the killer inside me

I will never be able to be grateful to him for the sufficient thing to my good friend Salva Solano the prose of Jim Thompson having uncovered, and novels as overwhelming as 1.280 souls or The killer inside me. Of the last one there existed a version of 1976, directed by Burt Kennedy and led by Stacey Keach, but now Michael Winterbottom has rolled a new version that, judge yourselves in the promo of 6 minutes that you have above, at first sight it has a fabulous face.

dossier surrounds of zombis / a serious type / planet 51/actuality criticism

"The box office achieved in the United States for recent Welcome to Zombieland is a sign more interest that keeps on waking up between the fans of the fantastic one the figure of the living dead person. (...) At the time of reflecting the worries provoked by the Islamic terrorism and the global economic crisis, the movies on zombis it has turned into a protagonist of exception of the contemporary fantastic genre."
More A serious type... More Planet 51 (to see criticism completes here)... More Reputation... More meatballs Rain... More blood Brotherhood...
Number 395 of the magazine Directed For, in the kiosks of the whole Spain.

incarnation

For a time, the industry of Hollywood, which sees that the traditional distribution systems are in decline and he needs incentives to take the people to the movies, is selling to us that the future of the movies (and of the audio-visual one in general) is in the movies 3D. And, inside this movement, Incarnation has turned, partly also for the declarations regarding James Cameron, into a species of flagship, into something like maximum epitome of what this technology can transmit to the spectator. Nevertheless, the sensation that I have left at this level after seeing the movie is that the stereoscopic one keeps on being the same juguetito that was when the anaglyphic glasses were used, only that the reproduction skill has been perfected. What comes to the screen is more a superposition of layers than an authentic reproduction of the volumes, the forms and the textures that one would find in the real life; but also, of any gimmick does not come up for (to a) do again clearly occasionally that you see a movie 3D, the stereoscopic sensation gets lost as it advances the length and penetrate into the history, playing down the importance that the tridimensionalidad has inside the story. The enthusiasm towards the format seems so uncultivated to me as the one that the Imax provoked, in his moment: also it was going to be a revolution and, to today, it is a different way of seeing movies, but not much less the predominant one.
In fact, the use of 3D does not seem so important to me as the fact that Cameron, the director who had always been characterized by a very physical plantemiento of the shootings, here has worked like George Lucas: placing the actors before green screens, and reconstructing the universe of science fiction of Incarnation by means of CGI (that, at least in my opinion, continues without turning out to be so believable as is said: the barrier of the theory of the inexplicable vale keeps on weighing too much). And hence it arises the one that, perhaps, is one of the biggest losses that are appreciated in the style of the director: the disappearance of the fisicidad, the rotundity of his scenes of action. Although in the movie there are a few warlike set pieces, all of them very well raised and that they demonstrate that it keeps on having a very good pulse for the same ones, none of them transmits this energy, this impulse adrenalínico and testosterónico of the Terminator times 2 or risky Lies (to what, why we are going to deceive ourselves, also he must have contributed the fact that, at that time, Cameron was on the 40, and now it has more than 60, and of course less I fill with enthusiasm towards the action movies of his beginnings).
One of the peros more appellants in the comments towards Incarnation is in the ingenuousness and the superficiality of his script. Let's be clear: Cameron has ever been characterized neither by his delicacy nor by the brightness of his librettos, but by his skill for ambientar fictions purely pulp in a contemporary context, scheming in fact pure series B of big budget (something that is present even in the romance of bolsilibro that is Titanic). In this case, and in spite of being realize, of not accredited form, a rereading of A princess of Mars, of Edgar Czech Republic Burroughs (spent, of course, by the filter of the myth of the good savage so fond of the twilight western), the director has put in shirts of eleven poles queriendo to carry out a sociopolitical and ecological metaphor that, practically from the first moment, it is clear that it is made big to him. Where the script works, as it is habitual in Cameron, it is in the most primary, less intellectual moments, in which the spectator can tune in really to the personages of the movie.
And the fact is that the director does not make it easy because, I do not know if of conscious form or for pure oversight, the interpretations of the real actors are, in general, so mediocre, so careless (perhaps the most clear example is that of Sam Worthington, that scarcely kennel his expression along the length), that do that every appearance of the Na'vi is worth of celebration because, at least, the magnificent work of the quizmasters helps to print a major emotion on some of the stony protagonists. Despite his slovenly feline aspect, the extraterrestrial race created by Cameron turns out to be believable and interesting, although I could not take from myself the sensation of seeing Indians three meters high and identical with blue..., especially, not even the sensation that he would have preferred to see the physical tones of the interpretation of the actors (like Zoe Saldana, which brings a tremendous expressiveness to his personage), without happening for the filter of the CGI. But it gives me the sensation that the director, to today and as it happens to George Lucas, is more interested in the technological slope of his work than in the human one, and his work has suffered for it.
In any case, these lines do not want to be a finished vision of the movie, but only a few notes that they can complement with the work of other partners, like that of Tomás Fernández Valentí in his blog, that of Diego Salgado for Looks, that of Noel Ceballos for Movies 365, that of Sergi Sánchez for time Out Barcelona, that of Jordi Costa for Stills or that of Javier Ocaña for The Country.

Streaming Damages S03E08 I Look Like Frankenstein free

saint arrives to town

Another year more we have the Christmas above, and as it has being traditional, I want to offer to my readership a different way of reaching the Christmas spirit as form of audio-visual congratulation. If in the previous years I chose to recommend movies ambientados in the epoch, in this occasion, making use of the pull that the series have at present, I am going to recommend to you a few special Christmas ones the fingers are absorbed.
Essential is In Excelsis Deo, an episode classic and rewarded with several Emmys of The wing west of the White House. Also there is worth while That of the girl of Poughkeepsie, who is part of the fourth magnificent period of Friends. Inexcusable the descacharrante gets lost Story of Christmas that Matt Groening created for Futurama. To recover, especially for the nun's appearance of Elizabeth Mitchell, it is If you make it bad and if not worse, of House. And I believe that it is worth while ending with one of the series that more hooked has me at present, How I met your mother, and his episode Like that was as Lily stole the Christmas.
Certainly, that I cannot refuse to include the traditional marcianada of every year: in this occasion, the special realized Christmas one of Star Wars, in 1978, without the supervision of George Lucas... Enjoy so covered with dandruff entertainment, and: Happy Christmas!.

Watch NCIS S07E18 Jurisdiction now

invictus / criticism of actuality / images

"After the minimalism of Big Torino, Clint Eastwood speaks again about the racial integration from a much more ambitious angle, of big political openwork, in Invictus, history of the arrival to the presidency of South Africa of Nelson Mandela who rests both on a magnificent Morgan Freeman and in the honesty of the proper director, who avoids to poke in the feeling of guilt of the spectator."
More Quite included... More Cinéclub... More The best... More perfect Escape...
Number 396 of the magazine Directed For, in the kiosks of the whole Spain.
Although this has been a calm month for me in Directed, the things have been slightly more moved in another magazine of the house...
"The adventurousness of Werner Herzog, which has thrown itself to roll a species of new version of one of the most revered movies of the career of Abel Ferrara, corrupt Lieutenant, has surprised there where this one has made début. And what, undoubtedly, more has confused the public is until point the German director has tackled (...) the same miscellany of surrealism and sense of humor that characterizes his most recent movies."
More A serious type... More Chéri... More Anne's decision... More men who were looking fixedly at the goats...
Number 298 of the magazine Images of Actuality, in the kiosks of the whole Spain.

speaking about the ces 2010 in the radio (updated)

While some radio program dedicated to the movies or with cinematographic gathering he decides to call me those incautious with curiosity to listen to my voice and who live inside the province of Barcelona can hear my technological treatises on the past fair CES (from the fever for 3D up to the screens SMELL) next Saturday, at 16:00, in the program Tecnoesfera of Radio Barcelona, in the Chain SER. Almost he had forgotten the entertaining thing that proves to do radio!
UPDATE: A little late, but here I leave the podcast of the program to you... On the minute 23 the gathering begins on the past CES.

sympathy for mr. almodóvar

"We live in a country that enjoys the clash. So, likewise it seems that the only one can be of the Barca or of Madrid, zapaterista or pepero, also it gives the impression of which it can love the only one or hate Pedro Almodóvar. Without stained averages. For those who hate it, which love it do not have any criterion; for those who adore it, which do not think equally are only the envious some"
The rest of the text, in the dossier "New Spanish movies of the millenium" of the almost newly released project We Love Movie theater. In the one that, also, also there inform friends and acquaintances like Óscar Brox, lolo Ortega, Raúl Acín (also, editor-in-chief of the web), Henrique Lage, Diego Salgado and enclosed Borja Cobeaga. Each and everyone of his texts cost very much the sorrow: do not get lost them!

the thriller uses of the 70

Inside the transformed Collection Nosferatu that periodically Donostia Kultura publishes as complement of his cinematographic cycles, it has on sale the volume The 'thriller' uses of the 70, coordinated by Antonio José Navarro and in that a called chapter signed A both sides of the law. The clair-obscure ones of the figure of the police cinematic one, dedicated to the figure of the police officer in the movies of the epoch, and his relation with the black literature of Evan Hunter, Joseph Wambaugh and similar. Leaving aside my intervention, the book costs very much the sorrow, not only for his deepening inside an exciting stage of the genre, but especially because he gathers signatures as illustrious as Tomás Fernández Valentí, José Mª Latorre, Quim Casas, Ramón Freixas and Joan Bassa, Raúl Acín, Ángel Sala, Jesus Palacios, Carlos Losilla, Roberto Cueto, Jorge Gorostiza, Roberto Curti or Desirée of Fez, between others.

dossier martin scorsese / criticism of actuality / images

"Despite a marked out career of personal projects, Scorsese has carried out sporadic incursions in the universe of the cinematic artesanado, in which it has achieved the balance between order and proper expression that it characterizes to movies like Bertha's train, The color of the money, The end of the fear and Infiltrators"
More City of life and death... More An Education... More The stepfather... More Tiana and the toad... More Arthur and the revenge of Maltazard... More men who were looking fixedly at the goats... More The fourth phase... More Welcome... More Up in the Air...
Number 397 of the magazine Directed For, in the kiosks of the whole Spain.
The changes of dates of the distributors have infested this number of Directed of articles signed by me, something that has not recured in another magazine of the house...
"She was the big winner of the past Festival of Sundance and there took the Award of the Public of the Festival of San Sebastian (...). Undoubtedly, Precious has turned into one of the big cinematographic surprises of 2009, thanks to his adaptation of a durísima it writes novels of the American poetess Sapphire who has derived in a movie that exuda a complex honesty"
More Quite included... More An Education...
Number 299 of the magazine Images of Actuality, in the kiosks of the whole Spain.

lost: the (updated) way of the redemption

"One of the big wise moves of Damon Lindelof and Carlton Cuse as showrunners of Lost, and in fact, that has allowed the series not to have stagnated of premature form as it has happened to most of his supposed "heiresses (...)", it is that they have not been afraid in that his narrative development was, especially from the third period, in continuous evolution."
You can read the rest of the text inside the most interesting "Specially Lost" that the Looks friends have thrown coinciding with the premiere of the sixth one (and definitive) period of so mythical series. Do not lose eye, because it is going to be updating periodically and keeps very juicy surprises...
UPDATE: I have had the honor of inaugurating the weekly pursuit that is going to be realized from Looks of every chapter of the sixth period. In the same link there will be added the texts of the successive episodes, signed by different collaborators of so distinguished web.

shutter island

I am sure very much that many spectators, likewise it him has happened to a few critics, are going to remain much messed up before a proposal as Shutter Island. And not because what Martin Scorsese counts in her is much removed from his personal universe and from his habitual topics (although Laeta Kalogridis signs the script alone, the work of the Italian American is evident very much at the time of taking the novel of Dennis Lehane to its own domains), but because it gets overturned in a generic playing that is much thought to betray the expectations of the public, to take them for surprise offering them something different from what they were hoping to see. His work has been compared to that of Hitchcock, and although it is true that there is a similar work with the tension, and with the medidísimo rhythm to which information is provided to the spectator, I believe that the similar one turns out to be much more suitable with the work like producer of Val Lewton for the RKO.
It is difficult to speak on the movie without throwing spoilers to skillful and sinister, because really there is nothing in the staging of placed Scorsese free: everything has a dramatic function and, in some moment, it plays some role inside the plot framework (in fact, the sure well attentive spectator who can foresee where the shots go: the Italian American does not want to cheat anybody, only it pretends). The director plays very well his letters, and handles with tremendous skill all the multiple cinematographic modality that the history suggests him, especially the series thrillers B and the histories of Gothic terror. Although in the last years his movies seems to have lost this energy espídica, uncontrollable, that usually characterized him, the increasing classicism of his framings does not prevent him from transmitting an increasing oppressive, suffocating sensation, which reaches levels paroxísticos in the last compases of the length.
If the criminal intrigue of Shutter Island does not have too much force it is, simply, because it is not the most important of the movie. His absolute center is his protagonist interpreted by Leonardo Di Caprio, who does not stop being a transposition to a figure in the correct side of the law of the anti-heroes loaded with complexes of fault that so much there has always liked Scorsese (a little that is imputed mistakenly, certainly, his collaboration with Schrader). As Travis Bickle, Teddy Daniels is a man traumatized by his warlike experiences, in this case during the Second World war, hence also it turns into bearer of a clear suppressed anger. That the Italian American limits to the minimum his habitual violent starters it does not mean that the history that it counts turns out to be less impactante, not less horrifying: it is necessary to be very cynical not to feel a chill during his last sequence.
I would like to be able to speak about psychological disorders, and of how these affect the personages who populate the movie (I will only say that, inside the different interests of both artists, they are much lynchianos), but he would need to reveal too much of what in her happens. I will only say that, inside my humble knowledge on this matter, it seems to me that Scorsese reflects them with tremendous brightness, especially thanks to a splendid cast and ajustadísimo.
P.D. Nothing better to extend and to tint opinions than to throw a glance to the criticism of Shutter Island of the whole authority in psychology like Roberto Alcover Oti, and to the habitual clairvoyance of Diego Salgado.

fantastic mr. fox / criticism of actuality / images of actuality

"His collaboration with Henry Selick in the submarine sequences of Life Aquatic left Wes Anderson with the itch of going so far as to direct an animation movie. And finally it has managed to take forward his sleep with Fantastic Mr. Fox, adaptation of the most popular infantile book of Roald Dahl that the director has been capable of enriching by means of his particular cinematographic personality"
More Eli's book... More Only they... More Legion... More extraordinary Measurements... More The circus of the strangers...
Number 398 of the magazine Directed For, in the kiosks of the whole Spain.
This month my contribution to another magazine of the house has been more scarce than the habitual thing...
"It is necessary to admit that Clive Owen can choose his projects with enough intelligence as to prevent he from being classified easily. This way, although (...) more palomiteros have converted him into a species of intelligent alternative to the action heroes, it keeps on being taken down by projects as Only they, which allow him to vindicate themselves like dramatic actor on having offered him the possibility of opening his interpretive capacities"
More The superkangaroo...
Number 300 of the magazine Images of Actuality, in the kiosks of the whole Spain.