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Dear Ridley:

Your fans, who are legion in number and gladiators in your defense, we have received your last entraga pleasant surprise, American gangster. Not your best film, but it is a great movie. It surprised us, above all, the perfect setting for the 70 and austerity and lack of effect of images. Your critics have labeled you always effective, cheat. Those who idolize you'll always have defended with the argument that to cheat is to know them. In fact, American gangster film is austere in his narrative, linear, flat, easy, hardly any scenes that dazzle over others, sends the whole story over moments. Who were not accustomed to this exercise you were still sober, and I will cherish. Both Spielberg in Munich like you American gangster have chosen this classic style. Welcome.

However, if you uploaded to the altars of the film is not for sobriety but by the baroque style of some of your work and the originality of your proposals. Creator of worlds, great freedom of style, powerful narrative, fabulous scenery, innovation gender ... These phrases define you more than before.

Like all large, have alternated with real shoddy masterpieces. Enter your pitiful performances, I would say Lt. O'Neil (1997) and The kingdom of heaven (2005). When I think of them gives me tachycardia. Other Light, entretenidillas as A Good Year (2006), Black Rain (89) or Shade Witness (87). Others seem very interesting, great exercises in style, as the first of all, Duelists (77) or Black Hawk Down (02). Hannibal (01) do not know where to put it, but I think that earned over time with the first delivery, the unsurpassed Jonathan Demner.

And finally, dear Ridley, are your masterpieces of cinema of all time, no less than four films, in my opinion, would among the twenty best in the history of film: Allen, the eighth passenger (1979), Blade Runner (1982), Thelma and Louise (1991) and Gladiator (2000). Have four masterpieces can boast few directors ( Spielberg, Kubrick, Kazan, Hitckcoch, Lean, Houston, Allen and few others, I think Mankiewicz , Scorsese and Coppola stay at three.) So we're talking about one of the great, and also in full production. The only bad thing is that every time more spaced in time his great deeds, when their beginnings were quite dazzling.

I would like this blog readers down rulings movies about bugs . In my view, has not been as Spielberg's Jaws and Alien Scott, simply because both reinvented the genre, a leading him to the depths of the sea and over the infinite space beyond.

What about Blade Runner ? In this blog we have already spoken of this cult film for many, including myself meeting. Perhaps the best film by the most philosophical and existential implicatures has and one of the film concerning the last third of XX. A real still unsurpassed masterpiece.
Thelma and Louise
not won the Oscar for best picture that year because it coincided with another masterpiece, The Silence of the Lambs , but this year we should have named former aequo as interesting are both in their style.

His latest masterpiece is Gladiator. There are moviegoers who have not supported and still basked in pseudo-historical problems and turns to fit the script. That is a movie, you not enteráis, nothing else! Still have not learned that Gladiator is a popular landmark of the past 10 years, behind only Titanic and, in my opinion, much more exciting. He dared a Roman, as before but better made. Second only to the genus the great Spartacus Kubrick . Those who do not support the excellence of Gladiator not even allowed to be moved by the music, which amazed with the initial battle scenes (the best in war movies with Saving Private Ryan Spielberg and Enemy doors of JJ Annaud, these two on the Second World War) and ended up shivering with the tragic end.

Anyway, my Ridley. Continue expectant. 'll follow you into space, the future, the nineteenth century, A Rome to the Crusades, Vietnam, La Provence, New York of the seventies or Los Angeles, 2019.

Take us anywhere.

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Tanhausser

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In the Valley of Elah


De Paul Haggis, screenwriter of Million Dollar Baby, and writer / director Crash , we can only expect interesting products, and In the Valley of Elah it is, a lot. Reminds many Vietnamese post-war films are in the minds of everyone, but departs from them enough to bring significant issues to postwar gender. Most important, in my opinion, is the narrative form. The viewer learns all about not through a narrative lin eal of the facts, but through a double source of information: a police investigation on the one hand, and the viewing of a film made by a soldier with his phone phone during your stay in Iraq, which damaged the other. Very original form, certainly. Haggis is seen in a willingness to style in this narrative aspect s Tell me also observed in Crash, which we appreciate those who give importance to these things of how to count.

The viewer receives the information paulatinam entity, while performing deeds that will have many edges . And what makes the pair of protagonists, a solvent Charlize Theron (put sexy or not give glory to see it) and Tommy Lee Jones (it moves increasingly fewer muscles to perform, such Morgan Freeman they seem to have reached the karma of the interpretation I do not know I do not know if I like that.)

There are two major metaphors in movies, both have been criticized, but I see them the meaning and effectiveness: the flag upside down and symbolism (albeit simple, of the biblical David and Goliath). Regarding the former, it is well resolved and final offers us a golden locked perfectly intelligible, no less than the Empire seeking help from others to guide you in your foreign and domestic policy ("to Europe, perhaps?) . As for the biblical allegory, it seems introduced with a shoehorn, especially the scene where it is presented, but it has its logic and function. First, because the selected text describes how educational philosophy of its speaker, Hank (Tommy Lee Jones), secondly, because the child gives moral significance when asked why they sent the generals allowed it to be a children who fight with Goliath (although the children themselves wanted it, a child is not owner or its own decisions.) If we relate this to the arrival at the headquarters of a new recruit - very young - we will establish sufficient nexus to justify the presence of these metanarratives.

In another vein, has been criticized on other occasions director certain amount of complacency within the critical and in style, a certain effect (use of slow motions, appropriate music for climactic moments, close-tear, etc. .) admit that when it has taken less of these resources has been difficult to awaken me from fiction in relief to see them and criticize them, so that some will say of their expertise, even so, I think this film does not resort to them only so obvious and plentiful. The narrative, in a first viewing, it certainly seems objective, apart from the naturalistic and sometimes morbid pleasure in the dismemberment of a corpse. Howsoever, seems much more objective than Crash .

For actors, I must say that the character of Tommy Lee Jones is very well outlined. He is not him, but the product of a given world, now with guilt complexes and about to topple over, desperately seeking at least bury their dead with some dignity, if not with honors of war by giving at least search for truth. serving a dual role: emotional and detective. is the Ariadne's thread leading to Charlize the discovery of the keys, precisely because he knows the keys to that world.

The brief forays into the social life of this military town are disturbing. The death of that girl who is reporting the torture he undergoes a dog by her boyfriend, a soldier, is shocking. The descriptive sketches hierarchical environment that city policy and politics of the military hierarchy are frightening in its brevity and emphasis.

I will not curl, just two notes on the evolution and the final. The movie is quite a descent into hell. The more you know the child's father is worse. The father goes in search of a hero or something that warrants a bit of everything, as happens in other films, but as you know, he learns more macabre aspects, cowardly and devastating. There is hope. The journey is the knowledge of the antihero, although this was in principle a kind of Emilio of Rousseau, but the war has become someone who believes unscrupulous fun impersonating doctor in order to get their hands dirty in the wounds open to the vanquished. Shocking.

I feel very good finish, not only by the metaphor of the flag, but the outcome of events. There are in the army orders not to stop in the streets and roads for the world as it could be an ambush. No stopping means sometimes be quite innocent lives ahead. And finally, the outcome of the central story, although all are related: "When I realized he was stabbing Mike" says a character - "pod like ed have been the opposite" . Whatever. Death is ridiculous, the war is ridiculous, the violence is ridiculous, grotesque. The father runs out of revenge. How to avenge a meaningless facts? The father-mobile looking courage, reasons, excuses and nothing is final. Nad a.

have to go see it.

Health.

Tanhausser

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Can we have some certainty? So begins the last of an unknown Alex de la Iglesia . Yes, we can be confident that you can do better, Alex, much better. And so it seems, even if you regain some of the bad blood (black, not white) that distilled your past achievements (except the insufferable 800 bullets and daughter indecent laughter Dead). Not good for you to make the cold or Eastwood Allen intellectual to , or po r least that's what this experiment demonstrates (I hope!), a simulation of mechano boring philosophical Cluedo dyes, spiced with the salvific presence of Leonor , if does not reach the temperature jump on her apron, had died of sudden freezing.

Please, Alex, what more bad script! One ends up caring a damn if there is one more death and how this unfortunate incident occur. And in The Oxford Murders forces the viewer to navigate the narrative gear with the weak light of a chaotic logic and forced to reveal itself just as it is, pure smoke. Not that The Oxford Murders want to make metaphysical thesis of chance also, "if not that she becomes in that uncertainty through the constant exercise of fidelity to that inconsistency.


A pity, because the actors, except for a Elijah Wood may not yet cleared his mask of hobbit - do their job with ease ( Julie Cox excels in a role that Hitchcock applaud), and the camera fits correctly. But this evocative sound track of Roque Baños (heir to the best Hermann ) does not deserve such nonsense script, no. Perhaps the fidelity to the text of Guillermo Martínez ( Premio Planeta Argentina 2003 in this novel) is the essential reason for this debacle. What paper insurance be an intelligent exercise of the police better bathed in the seductive falsehoods labyrinthine logical fallacies, to pass it on to celluloid the result is blurred in a quagmire of pretentious dialogue that rather than look to the armchair thrill us without sting.

Alex slips when carried away by the excesses that populate his imaginary film buff, whether walking the underworld does freak, or you decide-is this the case, to emulate the typical puzzle black cinema of the seventies angrosajón ( footprint) . So community remains his best creation, because without betraying its character, gave us a containment denoting maturity without losing their transferable.

I guess it is to have patience and wait for her next.

We'll always have the Watling ...

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The Oxford Murders Love in the Time of Cholera

The works of García Márquez have been made into movies several times: Montiel's widow ( 1979), Erendira (1983), Chronicle of a Death Foretold (1987) and The colonel One Writes (1999), the latter of Arturo Ripstein. The result has almost always been unconvincing, probably because of the inevitable comparison with the extreme quality literary books in which they are based. No movies have muc exceeding in quality to work with a proven quality. But among them are some gems: Blade Runner, Godfather , Kill a Mockingbird , The Holy Innocents.

This is not the case at hand, the film Love in the Time of Cholera , based on the novel by García Márquez. However, I will not destroy it, as there are interesting things I want to stress along with others, obviously, I'm going to criticize, to warn anyone who intends to see what is going to find. I know that the film is preceded by a terrible criticism, and probably could be seen from the beginning for the reason pointed above. But what else can you do?

The script is not bad. In fact, with the approval of Gabo, and the story of events is not bad. Not surprisingly, Mike Newell is a director with warranty ( Four Weddings and a Funeral , Donnie Brasco -great gangster film, " Mona Lisa's smile or Harry Potter and the Goblet of Fire). The writers have not let anything important without reflect. The main protagonist's love affairs (at least the ones I remember most vividly from my reading) are shown convincingly. The relationship-Urbino Daza is well told and gives a good reply to that of Daza Ariza. is linear, effective, and when he sees decline, the writers have used text phrases timely lift with beautiful words what can only sketch frames, spectacular landscapes Colombian coastal cities or the vastness of the Orinoco or, ultimately, some songs by Shakira that truly sound good. I mean this I think that although it could have made a better movie, this is not bad as the script and the narration of facts of romantic.

What is wrong then why not just convince , what are the problems? There are several. First, the makeup. We must say clearly: it was time that he saw such painful makeup. It's bad in itself, each actor separately, but it is also bad compared to some other players in the middle of the film. For example, when they meet Florentino Ariza and Juvenal Urbino in the office of Florentino Ariza found a lot older than Juvenal, whereas before we had seen almost the same age, even younger Florentino in the opening scenes of the film. aging actors is pathetic, and climaxes negative to see the nakedness of Fermina Daza in the final scenes on the boat, where it is to clear the assembly. There's more about makeup: the performance of camera angles as it exhibits great courage - not knowing how bad it is makeup - is recreated in close-ups of the faces of the protagonists that is further exposed the shortcomings and violations of the makeup and the poor quality of the cosmetics used in the case. A pity.

Another major weaknesses of the film is to have two actors for the character of Florentino Ariza ( Unax Ugalde and Javier Bardem ) and, paradoxically, not having two actresses for Fermina Daza when they have the same importance and age at par. It is something that is not understood. In addition, moves from one character to another in a narrative tempo of a year. A true absurdity.

But perhaps the biggest problem of all is that we do not believe Javier Bardem in the shoes of Florentino Ariza . Ojo! And not for the good of Bardem, who is probably the best English actor alive. The problem is that the casting is well done. For that we need a character actor with traits much less marked, not with that face psychopath who always Bardem (you will see how in No Country for Old Men it overboard, because there is half crazy). This had hit a guy Jeremy Irons, or, to sting so high, a type Sbaraglia or something, something more ethereal. Anyone who has read the book know what I mean.

In addition, an attempt reasonably well calibrating the difficulty resolved narrative of the company and the quality of work in which it was based, though perhaps not the best bill possible.

Health.

Tanhausser

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Children of Harry Potter have a very long shadow. This, The Golden Compass is another follower more with all the features epigonal: fantasy, structure string of adventures, preteen hero, bad and good well-defined from the first scene (to see if anyone is going to lose ) battles epic, reality and fiction, talking bugs, etc.

One of these writers read the key stories of Vladimir Propp and to promote the show, has been exaggerated all the characters. That every hero embarks on a journey, it will go to the North Pole Cochin, that every hero saves a kingdom, it saves the world in which they live and all parallel worlds (almost nothing), that every hero has always a friend, it has four (a sailor out of a western, a bear, an alter ego and even an army of witches) and everyone gets them in the pocket and are friends for ever and ever within three seconds of conversation (what a way with people, nor Sarkozy!). Finally, someone told the writer that he had to mount the show and performed it had to raise the bucket features the beats every legend that traced the Pr Vladimir good opp.

For which stopped at the actors, a school, by the way, as spectacular as some profiling. The good Daniel Craig has a minimal intervention in the film, divo plan. It seems that in the (I begin to tremble) second part is more important.

Leo in Frames (where, incidentally, does not come out unfavorably) that is the most profitable film of these weeks, and I must admit that the work of marketing and advertising has been good, and better yet the dates of issue, where everyone is going massively to the movies. But that, special effects and the dramatis personae not establish connection with its quality, but with your budget. And if the film has neither head nor tail, it does not. We are tired of seeing films of this kind in which anything can happen in any bug you can cross the road in which any spell is possible and any power can be in the hands of the character. We do not deny the magic or fantasy , but there must be a coherence to what we believe. They can not attack so willingly, apropos of nothing, any bug: it is not acceptable.

Luckily there were great fantasy adventure films in recent years, as promised Princess, Wilow or trilogy Lord of the Rings . If it is more fantastic than The Golden Compass, Eragon or The Chronicles of Narnia , but have a common thread conductor, an internal logic within the fantasy of these other products without epigonal. And in some cases, such as The Lord of the Rings , it contains even a leit-motiv of power as the hands or other, power as creative and destructive power as a weapon. Anyway.

Luckily the May 22 opens the fourth installment of Indiana Jones the best of all adventure films cited here, to try to bring some sanity and quality in this world full of madness and fantasy. By the way, go the blatant plagiarism of The búqueda I and II. In short, we still have Indiana Jones . Spread the carpet and make way, please!

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Atonement The Golden Compass I Am Legend



director Joe Wright's Pride & Prejudice predilection for the adaptation of British novels in the case of Ian McEwan's novel , and the interpretation of Keira Knightley . However, the essential character is Briony, the girl awake and intelligent but awkwardly assimilated the everyday environment.

The sequences against time and money come together in a spiral concentrated in the central character in the novel, performed in three different ages by three actresses, is the character of the young actress Saoirse Ronan who marks his true personality, relegating their alter ego after a mere consequences of their acts childish, the great Vanessa Redgrave does nothing but enhance the performance of the first.

For the curious: the interviewer is old Briony Anthony Minghella, will be involved as well as a director of Wright?

The "two figures at the source" as seen from the prying eyes of a child, are the figures that make up a story of love and fleeting time able to survive in adversity, while, lying, war.


A cruel war, reflected in the desolation of the battlefields, in hospitals where they are given smiles sweeten the sorrow.

The great soundtrack to accompany the story and involves the isolation of his characters.

The truth, without rhyme or gadgets, only shown in the last play of those who survive the times, haunted by memories, by cowardice, fear the consequences of that truth hidden.


The guilt and shame go hand in hand in the life of the young old woman, whose conscience will not be quiet because he does not have to apologize, who confessed in search of atonement.