Restroom Signage For Sanitary Napkins Disposal

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 ...

Tutto Su Milena Velba

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