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2,400 | archivos_extraidos/MCE-Corpus-main/Dataset/1874 | Oscar Cantero | Diario de un escándalo | 3 | 5 | muchocine | A drama not seeking the easy tear but yes manages to thrill with their development. | Richard Eyre (forbidden beauty, suddenly last summer) returns to the fray with a new passionate drama in which boasts two heavyweights of the interpretation, such as Judi Dench and Cate Blanchett, both winners of the statuette from the Academy for his roles in Shakespeare in love and Elizabeth, respectively. Diary of a scandal tells the story of Barbara (Judi Dench), a lonely and churlish Professor of secondary London experienced a radical change in his life when appears Sheba, the new master of art in the school (Blanchett). They immediately engaged in a deep friendship and Barbara finds therein the confidant that had never before. But when discovers that her new friend remains a heated affair with one of his students feels betrayed and decides to go public with the news, causing a series of chain reactions that just leaving bare the deepest secrets, lies and obsessions of their lives.Diary of a scandal is a magnificent film, based on a solid and sober screenplay written by Patrick Marber (The Closer), and above all the excellence acting of its protagonists, two of the best actresses in the world for quite some time. The ability to express feelings and ideas without getting to say them at any time is one of the characteristics that European cinema has maintained as a distinctive note with respect to the American giant, along with a more leisurely tempo and the excellent handling of the silences that invite reflection. And, in many cases, it shows. And not little. |
2,401 | archivos_extraidos/MCE-Corpus-main/Dataset/2625 | Iñaki Bilbao | Media luna | 3 | 5 | muchocine | It is sober, serious in the exhibition of the current situation of the Kurds, and not lost nor in unnecessary sub-plots. Impressive landscapes. | Interesting film of Bahman Ghobadi, who already won the Golden shell for best film in the Festival of San Sebastian in 2004 with its terrible and beautiful "turtles can fly".Here is a story on the border of Iraqi Kurdistan, shortly after the fall of Saddam Hussein.Es interesting from beginning to end, although the pace is extremely irregular, with a first time frankly good and pretty, followed by another, where the allegories and symbolism are imposed to the hitherto narration lines.Note that they can spare you 15 minutes or so, being able to have removed some repetitive scene (dreams or visions of the protagonist).But it is a movie, broadly, pleasant, endearing characters, grateful humor (particularly in charge of the invaluable driver of the bus), and not bored ever.It is sober, serious in the exhibition of the current situation of the Kurds, and not lost nor in unnecessary sub-plots.Impressive landscapes. |
2,402 | archivos_extraidos/MCE-Corpus-main/Dataset/3352 | Andrés Pons | Subhumanos | 3 | 5 | muchocine | One of these films go unnoticed at the time creating after school on subsequent ideas with very similar arguments, we have recent examples in Creep or Marebito. | Debut of GARY SHERMAN, who a few years later gave us the best film of ZOMBIES in film history with the devastating dead and buried. Pity that this magnificent director lost in television products or sequels in the infamous "3 POLSTERGUEIST".With two big stars of gender, Dr. LOOMIS unforgettable saga HALLOWEEN DONALD PLEASENCE and one of the best dráculas of the celluloid excellent Christopher LEE. One of these films that pass unnoticed at the time creating after school on subsequent ideas with very similar arguments, we have recent examples in CREEP or MAREBITO.Dirt characteristic of the era in which acute music of few notes with an exciting part where occurs the action counting as great reference scenarios grim and closed, highlighting an excellent address at times violence peaks was filmed with the grainy photograph is distilled. Bellows loses as it progresses the plot in a police investigation which is distancing itself from the efficient disease of the principle after becoming a tape of intrigue. Anyway is a nice film with very accomplished moments and excellent atmosphere. |
2,403 | archivos_extraidos/MCE-Corpus-main/Dataset/366 | Rafa Ferrer | Garfield 2 | 1 | 5 | muchocine | "Free" in "the Prince and the pauper" adaptation, and an argument that would blush to any screenwriter apprentice. | Second part of this monstrosity called "Garfield" and what do I then commenting on the movie? Because having at home to a fan of the Orange Cat, takes you to the head film, jokes without regard to the purest style "Poop, ass, fart, pis" that are going to love to the kids of the House (the room was littered with munchkins), humor with one blow of spotted people, and stupid jokes; It is true you can not ask pears to the elm, before a tape of this magnitude, especially designed for children, is what there is, or is taken or is left.A couple of nonsense have started me a slight (very slight) smile, the predictable rest, "free" in "the Prince and the pauper" adaptation, and an argument that would blush to any screenwriter apprentice (the script lacks any sense), if it is true that the recreation of Garfield and Prince ("sister") is excellent (even in the shadows and reflections), the film is painful, except that have an orange at home cat fan, as it is my case, or some eager child film munchkins!DO NOT GO! (you will). |
2,404 | archivos_extraidos/MCE-Corpus-main/Dataset/693 | Plissken | The Queen | 4 | 5 | muchocine | The who was one of the starkest enemies (film, means) Maggie Thatcher in the 1980s, again look back towards a week which for many people changed the concept on the monarchy altogether. | Stephen Frears has begun the century attentive to what's going in your country, is more, looking for keys to interpret the topicality of this island that was once an empire. 'The Queen' is good proof of this. The who was one of the starkest enemies (film, means) Maggie Thatcher in the 1980s, again look back towards a week which for many people changed the concept on the monarchy altogether.On August 31, 1997 died in Paris Lady Diana Spencer, ex-wife of Prince Charles of England. Worldwide, shocked, mourns the death of Lady Di. The press raises the altars to the plebeian Princess. The newly formed Government of the labour Tony Blair meets a hot potato which soon becomes showcasing opportunity to the young leader. And the Royal family? On holiday at Balmoral, decides not to modify your protocol before the death of someone who is no longer a member of the monarchy. Elizabeth II, since its more than fifty years of reign, decides not to expose his (or his son, or herself) grandchildren to the whirlwind media and detain in his Castle until that the news happens, fall who fall. The bad news is that, this time, what can fall is the very same British Royal House.'The Queen' will structured as a sober Chronicle that mixes reality and fiction, probably become known by the excellent interpretation of Helen Mirren, who composed an Elizabeth II of flesh and blood, as capable of driving a jeep or ride a pink gown by the sumptuous summer residence and take a pulse to an entire country. She is the center of the function, although the shadow of his deceased and hated ex-nuera is very elongated, and is so full of nuances his character is a delight see each gesture (tuned to the hands in times of stress), every look, every sentence. Far from the cliché so relieved historical character in the biopics, Helen Mirren is in the battle for the Oscar for best actress.And there is more. Michael Sheen is a funny Tony Blair, though sometimes too cartoonish. James Cromwell as the King consort, Sylvia Syms as the Queen Mother and Alex Jennings as Prince Charles comprise a berlanguiana Royal family, may the spirit of the old debt ' Spitting images'. Roger Allam, Mark Bazeley and Helen McCrory, latter in the skin of a Republican Cherie Blair, have their moments of glory in an ensemble cast.On the other hand, the staging of Frears is an example of elegance and simplicity, except at a few tremendous levels from helicopter of the grandiose landscape of Balmoral, the Queen's private fief. For my taste, they compliment perfectly with the rest of the proposal. Otherwise, neat and direct style of Leicester, in the service of S. M. Helen Mirren.Como negative points, in addition to the already annotated lightness of the character of Tony Blair, a certain lack of claw in Frears to finish the film. The upside is the hilarity which is the clash between the Martian family ("the planet Zorg", suggests an aide to Blair) and the rest of the world. And also on the positive side, a question in the air: it is the useful monarchy into a democracy, or is the same democracy which uses the monarchy to not succumb to a revolution?Smart, funny, sensitive and wise (sometimes too): an 8. |
2,405 | archivos_extraidos/MCE-Corpus-main/Dataset/1444 | Iñigo | El Espejo (Zerkalo) | 5 | 5 | muchocine | The memory as a trip to the posterity. | Ingmar Bergman on Andrei Tarkovsky: "my first discovery of Tarkovsky was like a miracle." Suddenly I was next to the door of access to an enclosure that I had always wanted enter, but whose key never had been given to me, and that Tarkovsky was moving freely and confidently. I felt encouraged, stimulated: someone had expressed what I've always wanted to say, without knowing how. Tarkovsky is for me the most important. "It has created a new language, which is the essence of the film, because it presents life as a reflection, life as a dream". In fact, of the above is "Zerkalo". Dream, poetic reflection, loved, evoked, a past that belongs to the director himself, but is also ours. Yesterday that merges with the contemporary, to build tomorrow, the most universal future. "The mirror" is the work with more autobiographical load of Tarkovsky, but not why it cannot be sealed, waterproof. Very personal, with exclusive elements of his memories, that form bubbles which transported by air, fire and water consumed in the course of his awakening, not he ceases to be a portrait we can recognize ourselves. "Zerkalo", as its title indicates, is the mirror in which we all look. It is the narration of a past meets present future and happen to be the essence of the nature of our human condition. It is necessary to travel to autoreconocernos, transcribing our entity, reach the point in which we become crystal clear water and are able to encourage us to our reflection. Recurring theme throughout the work of Tarkovsky. There is no narrative based on a classic storyline in "Zerkalo". There is no chronological or, therefore, logical order. Not matter (or comes to mind) to explore the real value and meaning of the film. The story itself is broken to form a cycle full of oneiric elements, memories, isolations, scraps of a reality experienced by one and represented for all. Tarkovsky gives the more metaphysical sense, risest, bombastic in his filmography to her recurring phrase of "Sculpting in time". Create forms, figures, sometimes transparent, you sometimes muddy (like water flowing from our life), to decorate in our interior. "The mirror" is not a complex movie. We turn her into complex. Evidenced by an introduction for quite a few incoherent, diffuse and whose explanation has nothing to do with the set of the film. But, as the director himself says, if we look at our interior the answer is much simpler than that of what appears. This scene, absolutely still the final path of the work, this path in search of our sincerity, our deeper truth, which will make us find the freedom lost, hidden in our pain. It pursues the reflex, excavated and eventually found in the form of a stammering young healing hypnosis. Recovery of spontaneous speech as faithful analogy of the encounter of ourselves, of our condition cercenada by a draconian regime that doesn't let us act as, in essence and, of course, since our birth, should act. The fourth film of the Russian director was about to take him to jail, by the inclusion of ambiguous images which served as form and refuge to a criticism which eventually confront him with the authorities. All this in a Communist dictatorship of the u. r. S. S. by then impossible to rebut, unless you'd like your life to run serious danger. The film, obviously censored, had a very complicated and delayed initial release, and was only screened in minority and very reserved places. Before damn, today work of cult. Much more than that: work of art, cultural heritage of a Russia as outlined in the world. In these difficult times, therefore, had to find ways, through metaphors, subtle images, intelligence Escapist, to escape the obvious, not show, do so unaffordable for obtuse minds. Only open minds, in search of continuous growth, could understand its magnitude and adapt it to their lives and their cultural environment. That gave the film sense Supreme, universal, which was precisely the maximum of Tarkovsky. Censorship, as we all well know, enhances the imagination. Without it, as many claim with sentiment ironic and slighted, the cinema will never be the same. And it does not fail the reason analyzing the thesis from the creative point of view. And also being aware of the situation, in the case that concerns us of the work, the disease is always point of inflection (or home) to start to rethink matters transcendental, vital, that we escape over our previous existence for various reasons. To the limit of our lives, on the brink of death (item in common with Bergman, but treated in both in a very uneven manner) we begin to understand, or at least tried. Thus, Alexei (alter-ego of the own Andrei), in the course of his evil, is transformed into someone very aimed to reflect. It does look to his past to his mistakes, his path, the way identify with him to, at the same time, identify us us. We are part of those memories, to constitute our own. It is as if you tour time which ghost, observing, learning, taking for himself, inserting in lives outside to feel the suffering that seizes them, their thoughts and feelings (which are also, on many occasions, his own, those of his childhood) before a becoming which seems painful, either because of a war coming, for the recovery of lost love, or for redemption against the cause of damage to which it is not known how pardon. Alexei, the character, is all. We are all him. Belongs (mos) to his memory. It is an inseparable set if we want to find us and understand. Much of memories (dreams) concerning his childhood, it will become live on the way that can invoke them, is sometimes active character of the same, sometimes remains hidden, only his word (hence the predominance of spiritual over physical for Tarkovsky), not his person. It may be some relatively unrelated memories, viewing only, others hard, brittle, scary, but many are his past, pending covering wound, pardons waiting to occur. No doubt, reminiscences to his innocence and, at the same time, joined her womb (remains to historic film remember the impressive dreamlike sequence of levitation). Thus, "Zerkalo", cycles and spaces merge crazy way to note that, quite simply, the time "does not exist". There are universal feelings, times of them are unnecessary. Perfect example of this would be the bird that Alexei houses in his hand, transferring its cultural past to a future that esperanza, longs for story telling. Certainly has moments where is impossible to discern past, present or future, because they are unique to the director, only he associates. But to us we should not matter, the message is universal, global. We can insert an experience anyone, our, our habitat. The film passes through stops the lyrical and beautiful, to dark and scary (for past not complete or apprehended, which is like an abyss that generates fear, but not to the use, helpings, but real fear terror), ranging from by mysterious, exciting or delightful. We are not guided by the surface, which in appearance is purely cryptic, incomprehensible. Otherwise, we will only see disjointed sequences in time and space, not knowing to distinguish without are in present, past or future, if we who are there, if they are the same characters or if they have or stop having continuity. Nothing makes sense. But that, nothing matters. Effectively, can be complex insofar as memory, expressed images, are not ours (are of the own Tarkovsky, his own experiences). If not we are pleased to take them as their own, apply them to our lives, there is no mirror that look. There will be no way to go. Even so, here the memory not acts simply as a generator of memories, as component ajado (as it alters and abused in the majority of films), but as a method to mend us, to take her skills and apply them to our learning, our spiritual growth. That same memory footprint of the road to take, will disappear when we place ourselves on the path, which must be only visited by us. Hence emanates the historic flat final sequence, forming a long travelling (Tarkovsky House brand) which runs the nature, the vision toward the same as Union with the human being, making him immortal, achieving a littered with plenty of beauty and splendor. The report cited as a generator of Union of all ages, children, mother, grandmother (played by the director's own mother). All together in the freedom that nature has given us, free of splits, contemplating their gleam to the rhythm of the forklift, masterful, sublime, spiritual music of Bach. A final anthological, immediate to the divine, that nothing of what it name makes real justice. Hope naive? Eternal question of whether happiness lies in the memory or the oblivion of the same. That is already point of reflection itself and non-transferable. Memory leads, but then it will be a background for a glimpse at the Union of generations that have been a reflection of each other (a divorce that is repeated, a pardon do not know how to offer: more sacrifice in the work of the genius). Now we alone have our way. Nature is our true mother, according to Tarkovsky, is reflected to perfection with the above. A vital and recurring theme in his filmography: "We are part of the force that goes from the stone to the water". Certainly, everything dies and comes to an end, but through the mother and its essence, thanks to it, if you are looking inside, will remain live forever for our eyes. For when one wants to realize what you are trying to, comes the colossal final of "The mirror", reaches the zenith of the journey to regain it again. And yet understand it at all, tears sprout cheeks. It is not urgent dry them. Urges not guess it entirely. Truly seminal is has not cried our person, our physical portion. It is the spirit which has shed tears. Because, for the first time in his biography, he has played with the fingers. Because, to provide an inexplicable lyricism to the footage, Arseni Tarkovsky, father poet Andrei, he recites own verses, a few poems full of Précieuses, pace of reverie, passion and essence. Because the last step is not only one of the best in the story that the film meets. It extends far beyond the celluloid, of culture, of everything we know in life. We do not have more to thank Andrei Tarkovsky do a unfathomable play, never achieved a scale and style. A work for all time. We therefore are not only before a masterpiece: we are faced with a timeless work of art, superb, exciting. An ode to the existence, a poem to life. As these stories in which the mere voyeur, aseptic spectator becomes a part essential of them: from birth to death, since the Genesis until the consummation. As a sonata intones in autumn twilight of the leaves, and monitors trees out to the uterus pushes. As in a Crystal feels the pulse of the rivers, bleeding of SAP and wonder at the open hole of the Tempest. As the whisper that escapes the stairs, dressed in ecstasy that merges with the wet lilac, and brings us far, to his dominions, on the other side of the mirror. |
2,406 | archivos_extraidos/MCE-Corpus-main/Dataset/385 | Emilio Calvo de Mora | La noche de los girasoles | 4 | 5 | muchocine | To be a masterpiece, which some would like to fly our learned thriller national, if so we want to call it, need you a less bombastic tone. If Lynch saw it, her would be yours. And that is a huge compliment. | This is the film that would have signed the Coen brothers, if you have been born around here. Or it is the movie to which a Camilo José Cela had put his signature as a screenwriter, i.e. much of this opera prima of moderate gruesomeness and provincial tragedies of all life.I've also seen David Lynch: as these characters of blue velvet to fatigue the streets in search of redemption and that at the end, it is located in the desolation of his life paradise that sell the pulpits and sell them you ketubim home. Cabezudo outlines the ochre of the deep Spain, that tristísimo color that scale the walls and devours the green roofs without compassion. It is the Spain ever seen outlined in the stale iconography of some past not necessarily remote, reconstructed, here, invested in an oppressive liturgy.Actors embroider the characters, which are extreme, and clustered around a tour of complex narrative force that, on occasions, can mislead the viewer little accomplice. Just agree that the chapters on which is mounted the script belong to a thread necessarily go, but strict, useful, without cracks.To be a masterpiece, which some would like to fly our learned thriller national, if so we want to call it, need you a less bombastic tone. The magnificence of the feelings that populate the film not drink in the drama of Shakespeare but nutritious corpus of rural folk tradition. If Lynch saw it, her would be yours. And that is a huge compliment. |
2,407 | archivos_extraidos/MCE-Corpus-main/Dataset/3505 | Iñaki Bilbao | La boda de Muriel | 4 | 5 | muchocine | First title where I met Tony Collette. | "Muriel lives in a fantasy world." "To escape the claustrophobic people which spends the summer, its tedious family and their friends corny, she dives in the catalogues of weddings and on the songs of Abba, waiting to get her Prince charming". Frankly it's a good movie, very well filmed and narrated by P.J. Hogan.With magnificent interpretations of the female protagonist couple (here met the always magnificent Tony Collette), the film follows with interest, given its great human depth, where all the passions are to hurt before knowing the complete happiness.A drama in full-scale, real touch of attention to certain negative aspects of society, not just in search of the happiness of its citizens. The humor and drama you order wisely and the tape is remembered with affection and emotion.Inolvidable unforgettable music, with the best songs of Abba, one of my favorite bands. In addition, the excellent sound of the film helps taste it better. |
2,408 | archivos_extraidos/MCE-Corpus-main/Dataset/447 | Vsancha | Corrupción en Miami | 2 | 5 | muchocine | At the end you stay with a film that is a good film adaptation of what was technically impeccable, television series, but that doesn't have anything, or at least anything new, and that is extremely irregular in his narration getting boot more than one yawn to the staff. | Recently I read a story in which an American web had developed a ranking with the best movies based on TV series, among the top we could see the untouchables of Eliot Ness, the fugitive or Blues Brother, these days comes to our screens the adaptation of the legendary ochentena series Miami Vice in the hands of one of its producers Michael Mannthat already we had delighted in the past with great action such as Heat or the latest Collateral thrillers. If you are film could be on that list, I suppose that if to see that there are also films such as South Park, or hold it as you can, but the feeling that one is after seeing this Miami Vice, it is somewhat bittersweet. I.e., the film is not bad, but at times becomes heavy and boring, especially for a screenplay that leaves much to be desired. The film is technically impeccable, Mann address almost touching the perfection, large flat General resembling postcards and where the Viewer may not depart the gaze of a boat across the sea or a car at full speed at night through the streets of Miami. In the interpretive section we have everything, a great Colin Farrell is benefited by a script that focuses on her character and the love story that has the worst, with the character of Gong Li, that anyone would say that she is 40 years old, just the opposite happens with blurred character portrayed by a correct Jamie Foxx, and at the risk of being accused of alleged phobias to Spanish actorsis the do performance? of Luis Tosar, although if I have to be honest not is if it was Luis Tosar or a wax of the same figure, because his inexpressiveness reached unsuspected heights, is supposed to speak but we do not see his mouth due to its abundant beard and his eyes seem not blinking while it appears on the screen. And in general all the film is very well done, the soundtrack is also luxury, I would say that even the best of the film, photography, and as we have said, the direction and performances, saving any exception they are notable, but it is nothing more, the movie has nothing, crap very well wrapped gift, the action scenes are very fewfew, a couple of them or three, that if very well shot and very spectacular, but is not enough. The film comes to bored of greatly to the Viewer. At the end you stay with a film that is a good film adaptation of what was technically impeccable, television series, but that doesn't have anything, or at least anything new, and that is extremely irregular in his narration getting boot more than one yawn to the staff. |
2,409 | archivos_extraidos/MCE-Corpus-main/Dataset/1249 | Yojimbo | Bulworth | 3 | 5 | muchocine | Do a movie fun by original situation, seeing to a? Grandpa? as Beatty jumping and dancing at full speed. | There are some films which for reasons unknown or little advertised, never come brand new in our country on dvd. One of many is Bulworth, the last film directed by Warren Beatty in 1998. It is a political satire that had its premiere in salas, payment channel? and it ended there. De_hecho I have a special affection for this movie because it was the first I saw in Madrid about 6 years ago in the already closed cinemas Luna.Y've never again to hear from her, except via the internet, of course, wonderful source of information and other things that do not reach market;) the Senator Jay Bulworth is low hours. When he decided to order his own assassination (could well be a defense of euthanasia: P) starts to discover how wonderful it is to live life without ties, having fun and saying the truth: lives jumping the entire agenda of speeches and campaign events, has fun with rap and Halle Berry and telling the truth after the manner of Michael Moore, ClooneyPenn and all that speech, with this film, is showing that it is not new but if repetitive and hypocritical.Does Warren Beatty met for this film talent such as Storaro in photography, Morricone music (which combines with good rap songs) and with actors such as Paul Sorvino, the eternal secondary Oliver Platt, the beautiful Halle Berry, Don Cheadle? It is a film fun by the original situation, the sight of a "Grandpa" as Beatty jumping and dancing at full speed and by the good Office of the director, who manages to do a critique of the policy in his country, although always in the same direction.A very interesting film and that gives a turn of the screw more political satire. |
2,410 | archivos_extraidos/MCE-Corpus-main/Dataset/2712 | Rafa Ferrer | Shooter: El Tirador | 3 | 5 | muchocine | It is just the same as always, trying to update it, but without achieving this, bored to seeking surprises, entertains that does not seek more than that. | Tape single action, without looking for him more than 3 feet to the cat and that repeats in a thousand situations already known previously, come on, that if instead of to Wahlberg, we put Chuck Norris, Stallone or even Schwarzenegger would have more or less the same as we have seen on the screen.Antoine Fuqua ("Training Day" excellent and mediocre in "Arthurian") get here capture with an astounding similarity an infinity of moments of the action genre, coming one even "smell you" everything what is true in this Mix-generic action, pity of a director that he saw immense and now begins to remind me the latest John Singleton, another started beautifully and now directs clunkers as the 2nd delivery "To any gas", but as well a friend of mine says "managers are also human beings who pay the mortgage to make ends meet".It is true that the start of the tape is great, and that more than one would like to put in the hands of one of the snipers appear on screen (soldiers envidiados by any amateur Shooters) and the plot Government is designed well, but the tape passes boredom to be more predictable that one can imaginewithout never surprise the Viewer, seeking some moments in some salt and pepper.Mark Wahlberg, Michael Peña, Danny Glover, Kate Mara and Elias Koteas compose the choral Division, Wahlberg with his stick face, Crag with his role of latino committed to the cause, which begins to be his label of the House and his own cross, vase Glover light years of Robert Murtaug in the series "Lethal weapon", Kate Mara as a woman where I have seen to this "jamona" before? and Elias Koteas that I remember as a secondary shift in hundreds of films.Anyway, that as I have repeated a thousand times, it is nothing more than the same always, trying to update it, but without achieving this, bored to seeking surprises, entertains that does not seek more than that. |
2,411 | archivos_extraidos/MCE-Corpus-main/Dataset/63 | Caty | Una historia violenta | 3 | 5 | muchocine | film thematically ambitious and with sufficient strength to avoid simplistic answers | Tom is a quiet man who leads a peaceful life with his wife and their two children in a small town in the interior of the United States. Owner of a small coffee, account with the affection of residents and customers. One evening, while next time close, two strangers enter the establishment and armed, intimidate those who there is encuentran.pero before that they can fulfil their threats are attacked and killed by own Tom, who immediately becomes a hero both in your community and across the nation. is then when a face disfigured man comes to town andclaiming to know the protagonist, he tells his wife if he does not seem strange the alacrity and never acting as clean and as accurate of a man that has not killed a fly.Inspired by a novel by John Wagner and Vince Locke, the screenplay by Josh Olson explores inquiries about the "mysterious" past Tom directly, bluntly, avoiding creating a cheap suspicion through empty secrets. Instead, the story chooses to surprise the viewer simply by the own evolution of the events, which often assume one faster rate which you might expect from a film of the genre: when, for example, the Ed Harris character appears in scene, the audience automatically prepares for a tense confrontation that is certainly going to happen later, but such a first contact between the two characters making develops in a way quite different from that we might come to think. Directed by veteran David Cronenberg, "A violent story" has no intention of presenting as a revenge tape, its goal is more ambitious, that it tries to hook the viewer not to through the acción(aunque_esta_esté_a_veces_presente_en_la_trama), but the curiosity, because in the end who is Tom Stall? What are the relationships between all the threatening figures, from one moment to another, appearing in his life? He is lying or suffers amnesia? As we do not know the answers to these questions (in the same way that the Tom family) have no possibility of judging what the he did or left done years ago, but that we must form our opinion only on what we know at present.And this, precisely, is the main theme of the film, which makes it a very interesting film: are what defines who we, our actions in the past or our attitudes in the present? When you start the slide show, Tom already 20 years ago that they live in the community and is admired by everyone because of his sympathy and his bondad.en that his youth really has a part as oscura.¿Esto changes our perception about his character, or those two decades left suddenly for? Our sins are prescribed, and if so, after how long?Questions presented by Cronenberg arrive more than: do after how long a lie lived consistently turns in reality? In the end, if Tom was actually a different person, it is undeniable that the protagonist has finished happening almost as long as Tom to as Joey (the name that some say that it is true in the film). In addition, the filmmaker shows an immense interest in discussing the violent nature of the human being, manifested in greater or lesser degree in different characters: does someone with a really violent temper can change, or we are prisoners of what we were, although we strive desperately to suppress our instincts more low?Throughout the film, some of these inquiries are answered by Cronenberg, while others are left in abeyance. Anyway, it is fascinating to note as the director shows consisting of their questions about human nature, his filmography is often starring individuals fighting against themselves, against their interiores(en_algunos_casos_hasta_literalmente,_como_en_"La_Mosca") monsters. Also highlight as the photography of Peter Suschitzky illustrate this constant battle between man and his (in) aware or its past, as some characters always seem to be in the shade, semi-hidden.As Tom as an essentially ambiguous man, Viggo Mortensen offers a focused and full of subtleties interpretation: one of their decisions more weird is, for example, the adopted a tone of voice always low, highlighting the apparent calm of the character. In the same way, his serene gaze indicates a patient position in relation to the problems which faced and, occasionally, their eyes become cold and rabid, where we realize that it would probably not be very wise to provoke it.In a mano a mano with Viggo, we have Maria Bello, who transforms into a woman real and palpable, also expressing this trend in its internal conflicts when trying to understand what is happening around your marido(es_curiosa_su_reacción_ael_dar_se_cuenta_que_realmente_Tom_Stall_es_posible_que_sea_una_identidad_falsa,_y_que_su_apellido_y_el_de_sus_hijos_es_una_mera_invención). Despite all its virtues, the film has its specific setbacks, as the overly idealized way that David Cronenberg portrays the Stall family during the first act of the story. Looking for highlight the bankruptcy of an "ideal" family harmony will suffer, the filmmaker force this situation, reaching the point of including a scene in which father, mother and son rise early in the morning just to calm the infant daughter, who had a nightmare.Anyway, "a history of violence" is a thematically ambitious film and shows have sufficient strength to allow the viewer out of the film without being completely sure of the way in which ends all, and this, perhaps one of the greatest virtues of the film; avoid forcing replies where these undoubtedly sounding artificial and simplistic. |
2,412 | archivos_extraidos/MCE-Corpus-main/Dataset/228 | Raccord | Misión imposible 3 | 3 | 5 | muchocine | Offers only action of the good (which is not little): the plot is too credible nor the villain is the height of Ethan | Tom Cruise returns to interpret the hero Ethan Hunt in the grossing series "Mission impossible" to continue giving us adrenaline and explosions. This time also, as producer of the film. Between that and the ego must have the dining room friend of placentas, it was logical that as a result there was a film by and for himself and his showcasing. Innovations very little walks, but who wants to?. They found the formula and her exploit: countless gadgets of latest technology, luxury cars, and a team of elite to help the héore. Of course, the bad guys are very bad (although never know why) and good, with a honesty without fissure, less any secundarillo, which inevitably in these films, just passing the enemy.Perhaps less flip to the previous film in the series, in "Mission impossible III" we try to show that Ethan Hunt in addition to distribute tow, is a human being sensitive and affectionate with his wife. This subplot is completely stuck with shoehorn and has some truly joke moments. In my humble opinion, if they wanted to give greater psychological depth to the character, it would have been much better that they raise the friendly relationship between Ethan and his team, with his young woman, with flashbacks of the wedding and the moments which spent together confectioners. (That by what you've written seems that not liked) is otherwise a very good action film, with moments of tachycardia, and others in which we only babear before the sobrado hero and millimetric plans to attack the bad units. By the way, assail the Vatican! Do they will be giving to understand in a veiled way that the Catholic Church is a mafia or some sort of criminal organization? If I can confirm that it is the case, I promise to edit criticism and put a 10. offers only action of the good (which is not little): the plot is too credible nor the villain is the height of Ethan. You should something more grateful sense of humor, and that pseudo history of love to give depth to the character, it was a little more convincing. It is worth seeing her. |
2,413 | archivos_extraidos/MCE-Corpus-main/Dataset/3357 | Ana Belén Pacheco | 300 | 5 | 5 | muchocine | Two hours of uncles solid running in loincloths and layer are hitting and spinning in sweat. They makes my hair like hooks just to remind you. | I have a re-visto 300. I then put a lot of candles to God for letting us to all single women and gays in the world such gift. Two hours of uncles solid running in loincloths and layer are hitting and spinning in sweat. They makes my hair like hooks just to remind you.It is highly exciting to see as Frank Miller has been able to imagine so many biceps, triceps, pectorals, chocolate bars, well formed ass and legs and bring together them in one place. Gerard Butler as possibly without you infomercials and without beard more ugly hitting a father but as you I have not looked at the face at any level of the movie I do not care. Have been able to to allow feísimo to Rodrigo Santoro (the Lost guaperas) making him Xerxes (also average in balls) to see, I will try to recall that is film is a guy who comes out half naked and gets to climb a mountain to hair, and as very ugly monks does not leave go to war (pure envy that this buenorro and them not) because brings together 300 light coleguita clothes and go to kill Persians in the Thermopiles. That is more or less what I remember my hormones even revolutionized. And even if there is something more doesn't matter to me. I'm happy with that memory. To make it more erótico-festivo in the dubbed version the handles had the voice of Russell Crowe and Clive Owen you can request more perfection? Perhaps 300 were 600. That multiply by 2 fun but of course being a historical film this could be interpreted as a serious misunderstanding to as faithful description of the facts (irony) those stupid who say that violent films do not like women is because they do not know the heart of feminists. I want a Spartan! |
2,414 | archivos_extraidos/MCE-Corpus-main/Dataset/595 | José Córdoba | El laberinto del fauno | 5 | 5 | muchocine | For a long time he enjoyed not so much in the film. Guillermo del Toro has made his masterpiece and for which writes the best film I've seen this year. | I've seen, finally, the most awaited film for me the year and, despite my high expectations, I was not disappointed, is more exceeded them. It is without doubt the best movie by Guillermo del Toro and one of the best, but the best of the year. And she is Spanish (though in co-production with the United States and Mexico, while the technical and artistic means and most of the money si bien los medios técnicos y artísticos y la mayor parte de el dinero son are Spanish).El laberinto del Fauno narrates the arrival of a girl and her mother to a unknown place of North Spain where the expected the new husband she, a general Franco decided to quell the rebellion of the maquis in that area of the country. Once there, the girl discovers the entrance to an ancient labyrinth that will serve as refuge for events that will continue.Guillermo del Toro is a filmmaker firmly anchored in the fantastic although in some of his films he has made approaches to terror (Mimic) or western (El Espinazo del Diablo). In this film he returned to mixing reality and fantasy, placing the action in the years after the Spanish civil war, as it did in the Devil's backbone, while the stylistic approach is very different. This is a dark film, where evil is painfully real, that takes place in a mysterious forest with an oppressive atmosphere.In this film with influences of "through the looking glass" or "La history forever", evil is not something that comes from the more is not there, something intangible. An ogre, a human being, a soldier played by an exemplary Sergi López, represents all the unrighteousness of mankind, shows how far man can go to achieve their objectives. It is a unforgettable, disgusting, disgusting, real character which, of course, becomes the best villain in recent years. In contrast, we have the innocence, the purity, the imagination of little girl Ophelia performed by Ivana Baquero, who takes refuge in her fantasy world to escape the very painful reality. To your teem around other most secondary but equally important characters played by Ariadna Gil, Maribel Verdú and Álex Angulo (these last two are a nuanced, credible, impressive performances).The work of del Toro after cameras is tall, of a director who knows what becomes. The film runs from reality to fantasy, in a continuous manner, without cracks. The director gives the account of a rate increase and oppressive, not know where you are going to wear, but intuyes that there is no light at the end of the way although you harboring hopes of the Hague. In addition all sections, badly called technicians, rub perfection from the claroscura Photography Guillermo Navarro to the music by Javier Navarrete, passing through some incredible visual effects, taking into account the not very high budget of the film. But Guillermo del Toro, is situated above as a great director of Orchestra who knows how to bring out the best of each party to get a whole bright because the film excites, involves. Each occurrence of the Faun, each act of violence, love, repugnant, are interested in.For a long time he enjoyed not so much in the film. Guillermo del Toro has made his masterpiece and for which writes the best film I've seen this year. Only a detail, to me inexplicable why was not in the list of candidates by Spain for the Oscars? In Mexico they have had more eye and he is their candidate to represent them at the Academy in Hollywood. |
2,415 | archivos_extraidos/MCE-Corpus-main/Dataset/924 | Radon | Happy feet | 4 | 5 | muchocine | Finally, and after seeing that our young critic has emerged from the room trying to some steps of claket which failed to coordinate, according to him that there was no ice, calificaremos very good film. | It's definitely a good movie with a great message to give, but not for the little ones, at least not for children of 4 years. That Yes, they kept entertaining and outstanding screen.On this occasion the creators have managed to tell us a story that reaches more adults move, and entertains children, they see unbelievers as their elders are made a lump in the throat.With regard to the technical details of the film, highlight that mixes real images with the animation, occur so naturally that sentences are perceived parties in which one and the others are interspersed.No wonder that Prince decided to give their songs to the soundtrack of the film. Anyway, I think that this initiative has more marketing than altruism, although the intention.Finally, and after seeing that our young critic has emerged from the room trying to some steps of claket which failed to coordinate, according to him that there was no ice, calificaremos very good film. |
2,416 | archivos_extraidos/MCE-Corpus-main/Dataset/1492 | Emilio Calvo de Mora | Las mantenidas sin sueños | 3 | 5 | muchocine | Analysis to the argentina of family conflict. Feminist film with an acid, corrosive, likeable spike occasionally, which speaks of the hardship of a convalescent Argentine society of corralitos and political miseries. | Projections of parents not always coagulate on the horizon of the children. This is the phrase that gives birth to this puzzling Opera prima Vera Fogwill, Director and Argentine actress which reserves the title role of the film, Florence, is an ex-drogadicta that malvive in a destitute assumed a very mature daughter from game to game, trying to rescue her from the dark place where they think it is. The social background of the film questions the integrity of the family, his ancestral vocation of nucleus of society and the traditional concept of women as absolute axis of its maintenance, but here the mother occupies the role of daughter (by his desasimiento and its abandonment) and the daughter takes the powerful role of responsible and archetypal mother. The decline of the film, its voluntary escoramiento to the loss of moral values which must be a mother, is very successful. Treatment almost indie of the script stands for two wonderful actresses and an accomplice at all times (Los Babasónicos) music.Feminist film with an acid, corrosive, likeable spike occasionally, which speaks of the hardship of a convalescent Argentine society of corralitos and political miseries that have buffeted the future of a country huge, visionary, creatively rico and with an admirable spirit.The film premiered (triunfalemente) in 2005 than in Argentina. Come here now preceded an accumulation of awards (best film at the Festival in Milan, best film for the public at the Festival of Las Palmas de Gran Canaria, best film at the Festival Latino in Los Angeles and presented as best film for the famous Golden Globe). This list of winners (excessive, perhaps) attests to the fighting spirit of the film and its interest more than perceive their essential vocation of intergenerational drama or, if you like, of conflict mother-daughter. |
2,417 | archivos_extraidos/MCE-Corpus-main/Dataset/1975 | JLO | Candilejas | 4 | 5 | muchocine | Melodramatic film exacerbated perhaps too much, with some another low blow included, but infinite sensitivity and their personal world developer; a clear summary both his life and his character showing this height being only one. | His most autobiographical film. The script reflects the many sufferings and dark aspects of their lives. It also recreates her painful childhood with his sick mother and up elected to the protagonist by the resemblance to Ona, its current and last wife. They are fear of its notorious decline and slow her beloved public loss. An ode open to the beautiful women who loved during his lifetime.In this case as in any other, the band sound of the own Chaplin, almost as famous as the same movie is inescapable and that accompanies the film in a sample of its versatility and good taste, despite not knowing how to write music.Melodramatic film exacerbated perhaps too much, with some another low blow included, but infinite sensitivity and their personal world developer; a clear summary both his life and his character showing this height being only one. The final scene played in a comedy duo with the great forgotten talkies as it was Buster Keaton (but not apparently by his archrival Chaplin); It shows both a gesture of greatness of both, and the weight of the force and intact quality of their geniuses. Just to see this scene of two large, this film is worth gold.Summary: In 1914 Glade is a retired music-hall artist. Save the life a dancer who had wanted to commit suicide and helping restore confidence in itself. The dancer then has an affair with a humble musical composer. Meanwhile Glade returns to act in theater suffering a failure, then succeed to die of a heart attack in full stage; After emphasizing the dancer to continue his career. |
2,418 | archivos_extraidos/MCE-Corpus-main/Dataset/3734 | José A. Peig | La ardilla roja | 3 | 5 | muchocine | Being a product too schematic, stands out above all the synthetic work of Medem to configure his particular universe of emotions and paranoia that is displayed and the contempt to certain conventions governing life in society. | The film by Julio Medem sins - or enjoy - wanting to create dreamlike abstraction from the costumbrist shade, leaving his work in a position which makes it vulnerable to several considerations. La ardilla roja reads a social critique or a unrealistic catharsis in which the reality of the people and the squirrels are part of a same psychic construct. His cinema is symbolic, the resources used for this purpose is not to have too much talent, but in the case that we are now discussing (as in the recent Caótica Ana) there is a line of development and a thematic Centre exposed with some fluency. The filmmaker uses speech to discuss himself surroundings on two characters, Jota and Felix, in absolutely antithetical but representatives of a same obsession lived in two intensities. Film about disturbed, and behold one of most obvious weaknesses, to use cloudy personality of the girl that radiates magnetism that disturbs and manipulates her two suitors, who respond equally to a Machiavellian profile and paranoid. The most striking of his theme is that it is so conventional as twisted in its submission, that speaks to us from the basic axis of a teenage love type "boy finds girl" motivated by unattainable women, that girl that always goes ahead with his bike and his two lovers desperate unsuccessfully to because she is (as opposed to the initial appearance) which takes the frying pan by the handlethe same squirrel that always win the game, as corretea over the heads of male characters. The use of the animal as Totem of femininity is a recurring theme in the author, this being a fairly simple resource. In any case, if we let take by the intuitive process that proposes (the only way to understand most of the cinema) discovered the obsessive soul of Medem, with the burden of love frustrations, a vital experience synthesized in a triangular game about love and sex.Being a product too schematic, stresses primarily the synthetic work of Medem to configure his particular universe of emotions and paranoia that unfolds between lyric tonality and the sordid harshness of human relations, sexual-amorosa obsession, and contempt to certain conventions governing life in society. |
2,419 | archivos_extraidos/MCE-Corpus-main/Dataset/3402 | Rafa Ferrer | Sol Naciente | 1 | 5 | muchocine | In this case, was never more true that expression of "I liked more the book..." | I admit, without embarrassment that I love all the books by Michael Crichton, (well, less "Congo" that seems unbearable.), but I do not understand the reason for Crichton, seeing as always, or almost always (there this except for "Jurassic Park" and "Harassment") the rest of films River completely narrative resources of his works, and, as in the vast majority of cases, pass them through the film sieve are bland, poorly made and even worse addressed.In this case, "Rising sun" is not an exception, a tape that, read on paper is attractive, fun, fresh and well developed, and that its passage on screen, only fit to highlight the interpretations of Sean Connery, the frugal appearance of Tia Carrere as woman vase of the same, and Wesley Snipes, bland and linear to the more not being able, light years from the "animal of action" which was much later.The script, in which Crichton has enough "to say" stays in water of Borage and is so predictable and so poorly led since the first min. and despite having some spin script (which also has the novel), just disappointing the most painted, especially if you you read the work in which it is based.In this case, was never more true that expression of "I liked more the book." |
2,420 | archivos_extraidos/MCE-Corpus-main/Dataset/3845 | Jeremy Fox | Michael Clayton | 3 | 5 | muchocine | George Clooney and his co-stars are the best of a film that sails half way between the legal thriller and drama without reaching opt for either of the two options and what could have been a tad shorter. | Five minutes to start the projection of "Michael Clayton", we see the central character climbing a hill and sit staring at a few horses. In that scene, George Clooney shows us the great actor is and how, without histrionics, may show the internal collapse of a character. Until the final part of the film we will not know what is what has led to a man as he so painful situation but just by looking at their eyes is clear to us that he is a character in a position limit. As clear as the interpretative height of a Clooney we have that many, until recently, considered little more than a guaperas.He and his co-stars are in my opinion, the best of a film that sails half way between the legal thriller and drama without reaching opt for either of the two options. Indeed, both Tom Wilkinson and a wonderful Tilda Swinton are worthy of all the praise and his works are perfectly nominables to the oscars this year, as it also, course of Clooney.En the other side of the balance would be the correct work of the director, Tony Gilroy, that while deserves some credit for the good performancesIt must be said that hand in hand goes it with the pace that could have been more successful.So much footage was not necessary to tell this story, I lengthened 20 minutes more than necessary, possibly due to the current idea that the films "with a conscience" have to be long to feel important.The film boasts a well bound script (by the own Gilroy) and requiring to be attentive to small details, as some book that demonstrate a respect for the unusual Viewer.That and the performances, especially that of Clooney, are the highlights of a film that will not go down in history but that turns out to be a quite right entertainment.Final rating: 6 out of 10. |
2,421 | archivos_extraidos/MCE-Corpus-main/Dataset/1339 | Matías Cobo | Bobby | 3 | 5 | muchocine | The film pivots between the tribute to the ideological legacy of Bobby Kennedy and the nostalgic memories of a few years key in American history from the political and social point of view. | The large number of choral tapes that are populating the Billboard lately is curious. I do not think that the Crash phenomenon has been the trigger for the same, but I begin to suspect that many have chosen this formula attracted by the whiff of the Golden statuette. Bobby, the third film directed by Emilio Estévez, strong bet for a fragmented story following the footsteps of an indisimulada influence recognized by the own Estévez, that of the master of the historias-mosaico, Robert Altman.La tape pivots between the tribute to the ideological legacy of Senator Robert Francis 'Bobby' Kennedy and the nostalgic memories of a few years key in American history from the political and social point of view. At that stage were born groups for female liberation, in the fight against racism or the 'hippy' movement, among other counter-cultural manifestations. The environment was also the breeding ground which promoted sexual liberation and psychedelic experimentation with drugs of the 1960s and 1970s. But, as also portrays the film, in those years the population had a strong political awareness spurred by protests against the war of Viet Nam. People harbored Frank hopes on a change to overcome various fronts open in his country. And Bobby Kennedy, as if it were the last burning clove that grab after the assassinations of JFK and Martin Luther King, personified and encompassed the yearnings of change for a divided country.Thus the tape concentrates the story of various personal stories about the hours before the murder of the Senator from New York and democratic candidate for the presidential elections. Sequences of each of the stories are interspersed with each other and with footage of some of the speeches and public acts of Kennedy. All distilled spirit of hope that permeates the story, but only get some thrill. Therefore, the success of some are shadowed by other lax, and the set of the film perhaps is burdened by an excess of political discourse, while the bottom of the same is shareable to 100 percent.Estévez, with the complicit support of a Pleiad of stars and friends, has embarked on a very personal project what is perhaps his best film as a filmmaker but stays at several steps of excellence. |
2,422 | archivos_extraidos/MCE-Corpus-main/Dataset/42 | Verolindapechocha | Dicen por ahi | 3 | 5 | muchocine | Second part of the graduate with sufficient merit to be viewed | Yesterday I went to see say (2005), better known as the new Jennifer Aniston movie A good girl (2002) and the come back of Kevin Costner (dance with Wolves, 1990). The problem is that still I am debating me internally each other I liked or not. Hmmm. In short the film is nonsense, but has its moments in which you kill of laughter, especially due to the brilliant performances of Shirley MacLaine (in their shoes, 2005), who is more than regia and an ideal role for her. Lately Shirley MacLaine is hitting regia Royal granddaughters grandmother.If they don't know what it is, in short, the film is the story of a woman, yes woman Jennifer, since you're not a girl but you do 30 juvenile roles (please, accept your age with dignity, recalls that the public you followed a decade of Friends and we know add), well said, a woman confused and undecided on his life and relationship, who suddenly is indecisive and confused when he discovers that her grandmother and her mother could be the true protagonists that first inspired the novel, and then the classic film, the graduate, 1967, and that his father could not be his father.Kevin Costner is the possible father and the man who shakes up the three generations of women and as they say some friends: the guy puts. Really opaque to its rival in the story, Mark Ruffalo (how if it were true, 2005), the correct lawyer noviecito without more emotion, or chemical with Jennifer. Frankly, he looks so little thing, which is well understood the indecision of the protagonist. Up flat seen actor, which already is becoming favorite galan of the romantic comedies made in Hollywood, others, not this.Rescues the performance of Mena Suvari (American beauty, 1999), who acts as the surface, carefree and jumping (literally) sister of the protagonist, who on the other hand, is unfortunately trapped by his own face of "Rachel waiting for Ross on Friends", limiting his acting register.I think this "second part" of the graduate has sufficient merit to be comfortably viewed on video or DVD, more isn't as good as so it is worth paying the entrance of the cinema. Finally, if her come si la ven go with encouragement of seeing something good light. |
2,423 | archivos_extraidos/MCE-Corpus-main/Dataset/1125 | Yul B. | El truco final (The Prestige) | 3 | 5 | muchocine | In conclusion, a Council: enjoy this film with an open willingness to ignore his trick, because surely you sorprenderéis. | There is never a magician without trick. Do do do the deception caused by the magic in the mind and in the vision of the viewer need always a small? trap?, a? trick? to achieve the intended effect of fascination and enthusiasm.This trick, which is vital for a magician, it also needs a film to create the same effect. How many times we have spoken of foreseeable that has been a film and the disappointment that have led us to witness something already known. I.e. using a simile fitting for the occasion, was missing what we call? the magic of cinema?. This expected film of which I speak also has trick, not only in its title. As in any show of any magician, the success of the function relies on the ability of the artist to make inexplicable anything that actually has rational explanation; and willingness of the public to be fooled.The beauty with which I went to the cinema not realized the deception of the film until its final outcome. However, I've seen the trick 10 minutes to start the film, although confirmation that what I thought was happened last an hour. You you imaginaréis then where has been my fascination and enthusiasm for this magic number.(Sin_embargo,_apropiándo_me_de_las_palabras_deel_personaje_interpretado_por_Michael_Caine,_diré_que_todo_gran_truco_de_magia_consiste_en_tres_actos:_1) the presentation, the magician showing something that seems ordinary, but, of course,? It is not. (2) the performance, in which the magician makes the ordinary is transformed into something special; (and 3) prestige, the part with the unexpected twists, where you see something shocking that you had never seen before.Although for my prestige of the movie has become the first Act, the presentation and the action that makes Chris Nolan and company I have loved.The strong point is the rivalry of the two protagonists Magi, Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale), friends that respect each other until that fateful event makes them enemies encarnicados. From that moment begins a ruthless confrontation between the two for finishing each other with their careers, most obsessive by Angier, trying to do so discover the secret of the successful number of Borden of the people carrier.I was pleasantly surprised by the way in which Nolan tells the story. It is a little conventional, and in my opinion very sensible way of telling a plot requiring handed games to make it unpredictable: argument is clearly structured in the same three acts to which referred above, with a messy Assembly but with order (can apparently contradictory but when you see the movie understand it) and with continuous recurrence to the flashbacks. Something fresh and different from what is already known.Perhaps in the first minutes of the film, this approach can be confusing, but spent a little more than one quarter of an hour of footage one is perfectly situated on the thread of the story and understand the way in which it is mounted. This technique used by Nolan certainly creates an expectation to know what part of the plot will be below, which makes it more attractive.It has Visual and technically no buts. A good Victorian atmosphere, with a time in continuous changes London, situated perfectly the feelings of obsession, destruction and betrayal that frequent the film. It can be that the film also fails in the depth of the relationships of the characters with the actors, and some that another slip of script; But what really matters here is the terrifying? you to you? Jackman and Bale, collected with great skill (actors has enough blame for this), with which this detail becomes expendable.The film stars bring the magic. Jackman visibly transmits the unhealthy obsession of his character and is nice to see that unadorned werewolves is also an actor with stage presence. That Yes, until that deal again with his role as Wolverine will have the opportunity to further test their artistic skills. Sorry to not be more explicit because if I go in detail I leave a spoiler as a large House.Bale as much the same. Nor can I dwell much to speak of its interpretation, for reasons that will also understand when you see the film, but would only say that his career is reaching a very high peak due to its excellent qualities as an actor.Do as regards the? side? recognizable, Michael Caine, in his paper Cutter, ingeniero-representante Angier, acolyte is at its usual level. It always fills the screen, and never disappointed (at least to me).About Scarlett Johansson, you dashed those who go to the cinema only for her a disappointment because it has a character of little benefit as Mademoiselle. Olivia, an Assistant of Angier; a pair of demure exhibitions of pectoral merchandise and curves, and two or three scenes of some importance, settled with a good performance, is the only thing you will find.David Bowie as Nikola Tesla, passable. Andy Serkis as Alley of the lot.In conclusion, a Council: enjoy this film with an open willingness to ignore his trick, because surely you sorprenderéis. |
2,424 | archivos_extraidos/MCE-Corpus-main/Dataset/1261 | José A. Peig | La pasión de Cristo | 2 | 5 | muchocine | And here comes the Gibson, as all good engañabobos trap: If you don't have the imagination and the creative talent for squeezing the testament of a genuine form history, the best option (the easiest) to make the interesting and look good, is to resort to the morbid and the viewer emotional manipulation. | There are films that seem to good movies and actually are bad or not so good as they claim. I remember that when I first saw this film I thought it was a very bad film, absolutely shameful. Now, after a thorough review, I can say that it is not as bad as it seemed, and is a perfect example of how easy that might be deceive and manipulate the Viewer. There is no doubt that "The passion of the Christ" has several points in favor: a glorious and strong start-up scene, good photography, good sense of rhythm and some moments with dramatic inspiration, without excessive sentimental. That subjective camera placed in the altar and the eyes of the God pours his first tear by the death of his incarnate Son (excellent sample of lyricism) or chilling death of the traitor Judas, at whose feet we see the decaying corpse of a donkey, preceded by a series of disturbing visions that give the film an air of dreamlike nightmare is memorable. Some critics appeal to this kind of efectistas tricks to drop the donkey that Mel Gibson offers "a personal view" of the Testament text. Vade retro, Satanás start out there. The film we are dealing with is - and is intended to be - a visual representation of the exact and fundamental content written in the New Testament concerning the last hours of the life of one of the most important myths of the history of religions: Jesus Christ. Therefore the material of which part is well known to all and the central character has a role and a characteristic that they have been taken over by each individual cavern in Western culture, whether believer or atheist. Against this background and bearing in mind that the film is not only visual representation but forms of content and the point of view of the camera, I do note that this movie is absolutely flat, empty, little brave.Because look at what makes Gibson: never represents the tragedy of Christ offering his personal point of view, simply places the camera in such a way that teaches us the box typical of Jesus dropping his preaching, or group of priests of the Sanhedrin showing bad milk and the bad baba have, or supermalos which are the Romans or the final of Pilate well-meaning gesture and we have already seen throughout the story of the film on several occasions. Therefore, the visual language of film of Gibson is absolutely conventional and not exploited or even a fraction of the huge number of suggestions that can inspire a character like Jesus, from different points of view: as archetype of spirituality or heroism, as a model of rebellion, etc. There is not a single plane or framing that tells us nothing special and to show that behind the camera there is a filmmaker creative, courageous and even great, they say some unwary. In cinema, personal recreation of the represented history is done using the point of view of the camera, among other things. Mel Gibson not goes beyond a mere illustrator of the sacred text. So, where is the merit?.And here comes the Gibson, as all good engañabobos trap: If you don't have the imagination and the creative talent for squeezing the testament of a genuine form history, the best option (the easiest) to make the interesting and look good, is to resort to the morbid and the viewer emotional manipulation: do a montage parallel to teaching the fronted a guy talking about love and universal brotherhood to see how that same character is a victim of an atrocious violence, displayed openly, suffering a torn living flesh and scandalous jets of blood splashing to the camera. To decorate the thing a little more, again is resorted to the subjective camera while the poor Jesus loses balance and forces to not hold the cruz.para that the spectator feel the pain of Christ and put in their flesh. Let us be frank; What did Gibson is a "heavy" of the martyrdom of Christ, a morbid spectacle, recreated with much sense of the theatrical, but here the intellectual or artistic values are conspicuous by their absence. "And, in a way, is a regrettable emotional manipulation of the Viewer, using a religious figures that more spiritual meanings and irrational passions generated in our society.""The passion of the Christ" is a dramatic film, nothing more. Artistically speaking it is a vague and vacuous, Gibson has gone to how easy. This is a pitifully pretentious film, fruit of a mind squared as Mel Gibson, filmmaker against which I do not have anything, but everyone knows the chabacanería and the vulgarity of his different statements or public events. Here it is intended to provide a work of art with religious and humanist, but honestly, it is not equipped with for these areas. Put a tísico Satan, black hooded and holding a baby with a man's face which monitors the agony of Christ is not to offer a personal view (worth say that this final Satanic grito-aullido after the agony and death of Jesus on the cross is more tacky that I've seen in movies, ridiculous until you find arcades), but resorting to disruptive elements copied by other authors (or the rich Catholic eschatology) that made them yours, as for example Ingmar Bergman. It is the difference between the genuine and legitimate ownership of elements and tricks others have used and the impersonal and awkward hodgepodge when Gibson falls. The use by some oniric elements Gibson is not genuine, but reeks of pretentiousness, something very hard to prove objectively, but at least this is for who writes this. Do not put in doubt or deny the ability of Gibson to stimulate the sensitivity of some viewers, but hey, no point of comparison with Bergman or David Lynch.En sum, and taking into account the various sensitivities and subjectivity, I would say that it is not a bad film, is an interesting - striking bursts - representation of the passion and death of Christ, ideal to put in class of religion or for Catholics wanting to affirm their faith by accompanying it with good dose of morbid. But this isn't a good film, because it seeks to much more than it is. |
2,425 | archivos_extraidos/MCE-Corpus-main/Dataset/3087 | J-rules | La extraña que hay en tí | 2 | 5 | muchocine | Efectivista, determined to stockings, and empty in content. This is how globally can be summarized this movie, as if it were not for some excellent performances of Foster and Howard, would water everywhere. | Efectivista, resolta to mitges i buida in content. Així és com is could summarize globalment aquesta pel·lícula than sinó fos per unes excel·lents actions per Foster part i Howard, faria aigües per totes bandes.The basis of l'argument és prou bona: "a parella goes caminant per la nit reben a pallissa, i dona la dur to terme a personal reproduction per try to overcome the xicot seu pèrdua". Fins here tot és correcte, però in the moment que ens comencem to creators en aquest procés, Jordan erra estrepitosament.M' explain: Ens mostra a canvi quasi instantani, on Foster supleix el seu trauma i la seva by envers the societat, amb a fredor i an alhora habilitat kill, brutals. Tot això, ens ho entrellaça amb a history secundària, qual l'protagonitza Howard i el seu equip police, that adds beef to the story, i is so sharply to trenca dur to terme tot mèrit interpretatiu Foster. (To view, if que és per a important history perquè d 'somehow or an altre s' have conèixer Foster i Howard, igualment Jordan, subtil less però és tot.)The film la meitat accused baixades important of the ritme, però els fixes bé, amb uns quants morts prou per Foster, uns intercanvis excel·lents i part between Foster i Howard. I selected, i després d' wait time i mitja durant, Foster start breu, ràpida i venjança tot producte s' just way tancant justeta, amb an end a mica precipitat, more or less critical meva com, i on no hi missing les quatre reflexions barates.I després d'això, direu, i perquè haig d'anar to view aquesta pel·lícula do?. Then, perquè no tot és dolent. S' have remark les grans actions dels two protagonistes i chemistry that is created to the seu voltant, quedeu - vos sobretot, amb l' scene of coffee; the simplicitat of the led, which currently is d'agrair veient so girs buits i innecessaris, a justeta i direcció a Foster despanpante. |
2,426 | archivos_extraidos/MCE-Corpus-main/Dataset/3244 | Tito Chinchan | Guardianes del día | 2 | 5 | muchocine | Second part of the trilogy about guys who want to maintain the level of forces between good and evil. There is no action and has a script too convoluted for what is expected of these films. That need further explanation. | Here a reference should be guardians of the night, which is the first part of which we have between hands, but paraphrasing a buddy mine, very memorable should not, by that I do not remember anything from it. From what I've heard is that it this Russian production (this is clear by the posters are in Cyrillic) is a trilogy and they want to equip Matrix. I think that most well the director is believed that he is doing a remake of the Neo and the mother that bore it, but not, or much less.The film is a guy named Anton (Anton, pirulero, everyone, everyone, learn your game, and which do not learn, will pay a garment, Anton) I think that it is a guardian of the day and have to patrol with a partner which is a kind of chosen. In these fighting against a guardian of the night which is being the son of Anton (pirulero) with what is lia there a roll on parents and children. All this sprinkled by the pursuit of the chalk of fate, that I think that go cutrez find a chalk, but good.Certainly, for a change, I have to say that I have not heard of the story. On the one hand, the aesthetic is very successful, with soundtrack type music video, but do not you get to find out what noses are talking about. I.e. they suddenly change to a sort of parallel world, but you don't understand or how they arrived, nor exactly what paint there nor that meaning has. The subject of the action has seemed very mediocre three fights at all, some even cutronas and nothing more. I was expecting I something full of unnecessary struggles for showcasing special effects, which always like, but nothing. What is more, nor the car building scene ends be spectacular.In short, second part of the trilogy about guys who want to maintain the level of forces between good and evil. There is no action and has a script too convoluted for what is expected of these films. That need further explanation.Besitos.P.D: The lesbian scene is so rare that neither excites staff.Pd2: The ball if cool, look at your where. |
2,427 | archivos_extraidos/MCE-Corpus-main/Dataset/736 | Ana | Scoop | 3 | 5 | muchocine | Match Point last year was a Summit of his mastery to make movies with a resonant philosophical message. Scoop in sorties, is an entertaining comedy that transcends not. | Woody Allen is very productive, 37 films in his long career. Most as director, writer and actor. Its hiper-creatividad reveals his genius and his discipline, but the results are uneven. Match Point last year was a Summit of his mastery to make movies with a resonant philosophical message. Scoop in sorties, is an entertaining comedy that transcends not. Although the fun should not have to apologize for anything. Offering more than other films here, says more and makes laugh.An American journalism student on vacation in London, appears to him a journalist from the world of the dead while in a "desmoleculizadora" box to disappear as part of a magic show. Volunteer for the public just involving the magician in his research and falling in love with the object.Born Hebrew but he converted to narcissism. Allen's best recent films are those in which missing him as an actor and best even if you don't have a young actor imitating his character. This was Match Point and agreements and disagreements. But both things happen here.The problem is that his character alter-ego is already too old to be seductive. It is a relief that Scoop does not try to be him and accompanies Scarlet Johansson pretending to be his father and out of proportion. But in this version the character is very ironic his public personality: a disillusioned wizard who is sold as "Splendini" and repeats his bad jokes without much conviction. Attacks if same without compassion on a character that narrow-mindedness and adaptability have just destroy. Without mercy this character works, in addition to being funny and even seems less old than the last time. An immense value is needed to poke fun of oneself and of the perception held by the others of you, but there is where the good comedy. What makes laugh while he destripa.But not by him appeared in the movie leaves out the young actor in role impersonator. This time it is up to Johansson. Everything else did Jason Briggs. In Melinda and Melinda, Will Ferrel. Both end up look like cartoons which blurs their characters. The interpretation of Scarlet Johansson is worse, because it ends up splintering is and to des-moleculizandose, perhaps. I.e. disappears, has no substance and if it were not so pretty maybe would be better if it disappeared really.Still have tricks up the sleeve. The magic is the art that complicated tricks seem simple. Hide what makes them work, the idea is that look easy. The affection which has Allen magic is seen in many of his films, for example, shadows and fog. Here also note that he started his career writing jokes and gags, because they are not missing at any time.Also his interest in the narrative of mystery. In fact Annie Hall originally was going to have a mystery plot, but I stayed in romantic comedy and one of his best films. That ruled out plot is what I supposedly use later in Manhattan murder mystery. At least that tells the legend. What is clear is that the roads of creativity are tortuous. The comedy, as the magic, also usually hides a look on world and society, you can say many things without fear that anyone take too seriously.Another wonderful thing in this movie is the use of classical, call somehow fantasy the echo that appears the Dante boat that leads to the world of the dead. What also Allen knew before use in powerful Aphrodite with a Greek chorus with answering machine.In the end, is film is highly recommended, if you like to laugh and mysterious romantic comedies. If appreciate cinema and humor of Woody Allen, say a no-brainer. The picture of this film is wonderful and Hugh Jackman is great; others say. |
2,428 | archivos_extraidos/MCE-Corpus-main/Dataset/3308 | Silvia Giner | El Orfanato | 2 | 5 | muchocine | In short, predictable film which expected much more perhaps by the expectations so high that they were created on it. Belén Rueda is the only thing that I liked the film. | Really I do not think that this is a film for submission to the Oscars, there were other options such as "Las 13 Rosas" that had done better paper, or at least I think. The orphanage flag after the noble name of "William de el Toro" and of course this fact in itself already sold. What we are faced with viewing however is a film that mixes various passages of horror movies already consummated in the success with addition too many similarities to "Others" of Alejandro Amenábar. at the level of production and implementation are dealing with a round film note here the hand of "del Toro" aesthetically thank God runs away from conventionalism and cutrerío widespread in Spanish filmsincreasingly we are beating faster.Unfortunately the argument has many inconsistencies, ** SPOILER ** as for example the fact that Simon is able to enter in the famous House of Thomas, dodging the iron pipes (that same mother then it costs work move) and crosses above the door empapelada without that there is not even the minimum tear the paper, then it is his own mother that rips the paper from the wall to lay bare the door secret. AH! and of course Simon does not have the knob of the door I mean that the thing is even more complicated. We are facing a child that passes through walls and doors? or do we have to assume that as a ghostly theme everything is possible? ** SPOILER ** in short, predictable film which expected much more perhaps by the expectations so high that they were created on it. Belén Rueda is the only thing that I liked the film. |
2,429 | archivos_extraidos/MCE-Corpus-main/Dataset/597 | Illaq | Los Borgia | 3 | 5 | muchocine | Entertaining, but excessively long. It is worth to see it, even if only by the aforementioned ambiance and the music that accompanies the action. | I've seen a generally entertaining film, although, at times, becomes too long: get me the feeling you spare meters. However, it maintains the storyline; the setting is very careful; the picture is decent; the music is very well embedded in the film, but... The first thing that occurs to me is that the title is wrong. I think it would have been much better, by short and striking to be called: "Borgia", because, in reality, the protagonist is not the "family" Borgia or "the" Borgia, but "a" Borgia: Caesar (Sergio Peris-Mencheta). Alexander VI or Rodrigo Borgia (Lluís Homar) is "the cause" of Caesar and the role; brothers, John (Sergio Muñiz) and Jofré (Eloy Azorín) Borgia are comparsas of the protagonist; sister Borgia, Lucrezia (Maria Valverde), is accompanying. In any case, the film begins with Cesare Borgia in his moment of misfortune with a Corella (Antonio Dechent), the hitherto arm executor of his will in the shade and having seen the Machiavellian image of a Julius II, the previous Cardinal della Rovere (Eusebio Poncela), newly-elected Pope. Then the action back to the arrival of the three brothers Borgia to Rome to attend the election and Coronation of his father, Cardinal Borgia as Pope Alexander VI. From there, he attended the vicissitudes through which passes Caesar, created Cardinal, exempted the purple, named general in Chief of the Papal armies until the death of his father, surpassing the chronological time of his apprehension and ending with his own death. At the formal level, the setting of the film is formidable. Partly filmed exterior in Rome, the greatness of the eternal city is very well accompanied by the plans of interiors. The picture is good and the direction of Antonio Hernández, in my opinion, impeccable, taking into account the script that works, signed by himself and by Piero Bodrato, and the alleged existence of a miniseries for Antena 3. There are memorable moments, such as the overhead map of the funeral and election of Julius II, the the dinner scene with the Orsini, or even the death of Caesar (even if it is, in my opinion, a little artificial). But, it is assumed that a film whose title alludes to a Valencian and important family in the context of the Papal States at the end of the 15th century, with Castile committed to your overseas company, Aragon with his foot in Naples and his enmity with France, which will be supported by the Borgia, will have a large percentage of story of characters, and here is where the movie starts to disappoint me. In general, the story is very superficial, superficial without showing none of the complexity of the characters, starting with the same Cesare Borgia. The image I forwarded by Sergio Peris-Mencheta is a bully of aupado district to a very important post, with a strategic projection and a tactical action critical to the Papal States. And it is difficult that a character so had been able to "inspire" Nicholas Machiavelli to write Il Principe. Not accompanied, in my opinion, the performance of the actor, which strikes me as more corresponds to the role that I say that a strategist who uses force as a means for achieving other ends. The character of Alexander VI (Lluís Homar), on the other hand, is reduced to the minimum term: their love, their parties, their intense feelings toward their children, his mafia sense of family. However, Alexander VI (not in vain spent most of his life in Rome) was a cultivated man, patron of the arts and great politician who knew how to play his cards of ruling, both inwards and outwards (the kingdoms of Castile, Aragon, Portugal, France and Naples, the Republic of Venice and a long etcetera), although some of this is Yes grasping, although with almost picturesque strokes: the Orsini, the Sfroza. In any case, yes seems to me remarkable performance of Lluís Homar, with moments frankly good, as in the scene in which communicate you the death of his son John. Lucrezia Borgia (Maria Valverde), so named in popular legend, appears completely blurred. At least, yes her occurs as a kind of toy of the family, "dad daughter" that dad requires certain efforts in exchange for their status, regardless of their feelings for the alleged benefit of the collective. María Valverde performance seems to me merely discreet. Worth noting the work of certain side and the first is Corella, the executive arm of Cesare Borgia, masterfully played by Antonio Dechent, actor whose dramatic vein I know for about 30 years and it is good shows what there is Curran the matter to be actor in this country. Also, a Eusebio Poncela, who embodies very appropriately, in my opinion, to the cardinal della Rovere and future Julius II. It must not forget to Burkard, the efficient Secretary to Alexander VI, well played by Roberto Alvarez. As for the rest of the cast, Paz Vega, as Caterina Sforza, plays a short with a discrete, predictable interpretation perhaps. It is not, certainly his best role, although Yes it transmits the indignation of the illustrious dam before the omnipotent Caesar. Ángela Molina plays Vanozza, the mother of the Borgias brothers. His performance on also short paper found me also unobtrusive, although it fits well in situations where appears and transmits the delicate situation of the displaced in fact by her man and his sons mother. The rest of the actors, perhaps deserve highlighting Linda Batista as Sancha of Aragon. Eloy Azorín as Jofré Borgia and Sergio Muñiz, as Juan Borgia, have given me the feeling of being filled. Diego Martín, as Perotto, simply not liked. I don't know if under the influence of his role in the television series here no hay quien viva or by circumstances of its interpretation, not transmitted me at all the dramatic nature of its presence. Moreover, the real story is schematised to such an extent that it gives the feeling of Rodrigo Borgia has fallen in Rome as a "UFO" when they elect him Pope, ignoring the fact his long stay in the Vatican intricacies and its precedent Callixtus III, which would have their part in the Roman network of friendships and enmities of the great families. In summary, Los Borgia seems to me an entertaining film, although excessively long. It is worth to see it, even if only by the aforementioned ambiance and the music that accompanies the action, although perhaps missed an opportunity to make a film that is more focused on the character that serves as a common thread or, Alternatively, certainly spectacular political and military circumstances of the era of Alexander VI. |
2,430 | archivos_extraidos/MCE-Corpus-main/Dataset/1063 | Ana | Brick | 5 | 5 | muchocine | From the first table is an intense experience. Very inspired by film noir and detective stories. But also in David Lynch and Sergio Leone. | It should pay attention to the details inspired from this movie. From the first table is an intense experience. Very inspired by film noir and detective stories. But also in David Lynch and Sergio Leone. Rian Johnson also built a peculiar universe by placing the drama high school {in the Institute do?}. All stains of teenage angst.Uses the rhythms and forms of Hammett but recaptured fresh and new. For example the language, there are phrases taken directly from the Maltese Falcon as the signal must give the girl in the parking lot "Long." Short. Long. "Short". But there are others like this "you say to Jed so he was eaten, not to feed yourself". They are not only clever phrases, they show who is Brendan, the protagonist, that his ex-girlfriend describes him as, "he sits there back and hates everyone". Brendan infiltrates between the mafia to move drugs to find out what happened to his girl. The interpretation of Joseph Gordon-Levitt is great, and never falls in caricature, or parody. It is a complex, weak, and brave but not necessarily noble character. Survives its good beatings. Lukas Haas is the typical bad layer and cane, but rather than negotiate with bourbon in a classroom, does it in the kitchen of his mother with cereal and Apple juice.Rian Johnson wrote a short novel that has now made public on the internet first, and it took him 6 years making the film. Her funded his friends and his family. This is definitely film copyright, but copyright movie buff. You should see on the big screen and putting attention not to miss any detail. Moreover, I am sure that it should be more than once. |
2,431 | archivos_extraidos/MCE-Corpus-main/Dataset/3969 | Jokin García | La Búsqueda: El Diario Secreto | 2 | 5 | muchocine | The search for a decent film becomes the topetazo with an insult to human intelligence than being very generous we can say that at some moments it becomes entertaining, and thanks. | Benjamin Gates is a big search engine of treasures, Member of a prestigious American family, but one day appears a Lord brings evidence that incriminate her grandfather in the murder of Lincoln.Para to prove the innocence of his ancestor, Gates surrounds of their buddies and is dedicated to wander the world in search of the legendary city of gold of the Olmecall very normal, while the bad, which is none other than the type which has sullied the name of his grandfather, and also wants the treasure, is dedicated to continue them, in the purest style villain for Willy good Fogg.Y with this argument they slip us an adventure film, but I wonder I. is it necessary to make an adventure film for all audiences, which involves an insult to human intelligence?Because, let's see. One thing is that the character of Cage is the hero, and who knows everything and everything to do well, that is able to sneak into Buckingham Palace, the White House, in a private of the President of the U.S. party. but there are things I am sorry but they grind no, me too.Thing of "I jump a semaphore that remove me a photo of this centuries old, shooting the Tablet Tablet and if that already hacking the files of the police to get the photo and translate the Tablet there" is one of the things that killed me. One thing is that realism makes their concessions for the sake of the dynamism, but what this film is excessive, since there are situations that have no feet or head.The own journal to which the title refers, is the mythological book of the Presidents of the United States, where it is assumed that a lot of secret information, comes so to read, nothing like sneak into the birthday of the President, abduct him, make colleague has of him and get the information, and no matter that they launch the FBI looking for you, a pivot is all the security measure that you will find.The argument also has some to another rather absurd thing (without having to go into the dozens of cutreclichés that uses) being the fattest which serves as a storyline. To rebut the evidence to incriminate his ancestor you don't have anything else to do than to find a treasure and prove his innocence. To who?To me the only thing that shows me is certainly there was a treasure, not that his grandfather was innocent.Then there is the issue of kicks to history, inevitable in this kind of films, being garrafal that the city of the Olmecs is located on Mount Rushmore, which is like planting a Sumerian city on the outskirts of Oslo.¿Y what about that great cultural Pearl, when someone says happy "that is pre-Columbian, must have at least 500 years"?That someone please explain pre-Columbian not means "prior to Colombo".Anyway, this movie is a blunder and leaves open many enigmas, the most important of the "do for what I paid for this?" |
2,432 | archivos_extraidos/MCE-Corpus-main/Dataset/2606 | Emilio Calvo de Mora | Blowup, deseo de una mañana de verano | 5 | 5 | muchocine | Atypical psychological thriller: a masterpiece converted a tape of cult or vice versa. Metalinguistic outburst, a tumble of ideas without excessive rational seat and a surreal parade of tronados characters. | Julio Cortázar handles a Remington or a Contax. The typewriter and the photo machine. Blowup, desire for one summer morning is the film a tale that cannot, in any way, reporting no history and simply runs, impassive, by the always fallible byways of language and Orthodox mechanisms on how to tell a story. The conclusion is that the story can not be counted because the reality is not unproblematically or Cortázar admits that their settlement in the world is accidental and subject to vague random contest. What is questioned is the fidelity of the narrated, the veracity of the literature, which is both address the substance of the time or the appropriateness of the language. In all this mess entirely philosophical or semiotic or cryptic nature, Antonioni makes a thriller and a lasting document on the London of the 1960s which, today, is left to handle without loss of contemporaneity, become a model set of images rather than a film. Antonioni filmed a delusional City: a touching, intriguing, strange London. All the characters who traverse seem unrealistic or are on the verge of entering any unreality more in line with the dreams to life. And it turns out the only thing truly real is a picture or series of pictures that have registered a murder. Cortázar/Antonioni aims to delve into reality for lowering of verismo. The film is a continuous manipulation. The colors of the buildings are subject to the fickle moods of Thomas, the carefree, frivolous and cynical fashion photographer who, in his spare time, free camera on his shoulder, it subtracts the reality its fringes, their threads, translatable in photographs. What is a picture at the end and all, but a robbery to the reality? The invisible crime is a perfect mcguffin: an excuse to argue for an hour and half a reflection on the automation of the senses and how confident this to the point of not to put what offer us filters more demanding that can reveal the true as seen or in the figurative sense. The camera, the Contax of Cortázar, becomes deified object that is capable of reliably inventory the chaotic world offered to our eyes and that we accept without questioning its essence, its Vertigo.Blowup has justifiably been converted to tape of worship for some sector of film and criticism perhaps also justifiably converted tape misunderstood for a certain sector of the audience that sees therein a metalinguistic outburst, a tumble of ideas without excessive rational seat and a parade surreal characters tronados, at that time, in the cerniente cultural boomfound in the rock, sex and rock an incentive to find happiness. I have no doubt that they did so.The own Cortázar saw in Amsterdam and recognized have enjoyed the translation into images of his story (Las babas del diablo). He noted that the film is a machine Stakhanovite make money: he received a few thousand dollars by consent to the use of his account and Ponti, producer, grossed several million. As always added detail is curious to see some young Yardbirds (Eric Clapton made a muchachote) liven up statuary assistance that not pestañea to sound tear which are still objects. Jeff Beck breaks a guitar in the style of Who and Jane Birkin appears first in a film. |
2,433 | archivos_extraidos/MCE-Corpus-main/Dataset/2672 | JLO | Juana la loca | 3 | 5 | muchocine | The anecdote is depleted quickly, telling the comings and goings of the couple continued infidelities of the Prince and the ninfómano of her character, making excessive the 117-minute. | Spanish film of time based on the life of the infanta Juana, daughter of the Catholic monarchs and owner of a controversial history not favored by the official story, but the director's compassionate eye makes immediately feeling sympathy for her.It all starts in Laredo, year 1496 and her journey to Flanders for arranged marriage with who would be known later as Philip the handsome. So far strictly historical because the film does not focus on the political side of the story (which is rather complex) but on loving and tumultuous relationship between the two protagonists. And here is failure of the film because the story dries quickly, telling us the comings and goings of the couple continued infidelities of the Prince and the ninfómano of her character, making excessive the 117-minute saved only by actions couples of all the cast, although most of them with figurative characters, rescuing the role of right-hand of Philipstarring Giuliano Gemma.Nos shows a Joan with an anachronistic character women from their surroundings, with an excessive rebellion, a good mother despite being Queen and their occupations (died his mother and older brothers taking charge of the Kingdom of Castile), with a few sickly jealousy towards her husband highlighted Moreover, justified that Yes, that make it touching the mental illness easily gaining the nickname of crazy by all the people.The love triangle (one of many) complements it "preferred" King Philip, an exotic dancer with taste by black magic, that triggers the end of him as the film itself. Interpretative force of Pilar López de Ayala (Juana) would already make from alone one worthy of the film bears see.Mature, somewhat misogynist, guided with ex officio by Vicente Aranda (lovers, El Lute) with more than 20 films under his belt, but that it is too slow, mammoth, sinning of pretentious in some respects. That Yes, a reconstruction of remarkable time to confirm the reason for the nomination by Spain Oscar with this film, knowing the weakness of hollywood towards this type of genre. |
2,434 | archivos_extraidos/MCE-Corpus-main/Dataset/2722 | JLO | La Jungla 4.0 | 3 | 5 | muchocine | Gross also because it seems just an excuse to stick a scene explosive after another, although it is less claustrophobic than the original (second to none) and less idiot that (the worst) II and the pretentious III part. | John McClane is now an icon of the 1980s action movie character? s so much as his contemporary fellow as Rocky or Terminator (ubiquenlos in the order of preference they want).In a voracious moment of sequels (do Terminator came to 3, Rocky - ended?-6), the idea of this Die Hard 4.0 is not surprising at all.The film is agile, gross, improbable and honest. The latter by a simple script, which confuses not what all come to look for: scenes from explosions, harassment and the always effective work of the hero.Director Len Wiseman (Underworld) flushes the action scenes but that Yes: a more hilarious than other and they do stay to the intakes of John Woo and Cruise in mission impossible II, as moves by mummies with rockets of end of the year.All with clear movements, not as the custom last show everything in accelerated montage where not understood nothing of the action or of the fights.Gross also because it seems just an excuse to stick a scene explosive after another, although it is less claustrophobic than the original (second to none) and less idiot that (the worst) II and the pretentious III part. But the realism that we long in the first becomes shattered here after 15 minutes.The young actor we expose in Jeepers Creepers Justin Long, takes an approved as coequiper and hacker disgrace and Bruce Willis. It is Bruce Willis.Con their wrinkles and his dirty pelada, their faces and funny on-liners, since in the Pantheon of the chosen hard along Rocky and Terminator (again in the order they prefer). |
2,435 | archivos_extraidos/MCE-Corpus-main/Dataset/1744 | Bloody Will | The messengers | 2 | 5 | muchocine | Anyway, if you want to spend fear look at your accounts when you finish the Easter. I am sure that in these coming months will finally debut this film say? not sleep tonight?, but isn't this, I I assure you. | This film had already seen. Do I had seen about the child who sees ghosts in?The sixth sense?. Do I had seen about the possessed House in?Horror in Amityville?. Does he had seen the Gray Ghost in?The cry?. More grey hands, also in?The cry?. Do massacre family again in?Horror in Amityville?. Ultimately, all seen est´´a.Little, therefore, I can say a film that should not go for a viewing fast on DVD and in house, and actually promised more than what it has finally given. Its directors, Danny and Oxide Pang, who came supported by the saga of?The Eye? they have been deflated in the Mecca of dreams and offer us easy scares, predictable screenplay, ridiculous tension and an end of most overused. After so many remakes and remakes Eastern increasingly feels more, or enter pure gore, or that climate of yesteryear where you had to grab the seat compi of next is history.Maybe that industry has grown accustomed to launch u-b movies that have good commercial revenues, but everything comes to an end, and?The Messengers? This is a good example that the end is coming. We need good stories, not a catalogue of cliche situations.A family who moves to the field after glitches in the city, buys a House with adjacent terrenito in which cultivated sunflowers. From there disturbing visions for the smallest of the family, and a genuine harassment and ghostly demolition teen shift will take place. Do while parents remain incredulous until all jumps into the air and it is discovered the? inheritance? that came included with the House. Does this has been the best way to explain the plot without bursting the meagre surprises? It has the film, and believe me that it has been difficult to be so neutral.Does watching?The Messengers? It gives the feeling that?The Eye? made it an uncle who gave his honours to the Pang brothers. Pang pang their heads by committing one of the most disappointing jumps of an Asian filmmaker in Hollywood, which is doubly crime as two of the directors. Do succeeded actors borden worst performances, with a Penelope Ann Miller years light of?Carlito´s Way?. Dylan McDermott has not be lavished both in the film, but is not a newbie. Doesn't me do or feeling of anxiety or feeling anything, although it is really the girl in the movie, Kristen Stewart (?)(Do the room of panic?) which has on his shoulders the weight of make you shout, which you do only so that her they liquidate once and end up all. I will let John Corbett aside, that men owe him a respect for?Doctor in Alaska?.Anyway, if you want to spend fear look at your accounts when you finish the Easter. I am sure that in these coming months will finally debut this film say? not sleep tonight?, but isn't this, I I assure you. |
2,436 | archivos_extraidos/MCE-Corpus-main/Dataset/1858 | Iñaki Bilbao | El hombre del planeta X (The Man from planet X) | 1 | 5 | muchocine | Seedy science fiction film. In short, it is short (70´) and is long. | "A scientist sends to find a young journalist to make ECHO into the world of an event like no other: an unknown planet is approaching the Earth, with the consequent risk of upheaval." One day, discovered that a ship has fallen close to where they live, discover with amazement that a stranger be is inside. "They don't know if it is friend or foe, so it will try to establish communication with him."The criticism has always said the tape is a good work of series B. In my opinion is pure Z series, with two dollars, and noticing in excess. For starters, its history is nothing another Thursday, although perhaps in his time was. Then we can talk about the endearing (by shoddy) decorated. They sing is an outrage. And the rest, little thing. In short, it is short (70´) and is long. |
2,437 | archivos_extraidos/MCE-Corpus-main/Dataset/3654 | Javier Saz | Persépolis | 3 | 5 | muchocine | Formally the film is a marvel of a delightful animation, stands out for its creative visual transitions between scenes, its internal pace and inventiveness in abundance. | Persepolis (Marjane Satrapi and Vincent Paronnaud, 2007) is a friendly denunciation of the injustices that the Iranian regime infringed (and violates) its population for decades. I write friendly complaint because the complaint is articulated around the vital evolution of the protagonist, a young girl that buy cassettes of Iron Maiden on the black market, and by the grateful touches of humor with which softens the tremendous social reality of Iran. maybe the topical life history of the protagonist (first love, first disappointment, music, sex, drugs) lighten up the Iranian plight (Amen to forget this in his Austrian chapter) but I miss more than black humor and not so nice topic. Personally also scale me the little (if not non-existent) involvement active of the protagonist against oppression, he splatters but not wet. Seems to me more a pequeñoburguesa vision of a reality than an actively denunciatorio pamphlet, although this opinion do me not detract from the merits of the film and its virtues.Formally the film is a marvel of a delightful animation, stands out for its creative visual transitions between scenes, its internal pace and inventiveness in abundance, as well as those episodes which take up Asian classical art forms to tell us didactically past events. I do not know the original comics of Marjane Satrapi but the film adaptation is recommended and enjoyable. Ideal for school passes. |
2,438 | archivos_extraidos/MCE-Corpus-main/Dataset/2961 | Rafa Delgado | María Antonieta | 4 | 5 | muchocine | Stress, of course, in pink fosforito, chord for the occasion, that 'Marie Antoinette' is not a film for all palates. Cannes attests. | Sofia Coppola closed his "pop" trilogy on women, preceded by 'the Virgin suicides' with 'Marie Antoinette' and ' Lost in translation'.In 'Marie Antoinette', the daughter of Francis Ford Coppola demonstrates, once again, his talent behind the camera, providing his unique vision on life at Versailles was the last Queen of France, Maria Antonieta Josefa Juana of Austria, who was beheaded during the French Revolution and that triggered a war between France and your country of originAustria.Pero that is not what we are discussing. Coppola gives us a first hour of footage with a mise en scene exquisite and hypnotic art direction. Shows us every day in Versailles, almost like travelling in time and put a film same camera, but with the particular vision of the Coppola Miss, that breaks with all topics of time film and shows, to cite something, a young Marie Antoinette despilfarrando money with dozens of sweets, wigs and dressesto the beat of "I want candy" that, like the rest of contemporary music that appears in the film (which is not to be much) goes like ring to the finger at what is happening on screen.Fortunately for my mental health, and from my point of view, 'Marie Antoinette' does not fall into extreme gafapastismos as he was afraid that it was going to happen. However, Sofia Coppola makes a mistake that is the major drawback of this film: it is stretching the gum nauseam and from a given point (Ballo in Maschera), the pace so characteristic that he carried the film (paused but addictive) drops to the small final act.About Kirsten Dunst, two things: that would have liked the real Marie Antoinette as she (basically because, judging from some portraits, was more ugly than the shit), and which is a lost case.Bass guitar yet and thus my point of view, good measure of the "coppolita", although less to ' Lost in Translation'. Also stress, of course, in pink fosforito, chord for the occasion, that 'Marie Antoinette' is not a film for all palates.Cannes attests. |
2,439 | archivos_extraidos/MCE-Corpus-main/Dataset/1368 | Yojimbo | Mar adentro | 1 | 5 | muchocine | They decided to leave the film as a pamphleteering plea to suicide. I do not know you, but regardless of my opinion on euthanasia there is nothing that most fuck me me manipulated emotionally with a cheater script. | What mainly remains in the minds of viewers is what counts the film: history. And to be more specific, the story and its focus.Alejandro Amenábar is a great director with a lot of talent, and I must admit that from the time that it was announced that it was set to direct this story surprised me pleasantly this turn of theme. Until the moment the more I liked him was Abre los ojos, of course with a much more original than thesis approach or Los Otros.Pero Mar Adentro is his wife film. And it was a success?One, they chose a story and a real character in a controversial situation for Spanish society, which would ensure the homeland public interest.Two, the good do Amenábar and the fact of joining with the impressive Bardem is a tandem may be sold as well as Spielberg-Cruise. At least within our borders.Not only got unanimous approval of critics and the public, but it was also taken as reference moral to unleash the euthanasia controversy again and picked up many awards by your great Bill (including the Oscar).Do but still think this movie as a bad film perfectly hecha.¿Por what?Precisely because the two previous points.First: he chose the story of Ramon Sampedro as a martyr for a cause such as euthanasia ("set of methods that produce a death without suffering, to shorten the torment of agony or very painful and irreversible disease.") (Great encyclopedia Larousse). This "character" was erected as a leader of this cause, but he really wanted to commit suicide.I.e., I wanted an "assisted suicide". It is not a play on words. It was just that. And it is clear that he, like Maggie in Million Dollar Baby, might have been suicide at any time. In a rude manner, but could have if its intention had been real.In this film of Eastwood already leaves Amenábar in evidence (of attitudes).And if we already start to deceive with the theme, we are wrong.Secondly, precisely because of the good do Amenábar and Bardem get a manipulative play emotional and conceptually. I cried and I laughed as I saw. I left lead by heart, but turn the lights I felt anger. And much. For if you fall in the logic of the film, you realize that sells the suicide as the only alternative to the quadriplegics. And it is precisely the opposite. 99% Of the people who are in the same situation that the protagonist wants to live, that is why the case of Sampedro was much vaunted.But anything to get in the movie someone in the same situation of the protagonist, but with the opposite attitude? If. A priest. Go by God (never better said). but couldn't be anyone other than religious? Someone as Ramon?No.se end you the movie. So they decided to leave the film as a pamphleteering plea to suicide (with marketing added the new superstar Ramona Maneiro confessing that she helped him die and accompanying his confession with books and spaces in the newspapers for his opinion).I do not know you, but regardless of my opinion on euthanasia there is nothing that most fuck me me manipulated emotionally with a cheater script. And as I care more what I have her think bad. |
2,440 | archivos_extraidos/MCE-Corpus-main/Dataset/1706 | Iñaki Bilbao | 20.000 años en Sing Sing | 3 | 5 | muchocine | The success of "I'm a fugitive," was a wake-up call for is changed, finally, laws governing on the ruthless criminal in the country, brought with him a litany of films of this genre. This is the best, with a solid script, a realization, agile and emotional, and some excellent performances. | Excellent prison drama. In the 1930s films that played the prison issue were frequent. The success of "I'm a fugitive", true milestone in world cinematography, and it was a wake-up call that was changed, finally, laws governing on the ruthless criminal in the country, brought with him a litany of films of this genre. This is the best, with a solid script, a realization, agile and emotional, and some excellent performances. It is nowadays rare see the great Bette Davis do most beloved girl, endowed with enormous patience while her man is unjustly locked in a vicious criminal as he was Sing Sing. But the truth is so wonderfully, although she tried since then (getting) not return to those papers and that, as everyone knows, he enjoyed portraying strong women Masters of their destiny. |
2,441 | archivos_extraidos/MCE-Corpus-main/Dataset/4301 | Daniel Galindo | Savage Grace | 1 | 5 | muchocine | This recreation of the tragedy of the family ' bakelite' is nothing more than a folletín ill-conceived, closer to weak than a solid story. That Yes, Julianne Moore, as always, salvageable. | I do not know you, but I'm bored of the claim of some to not leave anyone indifferent. The unbalanced characters based this novel story had a mental cocoa can be, to some extent, something logical and interesting to show. Since then, the nuances and folds are enriching when making a movie, but the director of the concoction - certainly nothing cheap - is not clear how to tell it, is something that weighs as a slab.Tom Kalin friend jumped to the fore with a key title in the New Queer Cinema, something that I had to explain - is the split more gay of the independent movement that emerged in the ninety-. This understanding it costs least find out the reason for the change of direction of the passionate filmmaker by unearthing the secrets of the criminal mind and the stories out of the ordinary though curious as all real. It is also true that no vira too the filmmaker of Swoon, because you will that carry taboos to the screen.This challenge is noteworthy although claims are not live: no matter that explicit sexual scenes that violate our modesty are, is somewhat interesting to see how the performers try to deal with cumbersome lands, but fails the frame, the outline of the characters and the relationships between them. It is a pity, especially for those who have left their mark in this movie and those who expected something more about this episode on the decay of the upper class in freefall, that always like to see on the big screen.If something this proposal is to demonstrate that Spain can come from outside to make cinema: Barcelona disparate locations are recreated each other as Paris, London, New York and Mallorca - in Cadaqués Yes that rolled of truth. They are places for those who pass the heirs of the creator of bakelite, the family Baekeland, deranged, Yes, but with adventurous spirit, or rather, escapist. By the way, are just illusory effluents, that lost in the garden of casa, by very large, emotion has no. Like this movie. |
2,442 | archivos_extraidos/MCE-Corpus-main/Dataset/1430 | Alvaro Oliva | En busca de la felicidad | 3 | 5 | muchocine | It will Smith returns to the charts, with a film that is very different from that usually star. In this case does not have to deal with robots or abduction, in this occasion has a much more difficult rival, real life. | Produced by Gabriele Muccino (the last Kiss), "in search of happiness" tells the misfortune that has to overcome Chris Gardner to be able to succeed.Next to him is his son, presented as a great discovery. It is true that being his son really facilitates the work, making that a chemistry that another actor would cost much more, has but despite this, Christopher Syre Smith manages to fill the screen and complemented with "the Prince of Bel Air".In almost every family there is a mother, and in this film, this role lies with Thandie Newton (Crash), who plays the tormented and jaded wife of Gardner. Set in the 1980s, in the city of San Francisco, "in search of happiness" presents the miseries and misfortunes, the joys and sacrifices it has to undergo a father to support his family, and Will Smith made one of his finest works, not to say the best. Not in vain, the Academy has rewarded him with (for now) a nomination for an Oscar. In addition to the above-mentioned actors, a good movie is achieved by taking one side to help believe us everything, and in this case both executives and brokers of the company, as his friend and neighbor, or man of the machine to travel in time, help us to empathize with Smith and the film in general.There are many other aspects that help a movie stands out, and Andrea war is largely responsible for creating a very successful music.Ultimately, "in search of happiness" is not the year peliculón, but is shown as an interesting proposal for all those who want to get excited and suffer with the ups and downs of Chris Gardner, superbly played by Smith, who are lovers of the happy endings. |
2,443 | archivos_extraidos/MCE-Corpus-main/Dataset/285 | Oscar Cantero | El secreto de Anthony Zimmer | 4 | 5 | muchocine | Development of balanced and restrained, without stridence or fanfare, they contribute to give the film a harmonious and pleasant Cadence. | I like the French cinema. Perhaps because it is one of the few with enough efugios to avoid being victimized by Hollywood. When Americans try to copar their billboards, instead of kicking and blame the State for their lack of ability to tune with the spectators, they are dedicated to making good movies. And why continue to arrive, one after another, great productions of our neighbours not always appreciated. The secret of Anthony Zimmer chronicles the life of a scammer who pursues the police of half the world but whose physical appearance nobody knows. In this hard struggle for the hunting of fearless offenders, a such Akerman has the advantage of knowing that our protagonist would do anything to return to see the beautiful Chiara. But the seasoned thief, connoisseur of the intentions of the detective hunting him through his muse, convinces her to deal with a stranger on the street, and to convince Akerman it's prey. The chosen will be François, who is immediately fascinated by the beauty of the young girl, without be able to imagine that it is only a tool in the service of the ignoto Zimmer. Sophie Marceau, a few months to comply with the 40, is still a beauty full of talent, a luxury for the Viewer, while the rest of the cast is shown correct. Balanced and measured, without stridence or fanfare, development contribute to give the film a harmonious and pleasant Cadence. A success undoubtedly this debut in the direction of Jerome Salle, which on their own merits earned last year nomination for best opera prima in the César awards for French film award which finally fell in the magnificent work "The nightmare of Darwin", Hubert Sauper. |
2,444 | archivos_extraidos/MCE-Corpus-main/Dataset/680 | José A. Peig | Infiltrados | 4 | 5 | muchocine | It has one of the most impeccable finishes that you can see in the cinema today. Not only triumphs in the form, also in the background, and that is what the difference of products like?Children of men?. It was time. | Martin Scorsese has always been a great technical filmmaker and their contributions to the contemporary cinema usually no leave indifferent anybody, even having done works as plúmbeas and failed as "Bad streets" and "The Aviator". In particular, I recognize that they may not interest me too her stories on Mafia and gangsters, but its narrative strength cannot be denied.To begin with, "Infiltrators", at the technical level, has one of the most impeccable finishes which can be seen in the film, wonder Assembly, pace, a sober aesthetic sense in the framing and photo, in the form of focus faces, the action scenes, the characters who die and those that shoot, the alternation between those who are in the foreground and those who are in the background, the perfect coral structure that develops to perfection, precisely thanks to this Assembly that the various facts of a quite overwhelming visual and plot set connection.Because so it is, "Infiltrators" not only triumphs in the form, also in the background, and that is what the difference of products such as "Children of men". It was time. The characters are endowed with a poignant human dimension, overcoming the difficult challenge of going beyond clichés, to show moral ambiguity either a complete lack of scruples, almost a trap between the will to be and what the reality of corruption ends up revealing: a chaos in which no one is guaranteed the stability in a world not governed by laws and a sense of Justice, but by interests and desires of power and purely macho dominance, in which lying is a subtle deadly weapon. The male dominance drive is present at all levels, both in the vocabulary of the characters the meaning inherent in the story, its development and its devastating conclusion: that gives the last shot is that already from the beginning intended to sit Chair by dint of arrogance and foul language. In principle, the central theme of the argument consists in fighting between gangs and police forces, but the look of Scorsese on this universe of struggle between groups is much more ambiguous, hard and complex, building a universe with a few laws, apart from dictated by law and common sense: there is a dividing line between the mafia and the forces who supposedly defend the law: at the end, the acts of some and others are the same, everything is a same spiral of violence and interests, as evidenced at the point of final encounter between the two moles, magnificently interpreted by Leo Dicaprio (do still remain doubts, leaving aside her eternal childlike face, as regards its notable dramatic resources?) and Matt Damon. The rat who walks by the railing of the balcony, at the last level, comes to confirm us the fierce message that leaves us on the palate, the bitter aftertaste of a world ruled by "rat", regardless of if the costume worn corresponds to one or other side. |
2,445 | archivos_extraidos/MCE-Corpus-main/Dataset/2914 | Alex Largo | La Casa de las Dagas Voladoras | 5 | 5 | muchocine | Impressive would be the word for the whole team of pre-production, production and post-production. From that wonderful artistic direction to this magnificent soundtrack. | Yimou Zhang is not pure whim one of the most respected Asian directors. Its fantastic curriculum ("Hero", "Tiger and Dragon", "The curse of the Golden Flower") will delight anyone. Its exquisite taste to shoot the film makes palpable in each of their productions. It should not be a great critic to admire the class and style of Zhang when wheel martial arts scenes. If I said in "The curse of the Golden Flower" that the characters, rather than fight seemed to dance, here they seem to Dioses.Y is that Yimou shows us a stunning action scenes that will delight everyone. Yimou also brings an impressive party to natural locations (attention to the impressive fight in the bamboo forest).Actors may not be best in their respective roles. From Zhang Ziyi, unfairly non-nominated for the Oscars for "Memoirs of a Geisha" to Takeshi Kaneshiro. All are wonderful in their roles and, in addition to shoot such as impressive action scenes, give his characters of sufficient strength so that the end has enough drama to make us cry.The "easiest", call it somehow would be the script. Although it is supported by if only and is robust enough to take the film forward, is Yimou which gives enough strength and spectacular to make the film what it is.Impressive would be the word for the whole team of pre-production, production and post-production. From that wonderful artistic direction to this magnificent soundtrack.A highly recommended movie for lovers of martial arts and love stories. |
2,446 | archivos_extraidos/MCE-Corpus-main/Dataset/3692 | Andrés Pons | P2 | 2 | 5 | muchocine | The cat and mouse game moved to a parking area which is undoubtedly an attractive place to develop the action but the ineffectiveness of the director takes no party minimum. | A mediocre French actor which was fortunate work with notable ALEXANDRE AJA on HAUTE TENSION because apparently connected forged a friendship that convinced the Gallic director to produce him and help him on the screenplay of his first feature film.Apparently little learned the actor serving a typical PSYCHO THRILLER thousand times seen with interpretations pleasure starting with the unbearable BENTLEY WEST that seems lately pigeonholed in villains of three to the fourth for repeated the role of GOST RAIDER. The victim is the beautiful RACHEL NICHOLS view in the ALIAS series and debuted as a protagonist.The cat and mouse game moved to a parking area which is undoubtedly an attractive place to develop the action but the ineffectiveness of the director takes no party minimum.Technically if giving the size in their photo sections or the attractive sound, although a mediocre script attached to worst actors does not give to much.It can serve as entertainment if it is not very demanding. |
2,447 | archivos_extraidos/MCE-Corpus-main/Dataset/2734 | Ramón Balcells | Next | 1 | 5 | muchocine | Worst of all is that the seemingly interesting end is nothing more than an absurd theory that I doubt very much that Dick had told it that way. | Having a notable premise, Lee Tamahori Next, director of the justita die another day, fails to engage the public in any of his apparently attractive moments, which are sequences of action. Note, perhaps what me more motivated this tape are the moments where Chris (a sosísimo Nicolas Cage) sees what will happen in a while (either 2 minutes, 2 hours or so that Tamahori happens at that time). First and foremost, Next is a film without sense, consistency and just pace. And then, friends, think: who is the dreaded writer? Well now I do not remember, or feel me like looking at it, but what I do know is that it is based on a novel of the legendary Philip k. Dick, author of novels that have been adapted to film with absolute mastery such as Minority Report or Blade Runner. And worst of all is that the seemingly interesting end is nothing more than an absurd theory that I doubt very much that Dick had told it that way.Ridiculous to say enough is enough, without just a decent Julianne Moore (his role is more cold, distant and unfriendly and not even has a reason to be so) and a Jessica Biel, the only thing that is as to show off body (and to provide two hours of time to the protagonist, I do not even remember!). It is that which has made the mount is an authentic ACE of bad movies, because you don't have a single scene linked with the following elegant way. Even the opening credits are sopopíferos! And it is a pity, because the trailer not promised so little and had a trio of stars of good quality (well, Moore is one greater thing and Cage when he gets succeeds). But I do not know what damn trick did Tamahori to make such crappy no feet or head with a very bad staging (except when are locating the bomb at the end) and with a few action scenes too little credible.Do not recommend to anyone, nor to action cinema fans. Go and enjoy with Bourne, that that are big words. |
2,448 | archivos_extraidos/MCE-Corpus-main/Dataset/923 | Caty | Saw 3 | 3 | 5 | muchocine | I hope the producer, Lionsgate, not more installments of the saga, that with this brooch leaves him all tied up and well tied that not enough margin to either one single sequel more, but of course, when a tape is so much money, you know... | Darren Lynn Bousman, the director of Saw 3, declared in its day this new installment of the thriller that brought head half a world beyond by 2004 would appeal both to fans of the psychological terror of "Puzzle"(algo_que_predominó_en_la_excelente_primera_entrega) as fans of the rampant killing which marked the pattern of Saw II. The question is: could say that Lynn Bousman was right? Do the answer is that? almost.The first installment of Saw made really merits when presenting a plot steadfast, supported almost in a one hundred per cent in the construction of their characters. Saw 2 away something of this concept to introduce little three-dimensional characters, at the same time that boosted what, in its predecessor, just appeared: deaths and mutilations. In short: what previously was more well macabre, in this installment became something free. The result was not all bad, but it was clear that not reached or the soles of shoes of the first.Saw 3 we find elements of the previous two. The number of important characters in scene fell markedly and the script - once again signed by Leigh Whannel, one of the players by the way of the first film - gave place to both concepts. The plot follows equally bizarre and full of secrets, without forgetting the inevitable references to previous frames; that's why I notice that if not vísteis the first two, you are hardly going to learn anything. Try to see each other before to not miss in the midst of so many references. But of course, if the script returned to the characters psychological depth, mistakes in Saw 2 also campan comfortable here. The end result is that Saw 3 is greater than the second tape, even still distant from the first appearance of "Puzzle", the murderer who, if we see him carefully, does not become so. The story, as mentioned in the previous paragraphs, has many conexíones with (des them) Mr "puzzle" previous venturas. It would be impossible to crumble all the sub-plots without uncovering any surprise, so if you want to discover things for yourself, I advise you to keep not reading. When you leave the film back to these pages.If you continue here, so let's. First of all, a brief introduction to who is not very familiar with the universe of the film: "Puzzle" (portrayed by Tobin Bell) is a species of serial killer that has a peculiar habit of kidnapping people and involve them in a "games" whose goal is to run with life. Which fails to finish the game in the correct way, dies? and if concludes it (ignoring the bruises, some mutilations and some physical and psychological sequelae) comes alive learning to reassess the fact to live. Technically "Puzzle" may not be charged with murder, because that does not gets it dirty hands killing them, their "modus operandi" is manufacturing weapons and gadgets that the victims themselves who kill (or not) alone. The paradox is that "Puzzle" is considered a Savior, a man whose macabre ideas about death serve to redeem people.There are two new "victims" in Saw 3 and the novelty is that one depends on the other to finish the game successfully. The first is Lynn, a doctor who is dedicated to his profession, aside from his family and considered the best in their specialty? What leads her to "Puzzle", which is on the verge of death. Kidnapped by him, Lynn is oblicada to keep their dying existence at all costs: a full bomb around the neck collar is connected to monitor cardiac rhythm of her captor. If he dies, Lynn too it. But there is hope. "Puzzle" just wants to live until another game comes to an end. The alternative game is starring Jeff(Angus_MacFayden,_a_muchos_os_sonará_de_"Alias"), father of family, abandoned by his wife, lives only to kill the individual that, drunk, ran over and killed his son. Jeff awakens inside a large wooden box, and when you get out of it, is trapped in a casa-laberinto. You have to follow the clues provided by "Puzzle" to advance and reach the end of the challenge, where finally will be face to face with the subject that killed his son. Although we must not overlook one of the elements present in the trilogy: the character of Amanda, pupil of "Puzzle" and present during the three deliveries. Basically what I have said above could be considered the central line of the argument. There are other issues to explain, but nor is it of gutting it completely. As regards the direction of Darren Lynn Bousman, I must say that you exaggerated a lot the technical mannerisms. Mounting is accelerated and some camera movements are too rapid, have the feeling that some moments pass too quickly. Another problem is what I call "Scooby.Doo complex": with each surprise revelation, the director looks for the viewer all scenes which in turn gave clues to such disclosure, to show that everything was there, but we saw it not. It is as if Lynn Bousman had fear that the Viewer does not understand history and therefore feels obliged to explain things in detail.In short: personally I do not think that such "Puzzle" deserves to be elevated to the category of "God of the crime". In the first part, he went from being a dangerous madman with messianic aspirations. In the second, the script was to pigeonhole the role of "brilliant mind", of man misunderstood by society, of the Hannibal Lecter or John Doe and style in this third is a mix of both, but clearly specify. "It isn't that much, import the truth."Saw 3 "is worthily represented as a thriller tense, with a couple of really hilarious scenes (the scene of the operation and liquefied pigs) and also worthy ending for the crazy killer"Puzzle". I only hope that the producer, Lionsgate, does not make further installments of the saga, that with this brooch leaves him all tied up and well tied that not enough margin to either one single sequel more, but of course, when a tape is so much money, you know? |
2,449 | archivos_extraidos/MCE-Corpus-main/Dataset/2065 | Patri | Trainspotting | 4 | 5 | muchocine | His merit is that shows the drug world in a way that had never seen before | Trainspotting basically consists of a group of heroin passed almost the entire film hanging. Tells the story is unimportant, what draws attention is how account you, that this same story another way would have lacked entirely interest, because it is not much.It has memorable moments as the dirtiest Scottish toilet, must have stomach to see, as well as other scenes from the movie, but even by the "surreal" touch is worth the trouble to see it, it is not the only touch of surrealist film, because to show us how the protagonist feels to be hung, Danny Boyle gives us some other time as when it dives into the carpet and ends up in the hospital.Trainspotting is one of these movies that they become icons of a generation and thousands of followers worship them, as the Club of the struggle or Clockwork Orange that will later influence later films, all of them cult films. His merit is that shows the drug world in a way that had never seen before.Ewan McGregor was announced with this role, then his career has done a u-turn and no longer this kind of films, but it seems that it is going to shoot the second part of Trainspotting and will be the protagonist, but Danny Boyle is waiting for players age more. He is good actor, has great versatility, has shown that it can interpret a drug addict to a normal type, to a gallant and can even sing (in Moulin Rouge) and work with Tim Burton (Big Fish).Are you has blamed to Trainspotting seem too to Clockwork Orange, may have some influence, but the only thing that appear is that tells the story of a group of young people who do not follow established standards, Trainspotting his life governed her heroin and in Clockwork Orange is violence, but it has a history much more interesting and best screenplay, but of course, are not going to compare to Stanley Kubrick with Danny Boyle. |
2,450 | archivos_extraidos/MCE-Corpus-main/Dataset/1731 | Ramón Balcells | Pequeña miss sunshine | 5 | 5 | muchocine | A little great film, brilliant in every way and with a cast in absolute State of grace. Remember, above all, the phrase that Paul Dano writes to Carrell: I Hate Everyone. That trembleth Dakota Fanning! | The indie film ever is improving more, which I find really fair. During the history of the cinema have presented us wonders such as Magnolia, Memento or Fargo (possibly these three which most notable in independent, for my taste) and all of them have been very well received both by critics and by the public. And here is another small wonder indie entitled little Miss Sunshine, which was released last year and so far I have not been able to see. One of the premiere of the 2006 is, without a doubt, more master, with permission of El laberinto del Fauno and children of men.The film is directed by the couple Jonathan Dayton and Valerie Faris, both beginners. Perhaps accused the film of being recurriente to several aspects always common in this kind of movies where the family is somewhat dysfunctional, but I think that this is not a judgement, because each character is superbly written and they have hardly any lack of common sense (well, maybe a little Yes, but what are you going to do if they are geeks). The case is that little Miss Sunshine portrays the life of a family, which is joined by the trip undertaken to carry the smallest at a beauty contest in an exceptional way. And it is that the theme of the family is not unique, since it is also noted that criticism to this type of competition, lack of personality of the organizers and the overcoming of oneself. In short, the film is a trip to the impossible, but also a journey that represents life itself, full of problems along its path and knowledge ever explored so far. This is therefore a film symbolic, poignant, tragic and funny, smart and really essential.As well as the direction, his screenplay is equipped with the same dose of intelligence and wit until you reach appear to be Oscar (that Yes, it is in this case). Perhaps also being accused of being somewhat typical for the independent films, to have several common places where occurs the action (do gas station, dining room, hospital?), and Yes, here I agree Yes, but I cannot find a point against it. The structure of the script is not that it is the height of the originality, but they are some of the gags that occur in the film (the police and the porn magazine, dinner that begins the film or the end of the film, absolutely incredible scene). That Yes, there is one of them that I think that there is extra: the encounter between Steve Carrell and her former boyfriend at the petrol station, nothing credible and totally out of sync. Moreover, we can say that little Miss Sunshine is really original and that, above all, you lifted spirits.But that does not just cracks in the film is, without doubt, the cast. It was a pity that they do not nominaran to Steve Carrell (the best role for me) for the Academy, as it was, in my opinion, much better than Alan Arkin (which gave her the unfair, especially for being too brief, award for best supporting actor). Anyway, that what really matters is that each and every one of the actors in the film estáns superb in each of his appearances: Greg Kinnear as the loser father who thinks only about winning; Steve Carrell as the uncle of the family, which is welcomed by all of them after trying to commit suicide; Toni Collete is probably the most normal of the family and all you want is that everything goes smoothly; Paul Dano, on the other hand, is the rarer, the more freak, but however, which falls best of all; Alan Arkin as the grandfather, splendid Yes, but appears too little; and Abigail Breslin as Olive, the small star and the center of everything, that makes an incredible role (worthy of an Oscar, no doubt). That trembleth Dakota Fanning!I can not fail to mention the magnificent photography and the computed Assembly, although it is not that they are the very best. All technical aspects are very worked, but I think this time, recognition it has more to the script and performances that not paragraphs more technical.In short, we have a great little film, brilliant in every way and with a cast in absolute State of grace. Remember, above all, the phrase that Paul Dano writes to Carrell: I Hate Everyone. |
2,451 | archivos_extraidos/MCE-Corpus-main/Dataset/1962 | Rafa Ferrer | Tu la letra, yo la música | 2 | 5 | muchocine | Simple romantic comedy, where the music is the main dish and where there is no chemistry between the actors (and is that the character of Barrymore not believe anyone...) | I don't know why neither led by do not know which reason, I found myself the other day with my coworkers talking film, as no, ended up leaving this tape out, one of those who likes both "my middle rib" and that I try to flee as soul that leads the devil, led by curiosity, by panic and some other obscure object of desire that I will not try to nobody me macho misogynist call agreed to see her, and my opinion once finished viewing later has not changed one iota of what I thought before seeing. Hugh Grant and Drew Barrymore made up a comedieta sweet, easy to watch, just as easy to forget those which one notes without much interest in any TV channel when it comes to the desktop, and while debate with the family the last goal from Beckham can lift view of coffee that accompanies him, follow the thread of the same. Perhaps, the only thing that I liked it was the soundtrack, and more repeat over and over again issues, that by itself of the same taste, is that both repeat and repeat, earlier that one end of the film singing the main theme of the same, that Pop Goes My Heart whose video reminds many of those who accompanied my musical childhood or my later teenage years and when I desmarqué musically of the children's music or what was heard at home; but no, I am not here to talk about music, especially when it is an issue which could not write more than 2 consecutive lines. Anyway, in short, a simple romantic comedy, where the music is the main dish and where there is no chemistry between the actors (and is that the character of Barrymore not believe nobody.). |
2,452 | archivos_extraidos/MCE-Corpus-main/Dataset/94 | Lara Croft | Syriana | 4 | 5 | muchocine | This film is not for prizes, not fuck | When I saw the trailer for Syriana thought two things, that was a very political movie (item missed in 2005 in the films in general) and hopefully not tinted of the American self that would lay it to lose. Therefore either by Fortune or not, were not fulfilled none of the two things.It is difficult to make a summary of the story in a few lines? An American Government agent accidentally "loses" the whereabouts of a missile, a corporation of United States ago everything is at your fingertips to merge with an Arab oil and when I say everything is everything. Turn interconnected with a succession in the Government of UAE and occupational and personal avatars are an investment advisor that destiny wanted that it was planted in the middle.Syriana is the typical film in which each two or three scenes appears at the bottom of screen printing indicating the place of the world in which the action takes place, needless to say that gets to a point where you cross fingers to keep the pace. It of course as all political thriller which should explain many things and delimit the sides, the number of dialogues is thick. At times it seems that it will be water at any time but it is not, that one put the necessary concentration. Sometimes one falls in the satisfaction to see pass through the screen into the large casts, in Syriana, George Clooney, Jeffrey Wright, Matt Damon, Christopher Plummer and Chris Cooper are available and each one does exactly what he has to do. Although I regret the fact that the characters are so guys and not complete outline is never know very well what is the real driving force that generates the actions, whether they are good or bad, that reflection is not at all bad.The major point against which I can criticize you is the core of the script. As I read in United States the best reviews of the film were by the crude history and for showing courage a furious behind-the-scenes on the handling of the oil. It seems that they are the only inhabitants of the planet that were unaware of it, so from that point of view any thing stating is risky. At this point the story is guilty of pretentious.A scene that found me excellent is when one of the bosses of the company discusses with the lawyer that hinted you that the "favors" and pressures are not so good ideas as they seem to be responding to that: "corruption is our protection." Corruption is what keeps us safe. Corruption is what you and I are strutting here rather than fight between us by scraps of meat in the streets. "Corruption is by what we earn it."That Yes, this movie is not for prizes, not fuck. |
2,453 | archivos_extraidos/MCE-Corpus-main/Dataset/2549 | JLO | Simone | 3 | 5 | muchocine | Satisfactory with good doses of humor as see comedy to | Owner of a personal look demonstrated in his three films, the New Zealand director Andrew Niccol is responsible for the screenplay of the famous and successful The Truman Show and the director and screenwriter of Gattaca, another good film with partner Thurman/Hawke. And also Simone, who also produces and is the weakest of the trilogy interesting point. It is not by what has been achieved in this film but because it dare not go one step further in the critique of the society described, yes he did on the stabbing Truman. Victor Taransky, Al Pacino in his accustomed good performance, is a director been less with failure including box office. Despised by his fetish actress Nicola Anders - Winona Ryder, good performance though brief - and recently fired by his own ex-wife. Through the admirer Hank, a crazy computer genius, achieved by Simone. A virtual woman incredibly beautiful and hypnotic, ideal vehicle to achieve its cinematic resurgence. Her had been promoted as a real digital character being an unknown model, Rachel Roberts, responsible for "body" to the situation. Added virtual scenes seem more a joke on the subject of the film. Fable Frankenstein-style, attacking the system itself Hollywood and excessive ambition of its components. Actors, directors, press agents, parodied and banalizados as mentioned superficially, without ever becoming a serious complaint. Walking on the thin line between story and reality, even being at times trapped between the two as the unlikely scene of the holographic recital of the protagonist. Comedy satisfactory with good doses of humor as see Pacino complaining of the ego of the actors. Nothing in this film would argue without a figure of stature, with green light for the showcasing and including a monologue, which turn this tale moralist and too conventional, a bit too slowly and too explanatory. |
2,454 | archivos_extraidos/MCE-Corpus-main/Dataset/1212 | Emilio Calvo de Mora | 13 tzameti | 4 | 5 | muchocine | Recommended for those who wish to attend a meeting of well-written adrenaline, powerful writing of classic film noir, but transmuted (despite the appearance to the former) in absolute modernity. | An arreglatejados, poor as a rat, discover of the pirate killed with the plane of the island with the fabulous treasure chest. Does not cut hair and paw to hell: that is 13 Tzamenti, a journey into the depths of the human soul horror. Paranoia, madness, shaking, a Hostel to the gross: the film that combines the spirit of fashion Saw any of their deliveries and a point to the Polanski of the principle when filming without scruples and made perverse portraits of the ambitions and the strict code of ethics of evil in its purest form (Cul-de-Sac and then, less soundly Chinatown).There is a raw, intimate tone, but there are also patterns of the thriller: everything very well seasoned of convincing arguments as the irreproachable (novel) script in trite that everything in this write things to the film or the performance of Sebastian, the protagonist, a fine and, for me, unknown George Babluani, who speaks in a gesture or a silence between a sentence and one that other actors worth with a Parliament of three minutes.Black and white suits these troubled feelings, handled with cold desperpajo by a novel director who promises (and long). (Eye to their new, announced, L'Heritage). Recommended for those who wish to attend a meeting of well-written adrenaline, powerful writing of classic film noir, but transmuted (despite the appearance to the former) in absolute modernity. A discovery backed by a huge string of awards. |
2,455 | archivos_extraidos/MCE-Corpus-main/Dataset/3517 | Andrés Pons | El foso de la muerte | 3 | 5 | muchocine | Obviously the script is a hodgepodge of many genres mixed happily that it has no great consistency, anyway is typical fun dandruff and with wild moments than a whole freak loves to see. | Brett Leonard is an of these directors never caught my attention, his filmography moves in mediocrity of the kind Man Thing or Virtuosity. Only highlighting his greatest achievement with the grass cutter.Until a few hours ago always happened unnoticed his first and of course better film entitled the death pit.This madness with ZOMBIES, MAD DOCTORS, an insane asylum, memories of the past, GORE to GLUGs, are ingredients that welcome any dander video store amateur. Some actors repeated with the director as for example cheryl lawson appeared in virtuosity and Jeremy slate I collaborate in the held the grass cutter.Excellent special effects, dirty picture that sticks at all times environmentally pure hallucination that conveys the film, the music is also a well coupled to the whole instrument.The script is clearly a batí burrillo of many genres mixed happily that it has no great consistency, anyway is typical fun and wild times dandruff which all freak loves to see. |
2,456 | archivos_extraidos/MCE-Corpus-main/Dataset/340 | Alvaro Oliva | Silent Hill | 1 | 5 | muchocine | One of the worst movies I've seen in recent years. Failed product that does not deserve further comment | The truth is that I went to the movies without having played any of the parts of the famous video game, simply because the argument and the aesthetics of the film attracted me and I thought that it might an entertaining production (good would be too much to ask) but I was completely wrong.Silent Hill I think one of the worst movies I've seen in recent years. There are some aspects that are very accomplished, as the effects and photography, but still fail to change my adjective. Becomes heavy, absurd characters, script (do?) confusing that requires much of an explanation even after we made a character, creatures which are not too tale (I guess that in the video game Yes), a parallel worlds, situations that left you cold totally. And I say all this because it's funny that with Christophe Gans (Brotherhood of the Wolf, crying freeman), Roger Avary (the rules of the game, Killing Zoe, writer of Pulp Fiction) and Dan Laustsen (Mimic, the Pact of the wolves) as director, screenwriter and cinematographer respectively, has created a bad product.There are some aspects as I said are they saved from burning, and among them we find his cast: Radha Mitchell (Melinda and Melinda) and Sean Bean (Boromir in the Lord of the rings) show that they are a few very interesting players and they are delivered, that have been able to recreate the experiences of such tormented parents. Ultimately a failed product that does not deserve further comment. |
2,457 | archivos_extraidos/MCE-Corpus-main/Dataset/128 | Iñigo | Manderlay | 4 | 5 | muchocine | Who gives value and meaning to democracy? | Returns the tyrant. Returns the self-worshiping. But he also returned his genius, his great success and their reflective ability. Once again Lars Von Trier. And returns to attack us with their wild moral messages. After the first controversial installment of his trilogy about United States ("USA, land of opportunities"), "Dogville", the charismatic Danish director returns to the big screen with "Manderlay". The film was presented at the Cannes Film Festival past, and from there has begun its journey of presentation throughout Europe, achieving very good reception in certain places. and a certain fear and rejection in others (do guess what?). Lars Von Trier, in his eagerness to sow the controversy beyond where necessary and without any kind of leniency, continues its particular "moral" at the point in which ended the first "Dogville". But since then many things have changed. Nicole Kidman is not Grace, now occupies this made Bryce Dallas Howard. And not James Caan is his father, it is now the multifaceted Willem Dafoe. Any actor to support two consecutive films with Von Trier, otherwise they should ask to Björk is rather complicated. But the story follows its course. Grace (with the company from his father and his "gangsters"), after showing its true face in Dogville, continues its initiatory and supposedly innocent gait until you see with Manderlay, a place that, despite everything, the slavery prevails still chaired by the strict law of Mam. And, how not, our protagonist is established there with the selfless desire to fix everything and let the injustices and oppression do gala. But, over time, will be that the results are completely opposed to those who she had hoped. Little more than two hours they will do our dear Grace, his ego, his conscience and his intrinsic desire for authority, will realize that it is not enough to want to impersonate an entire culture and wanting to impose of oneself to question the soundness of a population. Thus, on this occasion, Grace occurs much more as a kind of leader, but on the contrary that in "Dogville", is herself who tries to force his power, not it's earn it as it did in the first chapter. It gives the feeling that the people not look at Grace to innocent appearing, trying to escape, in Dogville. Now much more believes in herself and their convictions (whether real, feigned or simply elitists), achieving the development of history, in that sense, is totally opposite of his predecessor. So you can see how from almost a first moment (from the moment that feels comfortable and integrated in the population), our protagonist is "open your eyes" to a people that was totally subject and was not able to evolve in their State of lack of freedom and devoid of any protection or license. Grace and its ethical and human condition are on duty to help this poor mass of uneducated, educate them, rediscover them and make them try the true meaning of democracy. Surely they are prepared. And if not so, tough. The truth is that in "Manderlay" to Trier is much more than the Duster in "Dogville". While latter was completely universal, certainly ambiguous and us subjected to a personal reflection morally brutal (above all for its controversial final from the ethical point of view), "Manderlay" is enclosed in a circle clearly lower. Looks reduced to an environment that smells to rotten to say enough (referring this to us, of course) and that any criticism has a place. And is that the director accuses a certain lack of tino addressing the issue with a greater objectivity and leaving us to us all that hard work. Gives the impression that it wants to on his side too blatantly to position the Viewer (though basically we know that its self-worshiping character looks forward to it every moment), something that was not happening in "Dogville". Seems that its critical stance has lost a tad, and that being direct WINS lose you in subtlety. Despite these small errors (many of them due to the personality of the director himself), fierce, audacious and ironic criticism hides a message that all of us should understand and try to learn. The ideological stance of Trier has a lucidity that nowadays hardly see in the film. We should look to Europe a few years ago to make comparisons in this regard. The controversial author (along with other names) of the "Dogme 95" movement (which itself was controversial) ruthlessly attacking a country that defines as false, hypocritical and shameless. "Dogville" was more global, here is a central (and front) attack against the fallacy of u. S. A.. Against those leaders who create a personalized and interested democracy, stealing their true meaning and reducing him to a kind of silent dictatorship. Against this voting system whose value is in question as soon as is grasping the simple difference between the truth and the number of votes, result of a selfish, manipulative and destructive human condition that, faced with a complication or ideological difference, establishes the most bitter condemnation or the quickest and most simple death penalty. Thus, Grace represents the true example of the American hero who comes, while nobody him sailing at that funeral, to save people plunged into poverty all and ruled by tyrants who shed his human condition with egregious and abusive acts. They try to impose their social and political norms of coexistence without addressing its culture or before the behaviors or traditions, or worry about the people or ask if they really wanted to change their lifestyle or it was that they wanted and were unable to cope with a very dramatic change. Thus the village, powerless against something that couldn't understand and seeing how change escaped you from the hands and it was impossible to assimilate in such a short time, ends asserting that any past was better and that bad is better known than good to know. For a time in the later works of Trier, the character does not suffer unspeakable to reach their desired goal, at least in the physical aspect, since the mental self which looms a content, detonating suffering of the interested disappointment to his person. In this regard, it should be say that the shadow of Nicole Kidman is relatively long. Its claw and potential in "Dogville" was much larger than the fragile Howard (despite the fact that the papers required or not a performance or another), that within a timely containment the mata figured. Certainly cannot be denied that the daughter of the ineffable Ron Howard (as well as the rest of the cast) raya to high level. The outline of the film is exactly equal to its predecessor in the formal and structural aspects. A fable, with included Narrator tells of a divided into chapters and entertaining way. In a wrapped "moral" with sarcasm and irony, Lars Von Trier trace the history of Grace, his arrival, the establishment, the coexistence and his subsequent departure of Manderlay as if a play were, with the already known and controversial basic scenario drawn (although not get the prominence of the first installment), their luminous games and music of Vivaldi (jumping to the Bullfighter)(, as usual it and appropriate him, their own rules for the "Dogme 95" movement), which permeates all of misleadingly reassuring environment. For the Virgin Viewer in the field will be a shocking bet, but for the connoisseurs of previous delivery, in that regard, it is not anything new. In short, a work which, without reaching the genius of its predecessor, is interesting as a forced time reflection consider our moral actions and democratic conditions. The clarity of Trier is crushing thereon, and its irreproachable moral discourse. All that, along with his irony last totally thread (tuned to the end credits with "Young Americans" as the background.) (go bad grapes spent the bastard), manage to outline us a smile, Amen deepen our human, social and political forum more internal. We could say, therefore, that has treatment of a controversial issue in a very smart way, without being pedantic, agile, thoughtful and lucid in its favour. It really forces us to learn. And, despite its length, without being so extensive as the of "Dogville", digested easily. And a very interesting fact. He is not racism as such, or by difference of race, colour or similar, but more open to human conditions of democracy and its limit of scope and credibility. Something that is really appreciated is with what comes lately. However, also are you can blame a certain and obvious bias that spoils a little austerity of his message, and appears focused and only closed in the criticism of us that makes that not us universalize both as "Dogville" its intention. And, its start-up scene and its aesthetic is obviously little original and groundbreaking, as we have already seen it beforehand, but being one realistic, it's not nearly relevant, because the characters are sufficiently profiled as forget the rest. In fact, this was the idea "saving of props" from the Danish director. Maybe many find it unbearably pretentious. What are you gonna do. It is the least we can expect from a guy like Trier. Maybe the director more pretentious and self-worshiping of the moment. But their results achieved that we forget and we can forgive it what (almost) everything. A real slap what some countries call democracy. It must be acknowledged that the good of Lars has spent at certain times. Just in case, and to not overwhelm us with so much political treatment which has lately swamped the film, Lars Von Trier has decided to delay the filming of "Von" (no "h"), the latest installment of the trilogy. And I think it was a good idea. |
2,458 | archivos_extraidos/MCE-Corpus-main/Dataset/2789 | Ramón Besonias | Death Proof | 3 | 5 | muchocine | Death proof is not the best film of Tarantino, but is perhaps one of the best examples of why he got himself into this filmmaking. | Gus Van Sant (psychosis) and Soderbergh (the good German) tried to with your favorite classics, but his cinephiles proved too Orthodox. More than honor, copied the original or emularon scenes in order to play to see how it is or simply as a craftsman. And so it was. Tarantino for its part, as it already did through his filmography, not copy, does not want to look like to?; its cinephiles is selective, episodic, spreads, giving rise to an original Frankenstein, or that makes us believe (especially to viewers that we have not tracked the video libraries of the Z series, populated beings nothing classic, but it is archetypal of the underworld that surprised and touched the teenager Tarantino). The tribute is not the classics of cinema or literature. Moreover, Tarantino would help later filmmakers to not be afraid when choosing their narrative and Visual affinities of the rake of what the Academy termed film offal. And is that she times of a new cinema, less scrupulous to resort to other means and techniques of production (digital) and other forms of storytelling (comics, video games, music videos), away from the literature or the picture.On the other hand, Tarantino is a cinematic tradition both European (Italian neorealism, Nouvelle Vague) and American (Arthur Penn, Martin Scorsese, f. f. Coppola) that seeks to portray the lives of characters terminals, extreme, pathetic, esperpénticos, born to his proletarian imagination, relating that another American, camouflaged by political correctness. Only that Tarantino does not exist another intent (if any) that have fun and have fun, play this great Carnival that is the cinema.Death proof (A proof of death) demands the viewer's complicity which partly originates both acceptance of its universe (and the laws that govern) the familiarity with which the viewer faces their personal archetypes (tuned cars, Warrior girls, violent males, road, local music clubs), taken from a full product non-transferable cinephiles serie B that they ran back in 1970s and spoke of cars, girls, weapons and very male males (in fact, Grindhouse mention continuous sessions of Z series and gore films in the 1970s, usually damaged or incomplete), or the slashers of the sixties, with the murderer of adolescents (so fashionable in the thriller today). In Jackie Brown is seen on television ads with girls Warrior selling arms, archetype in the Z series of the 1970s.Even obliges us to recreate his previous films (and if not stay tuned to the car of the second group of girls, or the ringtone from one of them). Its cinephiles is such that even the garito Guero? s is lined with posters of Latino films such as the limits of love (Rafael Moreno-Marchent, 1976), starring Juan Luis Galiardo and Charo López, or the Mexican the three Elenas (Gómez Muriel Emnilio, 1954). The girls discuss the movie point limit: zero (1971), another road movie, but with script - attention! - Guillermo Cabrera Infante. When the girls come down from the car, they are squatting to speak, this scene is one tribute to another of the flight (1972). Stundman Mike rubber duck appears in the film Convoy (1978). The black car with the skull is equal to the brake broken, crazy cars (1980). Persecutions sounds music impact (1981). The circular camera movement while they speak is equal to Reservoir Dogs (1992), when they are in the cafeteria and discuss tips, or in the final scene pointing each other. The same Kurt Russell is a substitute (reduced) of his character in 1997: rescue in New York normal that the sensations after viewing of Death proof are as extreme as the proposal itself of its director. However, somewhat skirting the issue of taste, Death proof is a quality product, of careful and visually powerful, colorful, aesthetic with a soundtrack as good as fun. If anything can blame you excessive recreation in the dialogues in the car and in bars, which dilate the narrative time and perhaps despisten or bored. But they are these final twenty minutes to remedy that. Tarantino always liked to hear their characters everyday issues, laughing, cursing, Miss life between shots and drives. And in a breath rip the narration with extreme actions that will surprise the Viewer. Thus, Bridget Fonda will die in the hands of a De Niro pissed by not shut up. Or Travolta, who will die after shit. In Tarantino not should never confuse the border of their beings and lives with its aesthetic character.No need to be fond of the chile, the nachos or the bizarre violence to recognize that there are many scenes that hide not outstanding Visual expressiveness and richness. In fact, the Tarantino film is all image striking our retinas. His scenes are the scenes that the Director will have an impact, or as a ghost were kept briefly in his retina when he saw them in other films.Death proof is not the best film of Tarantino, but is perhaps one of the best examples of why he got himself into this filmmaking. In its day the Nouvelle Vague it distanced itself from the themes that concern to the preceding generation, seeking new ways of seeing the world. Tarantino is perhaps a good example of the fascination of the film (and with it the society) contemporary by engulf fast images per the only pleasure of enjoying them without respite or reflection. The greater contempt for his film is the apathy or boredom. |
2,459 | archivos_extraidos/MCE-Corpus-main/Dataset/3158 | Jose Contreras | Un plan brillante | 3 | 5 | muchocine | It is worth looking at her carefully for the so solid structure that is built. | Demi Moore is an Executive of a distributor of diamonds amounting not as it deserves for the mere fact that it is a woman. Michael Caine is working in the service of cleaning the company and has a plan to steal some diamonds and retire with some comfort. The problem is that she is not sure of wanting to collaborate in a robbery. We are at the beginning of the 1960s in a sad London and bored. "A brilliant plan" won't the history by his characters acartonados and horrifyingly ideal, perhaps her slip program required in a double session of some paulista school, but it is worth looking at her carefully for the so solid structure that is built.Aristotle says that to tell good a story must be split into three chunks. We must begin her, go into flour and must be finish. SYD Field, one of the best-known script theorists, warned that if he wanted to justify their hefty fees of Professor of screenwriting I had to add something that had not said Aristóteles. So I came up with the idea of the two "plot points". Two turns, one to serve as a hinge between the first act and the second are needed to tell a story (plot point 1, "pp") and the other between the third and the second Act (plot point 2, "pp2"). He later made another idea which makes it more noteworthy than the first; came up that a climax right in the center of the second act which he called "midpoint" needed. Thus, the ideal structure of a script would not be the ternary, would be Quaternary, with the second Act divided in two. Some define the midpoint as the catastrophe, the protagonist loses everything. Others call it the point of no return, the protagonist can not turn back. Demi Moore may not already report to the employee of the cleaning, can not get off even if you want to.The Quaternary structure with a central climax is interesting because it allows the unexpected surprise, this tireless vice of the contemporary writers, is tolerable. When the surprise occurs at the midpoint, the film works. If you don't believe me, go to see "A brilliant plan" and compare it with the surprise of "Fight Club", "Prestige", "Identity" etc..Freud said that the pleasure of a joke is of an economic nature. For the price of listening to a story we understand two, which tell us and which left between the lines. Something similar occurs with a good twist like this movie. During the first half we speculate about a protagonist who does not know whether to participate or not participate in a robbery. During the second half of the film, after the monumental surprise, we discovered that all the details of the principle that seemed unnecessary charge sense from a second reading: the sick wife, stuck cloaca, the histrionic representative of the insurance company.The films name is dodgy await the end, (a plot point 2) to give back to the plot. Thus they fail to create a second reading. The Viewer does not have time to do a second reading. The viewer has only time to see wrong and ready is the director manipulating information and taking his hat bunnies. But it is not the same, one is not left with the feeling of having seen two stories for the price of one, and, if looks it coldly, discovers that he has not even grace. |
2,460 | archivos_extraidos/MCE-Corpus-main/Dataset/2699 | Tyler | Los Simpson: La Película | 5 | 5 | muchocine | One of the best movies that will be seen in years, not only for herself, if not for what it represents. We know the Simpsons better than our family because we are dealing with the artifact of geniuses. | It is true that today the American TV has almost the best writers that exist. Real workers of the script, that curran in series that have nothing to do with each other and still make real masterpieces. They deal with different tones, different characters and not out of his line. That is the more difficult of all, because the TV series are followed by millions of people, more than cinema, and is very difficult to keep us happy as spectators, any episode of our favorite series that we like least is reason for us to criticize him, and it should not be so. The characters of the TV series are better developed there, because those who are the writers have more time to publicize, and them are built on the fly. There are things that you can do, you know for a fact of their lives, characters in film and already, even the biopics develop less characters than the TV series. This is summarized, a HOUSE seguior (I myself for example) knows better to Dr. House that to Howard Hughs although it has seen ten times the AVIATOR.What I mean with this esque possibly all, better know to Homer Simpson that many people in our own family, him know almost everything. What we have seen in countless situations. Know you better than to family, friends or co-workers. And not only to him, if not whole family Simpson.Pobre of those who wait to see something entirely new, because not as hiba to find and true fans to the Simpsons, that we we love deeply, not wanted "something new", we wanted see it as always, but in a context film, not television. Good esque know so well that it should not submit to anyone, we all know who is every one in the city of Springfield, so he goes to the grain. The movie to the series is not comparable, they are part of the same, so no we could have expected something better or worse, it is only the family moved to the film.The movie is absolutely masterful, with all the letters, a script that should participate as a candidate for the Oscars. The story is fucking great, it's almost science fiction, if someone tells you that argument, you have a fantastic idea almost to make a prequel of how started the world post-apocalyptic MAD MAX.The best esque the writers have had time to develop a film history, far removed from the pace which requires a TV series. The movie is more relaxed, more powerful in the movement of images, this more sustained by the image that the dialogues. Spanish dubbing of the series simepre I preferred it to the original, but since that died Carlos Revilla, the original voice of Homer, things changed a little. While Carlos Ysbert does a great job, let us remember that he doubled to Walter in EL GRAN LEBOWSKI, llevabamos years with the voice of Revilla and is very difficult to adapt. Also the great voice of Paul Sempson faded (If Yes, Sempson) folding Mr. Burns. The movie this very well folded, like the series.We can see almost all the characters that have appeared in the series, almost all, the fun will be when the DVD is displayed and we can stop it to go identificandolos and guess in which chapters appeared. (A little freak not?)History has a great film rhythm, a tempo of the host and a classical structure, remember to Wilder and the movies, like no, by James l. Brooks. One of the writers. One of many that there is, all of the series, all have written major chapters and have created a totally film plot. Not imagine this chapter, you can not because it is pure cinema. The Simpsons series is more longeva of the history, I do not remember what lasts longer East Enders, even is if it continues, but East Enders is a soap opera, very good that if, as a good soap opera is limited to tell us every day of a few characters that change from time to time. The Simpsons is a series, and always have the same family, and never bored, for 20 years. And still staying, they remain the series that keeps alive Antena3 along with the news. Homer is posiblemnte, the best character written in audiovisual history. better than any of Welles me atreveria to say. regardless of critical or not critical to American society. Homer is a character built on echos that we have seen all over the past 20 years, and as I have already said, we know it better than our family.The movie is not as strong as the series in some things, I mean that in some episodes of the series had contained more adult and in others not, but in the movie have dcidido for the second, more public, normal. You can see this movie as an animation because it is, but it isn't the same, this is for adults but it always has been. A movie for adults that can go children, RATATOILLE is a movie for children that adults can go. Of course, a movie of the characteristics of RATATOILLLE has organized success, because they want to see the children, and if they go because his parents also have to go, you're not going to go alone them very mamoncetes.SIMPSON, one of the best movies that will be seen in years, not only for herself, if not for what it represents.THANK YOU MATT GROENING |
2,461 | archivos_extraidos/MCE-Corpus-main/Dataset/2082 | Emilio Calvo de Mora | Oldboy | 5 | 5 | muchocine | Oldboy is one of the reasons why the film makes our lives happier. Masterpiece of cinema. It does lack something more? | I saw Oldboy lift me. For some time it was not beginning a day as well. I finished her ten minutes ago and I have the impression that it is not the best time to write something, but can't handle me at will in these matters and I've finished here, at my computer, ypacarai to express my absolute fascination for one of the best films I've seen in my life. I'm not sugestionado about anything that you have not read nor moves me as special circumstances that have contributed to who can see it (I'm at home, low, I'm not alone, there is no noise, the world seems that it has ceased to exist for two hours). It may be something that I can not reason I has moved to overestimate this time perfect film I have. Oldboy is one of the reasons why the film makes our lives happier, even better seeing it, I've detached from movie fan contamination that has been able to bring having enough films. At times, it seems that it was the first film. The Asian cinema is taking the reins Western film (American or European) makes time that were leaving, turning them over to some law that makes the quality with the box. To higher-quality, lower-income. I understand that Oldboy is not consumable dish easily. It contains scenes that may hurt the cacareaa sensitivity of the Viewer. Which does not stop being a solemn bullshit: can hurt you the sensitivity the wanderings of Pajares and Esteso by Franco bingos and therefore not going to put any label to their fantasmadas. Oldboy has reminded me to Almodóvar and Tarantino. By some or other causes. It has also made me think of hackneyed Greek tragedy that accompanies us through the bizarre history of literature because the arguments were designed in Greece and then the only thing we have done has been adapted to the times and modify them so that they appear to unpublished. The story tells us is that of Oh Dae Su: a type that enclose fifteen years to release with some minor clues that they will lead you to the reason of his captivity. Does not require the reader who has not seen the film more data. The embrutecido hero of the story, as a modern count of Monte Cristo, submits his revenge to the revelation of the truth of their confinement. This plot, very skillfully threaded, acquires, at the end, in the attic scene, lyric, Shakespeare dyes... If only by reaching the final and understand it, it's worth attending everything tells what us before. And Park Chan-Wook counts for a lot and does so with a crushing trade: lateral close-ups, wide angle to highlight the State of mind of the disturbed protagonist... And now I'm going to breakfast, although not live Octopus. Some already know. |
2,462 | archivos_extraidos/MCE-Corpus-main/Dataset/1979 | JLO | 3000 millas al infierno | 4 | 5 | muchocine | Some winks make it fun, touching the parody for performances with a touch Tarantinezcos. Precisely the actors - all good - make credible the incredible script. The old twists of the plot and stereotypical characters something down the score. | Strange and enjoyable film. Since the titles of beginning, where in a futuristic scene where two Cyber Scorpions beat duel do?, is the analogy of what is going to happen with the two main protagonists: Michael (Kurt Russell) and Murphy (Kevin Costner).In a tone of comedy enter the other two important characters, Cybil (Courtney Cox) and her son, then shifting to action with a spectacular robbery at a casino in Las Vegas (machine guns to fire on fire simile full). Continues as a road movie - with duel in the western style and everything! - to culminate with a fast-paced police scene of suspense. Variada.A despite the varied mix of styles and genres, the film becomes interesting because they have no claims whatsoever and by a rhythm and furious editing, without falling for this reason in the Vertigo of video clip although debutant Lichtensein, is justly recognized by them.Some winks make it fun, touching the parody for performances with a touch Tarantinezcos. Precisely the actors - all good - make credible the incredible script. The old twists of the plot and stereotypical characters something down the score.Theft from casino, five former convicts and their different problems, intrigues, betrayals, persecutions and deaths in bulk. All the actors said in good shape, protruding Cox (Ace Ventura, Friends) for an unexpected ease and known beauty. We agree that Kevin Costner dressed in brightness and wig and broomrape Elvis-style, is not very common, both by their seriousness and put in the shoes of a repetable and achieved villain. Pin the clip that accompanies the end credits with Russell playing in playback to Elvis Presley - with all the cast making midair and dancing - in a clear auto-parodia of his old role in the telefilm "Elvis" (1979) by John Carpenter. |
2,463 | archivos_extraidos/MCE-Corpus-main/Dataset/2917 | Kiko de España | La hora fría | 3 | 5 | muchocine | It has good manners, take advantage of very little and has an interesting ending. But trickster. Very cheat | Cube, Prime, Pi. all were science fiction movies. And unless the cube seemed it none. Sure that there is more. The cold hour comes after photos that someday I will try to see. At the moment I am not ready.Then he collaborated on the screenplay of absent, that it seems a lot (of bad, horrible, of typical) and think I'm going to detach me from Quiroga. With his penultimate movie (No-Do is in the oven) makes that I hook, which interests me and it bothers me. And you ask me some things.The good news is that the atmosphere of the works cited at the beginning has at times. The trouble is that it shows here more about the lack of resources. And it is more cheat.The main difference is found in the resolution and, indeed a cliché (or déjà vu, what more you mole. are you French?) present in several moments that should be key and are topicazos despite the way. Perhaps some "attack" should have been avoided, but at what price? If not samples some action I know of more than one who falls asleep. In the distribution (a couple at most) charismatic characters, actors with a bad day and too obvious filler characters.It still has good manners, take advantage of very little and has an interesting ending. But trickster. Very cheat. 6.5. |
2,464 | archivos_extraidos/MCE-Corpus-main/Dataset/3886 | Moebius | Días sin huella | 3 | 5 | muchocine | "Days without imprint" became a film of reference when it comes to portray addictions on the big screen. | Oh demon alcohol, sang Ray Davies. Alcohol, as in life, has been indispensable in Hollywood, both inside and outside the screen. The years of prohibition gave rise to dozens of films about gangsters, while in the years 30 and 40 the Gallants and detectives always walked with a Cup in his hand while they chatting with the beautiful girl. The drunks were funny and endearing, guys like the characters of W.C. Fields or those side of nose of red of the films of John Ford. But that trend began to change when in 1945 Billy Wilder shot one of his films hard and realistic, The Lost Weekend, translated into Spain as lost weekend.It all began in Chicago, where Wilder had to carry out a transfer of trains. To regret the time bought a Novella, written by a that Charles r. Jackson, who continued the excesses of an alcoholic for five tortuous days. The novel was The Lost Weekend, and when Wilder ended read it decided he had history for his next film.The director and his collaborator, Charles Brackett, who also served as producer, worked on a screenplay which was fairly faithful to the novel. The story revolves around the failed writer Don Birnam, whose inability to write has pushed him to rely on alcohol. Despite the efforts of his brother and his girlfriend, Birnam has just always falls, and in a squalid decline of several days until "delirium tremens" writer plays Fund, in what constitutes a realistic of an alcoholic portrait as he had not seen until then.Lost weekend leaves not too much room to comedy, and it is by the time a fairly realistic portrait of the subject of alcoholism. Not demonizes too much to the addict, or he becomes a monster devouring of children; Birnam is more a victim of addiction that become victims to those around them. Within the structure of the final film, although predictable, fits well within the story, although in that part the veneer of reality disappear completely, but were those other times, and everything we saw of a more innocent way.Although perhaps not we can have among the best treadmills of Wilder, the narrative pulse is excellent, and being a film of a director so great memorable sequences could not miss. Include for example the dark scene of delirium tremens, which could have come out of some film of Batman, or as a really ingenious way, through the circumlocution of circles that the glass on the bar of a bar (vicious circles), leaves the Viewer provides of Birnam slow descent into hell.The other day I remembered this film because in him performing the recently deceased Jane Wyman, which of course for me will always be evil Angela Channing in the series Falcon Crest. It is not me it seems a great actress, but he was some presence.After aspiring, as always, work with Cary Grant, Wilder opted to José Ferrer. Paramount, appalled by a story, people wanted a more gentle star to connect with audiences. When it was clear that Ferrer would never accept, Wilder accepted the proposal of the study, so that Ray Milland was finally who would interpret to Birnam. Wilder claims that he accepted Milland because his sense of humour was rather low. The truth is that Milland, that was never an actor especially well, with a role so grateful did offer us a good performance which earned him an Oscar of the Academia.Y of lost weekend was a difficult race. Wilder stated that the alcohol industry had offered five million dollars to study so they aborting the film, and that if they had offered them to him would have accepted. While taking into account that in the shooting of this film was where he met his wife Audrey, he should not believe him too.The studies were about to not release the film, and only the insistence of Wilder got that it premiered in a circuit of rooms very small. At that time the director was called to collaborate with the army, and when she returned the film was a box office success. They arrived the nominations and lost weekend he scored four statuettes. Since then he became a film of reference when it comes to portray addictions on the big screen. |
2,465 | archivos_extraidos/MCE-Corpus-main/Dataset/2380 | Silvia Giner | 28 semanas después | 4 | 5 | muchocine | The film does not give Truce to the Viewer, keeps you on guard absolutely all the footage and also causing a sense of prolonged anxiety. If you've seen the first and you liked, this new installment is going to freak out and if not her dresses, go to see this worthwhile. | Juan Carlos Fresnadillo was out of his own skin directing this film to the surprise of those who think that second parts "were never good" and to the delight of those they already vibrated once visionando Intacto.Para those who have no knowledge of who is Fresnadillo, recall: screenwriter and film director Spanish born December 5, 1967 in Santa Cruz de Tenerife. Among his major works are the short film Esposados 1996, candidate for the Academy of Hollywood, and unbroken 2001, film that gets the Goya Award for best novel director. In 2002 he made, together with Alejandro Jodorowsky short Psicotaxi.Hay to say, unbroken is undoubtedly one of films intended to become a cult object, it is a film of few resources technical and low budget yet absolutely round and great. The same applies to "28 weeks after", it is an absolutely round movie and there is certainly a difference "28 days after" (the first installment of what appears to be a saga) tremendous.I went to see the film animated by the fact that Juan Carlos headed, but I found more than I expected. The film does not give Truce to the Viewer, keeps you on guard absolutely all the footage and also causing a sense of prolonged anxiety. If you've seen the first and you liked, this new installment is going to freak out and if not her dresses, go to see this worthwhile.Banda Sonora of Linkin Park, fabulous and as usual in my reviews, I will talk about the physical details of the actors. At last! I find a good detail in a movie, finally something realistic and it is the following detail: Las eyebrows without wax Rose Byrne (Scarlett) and is that this girl who plays a doctor of the army, takes a completely neglected eyebrows, full of "Puyones" and hairs to grow. And why?, because because a doctor under such circumstances, would never be concerned about its appearance, i.e. wax eyebrows, them would be totally neglected, with which great detail. (By the way Rose, stop saying that you have 27 years because you have 34 daughter and you note in the face, the age). Mention that the makeup of the movie is great also.To give some defectillos, I would say that there is excessive use of the vibration of the image and some scenes are too obscured (am assuming that is has osucrecido digitally, at least has all the earmarks). The images of the ravaged City are impressive.Finish my criticism, mentioning that you I platónicamente in love with Fresnadillo, that face pachón dog, these green ojillos, lost, saying "Protect me", in the end this guy is a talent, a shoo-in for the infumable cinema Spanish, who should invest in diamonds in the rough as this guy, rather than go happily dividing the impoverished budget allocated to the cinema, to the buddy and sucking outside years we directors.Lords of the Government, want more Fresnadillo, more Sánchez Arévalo, more Amenabar, the church more and less "since the sun rises like". damn.Fresniiiii, Fresniiii I Love You! (You will already see as this guy is going to give that talk, let me fall the breva to work with the one day). |
2,466 | archivos_extraidos/MCE-Corpus-main/Dataset/1707 | Tito Chinchan | 300 | 5 | 5 | muchocine | Impressive epic film about Leonidas, a Spartan king who halted the advance of thousands and thousands of Persians with only 300 soldiers. A masterpiece setting and action, with so much action and fight that ends up getting tired. | "300" is an adaptation of the comic book by Frank Miller of the same name, this so everyone knows. What not everyone knows that this story was already shown in the cinema, at least once. The film in question is called "The 300 spartans" which was translated into English as "The lion of Sparta", and is the same as the 300 except it was made 45 years earlier. Although the movies basically have the same development, in the background are quite contrary. The original was more based on the facts and in politics, while this second it recreates more in the atmosphere and in the fight scenes (which in the original gave a tad of laughter).It has generated a great deal of controversy by statements as the rulers Iranian, who consider it a blasphemy. On the other hand, there have been voices that have drawn parallels with current situations in the world. I personally think both are absurd, this is a simple epic action film, which well might develop in time between Spartans and Persians, between Gamesianos and Venusianos, given that nobody can believe what happens in the film. No one in their right mind, of course. By the way, the end is very Braveheart.La film is about Leonidas, a Spartan king, which led to his bodyguard composed of 300 men to face against the troops of the Persian king Xerxes. Given that they were in obscene inferiority, he thought that the only place where you could stop them in the Strait of Thermopylae. On the other hand, Sparta is torn between going to war to accompany their King or follow with a holding his own.In two words "presionante im" is the best way to define this film. From my humble point of view, the better set the history movie, getting to make us feel within a comic. The choice of colors and above all in amazing textures. The fight scenes, as it could not be otherwise, are horrifying, beating all its predecessors (even to the orcs and the light sabers). These aspects are brutal. In the plain negative, the film made me long. Until the first 300000 Persian victims well, but from the nth dead I began to be a tad heavy. My medium Zucchini fell asleep tired of espadazos. The script of a movie whose poster to a muscular Spartan with the spear in his hand hundreds of enemies killed, given that you already have to know by the way, not can criticize what you'll find.In short, impressive epic film about Leonidas, a Spartan king who halted the advance of thousands and thousands of Persians with only 300 soldiers. A masterpiece setting and action, with so much action and fight that ends up getting tired.Besitos.P.D: of course, when it comes out on DVD I buy head, it better if it is the widespread and out zillions thousand Persians died for the cause.Pd2: Almost better birth only Greek Spartan, no? My mother that more poor children.P.D.3: I forgot to comment on the hot body of the Spartans, madrecita mía, that seemed a cavalcade of the gay pride parade. |
2,467 | archivos_extraidos/MCE-Corpus-main/Dataset/82 | David | Truman Capote | 4 | 5 | muchocine | I am an alcoholic. A drug addict. A homosexual. I am a genius | Fortunately I could attend an avant premiere of Capote on Tuesday, February 28. I went with a little scary because as I said above still not I finished reading "A cold blood" and knew that it was going to be present. Of course, the film rebelled me parts that still I did not, however far from doing that my enthusiasm esfumara rather catapulted him which hopefully is capable of generating that discipline in the reading still I can't.Yes I will recommend before seeing the movie what the reading of "Music for chameleons", mainly the preface and "Turns night". In the preface Capote is a synthesis of his life up to that point where you can find the following paragraph: "I started writing at the age of eight, unexpectedly, without the inspiration of a model." Did not know anyone to write. In fact, barely knew someone who read. The fact was that only four things interested me: reading, going to the cinema, zapatear and draw. Then, one day, started to write, without knowing that I was chained from lifetime to a noble but ruthless master. "When God gives us a gift, at the same time it gives us a whip, and it is only intended to the self-flagellation".The movie might be on the performance of the whip after the manifestation of the don. And the whip has no mercy, acts with a contrary energy and intensity equal to that used in the exploitation of the don. In "Turns night", it is a dialogue between Capote and Capote, confesses "I'm an alcoholic." A drug addict. A homosexual. "I'm a genius".His alcoholism is present in the film, might be this. Or maybe the main theme of the film is his homosexuality. It is here where the development of the character in charge of Philip Seymour Hoffman stands. Not for having achieved its Capote is more effeminate man who has ever seen, but for that look.Almost at the beginning of the film Capote makes mention of the way in which they saw and treated him given their modes. Also about helpless which is always felt. And his desire to leave a mark on the world as he knew that the descendent was not in the plans. This look was all that and was present at all times.Regard to ".." "I'm a genius", also, the film this could be about his self-centeredness that was not neglected in no time. Except in the first scene, Capote was present at absolutamtente all the remaining. Nothing was happening behind him. And if it was happening it didn't matter.The time was even managed by Capote, no matter how forthcoming death row was and is there when Capote loses control. When time ceases to depend on him. The film might be this.There is very little presence of music except at parties and on some occasions where the leading role was taken by some trees without leaves, where a shy piano appeared. After execution is when the film accelerates overly leaving that feeling of "was too short" |
2,468 | archivos_extraidos/MCE-Corpus-main/Dataset/622 | Txapulin | Hijos de los hombres | 3 | 5 | muchocine | A very interesting point of departure, the description of a bleak future and a couple of impressively shot scenes is the best of the movie. The story and characters are difumunando by the way. | We have to thank Alfonso Cuarón have led one of the best Mexican films of recent years (and your MOM also (2001)) and the darkest installment of the movies of Harry Potter (Harry Potter and the prisoner of Azkaban (2003)). Now brings a futuristic story that part of a brutal idea: the youngest person on the planet, killed in a bar in Buenos Aires died in the year 2027. This means that for some reason unknown and never explained, 18 years ago that we are all sterile. At the same time, or perhaps a direct result of this unstoppable advent of the Apocalypse, the world is a mess. Do particularly in London, England, where the story unfolds, terrorism campa at your leisure, immigration control is total, and even encourages the cooperation of citizens with all kinds of advertisements, sects and fanatical groups emerging like mushrooms?, on the contrary, suicide is not only legal but that kits are marketed to remove life.This base plot and description of this terrible future is the best of the movie, but somehow it disappoints. Maybe because it gives rise to a history philosophically interesting, although they could have gotten more juice. But being a futuristic movie there are few details that tell us that we are twenty years later: there is no more and better technology, only a few adverts more and the description of a world that goes adrift. In reality we see today's world, with the current conflicts in London rather than in Baghdad. It is true that it makes sense, because that at birth the last child in the 2009 everything is paralyzed, but somehow my I was disappointed.The film has a couple of technical tricks that impress, although they could describe as vacuous visual display, I think that they are notable. One is the persecution with the car backwards pursued by motorists recorded from inside the car. Another is the impressive final battle made in one shot (or so seems it) with camera in hand. In these two moments, and some more, the director gets that we are immersed completely in the history as if we were one character.But despite the philosophical implications of the history and technical boast of some scenes, something from the film that did not finish I get. It is as if all the ingredients are ready to prepare a cake that I had to like much, but in the end it fails something and disappointed. The worst thing is that I can not even explain what it is. Perhaps history in Yes, that ends up being quite simple, or characters, that does not interest me too (certainly the most interesting two, and not going to disclose what they are, they end up being secondary and leave very little).In short, we are left with a very interesting starting point, the description of a bleak future and a couple of impressively shot scenes. The story and characters are difumunando by the way. |
2,469 | archivos_extraidos/MCE-Corpus-main/Dataset/1101 | José A. Peig | Mulholland drive | 4 | 5 | muchocine | Lynch builds its oneiric universe not capricious manner, but very playful, perhaps too much and often gives the impression of being a creation improvised intuitive impulses, which not always acertarán to give a consistent meaning to the Viewer. | To tackle well the value of cinema in its multiple manifestations must take into account that it offers rates and very diverse styles, degrees, areas, to try to define it accurately, in which the type or level of demands presented a huge variety. This so pedantic way to kick off the commentary is an attempt to be more just to qualify a film as "Mulholland drive", because, in one direction or another, it is very easy to fall into the superficiality and hasty conclusion. There are therefore areas: there is a film made to entertain, a film to tell to the conventional mode, a symbolic film, metaphorical movies, movies of social criticism or exposure of thesis and/or ideas of anthropological content, etc, etc, etc, etc. David Lynch likes to do a bit of everything, mezcladito and scrambled so that it is not palatable to all the stomachs. But in this notebook are not valued or are judged the tastes and the stomachs, but raw art, to understand us, much to our regret the same art is subject to rules of industry. First and foremost, "Mulholland drive" is intuitive film which refers and affect your intuitive ability of the Viewer. It is a type of film in which which looks at the screen has an active role in the construction of the meaning, causes and effects of the narrated history, because its creator leaves a margin of undefined and ambiguity that the viewer imagine the rest. This is achieved through the use of intentional loose and with a sense of narrative based on the symbolic, and the symbol is always a representation of another thing to the same symbol. All this implies that, in many cases, it requires the viewer more than what can cover, because not all have the same intuitive sensitivity or the same cultural formation. But, again, the film critic is not judging the tastes and sensibilities, but to analyze and verify Lynch to build a symbolic structure vertebrado in a specific narrative, with the consequent artistic value. And the Parrot must be to filmmakers as Lynch, who like a lot of smart people go. Here, the critic has to be increadibly cunning. First of all, descabecemos topics and errors. There is the quite widespread belief that drew Lynch as a filmmaker "incomprehensible", "complex", "tight", "unclassifiable", adding to the Repertoire expressions of the type of "nor he himself knows what will be his films", "does not tell a story, but improvises without ton or they are" and the like. But all this is an error and, in relation to the film before us, when one says that is complicated or complex or even its same creator understood, all that is showing is that he has not understood and, above all, that it has not been able to enter in the ambiguous game in which only exists a weapon with which to succeed: the creative intuition, in parallel with the process of creating its author. In an attempt to synthesize the idea, say that Lynch is very simple and concrete in the history tells us, but very twisted in the way to deal with it, extend it, extend it beyond the immediate. Replace "twisted" with creative, intuitive, poetic, symbolic, psychoanalytic or artistic. Lynch tells us a very specific and simple story in its most obvious and visible aspects, but avoids the conventional narrative structure to give free rein to their creativity and ability to suggest things without saying them explicitly. And in art it is not essential that the poet understands each of his poems. Therefore, to say that the film is not good because the author does not understand such or which aspect shows mental narrowness and the flat encephalogram that some have posted on the brains. Both "Mulholland drive" as "Blue Velvet" tell a story very easy and simple. The way of narrating - through use of symbols and a mise en scene which refers to the dream world - is giving them a strange singularity that breaks the schemes of many viewers. Let's see. The story: "Mulholland drive" tells the story of a young aspiring actress who becomes involved in a dark fabric around an amnesiac girl's dark past and a band of mafiosi involved in the film industry. From a fairly simple premise, Lynch made up a story that includes a lesbian love story, a sour and sarcastic look at senior executives and promoters of the industry of hollywood and a hidden subplot which holds in the presence of esoteric elements: a mysterious blue key which opens a blue box, a being of terrifying aspect hidden in a dirty corneran elderly couple and the enigmatic "cowboy". At a given moment - after a visit to the theatre where we look at the performance of "la llorona" - the "cowboy" (character of symbolic character who, apparently, knows and holds all the enigmas of the plot) enters the room where the body of Diana is and tells him that "it is time to wake up". Awakening from the dream. Diane is the counterpart of Betty and Betty is the dream that compensates the frustration of a bitter reality that will take Diane to suicide. We must focus on the roles and dramatic place of the characters suffer a reverse translation from the moment that Diane is awoken by the cowboy. Am not going to elaborate because it is not necessary (and the attentive Viewer will see it easily) but for example see as the film director in the world of Betty was victim of disloyalty and humiliation in the world of Diane (again, the counterpart of Betty) that same character is who it is birlando the bride to her. Camila captures all the attention, success, and fame in the world of Betty (under the name of Rita) it was a you disoriented and victim of a conspiracy for another Camila. I.e., there is a central character who is Betty/Diane (Naomi Watts), on which are built two universes of facts and opposite meanings, but complement, the universe that happens prior to the awakening of Diane is, say so, a "revenge" to everything us shown from that point onwards footage. As we see, what makes Lynch is to narrate a reverse structure, making it difficult how easy. If the film began with the death of Diane after hiring the services of a bully to avenge his beloved Camila, would be much more easy guess that the narrative below is a reflection of frustrated hopes and dreams. But if Diane dies at the end, who dreams in reality?. And hence this key, and it is a constant of the cinema of David Lynch. Everything we see in the film is part of a dream with two different levels. A circular dream that extends according to the data provided in the visual representation, most intuition of the spectator who enters a maze game, either for losing in the enigma or to try to give a more or less logical way to seemingly unrelated aspects. Where it begins and ends the film really?. Betty is a dream of Diane or is Diane Betty nightmarish?. Blue key and the box symbolize the door between the two levels or worlds. Be terrifying aspect seems to hold the magic that makes possible the translation. The cowboy is the gaze cold and distant from the diosecillo which directs and is aware of everything that is happening. In the dream world, "Mulholland drive" is an intentional chaos that does not need a logic to justify himself as film creation. Therefore not worth saying that it is a failed film because it has too many loose ends and not explained aspects. Summing up: history of lesbian love, plot of suspense with mobsters and people of the cinema as an excuse to develop a sour view of high society Hollywood and symbolic elements that provide the backbone as a whole towards oneiric treatment, in such a way that everything is subject to this fascination by the disturbing and "vaporous" nature of dreams. Now however, this mixture does packing?. Is it lawful to mix made real and subject to the logic of the State of vigil within elements of the way in which does it?. For example, the death of Diane (one of the last and most disturbing sequences of the film): the "real" fact is the suicide with firearm, which appears next to an onírico-simbólico element; the elderly couple. If we look at the laws implied in the very nature of the film, it is lawful because in the first scenes that same elderly couple already played a symbolic but in a reverse role. There is a coherent continuum, in which each piece plays its role. With these examples, I do notice as Lynch builds its oneiric universe not capricious manner, but very playful, perhaps too much and often gives the impression of being a creation improvised intuitive impulses, which not always acertarán to give a consistent meaning to the Viewer. But the same Viewer is who must do the rest of the work, requiring the movie, which raises it to category of artwork if we attend their exclusive nature arising from a mind of singular creativity. As the work of art lies in short, in the infinity of its meaning, as it extends to the infinite intuition of the Viewer. The complicated nature of "Mulholland drive" is not history that counts, but the structure and the elements used to tell, which leads to a mixture explosive though not as excessive as it seems (without ceasing to be so), and from the more industrial than merely artistic Prism (i.e., the Prism subjected to rules and conventions according to a model commercial and also aesthetic), "Mulholland drive" presents some problems that prevent it a perfect film. As for the characters, as we have already said, much of them have a symbolic role (two elders, the hidden man in the corner, the cowboy) and all the remaining weight rests with the two female profiles, both managed quite fluently and occasionally have charged a penetrating sensual scenes. Formally, and ending, the film succeeds in an exalted degree. Since the use of color, the interiors luxury in contrast to the harshness of an old motel room, the interior of a theater, the light that accompanies the world exciting Betty as opposed to Diane, world's darker tones this millimeter calculated for optimal visual representation in each of the States or within levels. In other passages, reaches an atmosphere of dreamlike through small oscillations circular in the close-ups and flat sequence showing a face, a street or the interiors of a room, creating the feeling of sleep which covers all the content and style of this unique masterpiece that can do not like everyone, but what this without saying is its originality and the fact of being the expression of a single filmmaker. |
2,470 | archivos_extraidos/MCE-Corpus-main/Dataset/3152 | Bruji | Promesas del Este | 2 | 5 | muchocine | Don't like the sweetened noveleta of Russian mafias hundred in London, that, regardless of all kinds of truthful documentation thereon, is limited to collect topics for rave in a story unable to cause the slightest interest. | Powerful management and brilliant staging for a noveleta sweetened mafia, which, after an intensive course of Russian language with simultaneous translation, little - or nothing - has to offer. Especially recommended for people excited with David Cronenberg succumbing to the seduction of the conventional cinema, with Viggo Mortensen's nudes and the ass of Naomi Watts on bike. David Cronenberg, Canadian film that with so many and such good scares entertained children of the lovers of the fear of an entire generation. Probably, the director made worst film adaptation of a novel by Stephen King, the dead zone, - the old things - we both liked. And that, after a remake - not better - the fly, classic terrifying favorite of the undersigned, he returned to frighten the patient Viewer with those foul things than Vinieron De within. It is not known where, to vomit. Just when the geek universe relamía taste with prestigious titles such as Scanners, Videodrome, Existenz, or Spider, the creator of anger decides - well thought out - there is no best terror to which comes from the inside of the man himself, so it should promote psychological transformations, exploit the double morality of his flat characters and shoot a "normal movie"A history of violence, which reaches a considerable size which increases - if possible - its valuation. On the present occasion, Cronenberg is wrong of history and, what is worse, screenwriter. To the even a plot of mafias, covenants and families, the histórico-cinéfila memory back flight towards reliable havens of better times and enviable productions, landing in the dangerous Harbor in which filmic odious comparisons are unavoidable. In this exercise, is easy to observe that Mortensen, nude in a similar scene of sexual violence, transmitted much less the Viewer to which Robert De Niro, really creepy, with all his clothes back (once upon a time in America, Sergio Leone); that the unsustainable situation that leads to the infatuation of the bad with the good girl boy, aborted by his folly, front to which Martin Scorsese built for one of ours; or that peace between families shot by Coppola, that it will be running rivers of blood, raises more tension necks cutting bleeding GLUGs. It must be because violence always suggested was more disturbing than explicitly, albeit Cronenberg who represents. It must be because "the filmmakers are not alchemists, and excrement of chicken (scripts as Eastern promises) can never transform into chocolate". Over one hundred minutes that make up your footage (which will seem thousand six hundred), the slowness and the solemnity (which, most citing the Wilder God, never were once synonymous with depth) they come to despair. The inadequate use of the excellent soundtrack and non-existent intrigue, suffocates the surprise factor ahead of the events, which is why the three secrets that preserves the story will be unveiled with predictable sharpness, without recourse to the translation of the newspaper, nor to the ridiculous question of "Need to know who you are" with which culminates the morbid roll with irresistible Hitman. And, if it does not convince the sweetened noveleta of Russian mafias hundred in London that, regardless of all kinds of truthful documentation thereon, confined to collect topics for rave in a story unable to cause the slightest interest; Neither does the laughable plot parallel adoption, closer to an impossible of Magi that gift to what dictates the Hague Convention in this area. We were, therefore, with the technical aspects of an impeccable production, among his sober photography; with the always pleasing stage presence of Naomi Watss, with interesting interpretations of the secondary actors; and with a director who, at times, it reminds us genuine ingenious wild Peckinpah brutality. |
2,471 | archivos_extraidos/MCE-Corpus-main/Dataset/3502 | Andrés Pons | Morbo | 4 | 5 | muchocine | The film is dense and slow immerses us in a pesadillesca narrative in one of these really refreshing rarities of the Spanish film. | One of the best Spanish filmmakers which soon premiered Oviedo Express has several rarities to rediscover in his filmography.In the 1970s he went twice to the popular pair of singers in the aforementioned morbid for the following year return to work in the film adventures to the Devil with love.A year later he insists on terror with the she-Wolf and la paloma where gathering an impossible partner, the protagonist of the saga HALOOWEEN "DONALD PLEASENCE" and neighborhood film presenter Carmen Seville. Centándronos in what we are discussing the author get at all times a rarefied atmosphere that transmits unrest from beginning to end. With similarities to the last House on the left of that same year. Especially because of its explosive final part where the violence makes an appearance with rape and torture filmed very similarly to the documentary.Ana Belén shows his good artistic skills not in vain is a respectable filmography with titles of some success in the Turkish or libertarian passion. Her husband plays perfectly to a shocking Maria Vico that lead shortly after the bloody ceremony cast.The film is dense and slow immerses us in a pesadillesca narrative in one of these really refreshing rarities of the Spanish film. A 7. |
2,472 | archivos_extraidos/MCE-Corpus-main/Dataset/2051 | Antoni Messa | Zodiac | 5 | 5 | muchocine | The film more complete and mature of David Fincher. He broke with his usual excessive slope and, despite resorting again to the figure of a serial-killer, distances itself totally from the style used in the brilliant Seven. | Zodiac is, by far, the film more complete and mature of David Fincher, one of the most interesting and controversial today's filmmakers. A title that breaks with the usual excessive slope and that, despite resorting again to the figure of a serial-killer, distances itself entirely from the style used in the brilliant Seven. Behind Zodiac lies another way of dealing with the genre, where austerity and thoroughness are paid a special role.Indeed he has not invented anything new. He has simply sought other narrative resources had never used so far in their cinema. And, in doing so, takes as ideal models sobriety retailer that Alan j. Pakula reflected the journalistic investigation into the Watergate in all the men of the Chair and tone, aesthetic and documentary filmmaker, with which Richard Fleischer orchestrated his wonderful the Boston strangler. Like their referents, Fincher attends truthful otherwise marked to American Society of the 1970s; that of a serial killer who caused panic and anxiety among the inhabitants of a large area of the San Francisco Bay. There, just in the County of Vallejo, a type without scruples, nicknamed Zodiac, started their evil actions in the summer of 1969 and, with their multiple crimes, kept in check to the police and the press for many years. Today, the identity of the murderer is still unknown.Elegant, intelligent and meticulous; in a Word, masterful. Film classicism emerges in each of the scenes of Zodiac. There is not an only detail that has no waste. Everything is controlled until the last millimetre. Taking into account that the story takes place during two long decades, their forced numerous narrative ellipsis are an example of the perfectionist manner with which the director has raised its product. These temporary jumps (, sometimes encompassing several years at a single stroke), never is an out loose along the way. Even, at all times and in a subtle way, the socio-political in a country description is present at different stages. A wonder.And, unlike other similar tapes, instead of focusing mainly on the personality of the killer, he explores the psychological effects that marked the life of those who, during this lengthy period, were the footsteps of the elusive Zodiac. Is why the objective of the Chamber of Fincher rests on the figures of David Toschi - the Royal inspector of police that inspired Peter Yates for Bullitt-, Robert Graysmith and Paul Avery?, a young cartoonist and a journalist for The San Francisco Chronicle, respectively-, three individuals that are more involved in the pursuit of the criminalAn excellent way to demonstrate that, apart from those who murdered, Zodiac - with their provocations and encrypted games - also got other types of victims.More than a thriller to use is a film that, at two different levels, analyzes the causing effects of an obsession; one born in all Hunter Díez to get to their prey at the price which is making such efforts in the sole aim of his life. And I say this on two levels because it apart from the self-destructive portrait of the personality of the researchers and their direct environment also explores? but with less depth - in the mind of a killer ready to kill for the pure pleasure of killing. The difference is that Zodiac always managed their purposes, while their crawlers only knew the powerlessness of confronting a real ghost. It is not surprising that, with these constants, the evil Zarov is a title cited several times in the film. And is that, in addition to being preferred film the killer (as counted, a film buff in every rule), defines perfectly the relationship established between the hunters and their prey.More than 2 hours and 40 minutes of film in its purest form; Cinema of this that can be enjoyed on very few occasions. And is that, in this calibration (and anything heavy) footage, is a bit of everything. When faced with intimate moments, Fincher takes his time and relame (somewhat sadistically) with the coldness and distance which handles its protagonists. It faces the scenes of tension with a majestic correction; therein, is conspicuous by its absence the artifice employed on other occasions by the director. At no time looking for cheap tricks and spectacular effects, even when plasma on-screen killings by Zodiac, these are reflected so very realistic with which caused the viewer impact is even greater.Everything is perfectly embedded in the film, starting with performances contained, among which deserve special attention the creations of Jake Gyllenhaal and Robert Downey Jr., two men of the drafting of The San Francisco Chronical who, with that case, radically changed his existence; the artist and reporter, both trapped by the same obsession, but affected physically and mentally different magnitudes. And this without diminishing the sobriety with which a chameleonic Mark Ruffalo gives life to the own Bullitt in person.A model work which, without a doubt, opens wide to the classroom teachers to a new David Fincher. A superior and intelligent, work whose maximum charge, from now on, already can go tuteando is with the great classics of the seventh art. Finally, the clear successor to Clint Eastwood already has name and surname. Not in vain, Dirty Harry, as well as being inspired by one of the constants of Zodiac, is the subject in the film of a well-deserved tribute.As final figure, I quote the other day I saw The Zodiac, an American film, produced a couple of years (not released in Spain) and based on the same story picked up by Fincher. I know that comparisons are odious, but in this case, inevitable. It is curious to discover how, with an identical material on the table, the director of the Club of the fight manages to break molds with an unsurpassed exercise in style, while another filmmaker, a such Alexander Bulkley, not beyond a simple thriller riddled with lots of television connotations. |
2,473 | archivos_extraidos/MCE-Corpus-main/Dataset/2878 | Kiko de España | Believers | 1 | 5 | muchocine | The touches of fantasy, it seems there are, are so casposos, uncouth, boring and crappy that they go unnoticed, although the end is for despollarte of laughter. A cluster of absurdities script without any interpretation. | Daniel Myrick co-directed the project of the Blair Witch, an icon, a classic and a true horror movie. This does not mean that the kid has talent, because seen his new telefilm perhaps the criterion put him teammate Eduardo Sánchez (I very much doubt, that was a flute that rang once and will not sound). But removed them the bailao).Believers, a "direct to dvd" is a failed attempt to create a realistic terror tells the abduction of two doctors by members of a sect. They are ninety minutes of garbage yet I fail to understand as I held my. But if the movie are passed in a single toilet!!!The touches of fantasy, it seems there are, are so casposos, uncouth, boring and crappy that they go unnoticed, although the end is for despollarte of laughter. A cluster of absurdities script without any interpretation. It is what is said, fucking shit. |
2,474 | archivos_extraidos/MCE-Corpus-main/Dataset/2867 | Hombre Lobo | Los ojos del mal | 1 | 5 | muchocine | Empty, decorated artificial characters, bloody and "imaginative" deaths and an almost endless series of clichés that occur without pause, showing aspiring filmmakers that Yes is possible to build a film-based topicazos. | Before you say anything, it should be remembered that the eyes of evil (2006) was the first film of WWE Films, a production company created by the Federation which sponsors this show of acrobatics homoerotic is American wrestling at the time. The producer, in fact, was created with the sole purpose of launching a series of commercial films that opened step to the stars of this show in the world of cinema. After this first horror film, the WWE Films has released other two tapes, The Marine (2006) and The Condemned (2007), covering the genres of action and futuristic thriller, respectively. Worth noting, however, that the employment of wrestlers in movies is nothing new, because there always has been a never-ending parade of luminaries who took their first steps between the twelve strings, such as Hulk Hogan, Roddy Piper, Jesse Ventura or the latest The Rock. The use of these stars at the top of the cast is a resource treacherous, as wisely as a friend of mine once said, every are alive (1988) there are ten Suburban Commando (1991).At the beginning of this story see how a COP is defeated and mutilated to try to catch the serial killer Jacob Goodnight (played by the well-noted Kane and whose name could well be of a wrestler of truth), famous for his obsession with eyes, which starts its victims to then retain them in the brine. Several years later, the same agent of the Act now prison guard, was hired to monitor a group of youngsters convicts that should work restore an old and shabby hotel old if they want to reduce his prison sentence. As if the fact that a group of convicted juveniles Sevill in a huge building with only a disabled guard to monitor them were not already a monument to the unlikely, here attend a surprise twist: the ruins of the hotel are precisely the refuge of Jacob Goodnight, who is more than happy for fresh victims to add to his collection of eyeballs. It is clear that this initial, ridiculous situation until over not being able to, not you can keep for a long time, so the film quickly embraces the typecasting and clichés of the genre to convert the characters in a gang of youngsters hiper-hormonados that transforms that work like at a party worthy of the most crappy Friday the 13th sequels (1980). If something must be acknowledged him to Gregory Dark (pseudonym for a man who led a huge number of porn movies and a video of Britney Spears) is that he has managed to mix all the ingredients of what is a horror of these film are produced today by the hundreds: empty, decorated artificial characters, bloody and "imaginative" deaths and an almost endless series of clichés that occur without pauseshowing aspiring filmmakers that Yes is possible to build a film based on topicazos. From the unbearable victims cartoon (conveniently exploited in their sexual appeal) to the inescapable references to the traumatic past of the murderer and even a turn final surprise showing come leagues. The fact that history somehow reverse what one could expect from the characters and their final destination (basically who survives and who does not) is not enough to recommend this waste of time. We are talking about a genuinely bad film that repeats and repeats most hackneyed commonplaces of the slasher, but without irony.This leads inevitably to the saddest of all: the own Kane, an architect that happens throughout the film breaking walls, making stews and putting a laughable bad face which makes it seem as if she were constantly smelling shit, a puppet with absolutely nothing of the charisma of other murderers of the past, an albino gorilla that gives more laughter than anything else. It is true that a film like this do not expect much, but I can imagine that having seen so many horror movies inevitably end up demanding more of the things. Ignore this waste called the eyes of evil is obligatory for any viewer fourteen years of age or older. I, personally, could pass this thing. |
2,475 | archivos_extraidos/MCE-Corpus-main/Dataset/3356 | Matías Cobo | El Orfanato | 3 | 5 | muchocine | It offers typical Alchemy in which appearances of ultratumba mingle with past tragedy that its nose in the contemporaneity of the living. | To give you a fright is very different to spend fear. While a feeling confined to the immediacy of the startle, the other accesses more profound and enduring our psyche. This truism carried the land of cinema, a film can frighten because you get to concatenate several shocks with greater or lesser fortune, but truly difficult is spook, move a sense of anguish able to stay long after the screening of the film. The successful debut of Juan Antonio Bayona in a long so be on the shelf of the tapes of scares. Following the footsteps of the references that have sustained the horror genre in recent years, as some of the Japanese productions recycled by Americans, the orphanage does not depart from conventions set by films of similar profile. It's already typical Alchemy in which appearances of ultratumba mingle with past tragedy that its nose in the contemporaneity of the living. The type of films that deposit much of their success in the final surprise. That same viewers more malevolent threaten to tell the friend looked at the rear of the box office to purchase your ticket. If the surprise of the epilogue is at the height of the previous narrative, and offers the sought after emotionally charged, the result usually like. In my case, I don't know if because the whole seemed perfectly schemed to take me up to this point, not I thought it was the most notable of this good opera prima.However, yes would highlight how important it is the existence of such tapes between our industry. I don't know I think better way than this, a good thriller or of good a horror movie as it is the case, to ensure that our film exceeds the sometimes unjust labels of the past and can, thus, lift head and attract audiences with similar ability to call than larger industries. Because, although I have always defended this space thing is good cinema, come from where you come, nor I have concealed my joy when the movie quality has been cooked at home.Good decor, careful aesthetics and solvents camera moves technically endorse this tape also bordering to a great height in the artistic aspect, with a cast headed by Belén Rueda, who demonstrates the prosperous life that can also be behind more secure and accommodative television. In order that, without having me dazzled as many of those who recommended me to her fervently, I liked this film blessed since its inception with the timely support of Guillermo del Toro. |
2,476 | archivos_extraidos/MCE-Corpus-main/Dataset/1593 | Ivan Sainz-Pardo | Bosque de sombras | 3 | 5 | muchocine | Do me the favor run billboards of movie theaters in your city to look for her to go to see her. Opera prima a renowned short film maker such as Koldo Serra, already deserves if entry to discover it in the film. | First of all, if they have not seen yet, do me the favor run billboards of movie theaters in your city to look for her to go to see her. Opera prima a renowned short film maker such as Koldo Serra, already deserves if entry to discover it in the film, which is the ideal place for the objective enjoyment of a work like this. Comparisons did not escape anyone, that is the reality, and in addition seeks originality in a desperate and anxious industry under this vomiting of remakes, sequels and prequels American. But by this same is remarkable an original proposal such as the raised here. As remarkable is, without doubt, a mise en scene enveloped in a successful claustrophobic atmosphere thanks, in large part, to a magnificent and planned work in art direction, recreating lovingly this Northern landscape and the rural environment of the deepest Spain of the 1970s. A virtue is the director himself, to recognize and take some cinematographic intentions clear, specific, inspired and influenced other referents of such magnitude as it is the own Peckinpah. References and comparisons here already invite one to dream of cinema of truth and are welcome. Let's say that the sources, in this case, already support starting the story you want to tell.He has been criticized from some parts the script, and even some of the dialogues or interpretations, but it is true that the demands of the languages involved in the shooting and the plot of the film are notable, and here the problem of having to English actors chapurreando Spanish and Hispanic actors to advocate as best they can with the EnglishIt is that at the end of everything, they end by bending you the movie as well as allowing that some of the actors are dubbed themselves, which almost always ends in something close to the catastrophic. I think the only thing that happens perhaps is, some isolated moments there in some other uncontrolled downturn in the overall pace of the film which can, in turn, leave the viewer out and hinder the final climax. But as yet, the film stays full until the end and will give us also a couple of memorable scenes and a clear sense of sobriety and good job behind the camera. "Forest of shadows" a very decent debut that brings together a great photograph and talent for a story with their own style. |
2,477 | archivos_extraidos/MCE-Corpus-main/Dataset/2206 | Emilio Calvo de Mora | El número 23 | 1 | 5 | muchocine | The number 0. Schumacher has added another fiasco to the inventory of fiasco leads to slopes. | Weak pulse, alien to the film made him have a name on the payroll of filmmakers with ideas (Tigerland, falling down or customer), Schumacher added another fiasco to the inventory of fiasco leads to slopes. If notable are mental holes of Batman Forever and Batman and Robin, to name but 2 of the most sound and unfortunately recordables, we now have the number 23, more than proof talent dissipates just like a carbonated drink exposed to the warm sun of the morning on a balcony. The craftsman has become operator and the interesting Crassus worker director. This new approach to the supernatural, theme that is pleasant already from its promising beginnings (flatliners, lost boys) is nothing more than a quirky and trumpeter triples conjecture argument chabacanamente developed from what, in other hands, another enthusiastically, could have given a decento film.It is the comic, say, of the ordinary man in a man that a dog bites or cartoon of a man that is reflected in a book that suspiciously brings his childhood and relevant recurrence of a number, bloody 23, that he haunts in the fringes of the summer and the coffee-grounds. Jim Carrey, so outstanding in other recent tapes (the Truman show, forget me) now I think a comedian in a slapstick with a veneer of seriousness. And it isn't serious. It is bad.This inconsistent, trite, twisted and deslavazado monstrosity of film around a number has disappointed me so much and I have suffered so much with the time spent in the recognition of my error I will not write more. |
2,478 | archivos_extraidos/MCE-Corpus-main/Dataset/1870 | Alvaro Oliva | Shooter: El Tirador | 3 | 5 | muchocine | Interesting proposal for all fans to this genus, which they like escape and amaze with the sniping skills. | Mark Wahlberg is presented as the star of the film, and I must say, it plays more than his role.After his recent Oscar by "Infiltrators", the protagonist of "Boogie Nights" embodies a sniper of the United States, who, after being away from the military world, is recruited as an Advisor on a mission. What he does not expect, is that they tend a trap, which is why the rest of the film will try to prove his innocence, and enforce the (his) justice. To this end it has Michael Peña, who co-starred in "World Trade Center", and Kate Mara as allies.In every action movie, always has to be a bad thing, and in "Shooter: the shooter" this role embodies it Danny Glover.Basada in the Pulitzer Prize-winning novel, the new work of Antoine Fuqua ("Training Day") is presented as an interesting action film, in which the story takes place irregularly, in a script that could have given more than itself, but despite that makes us get involved in the crusade of Bob Lee Swagger (Wahlberg), all this sprinkled with large scenes where the smoke, fire, bullets and even Napalm, have his appearance.Therefore, "Shooter: the shooter", is presented as an interesting proposal for all fans to this genus, which they like escape and amaze with the sniping skills. |
2,479 | archivos_extraidos/MCE-Corpus-main/Dataset/2933 | Rafa Delgado | Los Simpson: La Película | 2 | 5 | muchocine | Like half of the fans, and will disappoint the other half. It entusiasmará to easy laughter, and above all will be very enjoyable for the smallest of the House. Lucky. | I do not deny that the Simpsons is one of the best series that has borne him the television throughout its history. Nor do I deny you of great moments that made me pass this yellow family throughout my life. One of its great advantages is that the vast majority of chapters pararías not see them (believe me, is a certainty: Antena 3 puts us to test for millennia.). But series is not having a good time, in what regards to the quality of his scripts. The plots are becoming increasingly silly and jokes are becoming increasingly bad characters lose charisma and bellows as they go through the seasons. And just at this moment, the film of the series in theaters around the world, ready to make a hole between the most blockbuster of the summer (because it has been designed for that) lands.And note, it is quite noticeable in the quality of the product offered by the time in which this has come.The Simpsons: The movie, felt me very anecdotal and unreal. One parida mildly funny and entertaining, which fortunately did not offend nor deceive anyone, but overly light compared to the chapters of the golden age of the Simpson family on television. A few lol, jijiji, other many pffff by - most abundant - bad jokes, and some other sonrisilla, caused mostly by the grace that makes you see some worthy characters from the series on the big screen.But and already is. Some other gag lucky and anthological (Spider-Pig, the integral naked Bart on skateboard, home and end credits), and let for.Like half of the fans, and will disappoint the other half. It entusiasmará to easy laughter, and above all will be very enjoyable for the smallest of the House. Suertudos.se thanks be a film, and that rather than the feeling that you are watching an episode long and stretched.He is also appreciated that it is more or less to the height of the average quality of the series, and it is, to some extent, worthy of it, but one has not been avoided this strange sweet and sour sensation out of the film. and forget much as seen after five minutes. |
2,480 | archivos_extraidos/MCE-Corpus-main/Dataset/4112 | Emilio Calvo de Mora | Los Crímenes de Oxford | 2 | 5 | muchocine | What else would like to I have enjoyed. Even by the Church, with which so many good times I passed, but not convinced at all by these crimes. There are, however, very good film inside, and would be a shame not to enjoy their successes... | «What we can not talk about should be shut up»(Ludwig_Wittgenstein,_Tractatus_Philosophicus) - partly, only in part, the Oxford murders refers to a classic film, inspiration hitchckoniana, tiling with such technical cleaning that strike others. The disaffection towards the end result and what makes this chronicler of his vices condemn it to oblivion is his film little spirit, bearing in mind that the novel by Guillermo Martínez, premio Planeta in Argentina, is a thick, go thriller where the philosophy of Wittgenstein, the problematic of language and considered killing nature as a game between Pythagoras and Moriarty are assembled as chips fundamental in the construction of the plot. As you do not exactly know what to think about these macerations and disquisition of pure philosophical mind, the film of Álex de la Iglesia weakens that verbal flank. It stuns the continuous Lair by Kabbalistic, by the cryptic. It endures one the torrent of sophistry, the unquestionable intellectual root of the project - both the literary as the visual - but it is hard to assimilate the nomenclature, sounding phrases, all these dialogues operatic, perfect some, jerks others with whom writers (the own of the Church and his inseparable Jorge Guerricaechevarría) lead the mystery, merely detective part into the realm of the academic thrillerinvested the pomp and the patterns of the novel to the Agatha Christie or similar. The laudable business of Basque director sinks by the arid texture of the spot, by the bizarre sequence of coincidences and brittle ground of mathematics, are not (in my short opinion) claim attractive enough to lift a film narrative. It overwhelms this brutal tsunami of concepts that the lego Viewer sound you to validation of the COU, a sort of intensive master of philosophy to five euros and a half. You can ignore the detail, that commitment to fill all of mathematical culture, say, but something is lost then, something beautiful, not put in doubt. I read the novel murders, here the Oxford murders, when they left in Spain. I enjoyed the way in which enjoy the puzzles, the entanglements, the cluedo game. I also enjoyed the terminology China shop of the enrevasado world of equations and unknowns despejables only at the end of the day, but a good writer, in its own way, is a semantic filmmaker, a kind of demiurge of the verb which puts scenes mental onscreen who read. Kind of.The American whodunnit is a genre in itself and Garners legions of followers, public accomplice to the challenge of invest Cap a Sherkock Holmes here nihilistic and depressing (Absinthe and hobbies outside) and navigate complex waves of clues, corpses and all the classical paraphernalia. Church is respectful to the extreme meet ex officio and talent certain commandments inexcusable, but ignores master Hitchcock, who said have had in mind in the shooting, and placed too many implausible or unnecessary elements for fluid during the forced plot. Here we advise commercial smell of the director, which strained two or three scenes of high erotic voltage (a Leonor Watling carnal and explicit, suffering the onslaught of a golosísima camera that will rotate to focus with voyeur delectation an ass so morbid as disposable for the "serious" tone of the film). Elijah Wood is also willful and warns an extra enthusiasm, but do not squeeze the potential dramatic of his character or transmits credibility. Not the Church strives to get his deadpan vein, the coarse humor that we bienacostumbró, and instead displays academic ways, Orthodox, alien calligraphy altogether lines to what truly motivates his creator ego. As this is not the reason why the film not curdled. It seems more like an assignment (which I doubt reading the wonderful blog of filming and what there counts) than a whim of director already fully aware of his master in the craft. And lacking humor, especially that the humor of yesteryear, in one of its many variants. Is it missing lack harmony among the exposed pieces are wished a freer driving of the mystery, which is always corseted by the fallible instrument of language. That, at the end and after, Wittgenstein was talking and that just the poor Church falling. They say the good languages that Manchu awaits you. Veremos.A this cam except burning, some scenes of undeniable talent: the Museum of counterfeit parts, the aforementioned plano-secuencia and some memorable phrases halfway between the enigma and poetry that permeate as gold dust in the memory and us afanamos because not end up forgetting their very short text.Perhaps only remember these Oxford murders by a scene in which the camera literally sweeps the scenic space and in a plano-secuencia dinánimo brings together all the protagonists of history and by the presence of Leonor Watling and the flamboyant apron that puts everything in its place. Or alters it it already hopelessly. It is a pity that the actress not be him has demanded more or that its role does not possess more semantic chicha. The other does not you have any discussion and this review aims to ignite the libido of the staff. Elijah Wood in the arms of the voluptuous Watling is a muchachillo with luck and one fears, to force much open our eyes, that the woman engulf it or will make it a poor bag of bones. Anyway, he didn't finish I there, but the language has forced me. |
2,481 | archivos_extraidos/MCE-Corpus-main/Dataset/220 | Tito Chinchan | Cuando un extraño llama | 3 | 5 | muchocine | Popcorn horror film. Not very scary, but it is not to belittle it as an option in these days of bad horror movies | Wow, that more crappy poster made. You would sell more House which develops that the cutrez of this mobile. In addition, reminds me a Japanese film called "missed call" that found me more bad than dog meat.The film is a kangaroo that goes to a house where lost Christ gave the three voices, owned by a wealthy doctor and his wife. Its mission is to care for her two children that night while their friends go to a strange party that burned some editor in the purest style KKK. The House is amazing and is automated completely, including a garden with pond and giant Aviary inside. Suddenly, the phone would ring and no one answers on the other side of the cable. Several calls and finally the voice prompts by the status of children.Well, you what want tell you? The film is apparently a remake, but that gives us equal, given that we see the film as if it were new not for speculating about which is better and which worse. Theoretically is horror, and moments that give something of fear as the end. It is very welcome the way in which was recorded, given that photography has taken care and there are small details that are very well. The dead that appear are where they belong, and more insinuados than anything else. That I liked. History not so much, but hey, that nothing happens. And best of all, the House in which the story unfolds. With the exception that did not live in it although I pay, it seems incredible. Above all the issue of having a greenhouse with pond in the middle of the room.In short, horror of popcorn. Not very scary, but nor is it to belittle it as an option in these days of bad horror movies. |
2,482 | archivos_extraidos/MCE-Corpus-main/Dataset/1201 | Rafa Ferrer | Apocalypto | 3 | 5 | muchocine | Anyway, he expected less and I've seen more, I don't know, it doesn't disappoint and performs, cannot be said more. | Again have Gibson contándo on screen a story of redemption, the truth is that I do not understand this man, this mania for films in languages there is no who understood, but in the end, the remains, and we see them and want to understand something on screen, blessed subtitles.We must thank him at least a picture perfect, full of beautiful landscapes, and a simple story, too much for my taste, again, full of emotive moments (as in his previous film) that hardly can delete from our retina, a linear argument, calling for action, adventure and entertainment.More than one controversy to avivado the hardness of its images, some camera in hand to give an air of reality documentary, accompanied by a soundtrack that infests Aztec rhythms (that tube sound ringing over and over again).He did not want to end without highlighting the resemblance of the protagonist with some Brazilian Star of the Barça. Anyway, he expected less and I've seen more, I don't know, it doesn't disappoint and performs, cannot be said more. |
2,483 | archivos_extraidos/MCE-Corpus-main/Dataset/2953 | Tyler | 300 | 4 | 5 | muchocine | A very film adaptation for a story to pedia screaming to be once. | Adapt is a difficult exercise and easy at the same time. The cinematographic language is closer to the of the comic than to the literary, which not signifia that is the same or that it looks much, and more if we talk about Frank Miller, who used many literary devices to define their stories.The case of 300 is very specific because the story is very specific, is something very specific. Attack and defense. Point. But that is not bad, this is very good, because it gives the author a big canvas in which Curran. The history of the 300 SPARTANS Leonidas fighting the Persian king Xerxes troops is real, or at least seems. But the reality need not be very film (or very comiquera), the obligation of the author, is therefore not be faithful to the facts and turn them into something kinetic.The story about the comic, is in this case, already pretty film by its rhythm and its duration. It is relatively easy to adapt and Zack Snyder does absolutely fantastic transfer work, making a movie of a fucking great comic cojonuda.300 has a fast-paced beat and a script very consegudo, despite some errors of structure and adaptation. For example the fact to get a plot on the wife of Leonidas of the context of combat, that you a little breaks the rhythm of the constant tension between the Spartan warriors. It is possible that a subplot was necessary to enrich the movie, but I think that this was not the most appropriate. The subplot of Ephialtes is perfectly built and does not disturb anything, for example.SIN CITY, it opened the way to adapt to Miller grace to his success, that we should expect sequels, some of them directed only by the same Miller. 300 uses the same technique as one, perfected and tailored to the plot, with more copper coleres and contrasts more dry. This was the most efficient way of bringing this story to the big screen, because exigia a modernized version of the movies by Don Chaffey esapecie. It is a game of artifice, unreal, extreme and violent. Almost musical, is a species of concert rather than a movie. You can see the movie sequences, and alone they make sense. Because they work so many directors now. They work their movies by pieces, like pieces of a puzzle that you works if same. As a mosaico.300 it is a very good movie with some elements that make it sideways as its extreme duration for a movie that may require something of brevity by what it is telling.The action is fast but the plot sometimes slow and the script suffers a little. In spite of everything is one of the best and most fresh movies of the year, easy to see and easy to enjoy. If you're not a person requiring fidelidada historical facts, which I repeat, in film should not be, the reality can be a fucking great basis for a story, but its development does not have to be kinetic. Who criticized the movie for its lack of historical accuracy, that don't see movies, and read history. Highly recommended thing on the other hand. It is a movie to watch in the cinema, part of its charm is there. It has that old movie made for the big screen feature. Well used technology of today is the cinemascope of our generation. If not a well, you get a real cagada.300 is an easy comic adapted by the fact that history is there, it isn't as adapted, for example, SPIDERMAN, in which you qye have many things into account, because there are thousands of comics, villains and moments. Spider-man is, therefore, less film and, possibly, more television than film, because there is much to condense. 300 for tells you a story in the same comic, and point to the contrary. And it is not because it is a graphic novel, because not a comic is easier to adapt, hell from failed and from the beginning was I knew fallaria. It is not by the adaptation itself. Many say that this story was"to Tim Burton". Tim Burton had happened the same, because a story is not good for the aesthetic you give, a story begins good crew in the script and not to give an aesthetic very cool is saved. Hell, the comic is long and has many moments of research, many coversaciones which, in the language of the comic, you can reduce to two or three drawings and long dialogues. But in film have to dilate, because one doesn't read at the same pace that listens, and the concentration is not the same, nor the image fixed distre both which is in motion. FROM hell it was endless, slow and vague.The same will occur with WATCHMEN, or posiblemnte worse. WATCHMEN is a story that only works in the comic, why is a classic. It is the perfect story for the perfect medium. So dense and complex is that you can not put in two hours of movie, you need much more. WATCHMEN will be unsuccessful, as opposed to 300 which is a superb, fun, extreme work and satisfactiria as a film.Very good. |
2,484 | archivos_extraidos/MCE-Corpus-main/Dataset/3669 | Iñaki Bilbao | Arma Fatal (Hot Fuzz) | 3 | 5 | muchocine | Curious and good detective comedy. | Very curious and entretenidísima British production, which combines to perfection pure comedy with the adrenalítico police action film.It is beautiful at all times, being full of jocular, hilarious, situations as well as stunning action scenes, very well shot all of them.The performers are great, with a great interpretive British cast, which covers practically all ages (around parade, as well as the main character, young duo, illustrious veteran performers such as the always excellent and commendable Billie Whitelaw, Jim Broadbent, Edward Woodward, or Anne Reid). They are that they have fun as nice, because their roles distilled socarronería.Effective staging of Edgar Whrigt, with an inventiveness in the gags already outperformed in "Zombies Party, another humorous film, this time from terror-comedia.And it seems that the good of Whrigt is has self-imposed remodel his conceptual style the various genera, being faithful and honest to them, but adding his particular comic universe. Why not talk of parody, as in reality, can be seen in the action scenes and above all, intrigue, and mystery, which is faithful to the genera addresses, impacting the Viewer if you wish, and putting him squarely in its rich universe.Thus, scenes of the murders have great force, and intrigue not only achieved is maintained throughout the film (Yes, something long in my opinion, is you could have cut by somewhere about ten minutes or so.), but that is expressing, achieving an attractive climax effortlessly up to the minute final, simply spectacular.In short, a good and beautiful film, very pleasant and like lovers of pure comedy, as the good fans to the police movies and action alike.As a curiosity, looking to IMDB I discover who plays the ex-girlfriend of the protagonist, Janine. I'm a piece, who say it!. |
2,485 | archivos_extraidos/MCE-Corpus-main/Dataset/1761 | Robgordon | Diario de un escándalo | 4 | 5 | muchocine | A proposal of quality that surpasses the plot handicap that get close it to the tone of telefilm, thanks to performances delivered, the brilliant music of Glass and the correct realization of Eyre. | If we look at the career of the director of "Diary of a scandal", Richard Eyre, we find, between not too many films, the 2001 film, entitled "Iris" and with which not a few things it shares the tape before us. Addressed both British soberly and without too much fanfare, both "diary of a scandal" as previously "Iris", notable mainly for a couple of reasons; their excellent and dramatic female performances and his inspired soundtrack.Although "Iris" gave an Oscar for Best Supporting Actor for Jim Broadbent, the tape gave us colossal roles of two English actresses of different epochs, Judi Dench and Kate Winslet. Now, "Diary of a scandal" faces in a duel with capital letters, the Australian Cate Blanchett (one of the actresses of the moment, for its abundant and successful roles) and back to a immeasurable Judi Dench. "Two generations of actresses in State of grace.""Diary of a scandal" has also the minimalist, Phillip Glass front of its soundtrack, which comprised here one of his best works, which can remind one of his last and most inspired works to date, Stephen Daldry's "the hours". "In the same way, the more intimate James Horner, made one of the best compositions of his uneven career, for the short movie of Richard Eyre, wrapping with his music the drama which required"iris".""Diary of a scandal" (perfect title), tells the story of Sheba Hart (Blanchett) a newcomer to a school teacher, and that it will maintain a relationship with one of his pupils, something of what Barbara Covett (Dench), a lesbian teacher who knows the secret, will be taken in their own emotional benefit.Patrick Marber, the playwright and screenwriter of "Closer", uncomfortable work about human relationships, here is responsible for adapting the original novel of Zo ё Heller, printing history with a look widely critical, dry and detestable did the educational system, intimate relations between teachers and the lives of the protagonists, and all this, makes it through the first person narrative that carries out the character of Dame Judi Denchan old and irritable teacher carcomida his solitude and his hidden lesbianism, with symptoms of mental disorder.The British actress is the main protagonist of the event, both physically and emotionally. His reflections, his notes of a newspaper and the evolution of its "forced" relationship with Blanchett are which directed the course of this interesting proposal, close to the reality of schools, taboos and complexes of non-recognized sexual conditions, loneliness, unhappiness in the couple, the temptations and low and despicable human behaviours. The burial of a richly framed photo of a cat (only sincere partner of the character of Dench) and a newspaper are established as metaphors for this story of unspeakable desires steeped in morality. A proposal of quality that surpasses the plot handicap that get close it to the tone of telefilm, thanks to performances delivered, the brilliant music of Glass and the correct implementation of Eyre.En its final part, we find, however a plane heading did a few paths very different to that we have witnessed over the footage. "And is to close the history with a return to start by the character of Dench, is something that can do harm to the whole of the tape, and that closer to a killer tape in series, a history of madness and emotional needs that have emerged with the irrumpción of the beautiful Blanchett in a new school and the lives of those around her.""Diary of a scandal" managed four fair and well deserved nominations for an Oscar, Phillip Glass, Judi Dench, Cate Blanchett and Patrick Marber, which are, together with the director of the event, the great architects of the success of this film of undeniable British phlegm. |
2,486 | archivos_extraidos/MCE-Corpus-main/Dataset/395 | Emilio Calvo de Mora | Alatriste | 2 | 5 | muchocine | You care more about the truculence of blood and the portrait to brushstrokes of the filthy Spain of the time than a true interest in demonstrating the depth of characters with nombradía. | Perhaps it lacks the necessary perspective to understand the reasons that make the film more expensive of our film, in the background, one of the most disappointing. I do not deny him his ambition. Neither the bombast of his iconographic offer. The film goes well, although once the image has deposited its sediment in our retina, tells the story falters, turn, hence its fundamentally fraudulent directions narrative, where care more about the truculence of blood and the portrait to brushstrokes of the Spain filthy from the time that a real interest in demonstrating the depth of characters with nombradía.There is an excess of dwarves. Velázquez's and that, in the script, did not see that this majestic effort (EUR 25 million, say) leads the Viewer to very different feelings, but all Forum in the fiasco. One has the impression that one has attended an art gallery in which the dwarves, the Swordsmen, Quevedo and the valid Spain speak. Luckily Diego Alatriste say little because it just does not understand that whisper of drunkard with asthma that drag during the little Parliament allow you.Sparing no Díaz Yanes historical knowledge and emphasizes beyond where so far the historical film only deposited places common, topics of folletín. It was missing that, on top of face and acting saddlery of posh, the film her pifiase in the fabric of history, thus capitalized. Anyway... The euros we charge pay them to taste because we are well educated and they move us the stories of brave men who defend Spain with sweat and smell of orín hands. Also Coppola painted which Velázquez, its particular Flanders in the Mekong and nobody has pulled the Apocalypse cabeza.¿junk now versus Alatriste? Both deal with the same misery: the interference of man in the Affairs of men, which is the simplified argument of the war. If the gentle reader has some friendly criticism with regard to Alatriste which take into account, have it. Go to the cinema. Hear the still small voice of Viggo Mortenssen. And when I get home, get out of your movie "Platoon" collection. Oliver Stone, before selling both to ideals so confusing. |
2,487 | archivos_extraidos/MCE-Corpus-main/Dataset/2690 | Ramón Balcells | Sigo como Dios | 2 | 5 | muchocine | The spark is as simple, the script is still bad and therefore something has to change positively if I liked - a little - more than its predecessor: Steve Carrell. | Already in like God humor Shadyac offered was really child. Apart, the script was extremely bad and Jim Carrey was in his less graceful sauce. I do not know why this Director is you came shooting a sequel to, let me say, more unnecessary than many that have been released this year. Can turn into a kind of politician in a sort of Noe? Go by God, one sufficient reason to shoot the most expensive comedy in the history of the cinema. The spark is as simple, the script is still bad and therefore something has to change positively if I liked - a little - more than its predecessor: Steve Carrell. It is the core of the function, the only thing that really supports this disastrous comedy family. Forgive me if I'm going through, but it is this film promised enough and the truth has left me completely indifferent. To some they will grace some gags, but to at least recognize that they would not have the slightest grace in case not Carrell. Quite clear examples would be the scene of the tank or some that another facet comic made to terrify animals. And if I had said something else in favour of keep as God would be the spectacular special esfectos, which look more than ever in the final scene (from the Ark sailing throughout the city). Yes, this shows that the budget is scandalous, but this film is missing something, no personality, but grace. It could have been much, much better. And what do we do now? Because if the most expensive comedy is like this, already I do not imagine what will be more cheaper. Big budget, mediocre quality. Will many times have to hear this phrase for years? And not us olivdemos of the moral of the happy end, which already is her might have been spared. |
2,488 | archivos_extraidos/MCE-Corpus-main/Dataset/3099 | Naty Buqué | Zeitgeist | 5 | 5 | muchocine | The film generated a bit of paranoia, that Yes, we must grant it, not without considerable evidence. | Zeitgeist seems to be (and the truth is that I researched not much) a documentary made nonprofit circulating on the internet. And if you do here can see it whole (1 h 56 m) or each of its three chapters separately.While the matter begins loose, with a positivist speech anticuadísimo 'you are going to tell the truth', and the obvious follows announcing you as a tremendous revelation of 'there is no God, you're going to try' (as if it were not the easiest thing in the world to prove it, reaches that as a weapon against the faith or not), and puts all that with ochentosas images of an aestheticat least questionable, if one has patience, Zeitgeist gets fucking.The first part makes a very interesting historicization of Christianity; the second embattled the attacks on the twin towers with numerous evidence to support the hypothesis that were the same us who organized the attack, and the third and last part is which is projected towards the future, drawing conclusions (atrocious) from, among other things, of this attack and others produced in the U.S. and the global banking system.If to this end, bleak and hopeless, is compounded by the imagination of the catastrophe as a general frame of the film, the film generated a bit of paranoia, that Yes, we must grant it, not without considerable evidence. |
2,489 | archivos_extraidos/MCE-Corpus-main/Dataset/1262 | Matías Cobo | Babel | 3 | 5 | muchocine | The globalizing desire of Babel, far from being a strong point, it ends up burden to the whole of the story, at times, desmadejado. | The so-called trilogy of pain born of the fruitful collaboration between González Iñárritu and Guillermo Arriaga closes with Babel. This has been its most ambitious proposal, and yet is perhaps the least round. The three films trace human feelings through stories and vidas cruzadas strung out in pain. But each, according to my particular interpretation, puts the accent on specific issues such as the need to love and be loved (in love dogs), the confrontation with the abyss of death and loss (in 21 grams) and the problems of communication and social empathy of our days (now in Babel). The globalizing desire of Babel, far from being a strong point, it ends up burden to the whole of the story, at times, desmadejado. Only in sequences isolated from each story looks good cinema, and art in the epilogue of Japan, less attractive of game history, but the most poetic and powerful of the film to the dessert.Babel weaves three stories happened at remote distances between themselves United by the fragile articulation of a firearm. The film begins with the history of Afghanistan, catalyst of the events that will trigger the consequences of mixed caliber in those that occurred in the United States.UU. and Japan. A father them gives their children a rifle to be on coyotes that prey on the flock of sheep that both graze on the slopes of his house. The weapon, former property of a Japanese tourist who gave his Afghan guide after his last hunt, will be unwisely used by children. An American holiday by Afghanistan marriage is in crisis after the death of one of his sons. Neglect of children will affect them directly to them and, indirectly, their children left in the United States.UU. in charge of his Mexican nanny, the owner of the weapon in Japan and, above all, sordomuda's daughter.The film addresses such issues as ethnic prejudice of those who derive so incardinadas feelings of insecurity and fear reciprocal in multi-ethnic societies today day. But also the problems of marginalization or absence of solidarity between those who do not respond to certain canons or social requirements. The scene described in the three stories offers devastating conclusions, but also certain keys for hope indicia. Again, as in the other two films of the trilogy, the subtle guitar of Gustavo Santaolalla accentuates the most emotive sequences and interpretations returns to play a key role. Surprisingly, in this case the great work of the more unknown faces of the cast, as the Japanese Koji Yakusho and Adriana Barraza as a Mexican nanny, and they rallan estimable height more poster actors such as Brad Pitt, Cate Blanchett and Gael García Bernal. I wouldn't say that pain trilogy closes false with this Babel, but does this corollary is not at the height of the magnificent 21 grams. However, these three film of the tandem Iñárritu-Arragia dan for many movie fan conversation and, in particular, much internal reflection. We must thank the two that these three works will encourage both circumstances. |
2,490 | archivos_extraidos/MCE-Corpus-main/Dataset/1545 | Rafa Ferrer | Cartas desde Iwo Jima | 4 | 5 | muchocine | It seems that Eastwood learns from their mistakes and while in "flags..." the flashback came to bore the Viewer, here are counted righteous and fairly concise, and help to understand the character in question which has been. | I have always heard say that of "To adjudicate a lawsuit must listen to the 2 parties", seems that Eastwood applies this rule, and after "Flags of our fathers" now shows us the Japanese with this "letters from Iwo Jima" perspective, where with a careful monochrome photography (only highlights the Red of blood and the flag of the rising sun.)in this unusual film, released worldwide in V.O.S, and with one budget of even smaller than"flags" where advantage, not just decorated, but also some plans already filmed beforehand, is the reunion of Eastwood with the cinema of author, where one delves into the courage, courage and obedience of the Japanese soldier.On the other hand, inexpressiveness of many Japanese actors, found me little more than surprising, especially in the Eastern cinema, the "whole" are the faces of the protagonists, usually very expressive, here, the vast majority, except the great Ken Watannabe, suffer from this fact, and show the same expression whether rien, as if suffering.The band sound, simplistic, but effective, I was a masterful, already offer that we were one of the best scores of 2007, where with just a few chords, show few, to tell the truth, the poetic, the divine, and inhumanity (a war so is, for good or for evil.) of a military struggle.The plans with camera on his shoulder, in the most raw scenes of the battle, contribute, as it provided in "Flags." an almost documentary aspect, that is beginning to be "House brand", for the director; on the other hand, thank you less Gore that on the previous tape, showing only just enough to not traumatize us too.Perhaps, another of the negative parts of the tape is its excessive slowness, burdening in some moments the same too, and it is to these 144 min. projection become brutally heavy, especially at the end of the tape.It seems that Eastwood learns from their mistakes and while in"flags" the flashback came to bore the Viewer, here are counted, fair and fairly concise, and help to understand the character in question which has been.If I have to highlight a plane of all that I have seen, I prefer the latter, Mount Suribachi and the beach, to the rhythm of the soundtrack of the same, beautiful and sweet at the same time, showing the lives that were lost in that small piece of land. |
2,491 | archivos_extraidos/MCE-Corpus-main/Dataset/1509 | Francisco Bellón | El último rey de Escocia | 4 | 5 | muchocine | The last King of Scotland is a very necessary film, which serves to remind us of the atrocities of the past, and that helps to become aware of the atrocities still committed in Africa. | In recent years the film tends increasingly to seek entertainment pure and simple, empty and simplistic films capable of despair to any movie buff boasts of being. But at the same time that happens this phenomenon, occurs another completely opposite, is the increase in films of historical and social complaint, most of them of European production, as the sinking, Sophie Scholl, and now, the last King of Escocia.Kevin MacDonald, renowned documentary filmmaker, is responsible for bringing to the screen to one of the most bloody dictators of the last quarter of the 20th century: the Ugandan Idi Amin Dada, responsible for ethnic cleansing that caused more than 300,000 people dead. The story focuses on a young doctor, Nicholas Garrigan (James McAvoy), arriving in Uganda to have fun and help the population. After an accident, Dr. Garrigan will know to Idi Amin Dada (Forest Whitaker), and will soon be submerged in his particular universe. Macdonald faced a similar challenge with great aplomb, and proves to be the height of the history that has denounced. The Scottish filmmaker leaves aside the rumor mill that has surrounded himself to Amin, offering a sharp portrait without concessions of a cruel, vengeful, eccentric and unstable tyrant. There will be who gets the hands to the head by the fact that the film humanizes the genocidal, but that no one be misleading: humanize a historical figure is not nor much less justify their acts, but it reminds us all that a human being was responsible for such barbaric. The solid screenplay by Peter Morgan and Jeremy Brock is an excellent starting point for a film of great intensity, with some magnificent scenes, such as the first appearance of Forest Whitaker on screen. And the time comes please stand and applaud an actorazo as Whitaker, who made a memorable and outstanding, interpretation that no doubt will go down in the annals of the history of the cinema. His work is so impressive that it overshadows altogether to the rest of the actors, while some, like James McAvoy also made very good performances.The last King of Scotland is a very necessary film, which serves to remind us of the atrocities of the past, and that helps to become aware of the atrocities still committed in Africa. And leaving aside their background, is essential only to see the extraordinary work of Forest Whitaker, until now unknown by the general public, but one of the best actors of the current film scene. |
2,492 | archivos_extraidos/MCE-Corpus-main/Dataset/3279 | Francisco Bellón | 53 días de invierno | 2 | 5 | muchocine | 53 Winter days is a hard, bitter and depressing film complex assimilate even for the strongest spirits | The cinema is an art, it is but some do not like to admit it, it moves through stages, gusts, or as they say the most modern trends. For a few years, at least in the film Spanish, has returned the trend to make cinema that reflects reality, everyday, at all costs, to the extent that it comes to touching the mockumentary.This trend fits clearly 53 winter days, a film that aims to show the human soul and the difficulties which we are facing and how some are able to overcome them while others sink into absolute misery. He is not easy to see tape or easy to digest, that the three stories that are very dark and depressing. Judith Colell, in his effort to show the everyday life, gives the film a really excessive bitterness, sometimes free, made only to hearts and spirits strong and resistant. The script has serious ups and downs, and there are times where we don't know what motivates the characters to do what they do. Nor is there a great emotional development, and almost all the secondary characters are quite blurred, as if not had received them the necessary attention. The way in which the film is shot does not help the Viewer to focus on the story, being the little wise photography. Most notable is the work of an always shiny Mercedes Sampietro and a Álex Brendemühl which seems to be the actor fetish for the independent film Spanish. 53 winter days is a hard, bitter and depressing film complex assimilate even for the strongest spirits. Those courageous to go to see her leave of film vapuleados and sunk by the excesses of Judith Colell. |
2,493 | archivos_extraidos/MCE-Corpus-main/Dataset/570 | Emilio Calvo de Mora | El diablo viste de Prada | 3 | 5 | muchocine | Satire of the fashion world? Little. I have already said that this funny Elm, but in its hollow half pears can be ordered. | Just as the poet said, the Moon is the imperfection of the darkness, comedy is the frivolous reverse drama. I have a friend who warns drama in all the movies you see: all watches his sad poso, its decay, its crust of tragedy. The Devil Wears Prada will be for my friend a huge drama. It exceed to argue it and not I restaré a portion of reason, but tiny.The Devil Wears Prada is the traditional, graceful, lightweight, comedieta sandwiched in a colorful costume and brand that will like the friendly public wishing, among so much bombast and sordid eschatology, a bit of evasion, a walk in the park with their bare feet. This sweet sensation of well-being contributes a Meryl Streep in State of grace, and that it is not my prayer book santa. A Meryl Streep, I insist, outboard a very appetizing role and that it could have done with utmost efficiency, Glenn Close and Sigourney Weaver. It shines in equal measure Stanley Tucci, an actor who has not yet found the role of his life, but time has.Cartoon that we find is syrup and melted chocolate, how not, but underneath beats the heart of darkness, bad milk that the human being possesses for when the need calls. And lives Dios that comes here. My friend feels, at the end, understood.Life represented here is raw and hard, life the trench of the social escalafonato: with their gashes and his eyes arteras, its infamy and his hander. What happens is that all screened with the sieve of fashion, which is nice and that breaks out in colours, and the writers care in giving us a few certainly elaborate dialogues, causing the Viewer does not feel, as usually these comedies, deluded.Smells like everything in excess Pret-a-porter, but we explain exclusion the aura of false intelligentsia that had the work of Altman. It fares worse in agility, in outrageous. Is related more with arms of women, the 1980s Mike Nichols film, but the Devil Wears Prada less rummages in the psychology of the characters. Well, the truth is he rummages really well little.Take one in lack recreational artifacts in this manner. There are comedies of this Court that arroban the boredom or dress of rudeness. Here everything is conducted with a casual, clean, free from unnecessary dramatismos style.Not confused the friendly Viewer to the mix of genres. Then touch many and it is not tuned in any.Demos a generous treatment to the film by David FRankel, but nor do we arrojemos to the Duero the bells of Notre Dame, that it won't all this to any list of successes in the history of cinema. Box office, at least, will do. And the colors are very nice. Satire of the fashion world? Little. I have already said that this funny Elm, but in its hollow half pears can be ordered. Cakes for all. |
2,494 | archivos_extraidos/MCE-Corpus-main/Dataset/1812 | Rafa Ferrer | Hollywoodland | 2 | 5 | muchocine | Curious tape film noir, set in the 1950s, which although developed in 2 levels, does not become round because it is lost on the way. | Curious tape of film noir, set in the 1950s, that although developed in 2 levels, fails to be round because you lose on the road, and is slow at times, the inability to close the thousand plots that open and a dull finish that matters little to the Viewer, are a burden for 2 hours, he showed great promise at the beginning, but that finally is nothing.Adrien Brody is the same that we saw in "The pianist", away from the hero of "King Kong" Peter Jack$ are, on the other hand is Ben Affleck, someone once said, that after "Jersey Girl" again this man would be able to act, in "Hollywoodland" (which won the Volpi Cup at the festival of Venezia) manages to make credible the character of George Reeves"originator" of the already legendary "Superman curse", do not want to set aside to Diane Lane, which is no longer a child, but has lost none of its brutal beauty and sensuality, Amen an excellent interpretive level, which transmits on screen leaving almost "Out" to Ben and Adrien.Un campus excellent side, headed by Bob Hoskins, as well as quite a few television facesclose the deal.Another point against is your score, bland, very bland, with a boring score, arriving to the viewer a sense of permanent musical torpor. |
2,495 | archivos_extraidos/MCE-Corpus-main/Dataset/2370 | Bruji | El ilusionista | 3 | 5 | muchocine | Without a solid plot, nor even with a brilliant script, manages to baste a narrative structure of flawless consistency, to confer master's degree to the result. | Everytime I see Casablanca, I hope peregrina that Ilsa does not rise to that plane. When I recall the tragedy of the lovers of Verona, I imagine a parallel story in which the messages arrive on time and without distortion.Without wishing to alter or mythical scripts question literary classics, it is possible that, at some point, Neil Burger think like me. Like most of the romantics of the world.The illusionist is a romantic thriller that manages to grab the viewer's attention from the first frame for a single reason: it's an excellent production, or what is the same, a film that is well done.On the one hand, we have a footage that, without a solid plot, nor even with a brilliant script, it achieves spinning a narrative structure of flawless consistency, to confer master's degree to the result. The atypical case where, on the basis of a subject premium bland (the original text), gets a product, at least attractive. An important, - attributable to the address - achievement that will not go unnoticed.The secret of this narrative success lies in the use of elements of worship, all of them recurring in film, but always effective when they are used correctly.The story begins with a close-up of the protagonist, which lies in the middle of a show in which the audience participates. And it is here where the lovers of the classic film could get "hooked", because the situation shown, the excitement in the stalls, the ambiance and up the architectural elements of the theatre, recreate the stagings of Alfred Hitchcock's the 39 steps. After the starting point, and within a dysfunctional script that begins with almost the end of the story, it back in time for the details of the life of the great Eisenheim through an attractive flashback with narrative voice-over. About journeys that start with the opening of an objective, which closes when they conclude; forming part of an elegant style we already know by tapes of other genres, to the have been used by François Truffaut and Martin Scorsese.Entre the efforts of the young Wizard, we find the existence of a love forbidden, away from their expectations. And, again, lovers will recall to another virtuoso in the world of show business that reaches an extreme case because, to cause or as a result of a female presence, the great Flamarion, 1945, Anthony Mann.Por elsewhere, there are outstanding technical resources, which include abuse of planes recuperated, in accordance with the plot of mystery; successful Visual effects; surround photography of dark tones, and the sumptuous and cleanliness of its artistic direction. But perhaps the most striking aspect focuses on dream-like environment that manages to create, own tales, present in Tim Burton's Sleepy Hollow and Coppola.No Dracula in vain, this production is based on a story by Steven Millhauser. In fact, a simplistic Chronicle that, at times, recalls the tragic fate of the son of the Empress Elisabeth of Austria-Hungary and, at the last moment, leaves transcend a moral recoils. Namely: when the desire to impart justice in a world lacking it loses the meaning, is room for revenge, an attitude ignoble and disproportionate in the case that it concerns us, it leads to the conclusion that the postman always calls twice, and the second, does so with more originality. Finally, to narrate the outcome, is uses the best adaptations of the novels of the Queen of crime, Sydney Lumet, John Guillermin, with a profusion, confusion and diffusion of explanations? under my point of view - absolutely unnecessary.Within the distribution, it is necessary to underline the excellent interpretation of Paul Giamatti (the new Richard Dreyfuss), who jumps from story tale (comes from the water boy), to Excel among their peers; Rufus Sewell acceptable; a Jessica Biel and room for improvement.Regardless of the arguments, which are intended to convince the reader that this is a good film-(realmente,_lo_es), I look at the possibility of that not missing those who fall into a deep hypnotic trance, which you not wake up until the lights of the room being lit. If this were to happen, it would be a proof that Edward Norton is not only a great actor?(is it really?), but also the real Ilusionista.En any case, well is enthusiasm, disappointment or indifference what this story provoked, do not forget to follow the advice that gave his witness of position at 1,957 Billy Wilder: "Please strongly not having the end". |
2,496 | archivos_extraidos/MCE-Corpus-main/Dataset/1894 | Tito Chinchan | Darwin Awards (Muertes de risa) | 3 | 5 | muchocine | Comedy funny and interesting, very innovative theme. You don't have a continuous pace, with significant ups and downs, but that is worth the trouble to see it. Of the few American comedies that really make me laugh. | The Darwin Awards are supposed to be they a few awards granted, usually, as a posthumous. They take that name since they don't if not confirm Darwin's theories, to order the same evolution of kill beings so intrinsically stupid. Obviously, are given to persons who have died or are unfit to play in any more stupid situations. And certainly are very stupid, but much.The film is about a police officer whose job is to link data and events to solve crimes. Prizes Darwin, as well as when he sees blood, faint is has as a hobby and obsession. Total, that one day he loses his job for reasons which are not the case and decides to try to find a job in an insurance company. You want to create a pattern of people which cost him money to insurance. People who by their acts well could enter fully in candidates for Darwin. what prizes strangest film. I have to admit that you left me a bittersweet taste, such as sauces and soups of the Chinese restaurants. On the one hand, the subject is exciting and fun. On the other hand, development becomes at times heavy and leaves me with the impression that it could have done much better. I.e., the part of Darwin Awards is fine, but the history of the protagonists makes water. That Yes, I laughed a lot and I think as said Einstein, human stupidity is infinite.In short, comedy funny and interesting, very innovative theme. You don't have a continuous pace, with significant ups and downs, but that is worth the trouble to see it. Of the few American comedies that really make me laugh.Fun and funny.Besitos.P.D: Has very great moments.Pd2: Out of Metallica.P.D.3: by the way, the majority view from a camera is recorded. I.e., is supposed to be recording a journalism student, so the viewing quality is reduced. This not finished it to understand. |
2,497 | archivos_extraidos/MCE-Corpus-main/Dataset/3777 | Yojimbo | El espía | 4 | 5 | muchocine | An intense thriller without resorting to dramatic camera movements or to special effects. Very earthly, very credible, very realistic. | Based on a true story, Chris Cooper, Ryan Phillipe and Laura Linney put face and decent performances to a tranquil but cold, intense but sad film. O´Neill (Phillipe), young FBI that want to become agent is responsible for monitoring a transcript of the Bureau: Robert Hanssen (Cooper).A little conventional espionage thriller. Its great appeal lies in the interpretation of Chris Cooper as a cold, calculating, expert character in detecting lies and be a great believer with a straight and very family life. All these virtues despistan the young and discovers the real reason for which you have signed up: check if it is true it passes information from national security to Russians.Far from the stereotypes of the spies, superheroes, the film shows us a FBI as a matter of official, delicate and vulnerable, in which even the most expert is capable of making mistakes and that to unmask a traitor are recruited almost more agent than to other more dangerous operations. They are very human, far from what we are accustomed.A movie that loads your excitement in a topsy-turvy character who constantly distracted and puts to the test the improvisation of the young agent to unmask him. A thriller that surpasses the offices of labour and arrives at home, the family, the married life.An intense thriller without resorting to dramatic camera movements or to special effects. Very earthly, very credible, very realistic. |
2,498 | archivos_extraidos/MCE-Corpus-main/Dataset/572 | Tito Chinchan | Fuera de control | 3 | 5 | muchocine | The argument continues well and the thing works. Possibly if her it would have been entirely and film would have another opinion. | Sunday afternoon, the child half bad and on the street a cold that motivates to stay at home. On TV it begins a peliculón, those good, good. Begins the movie, cries the child, play with him, when view gone the air controller and a lady comes from the future with bleach (could come with the original), take advantage to make popcorn. When come out Angelina Jolines with a chest out, gets you the heart of emotion, but you disimulas so that your half melon does not tell you anything "because it is not bad" say blatantly lying. The movie continues, you traspones, you play with the child, talks with your partner, suddenly begins another movie and you're thinking "I have seen the movie?".The film is about air traffic controllers, stressful job where found them. The protagonist is one of them which is on the crest of the wave, and appears a more rare that he type. The latter begins to remove role, for what the first decides to tighten his wife (Miss Jolines) but the second do not care you. These women of the first learns and is a good lia. Then go flying by the slipstream of a plane and are given a hostión. And hence not be what happened that I saw not.Well, little I can say, given that I saw little bit. Since then the thing promised, given that we know little of the life of air traffic controllers. Now is that married many times, earn a lot of money, commit suicide much, and if the shit 3 times in two years and a half going to the street. Things. The movie is good, especially for a Sunday afternoon, with actors some traditional and some less. The argument continues well and the thing works. Possibly if her it would have been entirely and film would have another opinion.In short, for an afternoon at home without football on the radio and with the bad boy. To me I liked. |
2,499 | archivos_extraidos/MCE-Corpus-main/Dataset/605 | Javier Saz | El señor de la guerra | 3 | 5 | muchocine | A far cry from the denunciatorio style serious and realistic "Syriana", aims at the irony and entertainment to denounce. | Andrew Niccol was surprised with their debut, this futuristic wonder called "Gattaca" (1997), and with the script for "The Truman show" (98), since as producer directs and writes the irregular but interesting "S1m0ne" (02). Now Andrew Niccol with "Lord of war" ('Lord of War') joins a Nicolas Cage (also producer) committed to the project. "Niccol writes, directs and produces.""Lord of war" is a very cynical comedy, the protagonist is the New York-bred Yuri Orlov (Nicolas Cage), a Ukrainian arms dealer. It shows his ascension in the arms trade. And it has no waste. Sell Israeli weapons to the Muslims, he dismantles the factories of Ukrainian weapons after the fall of the URS to sell them to Africans. With Osama bin Laden was not working because it delivered checks without funds. The word too many.The opening sequence is a statement of principles, the follow-up to a bullet since it is made unless it is fired. Acid and denunciatoria film (Yuri is an illegal dealer, but "legal" traffickers are well portrayed), always she is cold and distant with what counts, does not take party, leaves the Viewer to think, and coming from Hollywood is not very common. They seconded to Cage, Jared Leto, Ethan Hawke, Bridget Moynahan and Ian Holm.Muy away from the serious and realistic denunciatorio style of "Syriana", aims at the irony and entertainment to denounce. |
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