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!