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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.

Health.

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