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.

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