person is himself.Sienna Miller has never been my devotion Holy because, like his character in this film I have heard about it by with who has been lying for his interpretive work. Not in vano the American (or English for convenience because he grew up in the UK) enjoys great fame in the tabloid newspapers in his country by jumping from bed in bed with almost all actors of the tape where the head has gotten, without doubt one of the most high-profile is the "with you and without you" which has been for years with Jude Law, with whom he appeared in Alfie. For this reason that costs much believe you on this occasion which is appreciated because to share almost the entire load acting with Steve Buscemi, it would not be easy to endure the hour and twenty minutes without this effort on your part.Steve Buscemi is brilliant, as almost always who if not I could have left quite lightly things with Air with reputation intact?. And this time also gets behind the camera to correct or theatrical form direct tape consistent with the pace and turns that proposes.Despite being an entertaining and correct exercise in all fields Interview makes water at times and the dialog is forced and even turns you can see come without much effort but you can enjoy fairly. |
1,945 | archivos_extraidos/MCE-Corpus-main/Dataset/1013 | Rafa Ferrer | Arthur y los Minimoys | 2 | 5 | muchocine | A pity as well hyped idea ends up going to "hell" by a development helpings | When I read articles that on the film had been published of Luc Besson, I found that it stated (on several occasions) the total originality of the tape, and not do tributes to any previous tape; and, sadly Mr Besson was lying which bellaco, since not only the characters seem to be an updated version of the "Crystal Black", but that there are also references to a hundred movies, "Pulp Fiction" which makes him at least 3 tributes in the footage, ranging from "Fever of the Saturday night" or any than anything else of tapes as "Count on me" "The Goonies" or even the "Indiana Jones" series, so that Besson, better not go originals and have a little decency not to discover "the coca-cola formula".Another negative note parties are errors, one fat stroke since and without disclosing nothing of the plot, could be revised a little script for not staying in evidence.On the other hand, is a pity that, so well hyped idea (the initial premise for a child tape is the suitable), end going to "hell" by development helpings, and in some cases very little efectistas, pity of so accomplished animation (some characters come to be endearing), fails to come to fruition the tape, and sinks to leaps towards a rather than abrupt end. |
1,946 | archivos_extraidos/MCE-Corpus-main/Dataset/3596 | Rafa Ferrer | La Sombra del Reino | 4 | 5 | muchocine | I liked (and entertaining) enough, but with certain reservations in the USA should start to accept so exhorcitar their ghosts... | Since some time ago, provided that I've seen the poster, or trailers of the tape, thanks to my another page ("movie buff Oracle") I was interested, and simultaneously intrigued about this movie, which I fail to excite me, unlike "Lions for Lambs" this, I liked it enough, saving, what I said at the time that in USA are not able to accept that Iraq is becoming for them the 2nd Viet Nam, and that, unfortunately, and much that love them, can't go for the world of "saviours for freedom" (and less maxime) when this is done by dint of shooting.Having said that, I admit that not only the tape I liked, but in addition the 110 min. which lasts approx. it have happened to me flying, both by the script, well-constructed and quite surround, as well as for the performances of Jamie Foxx, Chris Cooper, Jennifer Garner, Jason Bateman and Jeremy Piven, incidentally, Mrs Garner (or Mrs Affleck) has a pretty funny moment in the film, where cannot be avoided "dread" that feels to hear an explosion near (very wise not to bend his yell.)priceless, that moment.The hand of Michael Mann, is noticeable enough, since sometimes the tape seems debtor of this film, also Peter Berg is seen an excellent good do onscreen, and makes every moment, by removing what I have already said and excessively "lagrimógeno" somewhere, so that in his facet as a director, we have a great future director of gender (I see as you do in his upcoming films), I would add also the excellent score by Danny Elfman (as it could not be otherwise), taking advantage of these Arab touches, overlooking the packaging the necessary film to make this completely digested by the Viewer. Bran and short distances you; I liked (and entertaining) enough, but with certain reservations in the USA should start to accept so exhorcitar their ghosts. |
1,947 | archivos_extraidos/MCE-Corpus-main/Dataset/1816 | Rafa Ferrer | Isi Disi: Alto voltaje | 1 | 5 | muchocine | Painful aftermath of the grossing tape Spanish, there is no where grab. | I could not go to the pass of press of this do film? and as I understand it would have fit anyway, not because of my size or my fat, but because they were 4 monkeys to see, now I used to take a look, and the truth is that I'm glad not having lost one morning, the tape, to say the least, full of cameos in the purest style "Torrent" (remember they share protagonist)is a pigswill with a non-existent argument; reminds me of when we were small and we started to play anything in plan do vale now such?, as well. The script seems written by a child of 2 years with a joint in hand, and one liter of beer in the other, a Wyoming and a Kira Miró more linear than the dual carriageway, and stripes with Pilar Rubio, which only known for his appearances in "The sixth" as a villain on duty.Ah, by the way, the film is the posthumous work of Coll J.L., rest in peace, back in the sky, the hand of the great Tip. |
1,948 | archivos_extraidos/MCE-Corpus-main/Dataset/3044 | Kiko de España | Diabolik | 4 | 5 | muchocine | In 1968, Mario Bava directed this adaptation of the character, a classic of the Italian comic of the 1960s. The 25' first are great. I want to be Diabolik. | I spend it pump with Diabolik! In 1968, Mario Bava directed this adaptation of the character, a classic of the Italian comic of the 1960s.John Phillip Law is Diabolik, thief and criminal (terrorist) with the eyebrows on the planet coolest and Marisa Mell is Eva, the most stunning woman I've seen in a movie in a long time. Michel Piccoli is Inspector Ginko, the man who must catch the masked thief.But that won't be easy: Diabolik has all kinds of gadgets and that most caught my attention were the "laughing Gas" and the "morning-after pill Anti-laughing gas" which I guess they come in the same pack.The soundtrack is Ennio Morricone and the rhythm is great although the movie has no feet or head and appear three episodes of a television series.Young pop drogatas of the sixty-one exemplary travelling on a Canute are more ingredients for the salad of eccentricities that would delight many if Grindhouse makers resurrect the history instead of Barbarella.Los first 25' are great. I want to be Diabolik. |
1,949 | archivos_extraidos/MCE-Corpus-main/Dataset/633 | JohnTrent | Serpientes en el avión | 3 | 5 | muchocine | Besides first and foremost being a form of entertainment that doesn't fool anyone if same, that it keeps you glued to your seat for more than 90 minutes and that, in their tenders, offers a correct show. | Development that happened "Snakes on a plane" was really funny and interesting. Of echo, has been one of the cheaper advertising campaigns of recent times, given that the same fans on the Internet (and even those not were not fans, i.e., those who criticized her and laughed her as project) began to create unthinkable expectations, initially, for a film like the before us.At first, its makers thought holder her "Flight 121". Moreover, Samuel L Jackson, the celebrated hero of the film, the script get you no title yet, just with a phrase that summed up what was the movie, i.e. snakes on the plane. Since they knew that the actor had decided to star in that film just for what snakes on the plane, without having read the script, began circulating on the Internet numerous jokes at the expense of that phrase and how ridiculous the show in images which could be. Both was thus the joke step to be taken seriously, and such was the expectation that I wake up at the expense of, the film term graduating that same way, "Snakes on a plane".The rest were a lot of false traileres, rumors, speculation about what might happen in the movie and the character of Samuel L Jackson. This last happened the funny thing and that, moreover, became a new example for Hollywood in the advertising field had never before been given which had occurred without lifting a single finger to them. The case was that, at some "geek" began to run the rumor that Jackson, in a moment of the film, released a phrase that came to be "I want to these whores snakes out of my fucking plane", similar it so to the mythical mafioso which I interpret in "Pulp fiction". The rumor became so popular in a short time that those responsible for the tape gave the go-ahead to add this sentence in the movie Seria this? which invented the great phrase.The issue not just here. Fans online, increasingly numerous, seen the case I was doing through the pages web, blogs and forums, decided to ask more gore, more humor, more sex and, in general, a film that could be described as R in United States, and not the initial PG-13 had its makers intended. We are going to be a movie almost suitable for all audiences and that it could have easily been in family, I finish making it show with a bit of gore, some swearing, sex and a tone that, occasionally, clears the absurd pure and comedy, and can be seen only by adults, or in any case minor accompanied by one.The great momentoTodo this happened before, during and up to the end of the filming. Thus, their leaders began to rub their hands before the, very likely, high sum of money which would be at the box office "Snakes on a plane". The film had gone from being a serie B more unpretentious spend a few weeks at the box office without too much stress and pretend distracted awhile who accept the invention, one of the event movie of the summer in United States, a tough competitor for the announced "blockbuster" and which, they said, could become one of the films over the blockbuster of the season, apart from surprise to many and create even more fans.But, as many times the early expectations can create a negative effect in certain films, "Snakes on a plane" was released with some indifference, far from the figures expected those responsible (and many people in the industry, that was interested in the promotion that had been launched quite a few producers). I finish raising more than 30 million dollars, i.e. precisely the millions who hoped that he only joined in its first weekend (during this period income half of that figure, to then descend abruptly.) (Come on, almost 50% of the total proceeds corresponds to the first three days).The problem was caused by excess air of greatness that came to him those responsible suddenly to see such acceptance on the Internet. In fact, were not few those who warned that with the support of the fans on the net, the film could enter no more than 10 million dollars, while the rest would depend on how to sell the film to "non-geeks", or people who did not know anything of it by other means other than traileres or ads on TV ordirectly, were not initially interested by a film as similar title.Finally the film drag to the cinema many fans (I understand that the first few days, there were even people disguised as Samel L Jackson in "Pulp fiction", including afro wig) to then be forgotten quickly, because it did not interest many other people apart from those who had already seen.Arriving at our screens, "Snakes on a plane" has wanted to be sold, again incorrectly, announcing her everywhere as the introduction of Elsa Pataki in American cinema, when in reality the dubious actress appears only a few minutes and its role does not have much relevance.As it was expected, "Snakes on the plane" did not succeed nor here, although proportionally it has had to make do with more mediocre numbers in United States, being relegated almost to oblivion as of today.But the film?So what you want to tell you?. Or both or neither. "Snakes on a plane" part first and foremost to be a form of entertainment that doesn't fool anyone if same, that it keeps you glued to your seat for more than 90 minutes and that, in their tenders, offers a correct show. Come on, that it is not more than a B series that well would premiere in the club video if it weren't for having Samuel L. Jackson's character and the previous expectation that woke up on the Internet. And has something wrong with this? Therefore at least for which this writes, not.But of course, when a film "which is what it is" and is not intended to more than entertain as a "monster movie" cheap and absurdly hilarious to see and forget, becomes one of the films which most expected this season, many are those who finally left disappointed and even insult to "how bad is the film". Would have happened of not having given so much hype to the invention? Let me it dude.The film opens with a totally festive and colorful, air far from what could be a film of the horror genre. In a matter of minutes we have submitted to villains, then act the main and secondary characters (known soon see them who will live and who died on the plane) and, suddenly, the snakes begin to seize the plane. Come on, accept that what we propose here (that if not has done it already to come to see her, not is making in the room) it is easy to find, in principle, a worthy pastime and where it can be, to some extent, what you waiting (and I say "to some extent" because not expect wild scenes of violence)(, nor to Samuel L Jackson handing out insults the snakes every two seconds, but the typical "accessible" gore of the commercial Hollywood and a single sentence, which already detail to the principle, with which Jackson establishes "colegueo" biased audience, and this phrase tells almost at the end).Later, and after the fun first attack of snakes, the film has some (unexpectedly) dramatic moments, most of what should be. This, added to a more serious volume than expected in a whole, suggest that either the screenwriter, Sebastian Gutierrez, has not quite caught the tone to the story either confusion has come with its director, David r. Ellis who, that if at any time it takes action with pulse, a correct and tension, despite the impersonality of his (apparent) address(, as entertaining "Collateral" and "Final destination, 2", his previous works after the cameras were already easy to recognize in "Snakes on a plane" details) or absurdity which may be the script, manages to create an interest in what happens in pro of the divertimento of the hearings, I repeat again, willing to do so (because not everyone entering the game to this film), by simple as it may seem. Prejudice against serie B? (Do high expectations for what I comment in the first paragraphs?).In the end, "Snakes on a plane" turns out to be an entertainment which is fast and is forgotten shortly thereafter. Is not, for nothing, a jewel of serie B as they have tried to say by many means (including large part of criticism in United States, not to say the audience, which the IMDB the brought an average 7.5), even is the film festival and "so cumbersome is good" that many others were telling to see, but rather a series with special effects (b) which is not far from other "monster movies" recent "Anaconda" type, but with more grace and rhythm, as well as better finish. A film whose previous comments have eaten and have continued to be release in all its freshness for enjoyment of a few fans to serie B with bugs or, without going any further, to the divertimenti without complexes.If something happened to the story "Snakes on a plane" it will be, as it was the case with "The Blair Witch Project" by its interesting advertising campaign. The difference is that, while the revelation that meant "The Blair Witch Project" achieved at the box office success spectacular and outside any claim of its leaders, as well as finish remain one of the best horror films of the 1990s (despite who gets upset), film starring Samuel L. Jackson (correct and charismatic)(, as almost always) has failed these purposes, on the other hand absurd given the basis on which sustains and own artistic results. |
1,950 | archivos_extraidos/MCE-Corpus-main/Dataset/2157 | Francisco Bellón | Entre mujeres | 1 | 5 | muchocine | The directorial debut of Jonathan Kasdan is not a waste of imagination, but rather otherwise, that it is a story full of clichés and worn-out clichés. | There are surnames which will always remain linked to the history of cinema, some stronger than others, some with good reason and others by bad. One of them is Kasdan, Lawrence Kasdan, which have been able to be some of the most important films of recent decades, such as Indiana Jones, the Empire strikes back and return of the Jedi. Now it is the turn to his son Jonathan Kasdan, who assumes responsibility for his first feature film, produced by his father, between women. Among women is a complex place, which is a mix of genres, although most resembles the romantic drama. Carter Webb (Adam Brody) is a young writer who just leave his girlfriend Sofia (Elena Anaya), and decides to take care of his grandmother (Olympia Dukakis). There he meets Sarah (Meg Ryan) and her daughter Lucy (Kristen Stewart), and initiates a peculiar relationship with both of them, while the inspiration to write the story you have in mind for eleven years. At first glance, the directorial debut of Jonathan Kasdan is not a waste of imagination, but rather otherwise, that it is a story full of clichés and worn-out clichés. In that regard, the viewer takes the first on the front with the character of Elena Anaya, who plays a popular Spanish actress in a binge of originality have named Buñuel. The script is a sequence of common and recurring, places exploited endlessly. More than a linear plot we have a deslabazada narrative, as if they were independent sequences without any link in common. Just as monumental hodgepodge by exaggerated to the painted, and the viewer enters a deep trance, in which mixed the most unbearable boredom and a deep anger by being forced to see such jewel. If were not enough the torpor that in itself causes the plot in the stalls, it must be said that this is extremely predictable in all its aspects, and that there is not a single positive surprise in its final stretch. The characters are mere stereotypical caricatures, although that takes the cake is Elena Anaya (the phone call from the party scene is shameful), do not know who framed it to join the cast, despite getting an indefensible character. Adam Brody plays in his role as the young Kristen Stewart, while Meg Ryan is dangerously to the histrionics and the overacting. Among women is four movies in one: on the one hand, a story of a twenties intelligent you not find his place in life; a history of troubled adolescents anymore with the world because their parents did not make them case; a tear melodrama about life and death; and a story of impossible love. But instead of bringing together its virtues, get together all their failures. |
1,951 | archivos_extraidos/MCE-Corpus-main/Dataset/1924 | JLO | La naranja mecánica | 5 | 5 | muchocine | Film with successes and mistakes, has classic status, influence an entire generation of filmmakers and film buffs. From several points of view as the aesthetic, moral - up by its grim history of bans-, all dyeing of a staff and innovative style. | "Clockwork Orange is my favorite movie right now." "Had certain prejudices against her, but after seeing her, I realized that it is the only one that exists about the true meaning of the modern world." Luis BuñuelFilm with successes and mistakes, has classic status, influence an entire generation of filmmakers and film buffs. From several points of view as the aesthetic, moral - up by its grim history of bans-, all dyeing of a staff and innovative style. Excellent adaptation of the book by Anthony Burgess, tells part of his personal experience to be unemployed and be the victim of violence by the fact - little known-be your own wife victim of a violation by three soldiers during the war.Also this film bears all the characteristics of the filmmaker, its flaws and its virtues. Bombastic and pretentious, shrewd, dream-like, full of signs. Vital and strong. The should you mention as his film that became worse, because he composed the film with all futuristic icons (commissioned from the best designers of the moment) that languidecería with the passage of time becoming a brand of 1970s years.It is the film that marked his imprint of divide them into two antagonistic halves, like a journey of return of his characters in the background of the acciones-adquisiciones made by the road and its dire consequences. Showing us the violence without violence, almost of art form (if the look today at the time bans would be laughable) a more earthly than the Odyssey of the man who showed us only three years earlier in the film 2001.Acierto in the choice of an unknown protagonist (Andrew MacDowell), only known by the Love Store melosa, step after using Kubrick in almost all of his films - less 2001 - and the first players enshrined as Sterling Hayden, Kirk Douglas, Peter Sellers (on two occasions) and James Manson. ComienzoUn top powerful, almost intimidating. One of the best of Kubrick and any film. The murderous and cold eyes of Alex (preanunciando his incipient madness) which through a slow travelling becomes the Milkibar with your druggos/friends, that we stalk and is configured, in these early days he preferred to engage the viewer and keep it attentive to what is to come. According to an excellent appreciation of Spanish critics Felici and framework, this view of Alex is a continuation of the gaze of the last plane of its predecessor film, the child star of 2001. The hope and optimism that hits scene with the violence of it returning to the present typical pessimism of almost all films of Kubrick.Las large scenes are many. The aesthetic implementation where the fight with a rival gang in a theatrical setting, provides an ode to violence plan ballet. The shots "execution" idling on the edge of the pool by Alex reaffirming his leadership to the sound of classical music that dominates the film. The deadly dance with Ms. cat in his sexual room (with a giant phallus and a bust of Beethoven by each side as weapons) cause both her death and the fall/death of the own Alex. Oneiric passages of the Bible in the imagination of the protagonist (like video clip), are all shot with the delicacy of a sand paper passed by acid; scenes worthy of a true lover of film and music, as already show it the use of the latter in 2001 metaphysics. ProblemasFilmada during the winter of 1970 / 1971, one of the first drawbacks that raised you was to adapt the nadsat (Russian for "teen" suffix) had invented the author as the gang slang, inspired by his study of the Russian language. Kubrick solves faithfully transcribed word for Word of the invention, with the absolute understanding and acceptance of the spectators. Another obstacle were threats to the director and his family blaming him of violence in British streets by the fury of the film and its images. Kubrick decided shortly after the cancellation be exhibited in Britain. Despite all the reruns made an incredible profitability of the film - cost two and grossed 40-consolidate the independence of the director and ensuring the absolute control of all his subsequent work.However, the text has a last chapter redeems Alex - greater, already married and happy - all their facts, reinsertando again to the society that rejected and giving, an epilogue, more hopeful, Catholic and banal. Kubrick discarded it by inappropriate for the theme of his film and the book (release in fact without that last chapter in the US)."More than graphic is the appointment of a technical member of the staff of the film, which clearly exemplifies the thought of the director and of the same end of the film:" Kubrick with 2001, Space Odyssey shows us what we could have had, and with the Orange mechanics, shows us what we are going to get really. ""Man should decide about good and evil, even if you choose to evil. Deny that choice is to turn it into something that does not reach humans. "in a Clockwork Orange" Kubrick Stanley |
1,952 | archivos_extraidos/MCE-Corpus-main/Dataset/1351 | Emilio Calvo de Mora | Apocalypto | 4 | 5 | muchocine | Gibson retrieves the adventure film, the magnificent, classic... Do not muffled spirit, impressionable heart and leave others from saying them the luck had to miss her. | What Mel Gibson is proposing is a journey to a rush of peyote or one of its many lisergias by excess of ego, but Apocalypto is an absolute masterpiece, a multidisciplinary device which extracts the best film adventures of all the history of the cinema, which is already history, to leave so exhausted and satisfied, perfectly sobering of jungle and primitive pride by grace of a prodigious Assembly language as known, but revisited here with cunning, skill and hand ferrea so leave everything perfect. Giblson needed very little to go by the hills of the Yucatán and check a blockbusters of Maya in danger which had only satisfied teen troop gore with shaft golosa.Apocalypto speaks of many things, but never serves educational speaker of a time (Mayan civilization) by much that some have wanted to disassemble this cool shed film pure and hard speeches which appeal more to the absurd controversy. Not go to movies (I, at least, am not going never film) that teach me how was the life of the eunuchs or soldiers of Christ or the troops of Hitler in Stalingrad. It is not to ignore all this rich cultural tools: I appreciate that learning never spare is worth more to be playful and festively, but the film (or literature) is fiction and Apocalypto exhumes fiction: fiction dripping you all the jungle lianas and all the litres of blood that Gibson had to buy on the Internet so that the film is so quite raw. Without the harshness, I am afraid, just not us her would have believed. I think. And twin to the belief goes my enjoyment in the cinema. For a long time that two hours not spent in ten minutes. Is there a better critique of a film?I read that the Maya accomplished astronomers not should catch them by surprise an eclipse, as it happens in the film. It is possible that they were accomplished astronomers, but eclipse is the Gibson mcguffin for Jaguar claw has one hundred minutes of film so that all enjoy with his jungle Vertigo, with his career for life, by his courage and his wife, that a submarine son shines in an apotheosis of rain. You can not ask more.I also read that it was predictable and simple, linear and voyeuristic. I'd say: it is explicit, pornographic in his solid sample of details and very escoradamente, epic because our hero corridor is the demiurge, the possible God, the man who has come to the world to not be snatch life, although a small army of bloody give her yours to run a revenge and consummate a whim.Gibson has recovered the history (or history) of the Mayans, but what it tells is the story of humanity, which is the survival of one cafre interference and other animal. To wrap up the plot, Gibson does not comes to mind another thing that give us a serving of Spanish ships on the beach: as if we we seriously in the mirror, but claw of Jaguar and his family have it clear: will hide in the forest and find a new beginning. (Do not muffled spirit, impressionable heart and leave others from saying them the fate that had as the miss it) |
1,953 | archivos_extraidos/MCE-Corpus-main/Dataset/3508 | Alex Largo | Scoop | 3 | 5 | muchocine | It is obvious that it complies with its mission as a comedy (you laugh) but you don't have enough "hook". Lacks it something. The film is certainly a "curious" exercise of film, a very well done comedy and is still a little flojona. | I'm not a connoisseur of the Allen film, in fact I am a complete ignoramus. It is more "Scoop" is the first film I see of the eccentric director.And I have to say that the movie I had. "surprised".Surprised at all. From a simple script, with the bad and the good that this entails (Yes, a simple script can be good), actors moving between right and those who are great in his role (straight talk: Allen is in the second group and the first everyone else).When I say that the film has "surprised me" I mean that the film is. rare? a comedy to dry? Not be how tell it, the truth, but it is, in plain, is a rare movie.It is obvious that it complies with its mission as a comedy (you laugh) but you don't have enough "hook". Lacks it something. Let's say that the film is a "curious" exercise of film, a very well done comedy and still is so. "plof".As I said, perhaps I am not best placed to talk about this film because I don't know the film of Allen. But in this film have found work good by actors (which not excellent, with the exception of Allen) and a good work by Allen after the cameras.In fact I would say that maybe the tape is everything that is incumbent upon Allen, since his character (who reserve the best quotes) to the script, part of an idea not good, but very good, and, although it develops and concludes well just. do disenchanted? No, disappointed is not the word. Imagine that they see a ship approaching from the horizon and say "Oh, go boat approaching", and when you have it on the side, is not as much as you thought you had to be but it doesn't disappoint. More or less this is the impression I get of the script, and by extension the film. I understand? |
1,954 | archivos_extraidos/MCE-Corpus-main/Dataset/4259 | Andrés Pons | Link | 2 | 5 | muchocine | When it enters in the field does not end to find the path of anguish, it seems that it is you could have gotten much more juice to the script because it leaves a vacuum in the Viewer. | Correct although foreseeable horror film of the 1980s which has many parallels with diabolical attraction of great Rosemary. The issue of the scientist that sort you of an experiment is treated for the umpteenth time by RICHARD FLANKLIN who had already excelled in the genre with the far superior PATRICK or the second part of psychosis. Performers include two very succulent with a girl names ELISHABETH SHUE that years most afternoon jumped to stardom by LEAVING LAS VEGAS and the always great TERENCE STAMP seen in recent years in productions of all kinds as PRISCILLA or Falcon English.The film it costs take off despite showing forward thanks to the behaviour of the animals that are the real stars of the function.When it enters in the field does not end to find the path of anguish, it seems that it is you could have gotten much more juice to the script because it leaves a vacuum in the Viewer.Anyway good performances, fantastic views, either in its technical aspects from photography to music and elegant decor. |
1,955 | archivos_extraidos/MCE-Corpus-main/Dataset/3739 | Luna | 30 días de oscuridad | 1 | 5 | muchocine | New vampire gore film and expendable. You will like if you're a lover of the genre without prejudices and her detestarás you if you are looking for something more than entertainment in it. | The cinema of vampires and monsters back fashion. In this case we return to talk about the adptación of a comic, written by Niles and Ben Templesmith and Sam Raimise has been responsible for taking the paper to celluloid.This film tells the history of a city of Alaska in which during the winter, there are 30 days in those who do not see the light of the Sun. With this starting premise it is not strange that a group of vampires "accidentally" discover this small village lost in the middle of nowhere and they decide to bleed all its inhabitants to give the great feast. Happen to survive any of its inhabitants? You'll have to go to the movies to find out because I so I will not tell.Personally found me a movie boring and predictable. He had hopes placed in this film as its director, David Slade, was also the architect of the disturbing "Hard Candy" sweet and relied on its good do after the cameras. However, the script uses many topics on the subject, in this case without delve into the psychology of the aggressors. It does not explain where leaving the vampires really nor what aim with this action.The action is advancing by leaps and free and from the point of view of carrying out there nothing really remarkable. The actors are correct in some papers with little dramatic depth. The most notable of the film, the 4,000 gallons of artificial blood, 280 tons of snow and five tons of propane gas employed. To these figures, the avizado Viewer knows that we we have one of these products a little gores and facts for quick consumption which will not pass to the annals of the history of cinema, even gender.You will like if you're a lover of the genre without prejudices and her detestarás you if you are looking for something more than entertainment in it. |
1,956 | archivos_extraidos/MCE-Corpus-main/Dataset/3887 | Tito Chinchan | El espía | 3 | 5 | muchocine | Spy film where an agent has to spy to a living legend of the body. Good result for a tape of international intrigue, that puts us squarely in the FBI and other law enforcement. Recommended for lovers of the genre. | Director: Billy Ray. duration: the truth is that I do not remember, although it should not be cut.Release date: 21 December liters twelfth night at my house always has a lot of special. It is not really in my house, which is in my father, but in the event it comes well. We have been all the brothers to sleep here, and we got up when the smallest House dawns. This year, obviously, the more small was my Paul, who has complied with us until eight in the morning. Among the multitude of gifts that bring us the three Magi, this year it has fallen to my sister a laptop. And what better way of inagurarlo talking about film in what little gets on his new truck?The film is about a type that pretends to be a special agent of the FBI. To do so, as well as fight against his companions to be the best, they offer a very special job. Should spy to a myth in active service, who accuse him of child pornography use. Little by little, the protagonist discovers that it does not seem to be true the accusation, and that the real reason for his work is another.Weird these films of intrigue, with international spy reports, incredible and bureaucracies characters that convey a bad roll anything recommended. I have no very clear if the movie I liked, given that it has on the one hand seemed very interesting, but as the characters feel so sorry, then leaves you badly. And it is that actors are very believable situations, without use of any special effect, you get fully into the plot. Very interesting movie, although I finished like. Too suffocating for me, I need more ligeritas stuff.In short, spy film where an agent has to spy to a living legend of the body. Good result for a tape of international intrigue, that puts us squarely in the FBI and other law enforcement. Highly recommended for fans of the genre.To start the year on the right foot.Besitos.P.D: Couples of the members of the FBI are cattle heaven, without a doubt.Pd2: at the end, comes out this review that I love so much. If, where he says that it is a true story and tells you that the protagonist lives at Wisconsins enjoying a new life with his wife, their four children, their 7 cats and their twelve dogs. This should put it always, even in the porn movies, that looks good. |
1,957 | archivos_extraidos/MCE-Corpus-main/Dataset/1549 | Taliesin | La vida de los otros | 4 | 5 | muchocine | The great stories are hidden in small acts of some men who discover that reality dislike. | True fans to the big screen already some time ago that they discovered that European cinema has a lot to offer, and between all signed productions in the old continent, the German films demonstrate the maturity of a cinema that is usually well above average productions. Goodbye Lenin, the Edukators or the lives of others are some samples. Which we are discussing today has won many international awards (among which is the best European film) and is not for nothing. The lives of others puts us in East Berlin at the beginning of the 1980s, when the police for the security of the State, the Stasi, kept an iron grip on what they did, they said and almost to what thought citizens.The protagonists are two men sentenced to not be found never face to face: on the one hand Georg Dreyman, a prestigious writer, pressed and favored by the party, not just write what you really want; by the other Gerd Wiesler, one of the best men of the Stasi: thorough, rigorous and seemingly devoid of any trait of humanity. But then happens something that breaks the delicate balance and cause Dreyman decides to break his silence, while Wiesler will begin to question their own convictions. The trio is completed with Christa-Maria Sieland, actress and couple of the writer which is partly trigger for change in both.The film also serves as a portrait of what was life in East Berlin harassed by the Stasi, to investigate practically any citizen to submit the minimum suspicions for activities considered illegal. From open correspondence and filling of tapping the homes of the investigated, through illegal detentions followed by endless interrogations. The pace is thriller, although there are touches of drama and even humor. Both the photography and soundtrack (in charge of Gabriel Yared) are exceptional and the interpretations of the actors only be described as magnificent. Stresses especially that of Ulrich Mühe in his role of the Stasi officer, which is a character who requires a sober work and built through small gestures.In summary, the lives of others is required viewing for those who enjoy the film, as he masterfully presents a story that mixes different elements in the end offers a very emotional film and left good feelings in the Viewer. Essential. |
1,958 | archivos_extraidos/MCE-Corpus-main/Dataset/830 | Rafa Ferrer | El ilusionista | 3 | 5 | muchocine | Tremendous show of good cinema, are interested in, leaves good taste, and ends leaving surprised spectators, more than anything by the tremendous magic tricks of the character who plays Edward Norton. | A priori one of the releases I wanted more see this week, while the excellent critique of Tito Chinchan has pushed me even more, if you can.After seeing "The Prestige", was still wanting more to see it, the problem, is that both tapes are, like the night and the day, and is quite easy to fall into the comparisons, until even their surprising end, it happens in both, and is that, when you reveal a magic trick, this is surprising, and begins to be obvious in the case of the illusionist, both Norton and Giamatti (more the second than the first), interpret the roles actors, while one is identified and most fond with the protagonist of "The youth of the water", than with the of "the fight club", and although we are all aware of the great potential of this, Giamatti, whom we deserve to pay tribute, that, undoubtedly, its interpretative work leaves the viewer in the best of dreams. Both Jessica Biel (mere comparsa and vase women, as Johansson in "The prestige") as Rufus Sewell (a bad so very bad rather than hatred, laugh), there are two of these roles to forget, and while the Biel shares poster and face, with the protagonists in the poster, of Sewell who will always remember "Fate of Knight", fails the soles of the shoes from the rest of casting.Not wanted to forget me Eddie Marsan, a name which probably not you sound, and his excellent performances, have left their mark in "the secret of Vera Drake", "Miami Vice" or here, as an Assistant to Norton, an actor to recommend and that I hope will become those usual side typical.Covered in a short Prize story Pulitzer Steven Millhauser, this film, which at times seems to stop dry, is a tremendous show of good cinema, are interested in leaves good taste and ends leaving surprised spectators, more than anything by the tremendous magic tricks of the character who plays Edward Norton, although the argument lack a bit of salt, and him on a tad of sugar. |
1,959 | archivos_extraidos/MCE-Corpus-main/Dataset/141 | Tito Chinchan | Hostel | 2 | 5 | muchocine | What Nice moral dilemma we have lost favour the thin guts... | Seeing the posters who have made this film, I realize that graphic designers of them have much more imagination than the writers. By the way, in the poster of the guy with the chainsaw, and the boot will call friends at the bar "the stumps". Boy, not cogas chainsaw by the skewers!The film is about three young people, two Americans and an icelander, which are holidays for Central Europe, in search of earthly pleasures that gives life. Total, not considered sufficient to tremendous women and drugs which are in Amsterdam, they decide to go to Slovakia, instructed by a strange type with the sick nose for women more beautiful than anyone to "mounted" ever. Total, they go that far country (which seems rather medieval to present) and staying in a "Hostel" (hence the name of the movie, which is called hostel or fonda or youth hostel). And there begin to happen strange things, as they bind to a tremendous mujeronas, for example.Well, this film is a pretty big hodgepodge, who has been given much publicity, but which has four things. History could have been very interesting, especially if we look at the moral dilemma from which comes this film do you leave kill for money?. But as the director has focused on the picadillo and the thick guts, we are therefore left without debate. The characters deserve to die from the first image that out, but I have to admit that his general behavior is quite correct (with the exception of the final absurdity). Picadillo scenes leave me cold pussy, expected me much more disgusting, and I have to admit that it impressed me a lot more the birth of my wife as "gore" than the simplería of special effects that we have here. Saves out a few good aunts, ending as we like everyone, although the events that leave you thinking "do the director think we are asshole?".In short, well done picadillo, but chopped without a good script that endorse. If you like al gore, put you in a page of internal medicine rather than watch this movie. If you like terror, take an Eastern type "The ring" or something like "who can kill a child?". If you want to get to give birth to a film, not you miss this. |
1,960 | archivos_extraidos/MCE-Corpus-main/Dataset/1270 | Ana | María Antonieta | 4 | 5 | muchocine | Marie Antoinette is really sexy. This film is a kind of trance that absorbs you. It seduces more than convinced. At the same time you closer and you away from the real and the imagined. | Marie Antoinette is really sexy. It may not be historically correct, but this is the version of Sofia Coppola. It is a feast for the senses. The soundtrack hits the tone, ironically set filming at Versailles, which is spectacular. It achieves a trance of false authenticity. What has perhaps never been but somehow we can imagine. The exuberance, the costumes, the cakes.This film is a kind of trance that absorbs you. It seduces more than convinced. At the same time you closer and you away from the real and the imagined. It only lets you listen from afar what counts in the corridors. Phrases loose in an indirect narration which is more atmosphere than shoes and lace. It allows between see this Court that isolated of the world and at the same time privacy does not exist even in the bedroom.Navigate between commitment and pleasure. It is an experience in which you could soak up. Lyrical without being a sentimentalist. Lush if exaggerated. Tasty for my palate. |
1,961 | archivos_extraidos/MCE-Corpus-main/Dataset/2551 | Caty | La Casa de los 1000 Cadáveres | 3 | 5 | muchocine | Not espereis see neither good nor bad, this film is, as all that takes references, a description of the American Midwest rural, families of sadistic murderers and cannibals, lost in the middle of nowhere, of desolation in the middle of the field, and roads of tons of black humor. | The House of 1000 corpses is an unusual film, shot with a budget of laughter, with unknown actors and a director, Rob Zombie, debut behind the camera as director of this film of horror, gore and black humor. First and foremost must begin describing its Director: Zombie, rock singer and leader of one of the bands more originals from the scene of the 90s: White Zombie, (whose concerts and release live were spectacular, with monsters, screenings of classics of horror and other paraphernalia), is the typical adult American who has grown up reading comics, watching horror films of series bcollecting figures of action, assassins stickers and becoming the paradigm of the American subculture of the freak. Therefore, if he has followed this character throughout his career as a musician, winks of life in this film can be seen and even things will be recognized and scenes which he used to include in the work of the group, and therefore will not find strange in no time the concept of the movie. It took 3 years to release (had been filmed since 2000) due to certain scenes that the director had to cut because of the harshness of these and that made less suitable than already it of if is for the general public.United States both here in the old continent, the reviews were for all tastes, same thing her has been classified for "masterpiece of terror of all time" as "crappy infumable", and before this, and so that the viewer can decide which definition you want to adopt, would have to explain that this film is anything but conventional. Drinking directly from "The massacre of Texas", Tobe Hopper and all of the late 1970s and early 1980s B-movies, leave aside all the current horror films. This tape is not recommended for all those who wait to see guaperas adolescents fleeing the killer with mask on duty with aesthetics of music video of Britney Spears, that they have sensitive stomach and do not possess a sarcastic and cynical sense of what might be the gore and terror, or those who do not support the end that leave you "half". Arriving, as it came to exhibit in theaters dedicated to public accustomed to consume multi-million dollar productions, not me it surprised nothing nothing to find me at the exit of the projection faces of disgust, disappointment and perplexity.Not espereis see neither good nor bad, this film is, as all that takes references, a description of the American Midwest rural, families of sadistic murderers and cannibals, roads lost in the middle of nowhere, desolation in the middle of the field, gas stations run-down with characters coming out of the underworld and tons of black humor.Unknown actors interpret well its role of victims and executioners, not being a feature of this type of film the interpretative qualities, but other elements such as music, the way of filming or the argument.Rob Zombie handles the camera excellently in many moments, using flash-backs, effects of camera negative, freezing the action really tense shots, demonstrating that, with true talent, it do not need much money in bringing creativity to the celluloid.For many it will be a breath of fresh air to both adolescent she already doesn't know who or who flees (follower of Tobe Hopper and cinema of George a. Romero, those who think with nostalgia that the times of the best horror movies have gone down in history like the tape, or at least understand his philosophy), and if they continue the game will enjoy a very risky film, a show rundown cinema, in line with the sordidness of the argument, adjusted the eighty-eight minutes that lasts. Not advisable, therefore, to the enemies of genre cinema (which rather than "Scream" or "I know what you did last summer") and those who like to sit in front of a screen to see a nice Ribbon, flat and without much thinking. |
1,962 | archivos_extraidos/MCE-Corpus-main/Dataset/4166 | Iñaki Bilbao | 4 meses, 3 semanas y 2 días | 4 | 5 | muchocine | Hard Romanian film, embodying its young director Cristian Mungiu. It won the Palme d'Or at the 2007 Cannes Film Festival. | Hard Romanian film, embodying its young director Cristian Mungiu. It won the Palme d'Or at the 2007 Cannes Film Festival and once vista is not strange.The film is excellent because the script is iron, full of tension and intrigue, even everyday nature. Displays the Romanian social reality of the long and sad time of the dictator Ceausescu, where there were severe shortages of all kinds. Under these conditions, that a young man wished to have an abortion, shows the hypocrisy, injustice and cruelty of those with power over others.With few characters, but perfectly defined, a study of them superb psychological and some scenes, long, fixed camera, which literally acongojan viewers, as all those that occur in the hotel room and the exquisite and very difficult scene of the family meal, with the face of the protagonist and boyfriend fixed, while the rest of guests talk of baladíes things. Maximum stress and impressive storytelling that keeps in a fist to the respectable.Very good film.As a personal curiosity, when he finished the current of the movie in the past of San Sebastian International Film Festival, three girls, and MILFs, said that it was a crappy, poorly made and unpleasant film. And again, very bad.Anyway, they were also of the specialized press. The truth, I do not know how slip certain people to places where they shouldn't since the little film knowledge they have, especially in this case where relate, as it was the case at that time in Romania, facts that undermine the dignity of women and their lack of freedom to decide. The fact that precisely a women not knew to see "cutrez" of the prevailing reality, and that the sober realization, devoid of any artifice, thus show it, says very little of them, and I am not talking only in the section of movie knowledge. |
1,963 | archivos_extraidos/MCE-Corpus-main/Dataset/106 | Caty | Dick y Jane, ladrones de sonrisas | 3 | 5 | muchocine | Through exaggeration does laugh at the same time functioning as a strong social commentary | New movie of the histrionic actor Jim Carrey, loved and hated in equal parts. "Dick and Jane thieves of laughter" is a remake of "steals well without looking at who," with Carrey and Tea Leoni in the roles originally played by George Segal and Jane Fonda in 1977. Executive of the powerful Globodyne, Dick Harper is promoted to the position of Vice President of communications and discovers that the company is bankrupt and that his boss, Jack McCallister (Alec Baldwin) escape with $ 400 million. Unemployed and with all its economy mortgaged, Dick and his wife Jane try to find several ways to maintain their standard of living, but end up in the conclusion that the only way is to resort to crime: so become ladrones.¿Absurdo? Clear that if, but this is exactly the objective of "Dick and Jane thieves of laughter", often using satire to comment on and criticize not only the consumerism of American society, but also the demagoguery of George W Bush-then display an image in which this arises by making a speech in which he says that the country is experiencing an era of prosperity - the film shows several executives struggling like animals for a jobwhich check for Earth words we see the President.It is necessary to understand, therefore, that "Dick and Jane thieves of laughter" is not intended to be a comedy of situations or tries to sound plausible, the blows given by the protagonists are totally absurd and would never occur in real life. It is therefore through exaggeration, where the movie makes laugh at the same time functioning as a strong social commentary. As we shown in many of his films of humor, Jim Carrey gives Dick Harper his usual energy, using all its elasticity facial and body to compose the character. As well as with Robin Williams or Mike Myers, Carrey is an actor that needs a director with firm hand to prevent going more beyond, something that the filmmaker Dean Parisot makes only partially: there are some moments in the tape in which Carrey is visibly in an uncontrolled improvisation, what is even if it is more humorous.On the other hand, Tea Leoni creates an important counterpoint to the histrionics of Carrey, making Jane a woman more contained but by no means less "funny". I have to say that I found that comically fit very well these two actors, and that it would not be strange to see them acting again (the scene in which Jane, in the absence of money, goes to a laboratory to sell as a Guinea pig to him they injected a kind of botox-like substance is just great). Completing the cast, we have to Alec Baldwin and Richard Jenkins, although we have to say that the weight of everything falls in Carrey and Leoni.Divertida and with a social message, "Dick and Jane thieves of laughter" is a rare example in Hollywood: a comedy that, unpretentious, has something important to say. |
1,964 | archivos_extraidos/MCE-Corpus-main/Dataset/2666 | Torbe | 300 | 3 | 5 | muchocine | These flat primerisimos of the mouth, this naked torso, these pucheritos and painted eyes say very little of a great Chief and much of a mad marica with wanting to be God on Earth. But in that would be thinking the stylists of the movie? | I have been seeing the name 300 movie, they say has devastated in the USA. Based on a comic book by Frank Miller, the movie is much better than the comic, according to my opinion. Many things have drawn me attention, and among the more notable this mariconeria that says goodbye to the movie from beginning to end. This gayer of fashion worldwide, and the caricature of the Persian king Xerxes has been the more Mario-frik, who has been in the film in years.These flat primerisimos of the mouth, this naked torso, these pucheritos and painted eyes say very little of a great Chief and much of a mad marica with wanting to be God on Earth. But in that would be thinking the stylists of the movie?And the parade of guys with bellies as a tablet of Nestle? Will be because little, eat only one block in the movie, because but that tell me how it is possible today to be so fine. With so much ice cream and hamburger cerda neither of coña. How difficult is to be as I am, with this tummy so well looked after and redondita, my years of eating well has cost me, children.ATTENTION joke: I believe that these guys were not of Sparta were Basque, because they spent all day saying: Agur! Agur! Agur!EXPLANATION of the joke for LOS corto:Agur means goodbye in Basque. In other words, is flashed from the Persians, because going them to kill.Or maybe the Basque comes from the Spartan? Not what, but none saw with txapela.(hey that happens, in the comedy club release worst jokes and the barque of insubstantial is rie.) (Be that emborrachan them before?)The movie? I liked it much, is not beating, you becomes in a santiamen, except where the wife of the prota, that only worthwhile when fucks the bad by UNAs magnificus goes, the rest is bla bla bla.It is dramatic, does not give you time to think, and everything seems a larghissimo seasoned video for several TV commercials. The voiceover resembles the voice announcements of cars, and in many times you loose the frasecita and it seems that you are seeing a fucking car advertisement.This is the picture that represents that battle in the thermopiles, and as you can see, the Spartans would in balls all day, thing which does not reflect the movie because but the ladybugs are already mad at all accepted.And videoclipero this very MTV, mola roll at the beginning especially when riding the free-for-all, that you put the batteries with this music that resembles a Prodigy. Sugarcane to the fullest.Anyway, I see that this movie, in addition to abuse the videoclipero roll and TV ads saying what magnificent are the Spartans (when in fact, in the past, the guys were very dull), it copies too Gladiator. There is a map in the end where this the aunt in the wheat field which have even gotten the same music that comes out in Gladiator!What's going on? Not you can do something different?And fights with caretas, the slow motion is very similar to the Kingdom of heaven, another movie by Ridley Scott, as a Gladiator has been copied to the extenuacion."" Photo of the original Xerxes, nothing to do with the mad that appears in the movie releasing this hint of "my subjects can't imagine what I can do with them" general laughter in the cinema.Anyway not I be victimized by these comments, the movie this very well, I recommend it, you can see, no great shit as usually in this kind of movies, and hooked from beginning to end. It is a spectacle for the eyes, there are a thousand details and incredible technique of the image. Today, the two best action movies are this and Apocalypto. Not you the you must lose, hamijos, who are very well. |
1,965 | archivos_extraidos/MCE-Corpus-main/Dataset/1931 | Alex Largo | Memento | 5 | 5 | muchocine | A true genius, a real class on how to make good movies. One marvels, a film that deserves to be remembered. | Since then, more and more, and especially after seeing "Memento", my appreciation for Christopher Nolan to grown. From "Batman Begins" to pass it to enjoy pipa with "The trick ending".Then I bought "Memento" y. good, a true wonder.Let's start with the direction of Nolan. Simply brilliant. From the first moment to the last, Nolan boasts a genius that accompanies us throughout the film until the surprising end.The script is work and grace of his brother and the same Christopher. The script is great "guilty" that the movie is what it is. And it is the best of the film is the way in which it is told. Backwards. Therefore, you know the end, but do not know the principle. It is very morbid, as the third episode of Star Wars.En the actors, all dressed up some very credible papers and look incredibly. From Guy Pearce, Carrie-Anne Moss up Joe Pantoliano.Lo best of the tape is the montage, a wonderful montage full of intelligence that will delight the Viewer.A true genius, a real class on how to make good movies. One marvels, a film that deserves to be remembered. Veánla, has no waste. |
1,966 | archivos_extraidos/MCE-Corpus-main/Dataset/1724 | Ricardo Marquina | Y si no, nos enfadamos | 5 | 5 | muchocine | This film is a recital of cakes, mamporros, yoyas, tundas, Campion, sopapos and soplamocos in the style of "everyone", in which a fatality seems unlikely and where there are no marrow nor the poly trauma Encephalic injuries. | Two colleagues, wandering stateless people racing competitors, earning a mini-valid in a competition, with such bad luck, no time to enjoy it, disappearing calcined at the hands of a few mobsters of three to the fourth attempting to intimidate a few peddlers to gain your business. What the gangsters do not know is that our two protagonists, played by insurmountable Bud Spencer and Terence Hill, are genuine scholars in the brainy art of dispensing indiscriminate call and think to beat copper with the underworld in order to recover his precious mini-valid, that Yes, red, that "if we did not,".Simpleton plot and linear, sympathetic and sometimes inocentón, development for this film originally titled "Altrimenti ci arrabbiamo". This film is a recital of cakes, mamporros, yoyas, tundas, Campion, sopapos and soplamocos in the style of "everyone", in which a fatality seems unlikely and where there are no marrow nor the poly trauma Encephalic injuries.1974 Film directed by Marcello Fondato, "and if we did not" (title as classical as stupid in his translation), is a type of extinct film icon: "Hostias comedies", simpatico-delirious music, handsome actors, co protagonist ugly but good-natured, beautiful girl, causes fair and bad bad. Is true that this is a film listed as child, to which we will add the custom visual to the hard - core sadistic of the public of this fledgling century, make the current Viewer, more beyond the frykandéliko-nostálico, can feel disappointed after viewing. Moreover, I this receto it with beers to tuti plen. Drisfrutela and drink in moderation. |
1,967 | archivos_extraidos/MCE-Corpus-main/Dataset/2470 | Francisco Bellón | Obras en Casa | 1 | 5 | muchocine | Unfortunately, works at home does not offer any special incentive that justifies viewing. | In the comedy, there are some very recurring themes exploited endlessly by the various film, but which by some strange whim of fate almost always achieve their goal: succeed at the box office. There is no doubt that one of them is the domestic reforms, something that in real life can be the worst of the dramas, but that on the big screen always acquires tone of comedy.By coincidence, that at the end of last year opened another French comedy that dealt with the same subject, the House of your dreams. Both were two separate taquillazos in the Gallic country, but in ours the first passed without penalty or glory. Now it is the turn to works at home, but the big question is will bring something new or is more of the same? Unfortunately, Brigitte Roüan film does not offer any special incentive to justify viewing. Instead, the screen parading endless supposedly comical situations that will make blush embarrassed the more painted Viewer. The scenes occur wildly, as if the argument were only the pretext that serves to fill between gag and gag. The script is nothing more than a mere excuse for the showcasing of a Carole Bouquet in full attack of hysteria, which should cause sound laughter among the French public. At this point, and given the type of comedy that comes from France, the most obvious conclusion is that one of the things that we do not share is the same sense of humor. However, the film has a good point, and is that not everything could be horrific. Works at home also addresses the issue of illegal immigration, and intended to convey a message of tolerance and coexistence in harmony. The key word is intended, that Brigitte Roün uses the alleged social complaint to illegal immigrants become victims of bad jokes.Works at home is a comedy that exploits a spent format, and does so without offering anything new. What is most amazing of all, is that after seeing tapes like this, one just to remember with affection and longing that prank of this House is in ruins, and miss the Tom Hanks ducks and clown. |
1,968 | archivos_extraidos/MCE-Corpus-main/Dataset/2318 | Francisco Bellón | Ladrones | 3 | 5 | muchocine | Thieves hook thanks to the extraordinary chemistry between Juan Jose Ballesta and Maria Valverde, which embroider their respective roles of tormented but charming pickpocket and cock capricious and unsatisfied. | Spanish film takes several years to enjoy very good health, not to say excellent. At least in what refers to the artistic and creative, ground where the amount of materials more than interesting operas that are especially noted. The bet made by the producers for the new Directors is really commendable, although perhaps from their perspective it is not therefore matter of budgets.Jaime Marquis Olarreaga made his debut in the direction of feature films with thieves, one of the films that gave more to talk about in the past Festival de Málaga, where he took the special jury prize. Although his title may evoke a large number of possible arguments from a sour comedy about the ins and outs of Telefónica to the experiences of a bank branch, thieves has another kind of history. Alex (Juan José Ballesta) is a young vocational pickpocket who has mistreated life and who is unable to manage by other means. One day meets Sara (Maria Valverde), a girl from a neighborhood well, enjoy that commit small robberies to feel something that does not feel in his tasteless and comfortable routine: emotion and excitement. Both begin a peculiar relationship, in which mixed equal parts love, desire and theft. Jaime Marquis offers to the public a film that moves away completely from the image of el ladrón de guante blanco, and shows a portrait black has nothing to do with the glamour and luxury. With a sunset scene minimalist and sober, but for full effects, tape immerses the viewer in full in history, making him of the joys and miseries of perfectly built characters. Highlights the good Ivan Aledo mounting and excellent photography of David Azcano. The film hooked from the beginning (even the opening sequence something strident), thanks largely to the extraordinary chemistry that develops between Juan Jose Ballesta and Maria Valverde, which embroider their respective roles of tormented but charming pickpocket and capricious and unmet cock. As you would say that, it may be the beginning of a beautiful artistic collaboration. However, halfway through the plot knot, the film is falling until entering a dynamics of free fall little by little. In addition, the end is come easily, perhaps telegrafiado in excess. However, despite its faults, Jaime Marques performs almost impeccable work for a novel, although at times filmmaker peca a somewhat weary and monotonous rhythm.Thieves is a good movie that demonstrates the high level of the Spanish film, and that this kind of stories of pickpockets and scammers of little rides not only dominates them Hollywood. And above all, it consolidates the two best young interpreters of the Spanish film scene. |
1,969 | archivos_extraidos/MCE-Corpus-main/Dataset/2323 | JohnTrent | Takehis | 3 | 5 | muchocine | A disconcerting film difficult to qualify, but at times very interesting to see and to try to understand. Takeshis is not far, a round film, but may be the last thing that search. | It is very difficult to do a review on a movie like this. More difficult is to position in favour or against, although I suppose, within its viewers, you have both thrilled and disappointed or angry. I also have to say, before moving on to give more details about the movie, that that this writes, is not too familiar with Mr Kitano film. Of his facet as director only have seen the right Brother, the very disappointing and boring Zatoichi (Yes, already is that some think that I've become crazy) and now this Takeshis, which seems to be the best option for someone little given to the cinema of this man, precisely because it is a very personal and risky proposal. Even so, despite having several defects in lines general it can be said that he has convinced me, although without excesses. His main mistake, from my point of view, is one in the usually fall films copyright Oriental: the tedium. And it's lack of pace, and the tendency to extend more than enough certain frames, makes that films which could have been much better, staying just within the correct or even sometimes not even that. Takeshis is saved because of their hypnotic in much of the oneiric journey stranger by which the same Kitano, divided in two, makes us go different sensations. Without a genre defined, except the own work of author of a disputed genius of celluloid as well entrenched in the Festival industry, Takeshis is the palpable sign of how film is often the instrument uses its creator to tell us their ideas, joys and frustrations. And that is what is actually about the film before us: altered head of the triumphant Kitano, star of film and enshrined author makes what gives him the win, and the sunken Kitano, emptied, restless by create and be recognized where no is possible, though his character ends up being destructive, because his film for manyIt is impossible. A disconcerting film difficult to qualify, but at times very interesting to see and to try to understand. Takeshis is not far, a round film, but may be the last thing that search. |
1,970 | archivos_extraidos/MCE-Corpus-main/Dataset/2651 | Daniel Galindo | 28 semanas después | 4 | 5 | muchocine | Fresnadillo faces the challenge of continuing a product and not only exalts but which enriches it, fleeing from the typical winks of cinema of terror and, in particular, viscera and blood. | His optics has led him to relate the craving of beings infected with a lethal virus, a drama that comes from afar. The principle of a catastrophe has resumed, but we warned, then we fall the trickle: is not suitable for all tastes, much less if we talk about the most refined. It is true that to withstand the footage from this film, still closing their eyes, should be stomach, but who likes cinema with rhythm, the scares and the epidemiological Court, that it can "enjoy".End of 2001, unbroken gave the surprise: a script with substance, a methodical implementation and actors like Monica Lopez and Leonardo Sbaraglia, dancing to the sound that made them a novel director. He did not know, but it wouldn't take long for the eyes of the iconoclast Danny Boyle setting in an orchestra conductor that same introduces us to the more hard rock that delights us with sounds of new age and avoids the hackneyed clichés of the horror film, since the 1970s, aimed at a teen consumption.Only he could take charge of a catastrophic history raised from Vertigo, verismo and rhythm of music video. Copyright terror is what this filmmaker, dignifying the sown field of sequels, handled the technical and hovers more blockbusters to the tops of own label and quality. Over 100 minutes nonetheless amazed studied aerial photography of London, at every level of the immensity of the vacuum, the anxiety warns us. And it is just one example of what you get, without going into parallels with the reality and apocalyptic visions of what awaits us.It was stalwart of 28 days later (released in 2002), and it shows devotion to not massacre its essence, something imposed on the other hand. Is true that already the first part, original, original, reportedly was not. Just take a look at titles in series B already classics like the night of the Comet and the last living man on Earth. From that premise, we can already launch us to praise this unpleasant exercise, excessive, disconcerting, and I stick to the consequences, more than convincing in his thesis.It is true that costs you close history or perhaps not be raised at any time. That being so, there who had not left open in a manner so blatant, but thank you for not take us for fools, not insults our intelligence as spectators, although it is true that as it progresses the footage loses bellows both momentum and just diluted in pursuit of a resolution so poor as correct.Forgive you the oversights in the script for that search for the truth in what appears more a documentary fiction than a fictional story to use. If we wanted to innovate and bring substance to the horror genre, combined with an excellent soundtrack and flat care that enclose choreographies of the wildest, without forget the cutting Chamber, Juan Carlos Fresnadillo thing has managed. how shot this author a story intimate, without special, with all most effects by hand? We us question after seeing the tone which pervades a so deliberately commercial product. What is more, hopefully the next project carried you a record change to confirm if any remaining doubts, we have one of the brightest eyes of European cinema. Copyright, Yes. |
1,971 | archivos_extraidos/MCE-Corpus-main/Dataset/3949 | Ramón Balcells | The Nanny Diaries (Diario de una Niñera) | 3 | 5 | muchocine | In addition to its beginning, highlights a pretty dedicated cast (along with Linney, Giamatti outboard short appearances) and some gags stuck with some grace. The rest is a collection of topics. | The beginning of The Nanny Diaries (diary of a nanny) is great, absolutely fun. Disney x-ray about high society in Brooklyn, with an irony that is rare in this type of product. But since that (quite rightly) Johansson meets Mrs. X (a Laura Linney sublime), things are going for the worse, although without losing miserably the pace. So one of those brilliant comedies could have been a lot better, that make you think. But unfortunately this is only found in its main section, and else turns out to be correct, but not exactly brilliant comedy. In addition to its beginning, highlights a pretty dedicated cast (along with Linney, Giamatti outboard short appearances) and some gags stuck with some grace. The rest is an accumulation of clichés and a love affair of the most incredible (in the literal sense of the word). The end is approaching the typical romantic comedy with tears (of any character, not the Viewer) included. Yes, it will look like all frightfully tracing any comedieta, but I can assure you that to see, for example, in family, is not at all bad. Laugh, enjoy a bold brunette Johansson, forget a dash more absurd than anything else and lose it at the memory once end credits. Nothing out of this world. |
1,972 | archivos_extraidos/MCE-Corpus-main/Dataset/4248 | Ivan Villamel | Hula Girls | 3 | 5 | muchocine | A more than interesting film, a film that appeals to the heart to develop a story that works beyond a topical and predictable development to become an effective demonstration of bold and good feelings | In dealing with a project in which the spirit of self-improvement to become the main focus of the story, all director runs obvious risks of falling into predictable or repetitive, being something very common in American cinema, but it occurs less regularly in the Asian cinema is irregular current Japanese cinema, either the pop-up, although over-appropriated, dramatic Korean cinema in all its aspects. Fortunately, the Japanese "Hula Girls" overcomes these platitudes to show us a positivist fable where emotion takes precedence over reason.The plot is very simple, a group of teenagers in a small mining town, rebel against the sad and predictable future that awaits them, working men like mine, and in addition, redoubling efforts with the housework. And this way of rebelling is involve in the imminent project undertaken by the mining company to create a Hawaiian honeycreeper Park in one appropriate for this so little place in appearance. Their personal histories entrecruzarán, giving rise to breakdowns that will make harder if it should be the goal of earning a living with it, and therefore help to revive the decaying economy of the town where they live.Before argument so predictable in appearance, the work in the direction and the script wanted as something more than transcendental, as a director without the appropriate narrative pulse ran the serious risk of falling into the absolute apathy, more pronounced and therefore predictability, contempt for the Viewer to the story. The Japanese director of Korean Lee Sang-il shows especially gifted to get the most out of all these scenes requiring go a step beyond the pure cinematic technique, those in which emotions makes an appearance, to boot a ravishing power that makes an appearance from the bottom of the heart with unusual force.His mise en scene is typical of the new Japanese cinema, one that sinks its roots in the film slow and contemplative of the classical masters of Japanese cinema (Shindo, Ozu, Mizoguchi), taking it to this present of Japanese society, always debated between tradition and modernity, usually finding a point equidistant balance between both currents. In his previous filmography (awarded in festivals), had already taken account of the constants which prevail in his films, and again has been able to get away with this tour de force of mixed emotions resulting from this story of self-improvement and good intentions.Say, against, that the script is extremely predictable in the flow of history, always resorting to scenes thousand views on both sides of the Atlantic, topics remaining merits to the film in a clear way, resulting in some really desperate sequences by their predictability. It is not precisely at this point where "Hula Girls" back the flight to become a more than interesting proposal. Lucky that the work of the cast of actresses not can only be described as brilliant, in a demonstration rather than when it comes to internalize feelings, no one makes it better that Asian performers, resulting perhaps simpler for its own cultural essence. Scenes as the fake farewell on the train, with the Group of teenagers dancing the "hula" while the feeling that has taken root in its interior are described with gestures made Professor, is effective absolutely irrefutable, it was touching in its simplicity and mise en scene.This successful group of actresses are totally credible effective film of contrasts involving this referential history. Contrasts that form the basis of the story not shown but allotments, which must possess every good movie. Tradition against modernity would be the most obvious, and which come to light the constants of this type of intimate and emotional film. That tradition weighs as a slab impossible to overcome at times for some of the members of the Group of "hula", instead being the trigger of his rebellion, his way of escape from a place sad, gray, and devoid of any future hope for others. Splashing in his mild complaint also other aspects so rooted in their society as the submission of Japanese women (tremendously effective scene of the beating of a father to his daughter bailariana), being a metaphor for liberation from the oppression of the tradition (patriarchal society) the Hawaiian dance Japanese.Mentioned in various circles, somewhat uninformed way, or at least devoid of a baseless knowledge about this type of production in Japanese cinema, to the influences of this film they came from Western as "Full Monty", "Billy Elliot" and similar films. And while it is true that contain obvious points of connection, no go so far as to find the main basis of this story (on the other hand, based on some facts true that today still have their fruit in a true Hawaiian theme park), influence final as predictable story. In 2004, a film of self-improvement, "Swing Girls", in this case in a musical environment, won the most awards of the Japanese Academy of cinema, and a few years later, in 2006, the great "Always", took us to a Japanese past sweetened by a condescending look by its director. The sum of both productions resulting "Hula Girls", which has also been multi by the Academy. In addition, leave see certain influences from films of similar theme of self-improvement, type "Linda, Linda, Linda" or the recent "Backdancers", in addition to the already mentioned clear.Once exposed the constants of the film, say, anything that saves the proposal and makes it stand out above similar productions, becoming a good film, is the ability of the director to provide the history of a clean, emotional look without artifice (something common in the productions of American of this style as I have mentioned earlier), resorting to more primary emotions to empathize with the viewer effectively, without needing too much cheap theatrics (albeit with a predictable development, that if).In short, a more than interesting film, a film that appeals to the heart to develop a story that works beyond a topical and predictable development to become an effective demonstration of bold and good feelings. Recommended for fans of the film as positive reverie. |
1,973 | archivos_extraidos/MCE-Corpus-main/Dataset/1040 | Oscar Cantero | El regreso | 2 | 5 | muchocine | A correct approach, and above all, the return of Sarah Michelle Gellar to screens, make the back a movie, the less appealing. Although not wait anything out of this world. | Far were already those golden days of horror film that gave us unforgettable titles as the changeling, the Exorcist or infernal possession. After many years in which major studios produced even this genre, the supernatural Thriller has resurfaced recently with great strength, rare being the month that we do not have any film of terror in the charts. But as often happens, quantity does not mean quality, and most of the films that deal with these issues suffer from an enormous lack of originality, being their arguments of an irritating simplicity; except, obviously, for the Japanese, who sometimes are just the opposite and are difficult to understand because of its strange development. Asif Kapadia, which is the name of the director, is facing his second foray into the film, after his acclaimed directorial debut, the Warrior, which garnered a number of awards and was acclaimed by public and critics back in the year 2003. Return tells the story of a young businesswoman who starts having frightening visions of a murder that took place many years ago, and while it is not that it is something especially innovative, the truth is that the issue is well made, and superbly played by its protagonist, Sarah Michelle Gellar, whose return to the screens after embody the known Buffy Vampire Slayer for seven seasons is one of the main incentives offered to us by the production. It should be noted, as a curiosity, the project arose from the need of the writer, Adam Sussman, write something on this subject, induced by the impression received after a personal loss of a good friend. |
1,974 | archivos_extraidos/MCE-Corpus-main/Dataset/2754 | José Antonio Bermúdez | Salvador | 4 | 5 | muchocine | With Salvador settled outstanding accounts in the Spanish cinema. It was not enough to metaphors and exercise of copyright. Better late than never. A necessary movie. Catharsis. | Some time ago I had the opportunity to chat by phone, in a radio program, with Manuel Huerga, director of SALVADOR (PUIG ANTIC). One of the first things I told him was that he considered his last film as "necessary". Huerga do not believe so, they called it "movie therapy". An adjective in the mouth of one the top architects of SALVADOR, without forgetting the most important (as producer and initiator of the project) work of Jaume Roures (Mediapro).I decided, on the basis of the comments of the director, define cine-terapia: a treatment of film? a new way of treating depression? We could talk about the film as audiovisual therapy. Therapy does not cure, but can help to address real dramas. In this case, the film is the vehicle by which comes the message that helps us to move forward. The movie as medicine to our woes.In the case of SALVADOR is not that we better leave when we left the cinema. In fact, the feeling is completely reverse. Hence, the first definition I proposed him to Huerga: it is a "necessary" film. This allows us to know (especially if we refer to the new generations) about horrible events. Therapeutic of the viewing of the film through, possibly, "that which cannot again be repeated". In short, learn to grow, to move forward. This type of movies allow us may trouble us, suffering, llorar.y, at the same time, discuss, relive what happened. Impotence it produces us but also gives us the possibility to download it. And injustice (the so-called "social depression") against injury which is difficult to close ever is reflected in us, as spectators.In the end credits of the film by Huerga, appear a whole series of actual images of the latest massacres that have happened in our world: since 9-11 to 11-m. Speaks of this new fascism, of fear, of the victims inocentes.todo what we have not overcome. The message is our failure.Thus, in the absence of justice a "movie therapy". The case of Salvador Puig Antic is best known by almost everyone. March 2, 1974, this young militant of the Movimiento Ibérico de Liberation (MIL), became the last political prisoner executed in Spain by "garrote vil". The film tells its story and desperate of his family, colleagues and lawyers to avoid his execution attempts.The international paradigm of cine-terapia is, without a doubt, in Argentina. In the Argentine cinema of the past twenty years we find key pieces. I will appoint four essential titles: the official history (Luis Puenzo, 1985), the night DE LOS LAPICES (Héctor Olivera, 1986), GARAGE OLIMPO (Marco Bechis, 1999) and Chronicle of an escape (Adrián Caetano, 2006).With this type of film is settled outstanding accounts with torturers, murderers and savages. Do express such denunciation passes for focus, without hesitation, on the victim, above all, person. Describes, in a thorough way, humiliating and inhuman situations which suffered, with greater or lesser success in its outcome. A memory rescued as the best antidote to oblivion. And in the most direct way, describing facts and not judgements, unless explicit. Again I stress the idea of cinema as medicine to our miseries. where lies the difference between the last Argentine cinema and ours? Just in one: the elapsed time. Three decades after the end of Franco's dictatorship is the first, and genuinely, film therapy. In Argentina, two years after the fall of the dictatorship military (1983) with Puenzo film, starring Norma Aleandro and Héctor SALVADOR Alterio.Con settled accounts receivable Spanish film. It was not enough to metaphors and exercise of copyright. Better late than never. A necessary movie. Catharsis. |
1,975 | archivos_extraidos/MCE-Corpus-main/Dataset/1169 | Rafa Ferrer | Noche en el museo | 3 | 5 | muchocine | In this type of movie one cannot ask more than what appears on screen, entertainment, a script where things happen because yea, and the feeling that one had one evening, in his childhood where he played with similarly with Indians, Romans, tanks and dinosaurs. | Shawn Levy, director, namely "The Pink Panther", "Twelve at home" (and its subsequent sequel), or the curious "Honeymooners", directs Ben Stiller, Robin Williams, Carla Gugino, Dick Van Dyke, Mickey Rooney, Bill Cobbs (to which many remember for his appearance on "Demolition Man"), in this entertaining comedy debtor "Jumanji" or the more recent "Zathura".The Mizuo Peck actress, who plays the role of Sacagawea india has struck me especially, I don't know why, I think that that face will accompany us in the upcoming films that we are seeing on screen.I understand that the film has triumphed in the USA, it entertains from beginning to end, with an intense rhythm that does things happen in much of the footage, on the other hand, is welcome, presence, for my not always pleasant, Owen Wilson, and is, to this "tiparraco" you have started to take some ojeriza by his stupid cut comediesalmost always by the same pattern.Is true that in this kind of movie one cannot ask for more than what appears on screen, entertainment, a script where things happen because yea, and the feeling that one had one evening, in his childhood where he played with similarly with Indians, Romans, tanks and dinosaurs.Finally, a more than pleasant comedy for a winter afternoon. |
1,976 | archivos_extraidos/MCE-Corpus-main/Dataset/3340 | Rafa Ferrer | Little Nicky | 3 | 5 | muchocine | It is not more than one of these loggerhead comedies that one forgets quickly and is ideal to see with a group of friends, a few pizzas and a good staff of cans of beer (or similar). | I love the new composition that has taken Digital plus, although in his fights with the sixth for the broadcast of football I have private see channel directed by Emilio Aragón (and is that in my house we are not antenizados); and is that your channel comedy is excellent for a feast day lying on the couch watching movies. Finally,!TO THE NOUGAT!Another tape of those that I saw so many years ago, that he remembered many situations, but not 100% the same, and it is that, as I have said on hundreds of occasions, although Sandler I do not like excessively sympathetic, his film, thug and playful makes me reconcile with him and see his films with the biggest of smiles; and it is that the tape that brings us today is not more than one of these loggerhead comedies that one forgets quickly and is ideal to see with a group of friends, a few pizzas and a good staff of cans of beer (or similar).And it is that, since his argument, the son of the demon arrives at the Earth to apprehend his brothers who have come to do evil, accompanied by a dog, and in a rather peculiar way; the tape, rife with cinematic references has the addition of which was the first film to which Florentino Fernandez put some of the voices, without going further from the grandfather, played by Rodney Dangerfield (RIP), and that only appear on screen makes you share laughter.The tape has plenty of cameos, from Quentin Tarantino to Rob Schneider that always appears in all of his films in some role. |
1,977 | archivos_extraidos/MCE-Corpus-main/Dataset/1697 | Caruco | 300 | 3 | 5 | muchocine | The merger of comics and video games with the seventh art seemed inevitable. With? 300? reach full communion, and makes creating some images and more forceful and powerful sequences never seen in the film. | Welcome to the cinema of the 21st century! And Zack Snyder, a visionary, just become definitively reference filmmaker and director of worship.The merger of comics and video games with the seventh art seemed inevitable. With "300" reach full communion, and makes creating some images and more forceful and powerful sequences never seen in the film. To immortalize this film, enough with the scene of the young of the Oracle dancing before giving his prediction or the image of the discovery of a decorated tree macábramente with corpses of villagers.Or the sequence in lateral travelling, of King Leonidas, advancing to the "Old boy" among his Persian enemies, while the image slows down, freezes, then progresses rapidly, while background, the music sounds just as emphatic and overwhelming. It is the entertainment, excitement and not triumph goes by providing graphic novel by Frank Miller, and hiperbolizando her, with the strength and innovation requiring its adaptation in images and sound.In addition, Snyder has managed to extract poetry of the horror and the brutality that plasma and, like the graphic novel by Frank Miller, makes it very clear that you are looking for is not historical accuracy, but also his inspiration to create a totally new story. It is the presence of characters and so grotesque as fantastic creatures.More 'gore-historical'.This is matched with a set of extraordinary interpretations, especially Gerard Butler that is out by his charisma, or Lena Headey as Queen Gorgo, combining beauty and character.And one imagines Snyder enjoying not as one, but also as a thousand dwarf, rebuilding the material shot with the infógraficos effects, adding all the sets and Visual effects; do in addition to trufar his images of abundant hints of? gore?, and some others, more than comentadísimo, filogay. Do do a courtesy of the Persian king Xerxes (Rodrigo Santoro), turned in a? travelo? two meters and a half in height; and some of her dancers? drag queens?.Or the very same Mel Gibson would imagine that in a few weeks apart, another pure and simple spectacle of adventures would rival their "Apocalypto" in splashes of blood and gore-historic Court show. And much less approved King Leonidas dared to turn back on Jerjer, leaving your hands in men this warmly sit while he recites it a: "Is not to my lashes to what you fear most?". All stuck between burly men and women of large nipples.Film-feeling. of course, that imperfections there are. Among his dialogues, which echoes magnificent and grandiose, escapes any replica of dialogue in plan chistecito out of tune (as in the encounter between Leonidas and Jerjer); and between his scenes, some other, call it artistic license, to give an effects and easy resolution to key moments (e.g. at the appearance of the desperate Queen before the Senate).But they are perdonables errors. So we would be talking about a masterpiece undisputed were it not for a detail, and it is that masterpieces are accustomed to talk about us humans, and "300" only looking for sensation and the impact. An exaltation of the cruelty stained heroicismo. And it reveals as a prodigious but empty, devoid of heart, brain and soul show.It is a formidable carousel for nearly two hours and never to bore, which reflects perfectly the tenets of what will be, or already is, cinema, entertainment now, and the future. And Moreover, it is consistent. Seeking only the feeling and impact, even the script is responsible for everything is easy to understand, everything is adequately chewed."300" Is going to lead to legions of followers, there is no doubt; just as, by its aesthetics and its form, it will be one of the most innovative, influential and representative in the coming years. Certifying that the violence has become the best show, and business. |
1,978 | archivos_extraidos/MCE-Corpus-main/Dataset/1810 | Francisco Bellón | Shooter: El Tirador | 1 | 5 | muchocine | Shooter: The shooter is a new and horrifying example of the action movie produced by Hollywood: a myriad of Visual stunts without ton haphazardly, with the sole purpose of stun and confuse the Viewer. | Today make a decent, already not good action film, is a genuine mission impossible, and not the majaderías palomiteras of Tom "sells-lo-to-sea" Cruise. Therefore, each new action by-product filling by the factories of Hollywood is a new experiment to attract an audience already jaded so photocopy.Although seems lie say a tape of action, Shooter: the shooter is based on a Pulitzer Prize-winning novel, which leads to a couple of interesting and deep thoughts, to which more ponderous. The first is to save himself who can!, because the film may be the most grotesque displayed on a screen of film since the retirement of Bud Spencer and Terence Hill. And the second is how low have fallen the past prestigious Pulitzer prizes. Because promotional machinery apart, and always bridging the gap, Shooter: the shooter is a crude approach to Rambo, i.e. to Rambo. After such an approach, it is inevitable to think that Training Day was no more than an accident in the career of a director who has in his filmography real jewels of tears of the Sun cult, King Arthur or the short The Call, pseudopublicitario mystery made exclusively for the internet. But we must be fair, the new work by Antoine Fuqua has given us really essential scenes, and that thanks to the tape we have discovered that due to the cross point anyone is able to extract a bullet as the painted. Not to mention the rest of pearls in the form of lapidary phrases that leave Harry Callahan in a fervent pacifist.Ultimately, Shooter: the shooter is a new and horrifying example of the action movie produced by Hollywood: a myriad of Visual stunts without ton haphazardly, with the sole purpose of stun and confuse the Viewer. Not to mention all the aura of patriotism usamericano surrounding the film, as tiresome as unbearable. |
1,979 | archivos_extraidos/MCE-Corpus-main/Dataset/3234 | Kiko de España | La habitacion de Fermat | 3 | 5 | muchocine | Pleasant and entertaining, they would be two stars and media but until that the head do not pull the roll can approve movies. It is a 5'5, try to put it with "stars". | In little more than four weeks and practically a single location these two debutantes shot this nice film, small and endearing moments except some slippage in the performances, perhaps Alejo Sauras I finished convincing in a fairly restrained cast that seems to be (for good) in a cure anti stress.Four mathematicians gathered in a room by a mysterious host discover that room which can not leave is declining, which is a commendable effort in maintaining the suspense and a great joke end. Highlight the soundtrack of the film runs in charge of Los Planetas, a success and a declaration of intent on the kind of Viewer you are looking for the film. As pleasant viewing her as likely to forget her, not bad when a film is humble and honest without looking for false claims. Very decent work which I hope will serve to ensure that these two "magicians" seek new illusions that surprise us in the future. |
1,980 | archivos_extraidos/MCE-Corpus-main/Dataset/264 | Rafa Ferrer | Cars | 4 | 5 | muchocine | Not carried their pipiolos to the cinema to see the movie! In addition to get tired and give them the afternoon, won't let enjoy the film his armchair companions. | I had my reservations about how Pixar was going to give life to something as inanimate like a car, the truth is that the project I loved it since I started having the same and perhaps news, and along with Superman Returns has been of the films of this year 2006 I've waited with more impatience, a similar phenomenon lived with Big Fish ending haunting me in such a wayIt appeared even in my dreams.Because Cars the seventh film in the House of the Flexo (Pixar), however, does not leave indifferent, this so well done, so well defined and so terribly animated characters that one cannot remain indifferent before such magna creation.Even its controversial dubbing (with the voices of Antonio Lobato, Fernando Alonso, immaculate Galván.) inferior film, since that is until an incentive more than tape discover who is behind the character we see on screen, until the mini-cameo of Michael Schumacher.Por elsewhere, there are 2 factors that does not make the film a perfect tape, one is the downturn this gives to the middle of the second actwhere not know very well why the tape seems that it stagnates, thank God, manages to recover quickly progress; But if Gets a tad tiresome, the other reason is an excess of moralina Disney were not in the Incredibles (Pixar previous tape) and here seems to load the inks in excess and is that you okay a small dose, or load of morality, but trying to translate lessons to every 20 frames becomes a little weary.Leaving aside the 2 negative factors of the tape, would like to focus on the well that this reflected the world of the engine, from the first minute of the movie until the end all are tributes, ads, brands, even the world of NASCAR (that in Spain we do not know) are reflected on screen with a mind-BOGGLING sophistication, and it is that John Lasseter is a lover of the culture of the 4-wheel drive and this helpsquite to the making of the film, by the way, the short that came with the tape is the funniest I've seen Pixar from the acclaimed For the Birds (birds), and the end of the movie with this homage to Lasseter tapes well deserves some laughter (such as which I suffered in my flesh). Ah! I forgot; parents of creatures of less than 4 years not carried their pipiolos to the cinema to see the movie! In addition to get tired and give them the afternoon, won't let enjoy the film to his fellow armchair, because between their snot, crying and "mama/papa I am pis" tarnished the enjoyment of the film, go, you go to the cinema and the kid you leave with the grandmother, aunt or Kangaroo! I said. |
1,981 | archivos_extraidos/MCE-Corpus-main/Dataset/2442 | Jose Contreras | Transformers | 2 | 5 | muchocine | Transformers works the first half. It works when no one knows they exist. | It has become fashionable talk about cinema popcorn, made for people who disconnects the brain into the room and cinema gafapasta, for people who want to show off. Example of the latter would be the incomplete "The lives of others"; as an example of the first thing worth us this film of Michael Bay. I have to say about this dichotomy that doesn't interest me. It tells me absolutely nothing about the film, I only speaks of as the spectators feel with regard to their own tastes.Yes I can say what I do not read the critics that say "palomitero cinema". They are not lovers, film snobbish. Dislike the film, mola les cache that gives praise to the big names and wear them in the tab as a medal: "I understand Dreyer", "I see movies by Buñuel", say. Just in case someone didnt read anything of what I have written, either does not know even my you aversions, give me the snobbish disgust. (I certainly like Dreyer, but not as much as the Farrelly brothers, for example).Made this point sociological, if I may, I will talk about film.The problem that loaded million and special effects producers such as Spielberg and Michael Bay should consider is do to what extent this waste affects a viewer? There is a scene in which the entire town is scene of a colossal sympathetic Autobots battle the evil Decepticons. If you want to hear an objective opinion, the battle is indifferent. All those billions in CGI arouse less interest than a conversation between a father and a son who wants to come out of the closet.Even though they intend anonadar us with his blockbusters, there is a path that leads to success, and that is the path the feelings that can not buy with effects, final firecrackers, or dazzling metal gadgets. At the beginning catches us the character of Shia LaBeouf, which is a common name in their land as here Jose, or Paco. There you shout "Shia LaBeouf!" and become twenty. The young boy goes to the Institute and not stands out. It is strained by the beauty of the class, which is easy to understand after seeing the actress have hired to interpret it, but she does not know that he exists, not even after you buy a second hand car, something husked, which he believes will finally break his celibacy.While the teenager plans to the way of approaching the bombonazo, evil robots, or Decepticons, they plan to as seizing land. The question is: has the second no interest! We accept the roll of the robots and the Save humanities because we know that upload you the moral boy, and gives you an excuse to kiss, but nothing more. It is the story of androids which must be at the service of the couple, rather than the reverse. Forget "Bay about basic things.""Transformers" works the first half. It works when no one knows they exist. The Pentagon knows they have killed one of its military bases in the desert, but do not know who (emotion). The boy knows that your car has something strange, but do not know what (emotion). Parents know that something happens in the garden, but do not see the four hidden (higher than the House) autobots (desparrame) behind the porch. The excitement of the robots is not the amount of things you know make or shoot at the final battle of the film. It consists of the face that is going to put each character when you to discover. Once discovered, the only thing that still retains some interest are the curves of the girl. |
1,982 | archivos_extraidos/MCE-Corpus-main/Dataset/643 | Bloody Will | La dalia negra | 1 | 5 | muchocine | Palm has fallen into the same thing that would make a newbie: take care too much the wrapper and neglect in a sovereign manner about inside. | How difficult is to find a film whose atmosphere and climate is flawless. Just as difficult that mix with a good argument. Brian De Palma, which did so well in "The untouchables of Elliot Ness" and "Trapped by its past" has fallen into "The Black Dahlia" on the same thing that would make a newbie: take care too much the wrapper and neglect in a sovereign manner about inside.Film Noir is back in the hands of De Palma, and does. 100% effectiveness in all that area that most reminds us the great classics such as "Cayo Largo": the protagonists are lit one cigar after another, the guys are very hard, girls are very calentorras though recatadas, and best of all, Hartnett with hat in bed after making love. With an excellent practice in "The untouchables", De Palma outboard a Master how turning Los Angeles into a murky city of 47 with all elements of film noir in its right place, but I repeat, what a pity that the script and history will not be equal.Sometimes stupid and absurd discussions break the magic completely. Sometimes I didn't know if stop listening to the protagonists to expect that in the next scene we remontaríamos the thing. It is not so, because not back but all desboca until you reach the end. The argument takes place on many occasions with an apparent inconsistency, and finish by not join much on the go and come from the protagonist in search of the culprit. Maybe a second viewing would make me understand the film in a different way, but I don't know if I am with forces withstand Hartnett once more.Despite having put my hopes in that De Palma this espabilaría completely, the performance of the Hollywood short ends up confirm me that this actor is so linear as deadpan, and I cannot find enough because of the lack of connection to history. We could imagine a good handful of actors who had taken the ballot more airy way, why not understand very well that led to the director to make the services of an actor who hasn't done a good job in his life. If I wanted to surround himself with young people, it could have done so without that implied incompetence.Girls I don't no but, although perhaps I was wrong to think that Johansson would be more cruel. I can not say that is the interpretation of his life, that insurance is coming, but nothing disappointed me. Correct without more, but if I have to compare it with the role of Hilary Swank, it loses. The multi-oscarizada is the best of the film and I thought he would never see a shred of sensuality in this girl until her role as genuine Wolf has covered me mouth. Impressive how remaining pearls on the bed.The side most notable are Aaron Eckhart, which makes it a thousand times better than the protagonist, although it was not difficult, and Fiona Shaw, simply wonderful.Two scenes to remember: K.D. Lang singing in the club where a chorus of vicious dancers leave you breathless, and the scene where Hartnett met the parents of Swank and in which the camera moves at the whim of its director, which reminds me the best that had "Snake eyes".The health authorities will discover that De Palma has gone through the lining boards avoid scenes with too much fumeteo. In virtually all of the frames there is one cigarette, the other great silent protagonist of the film. What bad time for those who needed a cigarette in order to support Hartnett.Un great filmmaker with two loose ends: his main actor and his argument. The next time will be Brian. |
1,983 | archivos_extraidos/MCE-Corpus-main/Dataset/4000 | Sandavito | Alien vs Predator 2 | 1 | 5 | muchocine | A waste of time and money, it will only please more fans of the most unconditional and may be only if deceive themselves. | A marvel of horror film whose main virtue was that not taught the monster far advanced the film came out back in 1979. Almost ten years later, an intergalactic hunting enthusiast made sweat the blind to the very Governor of California while it waving their dreadlocks to the tribal music of Silvestri. In 2004, Paul w. S. Anderson, in his role as champion of the adaptation of the video game to celluloid, brought the first installment of this crossover between alien bugs, version I did either not seeing the film and waiting for the DVD; something that has not happened with its continuation.Admittedly, Cameron added a more attractive and spectacular to the history of Alien environment (development of the Weyland-Yutani Corporation, all the paraphernalia of the marine space.), David Fincher provided the subjective vision of the Alien so many joys we produced to those who play the Alien vs. Predator video game and its sequel. Jeunet also did something productive for the saga. Although right now I can't think what, the truth (well, Dominique Pinon in a convertible wheelchair in a cropped, may be interesting - my inner voice tells me, and I reject it with a drab the hand gesture). Predator 1, with the same McTiernan's the Crystal jungle to the head, had his grace. And in the second part of 1990, it was curious, to say the least. I even dare to say that AVP:Aliens vs. Predator, the first installment of this mini series of two films (and hope that no more), was entertaining. But the crappy with a capital of the Brothers Strause, us is more than a cluster of absurdities, topical and estulticias one after another, in Indian row, that are humming as the film progresses and increase yawning.Nevertheless, this film has its audience. Without going any further, leaving the projection I could hear two people elucubrando about new features provided to the universe of the aliens and predators. And they spoke excited, Hey. But let us not deceive ourselves. There is truth, cinema popcorn cinema (as what I, which serves only to have a good time call), and monsters that should never see the light of a projector; even of the hose used the writer to write it.I played video games. I got in the skin of an Alien and a predator. And I enjoyed it. But gentlemen Strause, this is not a video game. And not a film of truth.To start the script can not be more obvious, topical, typical or meaningless. Acartonados characters taken from popular imagery (the prota newly out of jail, the sheriff scared, pretty silly.), sub-plots that begin and end in one or two sequences, horrendous dialogues. Shane Salerno, that comes from the television and whose greatest achievement seems to have been collaborating on the screenplay for Armagedón (1998, Michael Bay), delights us with a string of disjointed nonsense from the very beginning of the film.Music, to not vary in this type of production is more scandalous. Instead of supporting the film, it seems trying to compete with the image in terms of pretentiousness and bombast. It clogging more than provides, and one has to make real efforts of self-control to see ensuciada part of the music of Goldsmith and Silvestri of the original movies, registered between fanfares and trumpeting blows. And that composer Brian Tyler has a couple of interesting work, as Constantine y. y. y. well, okay. Only Constantine. And almost by the hairs.Let's talk about the picture. Daniel Pearl chooses to lighting notam of day and dark armpits which of cricket at night. And 70% of the movie occurs at night. The moments of struggle between the predator and the hundreds of thousands of aliens that seems to leave suddenly from nowhere become a succession of reflections between black spots and sound effects, a Fresnel enoooooorme of zillions Kw backlit so you can see rainwater, which is very nice. It is by the screams that differences who or what appears on the screen. It will be to throw imagination, and thus fill yourself the gaps - huge gaps - the movie. Out of the world of the video, Pearl seems to find lost in celluloid.The direction of actors or I am talking about. It is wasting time talking about nothing, and there as says Natalia Mateo in Traumalogy, Daniel Sánchez-Arévalo, "nothing is nothing, asshole".Realizing. Uy, the realization! Strause, appeared from the universe of the special effects seem to have not seen more than the extra contents of the DVD of the great films. Its realization is hackneyed and devoid of sense. They want to see it, but do not want to have anything with her.Finally, and in short, a waste of time and money. Loosely exit the market research that only appeal to most fans of the most unconditional and may be only if you cheat a little themselves. |
1,984 | archivos_extraidos/MCE-Corpus-main/Dataset/408 | Yul B. | Corrupción en Miami | 3 | 5 | muchocine | Miami Vice is not the best work of Michael Mann. Sometimes slow, but never boring for those who enjoy stories of policemen with easy trigger. | I would have preferred that Michael Mann, architect of the magnificent Heat and Collateral, had not gotten into this trouble. Start this project with the slab series tv screen is too much. Many prejudices when comparing a product of the 1980s had his grace with a pure style Mann action film, understanding this style as radically different from the spirit of the series.To understand what I say unto you, a note: the city of Miami appears in the first twenty minutes and the last twenty. Something unusual if we talk about what is the essence of the original Miami Vice. There are no patinadoras blondes of day or latinos in the beaches toast is. Action occurs at night in most of the film, and also serves to show the night life of the city. Put him corruption in L.A. and is equal.Therefore, and after a few minutes scanning a relative comparison to the series, ends one convince you forget better and the Portas names are thus as a matter of marketing. We are going to see a movie of Michael Mann, and point action.A from there, everything looks better: the atmosphere of the film is tremendous, Mann handles the camera as if it were a documentary that accompanies those policemen who appear in television. Repeat this formula for Collateral do so fast-paced action.The plot is the basic narcos-polis: Crockett and Rico will infiltrate as carriers in a network of Colombian drug traffickers to get to the man, which does not allow many jueguecitos. All telling you more would only serve to destroy you with the rhythm of the film.Okay that the script is nothing out of this world, but the skill of Mann with the light and the camera give a different dimension to what had been with another director. Perhaps lacks that kind of action and pace that is inherent in the summer blockbusters, but let us not be mistaken, this is not a blockbuster. That is the slab that I mean when you add a well-known name.Colin Farrel as deadpan as always. It has the same face as in Swat. Without a doubt the best quotes them has been Jamie Foxx, and is that more force radiates from this duo. Farrell is not my favorite actor, and this film has not done enough to change my opinion. Foxx is not you leave either, but at least he looks much more involved and human. Farrel seems doing trabajitos of fontaneríaY to say about Luis Tosar. What a face of ca **, because I have no other adjective. Mejorcito of the cast, and no it is by sweep for House. This guy has taken the opportunity of working with Mann and do so splendid way, not like others. Girls I am not, because there is not much. With the warm Miami expect see more meat, but Mann has not thought the same thing. Gong Li seems too cold for the role, and when he joins Farrel already is the peak of the ice age.Only one thing bothers me: like milk are so lined the Miami Cops. Not only in this film. Two policemen rebels: lined. C.S.I. Miami: lined. Crockett and Tubbs driving through the streets of Miami a mmorg that since it would like the cops in my neighborhood. Nor is there time to disheveled or stain. The two protagonists wear suits whatever you do just fresh. If it is final Vice.En Miami, and with a longer last summer only has given us trouble, Miami Vice is not the best work of Michael Mann. Sometimes slow, but never boring for those who enjoy stories of policemen with easy trigger. A renewal to the memory that was the series, where the only thing that remains is the name. |
1,985 | archivos_extraidos/MCE-Corpus-main/Dataset/665 | Cp | La dalia negra | 2 | 5 | muchocine | Visually very well worked, with a lot of direction, but a script that never focuses neither get hooked us. | I imagine a film producer, with a script on your table, thinking: this film is going to be the second L.A. confidential. It could have been, but lacks a little detail, the actors with charisma, with presence on screen. The small detail is that also the script is not exactly wonderful. The history, the argument, it is good, but when he became a script, I blows altogether. They are a lot of loose sequences, which are jumping from one to another, maintaining a skeleton of history, but without realized at any time. The recreation of the time is great, the very good picture, even mount (if you like the style jumps) this very well, and all the work of direction is very good, but the film that promised so much just not fit all parts. As I've said before, actors, even without doing so poorly, unable to fill the screen, do not have the strength to impress as hard guys, femme fatal or murderous intriguing. I do not like to refer to other films to make a comment, but in this case the similarities with L.A.Confidencial are very large, to create a complex story that gives bits and pieces loose in a principle to mount them all at the end. While in L.A. were still three characters at different times, the strength of the actors who played them (Spacey, Pierce and Crowe) combined with relatively simple stories, whose grace required in as there were no tricks or excessively complex stories, gave us a perfect film, while in the Black Dahlia, with a single Narrator character who guides us through the historyWe lose the history altogether. The problem with the Black Dahlia, is that the end doesn't make much sense, and the motivations that led to some characters to act in certain ways have no sense, and the truth the mysteries ending unresolved are more interesting than what just discovered, you are always disappointed.In summary: visually very well worked, with a lot of direction, but a script that never looks or get hooked us, and above all, with a few players, that even doing well, not transmitted force, intensity, greed or even the madness of his characters. Not bored, but nor it latches. |
1,986 | archivos_extraidos/MCE-Corpus-main/Dataset/4315 | Rafa Ferrer | Sin reservas | 3 | 5 | muchocine | It is not so comedy as one might expect (one smile 2 or 3 times, slightly), or as dramatic as it appears in the argument, has its moments and little more, simple, well made and shot, but despite being well implemented becomes something plumbate. | This is one of those romantic comedies where one wonders if, the taste for the writers and actors goes far beyond the proposal that is seen on the screen or it wants to deepen "more beyond", a tape that is easy to see the tape and feeling hungry, as well as a huge desire to cookIndeed, comparisons with the great "Ratatouille" Pixar are amazing, and in some moments he hoped to see the protagonist of the last wonder of interpretive plot Pixar.En rateta, both Catherine as Aaron, do not reach you the heels to Abigail Breslin (who turned 10 years during filming), girl that we discover in "Little Miss Sunshine" and here is a part of the weight of the action, but everytime he appears on-screen eclipse 2 adults, much more interested in look good, to give his characters; and that Catherine tries, a dimension different from the previously conceived.We in the city, once again we have with one character, while action is always developed in the restaurant where she works the character of Catherine, on the other hand, and driven by the impulses of this cuisine, they may be the best moments where it appears with his therapist where this has the best performance.I loved the soundtrack by Philip Glass, which, although it includes numerous items of Opera, has a main theme that accompanies the protagonists for much of the footage, incidentally this reserves a cameo in a bar near the end of the film.In short: Is not so comedy as one might expect (one smile 2 or 3 times, slightly), or as dramatic as it appears in the argument, has its moments and little more, simple, well made and shot, but despite being well implemented becomes something plumbate. |
1,987 | archivos_extraidos/MCE-Corpus-main/Dataset/1960 | Rafa Ferrer | Spiderman 3 | 3 | 5 | muchocine | Accompanied by popcorn fun and any refreshing drink what more you can ask? | Sam Raimi spoke in the presentation tape that this third installment of adventures of man spider would be "More" in all aspects, most villains, more history, more action, more screen presence of Peter Parker, more brides for Spidey, more headaches for the same, and much more budget (today the most expensive Hollywood sector), and somehow not us has defraduado to all those fans of the trepamuros, which we have almost grown seeing playing Peter Parker, as Spider-man, stories like the black suit (black Spider-man was called in my time), poison, one of the favorite villains of the undersigned, or always bland man of sand ("Sandman" in the comic), it has been a pleasure to meet with them in the armchair of the filmthe film though with a quite excessive duration at any time one realizes that you seated nearly 2 and a half hours, believe me that for an ass of bad seat like this, also a difficult challenge overcome, being so long sitting. Tobey Mcguire, reconciles with the character that has made him world famous, giving Spider-man a completely unknown dimension, much more dark, thuggish and bastard of what we had used in previous tapes, is true in comics, usually quite "vacilón" with opponents, which here is not the case; on the other hand, and looking again cast protagonist we find ourselves again with Kirsten Dunst as platonic love, with less elevation of screen than in the previous films, and much more discreetly dressed in the first tapes (I believe I took less that pink dress of the first film) James Franco, now as the Green Goblin 2nd that, want to tell you, to my reminded me a skier of snowboarding, rather than even villain of the comic, by Thomas Haden Church, we have the man of sand, bland, and adds little to the character, and where the only delight of the screen is in the sensational CGI effects that make him therein, sand pure and simple; Topher Grace is poison, I like most of the comic, it neither chicha nor another; He didn't forget about Bryce Dallas Howard that already I fell in love with in "The bosqué", I idolatré in "The girl in the water" Shyamalan and now as Gwen Stacy has re-entered a forced walk in the Olympus of my goddesses on screen, I do not know why but her blue eyes and such as Candida and fragile beauty dazzles me. I can not forget 2 important faces in the Spider-man saga, by a part of Stan Lee, once again dares with a cameo appearance by another Bruce Campbell's and is the ineffable actor of the saga of "Infernal possession" is present in all the tapes of the man spider. Sam Raimi composed a superhero to use tape, fraught with action, that does not go down of pace at any time (in almost 140 minutes of footage not stop things happen), and one is first to the Goblin then before the man of sand and finally waiting to poison Spider-man them of "candir" much better, I bet it will be one of the taquillazos of the year 2007 and will come back in a couple of years back to the cinema with a 4th delivery. Accompanied by popcorn fun and any refreshing drink what more you can ask? |
1,988 | archivos_extraidos/MCE-Corpus-main/Dataset/1990 | Matías Cobo | Spiderman 3 | 3 | 5 | muchocine | It is inevitable to do away with some sense of torpor and "already having gone through here" after viewing of this latest installment | Always have seemed more respectful of adaptations that Sam Raimi has signed the flagship of the Marvel. Full of winks to the most mythic comics, and always tried to capture the essence of a character like Peter Parker, a normal young man whom her powers Arachnids him placed with continuous moral dilemmas. However, when I now look at the set of all three films, I see a flaw common to other many sequels not planned as such since its inception. As each story is intended to be a one-off, all contain a hasty development of the characters. There is little time to deepen the protagonist Spider-man/Peter Parker, and much less on the side. The difficulties in the life of Parker or the Spidey should appear sooner to give, in the same footage, time to overcome them, to save their dear loved and bowing to their new villains, introduced quick and with a few vital history.The scheme worked to imply in the first installment while it plays perfectly his role of contextualizador prologue. But, having adopted this same pattern of development, knot and ending in the two following tapes, it is inevitable to end with some sense of torpor, "since having gone through here" after viewing of this latest installment. He tried to build a bridge to connect arguably the second installment with this knowing that the trilogy was question just after the famous success of Spider-man. But the line of continuity in the set has barely sustained by the promise of revenge that Harry Osborn (James Franco) made in the epilogue of the first film and the history of intermittent love between Mary Jane Watson (Kirsten Dunst) and Parker (Tobey Maguire).It has probably seen me disappointed by so much expectation created by a marketing campaign that 'sold' a history of the dark and adult trepamuros. The appearance on the scene of the symbiote suit gave much game for entering a rayana duality in schizophrenia. However, the conflict between the goodness of Parker and the tempting power of a multiplier suit of Tarkus qualities is reduced to an autoparódico episode in which Parker check the fringe to the forehead and begins bragging and go bad boy. Once past the malevolent measles, little to punish, you we are good child's face giving her previous 'look'.Apart from these objections of a geek from the Spider-Man comic books, I must say that the tape is abundant in the appalling effects of the saga, more and more surprising and more streamlined invoice, and holds interest despite having a long footage for a proposal of this kind. I'm not saying it closes in false trilogy, but I think that interest in a possible fourth part is played after this less revolutionary delivery of the announcement. Perhaps one day, when it is possible to conceive of one of these films without much desire to rentabilizador and as a less bloating project, someone dares to adapt classical comics Hero franchise of the Marvel as Kraven's last hunt. Hopefully. |
1,989 | archivos_extraidos/MCE-Corpus-main/Dataset/3600 | Rafa Ferrer | Toy Story 2 | 3 | 5 | muchocine | An excellent continuation of a myth of the animation current as they are the first characters created by Pixar, that a server has special affection. | After seeing "Critters" now, I keep rewinding time with tapes of Pixar, I suggested I go see all of here at the end of the year, so now it played the following occurred later, the second installment of the"toy" most famous of the cinema of animation of our times.Made just a year after "Critters" and intended for the DVD market, was John Lasseter who pushed the tape everything he could to "move" directly onto cinema screens, it getting also the prize for the best animation film.The villain of the tape, which provides voice actor Wayne Knight, this fact almost almost to his image and likeness.Again the voices we have Tim Allen and to Tom Hanks in V.O. addition, his voice not inferior in any way, as well as its argument (riddled with references to cinematógraficas are going since 2001 an Odyssey of the space, Star Wars, Jurassic Park or some other Western).On the soundtrack we have Randy Newman, one of the usual Pixar with the current Michael Giacchino (which has made the "The Incredibles" or the "Ratatouille" as well as various Pixar shorts).In short, an excellent continuation of a myth of the animation current as they are the first characters created by Pixar, to which a server has special affection, and with which they could get me the thorn photographing me both. |
1,990 | archivos_extraidos/MCE-Corpus-main/Dataset/548 | Robgordon | Salvador | 3 | 5 | muchocine | The constant search for the tear of the spectator by the director, lengthens the film and makes it unbearable. In any case, and despite this final error?Salvador? It contains great virtues that make it one of the most prominent national films of this year. | Since 1995 Manuel Huerga was not placed behind the camera. It was with "Antarctica", starring Ariadna Gil, film which earned him a nomination for the Goya as best new Director. Despite the good reviews and recognition for his debut film, Huerga has left that eleven years transcurriesen to return to directing. "And it has done so with"Salvador Puig Antich,"which Huerga shows have evolved according to the times, despite its limited presence in the film world.""Salvador" is a film that is clearly influenced by the aesthetics and narrative of American cinema. Something (it resemble the yankee film) Spanish cinema has always tried to with an unequal luck and what now, Huerga and their "Savior" leave more than carry the day.It could be argued that "Savior" is tape successor Miguel Courtois "Wolf" and the first heir to the "Munich" by Spielberg, to which aims to look at all times.The history of this martyr of the last stirrings of Francoism was a material with many possibilities for the film. And taking the life of Puig Antich, recounted in "Cuenta atrás." «The story of Salvador Puig Antich» of Francesc Escribano, Huerga has composed a thriller and at the same time a prison film, as well as also, a portrait of that troubled time and a family drama with susceptibility to easy tear.During the first half of "Salvador" attended the youth of the future militant "M.I.L" (Iberian liberation movement), interpreted by a given Daniel Bruhl, wherein we know his loves, his family and friends, as well as its entry to the anarchist group and their subsequent actions. All this, this narrated with a good rhythm, a most perfect setting, and a suitable picture.And it is that in this stretch of tape, the good use of Visual Media, Assembly and staging of "Salvador", exceed much of national productions.It is also the first time to tape outlining the birth of personality and beliefs of Salvador, which led him to fight against the, still extant, Franco dictatorship. Huerga opts for a tone of tribute did the character, without going into a strong Manichaeism, something that moves away it of becoming a political film. Note that the interest of its director is another. Flees documentary tone, introduces a voice off and narra flashbacks, which makes "Salvador" a biopic of the taste of Hollywood and atypical in our country. "Something that has brought complaints from some sectors, which have been used for the figure of Puig Antich commercial purposes, and on the other hand, been to the liking of the public at large.""Salvador" in addition, as a historical document of the last years of the Franco regime, works by inserting events, situations and repressions, taken from that context and perfectly assembled in the film gear, something that gives a great result to Huerga.Ya in the second half, "Salvador" becomes a prison tape, and with it the appearance of Leonardo Sbaraglia as one of the jailers. The relationship to be established between Bruhl and Argentine actor, is the best of the film. A high-flying interpretative duel, in which once again, Sbaraglia composed a good character, which is intimate and emotional in the evolution of the treatment with Puig Antich. Too bad this is the only success of this final part of "Salvador", which is missing completely losing its last half hour.The constant search for the tear of the spectator by the director, lengthens the film and makes it unbearable. Huerga strives to prolong the footage unnecessarily, with long sequences of the Sisters of Puig Antich, recurring appearances of his lawyer (another good performance, in this case of Tristan Ulloa) and fanfare Visual (such as rain and wet in the cemetery Roses), do not do than spoil the good work carried out during the film, giving it a forced tone cakes.In any case, and despite this final error, "Salvador" contains great virtues that make it one of the most prominent national films of this year, as well as a good demonstration that Spain is possible to make a film that does not have anything to envy, as your invoice, to movies yankee. A Ribbon recommended and in a way, a small but significant, step forward for the Spanish film. |
1,991 | archivos_extraidos/MCE-Corpus-main/Dataset/4187 | Caruco | Los Crímenes de Oxford | 3 | 5 | muchocine | It is not a great film, but if more than acceptable and interesting. That Yes, we must first save the pitfall of initial minutes pulling to bland. | I give a point only by give the opportunity to take a leading role and allow us to enjoy so many minutes on screen of a so great like him actor John Hurt. And I continue with the score. Another more so by the presence of Elijah Wood, proving that you can do something to break his image of hobbit. It is not a great film, but if more than acceptable and interesting. That Yes, we must first save the pitfall of initial minutes pulling to bland; presentation of characters and situations, and where Álex de la Iglesia shows us what will be its realization: pulling rather flat and television, abuses of close-up and disappointing levels and contraplanos in the sequences of dialogues, as if it were delighted with the retrieved distribution and want to be more respectful to him.In general it is very difficult to find any identifying mark of the style of the Community Manager, read black humor, bad baba or personal gender twist. We will have to wait a while to break the tone with any technical or formal virguería and this will be a flat sequence from the interior of an auditorium, going out to the street and entering a bookstore, moving... culminating with the discovery of the first crime. A plane sequence that most significant characters are going through.And most, not all, because as a good tale of suspense that boasts, in the style of Agatha Christie, the screenplay is truffled of side and main, characters about which do fall inevitable suspicions about his possible involvement in the facts or not. Also proliferate the winks to the Hitchcock master: level sequence cited with trick rope type; the presence in the distribution of Anna Massey, actress of frenzy; or an overhead plane under a staircase, forced reference to Vertigo. And all this seasoned with dialectics on philosophy versus mathematics as possible methods to arrive at the truth of things, or slight flapping of a butterfly can cause a hurricane in the place and most unexpected moment.And if not I've counted wrong, hence wore added two points on 10. Would add you another: one more for the gorgeous Leonor Watling in leather, and only covered by an apron, while a clever side travelling in general level discover us your buttocks. Scene that will make ready is Álex de la Iglesia!, not a few male viewers to the film.I will now go to SAC and will put three more points by, adapting the novel murders of the Argentine Guillermo Martínez, offer us a film with a plot of intrigue which, while not will go down in the annals of the genus (another thing is what will happen with the rear of Leonor Watling!), or the Mise en scène, prove, is elite and entertaining. Without more. And they are already six points. It is not bad! |
1,992 | archivos_extraidos/MCE-Corpus-main/Dataset/1636 | Luis Zueco | Infiltrados | 2 | 5 | muchocine | What many call style may not be as good quality. Call it style gives positive connotations, but when these characteristics are so repeated and repeated for so long they become negative points towards the work of the director. | Martin Scorsese signature with the direction of this film one more of his works. Neither more nor less. Despite being a remake of Infernal Affairs Asia, the film has all the keys that make up the style of the American director. Mafia, violence and power form the triumvirate which reigns everywhere and at ease by the already extensive filmography of Scorsese.En this film, once again, are male character underpinning the entire weight of the film (as was already the case in Taxi Driver or one of ours). His new actor Leonardo di Caprio, shows once more isn't a bad actor, and that age will providing you greater presence on the screen, which also means greater intensity in their interpretations.It should be noted the reunion on the big screen of Di Caprio and Mark Whalberg after having agreed both at the beginning of their film careers in diaries. It seems that the years have also improved the interpretative quality of the latter. In counterpoint to them you can see Matt Damon bland of usual along with a Jack Nicholson already not sobreactuado but rather caricatured if same.Otherwise little more needs to be said that the originality of the story are we owe it to the writer of the original film, which makes that we give your head against the wall to be awarded the American screenwriter for "tuning" an already made script with an oscar. Highlight however always fluid and successful mounting of his usual Thelma Schoonmaker, which Scorsese should pose put in the opening credits at the same height and with the same font and body of letter to his own name.A film director that already surpasses the seven decades of existence and that belongs to that generation of so-called "bearded" directors, should give us something that captivate us. What does however has an aftertaste to already seen. Somehow the insistent location of all his films in his native New York, shows the impasse in which submerged. A claim can lift many blisters among his followers but often if you look at the branches can be that the tree don't you see the forest.What many, both critical and public, call style perhaps is not so good quality. Call it style gives positive connotations, but when these characteristics are so repeated and repeated for so long in a format so similar, as they are the majority of his films, they become negative points towards the work of the director.They say the worst thing that can happen to an artist is his work generates indifference. Dear friends of Coppola and company have had his career films that have marked milestones in the history of cinema for one reason or another. Although currently their careers can say that they have evolved to a point where they are lost. However fidelity likewise Scorsese, many admire, my view is what has burdened his genius and his career has been sentenced. It is not enough that a couple of his films have elements more than notable and worthy of a great director. Sometimes it is preferable to make a great movie and lose the course of your career, that address more than a veintena and realize that after nearly forty years, your feet have budged an iota of the streets of New York. |
1,993 | archivos_extraidos/MCE-Corpus-main/Dataset/210 | Cp | Carretera al infierno | 4 | 5 | muchocine | Hard, bloody, tense, keeps you glued to the Chair at all times | This last night I was enjoying a classic film DVD. Good, or a film which some consider a classic. Valeee, I consider a classic from my personal list. Highway to hell (The Hitcher in original version). The first thing that comes to mind, hours after seeing her, is accustomed to the current cinema, with five consecutive finals and films stretched endlessly, that short and direct made me. Short, because at no time got bored, despite being a film much slower than the current ones, with some scenes where simply the protagonist Jim Halsey (Thomas Howell) is sleeping in the car while they pass the miles. The feeling of being there, get, that the camera does not move to jumps, and scene lasts for more than one minute. The truth is that it can be enjoyed occasionally return to a film as well. Direct, there is no large Grand dialogues and scenes where the bad looks set to kill someone, and threatens, he s'amaga, and no kills. No, here the violence is direct. John Ryder, namely Rutger Hauher in his best role (Yes, I like it better than Roy) is a threat constantly, you do not know by that acts as well, only that makes it. It is dangerous, sadistic, cruel and enjoys especially making suffer to Halsey. Not to mention some scene bright as when it is Tomb in the bed of the motel, next to la dormida Nash (Jennifer Jason Heigh) and begins to caress, unless this wakes up, in a scene that would be the Summit of the film, but were for the next scene, where the police surrounds Ryder in the cockpit of a trailerwith Nash tied to it by the legs, and with arms tied to the trailer, on the verge of being dismembered, if. It lifts the foot of the clutch, what would happen if the police shoots him. Tension by clouds, while Halsey rises to speak with Ryder.Rodada in 1986, shows us the roads deserted of Texas, in the best tradition of the cinema of roads USA, with car chases and perfectly shot accidents, a gallery of characters that we barely got to see, while appear and disappear, but that even so, we imagine perfectly, in just two strokesWhile the story focuses on the three main characters.In short, hard, bloody, tense, keeps you glued to the Chair at all times, both when there is a chase with shots, as in the dialogues between Ryder and Halsey. One of the best assassins in series in the history of cinema, unfairly forgotten in these lists we see constantly of bad movie. |
1,994 | archivos_extraidos/MCE-Corpus-main/Dataset/389 | Marta | C.R.A.Z.Y. | 3 | 5 | muchocine | A film interesting and entertaining, though somewhat long. It is possible that lovers of the music and the icons especially enjoy. | Why are so few Canadian films to our screens? As in the case of many other nationalities, it seems that they have to come backed by awards for release. "C.R.A.Z.Y", certainly not an exception: award to the best Canadian film at the 2005 Toronto International Film Festival and best Director and screenplay, among others, in the Festival of cinema of Gijón 2005. In any case, without being a masterpiece, is a film that is worth the trouble. He has the life of Zach, the fourth of five siblings, from his childhood through his youth and, incidentally, portrays the life of a family in the years 60 and 70. The protagonist's relationship with his father is one of the fundamental axes, marked by a repressed and not accepted homosexuality. Interestingly, this does not become the only theme of the movie, but that goes to appearing and disappearing in a natural way as Zach grows, without leaving aside why other aspects such as the evolution of his brothers. I liked this approach, because sexuality is a part of life, not the only one, and films dealing with sexual identity-related conflicts sometimes tend to focus on them and forget everything else. Among the negative aspects, I would stress that the characters of the brothers are quite stereotyped and that the tape there is you extra footage - personally, I think that the journey of the protagonist is totally unnecessary-. Among the positive, without doubt, the soundtrack. Therefore that: an interesting and entertaining - film that nobody thinks it is a dramón, because it is not in any way-though somewhat long, it is possible that lovers of the music and the icons especially enjoy. Oh, and C.R.A.Z.Y are the initials of the five brothers (ja, ja, but what ingenious are!). |
1,995 | archivos_extraidos/MCE-Corpus-main/Dataset/1082 | Emilio Calvo de Mora | El pisito | 5 | 5 | muchocine | The pisito tells a true story of a man who consented to marry the old that realquilaba the fourth in order to inherit the floor and so the dream Golden (institutional) marry his girlfriend of a lifetime. Cinematography adult, free of clichés. | The dreadful darkness of the Spain of the Chilblains and coffee with hunger Azcona and Ferreri reflected in the pisito appears in the light of the now a costumbrista, picturesque portrait, a variegated novelón of the life of our ancestors has no validity in these new times, but currently us denies as he wants and the Rotary information agencies vomit titualres that could be attributed, without any effort, to the Spain of the post-war.What makes Azcona as nobody has done in the Spanish film is writing with the nasty in the tip of the pen or the keys of the Underwood heavy then. Azcona moves away from the topical landscaping of exaltation of military and patriotic it was boring and cinema drowned to make destornillantes, lyrical and beautiful arguments in his stark vision of poverty of man and popular consent of a moral and economic hardship that rambling that Valle-Inclán, a few years earlier, baptized as Esperpento.La the pisitio dissent comes here: open channel (with vitriol, fine viciously occasionally) monotone contemplation to the Spanish of a foot was its national navel. Everything will crumble with the classical prose of the sainete and between joke and joke a bloody puyazo to the censor, i.e., to the consciousness of a country coming out as it could in a war and was left to cajole by a flamenco show rich and lively, anthological manifestation of our homeland culture strain Azcona and simpar icon of everything that we thought beyond the Pyrenees. Berlanga, Bardem, Neville (in their own way) and Ferreri formed a film adult, free of clichés and fully exportable in the manner of Italian neorealism was three quarters of the same but with a Pleiad nourished of dissidents of the regime of artists concerned about the policy and that they saw in the cinema (we say in art) ideal for venting a little vehicle and, of road, give food for thought (that said my grandmother) to any citizen accomplice in history.The pisito tells a true story of a man who consented to marry the old that realquilaba the fourth in order to inherit the floor and so the dream Golden (institutional) marry his girlfriend of a lifetime. Mode 13, Rue of barnacle, exemplary comic in all aspects, Ferreri opens your camera to many characters: not allowed to carry by the dramatic skills of Rodolfo, novio-esposo - widower added formidably interprets a never well weighted José Luis López Vázquez. What makes Ferreri is giving us a huge additional information at every level: isn't one thing but they are several and they all have readings which affect the main, to put it in some way. Ferreri flees the close-ups and work wonders when, mudamente almost, plant camera in the center of the narrative action and leaves the characters go trampling, occupying the space, creating a rich choral representation which then has been triumphantly copied by other directors to demonstrate, as Ferreri, the thick interweaving of several frames that are juxtaposed without objectto create the unique plot that we believe to be seeing.I am now thinking of Woody Allen, but that is going very by the branches.Azcona, who then made (there goes) El cochecito, the executioner, Plácido, cousin Angélica, the national shotgun, the girl of your dreams, Belle Epoque, the tongue of the butterflies and Ay, Carmela, who remember, some I've forgotten, is the master of the estrangement: his characters populate the lines of his works and there is no sign which can be understood as author's mark: Azcona is limited to plant his universe of middle class, their neighbors staircases, and accelerate, as if it were a wrist watch, the ancient mechanisms of the comedy of kid humor, that is true, perhaps the most serious.The idiosyncrasies of the Spanish people of the time (already seen with a remoteness) is not in the translation of some social references: Ferreri and Azcona go further and burrow in where it hurts most biempensante class and detentadora of power. Do hilarity of the death, of marriage. Evidenced with genius live in Spain between the year 40 and 70, then halt the fall, was a heroism which does not paliaban the divas of the copla and rural stories botijo and boyfriend who speaks with his girlfriend through a fence. Poverty RIDs ethics. The need for housing, never before so manifest in the film, conducive to morality ally with interest. Of as a result of this marriage was born the ingenuity, the trap, the funny picture of ugliness. |
1,996 | archivos_extraidos/MCE-Corpus-main/Dataset/2869 | Jeremy Fox | Ratatouille | 5 | 5 | muchocine | At this point all you have already seen the film but if not so id running to see it because it is, without doubt, one of the great films of the year. | After much disillusionment film summer, most of the moviegoers had entrusted to us to Santa Pixar hoping that she we draw from the tedium.For this reason, the same day as the premiere and despite not find me in the best of the biases, I set out to the nearest cinema to enjoy a good time to film allowing me to escape I foul real world."It was a success.""Ratatouille" is a project that came to be on the brink of disaster when the original director, Jan Pinkava, was quietly dismissed and replaced by one of the safest in the company and, possibly, the most renowned animation film director: Brad Bird.No know what would have been the film without him, but with him at the helm of the direction taken hardly could be better.With the arrival of Bird changed many of the elements that make now great movie. The two most obvious examples and acquaintances (imagine that in the kitchen of the project there will be many secrets that we shall not know never) are the script finally written by himself, and the design of (at least) some of the key characters (including the protagonist's).It is difficult to say everything that I like about the film without making a long critique. The above script is a real wonder and works as a mechanism of watchmaking. A script in which everything happens at the right time and in the appropriate way. The dramatic progression is perfect and worth as an example how to go creating excitement around the character of Anton Ego and the great way of resolving it with one of the most emotive flashbacks in modern cinema.Curious is that in a genus as the comedy which I think perhaps the worst the present Treaty and where do brand new authentic clunkers badly written and worse directed Pixar don't forget to release a good film after another although few of the quality of this "Ratatouille" which has already among the very best of the company.Of course the pace is frenetic, situations strung with each other seamlessly and only him could be attributed a dish bajoncillo pace halfway through function.As I say, everything I like about the film. Why not I fail to mention the wonderful soundtrack of Michael Giacchino returns to dazzle us after his brilliant work in "The Incredibles" (another jewel directed by Bird).Anyway, at this point all have already seen the film but if not so id running to see it because it is, without doubt, one of the great films of the year. |
1,997 | archivos_extraidos/MCE-Corpus-main/Dataset/3068 | Rafa Ferrer | Arma Fatal (Hot Fuzz) | 3 | 5 | muchocine | Similar to the other film (is inevitable to not talk about one without talking about the other), will win with viewing and commenting among friends, because the first impression with which one is is that it is great, Yes, but not for both. | Yesterday in my criticism on "Fido" spoke in passing of "Zombies Party" and as the actors Simon Pegg & Nick Frost have become "world famous" thanks to this movie, it is normal that comes another film of this duo (which is a trio with its director), and if the previous spoofed horror and zombie cinema, here his teeth biting action cinema, more specifically the blockbuster like "2 rebel policemen" or "Call him Bodhi" of which one of the protagonists to talk, so like any "Buddy Movie" self-respecting, even to the great Chuck Norris.Imagino that this film is the kind that win in their viewing and that, as one sees her and her comments with friends in quality (and laughs) WINSSince a server, just be has laughed 3 times in the almost 2 hours of footage, and that for this type of comedy is something not very good.It is true that both Simon Pegg and Nick Frost are great, the zombies first party was a "peazo of vague" and is now a "Superpolicía" (at times reminds me Danny Glover in the "Lethal weapon" series), the other repeats almost both the zombies in this role, and is that not another role may be asked to Nick Frostgiven his face and his physical complexion.Note also the presence of Jim Broadbent, Timothy Dalton, Paddy Considine and Steve Coogan, in addition to the small cameo by Martin Freeman and Bill Nighy, and just as Santiago Segura does in torrent, it's normal that Edgar Wright displayed on screen to their "buddies".Anyway, that like the other film (is inevitable to not talk about one without talking about the other), will win with viewing and commenting among friends, because the first impression with which one is is that it is great, Yes, but not for both. |
1,998 | archivos_extraidos/MCE-Corpus-main/Dataset/3918 | Monica Jordán | Deseo, Peligro | 4 | 5 | muchocine | Ang Lee will revisit himself and shows us a world as contradictory as his own figure, a world of play to the masks of personalities and infiltrators who end up finding lost in a tidal wave of emotions and unanswered questions. | Say at this point I would like to, danger is a return of Ang Lee to their culture after the adventure of Brokeback Mountain or that with this new work it proves not only Jolie but that happens on tiptoe by the concept of authorship, gets nothing when it comes to talk of a director that is characterized by the (alleged) contradictions in his career. Lee is, as it was Hawks or Ford, a craftsman of film but you have more artist than many others despite being an independent soul within the directors not authors, a concept that slope understand but that it is confirmed film after film.With desire, danger Lee shows us a world as contradictory as his own figure, a world of play to the masks of personalities and infiltrators who end up finding lost in a tidal wave of emotions and unanswered questions. The film pushes us with an incredible opening sequence, to immerse ourselves in this world full of complexities armed by a myriad of intricacies that stand out (hidden) desires of his characters. In desire, danger Lee returns on the underlying theme in most of his films emphasizing the two complementary concepts of the title: the desire and danger (wish). A young student is infiltrated in a world of political bosses through a theatrical game of kids coming to stay locked in a vicious circle halfway between the theatrical plots of Lubitsch and the blackest master Hitchcock film. An explosive combination which in the hands of a director so preoccupied by putting aesthetics of the scene becomes a dangerous cocktail.And it is that, despite the more than correct end result, I would like to, danger just to leave cold the spectator than as lost as the protagonist cannot but see what happens on screen as something that is totally unrelated to him. It is perhaps this obsession with measuring and perfectionism which leads to Lee not to allow to their scenes (and here I speak especially of the sexual) contravene the danger to become desire. Everything you in In the mood for love was by implication means desire, desire, danger remains in a simple attempt to spluttering despite the incredible performances of its two actors actors Maggie Cheung and Chow Mo-wan (also protagonist of the film by Wong Kar Wai, to which Lee looks askance at this revisitación to the world of carnal desires). This coldness in the scene is precisely which makes the 157 minutes of his footage become excessive for a story that could possibly have been dealt with in less time, without despising never fantastic Assembly that throws hand Lee. All the beauty that give off their planes and the pace of some of their scenes (that exploit on the film as authentic Fireworks) are worthy to say that I would like to, danger is a great movie. Too bad we can not overlook is Ang Lee and that at this stage, desire, danger seems a second (or third) part of something that we have seen before in his filmography. |
1,999 | archivos_extraidos/MCE-Corpus-main/Dataset/1703 | Emilio Calvo de Mora | The Queen | 5 | 5 | muchocine | Glamour, tears, the Planet Zog, the Protocol, the tea of the five deer of Balmoral, the Princess of the people, imperial phlegm, labour, the gossip, the lackeys, the magnificence and the circumstance. God save the queen. | In a moment of the film, a Blair adviser says that the British Royal family live in the Planet Zog. In another, the Duke of Edinburgh, that character halfway between paid idleness and the most exportable British phlegm that might be on the screen or in Carnaby Street, says that a fourteen-pointed stag has been seen in Craggy Head after hearing the television news in which realize the death of Lady Di, in Paris, with her boyfriend.The queen is a nothing hagiographic portrait: an elegant exercise of sentimental voyeurism which operates from a very British way of looking at life and that, ultimately, examines the status of human beings in these times of confusing morality and fickle political adhesions. Do not put your finger in the yellow. Nor does barracks in the gossip. It's telling the pulse between the Blair labour, newly installed in 10 Downing Street, and the Queen, which has already seen the presence of ten Prime Ministers since that Churchill sit front of her to ask him, in solemn Protocol, the executive officers of the motherland.The merit of Pete Morgan resides in an almost non-existent script, based on the vitriol of always understandable dialogue, although the casual viewer lacks adequate political training to understand the hatred of the monarchy to a laboralismo represented by a newbie, but firm in its determinations, Blair always attentive to the Protocol and things will be aware that, in the end, made according to its whim. They are those who surround the Prime Minister which most stab the figure of the Queen and Blair himself is that ultimately opts for appreciate the value of a figure representing an ancient institution that the people admired and which never, perhaps low no circumstances, it will give back.Film of a prodigious, nothing overload containment to no frivolity, is an academic example of how to make excellent movies with very fragile mimbres because the film does not give much of it. Put one to tell what it is, concludes the explanation in a short minute. What about everything else?Helen Miren, which I have not spoken and am not going to say anything in fact because everyone has written and said Excellencies and now I have the verb fluid for the sake of time or fatigue on Monday.Abur my friends. |
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