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2,200 | archivos_extraidos/MCE-Corpus-main/Dataset/3996 | Oscar Martínez | En el valle de Elah | 4 | 5 | muchocine | A film exquisite way of disturbing background, with a cast of actors in State of grace. | Starring Tommy Lee Jones, Charlize Theron, Susan Sarandon, James Franco, Jason Patric, Josh Brolin, Jonathan Tucker, Rick Gonzalez, Barry Corbin and Frances Fisher, in the Valley of Elah suponde the second feature film after Crash of Paul Haggis, who has collaborated with Clint Eastwood in the scripts for Million dollar baby and the diptych consisting of flags of our fathers and letters from Iwo Jima.La film tells the story of Hankveteran of the war of the Viet Nam, who must investigate the disappearance of his son Mike, soldier serving in Iraq which is mysteriously absent without permission from its base. With the help of the detective Sanders and his wife, will be reliving the experiences of the boy in the middle. What you discover will make you even question his own military career.In recent months, lots of films have deepened sectional in the Middle East conflict in general, and the American military interventionism in particular; Some examples of titles like Redacted, Lions for Lambs, the shadow of the Kingdom or the battle of Haditha, and in the Valley of Elah must join this growing list, albeit with some points.And is that, unlike most of the above titles, the new film of Paul Haggis has the gift of timelessness, because his criticism not focuses in a specific military conflict but the consequences of that conflict, porm what well might move its moral to any time and place. Although, let's face it, any minimally successful war film should possess intrinsic way that quality, but in the Valley of Elah would be perhaps closer to movies as born the fourth of July that Apocalypse now, Platoon or metallic jacket, and that is perhaps what makes it different.With Tommy Lee Jones in the role of the typical patriotic father Made In Usa as the main protagonist in the Valley of Elah inoculates his criticism against any armed conflict and less visible consequences through the investigation of the disappearance of a soldier after his return from Iraq, in a plot of calm pace which, luckily, not abused the increasingly more recurrent turns 180 degrees, for the benefit of a greater deepening of his characters. And it is that if something noteworthy in the Valley of Elah, the remarkable interpretation of its cast, especially Tommy Lee Jones, Charlize Theron and a Susan Sarandon almost anecdotal but that, as usual, robbing who were put ahead any plane as soon as they leave two Palm OS field.In the Valley of Elah is shown both as an open criticism of all conflict armed, as a severe warning to the consequences less visible of these conflicts, such as a touch of attention to excess of patriotism and pride, national and personal, so therefore inoculated in us from birth society and that, increasingly, drifting in a malaise and a disappointment to, unfortunately, often discover when it is too late. Highly recommended. |
2,201 | archivos_extraidos/MCE-Corpus-main/Dataset/3819 | Ana Belén Pacheco | Roma Ciudad Abierta | 4 | 5 | muchocine | If there is a film that is recognized as the home of the Italian neorealism that is Rome Cittá Aperta of Rosellini, from my point of view is essential to understand the film's quality. | If there is a film that is recognized as the beginning of the Italian neorealism that is Rome Cittá Aperta of Rosellini (and the bicycle thief of De Sicca).(The terrible relevance of the tape is that is almost contemporary acts recounts was recorded in 1945 on facts of the 43-44). While in Europe and United States defend the need to spend time to assess historical events the Italians dared to denounce recent and cruel stories of a regime that still had many adherents. Why tapes like this suffered censorship, not only in Italy. In United States was her it shortened, reducing its duration in a quarter of an hour. In Argentina it was inexplicably removed from display by an anonymous Government order in 1947. In the Western Germany it was banned from 1951 until 1960. But none of this prevented that you won the Palme d'Or in Cannes in 1948.Sobre a screenplay by Rossellini, Sergio Amidei, Federico Fellini and Celeste Negarville, the film is loosely based on the true story of Fr. Luigi Morosini, tortured and murdered by the nazis to help the resistance. In the Rome of the 43-44, Interweave the stories of several people related with the anti-Nazi resistance. The stages of the devastated city are authentic so no one can deny the realism of the same. Especially sad and shocking is the story of Pina masterfully performed by Anna Magnani who takes over the screen at each level and leads one of the most striking scenes of Italian cinema. Part of the successes of the tape is the ability to display a city devastated, hungry and terrified in the temporary period of just three days that are dramatically truncated with a RAID for the arrest of father Piero destroying the life of several of its neighbours.There are no concessions in Rome Cittá Aperta. All the fear, tension and violence. Not hide betrayals, the motivations or the reality of a people torn apart by a totalitarian regime and its filmmakers, honest and courageous dare to put it on the screen. Rosellini worked in a company of cinematographer and they managed to steal some plans and footage used in his film is said in the history books to portray the desolation of the city which is actually the main protagonist.With the passage of time may question whether the quality of the tape or the taken options are the most appropriate and many valuing Rome Cittá Aperta as a correct exercise but overrated. However all will agree that mastery of the script and the film and historical conditions are, without a doubt, what makes it a masterpiece of the time which remains captivating to friends and strangers.From my point of view, it is essential to understand the film's quality.THE movie data: Won the Palme d'Or in Cannes in 1948. suffered censorship in almost all countries that was brand new. |
2,202 | archivos_extraidos/MCE-Corpus-main/Dataset/1196 | Rafa Ferrer | Rocky Balboa | 2 | 5 | muchocine | If he had not returned, nor nothing had happened. For fans of the most famous pugil of cinema, the rest, except what I have quoted, of the most forgettable. | Covered in a more than repetitive soundtrack, have this last episode (which reaches to remember the last few chapters of a television series) in the "Rocky" series starring Stallone, here more as an old decrepit and Dumpy, which by the shadow that was once one of the most famous actors of the action genre.A story that does not lead to nowhere, and is that me has interested or excited, nor I have imported as this minimum, forced return of Balboa to the big screen, where you have to wait more than 30 minutes. for something memorable happens and where the action is carried only the pugilísticas scenes.I have clear that Stallone is Eastwood, nor the 6th installment of Rocky is "Million Dollar Baby", but is that in this film even Sly becomes shadow of the later Hillary Swank; mention the film of boxing that I have in mind more fresh.On the other hand, should highlight the pugilísticas scenes, making one start to give punch to the armchair, as well as the presentation, under the patronage of the American channel HBO (namely the pasta that will have left by their presence on screen), in a film that never should have done.For fans of the most famous pugil of cinema, the rest, except what I have quoted, of the most forgettable. |
2,203 | archivos_extraidos/MCE-Corpus-main/Dataset/4136 | Andrés Pons | The ungodly (Inhumano) | 3 | 5 | muchocine | Who of the two is more monstrous? That answer her should get everyone if same. | THOMAS C. DUNN made his debut in the direction with this junction between occurred near his home and HENRY portrait of a serial killer. A script which is of course nothing new playing with many themes in their development, the murderer has a childhood of abuse, they are recorded real murders with the help of someone of questionable morals, to return to get juice in some moments of the mockumentary.If we assume that the film not wasted originality can be thought of in one of many copies circulating on the film scene of earlier successes, but the truth is that he has virtues to spare if same to draw attention.From powerful interpretations of the protagonist duo the almost debutant MARK BORKOWSKI also collaborating on the script only holds a previous to their backs not premiered at our lares called BLOB, accompanied by the most experienced WES BENTLEY in his best role since it despuntara AMERICAN beauty.The characters that surround the psychopath are virtually even worse than it already that the director has the great success of humanizing to limits which the spectator can feel real compassion for the.Photography highlights offering a dirty image in the morbid atmosphere well achieved at all times, unforeseen twists that keep alert all the senses to combine a plot that becomes increasingly denser.The Allegory of a man who on the one hand made children's charity works and later devoted to kill in cold blood is really shining through the infernal game established with his blackmailer, a loser who acts creeping to achieve his objectives. who of the two is more monstrous? That answer her should get everyone if same. |
2,204 | archivos_extraidos/MCE-Corpus-main/Dataset/782 | Jose Contreras | Casino Royale | 4 | 5 | muchocine | Bond is played the skin much more and is less predictable. Even the love story have few drops of truth that one is not expected of this immaculate dandy. | Casino Royale begins with a declaration of intent. 007 discovers the traitor of the Organization and while the villain him lecturing on how difficult it is to kill a man, 007 flies him head. Bond is not, in this installment, the blameless man who only returned blows without dirtying the tuxedo. In this installment, it seems that it competes with Ethan Hunt, and nearly beats hard. This is the Bond you never had commissioned from Roger Moore.Se called "Casino Royale" because Bond plays a Fortune with a criminal who handles the money of the terrorists, Le Chiffre in a casino of Montenegro. Le Chiffre is a bad much more real than the previous series. Not build huge fortresses useless to make Bond the pieces. Just much more easy to understand and to believe, and to foster criminals money is it played in the bag and the tiles. If it loses the game knows will make it mince.Bond chases a small criminal in Madagascar in a retrospective collection of acrobatics and pull thread up to discover a conspiracy in an airport, also anthology. Thus arrives at Le Chiffre.Cuando Bond persecutions had fallen into a rut, one you know before it will lose its Aston Martin in a ravine, this installment makers have decided that they could still surprise us. Bond is played the skin much more and is less predictable. Even the love story have few drops of truth that one is not expected of this immaculate dandy, dipsomaniac lover of the martinis. The scene of the girl under the shower by the weight of his conscience the had signed Truffaut.Hay a rule script that says that the second act can not end well. If it ends well, it is that it will happen something terrible. In reality did not lack the rule. When the protagonist has achieved what he wants and does not fall the iron curtain, one already prepares for the Gale. |
2,205 | archivos_extraidos/MCE-Corpus-main/Dataset/4305 | Jesus David | Juno | 4 | 5 | muchocine | Juno is a good film, different (but not both), entertaining, fun, but neither is the eighth wonder of the world, which is what suggest many critics and nominations to the Oscars. | A few days ago I said that he would go to see John Rambo, but I had to choose between this and Juno, that the economy does not provide for both. The case is that I thought that see the new Stallone would make me a lobotomy by what went to see the movie before us. Juno is a good film, different (but not both), entertaining, fun, but neither is the eighth wonder of the world, which is what suggest many critics and nominations to the Oscars. Even so, ceo that I was right to choose movie, if you follow reading I tell you. If not, not.The story focuses on Juno (Ellen Page) a 16 year girl who becomes pregnant of Bleeker (Michael Cera) a classmate. Juno is believed to be the most convenient giving child/Amoeba/bug nail some adoptive parents to not be ready for such a commitment. A simple and at the same time complex story with good intentions and a more than credible interpretations. Even Jennifer Garner is more than acceptable.When I speak of the actors I would highlight to Ellen Page for one more than credible role, it is possible that his nomination as best actress is not so far-fetched idea at first may seem, especially after watching the competition. On the other hand is Michael Cera, a guy who falls well just to see his face, here it seems that he repeated the role of Superbad but the truth is that it comes to or painted, see much future in the two. Also note to Jason Bateman and j. k. Simmons, although it could have given them a little more than role.If we adhere to the nominations, for best foreign film comes a little big, at least when comparing loser. And the nomination for best director. for more of the same. More understandable are the nominations for best actress, as I have already said, and best original screenplay, which is fairly currado. The film leaves a good taste, due, in large part, to the excellent soundtrack that accompanies and, for me, the end find it me beautiful and very successful.Are not dealing with a comedy of splitting the chest as it can be Mortadelo y Filemón and Donkey Xote (Note irony). It has good comic moments, intelligent but sometimes dialogues are "too smart", and a touch of drama that comes pretty well. A good movie totally recommended to view throughout the week. For the next must be open hole for the new Coen (is No country for old men) and Tim Burton (Sweeney Todd). |
2,206 | archivos_extraidos/MCE-Corpus-main/Dataset/2283 | Rafa Ferrer | Entre mujeres | 1 | 5 | muchocine | No one in their right mind can believe nothing of what they say in their 90 min. footage, nobody, I repeat, nobody cares "pepino" what happens, what will happen or what has gone before, indeed of those tapes that they visionan and forget so fast as you view. | While a server is biting the nails, waiting to give 21: 00 and began the last League game, which could be (and in the end gave) the League the team of my loves, my wife suffered, which I had all day wearing the shirt of Real Madrid and perhaps as revenge, decided to watch the tape that brings us today; the truth is that, which usually I read, know the "tirri" I have all that comedy romántíca self-respecting and this is no exception, where a more open than the English Court argument on first Sunday of each month, only can save the presence of our beautiful Elena Anaya, the first face that appears in the footage.And it is the tape, once again, peca of all kinds of stereotypes that one can see in any TV movie desktops, starting with the main actor, continuing by Meg Ryan (what noses has there been in the morros?) and ending in Kristen Stewart, whom we met as daughter of Jodie Foster in "Panic room" of David Fincher.Nadie in their right mind could believe nothing of what they say in their 90 min. footage, nobody, I repeat, nobody cares "pepino" what happens, what will happen or what has gone before, indeed of those tapes that they visionan and forget so fast as you view.Anyway, that I did not like anything, and that having the mind set on another site, I became heavy and plumbate. |
2,207 | archivos_extraidos/MCE-Corpus-main/Dataset/4316 | Rafa Ferrer | Salir Pitando | 1 | 5 | muchocine | Curious is that in Spain, a country where soccer moves more money than any other sport, do more movies based (or supported), but it is also true that if all the tapes that versin on football will be like this... Shuts down and we Let's go | Now is the part where I would have to say typical, already worth you Spanish film, always the same, and that bla bla bla, as I always say this and it hurts the mouth of repeating it, will try to avoid the subject and go directly to give my opinion on the ill-fated film, where neither Willy Toledo, an actor that I like quite badboth in film and in person (and Yes, I know him in person), or Javier Gutiérrez (which had bad concept until I saw him in "The room of the child" by Alex de la Iglesia), manage to shine; nor Lydia Navarro, which I I I have thrown all the footage thinking where had seen and he was in the adaptation of "Closer" to the theatre in Madrid together with Bethlehem Rueda.Es curious that in Spain, a country where soccer moves more money than any other sport, is not more movies based (or supported), but it is also true that if all the tapes that versin on football will be like this. Turn off and let's go, or the script (simple and very weak), nor the plot (simple and loose also), or actions (sobreactuado Toledo, loose Gutierrez) not even the "party" supposed that provide the main character (or the Recre was going to UEFA, the Valencia won the League, nor the players are the authentic.)they never engage the audience.On the other hand the tape is repetitive with so much music in its soundtrack, over and over again pretending, so sound the tape seems funny and great.It is true that should be more tapes on football as amateur I am find it me curious, but please, with something more serious, or at least with a fresh and surprising argument okay? |
2,208 | archivos_extraidos/MCE-Corpus-main/Dataset/893 | Silvia | Va a ser que nadie es perfecto | 3 | 5 | muchocine | We are all blind, lame and deaf, because we all have shortcomings, emotional and sentimental. Sometimes we are deaf to things that we must hear, blind to the things that we don't want to see, and lame because we arrived late to many sites. | Ruben is deaf, Carlos is blind and Dani is lame. The three friends meet to celebrate the hen of one of them, which will be the night that will change their lives. That night, each of llos will fail to fulfill a dream. Ruben (the deaf), sing. Dani (the lame), dancing in the water, and Carlos, (the blind) driving a car at full speed.The latest creation by Joaquín Oristrell brings to the table the problems of persons with disabilities, an unusual item in the screenplays (mostly in Spanish). The history shows some barriers (both architectural and social) that are people who hold some type of disability.An example of problematic situation for the protagonists is shown in the scene in which the Group of friends discusses the door film if they are going to see a foreign film in subtitled original version or if they will see it folded. What may seem like a minor detail is all a dilemma since the blind man, obviously, is unable to see the subtitles and the dull, if you do choose to see the dubbed film, will not be able to understand the movie to know the language, that can only read lips. Highlights for its quality performances by José Luis García Pérez, on the character of Fudd lame and Santi Millán, who - without falling into the cartoon - manages to speak as you would a person with hearing problems.But the interesting thing about the story is not then develops under a plaintive tone or victimism but with more normal. Albert Espinosa dares even to introduce humorous touches in the script, without falling into the lack of respect for the collective to which it refers. The fact that the writer is lame no doubt influencing the successful treatment of the history. Espinosa is already an expert to write on topics that people flees to speak and do it from the perspective of the comedy. He wrote an endearing story about children with leukemia (4ªPlanta) full of friendship, tenderness and in which not missed the humor, ironically on the death in 65 minutes and on this occasion speaks of disabled people, but not from the position of pity towards them, but with the intention that we see them as people not so different from us and as valid and capable as any other.As it is usual in some films that they populate our billboards, the trailer and the poster they do justice to will be that nobody is perfect because they sell it as a light teen comedy, when it comes to a product of much more psychological depth. Perhaps the public that expected a comedy where the laughs are a constant will be disappointed in this comedy drama impregnated.The message that is derived from the movie is, according to Joaquin oristrell that "behind anyone, there happens what happens, is a human being." "You have to look to that human being, not the disability." History encourages us not to turn our backs on people who are different from us because we all have some deficiency. The director admits in an interview what he liked the screenplay was the idea that we all have some kind of disability, at least some emotional. Oristrell explains: "We are all blind, lame and deaf, because we all have shortcomings, emotional and sentimental." "Sometimes we are deaf to things that we must hear, blind to the things that we don't want to see, and lame because we arrived late to many sites".A comedy that excites, entertains and serves at the same time to raise awareness of disabled people are first and foremost human: are people who feel, fall in love, have their fears, suffering, and have desire to have fun as anyone else, and even laughing from themselves. |
2,209 | archivos_extraidos/MCE-Corpus-main/Dataset/2199 | Bruji | La cosecha | 3 | 5 | muchocine | The harvest complies with the overall goal of the seventh art, that is to entertain; and with the particular of the genus, which is none other that be scary. Very afraid. | Stephen Hopkins (strange crazy filmography director) is placed at the head of this story based on the old formula that exploits alleged ancient prophecies unleashed in our days. With clear allusions to the classics of horror, admirable photography and careful production, the harvest is, however, an irregular film, specially designed for the showcasing of a great actress and only recommended for fans of the genre. Sometimes, life gives a second chance that helps to understand the facts of the past, clarifies the own thoughts and obliges to believe again. With this approach, the producer of Alien Vs Predator (not kidding) discusses this terrifying project which is already among the curses of Hollywood, not by duty to its world premiere in Barcelona, but to be seen wrapped between hurricanes (Katrina and Rita) in Louisiana. Miraculously, the crew has even regrettable material losses, although the real miracle is that those responsible for a thing called lost in space have managed to get one film more than acceptable. In any case, the Joel Silver admiration for Gaudí's work, the Hilary Swank sympathy with the Spanish press and the threat of extinction of a genus which is reduced to the Eastern fantasmogénesis and sound effects to scare, draw us towards analytical benevolence.A priori, the harvest is not immune to the paranormal phenomenon of infestation, systematically, manipulates the film of recent years, and manifested in flashbacks "spectral" and "diabolic" voices in off. In this case, and fortunately, none of the constants are used as drivers from storytelling, being used only to demonstrate the cockiness of the screenwriter, to corroborate the various issues raised to reach a coherent explanation in the final resolution. Only that this self-contemplation, leads them to forget that the script has two major inconsistencies. The first, starring the fate of the priest, vilely mislead the Viewer, paving the way for a forced twist. The second, leaves open the possibility of a sequel, which could well owner "collection". Commonplace for a filmmaker accustomed to sign works such as predator 2 or nightmare on Elm Street week elsewhere, not can we talk about inadequate measurement of time, although Yes is true that rain's flashbacks, leading to a hasty end, it could have been avoided by adding fifteen minutes to the footage. We can appreciate the good intention that pays homage to the best mystery novels, in which the various secrets are revealed in the three last pages. Forgive the omission of, at least, two plagues that, surely, would have no relevance. The production of a 96-minute tape is appreciated. But not the horrible feeling of "bottleneck" that is patient when the lights are lit. Fortunately, that was not an argument of film noir.In the section of hits - out of the brilliant performance of the doubly born Hilary Swank and inherent to this type of movie special effects-, is necessary to highlight the amazing work of a camaleónica photograph that, at all times, follows guidelines dictated by the story. Blurry images that occur in the Chilean adventure, contrast with the sharpness of the panoramic views that show the blood swamps. The masterful lighting that triggers the last of the biblical plagues, alternates with the game of shadows that surrounds a memorable frame: the rise of the protagonist by the rungs of a ladder. Here is where the movie fan memory will make us rescue a mythical scene of the ladder of Caracol.De equal way, will be continuing the references made to other so many classics of the horror film. The "plague of pregnancies" will remind us to the village of the damned; the nightmare which culminates in feet stained clay, to the cemetery living; the figure of the priest, to the prophecy; the dream and the concentration of neighbours, two key moments of the seed of the Diablo.En paragraph of the blunders, we find the irregularity of Hopkins, capable of creating a certain atmosphere of tension, generate an interesting plot of intrigue, and shoot some shots with the clumsiness of the worst accused. It is then when assaulted another horrible feeling, which makes suppose that the entirety of the film has not been shot by the same director.Ultimately, the harvest complies with the overall goal of the seventh art, that is to entertain; and with the particular of the genus, which is none other that be scary. Very afraid. |
2,210 | archivos_extraidos/MCE-Corpus-main/Dataset/645 | Oscar Cantero | Tiempo de Valientes | 4 | 5 | muchocine | Great movie with that laugh enjoy the Latin American lightweight comedy, which demonstrates once again that the lack of resources is often become a spur which sharpens the wits. | The truth is that for some time that he wanted to see time of brave, but between one thing and another it has been several months until one fine day in the last week I decided to serve me a gin-tonic, get the slippers and sit on television to enjoy or suffer the film. He had good image of one of its protagonists, Diego Peretti, which he had seen another job, No sos vos, soy yo, that left me an excellent taste. The Argentine environment, the accent of its people and the freshness of their characters I embaucó from the beginning. The dialogue seemed superbly built, demonstrating a mastery of language, Double Entendre and the irony that already began to give by lost in the world of current celluloid. The complicity between Peretti and Luque conveys confidence and naturalness, as the ratio of any pair of good friends. At times the indent of Fund is simplicity, that although it performs its function of portraying without acrimony the corruption of the police forces of the Argentine State, it could have been better assembled, because in this case the sum of the parts is better than the total. With this I mean that it is the typical film that with the passage of time remember specific scenes but forgets the argument. With everything and that, I think a great film to laugh enjoy the Latin American lightweight comedy, which demonstrates once again that the lack of resources is often become a spur which sharpens the wit of creators that since outweigh economic deficiencies affecting the South American film industry. |
2,211 | archivos_extraidos/MCE-Corpus-main/Dataset/3940 | Ramón Balcells | La Búsqueda: El Diario Secreto | 2 | 5 | muchocine | Overly predictable scenes, a too horny American President and a disastrously modeled and repetitive script as above that I hope that it will not recur. | The legendary phrase "second parts were never good" has never been true, because well we could dispense with her on many occasions. The truth is to the last consequences which have been released (all of them virtually, blockbusters), have proved to be quite lower than its predecessors. And it is that there are usually more budget in the second part, but why no more plot level? The answer is simple: the writers are lazy. This could be perfectly applied to the new adventure of treasure hunter Ben Gates, the search: the journal secret. You could well say that it is entertaining, all in all we find ourselves in a film adventures of the vacuum but with some grace. But its huge flaw is that you cannot reproduce anything new regarding the correct the search, since it stagnates in the same situations (some of them modelled) and the screenplay is virtually identical, that Yes, changing destinations and some other special effect. There is nothing new, but less smiles, more pathetic scenes (see the visit to Buckingham Palace or the oval office) and a weary protagonist. So the only thing notable is that a sequel is quite entertaining and unpretentious, which already is much in the case of a film of this calibre, but continue trying to the Viewer as someone stupid reception. There is one thing that just never understand: How do Nicolas Cage get choose so many bad movies and make rather painful actions in all of them? Please an actor can have some slump in his career and having chosen inappropriately according to what film, but Cage has spent years doing shit, and the worst is that surely it won't settlement. The cast of the film, excluyéndo latter, is simply correct, showing some fairly decent performances. But, undoubtedly, if there is someone that stands out above all is Helen Mirren, with a not too deep role but all advantage with his skilful and excellent way of doing things. Otherwise, overly predictable scenes, a too horny American President and a disastrously modeled and repetitive script as above that I hope that it will not recur. |
2,212 | archivos_extraidos/MCE-Corpus-main/Dataset/1629 | Francisco Bellón | Hannibal: El origen del mal | 2 | 5 | muchocine | Hannibal: The origin of evil is one of so many thrillers that Hollywood vomits every year: dark, gloomy, and with a horrifying bordering on al gore, pure and hard. | Let's be honest, in the current film there is an alarming lack of creativity and originality, whether by both virtues complete absence, or lack of executives that risk with new and fresh proposals. And having said that, do have never felt curious as to who was the Chief Executive of Hollywood who decided that it was a good idea to make a sequel to a great taquillazo, but going back to the past and reviewing the origins of this story? And who would be the creator and disseminator of the word prequel? What reservation destination for two real visionaries like these? Even by speculating, they may have separate places reserved in the sixth basement of hell with the assassins in series, rapists and lawyers emerging on television, or perhaps have share suffering with the inventor of acrylic furniture.After three movies, which are actually four that the Red Dragon was the remake (sorry, new version, that with so many terms one confused) Hunter, is something not already know the public about the work and miracles of Hannibal Lecter there? Finally, similar existential doubts and such filósoficas and moral disquisition is them leave you, dear readers, are the most appropriate judges. Hannibal: The origin of evil tells us, how well it reads its title, traumatic childhood and youth of Hannibal Lecter (Gaspard Ulliel), and the fact that became it a bloody and ruthless Monster. After that excellent film that is girl with the Pearl, Peter Webber faces a similar challenge without complexes, and signing a more than acceptable tape of suspense, dark, although it is in excess of truculence. The first thirty minutes are the best of the film, which has just falling into monotony due to a somewhat weary rhythm and an excessive duration (requirement of the producer). Gaspard Ulliel is correct in its interpretation, but who find it a worthy successor to Anthony Hopkins does crude oil, with forgiveness.Hannibal: The origin of evil is one of so many thrillers that Hollywood vomits every year: dark, gloomy, and with a horrifying bordering on al gore, pure and hard. We actively encourage all those who come to see the tape that do it on an empty stomach and digestion made, though there will always be a spectator to the peculiar culinary tastes of Hannibal Lecter produce hunger. In that case, bon apetit. |
2,213 | archivos_extraidos/MCE-Corpus-main/Dataset/2775 | Kiko de España | Aquarius | 3 | 5 | muchocine | Horny and full of references, especially to Argento or Brian De Palma film. | Last night I could not sleep and I swallowed this hilarious movie of terror "of all life" argument is delusional (I guess that about "Deliria"): a theatre company rehearse the play "The night of the OWL" and one of its actresses suffers from a problem in an ankle, so he decides to go to a doctor. in an insane asylum (!)To get there, Irving Wallace, a psychopath who killed a sixteen people (although they are not sure if there will be more, he is not very talkative, so says the doctor) escapes in the car of the actress, enclosing the company at the theatre and ending with them one by one in the way that best know, despedezándolos. (Hence the title of the Chronicle, do not you go to believe).Is super horny and full of references, especially to the film Argento or Brian Palma.Muy recommended for lovers of the genre, with a lively rhythm marked by the deaths (an every eight minutes). The film (uncredited) duration: 88 minutes.Number of deaths in the film: 11.Una phrase: "There is nothing like the entertainment world" indeed, because it is entitled "Aquarius", no idea. |
2,214 | archivos_extraidos/MCE-Corpus-main/Dataset/3516 | Francisco Bellón | La camarera | 2 | 5 | muchocine | The waitress is an excessively loose romantic comedy that lies closer to the fussiness of Chocolat than of the magical realism of like water for Chocolate. | If there is something that sells today in our society, it is morbid, and there are all the pseudo-programas television whose sole purpose is to bring to light the more morbid stories to feed the greed of humans by the rough events. As a result, is almost unbelievable but I say applauded that a fact so dramatic as the murder of Adrienne Shelly has not been used as promotional tool of the Camarera.Desde here we reiterate our most sincere appreciation to the Fox Spain Press Department, for not playing with sensationalism and pain alien in order to increase the excitement around one of his movies. Having said that, it should be noted that the waitress is a comedy with some melodramatic and romantic touches too cloying. History is intentionally left halfway between drama and comedy, although the end result ends up being very soft and sentimentaloide. The script has profound ups and downs, and the characters that fall friendly too reach the ridiculous, are poorly written and less developed. Intended, in addition, use the culinary elements to give the film a magical atmosphere, but this also fails, and stays far away from major films such as like water for Chocolate and A touch of cinnamon. The interpretations are correct, although it is noteworthy that Keri Russell sounds as a possible candidate for the Oscar for work so correct as bland.The waitress is an excessively loose romantic comedy that lies closer to the fussiness of Chocolat than of the magical realism of like water for Chocolate. History, neither excited nor makes laugh, incurred on numerous topics, and its end is more predictable, if it has value to withstand such an indigestion of sweet till the last consequences. |
2,215 | archivos_extraidos/MCE-Corpus-main/Dataset/2039 | Francisco Bellón | El niño de barro | 2 | 5 | muchocine | The child of clay is an acceptable product of entertainment, who stays away from the fast-paced and intense psychological thriller that promises publicity. | What is it that terror and suspense Spanish that Captivate viewers around the world? Well, it is not really so, since national genre cinema still resisting a very important market, the Spanish. It is ironic that while in United States praise Spanish terror (and no, do not refer to politics or the world of the heart), in Spain the public attends mass see the bloody nonsense of Hollywood.Jorge Algora made his debut in the feature-length fiction with the child of clay, an approach to the figure of El Petiso Orejudo, Argentine serial killer who lived at the beginning of the last century. The figure of the serial killer is very recurring in the film, but Algora discusses history from a new perspective: rather than from the point of view of the criminal, does so from the point of view of one of their victims, tormented with visions of the murders. From the outset, the tape immerses the viewer in a disturbing atmosphere, very well achieved thanks to the work of Algora, as well as the excellent photography of Suso Bello. However, as the plot develops, the film loses bellows and intensity at the same pace that decays the attention of the respectable. Note that Algora still not fluent narrative fiction, that prints a rhythm excessively slow and contemplative, which is more suitable for a supposed psychological thriller. Another deficiency of the child of clay is becomes something quite predictable and monotonous. The characters initially interesting and juicy, also transformed, leaving behind their development and becoming flat. But not everything is bad news, because all performers doing good work, especially Daniel Freire and Chete child Lera.El of mud is an acceptable product of entertainment, that stays away from the fast-paced and intense psychological thriller that promises the advertising, but can be seen and is forgotten when it comes out of the film. |
2,216 | archivos_extraidos/MCE-Corpus-main/Dataset/3042 | Caty | Lost in traslation | 4 | 5 | muchocine | Basically, the story of two people in different appearance in a culture and in a different city: Tokyo. Will when I saw the first images of this film, I was really impressed with the feeling of loneliness, be? out of place?, which transmit their characters, though in one of the most populous cities in the world. | Basically, the story of two people in different appearance in a culture and in a different city: Tokyo. When I saw the first images of this film, I was really impressed with the feeling of loneliness, of being "outside place", which transmit their characters, though in one of the most populous cities in the world.In a hotel in Japan's capital, Bob Harris (Bill Murray), an American actor whose career ranges from layer fall, passes a season to Japan to shoot an advertisement for Whisky, disenchanted, in full crisis 50-his marriage is boring, pointless and boring, and her acting career is no longer what it was, this back everything and anything already surprised, living day to day by pure inertia- and in which the culture shock that involves travel to the country of the sun rising, only does accentuate this crisis. But in the midst of all this apathy is a young American woman, Charlotte (Scarlett Johansson), also lost in the huge hotel, in the huge city, who travels with her husband, photographer by profession, and seem more enamored with his work that his wife. They can't sleep, they cannot ask "what am I doing here", and clear, so lost two people just for being in the bar of the hotel bar, where every night is equal. The first dialogue of the two protagonists, which begins with the phrase of Bob Harris Lough Charlotte: "I have prepared a plan to escape from this hotel, then escape the city and finally in the country, will be dangerous, but I need an accomplice" is clearly revealing the feeling that unites them. From this moment, the two realize that, despite the age, they have much in common, and begin to be known and to take refuge in the other, walking the streets of Tokyo, speaking late in the hotel.transformando room at the complicity that occurs when, in a strange country we find a compatriot and this seems to be the only reference to our everyday world (if you have travelled abroad and you have) (after this, know that I mean) in a very special relationship (because of the remoteness of the home, giving to think that two people, in their usual worlds, or had met), not being anything carnal, but more protection, support. The argument is as simple as that, many people may think that simple that it is boring, but the truth is that during the two hours that lasts get hooked to the screen, despite having a pace rather slow. Bill Murray, taking as it has clear talent for comedy, never seemed a good actor, but in this film is quite convincing. Scarlett Johansson, with a clean look, fits perfectly in his character. Anecdotally, tell Sofia Coppola conceived the role of Bob Harris thinking exclusively of Bill Murray, demanding that if he did not incarnate the actor been unless in Japanese land, not he shot the film.With a mixture of comedy and drama, much of the tape seems a documentary (attention to photography, very good) about the curiosities and peculiarities that Westerners can find when traveling to Tokyo: the language is totally different (attention also to the dialogue in French which has Harris with a Japanese in a night bar at wee hours of the morning)television programs are different and shocking to our tastes, striptease clubs are different forms of entertainment, in conclusion, far from the average of all that nuestras.en, the complicity between the two main characters will building with delicacy, fleeing from many clichés perhaps, in which another type of director, had fallen. Sofia Coppola was consolidated with this film as Director after "the Virgin suicides" (another film with good enough criticism to be an opera prima). For me, a film that leaves you with a very good taste. |
2,217 | archivos_extraidos/MCE-Corpus-main/Dataset/1906 | JLO | Eyes wide shut | 5 | 5 | muchocine | If he thought it was his masterpiece, is why contradict it, not? | Eyes wide shut both becomes a strange and achieved final Testament, of a personal and obsessive director, as also a film fascinating for its psychological complexity, its schematic construction - Kubrick - and his refined technique.With points high in the picture, scene and soundtrack release, as in all his films. We are in the presence of one of his best movies, the more personal, not only its final stage but his entire filmography. Also loads his grey points: a rapid difficulty of understanding, slow in some passages and plans, limp and perhaps disposable scenes in a more global vision. -At some point - minor problems if you want to. One is from the will, with several options of reading on various topics related to the couple: jealousy, loyalty - and at the same time - different levels psychic or psychological; real and dream-like moments. Complex characters were saying, duals and a rare feeling: to feel which is a unfathomable film even with repeated visions. Dreams of the story moved to oneself to get confused - and never know well - when they are the moments of dream or reality. An essay on human relations focused on the more complex relationship of all: the marriage.The title can also be translated as "Closed eyes wide open", analogy or play on words, which suggests a dream or close our eyes to reality. A walk for two consecutive nights by the mind of the hesitant doctor William Hackford, incarnated by a required envelope long but more than correct Cruise, squeezed by Kubrick to the limit to get an ulcer according to chimentos of the shooting. A doctor stalked a thousand times during that time, by the confession of his wife of a desire not done with a man that leaves William in a State of shock. A woman named Alice, incarnate and in an excellent performance by Nicole Kidman, making us feel and experience the duality of his role as victim / perpetrator.-Always repressed - sexual desire is packaged in several female forms through the tale of Arthur Schnitzer - published in 1926, in Spanish "Dream story" - text influenced and several points in common with the work of Sigmund Freud, that not by chance was a disciple and contemporary of Arthur.Se stands out for especially film, the constant question that one is done if allpart or none of this night journey belongs to the world of the dreams of the own protagonist. Never it is indeed unveiled although coming from a director as S. Kubrick, the reality is always more surprising that the darkest of dreams. Blue tones in confession scenes between the couple - related blue dream-the shades of Red - passion, wildness - ballroom of the Castle takes place where the orgy and the Victor (Sydney Pollack) pool table, give us a more accurate track.Therefore a sexual film, although always sex in Kubrick films are hip with dark, dirty, forbidden (Lolita, Clockwork Orange, Barry Lyndon). It is one of the many traces of his work, one of the most pristine. The soundtrack is excellent, minimalist and classic themes that seem to facts to the director by the use that gives them: expressive, dense - depressive - and at the same time strong.A previously unreleased female look dealing with female characters - where they exist - touched almost always misogynistic in this director. Eyes wide shut differs significantly from its predecessors. The female characters guide the protagonist in the film, becoming a primary part and are the only ones who really know where they are standing.The pianist Nithingale, the own Will, the owner of the local costumes, characters erratic, clumsy and full of doubts. Alice, the beautiful woman of the orgy that saves his life - and we will never know if it is the same that he saves first-, the widow who declares his love, the prostitute, until the girl/lolita store, on the other hand have certainties.Incredibly, in a moment of his career, Kubrick thought of making a film of soft/porn, with the tentative title of Blue Movie - in the middle of the 63'-and few technical achievements that he saw at that time in these achievements. It would have given us that experience knowing his perfectionism is unimaginable indeed. The scene of the orgy in a magnificent Castle, is in itself, a mini-film. Oppressive, tense and bella, a taste rarely seen in this type of situation, protruding a cosy soundtrack with a mantra of keyboards on dismal key.Not for nothing the password to enter the castle is Fidelio - work of Beethoven-that addresses the issue of relationships and jealousy. A film with a symmetrical construction, reminiscent of the misfortunes that happen to the protagonists of almost all of his films. A journey of roundtrip by feelings, experiences and learning final. As Alex in a Clockwork Orange, Barry Lyndon own Bowman in 2001, one in born to kill and crazy Jack Torrance in the shining. choice of actors alleged - at first sight-bad choice of Cruise and Kidman as leading, is contradicted by the film. We can not deny the attraction and the public - and the own Kubrick - magnet of the then couple and usual protagonists of covers of magazines. Kidman complies with its usual intensity, and even seems extent cloth. Cruise holds her character with dignity and character, in an unusual role in it, making it in a register or neutral tone that favors the film, but in contrast to his ex, without extent you nothing. We know of the excellent eye of the director for the choice of actors, are stars or unknown, in all his films.In sum, Eyes wide shut is constituted in one of his most vital films despite its leisurely pace, where returns to his above-mentioned obsessions, and perfectionism in Grand scenes highlighting and becoming a good shows of the best and most characteristic of his films. Where it incorporates a new and so far new vision: the express a sentiment close to the feeling of one human being rather than a machine, which was a repetitive criticism of his film from Clockwork Orange from critics.According to co-writer Frederic Raphael - I might add in his book "Here Kubrick" did not leave it very well stopped - he only cared filming interesting "situations" with the characters rather than psychoanalytic aspects of each one of them. Before his death, the same Kubrick believed that this was his best film and in fact us sounds not exaggerated, always bearing in mind the memory of 2001 that looms immediately.And to tell the truth if he thought it was his masterpiece, is why contradict it, not? A few days of having screened the film for Warner Brothers executives, Stanley Kubrick - on Saturday 7 March of 1999 - died of a heart attack while he slept to his 70 years. Probably thinking about doing the eternal touches for the last time to his new and final work teacher. "Without a doubt, so we will miss for a long, long time.""Kubrick considered Eyes Wide Shut the best film of his career."Julian Senior (Executive of Warner Brothers) "people may misinterpret almost everything that they coincide with their points of view." Extracted art what they already think. "I wonder how many people have changed its view about something important thanks to a work of art."Stanley Kubrick |
2,218 | archivos_extraidos/MCE-Corpus-main/Dataset/16 | Dover157 | King Kong | 5 | 5 | muchocine | King Kong | The effort of the director for making this film making in his masterpiece narrowly costs, health, money, and his wife...xD. and is the great Peter both efforts made in the draft that thickened about 25 kilos in a short time, surpassed the initial budget in 200 million dollars and his wife are gossip. Or we have a movie cared for to the smallest detail, with some really impressive visual effects, a pretty good picture and some appropriate actions. And is that this king kong 2005 difference well little of the original of the year 1933 in terms of characters and plot. Some scenes are calcadas to the original thus respecting the previous work and throwing a little land that terrible remake of 1973 with Jesica lange in the role of the diva.So I think that is why thank the director to us beyond shown a film true to the 1933 that although the argument is not very complicated this new version has tried to deepen the relationship between the woman and the beast. To highlight the great work of Naomi wats for transmitting the affection that comes to feel for the APE and the performance of Carl Denham in the role of Jack Black. But I think that above actions this sovretodo special effects, a display of technique and engineering that leaves with the mouth open more than one.To begin this introduction to New York City in the 1920s is simply splendid, and later the island skull, with indigenous peoples, the rugged jungle, huge creatures and the mighty Kong. A very well recreated Gorilla, both modeling and movements (thanks to Andi Serkis). But although as throughout this film sins of several things. The most serious is its duration, because certain scenes from my point of view is the could have saved, because there are scenes such as the of the ship that sobran and make heavier waiting to see the ape. The duration is a burden that has failed to calibrate well Peter and unfortunately will cost dearly.And other negative point is the soundtrack. Here Peter has neglected her more than the Lord of the rings. It is not that it is bad, only expected a soundtrack to the height of the ESDLA. I think even the game has better soundtrack. By the way, the official game of the movie is highly recommended, it shows the hand of the director and that is welcome because it is fairly faithful to the film.In short, I strongly recommend you see this film to the film because seeing her on TV screen is a crime. That you not take back their 3 hours of footage, in the end I left a good taste in mouth. |
2,219 | archivos_extraidos/MCE-Corpus-main/Dataset/951 | Alberto Concepción | La vida es bella | 3 | 5 | muchocine | A point of view different from the Holocaust... not too credible but that it is a hymn to life. | I had heard wonders of this film, and to tell the truth, it is a gift, especially at this time so commercial and superficial.eso Yes, in a sense, and much to my regret, they disappointed me some things, because expected me a real masterpiece and I found a beautiful film although not so well mounted.To tell the truth, it is a story of impeccable script in its content and its way to present it. Without a doubt, the title of the film shows the message: the most beautiful film is flawless and commendable attitude of the father (great Roberto Benigni, showing its good do in comedy, in a role which earned him to get the Oscar for best actor), which manages to create true emotion in the Viewer.But precisely what let me down was the way in which mounted: there are certain scenes which note too that we have a film to fiction, and I do not think that this is what precisely locate the film. Let me explain: does not seem certain reactions are shown to House too exaggerated? little natural? I am referring to some as the constant of Dora, wife of Guido, surprise faces when it makes its appearances: as if only a map which shows the face of surprise was shot, and then continues the film. The truth is that it doesn't fit, and does lose a little. The touches of comedy have his grace, although the vast majority are predictable, which is not to say that you lose, because as I have said, as a whole the film is great.Also consider certain things to be little credible: that never found the child (even when he escapes and is in the area where they have working Jews), who get to speak for the megaphone without any guard. And the truth is that the film does not want to show cruelty to the Jewish people during World War II, at least not as much as in others (read two works of art like 'La Schlinder list or the pianist').In fact, and again I repeat, 'life is beautiful' is characterized by being a beautiful film, using much of the scenes of the child to make us truly feel admiration for the figure of Guido and an incredible shame about the situation that have pass. It's an essential film, which could have become a true masterpiece if they were not so exaggerated and pretentious at times.But seriously, I can assure you that I liked enough, especially dealing with the history of the Holocaust from a totally different point of view...so much so that it seems so they have to spend Guido and his son does not affect the whole of the Jewish people, but that focuses exclusively on them. |
2,220 | archivos_extraidos/MCE-Corpus-main/Dataset/1776 | Bloody Will | Hannibal: El origen del mal | 1 | 5 | muchocine | What remains at the end is a film with chained murders, neither more nor less. It could have been Lecter, Freddy Kruger it could have been. Absolute wear of the formula. | Hannibal is part of our lives for too many years now. They are already 16 years have been knowing Dr. Lecter through sequels, prequels, and now, origins. And so long can have only one consequence: the absolute wear of the formula. Do the only ones shown impassive this situation seem Laurentiis Dino, its producer, and Thomas Harris, father of the creature, yet remaining corners of the character to explore, but you want that he tells you, you can not always tell an interesting story.?Hannibal: the origin of evil? presented as a dark history where we would see Lecter inoculate this attitude of fierce psychoanalyst and soulless Cannibal, I wondered if the why of a way of life so mechanically heartless would have its explanation in surprising events, and even theorized sonçbre internal change that has happened to so wild available to kill (can see the fate of Ray Liotta in?)(Hannibal?). However, and after seeing? The origin? I found the typical story of crude revenge with preliminary somewhat diffuse. A film of killings, without tension and apparent plot. The? source? devised by Harris has outgrown to the aura of the character, much more complex than this decaffeinated Hannibal, and for me, I would have preferred to continue without discovering it.The film tells how a Lecter infante, which should witness a chilling event becomes a teenager Lecter who lives tormented by what has happened, and prepares his revenge against those responsible. A that cannot be more vague, because I do it deliberately to the simplicity of the script presented in this prequel. Two unique pivots underpin the film: the first half-hour, which tells us the why, and the last half hour where tells us how. Why come I want to kill, and how I do it to make it look sickly. Do nothing of this honour Lecter we saw in?The silence?, and appears to be a mockery of the Hopkins of?Hannibal?. How whether these two main reasons to become a so feared being is embodied in this prequel in a way as forced as sometimes absurd. I left the police, the aunt of Lecter, the butcher?.After watching the credits I have clear that first a novel and later its adaptation, and more clear still that Harris has been the architect of both. I say this because this usually leads to a greater fidelity to the original story, and that leaves me perplexed before the vanalidad that the writer has given your child from a decent source. Is how if had commissioned you a screenplay by co **, and with that obligation, draw the children of Lecter from the first form that has come to mind. Do before we see a minimal glimpse of cannibalism in Lecter no sample some of which the character is that? hunger? which leads to their particular murder. Not me it is very clear when Lecter decides to become Cannibal. And I have less clear still to do by lived experience of child, as the first victim of the character has nothing to do with his past. Anyway, an amalgam of inconsistencies that populate the half of a movie that should have been better planned, or in the light of the outcome, ever.Many people will say that the atmosphere is incredible, and correct interpretations, but was not what you were looking for in this film. The actor responsible for giving life to the psychopath has been apercibido show all the sadistic faces meet, but that do so also in the cheap TV movies, and are not Lecter. The scenes of Gaspard Ulliel and Gong Li are inconsistent. Can do even more when Lecter learns the use of the sword samurai (nonsense), and the figure of the police is intended to threaten the murderous tranquility of the protagonist, but not these, seems at the end its presence is due to reiterate that the boy is a? monster?, a resource quite helpings.What remains at the end is a film with chained murders, neither more nor less. It could have been Lecter, Freddy Kruger it could have been. If you ever hear the term? characters in two dimensions?, this film is his greatest example: what you see is what there is. If the history of the cinema has become the latest installment of the adventures of Hannibal Lecter, is a little fitting end of its predecessors, a deliberately commercial product with questionable quality. Should fans give a touch to Harris, who has finally lost its way?. |
2,221 | archivos_extraidos/MCE-Corpus-main/Dataset/1639 | Emilio Calvo de Mora | Voces en la noche | 2 | 5 | muchocine | That could have been and was not suits this desmadejado attempt to revalidate the dramatic career of Williams with a psychological thriller of series B, false, impostado, and at the end of the footage, hollow | Listless and impostado exercise of melodramatic thriller with a Robin Williams focused and solvent, disaffected of tics, credible, greased the seriousness that the character demands, though one can avoid that anytime you make a mohín, twist an eye or, if this is possible, look into the camera and ask us, witty, mischievous, if us is enjoying the mess.In this night listener which is here entitled voices in the night (there can be more overused and suspicious title) there are delicate matters that do not get relevant responses. The exquisite statement of facts collapses farrulleramente when the director, in view of the castle of signs has raised, warns that there is no hand or charm to finish them. Creative licensing orphan, arrumbada to the shelf of the failed projects, voices in the night excited timidly: the history of a radio announcer who was fascinated with the existence of a book written by a fourteen year old boy becomes manifest Existentialist about love and loneliness, feelings and the need to invent someone to cope with the weight of the routine, the tough evidence know that there truly anybody who loves us or for those who have. The book of yore opens the pandora of dark, desangelados, beings to the point that Gabriel Noone (Robin Williams) ends up wondering if the child writer and his mother (with whom only spoke by phone) there are indeed disenchanted.His sentimental precarity (has been abandoned by a lover infected with AIDS) does that you dwell by the boy that, on top of evils is also infected (some abuse in childhood) and lives overprotected by her mother (a wonderful Toni Collette).The clever (and sorry) night announcer makes us private investigator and flies to Montgomery (Wisconsin) to submit to the polygraph in his eye the veracity of the story and discover (behold the very fragile central point of the story) mother and son shall not, in the background, a lonely and disturbed if, and assure you (oh dear reader) that I do not damage to the viewing as already in the first few minutes is the own Noone / Williams who puts in dance this speculation. Patrick Stettner narrative pulse is more than decent: no sins of resultadista, not rummages in what others well could have rebañado, this is merely detective aspect of history, and offers a magnificent cast to fill that, surely, do not forget: the argument is flagging towards his half and that moving towards its denouement, interest goes back until there is no interest. Claim to be based on real events can be one burden rather than a candy: we need an intelligent writer than descuadre the orthodoxy of the truth and it rub all of pure fiction. Me (now) can spy on me and make a movie about my daily tráfago: would lack a teacher of teachers to make my day (today, why go any further) gave a notable film. Different case, desirable case would be that on my boring routine of Friday (oh is Friday, what well) a clever writer introduced the minimum elements of digression as to which Ethan Hunt, by my side, was a timid public servant. This is not, nor speak, the subject of which we speak. Not enough that Robin Williams is superb or that the treatment of light is one character: need (such is many times) that the story is attractive and we do not have the impression of having been deceived, but lasts less than an hour and a half and (to be honest) at the end all pass in a plis plas.Okay both punishment and a walk along the shore of the River in an evening of rain. Anything goes if we do not mind wet us. The film wet (avanzo) is capitalized, but there will always be who (eccentric, boring, caprichosito) want to that moment of intimacy with the rigors of mother nature.We must, however, remain pending this Stattner, saving that, elsewhere, would be pyrotechnic first-rate material now that they are failures of Valencia in its heyday. |
2,222 | archivos_extraidos/MCE-Corpus-main/Dataset/1456 | Emilio Calvo de Mora | Klimt | 2 | 5 | muchocine | Ill-fated (from new) do biopics of height. This is a chaotic list of naked women, colors and several hallucinations. Will syphilis of the painter or the artistic director drunkenness? | Klimt is a dispassionate visit the recent history of art: an amateur trip, no sign of sustainability in the memory, the mind of obsessed of the color, refined eroticism of nymphs surrounded by flowers and gold. There is almost nothing memorable in this colorful telefilm that reaches the screens with the claim of John Malkovich, credible, although too lost in a character also excessive. Raoul Ruiz establishes a very original game of lenses: invoice a strange, captivating, concise film in his involuntary brilliance, but leaves an impression so ethereal as the limbs of these paintings of oniric and flambé of dreams.It presupposes an interest in the character resulting in a concern for what the character represents: eroticism, fugal sanity, the presence of important people in the troubled beginning of century (Melies, for example). Academicism, orthodoxy and the formal correction that fleeing Klimt is significantly reflected in the absence of orthodoxy and of formal correction of this film desatenderá many hopes and open, no doubt, other, growing desire to know more about the Austrian painter because this biopic is poor and information rich (rich desgradaciadamente) in flourishes in love with its noted biographer. Ill advised, Ruiz is a forced intellectuality that is intended to (and get half) recreate a period in the history of 20th century transcendent and relevant social and artistic aspects.Some incontinence in the use of the female nude could prompt is an erotic movie with pretensions of properly documented biopic, but no showcasing or commitment in merely sensual scenes or a time translation or explicitation of the reasons of a genius.Syphilis which ravaged wisdom of this painter has also desastrado the film pulse of a director in possession of a valid, compelling material to lift a tribute to art, that the film is scarce. Malkovich isn't good actor that we know: as if understood that this is not the film that will be remembered.I went in search of magnificence and left embadurnado of tedium. I was, in terms of lives of painters, with crazy red hair or surviving Picasso, that without being nothing out of this world, explained with restraint and interest the life of the artist from Malaga with an apotheosis Anthony Hopkins. Malkovich, alien to this world of Belle Epoque transmutada in grey palette of emotions mutilated, survives, such as Picasso, but no more. addenda: and, as if they were Japanese models, women care shaving the pubis that nothing corresponds to those times. (but, come on, this is a very personal appreciation). |
2,223 | archivos_extraidos/MCE-Corpus-main/Dataset/3140 | Txapulin | Expiación: Más Alla de la Pasión | 4 | 5 | muchocine | Atonement literally means Atonement, is the Catholic concept whereby one is purified, cleansed of their sins. Under the guise of a confession explains a very meticulous story in a film with several touches of originality and an impeccable invoice. | I there are things that still do not understand in this of the distribution of the films. Ratatouille takes more than three months premiered in United States and more than two in Spain, when here in England we her only hope for this Friday. On the other hand Atonement will debut in Spain already in January of next year. I imagine that it is presented as one of the favourites for the upcoming oscars and you know that the more close to March is the premiere, will have more success. Atonement literally means Atonement, is the Catholic concept whereby one is purified, cleansed of their sins. Psychologically it is also the release that one feels to confess something that torments him. Because that is the film of a confession which the Narrator, a writer, makes us a few facts of dire consequences that occurred in his childhood and of which she is guilty. Contrary to what may seem at first, the film is not at all classical, in the way of telling the facts (which we see them first from the point of view of one of the characters and later more omniscient manner, with temporary jumps) or the story itself. A party that a film is extremely careful in many details and very well done (music, photography, the decorations and the interpretations are fabulous, especially some of the secondary, as the red-haired girl and her two twin brothers), these points of narrative originality and the treatment of certain scenes, as the destruction after the warthey significantly improve the value of this film.Keyra Knightley looking here for the interpretation of his life, but I think just it does not get, I can not get her to take off her image in Pirates of the Caribbean. James McAvoy is pretty well, but those that are great are the three actresses that give life to the character of sister Vanessa Redgrave, Romola Garai, Saoirse Ronan and writer, and I already predicted the supporting oscar for the small Saoirse. |
2,224 | archivos_extraidos/MCE-Corpus-main/Dataset/2886 | Rafa Ferrer | Alta Tensión | 3 | 5 | muchocine | One of these tapes claustrofobicas that glad to see where the bad feeling fills the screen from start to finish, and not resorting to the usual. | In the press pass, and as the end approached for "Mongus mortálitas" one of the critics who accompanied me, commented that both films ended equally; coincidentally the film that brings us, now is being projected on canal + so I consulted time and I started to see it.This film not only became worldwide famous director Alexander Aja (now in present day by "the hills have eyes") but also his female interpreter Cécile De France, who made the leap to the Mecca of cinema with this film.It is true that the end of both is almost tracing, but not only that, but that approach is also quite similar, forest, evil roll, bugs, and massacres in chain (never better said) hehe...The truth is that it is one of those tapes claustrofobicas that gives pleasure, contemplate, where the bad feeling fills the screen from beginning to end, and it's always (increases volume and cajquería in its purest form) are not used.Do in short, an interesting proposal? uropea of the genus. |
2,225 | archivos_extraidos/MCE-Corpus-main/Dataset/3381 | Juan Fondevila | Saraband | 5 | 5 | muchocine | His latest film, its last movement, his requiem has been Saraband. Where music feels, in which everything fits as a Grand Symphony. | Bergman began to die when sitting at folios and the pages was born none of his head. When he left to sprout the art of his hands and barely could enjoy what that had filled his life movies, art, books. and it was just music. Thus described Henning Mankell la muerte lenta de this artist, so I read I a few months ago.And perhaps this is why his latest film, its last movement, his requiem has been Saraband. Where music feels, in which everything fits as a Grand Symphony. The structure is simple prologue, epilogue and interspersed ten dialogues with the characteristic of the genius Swedish intensity; with its ability to delve into the human heart; with the extraordinary gift of not show sour or honeyed versions of life, but the fair measure of joyful and sad moments. Pure and absolute intensity exuding all the frames.Worked with the two actors actors, Liv Ullman and Erland Josephson, in secrets of a marriage, the precedent of this film. And not content with this added to Börje Ahlstedt and Julia Dufvenius as members of a Quartet of pure and absolute harmony. Because each one of them pushed and strengthened by the passion of a man of eighty years become one with the tragedy, the joy and feel the tear, the smile in her eyes and mouths. Bergman and its close-ups of those Swedish eyes blue and endless moves and moves; Bergman with that wonderful game of light and shadows as nobody enters the human heart throbbing.Congratulations teacher, you're where you closed your work with this absolute master piece. Every note, chord and eighth note set in the right place. |
2,226 | archivos_extraidos/MCE-Corpus-main/Dataset/1337 | Plissken | Captivity | 2 | 5 | muchocine | When you already expect surprises in the old world of the psychokillers, comes 'Captivity', capable of making you laugh with its slapdash occurrences. | Jennifer, a young model, and Gary, a young driver, are captured and locked up in a hideout by a mysterious psychopath which will be devoted to exploit their deepest fears and anticipate their movements. Can Jennifer and Gary escape from the clutches of her cruel captor?Up there, the synopsis of 'Captivity', the last film by Roland Joffé, Yes, that of 'La Mission' and 'The cries of silence'. Screenplay Larry Cohen, the legendary creator of 'Invaders', 'I'm alive', 'Maniac Cop', 'The flying serpent' or more recently 'last call' signs. We could expect a good movie, right?Well not. 'Captivity' is the umpteenth rehash of 'Seven', with all the clichés that we have been seeing / suffering from Fincher's. Credits included. It also has details that make it a parody of the genre, probably without the minimum intention that its creators.The case is that 'Captivity' boots with a minimum of intrigue and good work by Joffé, showing a brutal death in charge of the calibration of turn and extracts from the abduction of Jennifer with certain taste and pace. But as the film progresses, the tone of psicothriller is diluted between large marcianadas (a New York Police that read in Greek "because he studied Greek") and not least big blunders (an expert on psychopaths that ten seconds of entering gate puts the police on the exact track of the kidnapper), and ends up being one of the nominees for comedy of the year by dint of pure nonsense. All this without any effort to be original (already named 'Seven' and 'Saw' are relating very, very direct). Special mention deserve the classic script twists, tramposísimos (and without any intention that are obvious, as opposed to the 'The Prestige') and the moments of comedy absurd (incredible intuition of the policemen, who A) give the key to find the suspect looking a showcase or B) are evidence of the crime changing channel on TV!). To make matters worse, comes the end of the film you realize that the first scene has absolutely nothing to do with the rest of the film, is a pegote put to give a 'Hostel' touch. What could be painful.And there are more, but there is no question of making more blood.In the section on interpretations of bland to the offensive. Elisa Cuthbert is blonde topical jamona top model and Daniel Gillies no less topical maromo seductive and hot-headed driver. Michael Harney and Laz Alonso are one of the most absurd couples of polis of recent history. The rest of the cast is worthy of a telefilm of William Baldwin shot in Barcelona, as much.When you already expect surprises in the old world of the psychokillers, comes 'Captivity', capable of making you laugh with its slapdash occurrences. A 2, per the Cuthbert and laughter. |
2,227 | archivos_extraidos/MCE-Corpus-main/Dataset/2905 | Dragon negro | Los ojos del mal | 3 | 5 | muchocine | It is not a great film it, or anything that will renew the genre, but if that uses patterns of this to at least do something with a bit of face and eyes, on all eyes. | A group of young offenders will be part of a new collaborative project between reformatories to gather a group of boys and girls for a few days in the sanitation of an old hotel. For kids it is an opportunity to do something different and leave the prison a few days, but guardian monitor them are a time bomb that can explode at any time. But what no one expects is that in the old hotel is found a strange man that will make your stay becomes a nightmare, a man whose past is closely linked to the guard.Juvenile horror is a genre that ago long time is spent and with a clear lack of new ideas and innovation, and is limited to repeat patterns again and again changing the environment, the murderer and their weapons, and offering us a series of deaths always predictable and in the best of cases, something original and showy. At most that qualifies a film of these features is to have a notable achievement, have a backstory interesting enough so that what is happening on the screen will have something of interest and is not just a mere succession of death, and that her murderer is something original minimally and is minimally defined.The eyes of evil has the previous factors that make an horror film youth pass to be directly bad to be something fun and entertaining to see without much further. Her killer has an imposing presence, technical Bill is well resolved, and despite the fact that during average film we think that everything that happens is caught by the hair, at the end everything seems to have a reason of happen. It is not a great movie this, or anything that will renew the genre, but if that uses patterns of this to at least do something with a bit of face and eyes, especially eyes. |
2,228 | archivos_extraidos/MCE-Corpus-main/Dataset/4083 | Javier G. Pasamón | Los Crímenes de Oxford | 3 | 5 | muchocine | The film is one example of talent after cameras by Álex de la Iglesia. Perhaps lack a pinch of canallismo to the tape, and perhaps also a booklet with a best finish, but no one takes away that is both targeted and told. | While it is true, it went with some fear to the movies to see the latest work by Alex friend still had in mind that awful trailer (with its horrendous installation), but also with some degree of hope given the approval of some movie fan confidence people that already her had been able to watch. And though it has some details that do not convince me, we have a film with a rhythm, a narrative and a direction certainly remarkable. Once again, of the Church (1) demonstrates the good artisan it is and I think that it is not unreasonable to say that it is one of the directors with more sense of rhythm and more agile on the national scene, in addition to being a very good Narrator on images and above all, a guy with personality before the camera.Among the many qualities of "The Oxford murders", emphasizes the fact of being an extremely humble tape, nothing pretentious and proposed (apart from an irregular plot) a professors certainly worked and interesting relationship. Of the Church, in this film, opts for a classic speech, something to be welcomed, and gives images of true elegance, but without neglecting his own style, being able to stop certain (inches) touches very him. Alex has always been faithful to his side more Geek.The Basque filmmaker, in his film, pays a clear tribute to the great master of the genre (Hitchcock), themed as related to his figure as the false guilty, the blonde and the brunette (femme fatale), sensuality, disaffection and as no, Mc Guffin. But it also marks a flat sequence in the first murder, simply memorable, from those of guaranteed orgasm, Orson Welles Spanish going xDD.Y is fat and the actors work is well above what the script offers, especially in its final stretch, where fades everything a little. Obviously the interest has the plot of the film about the search for the truth through sound methods but it is somewhat unlikely that an experienced teacher and a pending his thesis student kept, at a first term of the tape, (dedicated to a wide audience) clarifying discussions which would have to have more than known given his condition. Of course, all this remains enough credibility to that part of the film and its characters. Even so, the tape perfectly maintains the attention of the viewer through a remarkable narrative structure. Let's be clear, the novel (and its adapted screenplay) is much improved, but much worse was submitted Goldsman to Sony entitled something bosses as well as "code Da Vinci" xD.Tanto John Hurt as Elijah Wood are great, but especially the first, with a remarkable presence on screen. They are average film. Michael Caine (first choice of the Church for the role of Professor Seldom) could also have done fabulous, but since then, John Hurt is to rise to the occasion.Also great are the side as Leonor Watling and Julie Cox. On it, say that of the Church becomes his character hard to beat sexual icon. Despite having a character purely "girl vase", the Watling transmits perfectly what his character means: sexuality, carnality, warmth. Scenes of squash or apron, do not have too much weight in the overall plot, but, without a doubt, assume an enjoyment for the viewer male or lesbian. What wonder woman! However, there is no chemistry between Watling and Wood, and sadly it shows. In French Dominique Pinon, it has a role although almost testimonial for the set.Other things to note are the elaborate score of Roque Baños debtor master Herrman, replete with string instruments. One of the Spanish composers I like, along with Alberto Iglesias. Photograph of Rica Kiko - which I loved his excellent work in "Sex and Lucia" - very consistent and effective.The film is one example of talent after Álex de la Iglesia cameras but also is of imperfection - globally - that surround some of his films, because they have not just been round. Perhaps lack a pinch of canallismo to the tape, and perhaps also a booklet with a best finish, but no one takes away that is both targeted and told.(1) Always found me a capable of the best and worst director. Creator of tapes as interesting as "Crime Ferpecto" (with a fast-paced and masterful initial part), "The community" (excellently shot and full of freak) "Perdita Durango" (his first and good jump international) or their more horny short "Killer Mirindas" (great Álex Angulo xD), but also works as the infumable minor "800 bullets" or other less interesting to predict what you out there: "The day of the beast" (which does not hold subsequent viewings, the humble point of view of a server). |
2,229 | archivos_extraidos/MCE-Corpus-main/Dataset/3849 | JLO | Mi gran casamiento griego | 3 | 5 | muchocine | A minor but sympathetic film achieved its purpose of being an entertainment perhaps by subtracting you points, an exaggerated expectation in advance. | Unknown Canadian actress Nia Vardalos never imagined that Tom Hanks and Mrs her tentarían to finance a film based on his own theatrical monologue, on own experiences (she is of Greek descent and her husband, who does not here the role of friend of the protagonist) without being someone fairly known in their own country.Less thought that they would accept it as a main character and that its screenplay became in the independent film highest grossing of history, thanks to both a fierce operation marketing (surpassing the already famous in that heading the project Blair Witch) and a good dose of luck.It's a romantic comedy that carries all the virtues and defects inherent in the genre. Fun as much as melosa, good gags, round, with some characters superficially outlined, very good pace and right to good performances. Nothing more, nothing less.Toula (own Nia) is a little Spanish thirties of Greek family very clung to its principles and customs. Falls in love with a high school teacher named Ian (John Corbett of Sex and the city, signs of love) no-griego - and to make matters worse - vegetarian. And the inevitable problems between lovers and the entire family, especially with his authoritarian father (a hilarious Michael Constantine) and its very comic thousand uses arise of the clean glass. Here begins the fun part with the "sacrifices" that the groom must do to be accepted by this singular troupe. Very managed the climate of traditional Greek family despite being large (all splendid roles) sometimes touching the kitsch but without exaggeration or the cartoonish. It should be noted that Nia as John bring credibility to its candid, transforming them into the column of the film and characters delivering a couple acting the former.A minor but sympathetic film achieved its purpose of being an entertainment perhaps by subtracting you points, an exaggerated expectation in advance. |
2,230 | archivos_extraidos/MCE-Corpus-main/Dataset/1277 | Verolindapechocha | El ilusionista | 5 | 5 | muchocine | Some time ago I wanted to fall in love with a fictional character and the illusionist (2006), yesterday I went. My magician... | Some time ago I wanted to fall in love with a fictional character and the illusionist (2006), yesterday I went. I.e., I always stop falling for fictional characters, the last was the nuevo-viejo James Bond, who was re-hot, but with him, it was that kind of infatuation for a clash and leak just, as usual. On the other hand, this time Yes is a crush type "I want to have all their little children". Yesterday the character of Edward Norton, the magician Eisenheim, really me hypnotised. And is that Edward Norton is not handsome, nooo, but is too attractive, I always thought, it has a mix of male well with smart well, the maximum. And in the illusionist is more attractive than ever.While this film was released almost simultaneously with another very good film of magicians (the great trick), they do not seem to much.This story is narrated by the inspector Uhl played by Paul Giamatti who already show us his interpretive quality movie recommended by EBC, American splendor. Uhl works under the direct orders of the future emperor in Vienna, the cursed Prince Leopold who has a very good characterization of Rufus Sewell, one reaches you hate.The rivalry between Eisenheim and Leopold occurs because the Prince is committed to the Countess Sophie (Jessica Biel), the love of children of Eisenheim, then just Edward. He was the son of a capintero, which had see hidden throughout his childhood and adolescence, until they were definitely separated by her family. Then Edward decides to know the world and its magic and part of Vienna, returning 15 years later converted into a great magician.The spectacle of Eisenheim becomes so famous that one night the Prince and his entourage attending see it and when the wizard asks for a voluntary "without fear of death" the Prince puts in place, more voluntaría "courageously" to his fiancée, the Countess. It is only on the stage that Edward and Sophie are recognized.But the rivalry between Eisenheim and Leopold goes beyond Sophie. The town hates and fears the abusive Leopold, while he loves Eisenheim, because they truly believe that all his illusions are true magic.At this point in which Sophie and Edward have been found and love to reborn, should see how to escape successfully, this time together. And I stop to avoid major spoilers. See it yourselves, worth it. And very careful with falling in love!Data: - the film is based on the short story "Eisenheim, the magician" by the American writer Steven Millhauser-the story is fiction, however the character of Prince Leopold was inspired by the true Prince of Vienna, Rudolph, son of Emperor Franz Joseph I.-the character of Eisenheim was based on the magician Erik Jan Hanussen, who was famous in Vienna at the beginning of the 20th century. He was assassinated by the nazis in 1933. |
2,231 | archivos_extraidos/MCE-Corpus-main/Dataset/849 | Rafa Ferrer | El perfume | 4 | 5 | muchocine | The film seems a waste of beauty, hardness and good performances, which, I would say without embarrassment, time is the very best I've seen in this year 2006. | I started reading the book almost trial, since he didn't arrive at the premiere of the film with the ass in the air, and is that always liked and leave the film and say that hackneyed phrase of "I liked more the book", and it is that though the novel painted me as the greater truño that has been able to write in years, to my seemed amazing, almost more entertaining that any best-seller of rapid consumption (not quote none to prevent sensitivities and not be labeled cultureta gafapastil), and he was already reading imagining his transfer to the screen, to make matters worse evils in the press of "The Prestige" pass behind had a couple of critics who praised the virtues of the film that brings us, so my bias could not be better.And this has been, the film seems a waste of beauty, hardness and good performances, which, I will say without embarrassment, time is the very best I've seen in this year 2006 which is left with barely a month to close, Tom Tykwer consists a solid group of players, where the more weight could be in the film (Hoffman and Rickman) passed as mere side and those that we should forget cling strongly to our consciencesBen Whishaw makes incredibly credible character Grenouille marking with an incredible tempo his moments of lucidity with the most absolute and dark moments of dementia, and Rachel Hurd-Wood that I already love being just a baby in "Peter Pan" by P.J. Hogan, returns to fill the screen with its incomparable beauty and character of Laura is the best of the film.Custom in my what to read criticism for taking the pulse of "general feeling", it has struck me deeply what for who has torn the garments before one of the scenes the film summits, of the orgiastic presence of Grenouille in Grasse, in the book, this scene is told in detailboth Patrick Süskind is possible with their words, while on screen passes from being a mere anecdote in the footage, not us we rasguemos vestments as soon, by God! (Never better said).Lack a chapter of the book, a part or something really important that broaden much more in the obsession of Grenouille, and is that this lack of smell is important in the plot, and here that happens almost on tiptoe, and is changed on the agenda of what happens, do perhaps by the time of footage? We coming thanks to the DVD to an extended version of the book?Finally, at the end of the film, he agreed in taste with all those we enjoyed the novel, and in disgust with those who have not lost a daily half-hour in taste her, here I leave the crux of the matter. |
2,232 | archivos_extraidos/MCE-Corpus-main/Dataset/3455 | Tito Chinchan | Arma Fatal (Hot Fuzz) | 4 | 5 | muchocine | Second installment of the creators of zombies Party, only which parody detective intrigue movies. Very good, with hilarious, but hampered by the first master moments delivery. Highly recommended. | Director: Edwar June. duration: two horazas.Release date: December 5 creators 2007.Los and part of the cast, again load after the amazing zombie Party with a very similar one, proposal unless nestled in the police establishment. It is very complicated to avoid references to the previous when we talk about this, since ending not understand without having seen the previous. Why? By the absurdity of the first making it saw clearly that it was a joke, and with this those tonteces are not detected by the apocalyptic end.The film is an excellent London Police a good day is destined to a small village where the crime rate is zero. The reason? It is so good it is leaving to ridicule to all my colleagues. In its new destination practically nothing happens, except that minor offences the resolves as if terrorist acts they treat. Within this village, awarded several times as the most beautiful people, in addition to police (of joke) is a neighborhood Brigade very concerned about offenders as the living statue, or even the kids with hood.We have more of the same with regard to Zombies Party, with caveats. The same shocks of pace, where we spend of be killing Undead to take tea and see if these are gone from the window has lost a little. Here don't have anything of that, more than rapid movements of camera and crazy approaches that end up dizzy. The script is very interesting, with a plot of intrigue worthy of great films of the genre and some similarity with an episode of X-files or even one of the Simpsons. And all this truffled Concierto and jokes. The trouble is that it does not become tronchante with laughter, with exception of the last half hour, where Gets the level of the zombies, with great moments at all.In short, second installment of the creators of zombies Party, only parodying detective intrigue movies. Very good, with hilarious, but hampered by the first master moments delivery. Highly recommended.Tad long, that Yes.Besitos.P.D: References to the first are several, such as the scene of the fences, in addition to the election of the principal actors.Pd2: Not be so translated, but VO leave Mr cock and blowjob Lord. |
2,233 | archivos_extraidos/MCE-Corpus-main/Dataset/596 | Javier Saz | El laberinto del fauno | 3 | 5 | muchocine | His idea of creating a story for adults becomes a tale somewhat sadistic children's halfway, but enjoys unpretentious and not bored. | Guillermo del Toro's latest film, "El laberinto del Fauno" excuse in the confrontation between the Francoist army and the maquis hidden in the mountains (although you could be anywhere else), to narrate the trip undertaken by the girl Ofelia (Ivana Baquero) to a magical world of fairies, fauns and monsters. This trip makes Ophelia is done away from their sad reality, with her dead father, and his mother Carmen (Ariadna Gil), pregnant, on his arrival in the village where this outstanding Captain Vidal (Sergi López), true OGRE function.The film has a great visual invoice, with recurring aesthetic elements in the film of del Toro, and without a doubt it is his best film (along with "Cronos"), but contains too many edulcorados moments, and even though there are some point of explicit violence, does not mean to avoid the child and predictable tone of the story. In his idea of creating a story for adults stays halfway, in a tale childrens somewhat sadistic (MTV generation and others).The best are findings Visual that bull we are accustomed, the good done in setting, make-up and effects, good transitions between reality and fantasy and marvelous interpretation of Sergi López (the best actor Spanish with difference). Even if it runs halfway is a nice proposal, far from being the work teacher that it pregonaba (and be obsequious) but can be enjoyed without pretensions and not bored. |
2,234 | archivos_extraidos/MCE-Corpus-main/Dataset/971 | Mario | Eragon | 1 | 5 | muchocine | I do not think it fair to judge something that I could do better (or worse) but in this case I am obliged to propose my first suspense for this film, as forgettable as his literary reference. | Christopher Paolini is the human test of the American dream. A Californian young, passionate about Harry Potter and the Dragonlance (this I do not know but what I guess) Decides to write a book to a whopping fifteen years. After reviewed and Remiro pamphlet, family resolves to be support in everything to his son to become the USA version and machulera of J.K Rowling, and thus change its foul caravan of the suburbs by a mansion properly in Beverly Hills (like I am exaggerating, but something) the papaítos abandon their work to take the child by the State, and later throughout the country, so get someone publish you, and his book, Eragon, to finally become a bestseller.Broadly speaking this is its history, another example of triumph in the country of opportunities and, as said, good test of the American dream.The plot of the books, the movie follows erratically, is not but the overused initiatory journey tolkieniano surrounded by dragons, elves, and Orcs (although these last is call úrgalos) often plagiarized and repeated. The formula for success that raised the British writer has been shot without complexes on countless occasions, but even with everything, the plot that raises this barbilampiño author I was very bland, hard to read, to the point of abandoning the ship well advanced half of the journey. I can assure you that I enjoy as a dwarf in each installment of Harry Potter and I had fun with, for example, Dragonlance legends, so I do not pecaré pedantic when I say that I do not understand that they have seen you so many millions of people to this boring and bland manuscript of which I do not think it can rescue absolutely nothing.Due to the bestseller of Eragon and Eldest sequel - apparently there is still a third installment, because someone had said that it was obligatory to do the stories of three in three if it does would be Tolkien? heroic fantasy - Fox didn't get rights and launch for a production that take advantage of the slipstream of the film more laureada historyThe Lord of the rings. The shooting of the film began with a cast of actors reputable in a hateful smile leading profident child and low hours (please Jeremy, enough already).Once done, little can be said a tape that, despite the misunderstandings that may carry the trailer, it closely follows the wake of dungeons & dragons. Is true that comparisons are odious, and that any production of this kind cannot help but overshadow before the project of epic dimensions filmed Peter Jackson, but, even so, building on the success of medium-sized and Orcs, well it is true that might have arisen products more than worthy and with different points of view to which they saw in the drama trilogy - something like this as what happened in Seattle following Nirvana, in another field that Yes.It is not the case in this case; What we have is an infantiloide film devoid of any kind of consistency, sleeping and (despite the million) with a painted very but very shabby.Most interpretations give embarrassment. The exception to a minimally decent Robert Carlyle, which gives life to the escarizado shade Durza, or the beauty of Sienna Guillory, the rest is for piss and no echar gota.The child, incredibly clean and always smiling, might be more irritating than Jar-jar Binks, on all when Lisp magic words or sounding epic phrases. This is leaving aside the outlandish mental conversations with the Dragon.Jeremy Irons, trying to recover from D & D, fails but crashed into a parody of himself certainly frightening, with a character who drags his foolishness in crescendo until an ill-fated final, so unusual that I narraré not here to not deprive you of some good laughter if you decide to waste our time with this movie.And not to mention people like Djimon Hounsou, strolling through scenes outrageously silly and disguised as a humorous way, with a poker face as perplexed as mine.The budget of the film is barely appreciated, the CGI are heap by pulling to bad and there is a total absence of creatures created in the workshop (have not bothered or horns to the úrgalos) also the twisted imagination of the production design will show us throughout the movie good samples of psychedelic pop designs, as the appalling guess in his Lair, the pompous and jewelled sword of Brom, with this Boulder in the grip of the version more kitsch of Sara Montiel, or the final fireworks in the shelter of the vardenos rebels who live in the caves of Altamira and dress as Kings Magi from the East. A tacky festival OT style.I do not think it fair to judge something that I could do better (or worse) but in this case I am obliged to propose my first suspense for this film, as forgettable as his literary reference. Because at the end and after that what are dreams not? that most of the time end up forgetting. |
2,235 | archivos_extraidos/MCE-Corpus-main/Dataset/113 | Marta | Paradise now | 3 | 5 | muchocine | Without being a masterpiece, it seems interesting enough to be recommended | On Friday I saw, at long last, Paradise Now, a film which, without being a masterpiece, seems interesting enough to deserve to be recommended. Had already long been hearing about it, and a nomination for an Oscar seems a good argument in favour (in the category of foreign film, because the other does not use anything as a reference point Academy). The truth is that, except a couple of things, I quite liked. The story is of two Palestinian youths who are chosen to carry out a suicide attack. Point. Not tell more. The case is that we always hear of these things in the news and I think that we fail to make the idea that what lies behind these acts are people, people like any of us, with their fears, their concerns and their dreams. Paradise Now get that we get to see the characters as real people, that doubt and which reflects; and, although we do not agree with them, we can understand the whys. It is so difficult to see that what lies behind the international news is not a species of "indefinite mass". The film achieved that we realize that, in reality, are not so different that all suffered and we all want (and one of the protagonists uses exactly the same toothbrush I!). Unfortunately, I had to see it folded, and resulted from the strange thing to listen to Palestinians with the same voice than American actors. Against arguably could dig a little deeper in other characters that offer different views of the same conflict, and the pace a bit wrong. At a crucial moment, the film begins to be something slow and boring, when precisely it should convey the most intense emotions. Anyway, appreciated the opportunity to see something like that, that touches a sensitive subject with sensitivity and you get to see it in a different way. A scene to remember: one of the two protagonists are recording one of those protest videos of the attacks suicide, and remember to tell his mother where he has to buy the water filter. Sweet, absurd and tragic at the same time. Go to see it. It is worth the trouble. |
2,236 | archivos_extraidos/MCE-Corpus-main/Dataset/3666 | Silvia Giner | Soy leyenda | 3 | 5 | muchocine | Francis Lawrence (Constantine) adapted for the big screen the famous novel by Richard Matheson "I am Legend", starring an unstoppable Will Smith that perhaps without prentenderlo it surprises us with one of his best performances. | Francis Lawrence (addressed to anteriormenet the fabulous "Constantine") brings the adaptation for the big screen of the famous novel by Richard Matheson, "I am Legend", starring an unstoppable Will Smith that perhaps without prentenderlo it surprises us with one of his best performances. The premiere in theaters will be in a few days."The film is not completely faithful to the book, but the changes that in some cases are successful, in other endearing and other incomprehensible, because it's a novel of vampires while in the film the beings are not defined, are a mix of zombies and vampires.""I am Legend" takes place at a pretty good pace, includes its respective scares and it is very easy to see, is neither heavy nor boring although Yes, obviously predictable. Look that strange that a film where already intuyes what is going to happen, you want so much that not even look at the clock, it is synonymous with good management and therefore a very good rate.I want to highlight the spectacular levels General, decorated and as not the FX, the infected creatures, they are very successful and the entire film is surrounded by a mist to the "Fable" which I liked very much. It is not, nor much less a film that brings something or teach us something new that we have not seen, but it does deserve the penalty see this film, the second for the director already has one fan among his followers, I like directs this man.For fans of Will I have to say that (oh God!) I never had seen so in form as in this film, must acknowledge that boasts a spectacular figure and that the years seem to not pass by him. This versatile actor takes an unstoppable career as as I said at the beginning, coming from the TV and a series as "the fresh Prince of Bell-air" which spent years on the air, was very complicated to get the context to which belonged the character who played without enbargo and with all their eccentricities to slopes, Will has also been a star, geek but not power but star.I believe that Francis Lawrence, wanted to reach the public in such a way that it has eliminated much of magic that emerges from the novel, perhaps by getting the idea clearly. Personally I would prefer to avoid certain turns of history and preserving part of the original confusion of the novel.By true Will, do let's see you somewhere movie making unsuccessful or always gotta be fucking master in all your movies? A little diversity please. |
2,237 | archivos_extraidos/MCE-Corpus-main/Dataset/1180 | Rafa Ferrer | Hard candy | 3 | 5 | muchocine | One of the flaws with the script, perhaps, are some somewhat "ridiculous" situations that appear almost in the last 15 min. footage, trying to give an air of "Teen-horror film" that does not need. | Winning in the latest edition of the Sitges festival, "Hard Candy" is presented as a serious work, tough, almost theatrical, with only two characters and always on the same stage, where the action takes place here in the psychological horror and where both the victim, as the executioner, changes all the time, and you do not know very well from that side position.With regard to interpretations, both (both that of Patrick Wilson and Ellen Page) master, both provide the necessary dose of sanity/insanity that demand their characters, perhaps, the only discordant note is that not it gives us time (in just 90 mins.) to delve into the lives of the characters, we do not know their concerns, nor the motive which leads them to act that way.One of the flaws with the script, perhaps, are some somewhat "ridiculous" situations that appear almost in the last 15 min. footage, trying to give an air of "Teen-horror film" not needing, otherwise, a crippling and "theatrical" Thriller that keeps you glued to the seat from beginning to end. |
2,238 | archivos_extraidos/MCE-Corpus-main/Dataset/3254 | Tito Chinchan | Brujas mágicas | 3 | 5 | muchocine | Genius Ozores alleged trial film a few witches by covens. Neither the best nor the worst. You can make grace, but nor is it to save in memory. | Since that I discovered that viewers of all the films screened at Spain, my life appear on the website of the Ministry of culture to taken a new direction. I hope that I go fast this, which I am all day seeing receipts. What've noticed me, that with all that gets people with my dear Ozores, Pajares and company, had revenues ridiculing the majority of current Spanish productions. Something will be.The film is about a Miller - pregonero (Pajares) which has much success among the young girls of the village. He wants to be chaste and pure, but it is them who want their member of 40 centimeters (no less). Only rejects women from his master, so this in retaliation, accused of holding festivals to the devil and called nothing more and nothing less than to the Holy Inquisition. He casually passes through there a Pilgrim (Ozores) that takes advantage of the situation as a critique of this movie do? Easy, it gives to the key and until that fill lines, heh, heh. With this production I laughed enough not to make the approach to situations especially humorous, if not make me grace continuous anachronisms. In the case of a film set in the middle ages, they speak with peace of mind of the European Community, of CDS and other. That is nice. Then in the section "jumping breasts and hairy mats" is not the most appropriate, with a single repeated scene of "rebozus in harinus" it's okay. In bad, see the Pajares face when it simulates that you have a dedicated to work took Miss destrempa up to Nacho Vidal.Resumiendo, genius Ozores alleged trial film a few witches by covens. Neither the best nor the worst. You can make grace, but nor is it to save in memory. To get some good laughs with friends.Besitos.P.D: The Jock that leads Pajares has more padding than the Berrocal tits. |
2,239 | archivos_extraidos/MCE-Corpus-main/Dataset/2306 | Hartigan | Historia de un crimen | 4 | 5 | muchocine | History of a crime is a round and well looked after film that it makes to enjoy from the first moment, doing as well as the mild it rubbing the intention a source of satisfaction for the respectable. | Beyond what certain visual resources can be achieved in a production involving copyright, how to narrate a history approaching the slightest what could be a book is, if you say so, the dream of many filmmakers. The nuances of a story, the parallel realities and other literary retainers never are hole in the celluloid except in rare and experimental times. And behold, history of a crime, if possible, does resemble the novel that never was. Very pompous around, as you can see. As it was Capote more buffoonish version, something that the unknown Toby Jones has been able to capture as if it were a Siamese brother. Because he is the absolute and well-deserved protagonist of a film that has twisted crime of the Clutter, in Holcomb, earthly research after the assassination and the strenuous efforts of writer New Orleans to create a new genre which earned him applause from the profession and who baptized and blood cold.It is essential to reach a conclusion - that occurs just at the end, as it should be – meet the hero of superficiality that Capote was to understand as well how, in spite of itself, its existence was a heavy cross on his shoulders. And the number of records that the actor in question is able to offer to the House leads to an unusual range of sensations. Pity that last year a great Philip Seymour Hoffman already acaparara holders by this same. But let us not compare.The skeleton of a crime story comes wrapped with the Lasso of the thoroughness. A presentation of characters longer than normal helps to form an idea of why Act so all of them and what is the reason for their misfortune - a folio in white, a suicide, an incomprehensible punishment, etc.. No sentimental ornaments or purported justifications. Snapshots that placed in row comprise a temporary x-ray that starts with an ending and ends with an approach. When one realizes, however, that everything that has seen so far is a lie, the director has been a good time talking about non-evil humans. And all based on perspective jumps, soften not yet received the case. Let us not forget that we are talking about an appalling event. The gossip in town, with forgiveness, led until the last consequences of a jet set eager to adventure is more than we could want an chronicler. Why Capote was well with them.A broad and too-familiar cast could have come to be a handicap for the script, but this is not the case. From Sigourney Weaver up Sandra Bullock - and it will several good performances of the Queen of Hollywood - are wonderful companions of Jones. Only the it thumping, as always, perhaps, is the hard uncle of Daniel Craig. The postmodern executor of the inexpressiveness may this time has been made slightly more credible, but you still have something prevents him to grow. Finally, the introduction of the resource of the interview in the film gives one even larger fiction margin, oddly enough. History of a crime is a round and well looked after film that it makes to enjoy from the first moment, doing as well as the mild it rubbing the intention a source of satisfaction for the respectable. It is a job that will certainly deserve one? rereading? occasional. And you already understand me. (M.M.L.) |
2,240 | archivos_extraidos/MCE-Corpus-main/Dataset/1845 | Jeremy Fox | El buen alemán | 2 | 5 | muchocine | A pity that a movie with so much interest a priori has ended up becoming one of the great disappointments of the season. | Steven Soderbergh is one of the most intelligent directors of today, among other things, for its ability to survive in the industry alternating commercial tapes, the more personal and, even, the experimental.In "The good German" (The Good German), in my opinion, it has tried to combine both facets, disguising commercial film which is in reality a nostalgic experiment. The result find it me somewhat disappointing.Indeed, the most important thing of the film does not pass through its espionage plot, based on the novel by Joseph Kanon, and which puts us in the ruins of the Berlin of the post-war period of the second world war where the journalist of the army of the United States Jake Geismar (George Clooney) will meet with Lena Brandt (Cate Blanchett), a former lover whose missing husband is wanted by the US Army and the Soviet.The important thing about the film is the revisionist exercise by Soderbergh, who created a film of the 1940s in the 21st century. The retro look of the film is so careful that up in Spain have been translated the opening credits, as used to be done in those years.The problem is not the slides to sing or that noticeable differences in photography between the scenes shot for the film and documentaries from the period from. These defectillos were present in the Hitchcock film, for instance, and not imported at all.The problem is that Soderbergh appears to have been forgotten that, among the great virtues of those movies, was the narrative concision, the pulse, the emotion. Elements that, in this "the good German" are missing.Before these, really serious problems, they can do little about delivered but somewhat lost actors who roam trying that his charisma is enough to fill the screen. Unfortunately, it does not.A pity that a movie with so much interest a priori has ended up becoming one of the great disappointments of the season. We will have to wait for another time to see if we can enjoy again with Soderbergh that made us vibrate with "Traffic" or "do Ocean? s Eleven".Moonfleet.es rating: 4 out of 10. |
2,241 | archivos_extraidos/MCE-Corpus-main/Dataset/2716 | José A. Peig | El final del espíritu | 2 | 5 | muchocine | A proper narrative deals with themes of humanitarian, but boarding stays in an idea? wildcard?, well-intentioned but without ability to reformulation or dissection of the fundamental problems. | With films like this, so designed in order to give moral, humanitarian or ethical lessons, we must not lose sight of the discursive nature of a not focused narrative to its effectiveness and full realization, but it is subordinate to the same speech. Put another way, the representation splits into two layers; the visual layer and the word. With which we have that the representation is more spoken than imagined (image) representation, and this produces a bias in the final result. A film with which we perceive that its content and development could be equally understood image with or without it, can never be a great movie, because it is more oral discourse that expression of the image (never to be away from the essence of cinema).The voiceover says more than the image itself, and this is also a consequence of the limited visual capacity of filmmaker Jim Hanon, although it is true (and at this point we are faced with the major handicap of the film) that at some key moments looks a great precision: the scene of the deaths at the hands of a few Indians at home did not seem hostile, but resulting in a brutal violence, or the image whose function is the intersection or center of dramatic meaning: one in which we see Mincayani contemplating the photograph of the son of man which was just death, whose crumbling silhouette we see at the bottom of the plane. The same photograph will play a key role in the future, key moment of reconciliation and forgiveness.The truth is that all the elements are well organized in the face to tell one history as they send the canons, at the structural level not can be reproached nothing, the problem is the story unpleasant and typical of the Mannerist narration throughout time wants to control the thoughts of Viewer, and that is something that must never be done when it is a story of a reflexive nature, while their intentions are good.A film about the violence and bitterness, and how is the return to the origin (a wound that started the spiral of violence), and the recognition of violations mutually inflicted, leads us to forgiveness and empathy. What happens is that the speech and thematic background is a topic in itself. Rather, the film itself is flat as a folio, discursive and giving (including religious moralina), too often gets carried away by the precocious and corny, tone in the recreation of the beautiful Amazonian landscape as in the drawing of the loving relationship between father and son (how many times we have already seen the farewell hipermegatópica between a character to be aboard a vehicle - a plane?)(do, in this case - and another character that runs at the time that shouts "I love you", "back" or things like?).Finally, a proper narrative deals with themes of humanitarian, but boarding stays a "wildcard" idea, well-intentioned but capacity of reformulation or dissection of the fundamental problems. |
2,242 | archivos_extraidos/MCE-Corpus-main/Dataset/1367 | Yojimbo | La guerra de los mundos | 4 | 5 | muchocine | It is an exceptionally entertaining, memorable sequences and stylish Spielberg film. | Spielberg is in a stage of intellectual maturity and I think you want to reflect through science fiction. After the insufferable hodgepodge of Artificial Intelligence and the magnificent Minority Report it is the turn to a science film catastrophic fiction. If the first raised the possibility of sentiment in robots, the second reflected how to improve our security with a prediction system almost infallible (although the movie is totally reactionary), in this third speech of our extermination. Come on, what would happen if the cousins of E.T. were bad and we want to kill everyone.Stating that it seems a wonderful idea recover a history of this style and bring it to the big screen again (still have not seen the 1953 version). Although it is a revision of a classic novel is a great both have gotten this project because it is original.It is a film exceptionally entertaining, memorable sequences and stylish Spielberg (another author). Tom Cruise is as always (see I don't do valuations) and Dakota Fanning (also wonderful) but in a more repellent role in Man on fire, and care, already second in the closing credits. John Williams is for commitment (only makes matters incidental, without any leit - motive recognizable) and even would have been more effective without music. It is a film that does not give a truce and with whom you spend wonderful. As always Spielberg blows a little lime (some cruelty) and sand (frames too "potitas" resolutions). |
2,243 | archivos_extraidos/MCE-Corpus-main/Dataset/710 | Tito Chinchan | Yo soy la juani | 3 | 5 | muchocine | Urban drama of a generation of young people who are very lost in life. You have not found me a wonder, but I liked. | Instead of the usual nonsense of beginning, I will tell you that the film has a soundtrack that I loved. It gives a rhythm to the movie without it this would lose a lot. Do you both cost the rest of directors give with soundtracks? To highlight, as a curiosity, which includes a song by Juan Manuel Payo, none as know, than that is very funny. Then much hip hop and dance for everyone.The film is about the Juani, a girl of about 20 years who lives wanting to be an actress, but burdened by life in his small town. He has a boyfriend lover of tuning, macho and possessive, which restricts him part of their freedoms, which she did not finish see. His parents are prototypical and an example of how she will be in the future. Her friends live obsessed with worldly problems, as to not remove them the groom, if her suck or not or if you want to put tits. And this trafficking, a girl which seeks to escape his future.The truth that not found me wonderful, I liked, but I think a movie introduction. I.e. actually happens nothing at throughout the film, we have a character and when it seems that something may happen, the movie ends and us calls for a supposed sequel. Then had weird things, as that it made me very long, not be if I got bored or because they are too much data for my battered brain. One thing that I was shocked much, in youth reflecting Bigas Luna is that neither drink nor take drugs. Spend the day fucking (I was unfortunately was not the case) and with the tuning, but they drink or smoke or anything at all. And this has seemed bad, very far from reality. Then, the actors I liked, even the Canto del loco, which comes very well the role.In short, an urban drama of a generation of young people who are very lost in life. It may seem that the film is the spirit of a girl, but that is only in the synopsis, then the thing is derived in other topics. But I liked. This Spanish film if I like.Besitos.P.D: One for the young girls in balls, one for the soundtrack and one for the movie, right?Pd2: do really today's youth spent the whole day with sex? To it return me adolescence right now. |
2,244 | archivos_extraidos/MCE-Corpus-main/Dataset/1971 | JLO | Luces de la ciudad | 5 | 5 | muchocine | At first glance, and also taking into account the the gold rush and the circus, city lights would be the definitive work in that refers to the character and life of the silent tramp. | Overwhelmed by the talkies - who already had two long years of success - Chaplin decides to do a "talkie". but without dialogues. Lights of the city - against all odds - turned out to be a solid film, almost without gaps, with the excellent interpretation of Charles always, but adding, one jot more subtlety and again incorporating the melodrama, or perhaps in a more serious way; as did already successfully on the famous El Pibe. The only criticism - as it was the case in almost all of his silent shorts - is a poor Assembly and a camera too static, being everything generally reduced to a single plane, where all the action takes place. Content in detreimiento of aesthetics.The discovery of the opening scene - commented until the tired-in which the florist mistaken you for a millionaire, is the basis and the fundamental pillar of the film (along with the struggle to do the "right" the unknown hitherto actress). The final sentimentality never becomes excessive as in other cases of his filmography.The final moments are an unpublished ambiguity in his film so far, aside from the happy endings - sometimes introduced to the force, betting on a beautiful, bittersweet and logical culmination.This is also the scene - along with the now blind florist and a more ragged Hobo than ever--of a poetry and feelings, only comparable to the one maintained in the reunion in the police van down by little Jackie Coogan in the kid. An exact conjunction between the naif of short and imminent and forthcoming "seriousness" view first Charles.A, and also taking into account the the gold rush and the circus, city lights would be the definitive work in that refers to the character and life of the silent tramp.Summary: Charlie saves the life of a drunken millionaire, this locks friendship, but it is totally unknown when he is sober. Earlier, he falls for a blind florist, who ends up paying his operation to return to view, confusing it with a millionaire man. He is accused of theft and to release from prison, reunited to the florist that only recognizes - and was disappointed - to play the hand. |
2,245 | archivos_extraidos/MCE-Corpus-main/Dataset/4157 | Tito Chinchan | Killer Pussy | 1 | 5 | muchocine | Film about a monster that he settles in her cunt for a miss that forces him to go in balls all the time and eat the lovers and other follarines. For seasoned viewers are able to see all the programs of the washing machine. | Director: Takao Nakano. duration: the theme does not give for more than one hour.Premiere: the 2004.Yo I believe that there are films that roll bet for spectators such that gives them equal eight to eighty and swallow like a arthouse as a breaded milestone. If not, I do not understand these films succeed. Well looked, if we join porn movie title (Nacho Vidal rolled a few, but not surprise between their legs) a wisecracking Monster and gore scenes, have fine cinnamon, which they say.The movie not be nor of what trafficking, given that the copies are in Japanese without subtitles. At the beginning leave a few explorers and a magician makes strange things, to go directly to the girl in porretas. It is that some kids get into a country house to focus on what has been wear mineral salts and these are a girl that came with the magician stuck in a bucket of ice. He then unfreezes and it gets a girl a worm through the mouth (as disgusting announcement that the cocaine to the oldest remember where you entering a worm by the napia one) and becomes stronger in what comes to be the pussy. And ale to eat every male that here there to smell. what you want I say having read the summary? Reminded me a chapter of "The House of the drawings" where the Princess was a curse and when it lifted the skirt came out you a monster with tentacles. That chest to laugh. This is the same, but with fine offal, hear, as I bring the offal, which I moves, that is me mueeeeeveeeeee. I certainly understand not have translation into Castilian, although in the video store would well, next to Disney's one be called "Killer pussy".In short, film about a monster that he settles in her cunt for a miss that forces him to go in balls all the time and eat the lovers and other follarines. For seasoned viewers are able to see all the programs of the washing machine, even delicate fabrics.This does neither stars nor anything you like.Besitos.P.D: I'm dying of laughter thinking "killer pussy" and recalling history telling a friend envelope a girl that you linked in a bar. They went in the car, he lowered her panties and had to download the Windows of what came out of there. Jajajajaja, that thing more coarse!Pd2: The scene in which oozes the girl "flow" is the most disgusting thing that has been in the film.P.D.3: If this criticism not hovers me, not be what to do already, since nobody else has criticized Spanish. |
2,246 | archivos_extraidos/MCE-Corpus-main/Dataset/763 | Daniel Galindo | Ficción | 4 | 5 | muchocine | Is the film attractive? internal chat? that intends to Cesc Gay. Narrated from the rest, giving priority to the flow of conversations with oneself that we not hear, his fiction not uncomfortable and that it shows something so sad as a story about refrenadas passions. | This Alchemist working with sensitive material, emotions and relationships, dislike of great excitement. Supported in the family climate accomplice in which situates the story (promoted by the real links between actors and himself), Cesc Gay explores new territory, more restful than the before: leaving the city to take refuge in the rural environment, passes from the ensemble cast to intimate work... Load your backpack with close-ups of actors that have many things but without saying a Word, with the exception of camera, so vigorous and skillful as ever.Complete a trilogy about the problems facing us at every stage of our lives. Nico and Dani, in the city and fiction are very different among themselves, but is curious to cover stage: adolescence, the thirty and the maturity associated with the crisis of the 39, a veteran who comes naked and hopeless. The idea of the film is seen as an affectionate farewell hour and a half in keeping with the reflective look of a filmmaker who is doing with your site within the European landscape.With the permission of Eduard Fernández? there is to remember to remember a bad job-, subtlety is the main protagonist in a story that revolves around the feeling of resignation and responsibility. The search for inspiration is a plain excuse to abandon the life that you hastía for some time. and even there we can count.Gives just the end of the journey seem predictable, what matters is the journey, the trip to the other side of the world with pace leisurely, almost stopped and nothing artificial. Fernández is in Montse Germán to their ideal partner: he holds your gaze and balances the balance. The other three characters buzz limited to observing without altering nature. Away from apparently pretentious Gay poured into his paintings of life grateful and multiple references, musical and cinematographic, without going into metaphorical of the title and the character alter ego of the director.As a point we can say that filming took place chronologically, doing the work of the actors more credible. A liveliness that, like so many other aspects, comes in a subtle manner through a simple and beautiful love story that everyone is entitled to live. Because no lives who does not suffer, but only be a little bit. |
2,247 | archivos_extraidos/MCE-Corpus-main/Dataset/881 | Elena Suárez | El perfume | 2 | 5 | muchocine | The biggest problem that arose me during the projection, is that for almost an hour and a half (the two hard movie) didn't know if before me was a story or a thriller. | Bothers me much when a creator (call director, writer or writer) confuses the fact of showing a new perspective through calculated plot twists with changing the rules at his whim, without order or justification whatsoever, unless the have no ideas either not knowing how to develop them. In the first case, the narrative jump usually us document on information that had already been shown but we had not been able to interpret (something that we could observe in a masterful way in the fabulous work of Michel Gondry forget me!). However, in the second case the feeling is that someone is cheating to justify a new element has been introduced almost as if by magic.As well, "perfume: story of a murderer" could be classified in the last option, although, due to my literary shortcomings, I do not know if the blame for this is the author of the novel, Patrick Süskind or, on the contrary, the director who has been commissioned to adapt it into a film, directed by Tom Tykwer, which would highlight the beautiful while it lasts history "the Princess and the Warrior".To start are abused systematically the Narrator figure something that, on the one hand, becomes bored and, on the other, suggests the lack of professionalism when it comes to the script. This is not a novel but a film and, therefore, we cannot do a fair use of the same figures. However, this small error is pleasantly subsanado if we consider the wonderful photography that typically surround the chronicler.The biggest problem that arose me during the projection, is that for almost an hour and a half (the two hard movie) didn't know if before me was a story or a thriller. On the one hand, I saw the detailed account of a brutal serial killer in the France of the 18th century, however, had components that I spouted the tangent reality (one thing to have an exceptional olfalto and another, very different, it is to be able to know by smell at the bottom of a pond frog eggs, another important detail is that odor emanating persons by very pleasant it is murky with the) (death). In general, there was a clear statement of the plane in which the story unfolded. We all know that within a fantasy can be a set of rules which make it more real and to the you upside down, in the strictest reality you can establish a parallel fantasy world that give us alternative dimensions. But what you can do is play the dismissal and make a homogeneous mix of genres so chaotically.I have to say that, ultimately all doubt dissipated before me when I saw the final outcome: had actually witnessed a great joke that had chosen the form of time of horror movie, detective, fantastic and all this sprinkled with scene that has nothing to envy to the images to which we are accustomed the photographer Spencer Tunick. |
2,248 | archivos_extraidos/MCE-Corpus-main/Dataset/2202 | Rafa Ferrer | El Rey del Mando | 3 | 5 | muchocine | A simple movie that entertains, visiona quickly and end up forming part of most rented in any dvd-club. | More than curious, would describe her entertaining comedy geek, where a type already entered years bad to the 30 already almost we denote as "agüelos", moves to House of her grandmother and her illustrious companions of House.It is curisoso that tache of geeks to all those kids that have spent part of his life in front of a console, computer or similar, and yet have things to say and contribute and smoking! (hehe).They include, among others, in a comedy that copará the shelves of DVD-clubs, among others, the presence of Linda Cardelini, away from his role in Scooby Doo, and Rob Schneider, allowing a cameo at the beginning of the same, by the way, the tape produces Adam Sadler, who would have him allowed also a cameo, insofar as they participate in the film most of their peers of the mythical "Little Nicky".Finally, a simple film, which entertains, visiona quickly and end up forming part of most rented in any dvd-club. |
2,249 | archivos_extraidos/MCE-Corpus-main/Dataset/2307 | Luna | Shrek Tercero | 2 | 5 | muchocine | It is not a peliculón and nor is fun as it was the first part. It is simply one product of the exhausted "factory of dreams California". Third parties were... never the best. | Something is wrong in Hollywood is not news. Refers to crisis of ideas. There is more to stop to see what kinds of products we are getting from the homeland of MacDonalds: remakes, third, fourth, fifths of resorting to adapt stories is assumed in advance will have a public faithful (e.g. of the comics), films insubstantial and with many special effects, in short, are these days are flooding our billboards.Now it is the turn to Shrek the third. It is not a peliculón and nor is fun as it was the first part (in fact are lucky if it can boot you a single laugh). It is simply a product most of the exhausted "factory of dreams California", a product to consume fast and then forget.The history fails to hook. In this case Shrek goes in search of the new King of "Far far away" while "Prince Charming" plans to overthrow him and invest himself King. And sometime, than presences with eyes as dishes, the story becomes the typical comedy of yankee Institute. The interpretations are correct and in accordance with what is expected of them. If at the end you are going to dare to drop you by the cinema to see it I recommend that at least the see in original. Now, do not say that were not warned! |
2,250 | archivos_extraidos/MCE-Corpus-main/Dataset/2155 | Patri | Jo, que noche | 3 | 5 | muchocine | It is a good movie, but nothing more, a mere entertainment, and serves to see the evolution of the Scorsese Film | He is supposed to be a comedy, and it really does it have some touches of humor, I would say that it is rather black humour, some might cause them grace and others do not. To my more than make me laugh made me feel identified with the protagonist, and as the protagonist badly passes throughout the film I also I had a pretty bad.The actor who plays the protagonist is Griffin Dunne, have not seen you in any other film that I can remember but here I liked enough, in a role that could easily lend itself to the histrionics manages to do a pretty good performance.The beginning of the movie I liked, especially by the music, that is commonplace in the Scorsese Film, you know always choose a good music to go with the scene.The film becomes very short, perhaps because it has a quick pace, and everything takes place in a single night as indicated by its title in Spanish, a night in which the protagonist passed the rarest things that can happen to a person in New York, when he believes that nothing can go you worse happens a new misfortune, now that I see it from the distance, I find it funny, lol.I do not know if will be imaginations mine, but I've seen influence hitchcockiana in this film (would not be strange), I've seen the protagonist become false guilty pursued, very recurrent in the Filmography of Alfred Hitchcock, and also some camera movements, and specifically at the beginning, when you are in the Office, and the new employee is talking about, their view goes to another place, and while we hear about another character of something that does not matter, what really matters is what tells us the camera, and that is also very Hitchcock.Es a good movie, but nothing more, a mere entertainment, and serves to see the evolution of the film from Scorsese, one of the best directors in history, in my humble opinion. |
2,251 | archivos_extraidos/MCE-Corpus-main/Dataset/401 | Beatriz Perez | Skizo | 3 | 5 | muchocine | Probably to any viewer will create much rejection in advance. However, the tape is not as bad as it may seem a priori. | The second job of Jesus Ponce?Do Skizo?, is one of those Spanish films that probably to any viewer to create a much rejection in advance. However, the tape is not as bad as it may seem a priori. It is solvent and even has some good moments. He has a well-structured screenplay and not only correctly portrayed characters, but rather to present psychological evolution. Photography, by Javier Aguirre, is not bad, and the atmosphere is well achieved. For being a film very few characters and only two scenarios, does not produce the typical feeling of shortages often occur in these cases. Is true that the poster and photos seem to be short and that the problem which often have these films is that they are a short lengthened in any way. However, the script from?Do Skizo?, signed by David Sarasketa and Javier Etxaniz Petralanda has enough arc to fill a long. Not very long, that Yes, but a feature film at the end and after.What much of the audience may have problems with is the interpretation of the actors, in particular Oscar Jaenada (?)Shrimp??(XXL?), which has a more complicated role. To accept his way of speaking it should make a kind of "Act of faith" and believe that the macarrillas speak like that. The truth is that I do not know many and don't know if his tone is realistic, so I prefer to think that it is to watch the movie without rechinen me ears constantly. Anyway, very different roles, such as the of?The game of truth?, me has seemed even more forced and performed worse. So pretty is that here is tolerable.Secure BEA and Eloy Azorín (?)All about my mother? , ?Kisses for everyone?,?Warriors?) they are good in their roles, although it happens what Leonardo DiCaprio in?Do Titanic?: not you think that the posh is not him. Secure (?)Do do with me whatever you want?,?Do Lola sells Signet?,?(La dama de Porto Pim?) It has the responsibility to carry the role with more psychological evolution. That seemed an innocent victim is a manipulative Princess which also hides a goal. Does particularly well, but it is at least credible. Patxi Santamaría is more correct the tape and Asier Oruesagasti is well characterized.There are a couple of moments in the movie Yes that may be close to the lack of quality expected of it in advance. The first consists of a few dreams have Ivan and Susan while they are locked in the House. And the second is the end, as sudden as absurd. It seemed to me to hear that other end had shot, or at least, that there were other alternatives presented in script. It would be well to know if so.Since its title, the film deals with schizophrenia, about which I spoke in another entry length. While is made that criticized the author of the book?Images of Madness?: submit to patients as people dangerous and ultraviolent, seems that the script has been carried out after a documentation about the disorder.Jesus Ponce, 1971 from Seville, account with a long experience professional as a TV Director, editor, director of commercials and short film maker. In a completely different line, his previous film,? 15 days with you?, was a magnificent portrait of the lumpen with much emotion and a realism rarely achieved in cinema. Was the picture of Daniel Sosa, as part of the team of this film, and was the Director of photography in the short film?Silent world?. |
2,252 | archivos_extraidos/MCE-Corpus-main/Dataset/509 | Torbe | La máquina de bailar | 3 | 5 | muchocine | A sinsorgada as would say is my grandmother, but is full of deliveries and very funny situations, put less patriotic film when you want to do the respectable laugh... | It debuts the latest movie of Oscar Aibar, a young man who comes from the world of the comic like me and happened to piniculas with much success. The machine dancing, is a sinsorgada as would say my grandmother, but is full of deliveries and very funny situations, put less patriotic film when you want to do the respectable laugh.Directed and produced by the buddy Santiago Segura, will be another success assured as I said that newspaper on cover. That has the buddy that everything he does turns it into gold?Script a boat soon: some kids need pelas to buy a snake, and have to get it won a contest of one of these machines dancing there at leisure some of those and that is that in Japan they are know. Toni (Santiago Segura) they encouraged and training to achieve its mission. Gets the character of the Segura, nothing to do with what we have seen before.A good assortment of great actors they accompany the Segura, a fucking great script. Attention, because he has done the screenplay is a well-known in this House! Miss Jimina Sabadú, if that 18 year-old who told us their stuff does muuuchos years on this website. Seeing is believing, as people the way is looking for and is getting along. I'm glad a lot for her, because he has really done an excellent job.And another that has emerged, which has a brilliant role in the movie is the mythical and wonderful woman Josele Roman, also was interviewed in this weich. That makes well the doomed, as talent!. My reflection is that there are many more good actresses and actors to directors or writers, and it is a shame because we have a fucking great quarry. Too bad that so many truño per square metre in the patriotic film become.But this is not the case of this great movie, the machine dance. Yesterday I could go to the preview and saw many famous in Gran Via Madrid, and I greet among others, to the buddy of Bilbao who worked on this great program that I lift you blisters called "go semanita", to the screenwriter Jorge Guerrikaetxebarria, large type, several of the actors from the movie "one of the zombies", to actor Eloi Yebra, and many more buddies. Also greeted to half a dozen fans who had good to greet me. Good laugh with everyone, I am a type accessible, so if you see me out there to greet me, children.Everything was full of good aunts, because as the movie is dance, because there were a lot of dancers who were as freight, mazizisimas them train. After copazos at Havana, and to end the night, of putilingas in the Hot of Plaza Colon. Never before had been there but not bad. A few very rich and stylish aunts. I went with a Romanian that seemed a doll with an ass for framing in house salon. Great powder, if Mr. Alli also I recognized, as no, great jajaUna night, a good movie, with the buddy, and sleep pastry nattering. Livin la vida loca |
2,253 | archivos_extraidos/MCE-Corpus-main/Dataset/247 | Jose Contreras | La sombra de una duda | 2 | 5 | muchocine | What could do that Hitchcock felt so satisfied by a work like this? | When Hitchcock filmed "Suspicion", became known that was going to be one of its calvaries in Hollywood producers, and not him, would take key decisions in their stories. They rule the end. It had hired Cary Grant to mercenary husband a spinster, and Hitchcock could not shoot the end that he knew that it was important to this story, Cary Grant guilty, because Cary Grant was a star. "Shadow of a doubt" is in many senses "Suspicion" but written from another angle. The same story but as if Cary Grant had a niece who idolizes and gradually discovers his dark past. In the shadow of a doubt", Hitchcock hired not a major star, but Joseph Cotten, why could leave him the role of bad.Uncle Charlie (Cotten) flees from the police, and decides to take refuge in Santa Rosa, a Californian village where his sister lives. His niece Charlie idolizes him, but gradually discovers that his past hides something shady. Police investigating him and an agent falls in love with her. The detective tells her that Uncle Charlie might be a killer they call "the killer of the merry widows". That is why it does not want to hear the waltz when sang it the niece, and also a page of the newspaper that pulled. It also explains the initials of a ring which he gave to the niece."Police stop looking, because it is a false culprit, but niece wants his uncle abandons the family, and the guy wants to get rid of the niece."According to Hitchcock "Shadow of a doubt" is one of his most logical films. A film for 'Our friends our friends the logicians, psychologists' however it is not enough. The killer of the film is a killer of tambourine, a character without depth. Does make sense murder of a loved one, a naïve girl posed no danger, and that would in addition giving a million tracks to the police? None, except the have the audience in suspense. To enjoy hichcock must be set in its details and its plots, perhaps in his style, but must turn a blind eye to their human beings. what could do that Hitchcock felt so satisfied by a work like this? The favourite game of the master, the "who knows what" isn't squeezed to the maximum: niece Charlie, knows that Uncle Charlie is a murderer, the family does not know anything, the public suspected from the first image, police failed to investigate the case. I think that for Hitchcock could be stimulating the amount of things he says without getting to talk about them. Ring, the waltz and a visit rushed to the library of Santa Rosa put the niece to an absolute certainty. But the niece does not speak of it, not even with his uncle, only says: «leave». Two successive accidents make us think that the guy wants to kill the niece, but we do not see him work. Someone could give a plausible explanation that the guy is innocent. The game of Hitchcock is in the amount of things that is telling us, without showing any in front of our eyes. No dialogues, nor the images show us what we are seeing: that the niece is in danger and that the guy is a killer without scruples.François Truffaut: Know that Shadow of Doubt (the shadow of a doubt) is of all his films which you prefer. I believe, however, that if unfortunately disappeared all of his remaining films, Shadow of Doubt would give an inaccurate idea of the "Hitchcock touch». Instead, Notorious (chained) would leave a more faithful picture of his style.AFRED Hitchcock: Should not say that Shadow of a Doubt is my favorite film. If I have sometimes argued in this sense is because I realize that this film is satisfactory for our friends the credible, our friends the logicians.François Truffaut:. our friends and psychologists.AFRED Hitchcock:. Yes, our friends and psychologists. It is, therefore, a weakness on my part, because if on the one hand I intend not to worry about the plausibility, on the other hand I worried for her. I am only human after all! But, surely, the second reason is the memory so enjoyable that I keep working with Thornton Wilder. In England, he had always managed to the collaboration of the best stars and the best writers. In America had not happened the same and he had received negative on the part of some stars and some writers who despised the kind of work that interests me. That is why I was suddenly very pleasant and satisfactory to discover that one of the best American writers was willing to work with me and to take the work seriously.[.]Thornton Wilder had worked in a very realistic way, in particular for all that conierne to the city and decor. We had chosen a House and Wilder feared that it would be too big for a small bank employee. After an investigation we discovered the type who lived in that House was in the same economic situation as our character and then Wilder was satisfied. When we returned to the city, before filming, the type, so happy of his home out in the film, had painted her. We were forced to paint it all again ' dirty' and of course, at the end of the film is it returned to paint everything again.[.]François Truffaut: Shadow of Doubt to, with Psycho, one of the rare films in which the main character is the villain and the public much sympathizes with it, probably because not seen ever murdering the widows.AFRED Hitchcock: Probably, and moreover is an idealistic assassin. It is part of those murderers who feel in them a mission of destruction. Maybe that widows mereciesen what was happening to them, but wasn't affair do. The film poses a moral judgment, right?, as Cotten is destroyed at the end, albeit accidentally, by his niece. That is to say that not all the bad ones are black nor all the heroes are white. There is grey everywhere. Uncle Charlie wanted to much to her niece, but not as much as wanted you her to him. However, she has had to destroy it, because we must not forget that Oscar Wilde said: «kill what amamos.»»François Truffaut: A propósito de Shadow of Doubt there is a point of detail that worries me; in the first scene of the station, when it comes to the train that goes to descend the uncle Charlie, there is a huge black smoke coming out of the chimney of the locomotive, and when the train approaches, obscures the platform. I have the impression that it was a deliberate thing because, at the end of the film, in the second scene of the station when the train is going, only a little white smoke.AFRED Hitchcock: Indeed, for the first scene had requested much black smoke; It is one of these ideas that one bothers much without that then they realize secure, but here were lucky: the position of the Sun produced a nice shadow on the station.François Truffaut: does this black smoke can be translated by 'here is the devil that enters the city'?AFRED Hitchcock: Yes, of course. In the same vein, in The Birds, when Jessica Tandy goes in his truck after having discovered the corpse of the farmer, he got a real shock and, to preserve this emotion, I did leave the car exhaust smoke and dust of the road this also contrasts with the peaceful scene of arrival: the road slightly wet and without smoke in the exhaust pipe. |
2,254 | archivos_extraidos/MCE-Corpus-main/Dataset/615 | Ricard Marcet | Grizzly man | 5 | 5 | muchocine | Through selected material from the nearly 90 hours shot by Treadwell and interviews with their relatives, the German filmmaker builds an intimate portrait of the protagonist and uncovers the ancient ghosts that governed his life. | American Timothy Treadwell, lover and amateur scholar of grizzly bears, lived with these fierce animals for thirteen summers. Convinced of being the only protector of these beings representing, in their eyes, the perfect life expression, not you hesitate camping in their territories and constantly omitting the law prohibiting recede less than 90 meters. Become a celebrity following his numerous visits to schools and their television appearances won the enmity of researchers and biologists, and it would be seen by many as an obsessed disposed in a risky and incomprehensible altruistic work. Criticisms not broke the will of Timothy that in his last five expeditions lead with a video camera to record his adventures and immortalize their life experience. In October 2003, the worst expectations meet: Timothy and Amie Huguenard, his girlfriend and occasional companion, would be despedazados and devoured by a large grizzly bear. His death would not surprise to almost anyone and even a segment of the right policy tacharía, with chilling cynicism, "typical death of a Democrat". Diametrically opposed would be the attitude of Werner Herzog who, from a perspective which respects, intuiría in the history of the grizzly man a latent drama, a dimension unknown by most. Through selected material from the nearly 90 hours shot by Treadwell and interviews with their relatives, the German filmmaker builds an intimate portrait of the protagonist and uncovers the ancient ghosts that governed his life: handsome and sporty teenager with a promising future, the young Timothy discovered the bad life at the University. After flirtations with drugs and incubating an incipient alcoholism, decided to turn his life and be an actor. However, after being rejected for a role on the series Cheers, it would fall into a spiral of self-destruction and deep depressions. His life being a host of unfulfilled promises, he again felt the need to reinvent itself. It is to look back in search of shelter when you will recall his personal rosebud, the hobby to the teddy bears, which will awaken in him excessive passion for grizzly bears. Timothy will depart from the society and refugiará in the natural reserves of Alaska where will forge an ideal world next to the bears (in his eyes, incarnation of goodness). Treadwell autonombrará guardian of this simple and harmonious world, and a non-existent poacher, representative of civilization that rehuyó it, will be their only enemy. His tormented spirit can momentarily find peace in this idealized nature and your camera will her embalming. However, this utopian world is soon crumble. Werner Herzog, who has granted an important papela nature, both in his life and his work, and spoke of the sensitivity new age and esotericism as diseases of civilization, takes the material shot by Treadwell to expose his ideas on the relationship between man and the world. Thus, caring nature displayed in beautiful landscape portraits and friendly drawings of bears, accompanied by pleasant notes of guitar, initiating the film, proved as a result of a confusing human to be faced projection to the outtakes to the material which Treadwell had rejected in a montage on their ideal world. The friendly gaze that sees him in the bears and that leads him to talk to them as if they were human beings, will vanish when he came across the remains of a Cub has been devoured by an adult male. The idealized vision of the protagonist, which will even come to worship the osunas stool, entroncará with the natural chaos and violence. The tragic death under the clutches of their beloved bears corroborará that the world of Timothy did not correspond with the indifferent (is chaotic, inhumane?) reality, the place which had been found to suit only existed in his films. Hand of Herzog, Timothy Treadwell crazy becomes a good-natured character able to win the affection of the Viewer. Vapuleado by civilization, their stubborn struggle for a company to failure becomes an emotional reflection of the struggle of man against the existential absurd, against vacuum. Werner Herzog transcend the beautiful images of the documentary-maker apprentice, making what principle are we wanted as a zany story and meaningless in a stirring speech. Always respectful, as corroborated by the scene in which calls for destroying the tape that recorded the shouts of Timothy and Amie being devoured (material of incalculable value for a documentalist unscrupulous), Herzog leaves aside the morbid to focus attention on the Warrior and passionate nature that characterizes Treadwell twinning it with other characters in the universe of the filmmaker as Lope de Aguirre or Fitzcarraldo. Surpassing the mere curiosity, the German director endorses the images of grizzly man to present, openly, his particular vision of the world; returning the film in this way, to the place that feel you better: a poetic place between language and reality from which is possible to explore the contradictory human nature. PS: "we should be grateful because the universe there outside does not know any smile." Werner Herzog in the Declaration of Minnesota |
2,255 | archivos_extraidos/MCE-Corpus-main/Dataset/2444 | José A. Peig | Harry Potter y la piedra filosofal | 2 | 5 | muchocine | Nevertheless, a very estimable film of fantasy and adventure, which stresses well above the current prevailing mediocrity in this type of film. But even so, it is too warm to be the story of a magician orphan facing the executioner of his parents. | With this film begins a long series of fantasy and adventures inspired by another melià series of books. Chris Columbus directed with deft hand this presentation and first immersion in a universe of fantasy that comes to be a revisitación of the classic icons of the fantastic: wizards, elves and Gnomes, dragons, trolls, sorceries and hidden treasures. Children are the protagonists in the work and in the enjoyment of the same, because in this first adventure emphasizes the anecdotal and a sense of humor that goes from the ludicrous in its first minutes to more inane in the further development, to the detriment of the dramatic possibilities of the story, a sentimental vein which is personified somewhat superficially in the daydreams of the boy protagonist, the orphan looking for his parents to the same time as he discovers his talent of magician and the dark intricacies of his past and evil represented in Voldemort.Pensada exclusively to amuse the children, the film certainly works pretty well and uses the magic and the magician as suggestive claim and stimulate the imagination of children: a magic wanda top hat magician, a flying broom, the dream that, in his time, we have all had when we were children. From this point of view, the film is delicious, a world of magic and mystery that it vibrates and unfolds in a decorated Gothic aromas, reformulation of the "other world" - such as the world of Oz or Neverland - in this case represented in Hogwarts castle, where there coexist as charming and the uncanny.In addition, the film stands out first and foremost in plastic resources; excellent artistic design and special effects to the required height. Magnificent soundtrack by John Williams. The characterization of characters also conforms to stipulations in a specific field like this of wizards and magic, but they really end up being too stereotypical and the film lacks a character evil with charisma, that Voldemort does not happen to be a puppet too decaffeinated, with clear reminiscences Darth Sidius or other representatives of evil seen thousand times in film and television. There are other interesting things, as ambiguous and enigmatic personality of Professor Snape or the histrionic caricaturing of the Potter child's "earthly" family, but none of them ends curdling by diluted of the narrative, as we will now explain.The same burden of always: the error you want to compress the novel in an excessive and/or untapped footage, everything is to satisfy fans of the book. And that cinema and literature are not the same, and when we are we inspired by a book the first thing that must be taken into account is that the film should erect on an idea of structuring and film structure has already been said, and if it is necessary to delete characters and specific passages, it must be done without fuss, everything is to strengthen the essential aspects and can it be developed in 140 minutes or two few hours. Narration is not over curdling none of its elements because it is intended to present too many characters and too much emphasis on very redundant passages or scenes. Discourse and the script should have reinforced the relationship between Harry and the memory of his parents (very beautiful mirror scene, great lyrical and sensitive moment between a sea of inanity), the enigma of Snape and the stone and the fight against Voldemort. These were the three major issues that fade without finding the proper strength in depth and development. Ultimately, the narrative is lost in flourishes and insubstantial anecdotes.Nevertheless, a very estimable film of fantasy and adventure, which stresses well above the current prevailing mediocrity in this type of film. But even so, it is too warm to be the story of a magician orphan facing the executioner of his parents. Perhaps it has to be understood as a project who, conscious and intentional, does not want to finish boot for the benefit of subsequent deliveries |
2,256 | archivos_extraidos/MCE-Corpus-main/Dataset/2536 | Rafa Ferrer | Bodas y prejuicios | 2 | 5 | muchocine | More than simplistic romantic comedieta. | Since I saw "I want to be like Beckham" and "Monsoon wedding" caught much attention the film "indi" or Bollywood, as it is also often called, both this film and "Want to be like Beckham" are not produciones 100% Bollywood, as in the film "indi" what more shining are few budgets and that the actors are completely unknown.Something that attracts attention, the first time you see a film of these features is the color of the clothes (from the Orange, green, passing through colors that would lead anyone around here) to music, it is that the Indis put dance and count as if such a thing, and is the musical genre there seems the more widespread among the Bollywoodienses.En this film should be noted the presence of the gorgeous Miss World 1994 Aishwarya Rai. his name is pronounced as noses?Martin Henderson, who remember as the father of the little protagonist of "The ring" and Naveen Andrews, that many of you do not you know, but those who continue the series "Lost" know him as "Sayid" Arabic of the group.Finally, a curious movie with an amazing soundtrack (is that Pyrrha me indi music), that as in the poster will make dance in the armchair! Eye, that is a simplistic romantic comedy. |
2,257 | archivos_extraidos/MCE-Corpus-main/Dataset/1825 | Ramón Besonias | El buen pastor | 3 | 5 | muchocine | The good Shepherd is a film honored and calmly shot (to exceed shamelessly in your footage), which unlike Munich becomes bitter and painful in its final resolution, without leaving glimmer to any hope. Employees of God. | Munich and the good Shepherd share (it is not basking that both proposals take ink from Eric Roth) some other air of family, especially by his will for humanizing - without falling into the moral justification - the life of such dark and presumably terrifying as the CIA or Mossad intelligence services. And they do so without stress in excess his gaze on the historical or political plot, but rather decline the camera towards the emotional consequences that the activities of these individuals to breed, as a terrible Leviathan that devours any glimmer of humanity in them, taking after Yes love, family and friends. The virtuality of the life of the agent becomes real-life, supposedly real and happy, is shown as a subtle lie that remain for the greater glory of the power that protects.The good Shepherd, however, raises that dialectical binomial life apparent real-vida (together with verdad-falsedad and confianza-traición) not as metaphors that can only be applied to the emotional world of his characters. On the contrary, De Niro aims through these binomials make us reflect on the nature of power, exemplified in one of its most effective employees: the CIA (Central Intelligence Agency), created in 1947, from the Office of strategic services (OSS), founded by "Wild Bill" Donovan, Catholic Irish, played by De Niro himself. An agency fueled by the future cream of America, composed almost exclusively by white men belonging to the?Ivy League? (elitist Association of eight universities of the East Coast), considered the best of States Unidos.En the good Shepherd looms the thesis according to which is from this elite aristocratic, mercantilist and with certain religious fundamentalism-laden dyes is built where the power of the United States. However, De Niro must moderate its critical discourse (by attend a patriotic box office?, by pressure from the producers?, by self-censorship?, who knows!) and allows politically correct licenses, mixed with lucid reflections of right bitterness. Among those we find recreation light of the controversial character of the creator of the CIA, which looms more as an old man suffering from gout and welfare of the American people, in favour of democracy against the totalitarian of the Agencia.Pero power always this not worthy if we take into account the considerations presented in such revealing scenes as the interview to the Italian-American (excellently played by an aging Joe Pesci), in which James Wilson reveals that America is for Americans (white and wealthy, God-fearing), and not for immigrants, mere visitors without decision (remember that De Niro himself is of Italian origin). Or that sad but revealing final, in which an impassive (bland up walking) Damon shamelessly burns the letter his father wrote before committing suicide. Do de Niro knows than reality? created by established power, that which devours its employees without possible reference - is imposed (anyone can request accounts to God!). He knows that Wilson elected to continue under the heat of the Agency, reproducing the farce until his death, before returning to his life, that which already hardly remember anything, except the memory of that true love of youth. Why returns the string to that radiant Martina Gedeck (also seen in the lives of others). Why outlines that ironic smile to read this verse of San Juan (8, 32) at the door of the building of the newly renovated Agency: "And you will know the truth and the truth shall set you free". And that is why the last frame outlines the cold figure of Wilson sank after this hive of offices.The good Shepherd is a film honored and calmly shot (to exceed shamelessly in your footage), which unlike Munich becomes bitter and painful in its final resolution, without leaving glimmer to any hope. Do it nobody redeems, everyone accepts without blinking? as if a Greek tragedy were - its role in the world that the Agency has issued them. Until the Professor of poetry prefers to follow his destiny to return to their classes at the University. Only the female characters seem to be aware of the sacrifice which is a life as well, or living outside their destructive machinery. The wife of Wilson? a Jolie more than correct - detects the Covenant which sellaba marrying an employee of God from the beginning. And already evening flees; only the distance avoids being devoured by insomnia and disaffection.In Munich, Spielberg (and with him Roth) prefers to advocate for a more idealistic and compromised resolution. In the good Shepherd nobody can escape, because God is omnipotent, omniscient and has the gift of ubiquity. There are no gaps for the confidence that the father of Wilson begged (like a prayer) to his autistic son. Maybe De Niro leaves too much oxygen to the Viewer to let live the son of Wilson. Perhaps all should pay the price for ever be human.By the way, a perfect musical nod of the scene in which some children sing choir ' You have the whole world in your hands' ('have the whole world in your hands') while the two agents (CIA and KGB) conspire on the future of the world. And great Ovid's quote: "Of your desires will be owner." I caught dust showed him a handful: few have bodies that dust, so many birthday to me I reached, vain, I begged him. "I went to ask young people also hereafter these years: with everything he gave me them, and eternal youth, if his Venus suffered."Those who decided to be used of God know that you can never look back, you never know how to cry their eyes, how loves without network, nor knows how a drink shared with friends. The State (the good Shepherd) should be cold and cruel, impassive to any desire, if their children (their innocent sheep) can sleep quiet and warm in the stable that protects them. Though this law we shrink the heart, indigne our sense of Justice, each and every one of us are to a greater or lesser extent employees of God for fear of losing his asylum and protection. |
2,258 | archivos_extraidos/MCE-Corpus-main/Dataset/3224 | Oscar Cantero | El niño de barro | 3 | 5 | muchocine | Approved justito for a proposal that raises greater interest a priori that a posteriori, but contains certain elements that make it advisable, despite its many flaws. | The fact that a film is set in the Argentina of the early 20th century, is enough incentive to make a priori me striking. If Additionally one of the protagonists is Maribel Verdú, that woman's voluptuous curves and plump breasts that marked my childhood, the interest increases. The child of clay tells a story, say that real, of a small status from the beginning of the last century, which began to have visions of a killer series frightening to a neighborhood. The film recreates the atmosphere of a decadent area of a power by then emerging in detail. In a district worker, humble workers, there are several social levels, and through the streets marching from young people who are initiated into the pillaging until certain level entrepreneurs, passing by a police force that is unable to solve the murders. The film begins in a very interesting way, but it is hampered by gaps in the script, which will progressively diluted and focusing more towards the paranormal, disregarding the various subtramas that spelled out in a principle and that in the majority of cases they are leaving without giving them final nor output. Nothing to say of performances, correct although not outstanding, with the exception of a hieratic Daniel Freire, that despite its wide experience, seems that there are still traumatized from his participation in the serial that Harry Potter would call the series that can not be named, and who in Spain met with the name of Ana and seven. Little more than say a film that reaches an approved justito, although she had twigs to achieve something much better. |
2,259 | archivos_extraidos/MCE-Corpus-main/Dataset/867 | Txapulin | Casino Royale | 4 | 5 | muchocine | You do not have English elegance, yet it is not misogynistic, still do not know what is an Aston Martin or a gun with sileciador. Deconstructing bond, James Bond | The deconstruction of omelette of Ferran Adriá is to present the three basic ingredients of the Spanish omelet (egg, potatoes and onion) in liquid form in a glass in three distinct layers, and the set is taken as a soup spoon. The funny thing is that it tastes like omelette despite having a presentation and eating one is absolutely different to as grandmother taught us. But the originality of the presentation and how to eat it remains attentive to new sensations senses while we tasted classic flavors. We open our eyes to the genius of a new dish commemorating an immortal recipe.The new Bond is somewhat similar. Daniel Craig is completely unlike any of the previous entry Bonds it is blond and is much more grips is elegant, gross and to ducks, only by way of example we note it is more skillful throwing the pistol to the eye of the enemy which by shooting him, suffers and bleeds when they stick, is even enamoradizo, and many times her shit because this Bond thinks quite pocoy is a little animalonly acts, sometimes clumsily, and falls, stumbles and discover you more than once. The film itself is also somewhat different, somehow is more leisurely, but it not worthy at all the action scenes, which are excellently well shot, especially the initial persecution, which is like a gorilla chasing a clever spider monkey, or a bulldozer chasing a racing car that manages to reach it based on tear down trees or destroy the roadrespectively. The final scene in Venice is also impressive. In the middle are scenes more paused, poker game, and the romance with the Bond girl, is not one more, but that is the first, unforgettable as all first love, but perhaps is the subhistoria that more weakens in the film.In any case all Bond ingredients are there, or rather, are generated in this movie, that something is based on the first novel that Ian Fleming wrote about the character, a still undefined character and creates as it progresses the footage. Bond still does not say "My name is Bond, James Bond", still lacks English elegance, yet is not misogynistic, still does not know what is an Aston Martin or a gun with sileciador, or a Martini with vodka (there are two or three magnificent winks during the scene of the game on this topic), and in this prequel will discover all this for the first time. The idea to gather the argument completely Bond with the character pre-Bond and the first novel with a new change of actor is brilliant and gives a needed fresh air to the character which, moreover, gives us a magnificent and, again, entretenidísima film. |
2,260 | archivos_extraidos/MCE-Corpus-main/Dataset/4246 | Ethan | El perro rabioso | 4 | 5 | muchocine | The film is closely related to the black gender American, but narrated in the purest European Neorealist style. | The nature of the human being is configured as the years pass and successive experiences within a changing environment will be acquiring. The personality of the film director - those who have - also evolves and so interesting is to look out of his recent films, where you can see your style with all its complexity, as remember past works made in the "cooler" period of his career. This second is what we do about Akira Kurosawa and his dog Rabioso. Indeed, Nora Inu belongs to his first stage - second after the initial tapes of court for some more nationalist-characterized by feature films close to what I was doing in the West; in fact the film is closely related to the black gender American, but narrated in the purest European Neorealist style. All this under the particular point of view of the great Japanese director. Let's see it: the dog Rabioso is structured in three very distinct parts: the first tells us a chase between a young policeman (Toshiro Mifune, actor fetish of Kurosawa) and a thief of small-time just steal their regulatory gun. The second part, the core of the tape, acquires a tone of learning very Hollywood to recount the investigations of the newbie and bitter detective with one serene and experienced agent (Takashi Shimura, another of the usual film of filmmaker). The conclusion, as to the form, is almost a copy of the introduction, which gives a circular nature to the very interesting plot; However, although it's the same persecution, the character played by Mifune has evolved from their despair, to occur the crimes caused by seven bullets from his own colt. The blackness of the film is no accident. Kurosawa takes some sequences to denounce the situation that was Japan at the end of the second World War: disoriented female characters, to which more materialistic; the despair of the policeman and the thief - not sure who is more "rabid"-the two; the Manichaean treatment of some characters ("there are two kinds of returning, and soldiers who had suffered the theft of his backpack, those who were content with the situation and those others which in turn also robbed it"); and the suffocating environment, where the heat is one character and the night the main decor. The approximation to European cinema is also evident. When Mifune decides to mix with low funds, to keep track of the thief, Kurosawa stops the action and is dedicated to contemplate the slum dwellers and people which there survive. At that time, it is inevitable that come us to the memory films as the Bicycle Thief (Ladri di Biciclette by Vittorio de Sica, 1948) and Eastern cinema feel increasingly more international. Really it will be a year later, after the premiere of Rashomon and the successive awards at Venice and in United States, where took an oscar of the Academy. Among all these influences - that seem very appropriate - appears the personal hand of Kurosawa when, by way of documentary, filmed a baseball game or the camera wanders the sweaty bodies of some dancers cabaret just act. It is the same which based its implementation on scene in depth with a three-tier structure, so that when the characters converse among themselves, which is firstly talk with which is situated at the bottom of the stage or someone placed between the two. It is the same that synchronizes the credits with a first class level of a dog gasping with few friends face. And is the same as to find that boot had been censored in United States, where suspected that the animal had been mistreated, said something like: "is the first time in my life that I have come to wish that Japan had not lost the war". |
2,261 | archivos_extraidos/MCE-Corpus-main/Dataset/1655 | Tito Chinchan | Infiltrados | 3 | 5 | muchocine | Oscarizada Scorsese film about double agents everywhere. A great script that loses force by a loving trio, long that the film is made and a final that inferior to the rest of the tape. Recommended with reservations. | It is the sport and with that name, I thought I was a sport that now to all they infiltrated them to play. Well, some other things they infiltrate and climb the ports that give Vertigo. Anyway, this of the departed is Scorsese, which finally gave the Oscar of the Academy (as the Goya, but Yankee version) last. Already is it would merit the kid, but to me, I finished killing, not.The film is a police infiltrated a mafia gang and a mafioso infiltrated the police. One trafficking catch to the mafia, while the other not caught him, as well as hamper police work. And thus elapses the thing with surprises everywhere. I am not telling you more than you know very well.Well, the plot of the film very well, is based on an idea by infiltrators on both sides which makes us see the shit that moves everywhere and the pringá you are others. The result is a tad long, with a strange loving trio that subtract pace and does too (to say nothing). The end I didn't like, and is that Scorsese touch is not of my taste of never. The actors curran it much and totally give the paste, as well as the setting. But I did not finish like the movie, perhaps for so long, perhaps by the horrible final taste.In short, oscarizada Scorsese film about double agents everywhere. A great script that loses force by a loving trio, long that the film is made and a final that inferior to the rest of the tape. Recommended with reservations. |
2,262 | archivos_extraidos/MCE-Corpus-main/Dataset/1033 | Ramón Balcells | The Queen | 5 | 5 | muchocine | Delicious satire full of feelings but nothing tear (in reverse, totally perverse), with a performance that deserves more than an Oscar: of the more than Queen Helen Mirren. Essential. | Stephen Frears is a director that I admire. Either by their refined and at the same time critical talent or your exquisite tastes when it comes to choose and tell the stories. After giving us splendid films as dangerous liaisons, Irish coffee, or the latest hidden business, the director of English origin debuts this year The Queen. This intelligent story has the terrible political events that occurred after the death of Princess Diana, located in talks between Queen Elizabeth and Prime Minister Tony Blair, for carrying out a stability both political and social, that at that time the population was amazed in the absence of the Queen (he did not, nor gave any message until the efforts of Blair made her showing in public).The film is not counted or in documentary way or as a biography, but it is narrated, precisely, in a manner as if it were a normal story, film, where the facts go on and the characters are transforming. Although, as always, Frears addresses a drama post-Columbian of exquisite taste and introduces us to the feelings (if it is that you any) of the British Royal family. But what stands out mainly here is the performance of that Queen named Helen Mirren (COPPA Volpi for the best actress 2006 in Venice). Its prodigious depiction of Queen Elizabeth is moving, satirical, brilliant tremndamente and gives a very clear idea of how is in fact Queen Elizabeth: a cold and distant woman who can not show their feelings. In a key moment in the film, she tells Blair that that is how they taught him to be, so clearer still leaves us with the idea of how it really is the Queen of England. Michael Sheen (seen in Underworld and soon in blood diamond) correctly portraying Tony Blair, character which Frears takes to criticise their political interests. In my opinion, knowing that the director is not just a right-wing person, believe that this criticism to the Prime Minister, which is not precisely right-wing, is unrecognizable participation for the politician in the war of Iraq. So The Queen experienced personalities with social and political interests are not a sign of openness or good morals. On the other hand, say that the screenplay by Peter Morgan is a real Marvel structured as a screenplay and not a documentary or biography, although it is interspersed with real images that appeared on television during the events. This masterful proposed by the team of the film admire her for various reasons, but above all for the wisdom and courage to show one of the most powerful monarchies in Europe and one of the world's richest women. So in short, The Queen is a delicious full of feelings satire but nothing tear (in reverse, totally perverse), with a performance that deserves more than an Oscar: of the more than Queen Helen Mirren. Essential. |
2,263 | archivos_extraidos/MCE-Corpus-main/Dataset/1619 | Alvaro Oliva | The host | 1 | 5 | muchocine | The Host is presented to us as an I want to and I can not, at least in the West, and has the slab have we done believing that we were going to enjoy another type of film. I can only recommend the selection of another of the many proposals in the charts. | Tricked. It could define me as well once I began to see this film. It is not the first nor will it be the last time that it happens to me. We're a little tired of selling us a product that is not then that will really see.The Host sell as the great new movie monster, following in the footsteps of shark and Alien. In addition "Variety" her qualifies us as the best film with Monster in history. I do not know if the friends of the magazine are some horny, but its marketing campaign and the trailer are doing that people go to see this Korean film.The work of Bong Joon-Ho, is a nonsense that at least here in the West, us (or me) is quite laughable.There are some parts that are saved and are quite well, such as the home and the presentation of the creature creating chaos on the banks of the river and the Park, but after this sequence, the rest of the film is presented as a comedy of the absurd, with characters children and almost coming out of context, that achieve nothing more than amazed viewers wondering that why you have chosen this film to spend two hours of his life. In the adventures of the protagonists and mechanisms of the film, we can find critical to Governments, its mechanisms of manipulation, his experiments etc. Try to show that is fine, but not in this film, or failing in this way, that fails its purpose and only we make even heavier in "The Host".In short, "The Host" it presents as an I want to and I can not, at least in the West, and has the slab have we done believing that we were going to enjoy another type of film.After this, I can only recommend the selection of another of the many proposals in the charts. |
2,264 | archivos_extraidos/MCE-Corpus-main/Dataset/3679 | Andrés Pons | I, Zombie | 5 | 5 | muchocine | An innovative film in the subgenre that inexplicably not considered as better than the horror gave in the 1990s. | A tristísimo film where the ZOMBIE is used as a terminal illness that just about the life of its protagonist, each minute feels Calvary thanks to an outstanding "GILES ASPEN" Although not to miss the opportunity of GORE, everything is a background by importing the main character, his personal drama and his thoughts. An innovative film in the subgenre that inexplicably not considered as better than the horror gave in the 1990s and perhaps one of the best films about the ZOMBIE phenomenon. ANDREW PARKINSON and his actor protagonist deserved more luck. To claim. |
2,265 | archivos_extraidos/MCE-Corpus-main/Dataset/2856 | Tito Chinchan | Los ojos del mal | 3 | 5 | muchocine | Film horror and gore with a not inconsiderable argument. The atmosphere created is OK, and is not for those that do not understand what happens, if that doesn't quite logic. Not bad, was not. | Do not look to the devil, not, draw you the eyes and puts it in a jar of brine for worse times. To ascazo, of course. And that most ugly guy in the poster, with that nose of Boxer and the look lost. Link not ligaría much, no. And less if you all sides with that hook, although as method of ligoteo is not bad, her you hooked a leg and ale, to enjoy life.The film is a programme of reintegration of prisoners that, grab a group of women and other men and leads them to an old hotel to restore it. The group is composed in addition to by the prisoners, a proprietary elder of the hotel that caught fire 30 years earlier, a woman and a policeman four years ago lost a member in a very strange case. Everything goes well, until they begin to happen strange facts relating to the case of the police which was never resolved. And then comes the Lord that ugly of the poster with the hook rolling one you shit on the down.Look I saw the movie with great skepticism and a bit of laziness, insofar as these do not usually like me. And the thing starts pretty bad, since joining prisoners already seems a very silly thing. And that is only to handle them a police cripple and a lady that not be what it is, nor goes nowhere. Then scenes of violence are very exaggerated, even a little stopping the image so you can see it well as it enters the meat hook. But as the subject progresses, and you forget these two buts, going metiendote in the intrigue and the thing is not bad. Especially at the end, there is a surprise that had not seen coming and I liked a lot. The atmosphere created is OK, and is not for those that do not understand what happens, if that doesn't quite logic. Not bad, was not.In short, film horror and gore with a not inconsiderable argument.Too bad the excessive recreamiento in the gore scenes.Besitos.P.D: And then with the collection of eyes, which made? Would it change the eye with other collectors? Let me some Brown, that he had ate them the cat. Things.Pd2: Truth that the obsession for showing the most possible gore do not understand. It is good that they ensarten one in a hook, but not to slow, which removes rhythm for the film.P.D.3: I am going to culturizar a mijica. This Lord of the hook, who was born in Madrid and is called Kane, is or was a wrestler of the American wrestling, that posed by Marrrrr Hector, picket of eyes, the squat is giving the dance of St. Vitus. Memories. Oh, and the director is porn, perhaps why the fixation with the penetration of meat hook, it could be. |
2,266 | archivos_extraidos/MCE-Corpus-main/Dataset/346 | Rafa Ferrer | Piratas del Caribe 2 | 3 | 5 | muchocine | Cinema of adventure, palomitero 200% where the only thing to be is what is achieved, entertain the audience. | Returns the captain Sparrow and all their friends in this new installment of "Pirates of the Caribbean", a film than expected with desire, after the pleasant surprise the first delivery and according to critics, the resurgence of the cinema of pirates; as well, again we have all the ingredients that made us enjoy the first film, and at the same time, all things that we didn't, because both seem to be cut by the same pattern, and while in a pleasure and an honour, (cannot be otherwise in this kind of tape), reconnect us with Jack Sparrow, Will Turner and Elisabeth, the film loses freshness, since we already know the characters as if they were lifelong friends.Both Johnny Depp and Orlando Bloom are excellent in his well-known roles, so not Keira Knightley, which bit her cannot be, unless the circumstances face and make mohínes, unfortunately his performance does not give for more, special mention of ILM special effects, and it is these "mutated" with sea pirates are excellent, in addition to "their" beard of Davey Jones, after who hides the always versatile Bill Nighy.Antes that I forgot the hundreds of references (to the game Monkey Island and Star Wars) on all... would have to open a chapter apart to the soundtrack Hans Zimmer, who has managed to take all the best of the score by Klaus Badelt and improve it, adding in addition to his label, the exciting "fanfare" for the film.Finally, adventure film, palomitero 200% where the only thing to be is what you get, entertain the audience and let good taste.Incidentally, dedicate, this my criticism today excellent charge of "restoration" of Actaeon films, for their patience, affection, sympathy and others, made our purchase in the facilities nice. I hope to understand the irony. |
2,267 | archivos_extraidos/MCE-Corpus-main/Dataset/3266 | Andrés Pons | La Huella | 1 | 5 | muchocine | Halfway through footage at least always excellent in this role Jude Law gives el baile de san pito mutating without warning in a cheap copy of Jim Carrey exceeding even their faces. | Let's fuck the classics with the greater possible boldly, we will carry out the ridiculous by copying one of the greatest cinematic masterpieces and her plunge into the mire of the filth.Go is that not the purpose of this Remake? Because I am surprised but it is what found me. KENNETH BRANAGH is a director and competent actor when it adapts to the great playwright SHAKESPEARE "HAMLET, much ado about nothing" what happens is that when it comes out of these adaptations his film deteriorates quite.CAINE returned to acting in one of his best films in his excellent career embodying the opposite character, ends it his doing his natural heir "JUDE LAW" that apparently because I interpret another character of the great actor in the also mediocre Remake of ALFIE.The screenplay by HAROLD PINTER written for the occasion is an ode to the incompetence or a crash course in how to destroy a good story.The film makes no sense in all its footage without never to know which balls are playing this pair of clowns.We do not know that her pussy intended to but gives as well to half of footage at least always excellent in this role JUDE LAW gives el baile de san pito mutating without warning in a cheap copy of JIM CARREY exceeding even their faces. I guess that to be at the level of his prodigious partner that is the only thing salvageable in the disaster got a crab in the ass leaving carried away by such wonderful experience. I guess that BRANAGH that cared a pepper because you don't understand the because no control to that actor who suddenly became insane, although to see his collection of drawings without sense nor anyone controlled you to the.The music is similar to the picture is grim, but the best is to come in the final Fireworks. Suddenly we have a tape that could be involved in a GAY film festival and just change you the title by the of "Te voy a meter footprint behind with my tranca gonna freak out and to my wife slut is going to find out". |
2,268 | archivos_extraidos/MCE-Corpus-main/Dataset/1559 | Bloody Will | The host | 3 | 5 | muchocine | A story that engages the public and has genuine brilliant moments, whilst, as in almost all film monsters, tends towards the end to fatigue. | I do not know what will have the Asian movies that, starting from a premise that any other industry to become a blockbuster bazófico without a script (not look to the West), manage to tell a story that engages the public and has genuine brilliant moments, whilst, as in almost all film monsters, tends towards the end to fatigue.Maybe The host is that you'll not find before more than overused genus of large bicharracos. There is no chunky heroes, or with good coefficients intellectual and much less essential requirement of contract. Who confronts the monster is a family commanded by an old man and followed by a failed arch Sharpshooter, a bum, and a fool of auction. All with the Mission of rescuing the smallest of the clan, and all with an absolute incompetence to carry out that purpose, which makes the movie a success.Park Hee-bong (Byun Hee-bong), has a small put food on the River have Seoul, and strip for a family of two children, a daughter and her little granddaughter. Gang-du (Song Gang-ho) a real immature 40 tacos, Nam-il (Park Hae-il), a hysterical unemployed, Nam-joo (Bae Du-na) Sharpshooter of arc Olympic and Hyun-seo, daughter of Gang-du. When an enormous mutant amphibian out of the river and caught one of them, the rest will come to the rescue but not passing all possible calamities.First, the very first appearance of the Gwoemul, which I believe should be its name since it is the original title of the film. It is one of the most impressive sequences of recent years. Rather than spend 10 minutes, and during the following 20 Monster sweeps with the park where is the snack-bar of the protagonist. This is something radically opposed to everything we have seen so far, where it does not appear the beast learns until that we have 1 hour of footage. In addition, nothing to envy to the American CGI. The lack of control of the animal slaughtering to anyone who crosses on its way makes you to skip literally seat, and the end of the attack, simply an apotheosis. Only by this already worth seeing her.From that moment already let more aside to the "bug" to focus on the efforts of the family to recover one of its members, and not lost one iota of interest in the film. After a harrowing image in the sports centre of the affected population, becomes an escape from the Hospital that recalls the most gamberras comedies. Sometimes comedy, at times drama, show that it is not necessary to have the breath of the monster constantly in the neck to make the story interesting.In addition, I like to think that in this type of movies not everything has to end so richly. Let's be honest, if we are behind an amphibian of nearly 10 meters, something will happen, and there will be consequences. The film explores the nuance of reality in the meantime terror.Now, everything has his but. To my gives me the feeling that spare you a quarter of an hour or at least not extend too much the end. Everything happens so fast at the beginning which seems to be delayed and relantizarse towards the last quarter hour, as if one has to drive the film in 2 hours at all costs.The Host is a real rarity in the world of celluloid: film entertaining in the genre of monsters. There other cases (shark), but abound so much mess and joke that this movie is all a shock to my belief that Mathew Broderick and Godzilla marked a before and after in the horror film. |
2,269 | archivos_extraidos/MCE-Corpus-main/Dataset/1857 | Iñaki Bilbao | El corazón de la tierra | 2 | 5 | muchocine | Missed opportunity to have done something important in the historical film Spanish. Again will be. | Entertaining saga of historical and assertive dyes produced, would like to believe, with the idea that a serious and tragic situation that really happened in Spain, don't forget to be reminded, by way of homage, the good people who they lived them (and died). And I say that "I want to believe" because I see very clear. Cuadri has strength and elegance to frame shots, with a powerful mise en scene, well using the depth of field and sometimes, getting a great dramatic effect, despite not having many mimbres.This is noticeable, for example, in charge of the army against the poor people of the place. There are no shots many extras, but more well than inches, but the good use of the frantic Assembly, close-up and appropriate music, get the desired effect. And so two or three times more. But, broadly, the story you are Manus, the filled rather crude form of numerous topics, a thousand times seen in the film. Little by little, a film by the interesting historic trail, derives the soap opera, with love, proverbs, hatred, vengeance and all kinds of human feelings mixed rough, noisy, little rigorous way and with no doubt rush, I think that to cover much of the foregoing in the novel in which it is partially based.The result is very irregular, never bored, but not interested too much, rather little, although the events are no problem any because the pace is not agile, or at least effective.But I think Cuadri fails a good movie, but little convincing auque careful and painstaking in the technical aspect. I hope that the undoubted international effort of the company does not fall on deaf ears, but gives a bit of penalty see how lost another great opportunity of having done something truly remarkable.Again will be. Ah! With regard to the (not interpretation, eye!) characterization of Fernando Ramallo, better turn the page. Already okay them. |
2,270 | archivos_extraidos/MCE-Corpus-main/Dataset/2174 | Jeremy Fox | Spiderman 3 | 1 | 5 | muchocine | Raimi gives us some of the most embarrassing scenes in the history of the blockbusters. | Of all the litany of sequels that this 2007 we have prepared, the first I've seen has been "Spider-Man 3.The film had encouraging background of "Spider-Man" and "Spider-Man 2", two good movies that, without reaching the excellence of "Batman Begins", fulfilled its task perfectly. It also had a so much fun as Sam Raimi director and the emergence of villains as emblematic as the man of sand, the Goblin or venom. Expected for this reason one of the shows of the year. Big mistake.Of course, anyone, to enjoy a feature film he comes with a display of special effects, it will be happy the film and will think that I am a pendante for not sharing your opinion. But if you are of those who ask more to one film. If ask you, for example, a script or a rate appropriate, prepare you for the disappointment.It is not that the film is totally boring, that it is at times, but what happens on screen is not the case with the naturalness and the fluidity of the previous films. Everything seems forced, the formula sounds repetitive, and although it is repeated, we should not notice it.It falls again and as seems usual in modern American cinema, in the dramatic action scenes, thus preventing the dramatic and emotional involvement of the audience in what happens. One can feel visual wonder at the special effects, but there is no room for emotion.It doesn't help that neither, the accumulation of characters that, in some cases, appears a mere excuse to satisfy fans of the comic, but that found them a suitable place in the script. So Gwen Stacy (Bryce Dallas Howard), a key character in the comic, is completely out of place and seems a simple introduction for a character that, leave the series Kirsten Dunst, could take role in following installments. J. j. Jameson or aunt May are also mere extras in scenes without sense.To say something positive, not everything is going to be bad, recognize that the man of sand (a successful Thomas Haden Church) and its history (in which appears a desaprovechada Theresa Russell), are the best of the script even though if they had only stayed with him as villain and had developed its story properly (asks it cries), would have fared better.But worst of all the film, are the moments in which Peter Parker (Tobey Maguire) is owned by venom and becomes a pimp. Just as it sounds. Raimi offers us here, some of the more embarrassing scenes in the history of the blockbusters. A difficult to understand horror and that becomes more unfortunately memorable of this painful and disappointing product entitled "Spider-Man 3 ″."Final evaluation of moonfleet.es: 2.5 out of 10 |
2,271 | archivos_extraidos/MCE-Corpus-main/Dataset/2429 | Oscar Cantero | Transformers | 3 | 5 | muchocine | A fast-paced production that rolled back to childhood to many that are now around thirty. | Michael Bay is one of those directors who strive to prove that commercial cinema and action need not be based only in the loud music and persecutions. With more or less success, always try to contribute something in their work. And sometimes even succeeds.Transformers is one of them. The film tells the story of two races of robots who come to Earth in search of minerals and resources which enable them to survive. With an apocalyptic but hopeful tone, the film becomes another of those messages that both love filmmakers across the pond, and that somehow it could be summed up in "very bad are things, the man always can succeed". Obviously this film must be judged with the appropriate step, knowing that it is a work of entertainment pure and simple, and leaving aside any consideration. In that regard, Transformers is a very successful film, with a frenetic pace and which is directed both to the more youthful public and who flirts with the thirty and grew picnicking a bread with butter and cola cao while watching these same robots (although quite less sophisticated), fighting for survival.A few special effects and a design impressive and never seen so far are arguments more than sufficient to occupy connoting the almost two and a half hours that lasts their footage. The interpretations and the script, although good (with the exceptions of John Voigth and Megan Fox), are unimportant on this occasion, that although it suffers by moments of hackneyed sentimentality and bland humor of its director, the rapid succession of hair-raising scenes of enormous spectacular compensates it with more than. |
2,272 | archivos_extraidos/MCE-Corpus-main/Dataset/2761 | Kiko de España | Tideland | 4 | 5 | muchocine | The case is perhaps a little acojonado, perhaps vaccinated for everything with Inland Empire running through my veins, I find myself with a touching story about the innocence from a point of view very but very son of a bitch. This is like the Lynch, there to see it. | I know that illustrious people like Max Renn or my teacher of history of cinema largaron by unbearable and I'm going and I find a sorpresón as a piano:Tideland is one of the movies of Gilliam that I like. It has touches Solondz or Von Trier, but it is 100% Gilliam and the first half-hour is masterful.Then what happens happens, I have thought spoilear, and the movie carried slopes that character in a way acojonante, chilling, I would say. The note, kicir, Jeff Bridges is tremendous almost a decade later and Brendan Fletcher I cannot say or m3u.The case is perhaps a little acojonado, perhaps vaccinated for everything with Inland Empire running through my veins, I find myself with a touching story about the innocence from a point of view very but very son of a bitch up to look like the killing of Texas.Esta is like Lynch, to see her. |
2,273 | archivos_extraidos/MCE-Corpus-main/Dataset/3995 | José Córdoba | Caótica Ana | 2 | 5 | muchocine | It is a very personal film as failed, that wants to be magical but it is too explicit and obvious.If it did not have that end it would be one film more failed but interesting aspects, but the way in which just does damage it in an irreparable way. | After several years away from the cinema of fiction Julio Medem returns with a film that must have been very special for him.Caótica Ana tells how a young painter hippie discovers that he is the reincarnation of many other women who died tragically at age 22. Through hypnosis sessions will be getting more and more in the history and the life of its predecessors. will be she sentenced to the same end?Ana Medem 22 died in a traffic accident, and July, his brother erected him a tribute with this film, which reflects many aspects of the personality of his sister, in fact the tables appearing in it were painted by Ana Medem or are adaptations in this style. Therefore, the director of the Basque feels personally very involved in the film.The penalty is that the very commendable and understandable effort not just reach the Viewer. The film is narrated by way of home behind, ten to zero, showing various moments of the life of Ana (Manuela Vallés), from the moment in which a mysterious French woman decides to become his patron and bring it to Madrid, away from her father who lives in a cave in Ibiza. Because of the chosen structure, the narrative has holes, ten ellipsis which affect the fluidity of the whole, to make it go faster. Once arrived in Madrid the film begins to show their problems, offering a vision of the kind of hippie commune in which he lives surrounded by artists, superficial, stereotypical and politically correct. Furthermore as already happens in sex and Lucia (with which holds many similarities and that repeated images: floating naked in the water or contemplating the Moon next to the sea, together with the own character that reminds a little to the interpreted by Paz Vega), presents a love story that's as "poetic" is incredible, as it already happened therein the two characters Anna and Sayid look in the eyes, exchanged a couple of phrases, make love, and she is already in love with forever ever with a pure, clean, crystalline and indestructible love. The film continues with an atmosphere that wants to be magical and appealing but which never becomes it completely, despite trying hard, everything seems forced or already seen. There are scattered details that function as the idea of the boat of the father of his best friend, Linda (baby), called as she is who the Save die drowned, although the scene itself is very forced; the idea of the cave with the doors that lead to their past lives, not very original, but effective visually.Even with its problems, the film is welcomed and is not heavy actually, but Medem loses the roles in the last five minutes of film that completely destroy what has been achieved so far. I do not usually have the end, but this time I am going to do, so if you don't want to know what skip the paragraph. After reaching the last of their lives by hypnosis, Ana has taken a radical change, has found its sense in life, even inadvertently as she says and decides to make an act of poetic revenge cagando literally in the face of a high office of the George Bush administration for the war of Iraq. If we were against a clearly political and demanding film because it would make sense, but in this film this theme is dealt with very briefly, is named the Saharan conflict, war of Iraq or the sad state of the Indians in the American reservations, they are named, they appear, but always in a superficial manner and the protagonist appears never really interested. Therefore, the end as it is raised is very unsuccessful and destroys the film by incoherent. One could speak of the shift in Ana which leads her to that, but is not seen on screen, so it seems to me a very comfortable choice by the director put in the hands of the viewer all the necessary transformation.As regards the direction of Medem little objection, his style is very peculiar and staff you like or you dislike but does not leave indifferent and that is appreciated.The interpretive level the actors are irregular starting with Manuela Vallés (Ana) in practically the same registration throughout the film, except for the hair, not the character changes are reflected in its interpretation. A pity because it has a very expressive look and is very comfortable in front of the camera. Baby (Linda) makes herself, a racial with great force, perfect but little courageous character. The rest of the cast is uneven with a correct Charlotte Rampling as the patron and a dreadful interpretation by the actor that makes hypnotist.Saturate in blue and Red depending on the scene, digital photography is very effective and demonstrates a clear evolution from his previous film, Lucia and sex, where the technique was not mature enough. Finally the soundtrack of Jocelyn Pook (Eyes Wide Shut) is also very suitable to the images with moments truly successful and beautiful, very much in the style of the work carried out by Alberto Iglesias for earlier films of the director.Finally, Caótica Ana is a very personal film as failed, that wants to be magical but it is too explicit and obvious. If it did not have that end it would be one film more failed but interesting aspects, but the way in which just does damage it in an irremediable way.Summary alternative, Caótico anus is a film about a girl with a serious problem of constipation that finally arrives at the healing hands of a senior of the Bush administration. |
2,274 | archivos_extraidos/MCE-Corpus-main/Dataset/2583 | Ramón Balcells | Disturbia | 3 | 5 | muchocine | If you are you looking for popcorn and entertain you for an hour and half, is what you will find. A movie to pass the time, which does not need you to think at any time and it is very, very entertaining. | What one could expect from a kind of remake of that work master rear window? Therefore what Disturbia is a modern tape, entretenidisima, without the slightest interest in showing something new, with a few young actors that meet their work more successfully (Shia LaBeouf is great). It may seem that the tape is too topical and empty, but it is that no one would expect more than she. Importantly is that it complies with their work, is not pretentious and a sunset in really good scene. Fast-paced action, a girl who eats the screen, a compelling bad (David Morse always goes well) and a no less topical or clear finish. We are of the first order, well filmed entertainment and fails to prove, at any time, false. If you are you looking for a remake worth what the Hitchcock movie was, you decepcionaréis you. If you are you looking for popcorn and entertain you for an hour and half, is what you will find. Perhaps too simple, without a penalty a moral, but knows at least entertain and this is what is appreciated more. Although I must admit that I liked more lives outside, the previous work of the director, without make it either, no wonder.In short, a movie to pass the time, which does not need you to think at any time and it is very, very entertaining. Recommended not to go with the idea that it is the new rear window. This is rather prying viewers. |
2,275 | archivos_extraidos/MCE-Corpus-main/Dataset/1303 | Jesus Lens | El truco final (The Prestige) | 5 | 5 | muchocine | Perfect screenplay in which all parts make up a watch mechanism. ?The prestige? It is a glorious, surround, touch and great film. | Infamante form holder a memorable film, possibly motivated by the fear of the Distributor to the Hispanic staff thought that it was a progresista-solidaria recreation of the sinking of the oil tanker off the Galician coast and the subsequent repercussions had to the Government of Chema Graznar. And it is that the lack of imagination of the patriotic "titrators" is unfortunate and pathetic. That we have a magic film because it hala, to put a "trick" in the title, won't nobody calling deception, precisely when the deceit and simulation are at the root of the latest film by Christopher Nolan, one of the most interesting Directors we have active and that, by shooting films of superheroes, as the last Batman; or police, as "Memento" or "Insomnia"; or fantastic cutting, like this "The prestige", happening too unnoticed among the common viewers and, of course, academies and associations that give the annual awards of the thing.Having said which, move on to describing the huge, powerful and potent virtues of this "The prestige", a film with many edges, folds, shadows and nasty as that other marvelous "War of the Roses". And is that when two artists begin to climb to the top, are many sensations and feelings that intersect with each other, from the admiration and recognition of envy, hatred and the desire to destroy the adversary, see you sunk, crushed, devastated and wiped out. "El Dorado", one of the great masterpieces of Howard Hawks, match two gunmen. One of them, Nelse Mcleod, asks John Wayne the opportunity to join their group. The refusal of Wayne Nelse espeta you something such as: "Perhaps better as well." "When two men as we ride together, always arise the issue of who is the best." And on that basis is built "The prestige": two magicians of remarkable talent who work together are separated by a tragic accident, starting a destructive rivalry that will take them to grown and go up to the heavens in his art and to sink and enfangar to disgusting in their personal relationship since then. With a fascinating fragmented narrative based on continuous jumps in time and thanks to a majestic interpretative work both the main actors and each side luxury? unpayable Michael Caine and David Bowie, with a perfect script in which all parts make up a mechanism of watchmaking that works with Swiss precision and an environmental dirty realism that serves to emphasize the vileness and the corruption of the characters; "The prestige" is a glorious, surround, touch and great film which, without Manichaeism, becomes a prodigious set of mirrors that is perfectly represented the contradictory essence of the human being.It seems that Nolan, Bale and Caine repeat together in "The dark knight", the highly anticipated sequel to his also splendid "Batman begins", in which duality also plays, of course, an essential role and already we are hoping, admiration, rendered all the viewers we have hallucinated with "The Prestige". Hopefully not be waiting very long.PS-does anyone know if the title of "The dark knight" refers to the famous graphic novel by Frank Miller, which has both excited readers of comics of the last twenty years? |
2,276 | archivos_extraidos/MCE-Corpus-main/Dataset/3050 | Caty | Dos hermanas | 3 | 5 | muchocine | Are narrated in a very leisurely way, one could say that?Two sisters? It is a film that like and dislike in equal parts, taking equal true genius that unexplained slippages in the script details and that they could be resolved easily. | Directed by the acclaimed Kim Jee-Won. Based on a known Korean folktale (Janghwa and Hongryeon, pink and Red Lotus, carried the big screen numerous times), it tells the story of the stormy relationship between two sisters very United and his stepmother, with the figure of a father absent, lost, dolido.por behind the interpretation of what constitutes the central triangle of the plot, the two sisters and stepmother. The sisters Su-Mi (Im-Soo Yung) and Su-Yeon (Moon Geun Young) arrive at the family home after a long convalescence in hospital. In the House are with his father, a taciturn man concerned, and their stepmother Eun-Joo, a woman constantly changing nature, and which seems to save a species of hatred and resentment towards the two sisters. Su-Yeon is the suffering, above all, the consequences of the fire of wrath of Eun-Joo, to be more weak due to a traumatic event he witnessed when his mother committed suicide in front of her. Su-Mi (which is the most strong and which always protects her sister) takes charge of the situation, tired of hold man by the stepmother in order to satisfy his father. The atmosphere thins in the House, in which begin to happen strange events, and where the tension is palpable every time with more fuerza.en that time, the stepmother begins to act with unusual violence, especially against the usual focus of their attacks, Su - Yeon. at that time, there is no turning back, and Su-Mi are available to find out what really happens at home.Narrated in a very leisurely way, one could say that "Two sisters" is a film that like and dislike in equal parts, taking details of true genius that unexplained slippages in the script and that they could be resolved easily. Although the film has a picture, a few effects of camera and an exquisite atmosphere, suffers from lack of consistency in many of its parts, especially at the end. Director Kim Jee-Won, in its efforts to "loop the loop", get the main plot are subdivide into sub-plots are not going to stop anywhere, and making that many viewers take face of astonishment, to the only have sensed vaguely that history will. Very dramatic "scares", and with the corresponding "Fireworks plot final" (very devalued due to the continuous ups and downs of the script), and with three actresses really excellent in their roles and credible extremely (in my opinion, the best of the movie mode) .but I repeat, all these artistic elements are relegated to second place when we can't really distinguish the true story and giving us is thatWhat could have been a 10 film simply becomes one entertainment. |
2,277 | archivos_extraidos/MCE-Corpus-main/Dataset/4118 | Moebius | La ventana indiscreta | 5 | 5 | muchocine | Rear window could be a perfect summary of the work of Hitchcock. | You ever been surprised themselves snooping by the window, watching the neighbor that watered the plants, the boy dancing, the child who plays? Have you regodeado at the sight of a beautiful and young human specimen stripping is? Have you been embobados looking a couple give kisses? Come on, not deny, their eyes are faster than their moral restrictions. You, friends and friends, are observers, volunteers or involutarios, but onlookers to the end and Cape. You are a voyeur, as I am. Come, come, they are not shy. Leave out the small Alfred Hitchcock being inside and take a look through their window.Rear window, based on a small story of Cornell Woolrich, has become over the years one of the great classics of the orondo Hitch. If I had to do a top ten of their best films rear window would occupy one of the top without a doubt. The film is not only a prodigy of cinematic technique, but that is also an ode to the healthy pleasure of "voyeurism", an ode by Hitchcock to the prying and harmless onlookers.J.B. Jeffries is an intrepid and award-winning photographer to the Robert Capa that after suffering an accident convalece in your room plant and in a wheelchair in the Hot New York summer. His only consolation are the brief visits of biting nurse and his elegant girlfriend Lisa Fremont. The greater part of the day Jeffries solaza staring out the window and watching the daily activities of its varied neighbors. Everything will change when certain day begins to suspect that a murder has been committed in a floor of the building from the front. Although limited by his broken leg, Jeffries will not stop to unmask the murderer.After having shot a film as the rope using a single flat continuous around 1954 Alfred Hitchcock sought a new technical challenge. The British found what I wanted in the old history of Woolrich. After interview with screenwriter John Michael Hayes and the shadow of a doubt as his favorite film of the director, tell you Hitchcock (outside or not for that reason) hired him to adapt the short play It Had To Be Murder. The director invited him to the filming of perfect crime and told him that you happen with Grace Kelly a pass from weeks to know it and then write the draft of history. Hayes did so with what the final portrait of Lisa has traits of the character of the actress, although Lisa is really a fusion between Kelly and the woman herself of Hayes, who had worked as a model and knew that world of designs and Couture.After raising first as a challenge, history was trapping Hitchcock, and along with Hayes gave us one of the kaleidoscopes on life à là stronger Hitch that left us his work. If I had to submit to the most innovative Hitchcock perhaps choose Vertigo or psychosis; If I had to show to the Hitchcock technically mature and commercial perhaps I decantaría by with the death on the heels; But if you had to sum up his work and his life in a film only think I decantaría by rear window. If not all, there is almost everything that surrounds the work of British director par excellence: superb flat technicians, old suspense inspired by real crimes, and the smooth rhythmic Cadence of their stories. We also have the blonde of ice that hides a volcano of passion in its interior, the passion for observing the world from a safe place and hidden desire, one of the big leifmotiv of the director. And in this strange courtyard of Greenwich Village we have a picture of love in its different phases and types. First we have the protagonists: Lisa, the perfect woman to love, and Jeff, prototype of the man that is shy to engage more in their relationship and lose their freedom of action. And we have the neighbors: the newlyweds they mate relentlessly, the mature spinster who seems condemned to solitude, the composer solo and drinker, the young dancer by which all men long marriage without children who have resigned themselves to pamper a dog, and finally, the old marriage where love out the door long ago and have only been fights and grudges.Hitchcock returned to the idea of filming in a single closed space that had already developed in the rope, although this time set aside to focus on what the director (and many others) considered the essence of cinema the single level in the rear window: action and reaction. Good Hitch speaks in the famous book Truffaut on this theory with which he experimented Kulechov, the master of Vsevolod Pudovkin, and has points in common with the use of the flat contraplano. Virtually all the window indiscreet is based on this principle: we have a map of James Stewart looking out the window, then a map of what he is watching, and then have a third level of Stewart where look at their reaction to what you see. This is perhaps the film principle par excellence.Hitchcock was originally going to shoot really in Greenwich Village, but considering that the results were not satisfactory decided to lift some bulky decorated life-size in the Paramount Studio 18, the largest that had ever raised in the producer. Even so, the director needed more flats. Given that the height of the study wasn't enough, Hitch decided to disassemble the soil and build the patio at the height of the basement, while the floor of the photographer Jeff was at the level of the soil. A complex lighting system (called team to other studios and rented all kinds of lamps and bulbs) was able to simulate day and night, dawn and dusk. The demand for energy was great, and the warmth of the old lights stretched to actors and technicians. One day they jumped the antiicendios sprinkler and everything was flooded, so the set was in the dark. The old Hitchcock left in the dark to a study!Action and reaction are put aside in few but decisive moments. One is the scene of the death of the dog, where the point of view of Jeff is omitted. In this special drama mento mo we can see the scenery in all its dimensions. On the other hand, during much of the film the audience becomes the eyes of Jeff and sees what he sees. Hitchcock, which is called the master of suspense for good reason, just breaks that trend to make us partakers of something that the photographer is not seeing. Remember, directors of the suspense that you are outside: the public always a little more than your characters.Another element that accompanied Hitchcock during his career and emanating from its formation in the era of the silent film era is the display and report without using any dialogue. In the scene that opens the film after the titles of credits came to know almost everything about Jeff: his name, does, if it is enjoys prestige in his work and the reason for his convalescence, all without that have been handed down to a single word. Today it is difficult to shoot as well.The distribution of rear window has which have probably been the favorite players of Hitchcock: Grace Kelly and James Stewart. The actress shot one film before leaving the film and move to Monaco, something that infuriated the director. Stewart continued rolling with Hitch until both realized that the actor was already too old for exercise of protagonist Heartthrob and action scenes. A Thelma Ritter graciosa excels in his role as nurse of the photographer. Raymond Burr (the famous Ironside!) was elected for the villain. They have that Hitchcock chose to Burr because it could resemble the producer David o. Selznick, who the director was not a pleasant memory.Said Hitchcock if one placed a story in France should appear the Eiffel Tower; If one filmed on Switzerland should have mountains and chocolate to be used. If you wheel in Holland characters must pass through a mill. The place or objects should serve as support to what is narrated. How you defend the villain a character photographer who lives in Greenwich Village and spends the day in a wheelchair? Those who have seen the film to know the answer. Those who do not, look in the rear window. |
2,278 | archivos_extraidos/MCE-Corpus-main/Dataset/3875 | Ana Belén Pacheco | Ora o Mai Piu | 3 | 5 | muchocine | While sometimes it fail in ideas or how to treat them is a tape entertaining in which if they had measured the personal and romantic part with more tino could have achieved a combination almost remove his hat. | David is a model student entering a prestigious University College in the city of Pisa. A review of finishing his Bachelor's degree in physics entertains at a meeting with one of the multiple leftist student meetings of his University. While David is not a big fan to the policy if it is Viola, one of the fundamentalists and suspended its consideration to not have submitted the rest of the summer happen it along with his new friends more concerned of the borrowed social concerns which of his own books.What looks like a film most adolescent love with some political background is actually of the few films that dare to narrate the bit of recent history which was the Summit of the G8 Summit in Genoa and the events that took place there. Now I will tell a batallita. When he was held on 19, 20, 21 and 22 July 2001 was in Rome, a German friend decided to take a train and go to the peaceful demonstration against the Summit. One of the teachers of the school tried to explain to him that it would not be safe. This week the news put scenes of how the center of the city he barricaded, metallic doors blocking access and up the army was summoned to ensure the safety of world leaders. Three days our friend returned with a gap of fifteen points in the head because nothing more reach the city received a with one blow (in the literal sense of the word) and finished in less than an hour from his descent of the train in a hospital and interviews with average Genoese police. In this film I was almost expecting found in images of file or in the own part of fiction.Perhaps that is why I think attractive Ora or Mai Piu, while the Genoese journey continues to be an anecdote in the history of David is a part important and very little treated in the recent cultural and political history in Europe. Ora or Mai Piu can be translated literally as "Now or never" and is how it describes one of the young people the need for action to change the world. It is a Leif Motif perfect for the tape but lack a little enthusiasm to carry it until the last consequences. Anyway and while sometimes it fail in ideas or how to treat them is a tape entertaining in which if they had measured the personal and romantic part with more tino could have achieved a combination almost remove his hat. |
2,279 | archivos_extraidos/MCE-Corpus-main/Dataset/2375 | Txapulin | Shrek Tercero | 3 | 5 | muchocine | The movie can be seen quite well and is entertaining, and although it is very difficult to reach the quality of the first film, at least this maintains the level of the second. | I criticized the second OGRE anti-establishment became something so in line with the system as a Prince Consort. In it, these things happen in life, such as the death of the King, you have to be the new King. But this time the writers wanted to be consistent with the character and send it us with his friends the donkey and puss in boots to find a new King beyond the seas in order to be happy in his pigsty. Meanwhile, in the absence of King in very very far, Prince charming organizes a revolution with the bad guys of all stories to win power.Well, no one expected that the argument was very very Original, therefore this movie looking for laughter, narrative pace and many references. On the laughs, there are some that are good and others that do not stand out, but it entertains. On the pace, there are a few ups and downs, some scenes where supposedly you have to be descojonando and they do nothing of grace, as fifteen deaths of the King, the encounter with Merlín or the exchange of bodies between the animals. The good thing about this release is still in references to the children's stories of life and its parodic distortion. It's great that convert Camelot into a posh secondary school, or create a kind of A team with the Disney Princesses including transsexual stepsister of Cinderella, sleeping beauty, Rapunzell and a snow white really surprising (his scene in Lady of the Beasts plan is acojonante). The Group of villains of story also has its charms; It's great that hood is part of the villains and the Wolf is good, for example, or that some of the snow white dwarfs are also among the bad guys. There is no loose characters that stand out, instead, as it highlighted the cat with boots in the second, here the characters individually are neglected, perhaps because we tried to do too much.The movie can be seen quite well and is entertaining, and although it is very difficult to reach the quality of the first film, at least this maintains the level of the second. By the way, here, as he had in the previous two, we did we expect final surprise after the opening credits and was a disappointment. Concluding, fairly predictable scenes would certainly make that function.PS: For my generation, the film deals with one of the hot topics of the 30: paternity (or better: the lack of paternal feeling), so that some us can feel quite identified: P. |
2,280 | archivos_extraidos/MCE-Corpus-main/Dataset/3573 | Francisco Bellón | Muerte de un Presidente | 2 | 5 | muchocine | Death of a President is a provocative and controversial film by its approach, that hides a deep critique American policy on the outside and inside. | The mockumentary is a genus that not so many years ago even existed, not to say directly that it is a fairly recent creation. Today are increasingly more managers who bet on this format that adapts perfectly to the histories of political and social complaint, especially if they are narrated with drops of a corrosive acid sense of humor.Gabriel Range, renowned director of the BBC, was launched with a particularly risky history that presents in a tone of mockumentary the assassination of George w. Bush. It must not be any Lynx to deduce that by such plot the British filmmaker has received all kinds of criticism since United States. Despite this, Range at any time makes an apology for violence or seeks to justify the acts of his alleged characters, but showing the terrible consequences that generate hatred and violence. If history raises Range outside some, would be one of the documentaries of the year, but it is fiction, the film is something take that does not offer any extra incentive (such as false advertisements of the great C.S.A.) the Viewer. The film focuses on the testimonies of various people involved, alleged footage and various forensic tests. Before this flood of information, who knows in advance that is false, the film loses interest and comes to become monotonous and boring.Death of a President is a provocative and controversial film by its approach, that hides a deep critique American policy on the outside and inside. However, and despite scoring full format to tell this story Gabriel Range fails to carry it out. |
2,281 | archivos_extraidos/MCE-Corpus-main/Dataset/1877 | Antoni Messa | Shooter: El Tirador | 3 | 5 | muchocine | Endures well and with some force to the end. However, his last quarter of an hour is more fascistoid that one can throw on face. An ending that makes think about the resurrection of the genuine Charles Bronson and the righteous philosophy of his action films. | Bobby Lee Swagger has left the Marine Corps. Retired in a small hidden cabin in the mountains, try to forget that three years earlier, during a mission as a sniper in Ethiopia, he was betrayed by the staff of their own country. But soon, convinced by a Colonel who has managed to locate his hidden hideout, will return to serve their homeland, acting as consultant to a possible attack on the President. His skills as a marksman, and his knowledge of long range ballistics, can be very useful to advance to a dreaded terrorist action.This is the promising start of Shooter, Antoine Fuqua's new film, a correct action thriller that, partly recovers the most thrilling of filmmaker style and refers to their two titles more achieved in his not very defined filmography: assassins of replacement and, above all, the excellent Training Day.La film has hook. His pace is frenetic. An expected (but effective) twist of script, a few minutes of projection, turn to Bobby Lee Swagger in another false guilty more joined the long list in the world of the seventh art. The Government puts price on his head and sends hunting dogs of the CIA, the FBI and State police. Only he knows that this is a political plot orchestrated at a high level. The action is the main dish of the function. Car chases, helicopters to punta Palau, several explosions, shootings at discretion, attractive females and semi nude in danger of death. A bit of everything in the service of the skills of an expert in the genre director.His filming is impeccable. Fuqua dominates the topic, and it shows. There is little rest for the Viewer. But in spite of this, the script weakens and tape clear, in general, true reactionary whiff. Everything sounds to trite, already seen too many times. But the craftsmanship with which it is made, saves outweigh the irregularity of his script, at the time that conceals zero packaging of its actors. Mark Whalberg is so dull and deadpan that it could have been replaced, with total peace of mind, by Matt Damon. And the viewer would have not noticed.The bad guys are nothing more than a mere caricature of themselves; some bad with very little identity as such. Danny Glover advocates the histrionics, just as it does an aging Nead Beatty. And this without forgetting the laughable presence of the most sobreactuado of all, Elias Koteas, a detestable and type loaded - way exaggerated - all the topics of the film evil par excellence.Shooter, despite its misleading casting and his little plot consistency, endures well and with some force to the end. However, his last quarter of an hour is more fascistoid that one can throw on face. An ending that makes think about the resurrection of the genuine Charles Bronson and the righteous philosophy of his action films: there is always someone who, protected by the system, you'll end up with what the system could not overcome.With both rifle and many violent deaths, the old man Charlton Heston will be enjoyed as nice watching the movie. Certainly, after the premiere of Shooter that unmentionable partnership of which he is President, you will notice a sharp rise of adherents, while the American gunsmiths held a large increase in its dividend. And then, of course, happens what happens. |
2,282 | archivos_extraidos/MCE-Corpus-main/Dataset/945 | Emilio Calvo de Mora | Brick | 2 | 5 | muchocine | Rare piece of contest of end of career for a talented director and Vice to assemble what, in principle, it seems extremely difficult: classic film noir and Youth Institute to the American cinema. | Brick is teen noir, rare piece of contest of end of career for a talented director and Vice to assemble that, in principle, it seems extremely difficult: classic film noir and Youth Institute to the American cinema. Brick does not exhibit the stridency of the predictable being an amateur play (almost) and for raising a very risky speech. It is supplied of a very solid approach to black, truffled film of acne of the youth hormonada with the lapel pins and posters of idols of the rap sheet in the box office of the Institute.More than the aesthetic quality of Brick, interested here in his gesta, his single Ministry of fulfilled purpose: there can be no maledicencia when assessing its depth in public, although one know, for certain, that these deviations from the norm will not make box or engolosinar producers eager to silver which are prequels and sequels, merchandising of t-shirts for August in all these products of new design whose end result is (always) puzzling and burger bar.The Viewer won't either make last in your memory this parade of thugs, rich girls and people in general, openly sinister (the character spielbergiano Luke Haas, already renewed in adult with prospects).The ingenuity of Rian Johnson makes the very abstruse investigations of its protagonist twisted sometimes seem us more important than the discovery of the reasons why his girlfriend has appeared dead. Unfinished, imperfect characters: young people without lyricism, frozen in a society without emotions in which will be leaving live, burdened by not guess what dark vices, perceived as a forced extension of adolescents talluditos, hooligan, irreverent, back lot film and without having lived still barely anything.Let it fall, without wanting to, the last stone in the pond: Brick is a creative film: appears clear and turbid, unpleasant: sacrifices the elementary exposition of events by a drawing disgresor of social class that strives to portray us, desfiguradamente.Well look, not excited, and could well be. I understand who this failed experiment he has reported Jubilee and entertainment in the same lot. To me, on the contrary, produced me an intense anxiety, boredom at times, only pleasure moments.Up the mcguffin guess incompetent. It will be that I did not have arrests for letting me lead by its bizarre argument. |
2,283 | archivos_extraidos/MCE-Corpus-main/Dataset/4336 | elprimerhombre | Los amantes del Pont-Neuf | 3 | 5 | muchocine | A film with a special charm that, despite its footage, a bit extensive for the story told, hooked by its visual strength and mise en scène | Elprimerhombre has seen a movie with a special charm that, despite its footage, a bit extensive for the story told, hooked by its visual strength and its staging. A director did not know and that has only directed five films, am talking about lovers of the Pont-Neuf, of Leos Carax, the last of which was Polar X, in 1999, with Guilleme Depardieu. It is an intimate film featuring the work of a director inspired as Leos Carax and the role of the two main actors, Denis Lavant and Juliette Binoche. Lavant it did not know him, but his character is quite credible and emotional, and the truth is that the role was intended for him. Shortly before the shooting start, Lavant had an accident: cut the tendon in the thumb of one hand. Following this event, the film had to be postponed a month and insurers wanted to change of actor, but Carax refused outright; He had written the script thinking of Lavant and wanted to do it with him. In the end it was. And it is that actor and director already had rolled together the two previous films. "The Binoche" (as they call in France) is an actress who since that I saw her in blue has me in love (although it has lost much; the years not passed in vain). And it seems that the characters difficult to interpret, as in blue or wound, with Jeremy Irons, suffering likes (other than such), and is that not given bad doing this kind of characters. In this film it is a sober role that shows you know laugh and cry brilliantly. And not all the actresses do, because you will not tell me that the great Greta Garbo laughs in Ninotchka credibly. Carax manages to supply some ups and downs of the script with beautiful drawings. And there are things that happen that they are little credible, as see the character of Binoche in drunk State doing water skiing, although this can be considered as a joke, as a magical moment. The scene at the pont-neuf with fireworks in the background seems to me the best of the film. And now that I am speaking of the Pont-Neuf, the oldest bridge in Paris, I will tell what happened during the filming of this movie. In 1988, the producers got authorization to shoot during the day on the Pont-Neuf, from July to August, while to shoot at night, a decoration of the bridge, real but simplified, in a village called Lansargues was built. Leos Carax wanted that the cost of the decorated not passed 5 million francs, but was growing increasingly affecting the production of the film. Stopped repeatedly shooting because nobody wanted to put so much money taking rile the entire team, making the start of the film increasingly problematic. From October 1989 to June 1990, no one appeared the sets. They were only two security guards to ensure that no one will take anything or trashed nothing, although storms spoiled much of the buildings erected with scaffolding. At the end, thanks to producer Christian Fechner, at a cost of more than 70 billion francs in August 1990, two hundred workers eventually finished on an area of 10 acres (10,000 m2), one of the largest French cinema sets, as a major Hollywood Studio, creating the illusion of reality with ingenuity. Ultimately it is not belittle the efforts that took place to finish the film. Leos Carax is a director with great talent, with very interesting details when planning a plane. Top with a few homeless people scene is shot in a realistic and cruel and an emotional moment is when Lavant throws a stone to the river and every pot in water he is whispering the name of it: "Michele, Michele, Michele.". The funny thing is that, in my opinion, this film has some points in common with blue, Kieslowski, especially at the beginning, with a vibrant music of a cello, with the camera focusing on from a car with planes from the hands of those who are in the same car caressing tenderness, or the character of Juliette Binoche who escapes from a relationship with a musician, and who in one scene in the Paris metro, hears a melody produced by a cello (the same music we hear at the beginning) that he reminds his expareja and runs through the corridors in their quest. This is not to say that Mr Kieslowski had this film as a reference, but I think something to highlight. A greeting! |
2,284 | archivos_extraidos/MCE-Corpus-main/Dataset/2047 | Matías Cobo | Zodiac | 3 | 5 | muchocine | An intelligent story about the frustration of a group of researchers, but is also a wonderful portrait about EE epochal.UU. about to leave the exciting and non-conformist spirit of the 1960s. | David Fincher has shown in his career ample capacity to handle the springs of the thriller (Seven or the panic room) but at the same time, also has exhibited traces more understanding in innovative and least conventional films (the club of the fight or The Game). But his film has always been tack by the same line of continuity: its well cared aesthetics and its detailed mise en scene. Each level seems to obey a studied planning and, when it comes to recreate environments in this Zodiac, his films get as few transport the Viewer to the environment, time and places of his short stories (in this case, shines the splendid recreation of the 1970s).Zodiac, Fincher seems to have wanted to combine his job as Rapporteur of thrillers with a drift towards a dramatic film which does not seem to function as comfortable. With a scrupulous respect for the research data (police and journalistic) of this famous case of serial killer of the 1970s, the tape loses at times emotion to promote its determined commitment by verismo. In addition to narrating the investigation continued for hunting the Zodiac killer, the film is, above all, a story about how the lives of police officers and investigators involved in the case by this puzzle dilated for thirty years was marked.And probably this greater deepening in his characters, unusual in thrillers, which has lengthened the footage from the tape up some questionable 158 minutes. Because, despite the prominence of Jake Gyllenhaal in the role of the journalist author of the novel on which the film itself (Robert Graysmith) is based, the other characters receive an I extend treatment and are not subject to the coarse brush so characteristic of the genus. So roles side as of Paul Avery, brilliant journalist of the San Francisco Chronicle, mayor charged packing mercy, also, to the splendid interpretation of Robert Downey Jr. Similarly, the detectives Dave Toschi (Mark Ruffalo) and William Armstrong (a great Anthony Edwards recovered for the film after the television effervescence) appear described with more shades of the usual.Zodiac is a clever story about the frustration of a group of researchers, but is also a wonderful portrait about EE epochal.UU. about to leave the exciting and non-conformist spirit of the 1960s. Only the character of Gyllenhaal, who treated dismissively as 'boy scout', refuses to be overcome by the carelessness. And somehow, despite the Lees bitter and impotence deja Zodiac in its final, at least worth staying with the small tribute pays to a young Illustrator, the last monkey of the drafting of the Chronicle, in its tenacious perseverance to find some truth in a tragic fact forgotten by the vortex of the years. |
2,285 | archivos_extraidos/MCE-Corpus-main/Dataset/2624 | Plissken | Ovejas Asesinas | 3 | 5 | muchocine | King made his debut in the direction with a nice splatter full of references to their live on film, the memorable Jackson Braindead. | The second plate of the double programme of horror Manga Films brings us this summer is sheep killer, a title which is a synopsis.Filmmakers, after exhausting the Noah's Ark in almost its entirety (crocodiles, spiders, sharks, snakes, bees, piranhas, Lions, slugs, rats, dogs, cats, frogs, ants, monkeys, rabbits) are finding it difficult to put the nickname "killer" to an animal. But it had to be in New Zealand, the land of the hobbits, the All-Blacks and Braindead, be given where the next round of nut to the argument "nature comes from the man". The culprit: Jonathan King and his directorial debut, black sheep, a fun corderil desmadre.Life is beautiful in the bucolic the Oldfield farm: Oldfield dad cares for his sheep with the help of his son Henry and his friend Tucker. Meanwhile Angus, the eldest son, develops a few brutal jealousy towards the Benjamin of the family cuasiperfecto. A tragic event changes everything, Henry becomes a trauma than good we might call "ovejofobia" and he goes to the city. Angus, for his part, becomes the master of the farm, and years more later, in a kind of Josef Mengele of sheep, in search of the perfect sheep, sheep Oldfield. Henry decides to return to the farm at bad time: just as genetic research gets rid of their "failed attempts", just as some tambourine environmentalists decide to give the blow to the unnatural methods of breeding of Angus, just when Oldfield race occurs in society. This mixture of factors leads to a shock therapy for poor Henry and the rest of the people, which already will never return to count sheep to sleep.King made his debut in the direction with a sympathetic "splatter" full of references to its more direct on film, the memorable Jackson Braindead. Aided by the tireless boys of WETA, converts to harmless and tontorrones cattle in machines to eat human flesh, and the absolute stars of the function. Each ovejero attack is more fun if possible, with authentic tackles and Kreutz flights resembled with the killer rabbit pythoniano. In addition, their bites become hombres-oveja their victims resource allowing King begin with a film of murderous animals and end with a woolly zombies. The truth is that seeing these sheep in action is a delusion, and is already worth approaching black sheep only by them.The major drawback is that Jonathan King not hides many more ACEs in his manga. Once submitted the black sheep, the plot follows foot juntillas already old roads of the genre, and actors do not pass than usual in these cases, with the exception of the villain Angus (a great Peter Fenney which seems the evil brother of Bruce Campbell), and show no more, although the script allows some really funny moments. On the other hand, the technical Bill is careful, makeup and FX both in photography, sound and music, but only shine really these threatening sheep.But in aggregate, I guess at the end you miss accounts and you have left an impression of a job well done and without major pretensions, thinking of a public that wants to have a fun time. In that Jonathan King and his sheep play to spare, ensuring 90 minutes of laughter and varied offal.6.5, That with what falls in the genre already is enough. |
2,286 | archivos_extraidos/MCE-Corpus-main/Dataset/4204 | Jokin García | Los Crímenes de Oxford | 5 | 5 | muchocine | An interesting film of mathematical puzzles for a thriller of good invoice, that without being the best work of the Church, still shining at a very high level. | The new film by Alex de la Iglesia. It is not his best film, but in the case of a director that I have totally on an altar, and which each of their films seems a masterpiece, "The crimes of Oxford" manages to not detract from the average level. And if we add to this that he was waiting this movie since I had news that was going to do, the fact that has not disappointed me one iota is quite eloquent.The argument is on simple principle, a serial killer leaves clues in the form of logical sequence of what will be their next step, and the Duet Elijah Wood (I am unable to look and not see Frodo) John Hurt (which eats the screen) has to investigate to discover the terrible truth, in a scene full of colorful characters and mathematics and philosophy as a backdropfor a more or less surprising outcome and through it also crosses the torrid romance between Frodo and an explosive Leonor Watling (making the joke would say that it is not the only explosive character of the film) in "The Oxford murders" philosophy is the true protagonist, through the ideas of Ludwig Wittgenstein, and above all the message of "there is no universal truths"in an interesting thought about if the abstract ideas preexist or are mere tricks. The "2" concept exists in nature, or is simply that we call "2" everything that fits in our idea of duality?To some but I would say that some of the equations are very tricky, as skips some steps or are slightly pulled their hair, somewhat "Deus ex Machina" but at least allows the Viewer to play to discover the intermediate steps. But we will, which ultimately is a highly recommended film, and not it is the best of Alex de la Iglesia, and don't have that "Alex" style, continues to be a movie of the Grand Master. |
2,287 | archivos_extraidos/MCE-Corpus-main/Dataset/2848 | Francisco Bellón | Tocar el Cielo | 2 | 5 | muchocine | Touch the sky is a film that will delight lovers of melodrama, but which the rest of the public will cause you a rise in glucose due to the stodgy cake must digest. | Argentine cinema has lived a golden years of great splendour, but has gradually been going into decline, and therefore the vast majority of titles arriving in our country are co-productions with Spain. In some countries, the contribution of Spanish producers is minimal, but more and more are mostly Spanish productions.A clear example of this is to touch the sky, the new film by Marcos Carnevale after the great success reaped with Elsa and Fred. The film narrates in a tone of comedy-drama the relations between a group of friends who live in Madrid and Buenos Aires that share a common tradition, launching on December 31 at the same time their wishes for the new year tied to a balloon. The term comedy-drama is quite disconcerting, and the truth is that it is meant to cover a small vacuum emerged following a new type of films that move halfway between comedy and drama. The truth is that touch the sky is seen with a half smile from beginning to end, and on numerous occasions the tape will touch the Viewer. But it is also true that the film needless you edulcoramiento and sugar that make a real sentimentaloide cake not suitable for diabetics. Some of the stories of the script are little credible, and sometimes feels as if Marcos Carnevale was more concerned of psychoanalyze characters than plot development itself. The weak script only stays in place thanks to the excellent work of interpretation, notably Facundo Arana and Montse Germán, and an immeasurable Chete Lera, claiming once again as one of the big players in this country.Touch the sky is a film that will delight lovers of melodrama, but which the rest of the public will cause you a rise in glucose due to the stodgy cake must digest. The sacrifice is only worth to see the work of Chete Lera. |
2,288 | archivos_extraidos/MCE-Corpus-main/Dataset/1779 | Bloody Will | El buen pastor | 2 | 5 | muchocine | Artistically it is one of the best I've seen this year? but for the rest, the disappointment has been tremendous. | Do returns Robert De Niro address after 13 years from the excellent?A history of the Bronx?. Do with a truly remarkable predecessor, and the unquestionable love and respect that I have for the actor not I lie if I say that I sat down to see?The good Shepherd? Avid of immerse me in a story of spies with the De Niro label. Much to my regret, and after half an hour of film, I realize that it is artistically one of the best I've seen this year? but for the rest, the disappointment has been tremendous.Do I hope to not be the only one who thinks this movie follows the trail of the biográficos-históricos work of Oliver Stone in?Nixon? or?Do do JFK?, or the type of? 13 days?, and although the founding assumption is not so famous, there is nothing more American than the C.I.A.. The previous, and others, are extremely Visual, and also extremely political work. Therefore the narrative ballast, heavy, cumbersome, and mostly boring, is expected in other filmmakers, to those who are can forgive more than Mr. De Niro. The director spent the first 50 minutes trying to explain the origin of the protagonist to then not show not a single scene of action within two hours of him remaining to finish. That is why I say that a length of 3 hours, without action, with an excess of information policy of the time, and a somewhat chaotic Assembly, seems to me A pain in the ass.The story tells of the founding of the C.I.A., or so it seemed when I saw the trailer. In reality it is the story of Edward Wilson (Damon), a man that step by step, from a lower position to the highest, helped found the center of American intelligence, but there is not a hint of emotion in nothing of what makes this man. Do de Niro has built a cold and calculating man who at times you get to leave in a State of mild drowsiness because of his repeated lack of? blood?. His early years at Yale, which to me me sobran, his early years as Spy, without a shot to the mouth, and his later ascent towards the dome, with the roll of bureaucratic plot, show me that if this character existed, he should die finally his own boredom.Special case is the parade of side that populate the film. Impress that names like De Niro, William Hurt, Joe Pesci, Alec Baldwim, Michael Gambon and Billy Cudrup are characters that barely sufficient to say more than ten sentences. Everything is focused on Damon, and that produces an overload of the protagonist who does everything he can to fill the screen, and that if you have chosen another actor do not really know if it had completed see. If Angelina Jolie was another reason for your viewing, sorry to disappoint you, because his presence is merely transitory, besides the fact that Damon chemical is null, nulísima. If this woman thought about retiring, for me he can do it now.Divided into two temporary sections, the film confuses many moments and ends up not contribute nothing to the genre of the spy. Much conversation, much theory, much policy, but low resolution. The life of the founder is seen from the Office or from home, or picking up telephones with a firewall of 1961, and not know if from the perspective of an American history is interesting, as if we explain to us how the PSC was founded but comprended me if I tell you that I can not stop thinking in Bourne, and good thing that would have been mixing both chatter with more voltagewhich is absolute absent throughout the film.Good performances, artistic direction, but horrible Assembly and horrible development. If De Niro had reduced the footage might had happened by an interesting film, but with such slowness and parsimony, and with just three flashes of concern, only it has managed to bore me to swear that I will be thinking twice to see a film that cuenté the glory and honor of a public administration, by very tite Bobby to lead.It will be a great movie for lovers of the political thriller of infinite footage, and I cannot deny that, as such, it is the best from years and years ago, but for me it has finished being a suckling pig, with an impeccable visual invoice, but the end and Cape suckling pig. |
2,289 | archivos_extraidos/MCE-Corpus-main/Dataset/413 | José Córdoba | La joven del agua | 3 | 5 | muchocine | You can enjoy more if you like adult fairy tales, if you enjoy with the completion of one film rather than with the robustness of a script, if you can overlook certain details by the enjoyment of some memorable scenes. | After his controversial film "El Bosque" is here the new job of director of Hindu origin, M. Night Shyamalan, "The water boy". Before analyzing the film I would like to point out that the Director seems to me one of the more interesting now, able to give real personality to their works, something that, unfortunately, increasingly is less abundant. His style of shooting, paused, avoiding the levels of very short duration in the Michael Bay style, makes a rare bird, especially working for a large Hollywood Studio. Her first film of renown was "The sixth sense", a habilísima film, which redefined the horror genre and that has had numerous imitators. His next project, "The protected" was not the commercial success that was expected, although for me it remains the best of her films, a parable about good and evil, with atmosphere of series as more beyond the limit or the limits of reality, that also ends up being the most original and best film on superhérores shot so far. Her two subsequent films end up being less interesting, both "Signals" as "El Bosque" wasted great part of its achievements in a final stretch oriented towards a final turn nothing compelling and that too requires the Viewer to be credible. The latter should not be a problem a priori, multitude of films presented impossible worlds filled with unknown beings but always from a fantastic point of view. Shyamalan always makes an approach to the fantasy that surrounds us from a strict point of view realistic, so any behaviour or illogical thesis is rejected by the Viewer. One more thing, taking a fully identifiable style, Shyamalan is approaching each movie with some new resource that can fascinate or irritate or, simply, leave indifferent. Serve as examples the levels through reflective surfaces in "The protected" or roll back to the characters that hide something, most notably William Hurt in "El Bosque", latter somewhat irritating.After this brief tour we reached his last film "The young water", a project that had problems to see the light, mainly by the refusal of the regular study of the director, Walt Disney Pictures, submitted by Shyamalan screenplay. Finally the film has been produced by Warner Bros. animation. and a new failure for the study has been this year, after "Superman Returns" (which will get the money just to cover expenses) or "Poseidon" (which, hopefully, will cover 50% of the budget). "The girl of water", that tells the story of a vigilante of an apartment building that receives a peculiar visit the swimming pool of the complex, it is narrated from the start, like a fairy tale, narrated in his foreword in original version by David Ogden Steirs, prestigious actor cast that, curiously, also narrated prologue of "Beauty and the beast". Since the initial level of the film we know we have a Shyamalan film, by the unusual duration of levels, its 1. 85: 1 aspect ratio, which it always takes a great party, his choice of blur the fore in several scenes, which perhaps means that you want the Viewer to see beyond the obviousthen this stylistic ideas always have a justification in the story he tells. In a plan merely carrying out the film is impressive and demonstrates once again that Shyamalan has personality, although he also notices the footprint of Spielberg (the favorite film by Indian director is "In search of the Lost Ark") in photography, reminiscent in some respects to E.T., as well as the choice of using "normal people" as protagonists and certain aspects such as always shoot from a slightly less than the actor point of view. The film falters in the script, very simple for the duration of the film, and that, practically, presents nuances for a character, that of the caretaker, played by Paul Giamatti. And, however, a moment which should be key in the film, which is when it reveals a fact about its past, which explains its current situation, goes almost on tiptoe, lacking the necessary strength. The other characters are traces or outlines of something else, just of a writer, vital to the plot, played by Shyamalan, in a way quite bland certainly has a little more development, but it is burdened by scant interpretative skills of the director. The rest of the multiracial cast is perfect, i.e., each is perfectly suitable to its character, being a great success the casting, which also extends to the strange character that disrupts the tranquility of the neighborhood, played by Bryce Dallas Howard, who already starred for Shyamalan his previous film. Also director, committed to his narration of a fairy tale forgets the reactions of disbelief that may have the characters against what is happening, nobody raises doubts, something essential to bring the film to the audience, his absence causing estrangement and this occurs from the beginning of the film, which is why the people not entering that game fails to appreciate the film. The rhythm is right, but deleting or making more fluid by mounting some scene, in particular that of the protagonist looking for a writer in the apartment building the film would win. But Shyamalan seems so happy with its own script that has failed to rule out totally incidental to the plot scenes, although on the other hand, some of them are very notable in its implementation, something that makes it even more irregular pass of the film. Anyway, should be emphasized its great end, above all the very latest scene, shot, mounted, performed and, above all, musicada in an exemplary fashion, and that if you were really involved in the film, it is very exciting. By the way, special mention to James Newton Howard that composes his best score in the film plane for a film by Indian director, to which comes working from "The sixth sense". His score is a masterpiece, a real example of how put a movie, while in disk, something common in the composer, loses much of the force that has with the images.In short, "The girl in the water" is a film that is best enjoyed if you like adult fairy tales, if you enjoy with the completion of one film rather than with the robustness of a script, if you can overlook certain details by the enjoyment of some memorable scenes. If not, this Act of onanism film of the director is not for you, because make no mistake we Shyamalan has shot a film of 75 million dollars for if same. A pity, because the film with all its shortcomings has moments to remember. |
2,290 | archivos_extraidos/MCE-Corpus-main/Dataset/4362 | Oscar Martínez | Hacia rutas salvajes | 3 | 5 | muchocine | The new film directed by Sean Penn is guilty of some bombast and proclaim a message something superflúo, but its plastic beauty is simply undeniable. | Directed by Sean Penn and starring Emile Hirsch, Vince Vaughn, Marcia Gay Harden, William Hurt, Kristen Stewart, Catherine Keener, Hal Holbrook, Zach Galifianakis, Haley Ramm and Jena Malone, towards wild routes is nominated for an Academy Award for the best supporting Actor and best Montaje.Basada the work of Jon Krakauer, into wild routes (Into the wild) tells the story of the young and idealistic Christopher McCandlesswho leaves his life in civilization, left their possessions and donate their savings to charity $24,000 to direction to the Alaska Wild under the name Alexander Supertramp.Con lasting almost two hours and a half, towards wild routes is a film that possesses great successes and, at the same time, terrible errors: on the one hand we have an appealing storya kind of initiatory journey in search of the real I from the break with society.The truth is that this break does not nothing new, neither in literature nor in the celluloid world, because there are dozens and dozens of examples in which the flight is to be the starting point for the discovery of the true individual, but one must admit that the Sean Penn film chooses to give greater emphasis to the plastic to the own message.With a voice-over in the mouth of the sister of Chris dropping tiresome maxims of self-help books, more metaphysical in search of the theatrical, limited to interact esporádicamene to its protagonist with all kinds of characters in an overly sweetened wisdom Exchange is dismissive of your message to wild routes.On the other hand, we have a film fraught with lengthy close-ups tomas air carried out by Eric Gautier who, as they have said in more than one place, occasionally believe watching an endless car ad, but whose aesthetic beauty is simply undeniable. And it is that, on the one hand, well are you can reproach Sean Penn having made a film superflúa, childish and somewhat Manichean in many respects, but reproach both photography and the Assembly work is something stupid, at least in my view. Obviously, there is a clear abuse of such panoramas, especially when the main character appears in its framing doing push-ups, climbing, fishing, walking or stir to spectacular sunrises, as if this is intended to show the spirit of freedom that the script has been unable to translate, but out of context, to wild routes photography is simply wonderful.In this way, towards wild routes is a film of plastic indescribable beauty, but weak script, in which its protagonist never comes to sympathize with the Viewer, because their motivations, however, we seem more own the whim that some incontrovertible truths. But, on the other hand, is also true that the motivations it each which are always subjective and, occasionally, incomprehensible and unjustifiable for others, erecting the very act of realization as a main motivation and merit to the detriment of all reasoning, so I understand, either by a mere teenager whim or by a genuine quest for inner peacethe story of Christopher McCandless is commendable. |
2,291 | archivos_extraidos/MCE-Corpus-main/Dataset/3853 | Ivan Villamel | Soy leyenda | 3 | 5 | muchocine | Irregular, remarkable film by moments in their superiority with regard to this type of production, and that at the end and all, despite its limitations, offers something that is not anything significant on occasions in which boredom invades us, a kind of fun without excuses. | Especially gifted in his fantastic literature development in simple appearance, but at the same time difficult, whereas the confrontation and personal growth of the individual against an external element threatening, Richard Matheson acquired its well-deserved glow of writer of worship with exceptional works, novels describing this dichotomy in an impeccable way. Such is the case of the work base for the film before today us, "I am Legend", a bleak portrait of the human condition, packed with a description of the concept of solitude and nihilism, completely charming. Characteristics which, as expected, have been fulfilled in unsatisfactory manner in his transfer to the big screen in this new adaptation of one of his major works.First of all, note that the relationship of the writer Richard Matheson with film is long and fruitful, having been transferred to the cinema with greater or lesser Fortune his other novels, although to be fair, falling on the side of the approach to positive in its resolution most of them. Films like "The legend of hell house" (1973) by John Hough, "Stir of Echoes" (1999) of David Koepp, "the last man...""live" (1971) Boris Sagal, "The last man on earth" (1964) by Ubaldo Ragona, "The incredible shrinking man" (1957) by Jack Arnold, or "The devil on wheels" of Spielberg, have an obvious interest the less, being bright some of them. Precisely in the last two collaborated closely Matheson responsible pseudo-documentary for their passage into the screen, being his work in both a clear brilliance. In addition to these films, and some more, Matheson is especially loved by fans of that great series of "Twilight Zone", also being responsible for the screenplays for several episodes.The two previous versions of the novel "I am Legend" resulted in irregular results, especially popular and with an air of cult film is "the last man...""live", a really interesting film, but that seen today, it has aged satisfactorily not at all (despite being a good movie), while "The last man on earth" unfolded it closer, placing his closest to what action then all worldwide known as cinema of zombies that tape of the revealing science fiction starring Charlton Heston. In the opinion of a server, it still was to come the great adaptation of the novel so brilliant writer, but therefore will be expected back to another time.Give the responsibility of such an undertaking a Director Francis Lawrence a priori seemed a very risky work, and more seeing the results of his previous film, "Constantine", which in turn adapted the popular Hellblazer (but remember correctly, since I am not a consumer of this type of graphic novels). In that film, though Lawrence showed a certain ability to the concern, the disturbance in some scene and of interesting staging, failed to overcome the clichés of the genre in recent years, so trite just by cause apathy in the Viewer.The plot of the film, everyone will know given the popularity of the novel, us is situated in the skin of Robert Neville, the last living man convinces as if same, their routine days and his solitude with the only company of his dog, in a desolate New York, which must survive those who dwell in the shadowwhich just out of their dens when the sun sets, ready to begin their nocturnal hunting and feeding. Neville strives to find the formula that reversed the chaos caused by the virus mutated three years and 90% of the population became wild, lacking beings of every shred of humanity.The work of Lawrence as director seems very impersonal, most given to grandeur at the level that to develop in-depth the intimate story and torment internal character of Neville, vital issue that only comes to light on brief occasions, although effective, that if. Its staging, as well as in his previous film, gives small hints of what this director could offer if one day is devoted more to the plot work that to the visual, that he always has a tendency to swallow the story through overflowing special effects. One director more at the service of the show to his own growth as a filmmaker (although that is commonplace in most growers of the genre).These effects discussed, have in addition a lack of results notable, not just the film sees something burdened in the second half by the excessive appearance of beings that lurk in the darkness, they also fail to merge with the rest of the film, leaving the feeling of superficiality that, curiously, Lawrence blamed the possibility of doing a few more artisan effects, something that has obviously been a wrong calculation in the project. Not counting the scene of the port, which seems copied the previous "blockbuster" of Will Smith's name "I, Robot" (am the only beings on I am Legend seem tacked to such film robots?), and that it is so overflowing visually as unsatisfactory and free in the course of the narrative.The work of acting, taking into account the scarcity of characters from the film (removing the dreamy scenes of Neville, who are curiously well dotted in the story through memories during sleep or unconsciousness), tour the sights was Will Smith, which falls all the weight of the story, and although it is true, that the fact of being a commercial filmdevoid of double senses (beyond the absolute evidence) and deep metaphorical arguments, it did not require much more, Smith leaves also graceful work, resulting in correct and functional in their role, with a scene worthy of mention and not comment for not gutting the film who has seen him yet.Special mention deserves a script, that honestly, seems more correct, where, despite the light (and only slight) change of tone in the story from a given time when it begins the action more adrenalítica know give it a simplicity to the diary of Robert Neville already wanted passing for if same other big blockbusters (I will not talk about the stupid script of the horrendous Transformers and turns), with a narrative pace surprisingly controlled in the first part of the fim, and that is when most highlight the virtues of the film (which also them has, even if they are few). The loneliness and despair of Neville, his obsession with redemption and forgiveness of himself, to be the indirect cause of that horrible event, take over the character of Neville, giving foot in a moment of the film, the most interesting reflection of the entire film, the clash between science and faith, motivated by the null belief in God of the scientific and military NevilleIn contrast to the faith of another important character in the film, even reaching more aerated reaction to defend his atheist position. But on the other hand, the end of the film, calls into question this belief of Neville, as he had already given samples before their eternal contradiction, to go each noon to the port to see if someone had heard his radio warning message, and that it does so as an act of faith. In this subtle contradiction, not fully developed as it should be, is one of the most important elements of the story filmed by Lawrence. Although this, the film has the virtue of away from boredom to be highly entertaining.Film also contradictions at its very core, much of the film's subtle laudable intentions, faced with such hackneyed succession of special effects which sink any hope of a film that transcends the limits of the blockbuster.In short, a film failed, although by no means boring, which is slightly higher than the average of similar products by a correct script that runs without absurd twists and direct and effective manner, some bright pieces set (the first appearance of the creatures of the night is bright to all lights) and a correct interpretation of Will Smith, and even the poor dog that accompanies him. On the contrary, falls too much in the defects of the commercial cinema and that makes its own base, the very essence of the film, and it was logically the Matheson novel, see altered to create a film that does not reach to find what if he sensed in the novel, the struggle of the individual against if same.Irregular, remarkable film by moments in their superiority with regard to this type of production, and that at the end and all, despite its limitations, offers something that is not anything significant on occasions in which boredom invades us, a kind of fun without excuses. |
2,292 | archivos_extraidos/MCE-Corpus-main/Dataset/1028 | Rafa Ferrer | Banderas de nuestros padres | 4 | 5 | muchocine | An excellent movie, not reaching the Viewer as much as it should. In some moments he lost pace, and in the end becomes excessively long. | Although the tape is very good, expected more from the new Eastwood approach to cinema, (more when in the near future we will have the other perspective, the Japanese), on the one hand have a history which, although excellent, sometimes loses pace, is true that Eastwood wheel masterfully scenes of war, and in some moments are you overwhelms the heart and is pressed you stomach (in the press pass have been reminded over and over again to) Spielberg and the beginning of "Save private Ryan") on the other hand, the film loses pace in some bars, and at the end it becomes excessively long, indeed, that I would dare to say that you spare almost the last half an hour.On the other hand, the combined acting is excellent, being the roster of faces known of outstanding most of the film, highlighting Ryan Phillippe, Paul Walker, Jamie Bell, and Barry Pepper, this last inserted already in war films, on the other hand, much promoted the emergence of Paul Walker in this movie and barely appears 10 min.Another negative of the film point resides on the repetitive soundtrack of Eastwood, who repeats again and again 7 musical notes, unless it comes to bore you too much to the Viewer, on the other hand, both historical reenactment, as the picture is excellent, as well as the sound, the moments one crouches in the room trying to dodge the bullets.In summary; an excellent movie, not reaching the Viewer as much as it should. |
2,293 | archivos_extraidos/MCE-Corpus-main/Dataset/3414 | Emilio Calvo de Mora | Leones por Corderos | 3 | 5 | muchocine | Here must be the shots of the new cinema of commitment made in USA, artifacts of proven narrative coherence, fantastically interpreted, but marred by a retranca ideològica of, at times, difìcil digestion | Lions for Lambs is colossal lies and reprehensible moral principles. The consistency of its message lies not in the independence of its ideology but exhibition coherence of his footage and the brilliance of its cast. The admirable sense of the opportunity not blurs the suitability of history and does not seem that you have specified, as dictates of history writing, wait some years to write it with the appropriate, should distance from selfishness, less overload the revanchist download or the mere political pamphlet. The Manager of the lujuriosamente political film is Robert Redford, Robert Redford less expressive that yesteryear - surgeries and creams have the fault - but more loaded than ever of reasons to put in check the orthodoxy and patriotism of the lambs, in very wise sentence, which sent the Lions to defend with their lives the wars that invent behind a table of Wyoming oakwith a framed cover of Time magazine on the edge and a red phone that communicates the hell with voters in line 1. The film does not work miracles, but invoice - on occasions - products that accommodate noble materials that allow reflection. The liberal Robert Redford, symbol of the yankee industry and, at the time, bastion of the indie didacticism and exemplary heterodoxy always present in the culture of bars and stars opens here an ambiguous speech, very enjoy narrated and sobrado of pedagogy. The problem is that you abused an impostado, murky humanism in his teaching and narcotizante if one attends the theatrical proposed without the sufficient acquis geopolitical, to put it in some way. Case that this film did not exist there would be to invent her. Perhaps encouraging discussions lit at the door of the cinema or catch fire pazguatos easy impressionability temperaments. For their benefit, we are witnessing a fascinating job of acting and a wonderful montage. When we went to think what they have told us starts rough landing on the slippery surface of the foreign policy made in uses, and hence - reluctantly, with some uncomfortable feeling of rally to exit poll - the Lambs and the Lions become skilled soldiers of propaganda. Da like Mr Redford has said that the film makes no answers but open questions or would have never put their enthusiasm and talent - who hesitate them - cover a lukewarm show by way of soflama that shocked the public updated on colonialismos and imperialist symphonies and that, on the contrary, extremely pleasing to the audience engrossed by the Eaglebars, stars and music of the lion of the Metro. Gives equal to let us give to the good of Robert the possibility of Stoke us up pastillistas colors: because there are many and some (inevitably) produce chromatic daydreams of 1,080 horizontal lines, i.e., high definition to batteries. It comes to happen around here anyone has views of foreign policy uses and instead calla with room price when you are required to public demonstration on the domestic politics of his own poultry. The high concepts that levelled the characters of shaft of the film - illuminated Senator, scorched journalist, humanist tutor, the brilliant student, aware soldiers - only cover a sector of the palette of ideas. Commitment, freedom of expression, the allegiance to ideals or the defense of traditional values - usually orchestrated by cabinets of marketing or business beyond polls and counting - sound a lot in dialogues: there are moments that would like one a tiny break, attend the ambigú - lie: already there - and return to the armchair having chopped the grumo historical and convinced that we have resources to tacklecleared, the inventory of magical formulas and phrases of ideological Cookbook that still fly over the Capitol and Arlington National Cemetery. When does an Oscars ceremony was reckless and almost suicidal to register the Iraq war - the so-called axis of evil, the Viet Nam of the 21st century, all contributing Democrats bore and pride in Republican coffers - now is to show the world the American disappointment, war wounds and the reasons for the invasion is fashion. Producers always sweep for House and, in fact, says Redford guardian to his he/she and promising pupil, everything ends in a masterful exercise in buying and selling. Like the master sells students, politicians sell smoke, illusion, sell prestidigitadores of Blues semantics and candies with viagra. In these times the consciences rumble with less cultivated languages. Suffice it to recruit the mindless shift, well stocked of patriotism, suitably indoctrinated. Redford evidence that censor here: that the war is a Hollywood script than the richest country in the world has taken the global gendarmerie and does not consent to any tribe to dismantle the belief of its citizens to be living in the corner more secure on the planet, in the most opulent in the better equipped to meet the challenges of the future.The constraints that govern the film fate of the tape should be elaborately analyzed: of what he speaks Redford is the background noise of mass manipulation usually exercising the chieftains of the administration of the public to continue in Office and create in his sentimental shareholding - policy is sometimes a feeling - the illusion that they truly do something useful and deserve our respect and our consideration. Or perhaps this rather than brave tape - like it or not - get returns in the United States, motherland that always ends up breastfeed-, but not in Europe because here we are already quite contaminated superhero action and imperialist catechisms and scale that suddenly, to galore, the directors of renown (Haggis, De Palma, the own Redford) have open field to manuscribir - with neat handwriting and careful syntax - the disasters of war and blindness of those who enact them. And over little delivered actors to express their political sympathies (Cruise) look at this project not only with a dramatic desparpajo immeasurable but transparent text lines and risk. |
2,294 | archivos_extraidos/MCE-Corpus-main/Dataset/22 | Victor Omar | Saw 2 | 3 | 5 | muchocine | Is somewhat away from what we saw in the first | A year ago reached the screen a novel and original film of both physical and psychological terror. Criticism and the public welcomed her with open arms making it worthy of praise and well-deserved awards. "Saw" was those little tapes with the power to provoke the Viewer to be estremeciera in his armchair. The tension and anguish broad the audience during the hour and a half of footage. This sequel is trying to emulate his predecessor to stepping up the pace and the Machiavellian way to kill "Jigsaw".Jigsaw (Tobin Bell), psychopath dedicated to punish through horrendous testing to all those who need to learn any lesson from life by crook, now passes from darkness "Saw" to star in the film, in antagonism with the detective Eric Matthews (Donnie Whalberg), responsible for stopping him. Following one of their recent murders, Eric catches "puzzle", only to discover that it plans a new game, in which the son of Eric, Daniel (Erik Knudsen) is locked in a House with 8 victims more.Tenants should leave his prison before that a poisonous gas that thins the atmosphere ends with them. Obvious that not everything will be simple, because the House is littered with traps.Among the trapped is also Amanda (Shawnee Smith), survivor games in the prequel. The film then raises two main plots of Jigsaw/Matthews, in which the police must discover the whereabouts of his son to save him and the House, which is the combination of confinement and omnipresent gaze of "big brother" with the sadistic traps of "Cube".What can be reproached to the Director (Darren Lynn Bousman, in his directorial debut, then that James Wan, director and creator of the concept, decided to leave the sequel to concentrate on another tape), is the excessive use of editing tricks and I guess to some extent increase the intensity of the film, they end up like a desperate measure by adding weight to a plot that does not need.And this plot might not be brilliant, but it is certainly functional, fulfilling its mission of our expectations to be confused and surprised, albeit at the expense of the logic and credibility. It is a shame that the script has not affected a little more in the psychology of a few characters who never brings us to establish ties of empathy (just giving us like what happens them to members of the Group: we are just waiting for what will be the next to die).Even the figure of perverse serial killer is equipped with the capacity of characteristic of this type of characters fascination. With practically a trio of protagonists, the original tape allowed a deeper development of their personalities and dynamics.In the sequel we have half a dozen victims and the script should follow their progress into the trap while shows roughly their personalities. At the same time you have to do the same with the police and the killer. This fracture in the approach of the tape dissipated to some extent its impact, because it is obvious that the characters increase is due simply to the need for more almost anonymous victims and more scenes of bloody violence.Perhaps with a smaller cast had accentuated the importance of the characters, and it would have allowed us to empathize with greater vehemence in his plight. That does not mean that "Saw II" is soft or boring. Instead, their pace is frantic and cruelty that shows is equally disturbing (while sometimes feels a great effort to overcome its predecessor).There are enough scenes of blood and horror to satisfy fans of the "gore", and at the same time the story is interesting enough, both their ingenuity and their shameless manipulation of our perception. |
2,295 | archivos_extraidos/MCE-Corpus-main/Dataset/1633 | Ramón Balcells | The host | 5 | 5 | muchocine | The Host is not a monster film, but that criticism to a naive society and another not so much. We are, therefore, to a social film. | So yes, with two words we could define the new film by Korean Bong Joon-Ho, director of the acclaimed Memories of murder. First of all, calling The incomparable as Host for several reasons: the press comparing her with two of the most famous monster-movies of all history, Alien (an absolute masterpiece) and shark (entertaining and nothing more), and I think that this comparison is totally unfair and inexplicable, since they have nothing to do with the other, unless they belong to the particular genre. And is that the film of Joon-Ho can only comprararse with the Spielberg by social criticism that there is stuck in both films (attention to the scene in which appears the monster in the Lake and the face and reaction of the entire population). Moreover, the bugs of all three films cannot be compared at all, because all are very different. But it is that it is not only this, but that The Host is extremely original, since it deals with many issues at the same time, has incredibly drawn characters and an atypical screenplay that, however much that follow the structure base, the film goes decanting by holes similar to the sewers where is found the monster, all of them sinister, long and with an end do not know where it ends. So we could say that the film is innovative, original in all its aspects, spectacular (tuned to the most important action scenes), is perfectly coordinated, has special effects that deserve an Oscar, and keeps you in tension during the footage, ultimately releasing his most dramatic and realistic touch. As I have said, The Host is also a social and political criticism, something that not only increasing the number of genera of the film, but that also makes it more interesting and beast at the same time.Everything in this wonderful film dazzles, absolutely everything. The most important thing of this film is that it knows to look good. Let me explain: when just a film of this kind (well, I mean only the monster movies) are typically used several topics in all of them (the bad bug dies and all, or except all, remain safe). Another thing is that they rise then forty times, as it is the case of Alien. Anyway, the film of Bong Joon-Ho is not that end up in a very different way (sorry with the small spolier, even if it was foreseeable), but note, and much that is different from all the others, much more innovative. And this happens thanks to the sensitivity with which the film is treated. Yes, it is a sinister and claustrophobic film, but it has several of the most exciting and sad moments which have seen in years. And this is what differentiates the film of all the other monster movies, his incredible ability to strike unexpectedly with atypical scenes in his apparent context, the adventure. And it is that the movie more than anything, has a moral and political background what I find that it is most interesting of all. The Host is not a monster film. It is a film that criticizes a naive society and other not so much. We are, therefore, to a social film.As I said, this is an elegant film, who knows how to attract the public. And one of the most important factors that make it so special being part of the hidden genera shows throughout the film, is his incredible screenplay. There are hardly any fissures, slippages of rhythm, orinarieces, aspects that do not come to mind. Thanks to its variability of genres, both fantastic, adventure, dramatic, politicians and comedians, allows your script to submit many details, anecdotes (how I laughed with some scenes amusing and depressing at the same time!), etc. And of course, like all good script, presents a formidable, strange, clear and precise structure. I am especially excited to this sudden change of story which unfolds while the desperate family of the girl is looking for by the sewers and suddenly, looks like a father and a son that van desplaçándose out there, because they have no home, and suddenly, the director it chooses to continue its history until a terrible event happens and mixing both stories. You will not need to say that there are many spectacular scenes in the film, and therefore does not highlight any big, since they all are to each more impressive.Finally, highlight the formidable performances of each of the performers. All of them, mainly those of the family, make some brilliant performances, rare grimaces no useless actions. Perhaps Song Kang-ho the most expressive of all, and more appear, since that is who plays the father of the kidnapped girl. Does your paper a great creation of the dismissal and the courage at the same time. Although I would not be satisfied if not appoint that portraying his father, Hie-bong Byeon, with a nostalgic and courageous role, also (very alert with the scene in which confronts the monster.) (Awesome). And finally, also I have to nominate the kidnapped girl, which makes a put superb, worthy of a high recognition, at the height of Dakota, Ivana, Haley or Freddie. Their role is strong, but above all, intelligent.A wonderful film, rara, quasi perfect, entretenidísima, unpredictable and spectacular. It would especially recommend those who are looking for something new and know that it is not neither Alien nor of shark, which is The Host. |
2,296 | archivos_extraidos/MCE-Corpus-main/Dataset/1129 | Bloody Will | María Antonieta | 1 | 5 | muchocine | Two hours of beautiful images without any content. Without plot, without script, without words. A true relax my muscles with basically soporíferos results. | To it give back me my money. Just attend the screening of a new film experiment which did not know, is draw your attention premiering a film called "Marie Antoinette" (here "Marie Antoinette.") ("Queen teenager"), and directed by Sofia Coppola, but indeed colleagues, when you're sitting in front of the screen, you plug dormidina through a script, which swear is conformed by three folios. where is the Coppola for "Lost in Translation"?, well here is, but radicalizada to 100%. I do not lie it when I say unto the voice of Kirsten Dunst is not heard until well after 25 minutes. Nor I'm lying it when I say that they have to spend another 20 that are completed 3 consecutive sentences. Sofia Coppola has tried to tell the story of a teenage girl, Princess and later Queen, which is supposed is not very different from the others: light-hearted, partying and, with possible, a spender of the chalice. However, with all these elements, the story is slowly, without emotion and boring in most of its footage.The film tells the story of how Marie Antoinette spent her years in the Palace of Versailles, focusing on something so stupid how the attitude of Louis XVI by not touching her hair. The French revolution is played last, and such important events as the execution of the King, the Queen's own or an aspect truculenta tran how that of the best friend of Mary head was impaled and exposed to the own Queen must be of little significance for the Director. On the contrary, Coppola is dedicated to shaping a flat encephalogram and stupid Queen. Possibly, and in order to put something of cane to the issue Sofia Coppola has decided to decorate the whole with music by New Order, leaving this Union the most significant scene of the film, in which Mary and his court were desmadran in the halls of Versailles as if it were a rave. Even so, if I have to throw me hour and a half to see it, to put me in the trailer and we are already. Are they needed two hours in total to tell the binge spirit of the protagonist? , liked the clothes, drink, play and sex, yet the way to tell is the most pretentious thing I've seen in a long time. Looking for some history of the Queen of France I find "look how passes the aunt in his palace".If there is one thing which can not condemn the Director is that detail missing. The image and the atmosphere of the film is fine, reminding me quite aesthetic that had several scenes of "Lost in Translation", because Coppola is recreated over and over again in stop people and how it moves everything to his around, but once again, the plot breaks it all. The lack of sexual interest of Mary's husband takes more time than necessary and after a while, all this so beautiful versaillesque aesthetic to the principle becomes redundant and tiresome.If we need to think of the interpretations of the film, here goes: Kirsten Dunst gives the same depth to his character than to an ashtray. I do not know if the own Coppola is responsible for that not be deepen more the historical character, but so much disregard and pasotismo through the interior of the character is not credible if we take into account that Marie Antoinette is not passed to the history by vanal. Jason Scwartzman, the husband of Mary, passing by. Said to him: "get a suit of era and pusillanimous beam". It borda it in both tasks, and the chemistry between the two characters is that has to be: zero. The only one that deserves my attention is Asia Argento, and yet his interpretation is flat.In conclusion, "Marie Antoinette." "Teenage Queen" has meant for me nearly two hours of beautiful images without any content. Without plot, without script, without words. A true relax my muscles with basically soporíferos results. If you pass the constant action, this is your movie. For me it is a joke. Didn't the abucheada Coppola in Cannes.? |
2,297 | archivos_extraidos/MCE-Corpus-main/Dataset/1019 | Daniel Galindo | Eragon | 2 | 5 | muchocine | Walk at home, so we catalogue this failed foray into the fantasy universe that seeks to follow in the footsteps of productions that ennoblecieron the gender. | In a glimpse of sincerity should indicate that his footage is not too extensive, something that eludes any desire to leave the room. It is also true that we must not refuse responsibilities leaving alone to our small accompanied by, because Yes, they become the only excuse when watching a film that reminds Dragonheart and makes great other samples of second category as dungeons & dragons.Extravagant in sublime moments devoid of content but devoid of emotion, Eragon unconvincing because we have the feeling of watching something that already have told us, and, with more substance and better ways. We do not know very well what and who has done so, but a sense of déjà vu constant accompanies us in this work that is attached with pins.The filmmakers premieres, and Stefen December is, they seem to have confused great movies with stunning natural landscapes, two or three stars of name recognition and a plot which gives equal to be pointless, because it enhance already then with Visual effects, and scenes of lucha.23 years has Christopher Paolini, author of the legacy, even without completing a trilogy whose first books have reached figures millions of sales. Eragon is the introductory volume and, judging from the denouement of the film adaptation, will be the first of a series of films. Sure that the Legion of fans who have read the book will come flocking to the cinema: the first time is guaranteed but it is risky to rely on you to continue supporting a strictly commercial and dramatic bet.Do not know if the young writer outlines his characters with the same depth that the writers responsible for bringing words to images: 4 professionals have been necessary? would be - to deploy a catalogue of beings that respond to standardized patterns. The main roles are nothing more than schemes to the service of a hackneyed moralina adorned with predictable action at all times.Had not yet said: we liked the work of Peter Jackson at the head of the Lord of the rings, and it is not to compare, but how much damage has been done to those who venture into the difficult genre of fantasy. |
2,298 | archivos_extraidos/MCE-Corpus-main/Dataset/317 | Jose Contreras | La joven del agua | 3 | 5 | muchocine | It can be that it Shyamallan wengue rejection which took his script in many producers until accepted it Warner | "The water" is the narration of the details of a ceremony. A creature from another universe has been trapped in our and Paul Giamatti fight against time and a rabid beasts so that she can return.A china that does not speak English knows the legend and therefore the details of the ceremony. Need a Guild, a guardian, a double and other archetypal figures of fairy tales. But in the apartment building there are only tenants, so Giamatti has the task of discovering neighbor responds to what archetype to sign him at the ceremony.Shyamallan proposes in this film the fun task of rereading the characters of a community as current stereotypes or mythological characters.Among the characters in the community is an analyst of scripts. Maybe that with him Shyamallan wengue rejection which took his script in many producers until accepted it Warner. This analyst offers a first explanation of the legend is not true for anything, which is much more wrong when it comes to predict her own future.It has not succeeded in its premiere. They say the yankees which is too unlikely. You can compare with Spider-man, Superman, the prophecy. Where will stop. |
2,299 | archivos_extraidos/MCE-Corpus-main/Dataset/579 | Ivan Sainz-Pardo | Storm | 1 | 5 | muchocine | Cochambroso Pupurrí scenes and very recognizable clichés of other films. It is artificial, the pace is a genuine disaster, there is a single moment credible or interesting. | Pretentious presumably modern tape that baby, without complexes, American cinema, of the ads of Ikea and other European films as the Amenabar. Latter recognized it and its directors during the presentation premiered in Sitges. I know they try out there sell as the new Swedish Matrix, but don't be fooled, the special effects do not go beyond a chapter of "Charmed" and the only thing in common to the Saga of the Wachowski is the leather suit of the protagonist and a pair of dark glasses of itinerant market.Without wishing to dwell, say that the tape is a cochambroso pupurrí of scenes and very recognizable clichés of other films. It is artificial, the pace is a real disaster, there is a single credible or interesting moment and it is supremely boring. It is the movies that are not understood, but not for being intelligent and complex, but the lack of creative coherence, the lack of rigour, talent and be everything that also teaches so fatally shown and developed. A torture. |
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