downplayed the fact of not having permits to fly. "Some people say we're crazy about to inaugurate an airport without planes, have not understood anything. During a month and half any citizen who wishes may visit this terminal or walk down the runway, something they could not do if they were to take off or aircraft landing, "he argued.
If it were not for these stupid things we pay all our taxes, they do not, they take them, what a bunch of crooks and nobody does anything, and presented a paper showing the corruPPcion, in that a judge immediately .. .. said one day as the mayor of Jerez .... .. for that
primaveril wanted to write a plea but will leave it for tomorrow or the next. Today I put a video that more than one, especially one, you will drool. Xavi Hernandez turns out that tomorrow will be 100 games with the selection. I'm not going to discover America if I say that possibly the best midfielder in the world, and the brain thinking of Barça and Spain. But anyway, the kid has a heart:
During the celebration of the world next week in Madrid, some American parents (although it seems that there are people who say they are Dutch, do not know) that seem to live in Spain brought her young daughter a few years to see the selection on your city tour bus after winning the World Cup. The girl apparently is total fan of Xavi, when he passed the team bus the girl began to mourn because their idol was not to her personally.
turns out that a few months later the TV3 invited the player to one of its programs like the girl who was finally able to share a few minutes with his idol. It is nice and good taste Ole football for the girl! Best of all is the face of a girl in plan lol I got it . Here you have the video but do not eat the screen.
* By the way, this was near the residence where he lived until last year, we had at hand that the girl because I left that evening to see selection.
The "penultimate" lie ... the Government does not assign the work of school reform San Francisco de Borja (7 months late) because there have been many companies, "tra ra", which lie more beautiful, since when the number of companies participating in a contest means a delay in the timing of the award, unless bad that the electoral process are not many companies, because if many under the doctrine of the corrupt PP should delay the election, although as in the background is what they would like delaying and people could not prove their votes that are tired of liars and corrupt. That lamentable.
Indeed, in Gandia still do not see a euro Camps, now 600,000 more of the ministry building for the restoration of Palau Ducal, that's the difference of those who do not give a euro and those who collaborate to make great Gandía, no no color, only make corrupt first place rocks never heard, and people who do things and are (Palau Ducal, Paseo, Ribera del Serpis etc., etc., etc.)
Back in the 2003 film SWAT was another of many refried based on popular television series and, in my humble opinion, was neither the best nor the worst, just entertaining and forgettable. So I was surprised to learn that now, eight years later, someone decided to make a direct sequel to DVD, probably with the intention of starting a franchise low cost, with a known title and a narrative formula similar to those of certain television programs combine contemporary police action, melodrama and special effects to distract from their repeated arguments and pre-fabricated characters. More was still surprised to discover that SWAT: Firefight is as entertaining as the original thanks to the stylish direction of Benny Boom (is your real name?) and the interesting cast consisting of unknown actors, but well selected. On the other hand it also seemed as forgettable as its predecessor, for his argument lacks originality and ingenuity, with the additional failure of an ending that betrays the characters in favor of the show ... and not even doing it right.
will recall (?) The first SWAT divided his history into two parts, the first covered the training of officers who aspire to work in the Division of Special Weapons and Tactics and in the second half saw them facing a dangerous mission. SWAT: Firefight gives a twist to that structure wise, keeping the concept of "fish out of water" without wasting time on the tedious training of novices. The protagonist is Paul Cutler (Gabriel Macht), star of the division officer in Los Angeles SWAT and negotiation expert who has never lost a hostage. So the government is assigned as an advisor and coach in Detroit SWAT division, which wishes to obtain official certification of Homeland Security and Response to Terrorism. Cutler grudgingly accepts the position, and since then his disciples in Detroit resent the newcomer, but as they participate together in real operational and tough workouts, begin to respect each other ... which will be essential to survive the attacks of Walter Hatch (Robert Patrick), an enigmatic villain with government connections Paul seeks revenge for the accidental death of a woman.
As I said, the argument SWAT: Firefight is not very original, and I think works best as a crime drama that such action flick. For starters, I liked the relationship that develops between Cutler and the officers of Detroit. The actors have good chemistry and make a believable friendship forged from years of high risk and mutual trust in their abilities. The script kept to a minimum internal conflicts based on discipline or sexist attitudes (well, with one or two exceptions). In other words, the film depicts the police as spoiled children with high-powered weapons, not as invincible superhero, but as responsible adults (perhaps a little arrogant) who understand the danger they face every day, and the responsibility with citizens. Come on, even the occasional romantic scenes are handled with subtlety, even if its only function is to establish a "damsel in distress" to add suspense to the end of the tape.
Which brings me to the best of SWAT: Firefight : the villain. Robert Patrick gives one of his classic honest and credible actions to partially offset the superficiality with which his character is written. And certainly appreciate your gray morality, it is not a maniac trying to conquer the world, but a man with a mysterious past who only seeks to avenge the death of a loved one. Of course this does not justify their violent actions, but gives a motivation less arbitrary than the megalomania that makes it so boring to the usual villains of film B. Finally, I can not fail to mention the beautiful Kristanna Loken , whose appearance is too short, just enough to share a scene with Patrick. It is noted that there is great potential in this meeting of "Terminators" sorry that the story takes a different path.
Robert Patrick Although the film is stolen, I must give credit to Gabriel Macht for his strong performance as the protagonist. The truth is I never swallowed to this actor in other films (as Love and Other Drugs and Whiteout), perhaps because of the bad impression left me The Spirit , but in SWAT: Firefight reminded me a kind of "lite Aaron Eckhart, whose strength is not in their physical prowess, but humanity in his character printing. And as regards the management, I can not deny that I enjoyed the scenes inspired by video games first person (or "first person shooter" ). It is certainly a cheap trick to add visual and visceral impact frantic, but I liked the art moderate and occasional use as an adornment that puts us "in the eyes" of police officers during a dangerous operation. Finally I must point out (as usual) that all these virtues and praise should be taken in the context of B movies straight to DVD, so SWAT Firefight is not really a good movie, rather it is as a competent episode or NCIS Flashpoint (the only set of that style that I like). As such, used to spend time entertaining and utterly disposable, fed by low expectations and surprise to find a sequel with enough courage to deviate from the norm and find his own voice. Even if you do not have much to say.
First surprise: the Disney logo. I did not know Mars Needs Moms was the study; should be investigated before. But either way ... I was in the cinema, so I was just "enjoy" a soft sensitivity Disneyana, the expensive but cool animation made with "motion capture" and the forced story, which purports to be warm and inspiring but ends up being boring, predictable and unpleasant . Sure, there are at least a happy ending and everything is resolved satisfactorily (I guess that is not "spoiler" because all Disney films end well). Second surprise: Mars Needs Moms was directed by Simon Wells, who eight years ago did us the favor of ruining the film adaptation The Time Machine , based on the novel written by his grandfather HG Wells (seriously). Third surprise: I found the courage to not get out of the cinema.
The argument Mars Needs Moms could be a mediocre comedy parody of the sixties Mars Needs Women, but I doubt that contemporary young audiences grasp the reference. Ultimately it does not matter, because the plot follows the boy Milo (voiced by Seth Green) in a desperate mission to rescue his mom (voiced by Joan Cusack), who was kidnapped by the leader of the planet Mars to extract knowledge maternal and program in nano-robots that Mars raising children, apparently Martian women are incompetent for the task. Then, using Gribble (voiced by Dan Fogler), an American astronaut stranded on Mars for decades, Milo try to rescue his Mom and return safely to Earth. Oh, and by the way, learn to appreciate most everything she does for him.
The animation style employed by Mars Needs Moms is simlar to that of The Polar Express and Beowulf (not for nothing is co -produced by Robert "I Hate Actors" Zemeckis). And, as we saw in those tapes, the use of real human movement to breathe life into the characters just get (paradoxically) that look more false and inhuman ... in short, another sad visit "uncanny valley" . But keep trying Mr. Zemeckis ... the end is not their money that is wasted on so much technology with terrible results. Anyway, at least I liked the production design, camera direction and the high level of quality applied to textures and lighting. Note that there is real sensitivity "geek" behind the alien landscapes, corridors underground Martian civilization and the "hardware" that combines aesthetics of modern science fiction with the funny version of the fifties. But that's the only compliment I can give to this tedious film.
The "adventure" I pareicó Milo or exciting or interesting. The motivation is to save his mother may be valid, but neither the voice nor the "actions" express sincere feelings of those who would see in an ad for soup. The humor is not funny and i do not know how appropriate is the overall message of the film. Since then agree on respect and appreciation for the work of mothers, but I felt a little strange was the idea of \u200b\u200ba matriarchal civilization that is collapsing by her coldness and ineptitude. Curious decision, but hey, maybe the problem is not the script itself, but the book which inspires. The truth does not interest me much and I intend to find out.
And I do not want to waste any more time talking about Mars Needs Moms. May achieve slightly amusing to children by their occasional action scenes and slapstick routines, but I think that even the most indulgent mediocrity children will recognize the narrative of the plot, especially if compared with the best works in the genre (such as those undertaken Pixar). And I fear that, after admiring the visual virtuosity range, even a moderately polished product as Mars Needs Moms is obsolete and improvised. Of course I could have bought with his script ... but remember that it is Disney, do not expect miracles.
The moon, the condition of women, which regulates the tides, giant monkey becomes the Guerreiros do space (sorry, no space warriors that I get, I always saw it Songoku in Galician).
astral
There is a legend of Celtic origin takes place on the beach Launched (O Grove, Pontevedra). The villagers in certain full moon nights the women inside, and in yet, in the sea to wait nine sea waves that provide fertility. In the same way that Muslims astral used an ancient symbol of a pagan god, the crescent symbol of the male god of the moon as a symbol of their religion. And not to mention the dogs that become melancholy to the moon ...
Sol order and dry character, Luna disorder and from wet, and you can make guesses about who the men and women who ... Last summer I met a girl Galician parents had a middle name Lua in Galician moon, and really seemed like a nice name.
For that, I leave with my friend Frankie singing perhaps one of his best songs. So, as I have twisted the plans I'll take the Sun Plaza of Spain and some reading, Have a good time.
dramas usually bore me to show the tribulations of a marriage, unless they have a "hook" strong narrative that transcends the tragic but predictable process of "indifference." Also, being happily single, I find it hard to identify with these fictional couples, especially when performed by "stars" impossible to make them as real people. So I had low expectations for Sad Valentine , despite the good reviews it has received (including an Oscar nomination for Best Actress to Michelle Williams), it seemed exactly that: a movie with no other argument that the failure of a romantic partner. But writer-director Derek Cianfrance, along with the daring cast, evoking strong emotions get even with my reservations I found the film fascinating, honest and disturbing.
The couple in question consists of Dean (Ryan Gosling) and Cindy (Michelle Williams), married for several years, with an adorable daughter named Frankie (Faith Wladyka). But the years have been responsible for eroding the love you felt before, and now his modest middle class life, their financial problems and its plain boredom makes the relationship intolerable, but not enough to do something drastic about it. And so the old trick of jumping in time to witness various stages in the relationship, see how he started dating his eventual marriage and repetitive existence that led to marital indifference.
In a way, the absence of a "hook" narrative is what gives strength to Sad Valentine ... there is no infidelity (as in Far From Heaven ), no dark social resentment (as in Revolutionary Road), or a midlife crisis (as in American Beauty ). And not even appear to have hatred and violence (at least physically) between the couple. In other words, no malicious villains or helpless victims (well, except for small Frankie), only passive sacrifices on the altar of routine wear and finally extinguished until the most intense romantic enthusiasm. Sad Valentine points out the fallacy of that feeling, and how easy it is to go with it without questioning the other factors that will eventually define the relationship.
At its most mundane Sad Valentine looks excellent leadership from Cianfrance, whose previous career making documentaries obviously honed his dramatic perception, then easily zoom in sordid detail key moments in the emotional journey of the characters. And of course your address is superbly supported by the performances of Michelle Williams and Ryan Gosling, two great actors whose filmography reveals a rare respective interest in challenging roles and deep, just as those required Sad Valentine. Their work is perfect, where it should be subtle and intense which most affects the viewer. At the same time avoid being a "duel of proceedings", for all their effort is dedicated to the success of the narrative and the honesty of his feelings. Indeed, the sex scene so caused controversy is not as shocking as I expected, even remotely "sexy" because its purpose is to illustrate the transformation of passion to apathy, even in the carnal aspect of marriage.
So I can recommend Sad Valentine as a devastating marital drama, certainly depressing and bleak but somehow inspiring because it celebrates the fact, instead of wallowing in more commercial and accessible romantic cliches we see so often in movies. Having said that, I repeat that there is really a "story" beyond the collapse of marriage, so the two hours of the film might seem boring to those who do not appreciate the work of the actors or the director analytical technique. In any case, I think Sad Valentine value as sober and powerful antidote to the romantic comedies that infest modern cinema, based on the fantasy of "happily ever after." And hopefully the world works, but experience seems to indicate otherwise.
At first glance Unknown may seem like a sequel to "extra-official" Taken , the popular action movie in which Liam Neeson played an ex-secret agent in desperate search of her daughter. But not so; Unknown have moments of action, but its dense atmosphere and elliptical frame puts on a lot closer to that of Hitchcockian thrillers as Breakdown , Arlington Road o ( why not?) Memento. Of course such a comparison would only be in terms of style and subject ... not in quality.
Said Liam Neeson plays this time to Dr. Martin Harris, bio-chemical expert who travels to Berlin with his wife Liz (January Jones) to participate in a scientific conference. But his plans are interrupted when Martin becomes involved in a spectacular car accident that leaves him in a coma for four days. When the scientist finally awakened mind is confused and refuses all treatment, he wants to find his wife. However, when she finds she does not recognize, and, worse, Liz is in the company of another man (Aidan Quinn) who claims to be the "real" Martin Harris! What's happening? Martin (the original) can not believe that his wife is plotting to steal your identity, but everything seems to point to that fact. Then, with the help of Gina (Diane Kruger), the cabbie who saved her life during the accident, and Jürgen Ernst (Bruno Ganz), a cunning detective with a dark past, Martin will try to get to the bottom of the mystery and recover your identity before losing her forever.
The "man without a memory" is a familiar concept in film and literature abeyance Unknown combined with the other old classic of "mistaken identity" for create an interesting and well thought out mystery, with a resolution a bit absurd but acceptable. On the technical side, the English director Jaume Collet-Serra orchestra with skill like fights, persecution automotive and moments of tense calm, allowing the actors to do their work unhindered style with excessive or redundant explanations. Unfortunately, the script feels too generic, pre-fabricated scenes we've seen better thrillers. Of course, the end seemed more or less clever, but the only surprise is offered throughout nearly two hours, so we already had enough time to get bored before the big revelation.
Actually there's not much to say about Unknown. Liam Neeson does a good job as the intelligent but confused Martin, whose cold and analytical behavior does not diminish the passion he feels for his wife, nor the desire to get it back together with her old life. Diane Kruger is attractive and functional as a "sidekick" of the protagonist, actively helping but with some reservations about the bizarre situation. And I particularly enjoyed seeing the great German actor Bruno Ganz in the role of detective Jürgen, whose past in Stasi (the dreaded German secret police during the Communist occupation) do so at the same time repulsive and highly efficient as an ally, who they suspect of everything and everyone has contacts in high levels of government, not content with easy explanations. Finally, January Jones plays the classic "Blonde Ice" Hitchcock, whose obvious appeal outside inscrutable intentions hidden.
And I think the same is true of often unknown, it is a sexy thriller, well acted and filmed, with a functional script that holds the viewer's interest despite of certain passages slow and predictable but ultimately bland balance its intrigue and action takes away identity and lets a generic flavor that did not seem very satisfactory, despite the good ending. So the best thing I can say is that this movie reminded me of European thrillers like Ghost Writer and Frantic, the worst thing I can say is that the comparison is not entirely favorable. Still Unknown serves to fill a couple of hours on a boring weekend, or from a broader perspective, could fill the months it takes to reach the inevitable sequel of Taken . However, it may be but not necessary, nor even to fans of Qui-Gon Jinn .
Honestly I know very little about the world of graffiti and street art (in case anyone cares, my position on this is: it should be legal on public property, private property is prohibited.) But for years I have been fascinated by "culture jamming" , generally defined as an artistic movement which appropriates the tools and government and corporate resources to give them a different meaning, expressing the dissatisfaction and rebellion that we all feel, but not everyone can express. Call it a sort of "graffiti" with social and political awareness, which is not limited to walls, but all media. The film Exit Through the Gift Shop shows how two streams may be combined to form a documentary of uncertain veracity but undeniable impact, both for its message and for its entertainment value.
his argument is difficult to describe, so you better paraphrase Banksy, director of the film and famous street artist whose anonymity is as important to his "mystique" as the messages that printed on the left walls of London and many other cities. At the beginning of Exit Through the Gift Shop , the hooded Bansky explains it all started when the eccentric Frenchman Thierry Guetta immigrants tried to do a documentary on the phenomenon of street art, but Guetta was more interesting than the topic itself, so that Banksy decided to make his own documentary the "documentary." Then, like a snake devouring its own tail, Exit Through the Gift Shop reflects the influence of a cultural movement of the artist and vice versa, conjuring a narrative at once informative, inspiring ... and galling.
First Exit time Through the Gift Shop (a phrase that reflects the marketing mischievously art) has a solid look at the street art movement , which differs somewhat from the traditional "graffiti" by using stencils, sculpture and other techniques to capture ephemeral art on walls, floors and other urban areas particularly suited to spread the message of the artist, usually a complaint of social services, government or corporate, or just a flash of humor and wit in the gray urban environment. The narrative leads naturally from the particular (starting with the French artist Space Invader ) to the general (the world-renowned art of Banksy and Shepard Fairey gave further publicity to the movement), and it is fascinating how the clueless Thierry gradually seeps into the lives of artists, making their "performances" illegal documents while all ( ALL) with his trusty video camera.
However, the last half hour introduces an unexpected turn when the same Guetta decide to stop being a spectator and start your own career. What happens next is both touching, amazing and irritating, as observed from a vantage point the eternal conflict between art and commerce, and the blurred line that divides them (sometimes not so vague). In fact, the story is so incredible that justifies the suspicion that Exit Through the Gift Shop is a big joke of Banksy and his cronies ... a bold act of "culture jamming" that led to the Oscars . Personally, I tend to believe that everything was true, and although it is not, the message remains as valid and revealing. Clear that the subject of this documentary might be a bit frivolous, and may seem irrelevant in light of what is currently happening in the world. But its limited scope does not stop to appreciate the narrative talent Banksy, the amazing enthusiasm (and shamelessly) from Thierry Guetta, and the cultural value of the buskers who, with or without permission, try to enlighten us on the hypocrisies of modern life, or just have fun for a while with some attractive image or phrase acute . For now, I will focus more on the trail of these subversive architects when walking down the street.
million euro pay an individual who does not pay taxes in Spain is the height of shamelessness, but is also above does not work. What a bunch of crooks in case we are governed. That need to happen to end all this crap. Now
soon have the opportunity to vote or vote corruPPcion normal people in your hands this.
And yes, I wholeheartedly agree with imprisoning those of the ERE in Andalusia and to resign to the tato, totally agree, but not only them, also the whole government of the Valencia starting with the proven liar and demonstrated by the President.
Apologies for the delay in this critique. As previously mentioned, I was very interested to see the English version of range, but in my city \u200b\u200bis displayed in a few rooms and inconvenient hours, so I had no chance to see it until this weekend. But ... even later, I'm glad to have seen on film, because its combination of adventure (surreal) humor (irreverent) and extraordinary images resulted in a very entertaining experience that is worth seeing on the big screen, but occasionally fall into the same mistakes of modern animation.
The title of the film refers to Range (voiced by Johnny Depp), an imaginative and melodramatic chameleon whose habitat lens falls out of the car that carries, leaving him stranded in the middle of the desert. Fortunately, the desert is not wilderness, but inhabited by the eccentric inhabitants of a town called "Earth" which, curiously, emulates the lifestyle of the old American West. Realizing that fits between the rude villagers, pretending to be a bold range shooter and is hired as sheriff because of the arrogant Mayor (voice of Ned Beatty). At first it seems an easy job, but quickly becomes complicated when someone steals the town's water tank. Then rank, aided by the clever Bean (voiced by Isla Fisher) and other bizarre creatures, is given the task of recovering the precious liquid ... and in the process discovers a conspiracy behind the severe drought threatens to extinguish the people.
addition to what might offer in the narrative, I was very interested range as the first fully animated film by the studio Industrial Light & Magic (no, The Phantom Menace does not count). For over thirty years, ILM has represented the undisputed vanguard of special effects, and I think it's fascinating to see how they handle the new challenges of creating a film "inside", when usually their job to complement the ideas of other filmmakers. The result is brilliant in many aspects and appropriate in others, but as a general experience range seemed a stunning debut that immediately puts ILM in direct competition with other specialized studies, as DreamWorks Animation, Sony Picture Imageworks and Animal Logic. What Pixar? Not really. While ILM visual virtuosity achieved less than we saw in Up or Wall-E, his narrative skill not yet reached the level of Pixar, and only experience will determine whether they can ever hope to it.
However, among the good offers Range is the design and character of the characters, starting with the same rank. Usually gives me great confidence the presence of "stars" in the voice cast of an animated film, because the talent "on camera" does not always translate to the dry and lonely work of speaking into a microphone to give a character to life. Fortunately Johnny Depp learned a lot about this trade from Corpse Bride , and now manages print amazing chameleon personality leading the talkative, the same applies to other actors, from veterans of "voice work," as Ned Beatty and Alfred Molina, even novice in the middle, as Isla Fisher (whose accent of the "Old West" is doubly impressive when one considers the Scottish roots of the Omani-Australian actress) and Harry Dean Stanton (whose role is too short). Honorable mention to the great Bill Nighy as an enemy that is dangerous not only physical but psychological. And the best part is that these wonderfully colorful personalities complement the design of each character, and I mean not only the technical aspect, such as facial animation, the "shaders" and textures that adorn them, but the "soul" which evokes the combination of those elements. Tremendous job ILM team, hopefully we will surprise in future production; clear that much of this success could be attributed to director Gore Verbinski, but that diminishing the craftsmanship of "little people." Oh, and did I mention the fantastic soundtrack by Hans Zimmer? Their secret is to take "borrowed" many proverbs gender "western" (and Mexican music) to give a little twist that makes them seem fresh and new.
Among the things that I like least are the action scenes. Do not get me wrong ... are well planned and managed, and include some of the more humorous moments of the film ( "The Flight of the Valkyries" during an air raid, the brief encounter with Hunter S. Thompson on the road) but, as I happened to so many other films, I felt a bit forced, and pieces added to something that was working very well, and did not require any graphic embellishments to meet marketing issues. Which brings me to another point (for me good, but the reader's opinion may differ). I'm not sure Range is a film for children. There is nothing vulgar or "inappropriate" in it (well, not much), but the overall tone of the story and the subversive humor seems more aimed at adults treated better the most sophisticated jokes, a tribute to the "westerns" and especially introspective scenes that reach beyond the typical proposals homilies by the softer films for children (you know ... like stale "believe in yourself" and nonsense like).
In summary, I found rank highly recommended despite his questionable action scenes and occasionally slow story. Technical and artistic work is outstanding, and although I consider that the script could be polished a little more, their faults are softened by the sparkling performances and fluid direction. The truth is I do not know used in a great economic success, but I hope so to establish a new trend in animated movies, trapped for years in the vicious circle of commercialism and lack of interest in case of a product "throwaway" children. Well, honestly I doubt that happens, but at least I am pleased that Pixar not only realize the potential of animation to tell stories and not just to sell toys and merchandise. Would George Lucas keep away from the production boards.
me what he Descojonado fine watching a video of a character carefully. What about Julian Ruiz, who for many has been the Lighthouse of Alexandria as our music was always the last one, with enough caliber musical culture, and usually with good taste, but from time to time the ball was going well. In my case in the nineties I discovered Garbage, Depeche Mode, Radiohead, Chemichal Brothers ... Today does not look anything online because you learn many things before him and because some of the groups claimed today are quite
chunguillos ... Well that's true, but instead has a rather implausible anecdotes, it you know big stars for decades because you have lived in the United States and England when this cutting-edge as you could hear was Nino Bravo but from there to other things that accounts ... This man has the dubious distinction of being the producer Tino Casal, and yes maybe Having worked with the Blue and Black when Perry did not mail in Spain. However, Target has also produced in Burma have said repeatedly that destroyed his first records with electronic layers eighties got him. Finally, the group was not exactly a panacea, if they say it's unfortunately ...
Anyway, here I leave a video in which advertises its program in 40 TV "Videos and Decibels", reminding his legendary radio show "Plastics and Decibel." In order that Jodie is such a liar or has so overwhelmed the ego has made his own testimony chanante unintentionally. As you can see a character, not punishment because one of its ugliest jackets like the photo: s
Anyway, how are you put things in their good timepos the colegui, the great song of The Blue Hats Nile, a group that I like without having touched a lot of that style of music. In short, huge. Finally, finally, finally, I repeat only the stew xDD
Although the Mexican poster of the Swedish film Devilish Heritage is an obvious copy of Rite (perhaps to exploit the incident "Why The Rite" ?), His argument is somewhat more similar to modern Asian horror seems to be extinct . Or maybe it's more accurate to say that this film takes some Asian horror ingredients and combines them with religious doctrine to create an unstable, uncertain narrative genre that seemed slow, confusing and extremely repetitive but, on balance, justifies his tedious narrative an honest and important ... at least for its director.
This argument revolves around the priest Henrik Horneus (Jonas Malmsjö), known in his parish as an affable and optimistic that delights his congregation with sermons full of humor and goodwill. His life at home in a little more difficult because he is divorced and has trouble communicating with your child (I assume that the priests in Sweden have no vow of chastity). And, moreover, a day he receives news that his father (also a priest) drowned in a river in the remote village where she lived. Henrik then moves to the small community to settle the unfinished business of his father ... and begins to suspect that the old man's death was not accidental, as well the comments made by eccentric neighbors, the priest finds strange supernatural occurrences that seem to point to a dark secret from the past.
Heritage Diabolic starts well enough with an interesting protagonist, an enigmatic mystery and an eerie atmosphere that used to thoroughly cool Swedish locations. But the plot quickly comes control, the paranormal (if they are) accumulate no specific purpose, and it seems that the director (and writer) Fredrik Hiller is simply "stretching" the movie when it comes time to give his important message, which reflects some particular elements of the Catholic religion in Sweden that may not be as universal as the filmmaker intended. But ... anyway I found it fascinating to know the regional variations of a seemingly stable and unified religion. What I liked so much was the overuse of digital effects to create demonic faces without rhyme or reason, at best, the result is a brief shock (like when it happens in the barn), but much of it is abused trick for the thirtieth time I see only causes laughter or irritation.
In addition, Diabolic Heritage has more or less the same impact of a "re-make" of Asian horror (but not), and a spiritual perspective similar to that of films like the aforementioned Rite, although this might not have as its protagonist a priest without faith, but to a very devout in any way questioning certain tenets of their particular church (including the interpretation of Psalm 21, which is the title original film). For some viewers that religious background will change the whole tone of the movie, for others will be business as usual, but in Swedish and without exorcism. Personally, I liked some aspects of Heritage Diabolic (cinematography and forests reminded me of the work of Freddie Francis for Hammer Films), but ultimately did not find enough suspense, horror or humor to ignore their flaws or its lack of originality. I guess the international success of Swedish films as trilogy Millennium and Let the Right One In are promoting the film industry in that country, and perhaps soon we will see works that mimic the ways of Hollywood, which There is nothing wrong ... provided they are best stories and best directors to count. In short, respect Heritage Diabolic horror leverage tools to challenge the valid purpose of religious ideas, but that's no excuse to ignore some basic narrative conditions, for example, do not make us yawn so often, and not try scare us with the same trick a hundred times in a row.
First of all ... "Bad Robot ? "The production house of the icon" geek "JJ Abrams is doing romantic comedies? Well, to be fair, the first notable work of Abrams was the television series Felicity , so it's not a novice in the genre. Second, Glorious Awakening is not exactly a romantic comedy but a comedy work located in the world of news, which aims to give a hilarious look at the questionable ethics and malpractice of an industry that usually put "ratings" and image over journalistic integrity. And although obviously the director Roger Michell want the we compare with classics like Network or Broadcast News , the truth is that A Glorious Awakening has so little dramatic weight as elemental humor that is nothing more than a disposable lighter and weekend entertainment. Case.
The story offers a look behind the scenes of the morning news Daybreak, in last place in ratings for its low journalistic standards and undisciplined drivers. But when the clever (and a bit giddy) Becky Fuller (Rachel McAdams) is hired as executive producer, things start to change ... but it may be too late to avoid cancellation. Either way Becky does not give defeated, and his first dramatic decision is to dismiss the perverted male co-host to replace Mike Pomeroy (Harrison Ford), a veteran of the medium whose legendary career has created a bitter opinion on current news. Will the young and enthusiastic producer rescue the program, change the attitude of Pomeroy and irritable if he can find a little romance with her handsome colleague Adam Bennett (Patrick Wilson)?
One moment ... "An attractive woman overwhelmed and highly efficient in their work but awkward in social situations, struggling every day to control chaos of a television production and constantly fighting with their star, while trying to balance their personal and professional life? This is my theory: a Hollywood super creative writer (specifically Aline Brosh McKenna) saw several episodes of the series 30 Rock (or, for that matter, The Mary Tyler Moore Show ) liked the dynamics between the characters and thought, "This might work as a movie with some famous actors and high production values, I wonder if some producer swallow my novel idea?" The problem is that McKenna does not have the talent of Tina Fey and his team of writers, so Glorious Awakening ends up being a pale and imperfect copy with humor too obvious, tired routines and characters telenovela wasted by the dull script. And please, not to mention the horrible ending, which resolves everything and try to move us arbitrarily with some typical "grand gestures" made by characters who no longer interest us an hour ago.
At first I suggested that Glorious Awakening is not all bad, and the reason is in the cast, whose valiant effort partially rescues the tedious experience. Rachel McAdams is a good actress with the power to fit naturally into roles of "normal woman" (which we can not say a few more glamorous stars) and has plenty of talent to meet the requirements of the character, but unfortunately the script did not supported with good comic material, and much less romantic. Speaking of which, Patrick Wilson goes almost unnoticed as the leading man in turn, utterly dispensable but adequate to satisfy the spectators who can not accept a single woman happy and successful (I'm sure they exist). For his part, Harrison Ford is not as bad as I expected, certainly not redeem his recent career, but at least it seems fun in a role that may not differ much from their real personality. Rounding out the cast we have the always enthusiastic Diane Keaton as the co-anchor the news, showing John Pankow proper exasperation as the experienced program director, and Jeff Goldblum as the president of the television. In fact, I think that Goldblum was what I liked about the movie (which is not saying much), it reminded me that can be an excellent actor when not pigeonhole in his usual role of jester nervous.
Needless to say I would rather see three or four episodes 30 Rock instead of wasting time Glorious Awakening. But if there is no alternative, the film may offer a few smiles and some successful (although unoriginal) comment on the news industry, and the fallacy of relying on it to keep us "informed." Too bad the story does not dare to go further in that regard, perhaps if the director Roger Michell and producer JJ Abrams had heard his own moral ("brain + fun = success") Glorious Awakening had approached a little closer to the aforementioned classic "news satire." However their poor and low energy ambition guarantee that will be forgotten immediately. As Liz Lemon would say: Shut it down .
