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1,000 | archivos_extraidos/MCE-Corpus-main/Dataset/12 | Ignacio Esteban | La Novia Cadaver | 3 | 5 | muchocine | A calque of nightmare before Christmas. | I thought he was going to see something new Tim Burton, but I found a film that is entertaining, but that resembles its predecessor nightmare before Christmas. Anyway film as indicated above this well, has this Gothic atmosphere so characteristic of Burton, note the game of lights and some frames that make it look like a flesh and blood actors film, the story is original and has quite a few touches of humor, but what I don't like and it happens also with Disney films is they sing, for this type of formula and the characterization of the characters keep saying and I conclude here, La Novia cadaver seems part of nightmare before Christmas. |
1,001 | archivos_extraidos/MCE-Corpus-main/Dataset/4071 | Emilio Calvo de Mora | El espía | 3 | 5 | muchocine | Icy, it requires little risky, is left wanting for a cleanly filmmaking, which like and repels at the time. | Breach, crack in English, is a formidable title. The spy has been awarded, to the detriment, some topics. Simple and flat, earn interest in the extraordinary performance of Chris Cooper, a traitor that swings between the Catholic fundamentalist, porn, Catherine Zeta-Jones and the curiosity of being the mole and desenmascarle encargardo. The rookie officer that nearby (Ryan Philippe) involves too much and just zarandeado by side effects of a life consecrated to the service of the fatherland. Nothing new: federal agent lacks family, cannot maintain stable relationships, just staying in generous limbo and reliable alcohol and arises to abandon their work. The argument is overused, and will not only by one ahead of the plot but it inevitably closes before the splendid and already Tacitus The End us back to reality. And despite this litany of Puya, the Spy is not a bad film. It has enough charms as to merit some attention and give the honors its stylistic, mathematical, objectively, sparsely rich in nuances, he claims. What is new, what her extracted from the tedium, something that plays to their benefit, is the religious side and the weight of the characters. The mole, the unsurpassed spy dies inside: what fulminates daily his Catholic advocation, his consecration to a faith that does not stop the slow dismantling of national security, the dispatch scheduled and clean of secrets for 22 years to Soviet intelligence. This is remarkable: that a spy film obvious topics and will take the possibility dramaturgical that the viewer at a particular time creates watching a religious film or at least one of spiritual contradictions, a of those that explore the agony and the ecstasy (Carol Reed in memory) of whom scales between the obedience of a creed and the ancestral betrayal palpitationdouble life and all that predictable underworld poachers delights. A neat political cleaning (an officer removed a portrait of Clinton and puts Bush's, there is no excessive verbal attacks to the domes of power) the Spy is not ambiguous, or stays in the hint - signs of other spies film more burdened by the showmanship and the mix of action and moral implications to the Bourne or Ethan Hunt mode -confined to the operation that trapped the Betrayer. This moral cleanliness is managed with impeccable photography of Tak Fujimoto (signals, the sixth sense), which sows the sadness with his cold, perfect colouring to build the credibility of the offices, where most of the film takes place. The construction of the plot, which grows with delinquencies reaching an icy, necessarily expected outcome is also clean.Cold and aseptic, spy assumes the rules of the game film without visible effort, without the contest of twists in the plot or in his speech: the direction of Billy Ray (screenwriter of Flight Plan: Desaparecida or know what hicísteis last summer) is thorough, too much hampered by a desire to be artisan and ensure sobriety to what, in appearance, perhaps would have required a more flexible hand, a director of higher risk. Although well seen, other times call for just the opposite: restraint, restraint. Here Ray displays it with Office and proposes a show worthy, entertaining, which is missing a point of warmth, despite the remarkable interpretation of Cooper (what more sad man, by God), which makes of tormented as nobody in recent American cinema (American Beauty) and spare you time, intellect. Perhaps that its charm, which makes that not can one regret his viewing. At all. Is, in any case, find the reasons for the informing, the inventory of excuses to justify the felony of a professional mature, Catholic comprehensive, accepting the charges and public defenestration without revealing what moved him, if the money, the temptation to lead a double life or a conducive exacerbated patriotism to demonstrate laxity of the State when it comes to care for their childrenthe crack under the original English. |
1,002 | archivos_extraidos/MCE-Corpus-main/Dataset/3028 | Rafa Delgado | Disturbia | 3 | 5 | muchocine | A Hitchcock recycled (and sweetened) for teenagers. At least entertaining. | Alfred Hitchock premiered in 1954 the rear window, starring James Stewart and Grace Kelly. The film told the story of a photographic reporter, forced to sleep with his leg escayolada, and sometimes accompanied by his beautiful girlfriend and her nurse, it seeks to escape the tedium of his convalescence looking from the window of his apartment at the other side of the courtyard, collecting meticulously, and with the help of binoculars, fragments of the lives of numerous neighbors. until that, due to a series of small actions, voyeur reporter begins to suspect a neighbor before the sudden disappearance of the wife.Disturbia, which premiered in our country last Friday, is built at the base of the legendary film by Hitchcock. Someone who is forced to stay in a place and begins to spy on people. Here, James Stewart is obsoleted by the omnipresent Shia LaBeouf, a problematic teenager who, due to a fostión Lord who sticks to his professor of Italian (Spanish in the original version), condemned him to be under arrest world.The problem of Disturbia is that it does not offer nor adds virtually nothing new to the genre, because until that not it gets slightly serious, the film turns out to be a typical, forced ("I was going to condemn a year of reform, but as I know what losing a father, and give me a shame, because it hala, a month of arrest world" do!?!!!) and topiquísima whole life teenager film. The foreseeable, and those with fat script failures (tuned to a MONUMENTAL shit, related to the character of the mother of the prota, played by Carrie-Anne Moss; do remember Trinity matrix?-, when he begins the final climax). A Hitchcock recycled (and sweetened) for teenagers.Saves narrowly from the burning that is entertaining, that final climax tachycardia and quite achieved judging by the times, and a majísimo Shia LaBeouf returns to nail her role. |
1,003 | archivos_extraidos/MCE-Corpus-main/Dataset/3872 | Kiko de España | Death Sentence | 5 | 5 | muchocine | With permission of Jason Bourne and Tangier, the best 2007 action sequence, a shot of adrenaline and a bit of moral lightness. | Who I was going to say however that I vomited about Dead Silence and its director would begin the year by saying what his last movie touches the genius? A couple of seasons ago our mentor Tarantino crept down his sentence in the promotion of the fast-paced Running Scared that read: you're never prepared for a film as estaAhora am I that appropriates the phrase to recommend Death Sentence: the most brute commercial movie seen in a long time. The proof of the crime was badass, Death Sentence is gross. Taking into account that the plot is not the typical story of revenge when in fact could be the mother of the films revenge of the new Millennium did not go into details of the plot (tramáticos) that if you keep away from any trailer you can even get surprised at several points seriously.The first thing is to tell you that the best sequence of 2007 (there there with Tangier) is among the 42 minutes and 51 of film, a sequence which will call persecution and parking. Well, we can only applaud the bastard that gave us Saw by planning and executing with a verve that De Palma of a couple of decades ago would have given his good hand: in a false flat sequence (false is unimportant, I insist that if it is not the best action sequence shot little last year missing) located in a parking lot the action occurs at a frantic pace in which the viewer enters head and where those who have heart problems it will happen fatal, than this is film of that which say that is it now that the cinema of truth is dead and where influences ranging from Siegel to Stranglehold, do I understand?More tidbits.The character of John Goodman appears out of a script of 90 of these QT wrote to Oliver Stone or Tony Scott (or who would like them to buy) and gives a (false) break in a plot that is a shot of adrenaline as politically incorrect as perhaps extremely melodramatic desktop: the family is said so and so hard that at times you don't know if you're watching one of Bronson or one of those that makes now Rob Lowe and ranging from families, leukemias and/or Christmas.Of course, can take you in face the general ambiguity and Pilate syndrome, but I still think that us not like us to both the film if not for the blessed lost political incorrectness for decades and is left sparingly seen today in movies such hijaputas as a Death Sentence, which still does not have Spain (Vigalounge) release date(, are not alone) does not matter, the dvd is on its way and step ended with a couple of questions: who is the genius who decides to change 75% of the album covers/posters when appear in the domestic sector? why in Sitges not scheduled Death Sentence instead of Dead Silence and thus the whistles had probably would have changed by some applause delivered? |
1,004 | archivos_extraidos/MCE-Corpus-main/Dataset/2197 | Rafa Ferrer | Cerdos salvajes | 2 | 5 | muchocine | 4 Types an excuse to lose on a motorcycle for the America more garrula. | With a more than curious presentation of characters, went somewhat surprised and excepticos to this meeting of has-beens, where Travolta, Tim allen and William H.Macy, seem to the parents of Martin Lawrence, perhaps the "youngest" of the 4 protagonists of this, tribute to the current cinema, where is played over and over again with the typical clichés, which sometimes reach tireangry and bored staff.And it seems that for a time this part, it is fruitful (in box office), that honor and remember genera, although this film seems more the excuse of the 4 players to realize a return by the States, that a solid script of a comedy.With a full soundtrack of hits, and is that a tape of these features without known music would be a disappointment, if it is not already, certainly curious the America deeper American, with their contests in chile, his Madrid and its Sheriff of palo.And where there are also actors such as Ray Liotta or a curious Oscar winner, I mean Marisa Tomei by this girl do not pass the years?It is clear that the tape will not go to the history of cinema, but if he has succeeded in these 4 grandpas"almost" is it so big at the expense of the shooting of the film.PS: does Travolta dyed hair? |
1,005 | archivos_extraidos/MCE-Corpus-main/Dataset/39 | Iñigo | Oliver Twist | 2 | 5 | muchocine | If you have insomnia problems go to your doctor that prescribe you it to her | New and unnecessary the film adaptation of the famous novel by Dickens. Already it did in its day, among others, David Lean and now it is the turn to Roman Polanski. The truth is that good Roman has nothing new to offer, and the work of David is eaten in almost every aspect.The film, in general terms, is disappointing. Here there is no trace of that first Polanski amazed with works by the likes of "The Quimérico tenant" or "The dance of the vampires". "We can even glimpse some detail to remind us the drama"the pianist""."Oliver Twist" notable for being, simply, one of the minor of the filmmaker films.The adaptation is truly faithful, and the formal and technical aspect is, without doubt, flawless. Photography, in a home precocious and then gloomy, is of a high level. As well as the ambiance, sets, editing, costumes and music. There is no objection in this regard. But the problem comes in facing history and how to tell the tale. The narration is too repetitive, cold and aseptic. History gives the sensation of having an absurd and almost ridiculous, so without anything that attracts us attention and with a lack of too obvious claw. There is nothing that will make us partakers of the story of Oliver Twist, and any effort to move stays in the attempt.The truth is that, due to the memory offered to us by the book, we see that Oliver is a child (one of many) immersed in poverty and has to cope with the hypocrisy of the wealth of the London of that time. A child that force to steal against their own will, out of sheer necessity. But also a child who lives in their own flesh the betrayal, trust in friendship and forgiveness. A pardon him, nevertheless, will offer. And that is where we woke up. There is only one scene that stands out, is able to get out of the most absolute torpor, and curiously, this scene coincides with the end of the film. Very significant.In the cast. one of lime and sand other. Ben Kingsley dazzles, but Barney Clark, the child that gives life to Oliver, stays during most of the footage too cardboard. Does not help, precisely to convey and, therefore, to bring us closer to their situation.The film goes on insurance risks nothing, and therefore performs its task well. But, for being overly correct, not noted in any way. Everything is too topical, predictable, flat and bland.Ultimately, Polanski does not meet expectations and disappointed. Create irrelevant work that has nothing to do with other adaptations, such as the already mentioned of David Lean or the musical Reed, or other films of his own filmography.I don't think anyone lose sleep if it is without seeing her. Moreover, if someone has problems with insomnia, to go to your doctor to be her it prescribes. |
1,006 | archivos_extraidos/MCE-Corpus-main/Dataset/2368 | Francisco Bellón | 28 semanas después | 2 | 5 | muchocine | 28 Weeks after is nothing more than another failed and unnecessary sequel, whose argument seems sometimes joke, and has no feet or head. | There are some films which by themselves can revitalize all a genre film, or at least a whole subgenre. This is what did Danny Boyle with the movies from zombies, or undead, with its 28 days later. Not only provoked a flurry of new works which remained in his line, but that it reached the Acme, to give rise to the hilarious parody of Zombies Party.Y with these ingredients, which had to add a great success of critics and the public, is mascaba in the environment the appearance of a sequel. 28 Weeks after is an atypical part, because not to repeat neither the director nor the survivors of the original cast. Six months after the rage virus has destroyed the United Kingdom, NATO begins its reconstruction, and laying down the first refugees in Central London. Among them is a family which was separate from the crisis, and one of its members in hiding a dangerous secret. To bring to fruition the company chose the Canary filmmaker Juan Carlos Fresnadillo, winning a Goya Award for intact, and nominated for the Academy Award for best short film. From the first scene jumps to the eye, never better said, that this sequel is not recommended for sensitive stomachs, that it is even more gruesome, violent and bloody than its predecessor. The script it has more lakes than the region of Ruidera, and as shown here is the sequence in which Robert Carlyle seeks to Mary McCormack in a facility of maximum security military. Not to mention some elements, giving more than fear real attacks of laughter. In fact, the plot can be summarized in the following sentence, which must be interpreted with the maximum, sarcasm and recochineo: "do come children, Dad loves you give a hug?". Fresnadillo you will notice the almost six years of inactivity, it has lost the domain of film language that characterized him in his earlier work, and offers a monotonous direction, with a listless and weary rhythm. Of the actors, they are only saved from burning Robert Carlyle and Rose Byrne, but that takes the cake is the repellent child, Mackintosh Muggleton; undoubtedly, a large majority of viewers will want his character a fateful and tragic final.28 weeks after is just another failed and unnecessary sequel, whose argument seems sometimes joke, and has no feet or head. Worst of all is that now we can start preparing, if the box office does not prevent, for a third installment, in a display of originality will be called probably 28 months after. |
1,007 | archivos_extraidos/MCE-Corpus-main/Dataset/3683 | Oscar Martínez | Las aventuras amorosas del joven Molière | 4 | 5 | muchocine | A relaxed comedy in which the stories and characters born from the imagination of its protagonist serve to create a completely new story around him. | The amorous adventures of the young Molière is the second feature-length French Lauren Tirard, and is portrayed by Roman Duris, Fabrice Luchini, Laura Morante, Edouard Baer, Mélanie Dos Santos, Gonzague Montuel and Gilian Petrov.La film focuses on the teenage years of Molière, with just twenty-two years, be vé unable to cope with debts confronting his humble theater company. As well and all, sick represent farces, Molière is still obcecado to write tragedies, so it will inevitably end in prison, to where it will be rescued by a wealthy bourgeois seeking their services to learn to interpret, and thus conquer the heart of a young woman of the nobility.Far from wanting to move to the cinema the theatrical work of the father of the comédie française, the amorous adventures of the young Molière is much closer, for example, Shakespeare in love, which of the adaptations of Kenneth Brannagh, to cite the reference more obvious. Thus, Lauren Tirard constructed from certain specific biographical events a story of love and what not, maturity both spiritual and professional, populating them with the characters (or, rather, characteristics of various characters) of the play by Molière.Thus, the Molière played by Roman Duris in part adopts the role of his falsely beato Tartuffe, and indeed its history resembles in some respects to the theatrical work itself; Similarly, the character of Laura Morante is baptized with the name of Celimena, which we can find in Le Misanthrope, although it shows features of diverse characters. And the same is true, without going further, with the wealthy Jourdain, basically the Orgone Tartuffe, although no longer the typical bourgeois represented in many of his farces.And it is that, if something is defined the work of Molière, is by their ability to portray and ridicule to the society of his time, creating characters seemingly archetypal but always unique, achieving, at the same time, so that we are something in us that, beyond the laughter, his works make us correct or at leastreflect on our own shortcomings.Going to the movie itself, I must say that the amorous adventures of the young Molière I loved, in spite of its apparent simplicity and frivolity. Lauren Tirard film seems like a fairly accurate translation of the work in the life of the then young author, in which the caricaturisation of the characters through the farce shows both a faithful reflection of the French society of the 17TH century as a personal evolution that leads to the artistic maturity.Stand out, even more than the couple own protagonist constituted by Roman Duris and Laura Morante, a simply great Fabrice Luchini in their role of short-sighted bourgeois, horned and dam of a febrile teenage infatuation with a hilarious Edouard Baer, archetype of a proud nobility coming unless you must forge alliances with the growing bourgeoisie.Thus, we could define the amorous adventures of the young Molière as a sort of Gallic version of the drama Shakespeare in love, in which stories and characters born from the imagination of its protagonist serve to create a completely new story surrounding him.I give it a 7 out of 10. |
1,008 | archivos_extraidos/MCE-Corpus-main/Dataset/523 | Matías Cobo | Alatriste | 2 | 5 | muchocine | It neither chicha nor another. It stays halfway all their intentions. | Not wanting to read many comments to not go to the conditioned movies, but that I have read and heard from flick after Friday put me on guard. And truth be told, although he wished that wasn't so, Alatriste is a film which remains half way at almost all of his intentions. It tries to be a spectacular and bloody battles of the Siglo de Oro Spanish ambitious film, but it weakens in this regard; it pretends to be a hard drama that portrays the life of a few brave soldiers despised by compromising, inept rulers, but it barely moves in a pair of intimate sequences. His obsession with recreating the era because Yes, and without justification in the story, the pace of the film, sleeping at times it lastra. All these issues are added a couple of stories of impossible love of which only highlights a pre-credit sequence between Diego Alatriste y María de Castro (a splendid Ariadna Gil). It is not a bad film, but no, not even close, the great quality of our film that all blockbuster had hoped and some, as it is my case, we would have wished.Alatriste suffers in the visual, of an abuse of the postalitas. Some scenes are authentic calques into frames of paintings of the era, such as the surrender of Breda Velázquez. However, is conservative in the use of the camera and little daring in its Assembly. In this aspect, the truth, are still taking us several bodies Americans. And in a Ribbon backed with a very large budget, you might expect much more in the use of cinematic language. The choice of locations does seem accurate, especially in the case of urban scenes filmed in Baeza and Úbeda (and I do not mean to sweep the land), but the war sequences are poor. It is praise this desire for the verismo in the choreographies of the struggles, bloody and cruel, but also more flexibility in their development would have appreciated. I do not know if it will have been the own Díaz Yanes who was responsible for filming the war scenes, but in productions of this kind, it is normally the case that this function be delegated to specialized directors. Either way, the result not convincing.But if we consider the tape as a drama of characters, like a sour portrait of an empire in decline, this nor accomplishes its mission. Do do just give off emotion a couple of sequences and some dialogue, raised as a? tour de force? acting between opposing characters, they are quite flat and do not emit sparks they should. I have not read the novels, so I do not know if the accommodation is good or not. But if as I read, the main virtues of those reside in the development of a few plots and sub-plots of some complexity, have structured the script as a biography of Diego Alatriste does not seem very successful. Thus, it seems that Díaz-Yánez, despite having put their best intentions, has made a chaotic "copy-paste" of the five novels and his script as a whole is more deslavazado.And it is a pity, really, because in it some of our finest actors are involved. Although some shine at more height than others, I'll stick with Eduard Fernández in his role of brave soldier, taciturn man and loyal friend of Alatriste. I would also highlight Javier camera as the count-Duke of Olivares, above all in a final in which, already aged, sequence Hamas remains stubborn to recover the glory lost with an own disposed leader contudo. Also protruding Ariadna Gil, as a lover of the hero, and Juan Echanove, effective in its interpretation of Quevedo. With regard to Viggo Mortensen, who no doubt as efforts to build this character of chiaroscuro, had everything to be Alatriste: presence, intensity in the eyes, face of epic hero, but his work comes to pique when performing a strenuous effort to imitate an accent that does not have. That is why their phrases are a whisper that tries to hide its Spanish of porteño accent and anglophone vocalization.I not mistaken to say that much of the movie buff public put high expectations on this tape. Just take a look at some of the views that I linked at the end of this comment. If I would add is because I usually rely on the criterion of those who sign them, and realise that their views only respond to a single criterion: the love for good cinema. Do confronted these views with the conventional press, well, now seems that others have seen?Alatristes? different. I'm not saying that media criticism has been agreed, but I am surprised this unanimity of so strongly favorable views. I understand that you could want commercial success to a costly tape produced here and inspired by facts of our history, but common sense, when assessing, should not be clouded by the desire to lend a hand. Or, I don't know, maybe we are wrong who do not see in this film neither chicha nor another. |
1,009 | archivos_extraidos/MCE-Corpus-main/Dataset/3519 | Alvaro Oliva | Michael Clayton | 2 | 5 | muchocine | It will delight lovers of Clooney, good performances, lawyers and films with a background and that good intentions and the honour due to the temptations. | Debut in the direction of the screenwriter Tony Gilroy, who despite having a large cast, not just making a film that deserves my recommendation, and the main reason is the ballast which is the first part of the footage. The best of this proposal are the actors that has. Find George Clooney, Tom Wilkinson, Tilda Swinton and Sydney Pollack interacting, is something that deserves to be seen, but the style you have chosen the director, with the flashback of four days, makes us do the first part too confusing, with many details, information and situations in which is not known well that think. Later revealed us the shed that has formed, dazzling us with a story that raises the flight and makes us understand what we are experiencing. Nevertheless, the burden is too heavy, and in my view, the film does not have enough strength to get out of layers of cold air. I understand that people who see in "Michael Clayton" a great film, the second part is there are, with sensational performances (the Palm is for Wilkinson), but could have been a product much better. In short, "Michael Clayton" will delight lovers of Clooney, good performances, lawyers and films with a background and that good intentions and the honour due to the temptations. |
1,010 | archivos_extraidos/MCE-Corpus-main/Dataset/3511 | Iñaki Bilbao | La Sombra del Reino | 2 | 5 | muchocine | Ambiguous tape on a topical theme. | Little convincing work after cameras of the actor and director Peter Berg, which tries to guess, contribute their bit, for general reflection to a topical subject, as it is the spread of international terrorism. He tries from the point of view of pure action cinema, where the suspense and intrigue are its two powerful weapons. Powerful on paper, but that on this occasion not seduces much to say, given the farragosidad of the speech, as well as its socio-political ambiguity.It is also narrated in a nervous manner, often wanting to give the impression that everything happens to forced marches, with dramatic tension that makes everything be speeded up, as it would be normal in a topic where terror causes death and destruction where you want to go.For this reason uses a montage I guess tell Berg is vertigionso, but is actually something sickening, with plenty of close-ups free in my opinion. The script is not very successful, and there are quite a few moments killed by its central part that make the pace to decay.Luckily, at least we will know better the character of Colonel Faris Al-Ghazi, which in my opinion is the best character, beautifully played by Ahraf Barhom long. Their loyalty, honesty, courage and sense of Justice, are indeed commendable and it is to appreciate really. The best is undoubtedly its last part, where the pure and simple action takes over, finally, the whole shebang. Is shot with lively pace and although they continue to see some dark levels, at least the dramatic intensity is achieved, to reach a final decision quite acceptable, with that double whisper into the ears of the protagonist to her partner and the grandfather to his grandson. A whisper that clarifies what really constitutes the essence of terrorism and the actions of the special groups that are fighting against him too often: the revenge.Ultimately, as action movie can be entertaining, but that don't like absolute itself has tried to make us reflect on a burning issue that threatens us all alike. |
1,011 | archivos_extraidos/MCE-Corpus-main/Dataset/3346 | Ana Belén Pacheco | Arma Fatal (Hot Fuzz) | 4 | 5 | muchocine | Edgar Wright, if they may make me so bold, should receive some symbolic trophy by tremendous nerve and grace and be crowned King of the Disney parody definitely. | Edgar Wright and Simon Pegg are a perfect tandem. Much has been done hope this new movie where have decided to destroy the myths of action cinema of police with the same indiscretion that did so with terror in Shaun of the Dead.En this time Nicholas "Angle" a brilliant London policeman is "rewarded" for his excellent service record and to a lost village in the hand of God. What promised to be a destination the sea of simple dislike to this police action but for his fortune Sandford notable peace is going to be trastocada by a series of "suspicious and terrible accident".I will not talk of the multiple both explicit references as implied tapes as "Called Bodhi", "Lethal weapon", "La jungle de Cristal" or "Two rebel policemen" that this time the director has chosen to show us the scenes copied with authentic shamelessness and grace throughout the film by removing a bit of bad baba movie fan since then just die for me myths such as Charles Bronson and Chuck Norris, I prefer the Angel agent without blinking to doubt.The realization highlight above all mounting, fast, very fast, extremely direct and expressive that gives it a very necessary to standardize Cadence a tape, by duration, it could have been done a little heavy. An excellent decision of the director who, if they may make me so bold, should receive some symbolic trophy by tremendous nerve and grace and be crowned as King of the Disney parody (and already passage teach something of the genus American residents) impeccable cast with Nick Frost (always hilarious), Jim Broadbent (Moulin Rouge), Timothy Dalton (attempt to Bond) and a long etcetera that puts hairs as hooks.It is nice to see that after the long wait the thing has been good, especially when a well-deserved rush in the budget with respect to its predecessor makes comedies with such a good trial like this.I can't wait to see the following prepare us.FOR more GEEKS: Atentos to the cameo because Santa is Peter Jackson himself, Jeannine is Cate Banchett and its director also appears briefly. |
1,012 | archivos_extraidos/MCE-Corpus-main/Dataset/2420 | Emilio Calvo de Mora | Transformers | 2 | 5 | muchocine | Bearable metallurgical Vertigo that will delight many and will be the infernal tostón of others. | The mastery of Michael Bay action film can not be taken a joke: has raised an empire in the segment of the entertainment film mode that did Steven Spielberg (who incidentally co-produce the film) based on very precise and unabashedly profitable elements. All are past by the alembic of patriotism (point of American taste) and none lacks a generous helping of impressive, sweeping, syncopated and exultant visual spectacle. There will be no one go to see Transformers and not leave literally noqueado. The overwhelming display of special effects Tomb to the stricter Viewer: one already previously conjurado to boycott any pleasurable sensation received his academic brain, instructed in more depth film, alien to these blockbusters of summer that they dazzle the teenage rock and generate outrageous dividends in box office and a circus of figurines of an apotheosis Burger. If someone wants to sit in a comfortable armchair in a cinema and be contaminated by a spasmodic barque of shocking images, please join the film on the agenda and will not be, in any way, disappointed. Line followed by this fanfare of effects, the thing has its miga of humor, its point of comedy and even a small love story with acne that works with astonishing naturalness. And there are hilarious scenes that persuaded or at least not disgustarán too much (I insist) to the critical acid that already comes with written lines and only hoped that gilipollesco of this type of film discourse confirm that its very agile and trained professional vision had already planned: a desparrame bloating of wonders of computer ahombradas a bland scriptmagro in talent and always too long. I'm in the scene in which the robots of yore come home of the main character in search of an absolutely necessary object for the correct development of the plot. Or some surreal dialogues sidewalk of the goodness of democracy and as a zen method of decontamination intellectual masturbation. The rest: Transformers is an overwhelming film. It must be by the metals. It stretches without and abused what one good accept it like: the choreography of firing savagery, the mass destruction of everything what comes to pass. If we avoid the luxurious pyrotechnic device, we found only faults in the ground, obvious fractures, limitations to prosecute this warehouse of electronic stunts with meridiana objectivity. Very different case would be if the excited Viewer is already properly heated to the event by having been a fan of the series or fine taster of yore in his early years toys. Then Transformers is not only his film: will be your Bible in pasta, its digital catechism, his love of infinite summer. Or all together and greased with oil sidereal that does not lose composure Mystic Assembly of the pieces. It is not that, no, my case.The americanista stench of director undermines the universal interest of history, but golosamente apoltronados in his armchair, adolescents eating popcorn and sorbiedo with DIN soda do not require semiotics or committed the quality of your entertainment with no Professor of history of cinema that seeks to (any) crush action cinema just as action (genre usually ignored in the historiography and sparsely glorified in the usual lists of best films). These kids will spend an unforgettable time. The film should entertain and this makes it in major mode. Is that a roll of film? Roll fat last summer and this summer and another, but some time ago that one film not looks sweep at the box office as you are going to do this. And that is, and that is where Bay and Spielberg (Dreamworks, please) put all its efforts. |
1,013 | archivos_extraidos/MCE-Corpus-main/Dataset/3076 | Ramón Besonias | Chapter 27 | 2 | 5 | muchocine | In Chapter 27 of rookie J.P. Schaefer, gaze focuses on the figure of a cursed character for every devotee of American culture for decades: Mark David Chapman, the murderer of John Lennon. | The North American cinema has the virtue of looking for reflection about the interstices surrounding his luminous style of life. And on numerous occasions so choosing his most undesirable characters, for through them purge social sins or simply stress that the basis on which it sits their culture has nothing to do with the golden dream of who has made himself. Freud said that we can only be healthy if we look at our diseases. And this maxim has been the tendency of the film made in USA since that this generation of Directors formed by Scorsese, Coppola or Malick focused his eyes on the basement of the American life, portraying the life of beings everyday but marked by violence or uprooting.In Chapter 27 of rookie J.P. Schaefer, gaze focuses on the figure of a cursed character for every devotee of American culture for decades: Mark David Chapman, the murderer of John Lennon. The mere idea of portraying the life of this cursed character has led to some fans of musician associations to try to boycott the film. The truth is that the very idea of trying to focus a film on an anti-icono of pop culture is in the hands of a true adept a pernicious and malevolent transgression that you need to attack. But in the hands of a skeptic of any fan-atismo (such as which subscribe to this article) this idea becomes a priori attractive and if I dare even necessary.But what at first seemed to be an attempt to subvert and thereby reflect on American (pop) culture and its perverse effects, to view Chapter 27 my illusions be dampened. Not even think the thriller aficionado with psychopath that here you will find elements to enjoy. And it is that despite its excellent technical and artistic invoice, Chapter 27 is a byproduct of aesthetic new age that chokes to penetrate without escape routes in the mind of an autistic Chapman which becomes pervasive across a monochrome voiceover. The Cadence and rhythm slow tape (with the constant presence of the rye rocking by the wind) little help find in it something more than a three-day trip through the streets of a (that Yes) beautiful Manhattan, or see how a discretita Lindsay Lohan gives us a decent piece of paper (but nothing more). Everything stays in spectral air, as inhabiting the ghosts of pena Chapman.Una, above all for the enthusiasm and dietary efforts of Mr Jared Leto (best film, everything is said), lost thirty pounds to interpret to Chapman and give it a life of its own. There seems to be a common trend in Hollywood to identify quality with transformism. Things in the industry.Until today that signature stays with Taxi driver and its violence bitter, without redemption. Or the nihilism of Colonel Kurtz. Or even, if I put power, febrile incontinence of Tony Montana. But Chapman Schaefer languishes in my eyes losing all nasty as expected so potentially juicy story. Perhaps another try. Hopefully. Moment may or Chapter 27 appear on our billboards. If it had been a John Lennon biopic another gallo had sung. Things in the industry. |
1,014 | archivos_extraidos/MCE-Corpus-main/Dataset/3385 | Ana Belén Pacheco | El Orfanato | 3 | 5 | muchocine | The orphanage is not a film of terror to use if not rather a fine exercise of psychological terror with a fair dash of drama away from the easy scare. | I needed to at least five trustworthy people tell me that the orphanage was worth seeing to encourage me to take the step. Not memory have been so reluctant to see a Spanish film in my life. But as rectify is wise here am, singing the Mea Culpa and recognizing that Juan Antonio Bayona knows what it does. Belén Rueda is not of my devotion. I recognize that in this film his portrayal is flawless but there is something in his tone of voice that follows me proving highly tiresome (which dubbing of the shining). But removing these nuances which without doubt are very subjective and personal it makes a fairly credible role in this small turn of nut to the horror genre. The setting of the film is everything. Thanks to an impeccable work of production anyone is capable of believing the desperation of this mother looking for his son who has been "kidnapped" by ghosts, imaginary friends from his own childhood that the House where they live was the boarding school where she herself grew from small and wants to become a home for children with special needs. The line that separates the tension and uncertainty of terror is very well drawn what I have to say that the orphanage is not a film of terror to use if not rather a fine exercise of psychological terror with a fair dash of drama away from the easy scare. It is scored as the game itself proposed the ghostly inhabitants of the House, is a game of treasure hunt which stretches until the outcome in the form of final turn attractive and meditated. It is difficult to square pieces of such dramatic form in a first film but Bayonne has had a master such as Guillermo del Toro to help and guide, and the putative father of the tape. But the orphanage is also a cheat film, is a tape where they give you all the keys of the mystery from the first moment and you lose during the footage with subterfuge and rare tracks. Throws you into the paranormal world and you drag toward the past which the protagonists find it unknown to then bring to light myths, stories and games for children. So much straw is difficult to spin as fine and that possibly in the hands of a director with more filming would have given more are just depleted in passages which has no outlet inside the claustrophobic mansion full of ghost peterpanescos. With these defects, on the other hand perdonables, the orphanage has earned the recognition of the public and has achieved an exceptional box office, which is worthy of thank and another virtue to value on the tape of this newcomer. |
1,015 | archivos_extraidos/MCE-Corpus-main/Dataset/2939 | Oscar Cantero | Moscow Zero | 2 | 5 | muchocine | Another one of those movies that could have been interesting but the incompetence of his writers and director become boring and strange. | Moscow Zero is the second mystery or horror film set in Russia I've swallowed this weekend. Like the chosen, it is European capital. This, in particular, is one of those strange co-productions of a few countries, which leads to weird situations such as the emergence of actors as my countryman Alex O'Dogerthy Cadiz (known as unsympathetic coffee camera driver) with the increasingly more swollen and deteriorated Val Kilmer (little remains of those who played the Saint).Narrated in a tone somewhat sinister but not at all credible, tells the story of an expedition of scientists and a priest who travel to the catacombs of an ancient Russian monastery which has apparently disappeared a classmate that entered previously and solo them. According to popular legend, among the recesses of this underground labyrinth, is the entrance to hell.Little more can highlight of another missed opportunity to achieve an excellent horror film, that as in the chosen, the promising start is giving way to a Cadence charisma, slow and developed in some environments as dark hard to follow the thread of events that are losing interest as it progresses the footage.One of the aspects that really stands out is the obvious (to me seems it) parallelism which is established between the symbolism of a supernatural demon and another that could well refer to the human being, in its most raw aspect. This possible analogy reached its zenith when narrated the sequence of a kid who sees what they did the demons in a 1920 Russian convent, while background shows a refertorio in flames. Perhaps I'm wrong, but I think it is much coincidence that display such an affront to the religion set at a time so close to the October revolution, which led to the establishment of the Communist regime of the Soviet Union, which led to the prohibition of religious practice and the destruction of many buildings dedicated to it, while it refers to "demons". |
1,016 | archivos_extraidos/MCE-Corpus-main/Dataset/4122 | Berto | Los Crímenes de Oxford | 3 | 5 | muchocine | Correct film by Alex de la Iglesia, that although it doesn't have the personal seal of the director manages to entertain and play with the Viewer, without having a spectacular script, the looser of the film as a whole. | I confess that Álex de la Iglesia is one of the few names of cinema that is able to move me to a home movie, and I guess that the main cause is that the Bilbao has clear, above many other laudable functions, cinema is entertainment. The Oxford murders is faithful to this principle, and that is well appreciated. Martin (Elijah Wood) is a Ph.d. student from Arizona reached very Oxford University, which expected its thesis is directed by the eminentísimo Arthur Seldom (John Hurt), a Professor of logic a bit skeptical. Despite the fact that they soon realize it has both have conflicting views, not them it will be forced to join their bright minds to discover who is the serial killer who tries to capture the attention of Seldom using mathematical games.Said out there that this is the least personal film of Álex de la Iglesia, and to tell the truth, here and there is no great action sequences, nor is there the black humor that often permeate the Filmography of the Basque director. Moreover, if something is the Oxford murders is you need long speeches and dialogues in which the process logical characters, no simple thing, post that combines philosophy, logic, mathematics and even quantum physics can continue while in dose light enough to not cause irreversible brain damage to those who have suffered the ESO. The hand directing of Church has its own merit in that, also in two magnificent sequences (the false flat sequence that precedes the first crime and the concert in commemoration of Guy Fawkes) which are undoubtedly the best of the film.That Yes, the way in which the characters interact is sometimes a little strange: Martin arrives in a new city where not known to anyone, and after 20 minutes, after only exchange a few words with Beth (Julie Cox) and Lorna (Leonor Watling), already it has the two in the pot: laugh you the Axe effect. By the way, seeing the disaster that often happens when an actor bends himself, is thank that to Leonor Watling also her have doubled. That Yes, everything else that appears on screen is yours, and well appreciated that, although their role is undoubtedly the weakest of all, above all by profiling bad that is. Obviously John Hurt shines with their own light, and Elijah Wood is also good, although those porcelain doll eyes distract theirs.In the end occurs as always: twists, recontragiros and other stunts fatal to finish with an end that, if well within the strange logic of the film not clashes too, it is so complicated and so unlikely that one is left with the feeling that have spared you something along the way. That Yes, if the Sudoku will fall short, this is your movie. |
1,017 | archivos_extraidos/MCE-Corpus-main/Dataset/1765 | Nüx | 300 | 5 | 5 | muchocine | Shocking, stunning, stunning...300 is an undisputed technical quality and a perfect commercial product, so entertaining as shocking. Little more can be asked to a film. | I was very glad the news that a film about the battle of Thermopylae was being filmed. The worst, was me I afraid sincerely. I thought that the story is not only inventarían but it would also be a unbearable suckling pig. He was partly right, because it has been very little true to historical facts, but on the other hand, it has been entretenidísima. In addition, it should not be forgotten that it is the adaptation of a comic book, not a film to take as a direct source contemporary texts to the batalla.300 is a formidable film in almost every way. Visually it is a prodigious work, not running achicada this account not even taking into account the (ab) use has been made of the slow, because it reaches form an essential part of the photo set that allows you to highlight a specific image that otherwise we would go unnoticed, to merit this be well appreciated for its beauty, either by its plot significance.The plot has a rhythm that does not give truce at any time to the Viewer, forcing him to remain in tension throughout the film, without giving room to boredom, on the contrary that, unfortunately, often occurs in films of this nature. 300 is a tribute to the values of Spartan, reflecting them, as well as Customs (exhaustive selection of the race)(, fairly equal consideration of women, etc.), luckily, more faithfully than I expected. The Spartans have always struck me an exemplary people. I have them in a consideration of quite different from those that calling southern Lebanon of savages. But if even Plato praised the Spartan values and compared them, maudlin and embarrassed, that Athens autodestruída by its decadent democracy!Value, delivery, and the Spartiates self-esteem contrasts completely with the values promulgated by Xerxes, King of the Persians. Slave treatment of the Persian commanders exercised over his soldiers, contrary to the equal treatment which exercised the Spartans, is absolutely true so I consider bland in this regard protests arrived from the Near East. In addition, what will he be an Iraqi or Iranian with a Persian?! What will he be fanatical monotheism with polytheism Persian?! you what you have to see a prosperous, conqueror and flourishing town with one that plunge into poverty due mainly to its internal wars?! In the end. It is as if we tried compare (as it has been claimed by some sectors) the Spartans with the Americans. Sometimes, comparisons, are more than odious, quite ridiculous.Turning again to film strictly terms, point out the photographic atmosphere, clearly inspired by the comic; to those who you read, sure that this appreciation is you has not gone unnoticed. Tones, lights, the photographic set itself, even the narrative pace and intercalated simultaneously to the main action scenes of the city of Sparta, all evokes somehow he aesthetic of the comic that gave rise to the film.In short, 300 is an undisputed technical quality and a perfect commercial product, as entertaining as shocking. Little more can be asked to a film. |
1,018 | archivos_extraidos/MCE-Corpus-main/Dataset/1978 | JLO | 300 | 2 | 5 | muchocine | The political intention also mixes a little many, in a story that shows the values of the Spartan, militaristic, authoritarian society exalted. Beyond you with true intentions Yanks and the same film. Or is it spun too thin? | Move jewelry comiqueras of Frank Miller to the big screen, both by his large, flamboyant graphic style your Rodez and his good scripts is always a challenge. 300 is a comic of the 98', after his famous Sin City of the 91'. To productions that do not name?Daredevil, Batman - have their mark. But one thing is the adaptation of a comic book and quite another the language of cinema. Already demonstrated in the irregular Sin City (Rodriguez, 2005).300 is faithful to the original Miller (there are modelled paintings), but is mammoth by their rigidity cause of being filmed almost entirely with blue screen wallpaper, for his oral heaviness, carry slow matrix unsuspected (believe it would last 30 minutes less without it). Up the sex scene is in slow motion! The picture is as impressive as the of Sin City, luxurious and monochromatic, but ends up being anecdotal by the weight of a script with "epic" phrases to repeat.The battle of the Thermopylae and his veracity are not in discussion (is a version of the comic, not about the real story), but Snyder does not deprive put the Frankster so famous were after the Lord of the rings. Let's say that within its genre, it would be more honest to Gladiator (2000) and less passionate than the Alexander by Oliver Stone (2004).The political intention also mixes a little many, in a story that shows the values of the Spartan, militaristic, authoritarian society exalted. Beyond you with true intentions Yanks and the same film. Or is it spun too thin?The criticism in the North the try fascist, of the film more gay history, bloodshed to the cuete. It is not for both. The people became the most-watched in the United States. I.e., the same old story. We agree that it is not a lead either. 300 can be seen, has the necessary action and also monocordes actions, clothing and unrealistic male bodies, endless battles in idling and is cheerful and cartoon at times.Finally, the subject is the film after his vision, becomes a real shame for what could have been. |
1,019 | archivos_extraidos/MCE-Corpus-main/Dataset/3405 | Rafa Ferrer | Star Wars Episodio VI: El retorno del Jedi | 4 | 5 | muchocine | Well, I know we all have seen this film, so to spare the usual recommendations... | I have to admit that you for my "Return of the Jedi" is one of those movies that I have a singular affection rather than the own Star Wars freak (which also) because it was the first film in the series vi accompanied by my father at the tender age of 6, a pequeñajo. See these ships and that accompanied by excellent music by John Williams deep space left in my a big footprint as film buff and a fan of Star wars.Today I wanted to reconnect with all my favorite characters in the series and Episode VI to my best with the "Empire strikes back".The image and sound quality makes you look like watching a new film, perhaps best voices in you in Spanish, where the voice if you have some "old" sound, and it is a pleasure to the eye see Harrison Ford, Carrie Fisher, Mark Hamill and company as if it were yesterday.They have added certain images to my taste rather spoil the movie, but well, it must go with the times and find the taste of Luca$ films are their own and do what pleases real.Well, I know we all have seen this film, so to spare the usual recommendations. |
1,020 | archivos_extraidos/MCE-Corpus-main/Dataset/1815 | Rafa Ferrer | Serpientes en el avión | 3 | 5 | muchocine | The film won't be to the annals of the 7th Art, but must see that well so I happened to me seeing it. | Tape divertidamente geek, which was a promotion in brutal internet and finally stayed in a bluff, is a shame, since long ago that I it not amused both watching a tape of these features, that captures both the action cinema of the 1980s, even in the image and the look of the hero of the moment, excellently translated by Samuel L.Jacksonthe current approach to characters such as Chuck Norris or Charles Bronson.Previsible to but not power, is that you one since the beginning and after a brief presentation of characters, stereotypical but not power, we soon get into flour, the 20 min. projection, already you are grappling with the Pataki Serpientes.Elsa in her first role in the USA, makes Spanish mother (seems 100% Andalusian). Similar to "Missing flight Plan" set is an entire aircraft, with its two floors (only so worth seeing the film), by Curran which are the sets of the film.The villain of the function, an apprentice of Bruce Lee, inspires little confidence, but is a copy of all the villains in the films of yesteryear. Found me quite original vision in green snakes, although others many, CGI-based singing too (others also noticed that they were plastic).Come on, the film won't be to the annals of the 7th Art, but do look that well me I had seeing it. |
1,021 | archivos_extraidos/MCE-Corpus-main/Dataset/2143 | Rafa Delgado | Dame 10 razones | 4 | 5 | muchocine | Small, nice and funny production, with a peculiar and unusual sense of humor, and a huge Morgan Freeman that passes it big with a Paz Vega makes juggling with his accent. | In '10 Items Or Less' (sorry, I refuse to call it as her "translated" in these parts), Morgan Freeman embodies a famous actor in low hours is forced to accept a role in an independent film about a supermarket manager. To be able to investigate on his character, visit a supermarket in a working class district of Los Angeles, where known to Scarlet (Yes, with a t), the energetic cashier starring Paz Vega. Between the two will emerge a peculiar relationship that will learn something from the other.Let's say that this film is a kind of ' Lost in Translation 2' that takes place in Los Angeles. Apparently does not resemble anything, but at the most basic, the motivations and the relationship between the couple protagonist, could well be sisters. This is the least, unless it has its own personality, and is forgiven.Best thing about this film is that you don't have any claim, it has a peculiar and unusual sense of humor, is very small and it is quite nice and fun, once you enter in your game, clear. Because of the way in which it is told (the gafapastis will love) will be a film quite misunderstood, unfortunately. In addition, the two actors are quite well: a huge Morgan Freeman that passes big together to a Paz Vega juggling her accent. And on screen they have much "spark" and work very well. Recommended and warm comedy, if only to hear Morgan Freeman to sing "pasar la barca" (in VOSE, of course).Also does not neither long nor heavy, because lasts a sigh: an hour and twenty. Just enough and long enough. something that, unfortunately, seem to have forgotten much of filmmakers. |
1,022 | archivos_extraidos/MCE-Corpus-main/Dataset/2388 | Alex Largo | Banderas de nuestros padres | 3 | 5 | muchocine | Although Eastwood made a magnificent job which makes the tape drive is the script, rather than the script, the story. A story that has no claw and becomes something sosa for the Viewer, a story with the same emotion that Eurovision Song Contest. | Clint Eastwood is one of the great personalities of the contemporary cinema is more than obvious. By it when it was announced that Eastwood would be the history of the two sides which fought on the island of Iwo - Jima in two films followed the project with great interest.At first, "letters from Iwo-Jima", sister of "Flags of our fathers", was to be released after the Oscars. But someone had the happy (and a priori the most correct) idea of advance premiere of "letters from Iwo-Jima" so that he could compete in this edition of the Oscars.Y apparently seen and read read, "letters from Iwo-Jima" (which I have not seen), exceeds "Flags of our fathers". And the truth is that I think so, that exceed the level of this cannot be anything complicated to Eastwood.Ojo, this does not mean that "Flags of our fathers" is bad, because it isn't.It is true that it is not no masterpiece, but it is not bad. And that I never I have excited too war films (in the strictest sense of the word) dealing with the war of Viet Nam or any war of the Yankees. Why it was not surprising that I was not going to excite this film.Although Eastwood made a magnificent job which makes the tape drive is the script, rather than the script, the story.A story that has no claw and becomes something sosa for the Viewer, a story with the same emotion that Eurovision Song Contest. Although you may have some guilt the Assembly, which, although very correct, does not have the spark needed to produce any feeling in the Viewer.The Mise en scene isn't spectacular (history not asked for more) and the actors do not make any teacher work (something pretty obvious watching the actors template).The only remarkable thing of the film is the direction of Eastwood. And in addition to being the only thing that stands out is that most stands out. Since Eastwood makes what does neither the history nor the actors, gives "grace" to the issue and makes the somewhat enjoyable movie. |
1,023 | archivos_extraidos/MCE-Corpus-main/Dataset/4249 | Caruco | 4 meses, 3 semanas y 2 días | 3 | 5 | muchocine | One of the films most interesting season, for its realization, for his performances by the wealth of their nuances, for free from ethical and moral discourses predictable. Although not round. | Gifted student of the extinct movement Dogma pushed Lars Von Trier, Romania's Cristian Mungiu delights us with a few frames as sober as attractions. And as a good dogmatic, strips of music to your images by limiting the soundtrack to the dialogues and the diegetic sound. His camera, curious and incisive, is entering the girls showers or inviting us to contemplate this fictional Odyssey, with all its harshness, but that it could be hundreds of thousands of mújeres during the dictatorship of Ceausescu, decided to abort clandestinely, takes us by the hand to invite us to take a raw journey, accompanying his two protagonists.In this chronicle of two college roommates room at the residence, the ups and downs of those times of the Communist dictatorship in Romania of the eighties, where everything is so precarious is obliquely as guarded. Its citizens are always under suspicion, or to register in a hotel to make their decisions freely. But above all it becomes a poignant story about female friendship. In a world governed by mistrust, its protagonist, Otilia (Anamaria Marinca), is precisely their enthusiasm in the unconditional help her friend, Gabita (Laura Vasiliu), the table of salvation where grab. It's believe to have someone that never betray us, that would do the same for us before the more cumbersome problems.And Mungiu tells us through the omnipresent Anamaria Marinca, not the teenager senseless (more than anything because their answers given to understand that he never knows the correct decision), which stars Laura Vasiliu, the young woman who has been pregnant and wants to rid of that fetus in advanced state. With Otilia will be living as if were in the first person, each of that chain of events and scenarios that leads the fact decide to abort in such a regime. Roads in which any currency goes, even the own humiliation.Not just tested or prefabricated, the frames of Mungiu, with abundant flat sequence, cease to be very striking visually. Even the Green jersey that looks Otilia during much of the footage could be defined as a visual revelation. Or his silent scenes in the mirror. or in one of the stronger sequences of 4 months, 3 weeks and 2 days, of these for leaving one stuck in the armchair, it occurs (for a fact that I do not desvelaré) while Gabita waits "turn" locked up in the bathroom of the rented room, until bursts Otilia, direct to the bathtub.The pity is that so good proposal and pace lose bellows in his final half-hour, where the interest and the rate decays; and where Mungiu, impeccable thus far, da symptoms of weakness, including introducing a flat completely unnecessary detail, which breaks with its suggestive, and by no means less raw, scene.Errors that no river one of the films most interesting season, for its realization, for his performances by the wealth of their nuances, for free from ethical and moral discourses predictable. And above all for its ability of fascination and immerse ourselves in this Odyssey (almost) in real-time with Otilia and Gabita with a naturalness and ease appalling, even though not a work is much less round. |
1,024 | archivos_extraidos/MCE-Corpus-main/Dataset/2911 | Rafa Ferrer | Hotel Rwanda | 4 | 5 | muchocine | A sensational film which does not leave indifferent and with one of the best performances of the year. | Very interesting and necessary film of complaint about the bloody "war" between hutus and Tutsis in Rwanda, Africa, in the year 1994. There were killed nearly a million people, in their vast majority Tutsis at the hands of the machetes of hutus. The gravity of the matter was that no nation of the civilised world took charge of the protection of innocent civilians, leaving them to their fate.This film denounces these acts honestly and entertaining, with historical rigor and a way of narrating using suspense, with a very accomplished tension and some commendable performances.It is worth seeing the great Don Cheadle in their difficult role.A good movie that perhaps in the hands of another more experienced director would have been better, but that is necessary to ensure that Western countries take awareness and not return to turn our backs on millions of innocent people.In summary, a sensational film which does not leave indifferent and with one of the best performances of the year, Don Cheadle. |
1,025 | archivos_extraidos/MCE-Corpus-main/Dataset/1137 | Elena Suárez | Mujeres en el parque | 2 | 5 | muchocine | The truth is that I love the films about intimate relationships between people, but if one is not going to be able to do a good job it is better to resort to other great classics. | I don't know if the fact of being a strange and lonely person has made me worship films that talk about the social relations; the comings and goings of a group of something silly beings and, above all, very selfish, usually known by the name of human. However, I must also acknowledge that when a feature of these features does not meet a minimum of expectations, the result is more negative than with other kinds of less pretentious genres.Something like I thought when I saw women in the Park, the last work of Felipe Vega. A supposed drama which chronicles the emotional crisis of a couple and the impact that leads to this problem on the closest environment: his daughter. The intention of the director has been the Add reality on the subject and in some respects has done (some other dialogue, the interpretation of Bárbara Lennie, urbanized images of Madrid) but the main problem lies in the lack of depth and search, above all, because we are talking about feelings.As auction, to try to get out of step, the ending suspiciously revolves and gives the feeling that this trick is an attempt to cover the lack of creative research, but all you get is increasing disbelief to a story which is very real. Nor very clear the existence of certain characters and its importance in the development of the story (the heavy student overflows Monica with questions and when it starts to show its interior disappears - and it is a shame because it is one of the more interesting character - or friend with aspirations to violator of Ana).The truth is that I love the films about intimate relationships between people but if one is not going to be able to do a good job is better to rely on other great classics that still worst bring you more profit at the box office (musical with people that we can sing, comedies with scurfy humor, with many nude films and short argument)(, suffered widows penniless dramas that go to market with a suit of Gucci and bun from hairdresser, etc.). |
1,026 | archivos_extraidos/MCE-Corpus-main/Dataset/1955 | Daniel Galindo | Sunshine | 3 | 5 | muchocine | Respectable Office of science fiction with more claims that substance. This is this compendium of horror, metaphysical speculation and heroic survivors covered by a precious gift paper. | If so we developed, i.e., if we remove the excellent technical invoice, we have a paquete-bomba of reflections can explode at the time that the ideology is diluted by the application of the standards of the thriller.Rather than keep reading him I have to confess that Danny Boyle has my sympathy: seems to me an atypical and thanks to that type, a filmmaker who does disgusted to nothing: it recreates in a fable with children with Angel and obsessed with the Saints (million) that it decimated the British population (28 days later) and us into social subworlds with Trainspotting. He has talent and pretensions of greatness in equal parts, a blend that balances the balance in this curious puzzle, strange within the genre are going-to-save-the-world, so interesting and uneven with regard to strictly narrative, and it is here where weakens the thing.Its excellent ability to telling stories led him to narrate the Chronicle of the last days of the life on Earth from a point of view more realistic, unlike the triumphalism which we are accustomed of Hollywood. That does not mean that the film is positive, just the opposite: the Sun dies and there is no trap or cardboard. Foreseeable of your argument is diluted as soon as they take runout the pace and tension that we submit, supported? it must be said, in certain episodes more typical of a sort of titles framed in terror tacky and cheap catastrophism.Sunshine is what you would get if we substantiate 2001: an Odyssey in space and Solaris (both in plot issues such as formal), Armageddon and the Wes Craven factory titles. It shows the influence of classics like the above first and the jewel of the space horror, Alien, the eighth passenger. Initial approaches are very attractive, but lose consistency at the time that advances the footage and is carried away by the sensationalism of most commercial productions.Still worth it, by similes - Icarus is the name of his ship - and the psychological background of characters very well interpreted by devoted but little recognizable actors by the spectator: Cillian Murphy, seen drag in breakfast on Pluto and hero force in the epidemic 28 days later, Michelle Yeoh (Crouching Tiger, Hidden Dragon, memoirs of a geisha)Chris Evans (the human torch in the fantastic four) and Cliff Curtis (the source of life, River Queen), among others.Let us spread by physical claustrophobia and spiritual distress of these beings destined to a sad end for the good continuation of our life. His experience is illustrated with a cocktail of special effects, picture of high quality plastic and impeccable sound? if so be that we arrived in space abroad--drawn up in what had to be a gruelling stage of post-production. With their errors, Sunshine suggests a priori to entertain then, which is not little. |
1,027 | archivos_extraidos/MCE-Corpus-main/Dataset/4350 | Natalia Eseverri | Juno | 5 | 5 | muchocine | A great dose of Surrealism full of reality. One of those gems that is worth going to the cinema. | Jason Reitman will enter into my list of favorite directors for their ease of make surreal things may seem more real.This is Juno, the story of a very particular teenager, to be so young with very clear focus on his life, when it gives a tremendous turnaround staying pregnant. His personality and that decision are very little credible, as well as the environment that surrounds it, but Reitman gets with a few dialogues divertidisimos and some very extreme situations but that carried with an incredible genius, you think that these problems and these people can actually exist in our daily lives.Juno is also a breath of fresh air to a cinema that entretetiene and excited at the same time, without resorting to the same topics. If to this we add, magnificent interpretations both Ellen Page, Allison Janey, J.K Simmons and Jennifer Garner, because history is much more fun and appealing to the Viewer.Ivan Reitman is characterized by caricaturing hypocrisy that we in reality, first with the wonderful thank you for smoking and now with Juno, and also characterized by characters with a strong personality are surrounded by other characters that accompany the perfection to tell these stories.I don't think that I will be nothing at the next Oscars because it isn't a drama independent film, if her had he done so, perhaps it is would but it would not reach a quality Reitman, so I prefer not it take him, and surprised us with films like this. |
1,028 | archivos_extraidos/MCE-Corpus-main/Dataset/964 | Oscar Cantero | Creep | 1 | 5 | muchocine | Creep is a combination of all the defects that can suffer a film: is ill-structured, the idea is simple and vulgar and actress on which rests the entire weight of the script does not give the stature, not even close. | Always liked more film of suspense that horror, inter alia because except Honorable exceptions, it tends to be quite superior to plot level, and also because for a time this part horror films, are mostly, a parade of viscera, desmembramientos and any imaginable topic; at least in United States from films and many countries of the old continent who have seen the unique chance to win share of screen in the "Americanization" of their work. It is very possible that part of the budding success of Japanese cinema is due to this cause, that until very recently you could count on the fingers of one hand the Japanese productions of this type are shown in Spain. Creep responds perfectly to the stereotype before commenting, as his script is a magnérrima simplicity; virtually all of it takes place in the underground of the London underground, where a strange creature (more a monster seems a guy that you have missed a cauldron of oil boiling over) is dedicated to bring to his Lair to anyone who is. To make matters worse evils, the stranger be emits sounds resembling those of a eunuch off-key in the choir of the Church. Creep is a combination of all the defects that can suffer a film: is ill-structured, the idea is simple and vulgar and actress on which rests the entire weight of the script does not give the stature, not even close. And Franka Potente, however much that some want to pay tribute, is a monument; but a monument to the inexpressiveness and lack of claw before the camera. As in almost all films of this type, the following question arises: finish why heck never off the bad when they do at their mercy?. In short, a film to wear her students of film schools. In order to be clear what no of to do. |
1,029 | archivos_extraidos/MCE-Corpus-main/Dataset/1157 | Ana | Recortes de mi vida | 3 | 5 | muchocine | Cuts of my life da laughter and luckily because but the melodramatic point would be unbearable. But he crushes the momentum make an easy joke and mockery of his characters; What is brave. | Cuts of my life going to a frenetic pace and has an amazing soundtrack. It never stops to make it clear if it is a comedy, but it has to be. Da laughter and luckily because but the melodramatic point would be unbearable. But he crushes the momentum make an easy joke and mockery of his characters; What is brave.It is the autobiographical account of the disenchantment of a child with his mother. Based on the memoirs of Augusten Burroughs which are already a bestseller. But Burrows has a rather passive role in its crazy youth. Child has the affection of his mother and happily shares his role. No recent his extravagance until that she abandons him at home in his psychoanalyst with a worthy case study psychiatric family. Just watch their dirty dealings in the kitchen makes one improve their self-esteem.Annette Bening plays the madre-diva with poet delirium. Therapy quite worsens you their situation. It falls into the hands of a psychiatrist that is worse with psychoanalysis and valium. Bening is magnificent and the neurosis only highlights its beauty.The cast is good which is important for all of the characters are somewhat peculiar. Here everyone planned their feelings and download his wrath; all the time. Sometimes things you will hand to the film and there are times rather forced. But it is a work of great value. The same Burrows or even cares about making a cameo appearance disguised simply appears at the end of the film to make a wink to the camera. Who knows sobrepasada therapy can vent you writing a novel, the film is perhaps a very sweet revenge. But must not deny you his moment in the light. |
1,030 | archivos_extraidos/MCE-Corpus-main/Dataset/3082 | Oscar Cantero | Grandes esperanzas | 4 | 5 | muchocine | Sensitivity without sentimentality, a waste of good taste superbly captured on a tape to remember | The book of tastes is blank and the valuation of something can vary dramatically according to the criterion that applies, is something that I am not going to discover now. I say this because I have just returned to great hopes, now see that approached the ten years of its filming. Some will recall that many pan called this film "crappy", "mamarracho" and similar things, while it was also rated "masterpiece" and "boast of good taste" by other critics. We know that you as with all the arts, there are certain creations in which there can be no middle ground: he loves or hates, no grey.In particular, I remember that it caused me deep impression the force with which narrated the story, based on the famous story of Dickens. Contributes to this, in my opinion, a good adaptation and one magnificent interpretation of Gwyneth Paltrow as, above all, Ethan Hawke, with a not inconsiderable contribution of secondary Anne Bancroft and Hank Azaria, without forgetting the specific appearances of the superb Robert de Niro. perhaps it is not a wonder from the technical point of view, and the script could be better structured; but nevertheless, I cannot appreciate above all the ability to transmit sensations which owns, the intensity of the same and the exquisite taste that is an argument so hard.To all this we must add a subtle and perfectly docked soundtrack that helps strengthen the above sensations.All this is to me closer to the first group of people before, cité worshippers of this film that ultimately passed without penalty or glory by cinemas and which enjoyed a similar on the shelves of video fate clubs. Interestingly, this phenomenon is repeated throughout Europe, while in South America, the ratings were extremely positive. On the contrary, in United States was battered by public and critics.What was said. For taste, colors. |
1,031 | archivos_extraidos/MCE-Corpus-main/Dataset/4007 | Oscar Martínez | Deseo, Peligro | 4 | 5 | muchocine | Film round a stylistic exercise as years earlier we not witnessed. | With desire, danger Ang Lee won the Golden Lion at the Venice Film Festival past for a second time, and opts for the Golden Globe in the best film of non-English speaking section, which is why the Taiwanese filmmaker could well return to repeat the success of previous titles such as Brokeback Mountain or Tiger and Dragon. Interpretada by Tony LeungJoan Chen, Wei Tang, Lee-Hom Wang, Johnson Yuen, Chih-ying Chu and Anupam Kher among others, be jie we moved to Shanghai in 1942, when the city is occupied by the Japanese. Mrs. Mak, a sophisticated and wealthy, woman enters a coffee, makes a call and sits down to wait. Remember. how it all started a few years ago, in China in 1938. In fact Mrs. Mak, but Wong Chia Chi is not called. Shortly after World War II his father fled to England, leaving her in China. I was a university student and met Kuang Yu Min, who had just found a theatrical society for promoting patriotism. Wong Chia Chi became the first actress of the company and discovered that it was able to move to the public and Kuang. The latter persuaded a group of students to carry out an ambitious plan to assassinate an important contributor to the Japanese, Mr. Yee. Assigned a role to each student: Wong Chia Chi was Mrs. Mak, who should win the confidence of Yee becoming friends with his wife to end up seducing. The young man turned internally and externally for his role. Everything was going as planned until an unexpected event happened.The truth is that my relationship with Ang Lee is so strange. Despite the popular outcry, or Tiger and Dragon and Brokeback Mountain convinced me too much, I think that sense and sensibility gives many turns to the previous two, and Hulk may be the best treatment that anyone has ever done a superhero despite drag various scourges starting with the unfortunate role of Nick Nolte.Con footage that may be excessive for someI would like to, danger oozes smell classic by each of its pores, from his careful setting, its texture, its exquisite soundtrack or the treatment of his characters, his own plot and context, reminding us, directly or indirectly, to titles such as Mata Hari, chained, to have and have not or Casablanca; Although, much closer in time, we find ourselves with these inevitable echoes from wanting to love and, above all, of that (almost) great film by Paul Verhoeven is the black book, whose similarities to the new work from Ang Lee are you seem to one server rather than merely anecdotal.As said, desire, danger could have lasted well half an hour less, and would have been even more round than it already is, but the truth is that jealous detail that Ang Lee describes the initiation ritual of his femme fatale is not weary, catching the Viewer, but with history, with the own setting of the film nowhere. That Yes, when plot and passion overflow, I wish, danger reaches its most álgidas heights, with a final time of truly impeccable footage, while the continuous and explicit scenes of sex, far from shocked me, found me a somewhat repeated mixture of Turkish passion and a guide of the Kamasutra.Como was to be expected, the espionage plot loses force for the torrid romance of its protagonists, with a fairly round performances by both the novel Wei Tang and my dear Tony Leung, capable of Marvel titles as diverse as Hardboiled, Chungking express, foul play or 2046.En summary, desire, danger is a movie quite round, a stylistic exercise as years earlier we not witnessed, and although its duration can be somewhat large for somethe new work from Ang Lee does not reach tire at any time to the Viewer, trapping it in its atmosphere of irretrievable way. |
1,032 | archivos_extraidos/MCE-Corpus-main/Dataset/2010 | Antoni Messa | Spiderman 3 | 2 | 5 | muchocine | Sometimes, computers, an excellent Assembly and a director with claw, do wonders. The penalty is that they forget the script. For example, a button. | Spider-man and Sam Raimi you have foundered, because the third installment on the newspaper the Marvel hero offers nothing new to the viewer with respect to the previous. Seems that, to deal with Spider-man 3, filmmaker has built a sort of DIY with several of the already exposed concepts in the first two, with which my whole view, seems to me excessively repetitive.What's more: I would say that, apart from repetitive is boring, that, at all times, it puts the melodramatic effect above the spectacular nature of its action scenes. If any, haylas, but with too many times dead (and unnecessary) between them. A curious contradiction, because this happens precisely in the chapter that more attention has been devoted to (perfect) special effects. In fact, at this time, Spider-man 3 is the most expensive film in the history of the cinema.The only notable plot developments are announced that dark side of the hero (very forced and poorly explained) and, above all, in the approach to the relationship between Peter Parker (the alter ego of Spider-man) and his girlfriend, Mary Jane Jackson, after which it discovers his double personality. The rest is more of the same, starting with the rivalry created between the protagonist and the vengeful son of the Green Goblin, Harry Osborn, who, following in the footsteps of his father, will evoke the vicissitudes of this to get rid of the man spider.And as it seems that a single villain film is not enough for the ambitions of the current Hollywood, Raimi load your product with two evil types inks more. One is the man that took the life of his uncle and the other, a resentful photographer who, after being humiliated by Parker, DSAT the latter's death. Too many concepts mixed - and not very well grouped - to make the story good tack.I've always considered a defender (tooth and nail) of the first two titles in the series, first and foremost of the second, which made gala of an excellent script that, in this case, throws less. Perhaps for this reason that this delivery I have disappointed both. Expected much more of one Sam Raimi which, unfortunately, seems to have been accommodated too - and easy way - with the character, forgetting to draw a well-defined story and conforming, only to show, over and over again, the same scenes as always. In the end, one just getting tired of those (very) filmed sequences in which Spider-man as an urbanite Tarzan goes jumping from skyscraper skyscrapers. And more if Tobey Maguire - for the first time since that gave life to the character--gives the impression of not being very comfortable in his role.Anyway, it is undeniable that, despite its flaws, the tape has moments unique and worthy of a filmmaker who (if you want) can put the camera properly. A good example of this is at the moment in which the superhero must save a woman who, because of a crane runaway and placed on top of a large building, is on the verge of falling into the void.Sometimes, computers, an excellent Assembly and a director with claw, do wonders. The penalty is that they forget the script. For example, a button. |
1,033 | archivos_extraidos/MCE-Corpus-main/Dataset/1654 | Tito Chinchan | Epic movie | 1 | 5 | muchocine | Truño of epic dimensions. There is no where on take it, except that it is small. If you think that has the slightest resemblance to Scary Movie, you have deceived. It is a truño in every sense of the word. | I declare I enthusiastic visionador type films Scary Movie. My medium Zucchini does not understand as our deuvedeteca covers each and every one of the movies of the saga, nor much less similar as the dwarf who poses as a baby. But look, it's a humor so absurd it makes me laugh. So waiting eagerly the release of Epic Movie, which promised to be more of the same. By God, you see, is not not like Scary Movie, nor is it even a film. It is a truñae truño.The film is about four orphaned treinteños who appear to be children of the same father, or what will I. Each comes from a different movie (snakes on the plane, Supernacho, X-men and the Da Vinci Code) and meets a stranger, Charlie and the chocolate factory, to reach Narnia. Once inside already this is a carajal gives me to shame continue summarizing.Truño, that great word and good sounds. Repeat with me, T - R - U - N - o. Truño is a word created many years ago, but sure that its creator created it only to define this truño. Do not have nor puta grace, removing some time in those that caught you off guard (the scene of the Beaver made me grace), but deadly bad. The characterizations of the films are very curradas and it seems that the thing had a huge budget, why not spend a few perricas in a nice script? He is making or with bias that had I to enlarge its virtues to say something good. Go truño.In short, truño of epic dimensions. There is no where on take it, except that it is small. If you think that has the slightest resemblance to Scary Movie, you have deceived. It is a truño in every sense of the word.Truñic Movie.Besitos.P.D: And at the end leaves Borat, what I was missing. |
1,034 | archivos_extraidos/MCE-Corpus-main/Dataset/1661 | Red Stovall | Concursante | 2 | 5 | muchocine | The more risky product that has seen in years in the panorama of the Spanish film. Proposed wild at times, rebel to 100% and made with lot of passion. Only for this reason, the film deserves that you déis an opportunity. | Spanish Cinema urgently needs new blood to radically change things, is something that is obvious. Do last year had three materials operas that us hiceron rise to hope on the future of the Spanish film?AzulOscuroCasiNegro??The night of the sunflowers? and?Do a Franco, 14 Pesetas?, three great examples that make back to other films of more established directors. East 2007 is poised to offer us the same, and now comes the proposal of Rodrigo Cortes, someone whom I refiriré as the enfant terrible of our cinema, a nato provocateur, who knows what he says and defends tooth and nail that what you think, cinematically speaking, of course. And so he doesn't mind rebelling against the system and offer us the more risky product that has seen in years in the panorama of the Spanish film.The argument of?Contestant? tells of a young Professor of economic history to one day win the largest prize ever awarded in a television contest. What originally should be a huge joy, is becoming, little by little, a hell to discover that millionaire costs money has no. Initially it will try to fix the problem by asking for a loan at the Bank, but this won't do more than make things worse.The film is a complete Act of rebelliousness towards what we are accustomed to seeing out of these lares. Made with a very long value, it is how to make a double somersault and without network, something I think that Cortés has gone away, at least insofar as the work of direction, I think simply exemplary. Without hiding his influences of American cinema, ranging from Martin Scorsese (their particular God) to Paul Thomas Anderson, the film is a true Prodigy in Assembly is concerned, inferring a rhythm to the truly dramatic film, in which there is little time to think about things. Thanks to this frantic pace that does not give any respite, the criticism that the film makes of the current economic system is simply brutal, leaving no puppet head. In that aspect, and bridging the gap to the film course, could pair you with the wonderful David Fincher film?The Club's fight?, although Cortés film lacks a better definition of characters.And I think that therein lies one of the loose film, that leaving aside the main character, I think that everyone else is neglected, some to the extent that virtually no paints nothing in history, as for example that of the girlfriend of the protagonist, which almost forcibly disappears the narration and before that the fact that in a few moments is incomprehensible is the typical dumb aunt to not be He finds nothing, and in others it is more espabilada. We also have the character of a lawyer without scruples that find it me excessive and burdensome, intentionally exaggerated, but I think it clashes throughout. Add to that a coworker of the protagonist and an old extravagant Economist that may be unmatched support for our protagonist has his moment of showcasing, but that we miss more than what it should.In terms of acting work, clearly shines itself a sensational Leonardo Sbaraglia, under absolutely all the weight of the film, one of the best tour de force which has been much time, achieving in addition not fall in the histrionics with a character given to it with ease. KET Lera is as Obi Wan Kenobi's role, providing us with Sbaraglia, the best sequence of the film, one that explains how banks, using a game of chess, a unique and extraordinary, moment that makes you want to not ever ask a credit to the Bank as a metaphor. Miryam Gallego and Luis Zahera are the worst affected, with two barely interesting characters, even though the first is the girl in the film, and the second a striking character, Yes, but empty.The formal aspect of the film can be said that, at times, ends up drowning in part some aspects of the story, as if it were the trees that can't see the forest. And it is that there are certain plot details that do not convince me or the least. For starters, the main character profession: Professor of economic history. It is a little shocking that someone with your knowledge is so pardillo on a subject who knows more than most people. The relationship with your partner is not very well defined. The issue of a loan from a bank is not entirely clear. And finally, something truly shocking: a millionaire uses a mobile card and no contract? Not I think so.So?Contestant? It is a film interesting but failed, or if you want to put it another way, failed but interesting. What I am I very clear is that Rodrigo Cortés has much to say in our film, because you know perfectly what noses happens within our cinematography (something already I speak another day, if he deserves the opportunity), and the way they manifest themselves perform a proposed wild at times, rebel to 100% and made with lot of passion. Only for this reason, the film deserves that you déis an opportunity. |
1,035 | archivos_extraidos/MCE-Corpus-main/Dataset/2266 | JLO | Segunda piel | 3 | 5 | muchocine | Small story told with all possible nuances, with a solid acting task and direction. | Small story told with all possible nuances, with a solid acting task and direction. Elena (the always excellent Ariadna Gil) is happily married to Alfredo (Jordi Mollá) a prestigious aeronautical engineer. Now realize that things are changing to meet the account of a hotel in the pocket of his pants. She can never imagine that the fight should be with Diego (Javier Bardem), which completes this love triangle. A triangle of several falsehoods and lies.Director Gerardo Vera (A woman in the rain, La Celestina) never issued judgement on them, leaves flow characters through dialogues and leads with simplicity and good taste, to reveal the feelings of each of them. Already in the first scene, we anticipated a well determined bed between the two men, as it is the story and its treatment. Everything starts to complicate the undefined and disorientation of Alberto, beginning a series of deceptions that inspire distrust and pain in their two couples. Great performances of the three, considered almost the best exponents of his generation in Spain. Punto y aparte for Bardem: depressive and crippled in meat Trémula. Gay poet in prior to that dark. Dirty hyper violent in Perdita Durango. Here, traumatologist homosexual and repressed. All papers treated with the same intensity and credibility, making solid characters and sometimes being stereotyped too much. I am not mistaken in saying that we we have one of the best players in the world at the time.Cecilia Roth doing wildcard of the Spanish films oscarizables, without weight in the story or the film, almost like a simple cameo. The soundtrack is too melodramatic and repetitive, reloading and stressing that show the (good) scenes. The end if you like is somewhat predictable, moralizing and concesivo, closing that if a film without low blows and ruin a good achievement. |
1,036 | archivos_extraidos/MCE-Corpus-main/Dataset/929 | Calaf | El ilusionista | 4 | 5 | muchocine | You can have one of those stupid days, in that without waiting too, you leave lead and convince. The case is that I have much enjoyed this story full of illusion and magnetism. | You can have one of those stupid days, in that without waiting too, you leave lead and convince. The case is that I enjoyed with this story full of illusion and magnetism that without great pretensions, entretenie, which is already fairly.The movie begins with a function of magic in a theatre, and then a long flashback that occupies almost the entire history. Then returns to the starting point and is at this point where occurs for me when magic throughout the tape. That last number gave me the willies and I not stopped smiling.I have read several critical of the movie, and each one worse. However I disagree. I yes I thought the characters, thanks to Edward Norton capable of becoming a magician of overflowing personality and I became one spectator of their magic numbers. I also think that this is the great success. Numerous sequences in half light (such as the room of cinema), espectación to the illusion of the number and admiration for its beauty.I admit that it may be simplistic, but is that I don't think have great pretensions, but of the own object of magic, entertain, and succeeds far, decorated with just the mystery and romance of time.But thanks to the inherent to all artistic expression subjective component there will be some who did not prevail and even bored, and others that accommodate in the armchair and are left to cajole by a beautiful illusion which in my opinion is worth. |
1,037 | archivos_extraidos/MCE-Corpus-main/Dataset/1907 | JLO | Barry Lyndon | 5 | 5 | muchocine | It was the biggest economic failure of any of his films, due to the negative criticism raised in due course. Misunderstood in his time as almost all the of the filmmaker, who after ten years, automatically become classics. | After his eternal unfinished project - the life of Napoleón, is decided by a film of the same style and time. This was the germ and inspired by paintings of the same period became the great Barry Lyndon. Made in England, Ireland and Germany, it was the biggest economic failure of any of his films, due to the negative criticism raised in due course. Misunderstood in his time as almost all the of the filmmaker, who after ten years, automatically become classics.Here began the famous gossip around SK filming methods. A grueling filming of 300 days over two years. Filmed on Christmas Eve without holiday for the technical team, a way to address the work bordering on slavery. Excesses of a director - how to make 25 shots or more of each scene – which were already common. Shoot indoors with the light of the candles - manufactured especially as the same as the time of the film-problems with the locations because everything should find only KMS. of your own home, lavish sets and clothing, demands and bad reputation of the film before its commercial release.After the stabbing Clockwork Orange - performed four years earlier-, expected this with another spirit. Barry Lyndon leads us to the films, with lavish sets and clothing, being bland at times compared with its predecessor, but without any frame over resulting in a full adaptation of the book. The beauty of their images is not decorative or precocious as they criticize him, and the pace is quite difficult to achieve in a realistic film and the level of thoroughness of Stanley, without limits on the duration of a scene.The beginning with the duel is a frame of beauty rarely seen. As much as its soundtrack, where the main theme Handel Sarabande gives chills by its depth. In 2001, there are long scenes without dialogues - as the exquisite encounter on a balcony - if one is to print their thoughts and emotions. One of the virtues of SK is to use the soundtrack so that it is an integral part and not a simple accessory.Winner of four Oscar only in minor items, are you accused Kubrick not having chosen correctly the starring role, this time in the hands of an envelope notably demanded Ryan O'Neal. Forced performance to averaging the film, still well in the first part which is more relaxed and relaxed. Perhaps I miss character towards the end of a more serious and dramatic tone, although his work in perspective is correct and not the merits of the film blurs. SK among other things is a great director of actors and managed to take Ryan to a point of demand with naturalness and decorum. Windy with fair, Kubrick would take note of the winner of the Academy Award that year, Jack Nicholson, for his next film the shining. "Barry Lyndon: another masterpiece of Stanley Kubrick and go."The actors are basically producing instruments of emotions. "Some are always willing and well tuned, while others reach a high level of quality in a decision-making and as much who try, are incapable of repeating." Stanley Kubrick |
1,038 | archivos_extraidos/MCE-Corpus-main/Dataset/400 | Hartigan | Skizo | 1 | 5 | muchocine | Psychological thriller that does not anguish and terror that not excited, much to impress in plug heavy metal in the action scenes. | The Spanish film industry of the moment? the nostalgic (altristeces_aparte_-_parece_tener_únicamente_tres_patas:_1)? (intimate (2) generational comedy and 3) horror film. In the latter case, which is that we are discussing, it is too common to find with the topical American staff of the killer movie and the footprint of Amenábar on the claim of a return of the screw psicologista. Skizo we find this along with some clumsy remendados thriller ingredients. A couple of types are planning an absurd number resulting in an absurd abduction that is extended until the total incoherence in the abode of the murderer, a boy that the vision of the alien violence becomes psychopath (so parents take the therapeutic decision to lock him in a basement filled with sharp objects and delight you with sadomasochism sessions).The main asset of this film is Jaenada, who not it tries too hard with a role requiring him to be m3u I crappy and be m3u crazy half the time and look like a soap opera payasete the other ("size does matter!", jokes about a few picks). The rest of the actors, as if only spend out there. Psychological thriller that does not anguish and terror that not excited, however much that bend in plug heavy metal in the action scenes and do ROAR like a velociraptor to the small assassin. The final pegostrón, authentic shows to what extent can get desperate to remove over a film, seems only designed to arouse the Viewer. |
1,039 | archivos_extraidos/MCE-Corpus-main/Dataset/1039 | Ramón Balcells | Nueve vidas | 5 | 5 | muchocine | A masterly film which certainly will stay in my memory for many years, by its originality. | Did someone know that Gabriel García Márquez had a son? Because I do not. It's Rodrigo Garcia, director and writer of the very well received critically things that say just by looking at her and nine lives. The first the not got to see, although I spoke very well of it, and today, luckily, have seen the second, in my opinion, is one of the best films I've seen this year. Not only found me master for his script, but also for his peculiar style. By the director's own taste, each chapter is shot in a plano-secuencia, so it not only becomes more credible, but far more interesting and intriguing. Perhaps not all the stories are just as good, but what is clear is that with none of them lose interest. The second aspect after the hyphen would appoint would be spectacular cast where the majority are actresses. And is that each one of them (and them) gets both in her role that you sometimes really seems to be a home video (with very good quality, by the way). This cast is composed of Kathy Baker, Amy Brenneman, Elpidia Carrillo, Glenn Close, Stephen Dillane, Dakota Fanning, William Fichtner, Lisa Gay Hamilton, Holly Hunter, Jason Isaacs, Joe Mantegna, Molly Parker, Sissy Spacek, Robin Wright Penn. Impressed, huh?Each story is full of sensitivity, realism, drama and melancolismo. Not all, but many of them are interwoven with small characters. Well, one could decri what Rodrigo García wants is that you realize that behind every small lives of a character, by very secondary to it, there are a lot of problems, not only family, also personal, and in general, very complicated. He is not a sentimentaloide and tear film (wait for my criticism of Word Trade Center). No, this is a film lena's feelings, Yes, but real. I like both his rhythm as its intrigue. As I said before, each chapter is shot in an only plano-secuencia, which is why, as I have also mentioned, the interest and intrigue are more intense. Each of them is perfectly coordinated and structured. One can never tell what will happen within a minute (each chapter takes approximately 12 mintuos). In some of them, even the mystery cause real confusion (look carefully at last, played by splendid Glenn Close and Dakotta Fanning). Perhaps, in my opinion, the worst are the first and that of Kathy Baker and Joe Mantegna, by his lack of interest on the one hand and on the other hand, for not having a final as interesting as all the others. Although I'm not saying they are bad, simply, they are correct. Others, on the other hand, master. Under this heading, I would highlight the work of photography, which must have been incredibly difficult and laborious. For example, in the chapter on the daughter overwhelmed by his parents (a few superb Sissy Spacek and Ian McShane), photography is moved and the atmosphere very oppressive (tuned this corridor which is both repeated). One of them, also excellently coseguido level photographic is Holly Hunter. Really do not know how is them apañará the director to follow them without cutting the sequence and without that being the micros or anything. And the protagonists are to go up in a tiny elevator, where can barely fit more than five persons. In short, a masterly film which certainly will stay in my memory for many years, by its originality. Hopefully, Rodrigo García roll with more frecuéncia and touch other issues than women, not because they are not interesting, but because already it has deepened them so much that I doubt that he can tell us more than what has told us, or all. How difficult must be tell life learns in nine chapters, not? |
1,040 | archivos_extraidos/MCE-Corpus-main/Dataset/4346 | Ana Belén Pacheco | Good luck Chuck | 3 | 5 | muchocine | It is not a masterpiece of the genre but it can help to an audience accustomed to a hybrid between crazy most of the current comedy and a bit of restraint. | Chuck is a type simpaticote, good mozalbete and guaperas. But it is not very lucky in love. That will change when she discovers the world that is delighted (or cursed,) as you look at, it seems that any woman who will lie with him will marry the next person that Kiss desdee that small after a traumatic the bottle game girl lem cursed at a wedding of a friend. On the same day he met a beautiful girl that appears followed by the disaster, a carer for the penguins with a special ability to destroy everything that touches that obviously is going to fall in love with. With all the women of the city wishing their sexual favors to get to the altar as soon as possible and the woman of his life waiting for you Chuck will have to take some "painful decisions".I am confused with this film. A superb beginning of absurd comedy (with a man hugging his penis almost) the thing drift in a little strange directions. As soon as they try to put online a Farreliana as it jumps to the juvenile comedy more topical. Despite this junction of sensations felt me of the most refreshing I've seen in quite some time. While the presence of Dane Cook, hitherto a real unknown for me (because I try to desperately forget his role in Mr. Brooks as well as the rest of the film and because it has nothing to do his performance on this with the other) has been rewarding. Long ago that there were no new faces in the American comedy. On the other hand also helps correct Jessica Alba as a perfect couple (not has depleted much this girl?) have helped round out a little more.It is not a masterpiece of the genre but it can help to an audience accustomed to a hybrid between crazy most of the current comedy and a bit of restraint. |
1,041 | archivos_extraidos/MCE-Corpus-main/Dataset/1572 | Jose Contreras | The host | 2 | 5 | muchocine | The nonsense of Korean cinema at risk like us for the simple reason that aren't the nonsense of American cinema. I prefer not rushing to hang trophies everytime I see two Lords of slanted eyes comiéndo an instant soup with chopsticks by the fact that here use spoon. | The nonsense of Korean cinema at risk like us for the simple reason that aren't the nonsense of American cinema. I prefer not rushing to hang trophies everytime I see two Lords of slanted eyes comiéndo an instant soup with chopsticks by the fact that here use spoon.The protagonist, which I will call the protagonist because nobody is able to remember a Korean name, is a really pathetic loser. Dyed blond, with a paltry job treats post, slept all day, takes care of a daughter who serves as mother to such loser. It is a type of hero that can work in the East because it is modeled the stereotypes of any film of karate in series B. To my bothers me by the crude imitation of the Western rebel and because perhaps in our cinema connected with the loser but never with the clown. To do antics, here the hero always has to a friend.More strange food and traffic signals are family relations. The protagonist loses his daughter at the hands of the beast and the two brothers are so gorrazos. You do not know if the native Viewer perceives the scene as comical or dramatic, but feels an urgent need for that move to another topic. The monster not devour the girl, la guarda in your pantry. The father knows that she is alive, but isn't the more anxious to rescue her, the three brothers unite their skills as well as three pokemon. New fraternal elections that would not make a Western creator.Koreans remember his dictatorial past like the Spaniards, yearn the barricades. One of the brothers prepared molotov cocktails while the taxi driver reminds him that they already have democracy. The evil of the beast holds political charges of thick stroke. The monstrosity is the fault of the army who manipulates chemicals at an American base. The surgeon who wants to prove that the monster carries a virus against all evidence is American estrávico. The father launches the search for his daughter when he hears his voice on the phone, which starts a point of emotion. But a police official refuses to take it seriously and stops him by Nutter, which is halfway between the Kafkaesque Chronicle and the sainete. I never know when a Korean is kidding and when going seriously.The beast is an infographic acceptable image. The computer used was not of last generation, either lacked some megs of RAM, but it is the least. At the beginning it chases people like an attraction of fair. We started to take it seriously when you eat their victims. The girl locked up in a nook of the Lair has the option of sit and wait or risk to seek a way out. When the girl plays the type out the show begins. It is what little is left of the seal of the director of "Memories of murder". That and a couple of intimate scenes that do not stick to the plot. It can make you great enthusiasm we sneak them, but it should not do so. Looking for another argument for them, either or is repressed a bit. |
1,042 | archivos_extraidos/MCE-Corpus-main/Dataset/1805 | Alex Largo | El Motorista Fantasma (Ghost Rider) | 1 | 5 | muchocine | The film, only to the quarter of an hour, is a real torture. Imagine, there is a moment in which the protagonist, the rider jumps 90 meters along above a few helicopters.... | When I finished seeing this film, the truth, a smile of satisfaction on his face. Since then, the film I didn't (3/10 speaks for only), just know that I suddenly saw a unique opportunity for gutting a movie that any human being on earth it has been like.Below: "of how Alex shattered"Ghost Rider""Is impressive."as in only one word can describe all facets of a film that never should have come to theater screens" That Word is. crappy.I'm going to start by reventa you argument, whatever some clueless might be called "plot twists". It is not want to annoy you, just want to protect you against what could be the worst way to spend the money. watching "Ghost Rider".The old demon kills the father of the rider, the rider just busy with the reporter, which lives in the graveyard turns out to be a Ghost Rider, at the end, the son of the elder demon dies because the rider makes him "the look of no-be-what", the rider manages to jump the helicopters, the rider does not die at the end, but if it is left with "the curse of the rider" to help the people. I believe that this will be enough so you can not see the movie.According to the Wiki (Wikipedia), "A film is a sequence of photographic images taken with a camera, and presented through a projector." "Using a speed of replacement of images more than 18 frames per second, in the human eye creates the illusion of continuity, without interruption between each frame due to the persistence of vision", therefore, and unfortunately, to "Ghost Rider", you can (but shouldn't you) draw movie.Resolved this doubt. Let's talk about the film.The truth, I consider myself a person with patience when watching film, moreover, only in a movie (of which does not say his name) left the room before the end of the projection of the same. And truth, with Ghost Rider, I missed very little to give me a shut-eye.It is not for less, from the outset, Mark Stevens Johnson, responsible for the "creature", leaves us very clear we have made a clear mistake to see this movie. Attention to the death of the father with the bike. Let's be fair. Nobody dies for this reason. Up the spots of the National Directorate of traffic are better filmed, best mounted, and are certainly more spectacular. Another curious detail is the "spectacle" of the father and son, who demons would pay to see a display that make it up in the Park from near my house?Well, as I said. the work of Johnson is pathetic, what is more, from this moment so I named my favorite to win the Razzie for worst director this year (and the next, and the next, and the next.).Sigamos.la film, only to the quarter of an hour, is a real torture. Imagine, there is a moment in which the protagonist, the rider jumps 90 meters along above a few helicopters. As well, well known God all my being screamed: that the jump is short and that the helicopter blades mutilated his body. Yes, ladies and gentlemen, until that point the film makes us late.Another very funny thing is escenita on the road, when John Blaze ("prota"), try again with the heart of his beloved. If you make the mistake of seeing the film, deléitense with the escenita of the Kiss (by the way, half of that Kiss, there in a close-up of a cow mugiendo.) (Do not think that I am exaggerating).In short, we can say that the script itself. without cloths hot. It is shit. The script signs it the film's director, showing us that it is not worth or to write a fairly coherent script, abusing resources that make the heavier script as the repeat throughout the film of the phrase: "We must live without fear". Phrase in mouth of Nicolas Cage only becomes a stupidity to a more than what it is.Now let's talk of. of. the. actors?. No. as say it?. the people that put in front of the camera.Let's start with Nicolas Cage, that man that I hate with all my soul and my whole being. Cage, is dedicated to walk ahead of the camera always showing the same expression (that expression as yours that uses all films, whether a drama or a thriller).Eva Mendes, three quarters of the same, but fails at the end of Nicolas.En as the other actors in general. To shoot them all, but they do it better than Cage and Mendes together (imagine the "professionalism" of the cast).Another "remarkable" aspect are the special effects. It is true, they are not bad, but they are far from being made special effects and rights. All fairly salvageable is the soundtrack, which although people seem to excite this new work by Christopher Young, seems to me only normalillo pulling for good.In short, a film that the only thing deserving is rotting in an old warehouse. |
1,043 | archivos_extraidos/MCE-Corpus-main/Dataset/1897 | Rafa Ferrer | 9 songs | 1 | 5 | muchocine | I imagined some history, some of chicha and not a mere porn movie hidden behind several scenes of concerts. Boring, tedious, and quite tired. | I admire Michael Winterbottom, I loved "Code 46" film that not yet premiered in Spain, however, when I saw this movie that barely lasts an hour and ten minutes. I felt quite disappointed, I think the last time I stayed with this face was watching "Ken Park", more than anything explicit sex and that the film is nothing more than a couple fucking and a few performances of through.It is true that it was clear what he was going to see (more or less) but I could imagine some history, some of chicha and not a mere porn movie hidden behind several scenes of concerts.In short, boring, tedious and rather tired. |
1,044 | archivos_extraidos/MCE-Corpus-main/Dataset/2511 | Tito Chinchan | Bodas y prejuicios | 3 | 5 | muchocine | Film about casaderos topics in the India, with a modern woman who does not want a marriage of convenience. If you are one of those who likes that they sing and dance in the films, while they talk about insustancialidades that cover bleeding truths, is your film. If not, do it for love. | It was the other a day server looking things by the modern Oracle, when it told me my medium Zucchini "Come love". Thinking it was something erotic, I ran as to the appointment. Bad choice, given that I sat on the couch and said "Let's see a Bollywood film". Heavens, one of those Indies that dance and sing during the footage, while they speak of insubstantial things. And without sleep, he put it to all estrozo. And the worst, the worst of the worst, is that it is not even of Indian studies, which is English made with that style. Virgencita, virgencita. Is like the beer without alcohol, exist the with, for what this abhorrent invention of the devil?The film is a Hindu mother whose obsession as good traditional mother, is to marry off their daughters. Total, one of them says that before dead than a marriage for convenience. In these, they are there to pretend her a crazy Hindu which has made fortune in the U.S., a rare "jipi" and a rich owner of a chain of hotels. Obviously, the entire fabric is in relations with the latter, seasoned of the stuff from the rest. And the film is so called because it is a strip and tug of war between the typical clichés and social reality.Mother that laughter we spent. We had our eyes a kind of musical, romantic comedy with dialogues and situations somewhat loggerhead and simplistic. My average Zucchini spent the entire film telling me that this was for children and that neither had given a kiss. It has many nice moments, but of course, if put you half footage of Hindu traditional dances, so you can give a telele.In short, film about casaderos topics in the India, with a modern woman who does not want a marriage of convenience. If you are one of those who likes that they sing and dance in the films, while they talk about insustancialidades that cover bleeding truths, is your film. If not, do it for love.It is not my style.Besitos.P.D: To put that movie I liked. Of those that you see and you have left the impression that everyone is good and that the news are bad shot films. |
1,045 | archivos_extraidos/MCE-Corpus-main/Dataset/1950 | Daniel Galindo | La maldición de la flor dorada | 3 | 5 | muchocine | Those who believed that after the House of flying daggers, we weren't going to enjoy an orgy plastic and an explosion of similar senses were wrong. | While history may be less attractive than the narrated in his previous titles, Zhang Yimou gives an aura of distinction Supreme to his, forgive the term, folletín set in the china of the Tang dynasty, which is like our middle ages but with much more glamour and brightness, to the less seen by historians adecentan and makeup the truthful story in its film adaptation.If it has been pejorative novelistic reference read, because here is a strong supporter of a filmmaker that has more than two decades the gap. Remove the maximum performance to films that are more than a simple deployment of well managed media and experiments, and proof of this is the delight that see the curse. on the big screen despite its weak points more distressed that on other occasions.Far is already the intimate tone of their first productions or the last, the way home, before its 'wuxia' stage, initiated by Hero. Although this is not entirely true, because if we remove the packaging, i.e., great choreography, slowed struggles, plastic binge, is that, the history. Behind all epic, the manifestation of power and ostentation, there are feelings which are responsible of embodying the interpreters that give life to the indulgent little emperor and the strange character linking this story with the great tragedies of the Shakespeare Theatre, in the same way as the backdrop of the House. It reminded the world of thieves that steal from the rich to help the poor.Honourable is the reunion of the exceptional Gong Li with the film of his country from the hands of its discoverer. The maturity and the imprint make you worthy of this character of flashy than not would have been able to take advantage, by age and his physical, the also Muse of Yimou, Zhang Ziyi. Li moves with ease by Palace but, and this is more inherent to the plot that the characters, sees as his soul and his heart are lost among so much magnificence, which also affects the rate of the tape.Despite this final point, Zhang Yimou has already shown that he is a master of the cinema, able to satisfy his creative ego and leave others speechless. Now, after this superb and elegant epic parentheses, should rethink return to the crossroads and take the other abandoned road, that if not the weed that the hidden will prevent you from following him. |
1,046 | archivos_extraidos/MCE-Corpus-main/Dataset/1843 | Jeremy Fox | Cartas desde Iwo Jima | 5 | 5 | muchocine | An entertaining film, that becomes short, shocking and emotional at times. | I always say that you better late than never, so I predicaré with the example and will tell you my impressions about the movie, although I already saw some time ago.As everyone knows, "Letters from Iwo Jima" (Letters from Iwo Jima) closes the diptych on the battle of Iwo Jima by Clint Eastwood with "Flags of our fathers", telling the story of the Japanese side and with even more satisfactory results this time.Passing on tiptoe through the technical aspects of the film, so perfect in sound (not in vain won one of the Oscars of sound) or picture as the previous one, to enter fully the elements that they make unique to this tape from one.From the first moment in which it was revealed that Eastwood was going to have the two sides of the same story, the Japanese history because it is a much more original and unusual for an American director approach generated more excitement. This atipicidad plays in its favor over the footage because never has the feeling of being in front of something already seen previously in other films.Eastwood advocates a more linear structure as in "Flags of our fathers" and fully succeeds because this structure, although dotted with magnificent flashbacks, helps to introduce us calmly in the history, to catch love to the characters, to live their misadventures with them.Interpretations could not be more fortunate. Ken Watanabe interpretative qualities were well known and most striking is huge which are all. For highlighting someone say that Tsuyoshi Ihara as Baron Nishi or Kazunari Ninomiya as private first class Saigo that serves as a common thread of history and which is easier to identify, offer outstanding and very emotive interpretations.Emotion that moves the viewer through the careful and, as always, elegant staging of Eastwood. And it is that another difference in favour of this tape to "Flags of our fathers" is the emotion. In "Letters from Iwo Jima" we were excited of truth and witnessed some moments of cinema of the great (Saigo talking about his future son, the suicide of soldiers, the letters, the dog scene ). Scenes of those which, with its brightness, betray that we we have more than a very good film: is a gem of a film.Get a result, Eastwood, perform the toughest anti-war allegation of recent cinema. A very hard attack on the war and politicians and statesmen that begin them and run without the slightest regard for the lives that have been lost.It does, in addition, with an entertaining film, that becomes short, shocking and emotional at times. A reminder that each new film Eastwood can make is a gift for those who love the film.Moonfleet.es rating: 9.5 out of 10. |
1,047 | archivos_extraidos/MCE-Corpus-main/Dataset/313 | Marta | Thumbsucker | 2 | 5 | muchocine | It is entertaining, and it is touching at times, but just not materialize at all | Anywhere in which you read about "Thumbsucker" tell the same: "is about a boy who at the age of 17, still sucks the finger". And Yes, it is true, but, obviously, this is just the beginning. "Thumbsucker" is one of those American movies, in the line of "You, me and everyone else", telling the daily tragedies through characters that are unique within its normal. "Comedy drama", they call it some.In any case, the first job as director of feature films of Mike Mills based on fixation by sucking the finger of the main character to finish covering issues such as family relations or the dissatisfaction with life. And it is entertaining, and it is touching at times, but just not materialize at all. The film is based on a novel by Walter Kirn, I do not know. I do not know how will be the book, but his adaptation has a fundamental problem: the screenplay delves into aspects then abandoned completely, as the treatment of the protagonist to your problem. Without going to appreciate the criticism that the film seems to want to do on drugs psychiatric use, which I do not agree with, is that the director becomes the subject of the medication and drugs a fundamental axis, then forget about him as if such thing. I was not very clear why something which seems to be so important in a time ceases to be fifteen minutes later. On the other hand, the performances of the actors are good, although lost as a result in some cases, and personally, I think they could have gotten much more party the role of Keanu Reeves. Come on, "Thumbsucker" has its charms, but expected me more. The truth, I prefer that Todd Solondz is which tell me the dramas of happy families. |
1,048 | archivos_extraidos/MCE-Corpus-main/Dataset/2100 | Bruji | Zodiac | 4 | 5 | muchocine | A film, in short, that defeats opponents of the filmmaker, who always think that even with a refined style, the director of the Club for the struggle obtained best results in video clips of Madonna to the finished one of his films. | Nor, of course, the argument, not even the narrative approach of Zodiac are unknown in film. However, Fincher is the first to rescue the combination; reason worth the recognition of international criticism. The invention is complemented with the improved technical and artistic ability of the director of Seven, to achieve a hypnotic result and, indeed, master.In film, few stories there are both fascinated as those drawn from real facts that make reference to cases opened on murders unsolved. Based on this, "Zodiac" is nothing more than the excuse that uses Fincher to publicize a psychological thriller which owes great part of its narrative structure to the best political thriller in the history of the seventh art, JFK (or, at least, that we hold the followers of Oliver Stone). An idea, certainly brilliant, linking the recurring argument of unpunished crimes (by truthful they are) with an accurate and effective close to the documentary approach. A work of execution precise and perfect, who runs away from the morbid spectacle to support in the austere rigour of a film that has been advised by the main protagonists of the true facts.A film, in short, that defeats opponents of the filmmaker, who always think that, even with a refined style, the director of the Club for the struggle obtained best results in video clips of Madonna to the finished one of his films. Convince those who, wrongly, we are glad that was not witness to the death of Betty Short, the Black Dahlia, who would go on to stop Brian of main attractive Palma.El of Zodiac credited, therefore, lies in the implementation of the "innovative approach" which revolutionizes the gender. If it were not because such an approach already gave him A blood cold Richard Brooks. In any case, this is not the only success in a tape full of them that elevate it to the status of essential.Following the maxim that ensures that there can be a good movie without the livelihood of a solid script, Fincher complete adaptation makes Vanderbilt of the books of Robert Graysmith with the collection of interviews carried out direct witnesses who are involved in the Zodiac case. The result, rich in information, is a saturated plot basis, which is not their own stories of the genre and, out of the film, satisfying even the most demanding of lovers, who sees his curiosity saciada.Gradually, macabre psychotic coming from the murderer, is incorporated the frenetic journalistic efforts to unmask him, which joins the police activity. Do thereafter, in three different frames, the story follows the pace of research, alternating the various scenarios and characters that make up the puzzle by dragging the Viewer to surprising findings and locking him? no rarely - in authentic dead-ends, flowing into the starting point. All this with an excellent measurement of time, a daunting Assembly, and a manipulative, expandable direction to the patio of armchairs. Zodiac becomes, in effect, into a collective obsession. Almost as much as that Fincher shown by the small details, impeccable scene implementations and the creation of an environmental stress that it ratifies the growing alarm at the time.But Zodiac is, above all, the sum of a multitude of cinematographic genius that do not pass unnoticed. The camera that, imperturbable, runs along the path followed by the unusual letter first, event source, since the "U.S. Mail" delivery truck her deposits on the doors of the Chronicle, until it reaches the hands of the Publisher. The scene of the House with basement, where cartoonist interrogates a possible culprit, which reproduces an exact frame of the evil Zaroff, film of 1.932 is mentioned in a cryptogram of the psychopath. The inclusion of a child between the central characters that synthesizes child panic the Zodiac killer raised in a generation (which is Fincher), to being threatened by who said kill them in the school bus. The witticism of the script containing the police investigations, geared towards the premise that remember the silence of the lambs: "he envies and hates is what you see every day", which brings us to the conviction that serial killers are always known his first victim. Later, reportedly killing is easy.With a city visual aesthetics, inspired by the films of the 1970s, which is extracted from Coppola's the conversation; the music of David Shire, author of the best soundtracks of the Decade; unforgettable interpretation of Robert Downey Jr., the laudable art direction, and David Fincher orchestrating the 158 minutes of footage will know shortly after. Therefore, recommends a second viewing, which corroborará this is one of those good movies that movie fan memory always uses as a reference. Welcome is that imaginary sky. |
1,049 | archivos_extraidos/MCE-Corpus-main/Dataset/1799 | Rafa Ferrer | Alien Nation | 3 | 5 | muchocine | A tape of my childhood. It verges on, without deepening the theme of racism and xenophobia, and this, in broad terms, one of the main problems in any society. | Let me you talk of one of the movies of my childhood, I was a tender child of 11 or 12 years old, when in my neighborhood cinema premiered this film, an interstellar "Buddy Movie", where a human COP Jarah one alien to the style of "Lethal weapon" the 2 cops had to support the one shoulder to the other to unravel a drug problem (as in vogue in the 1980s)(, where strange was the neighborhood in the world that did not have its commune of junkies telling you "Uncle Dame argo.")A tape which for me is a classic modern (I say modern although it already has a whopping 20 years), where James Caan, now fashion series "Las Vegas", accompanies Mandy Patikin, now fashion series "Criminal minds", secondary except for plenty of films of the 80's, including "The Princess Bride" (where was Iñigo Montoya).Makeup, that ran in charge of Stan Winston, father inter alia of the Terminators, or dinosaurs in "Jurassic Park", was then part of a television series, where the main plot of the film was lengthened during 21 episodes.The language spoken by the aliens slightly reminds the Aliens that Tim Burton translated it into "Mars Attack", mixed with splashes of German English, curious also is that most of the Martians on Earth acquire names of celebrities, and the soundtrack of the same is a retaila of music with synthesizer, cheap and effective, without a doubt.Finally, emphasize that argument that clears without deepening the theme of racism and xenophobia, being this, broadly speaking, one of the main problems in any society, and the presumption of equality between both sides, the Earth and the alien.Finally, finally, I only say I remember that film I started to make the shrimp (to my defense I will say that I only had 10 or 11 years) and that we almost miss the street. !What those times! And to think that I am that my 30 can not now stand at the "pipiolos" who make noise and bother me everywhere. |
1,050 | archivos_extraidos/MCE-Corpus-main/Dataset/4173 | Ramón Balcells | No es país para viejos | 5 | 5 | muchocine | A deep and admirable masterpiece, endowed with intelligence, reflections and metaphors. Can not ask you more; any of it, sensational, is one of those movies that will endure over the years in the history of cinema. | Various levels of a desert area south of the United States, linked by a voice in off of the great Tommy Lee Jones reflecting on the passage of time, open that, of course, is the best movie of the talented brothers Coen, an absolute masterpiece that Captivate anyone who knows to appreciate it. If, in a superficial way, we analyze is not country for old men, we are faced with a simple story of psychopaths, police and money in the middle. But so are now simple filmmakers. Joen and Ethan Coen, which are of the great return to its heyday (of Fargo, specifically) to bring us a brilliant combination of literature and images (the film in question is based on the acclaimed eponymous novel by Cormac McCarthy) that several points in common has with the other mentioned and award-winning film. Loneliness, old age, the incomprehension, evil, or gratuitous violence are aspects to emphasize that they were also reflected in this film, despite contain, his last feature film, several doses of adrenaline, contained intelligence and anthologies reflections that will cost forget. And it is that the film itself is truly vibrant, while leisurely pace and sadistic content. It has an incalculable virtue only geniuses can reach, and is developing an apparently simple and topical history of virtuous way to give it abysmal intelligence, tragic scenes, and other truly violent and without leaving the Coens touch that makes visible that label that have marked with total security. Rarely are so risky film moments as those who are not is country for old men, moments in the heart is going a hundred and of which you never know how it will end. The narrative force possessing the film is therefore, not only admirable, but truly unusual.It is said that a masterpiece is that representation to which no missing or spare nothing, which is perfect. This film may qualify as such by precisely, not contain any failure. It is incredibly perfect, which scared many when they think that it is not possible to too. And it is that ladies and gentlemen, this drama is the most unexpected limits, is the best thing I've seen in years, and that is something complicated, very difficult to get. No doubt, with a tremendous pulse and a brilliant script, the film is develops an agile and realistic fluid reaching contain scenes in which the viewer will feel as immersed in the film that come up to terrorize is (most of them headed by Anton Chigurh psychopath). As discussed above, is not country for old men has an unforgettable reflection about the place in what live in ideal, of a present marked by violence devoid of meaning and a past that should be recalled. The film not only opens with an unforgettable introduction, but that his conclusion is even more touching and understandable in a way by killing witness a story containing, camouflaged between violence and a lost protagonist, all aspects mentioned, human and curiously moralizing. So this movie from the Coen brothers is not wonderful for well done is (which also), but to contain one of the most tragic reflections on today's society very rare in today's art. Spanish actor who has received all possible prizes and that soon we will know whether it rises with a golden statuette can be seen also as a cinematographic work of undeniable perfection, with daring and sensational one-way, an enviable literary adaptation and a few performances that deserve recognition of the great, especially that of Javier Bardem. His performance is simply impeccable, sadistic, funny, brilliant, wonderful everything you want and more. It is stunning in its role of psychopath and interprets unforgettable sequences as the accident of traffic, the motel, the of the gas station, etc. This Anton Chigurh is, as well as a personality impossible, a brash man, which you you can expect any bad thing. Their motivations, their character, their coldness, their movements, his awful hair cut everything is perfectly recreated by the best actor of today that deserves the Oscar without a doubt. Josh Brolin, the protagonist, is also great in his role of loser man found a suitcase full of dollars and has to flee from the criminal world in which has been involved. As well as the character of Tommy Lee Jones (magnificent as the police that manages to give meaning to the title and the work itself) represents the tiredness, old age and a clear vision of the world today, and Bardem the wickedness of a person living away from the normal, of Brolin is intended to symbolize the typical war veteran that hard to decide with clear evidence,, thus introducing another element is basic in No country for old men: that of consciousness. Key scenes as this Hunter when encounters the loot the money (with a map of him without knowing exactly what to do) or the most shocking and unexpected which takes place in the only telephone conversation that engaged with the killer who pursues him, Chigurh, when it has to decide between his wife and the money. I desvelaré not anything, because this is the essential element that carries all the fateful outcome. I've already said too much.The last film by the Coen brothers is nothing more than a deep and admirable masterpiece, endowed with intelligence, reflections and metaphors. Can not ask you more; any of it, sensational, is one of those films that will endure over the years in the history of cinema. We also never forget the performance of our Javier Bardem, from this moment, it is one of the best that have been seen in recent decades. So there is no doubt: must see is No country for old men. Is essential, the best in what little we have of the year. |
1,051 | archivos_extraidos/MCE-Corpus-main/Dataset/1892 | Florinda Chic | Dame 10 razones | 4 | 5 | muchocine | Meeting do not know if ten but yes five or six reasons to watch this movie. It is a delight unpretentious and with great sense of humor which in these times is appreciated. It is Mr. Freeman to walk. | Since then the gathering I do not know if ten but yes five or six reasons to watch this movie. It is a delight unpretentious and with great sense of humor which in these times is appreciated. A film - which was intended initially to be downloaded by Internet in USA - Brad Silberling, accustomed to more generous productions - City of angels, A series of unfortunate events by Lemony Snicket-.morgan Freeman brings to life a celebrity low hours is forced to accept a role in a low budget film. To prepare your character becomes viewer of the daily activity of a supermarket on the outskirts of California. There, please contact with the only employee who speaks their language, a Paz Vega with very bad flea to the box?10 Items or less? -the much more successful original title of the film-.Does do forced relationship giving rise to dialogues and reflections of the most fun, in which each will learning from the other while they come from opposite worlds is established between them: the star who lives back to reality and the? mildolarista? that you want to prosper but lacks enthusiasm and confidence.The film does not have much more and not unleashes laughter but is a nice, entertaining film and seen with a smile. Highlights stars them Morgan Freeman making a commendable exercise in irony on his career and allowing jokes about productions as the collector of lovers. Paz Vega is adorable. Although in the Hispanic immigrant skin in Hollywood, she is charming and far exceeds its intervention in the forgettable Spanglish which marked his debut in American cinema. |
1,052 | archivos_extraidos/MCE-Corpus-main/Dataset/528 | Yul B. | Click | 3 | 5 | muchocine | It is a tape with surprise that you must not miss. Especially to see how dangerous it can be to have a remote control. | Michael Newman (Adam Sandler) is a very busy architect that trafficking in advance and have time for his wife Donna (Kate Beckinsale) and their two children. Its objective is to become partner of the company in which working and enjoy more of his family, and so he dedicates hard and long hours so its desagradecido head (David Hasselhoff) recognized someday their invaluable contribution to the business.Newman fails to make progress in its goal. However, at the time of greatest frustration, and by a cluster of coincidences, buy a remote control to a strange salesman, Morty (Christopher Walken), it seems that not only lets you control your TV or your garage door, but virtually all his life.From that moment, Michael dreams will come true, although not everything will be as he had wished. ?Click? It may seem a comedy to the use. Do after reading his synopsis, can think that this is more of the same, but with the variant? original? of the remote control. Because you are right half.The plot takes place as the rest of films of its genre, with some to other ups and downs (do very few, one of them the way in which get the? do magic? apparatus), and with many great points (priceless moment in which the head of Newman tells him in his Office that he has not yet appointed partner; I revolcaba on the ground). Up here, everything just like always, but pretty fun.However, there comes a time of the tape in which the history gives a dramatic turn of 180 degrees in which makes you a lump in the throat. And this is where it differs from the rest of comedietas, and where its virtue.At that point you're wondering why such a radical change, when everything ran so cheerful and superficial. Even you feel uncomfortable with that part of the film.But at the end of the film, after another round of tortilla, you understand that what has been lived by Newman what, in some logic had to occur (within the logical thing which can be which controls your life with a magical remote control). Do and somehow grateful that?Click? It is so consistent tape in that regard (I insist, within the coherence that can give to the issue of the command). However, the lump in my throat it dashed awhile after leaving the room.As for the main cast, Adam Sandler is the maximum and absolute protagonist of the film. The other actors are a mere accompaniment. Everything revolves around his character. For this reason, it is possible to see him on a series of records until now unusual in it; In addition to the usual House brand, offers some drámaticos that fits quite well with the moment in history in which they live. His performance does not reach perfection, much less to give an Oscar, but appreciated that this actor wants to take his career in a more serious direction.Kate Beckinsale is a vase. But, Hey vase!. The beauty of this actress is enhanced to the fullest, and above, has a feeling with Sandler beyond the screen. Although I found it strange that he has accepted this as secondary work.Christopher Walken is also a vase. But ugly over not being able to. His performance seems custom: comes to scene, drops his roll, and leaves. His role could have done any.And that has surprised me has been David Hasselhoff. Coast that criticize me his detractors, his character I liked, and their interpretation is effective. He gives what he has to give in its fair measure, without being ridiculous; Hence the success of that character, and as a result, the draft to continue playing in a TV series based on the film.To sum up?Click? It is a tape with surprise that you must not miss. Especially to see how dangerous it can be to have a remote control. |
1,053 | archivos_extraidos/MCE-Corpus-main/Dataset/3848 | Silvia Giner | La brújula dorada | 2 | 5 | muchocine | Infumable product for children takes Christmas to ensure a place in the market of the Trilogies. | With a budget of us$ S 205 million, this film is convirtie in some of the most expensive productions of the producer New Line Cinema.Este film is an adaptation of the famous and award-winning book lights North of Philip Pullman. The Golden Compass is the first part of the trilogy dark matter. I very much fear that we are going to have to endure next installments as the producer wants to make your particular August thanks to the novels of Philip.A my sincerely so much history impersonator of "Narnia" already I tired. Besides that it is adapted horrosamente, the novel itself is already loaded with incruencias, for instance, the figure of the Gipsios (Gipsios = Gipsy = Gypsy = bone that it is as say Gitanoide this is not offensive? whatever it is is unoriginal) bear skins to dress up. but let's see, if all animals are Dimons (human souls) and when it dies the human the Dimon evaporates from where her pussy take the skins?. In summary the story sucks on all sides.We have everything, lack of pace, failures of racord, which well well disaster.Nicole, Daniel! How you convinced?. I imagine that the poor, think of the producer would paste the taquillazo as they did when they adapted the successful trilogy of the Lord of the rings. But the truth is that it has been a real truño. I have to qualify that both Nicole and Daniel, get all the juice possible their characters "the script is that it does not give for more". Eva Green (very pretty) is also involved in the film, in principle his character has too much relevance but her it is winning over the following deliveries. The protagonist Lyra Belacqua, played by Dakota Blue Richards (born on April 11, 1994) is a British actress, born in South Kensington was chosen from among more than 10,000 girls in various cities of the United Kingdom: Oxford, Cambridge, Exeter, and Kendal. The director has said of it that fully illuminates the camera with his face. Dakota has no experiences in the film above and has already signed the 2nd and 3rd installment of this series. (Please see if for the sequels can whiten you teeth because any yellow and is a shame.) This is perhaps the most notable of the film.If you want to see Nicole, Daniel, Eva and the new hollywood Dakota Blue boom, you can go to see it, but if you expect to find a sort of Harry Potter "or by hint" you go to see her. Although you can always enjoy the FX and costumes. |
1,054 | archivos_extraidos/MCE-Corpus-main/Dataset/3412 | Ramón Besonias | Adiós pequeña, adiós | 3 | 5 | muchocine | Goodbye small, goodbye is a film that uncomfortable, and only that upset feeling worth be Preparatoria. The weight of integrity. | Goodbye small, goodbye is a film that uncomfortable, and only that upset feeling worth be Preparatoria. Who go to the movies without knowing beyond that is a wise production of Ben Affleck (which some could be a handicap to not see), well played by his younger brother, Casey Affleck, and with a careful staging, will be surprised by the evolution of a script that slides from the police thriller of pace slowly but agile to a moral drama in which the viewer must participate likes it or not.And it is in this soft but final turn of the script where it resides much of the virtue of this opera prima of an actor (i.e. a, because I know) has decided wisely to prove excellence as a filmmaker and has no bad been the result. And it has done so in the hands of his brother, Casey Affleck, an actor convincing, natural, leisurely look, fleeing with wisdom of the easy pantomime of the histrionics of laminated paper in which his brother is master. What not just function in this work so sober and reflective is the role of comparsa of Angie (Michelle Monagha), the wife and partner of the protagonist. Does not have any function or narrative depth throughout the film, except at the end, where it is used by the writer as a moral counterpoint to the dilemma of the detective Kenzie.No is new in the crime genre the suggestive idea of placing a detective private in a moral position after deshilvanar the Hank of misery that surround the case investigating. But this time this detective isn't drinker, nor has a murky past, it knows all or smoke, and is not even alone or under the spell of a femme fatale, as it is normally the case in a genre too marked by the genetics of classic noir. Kenzie is young, seems it or does not give the feeling of being a guy hard or clever. So far it has devoted to cases of lost objects. The case is large, or seems it. You will have the advantage of knowing the neighborhood, his logic, his confidants, their miseries. And it is a full, professional, honest man.That integrity (synonym of civilization, rights, legal protection, etc.) will be precisely which will be questioned, forcing the Viewer to readjust his map, good and evil, justice and injustice. The director may recuelga in excess in a seasoned Catholic imagery of these unnecessary monologues of the protagonist may occasionally, but they serve to position the viewer in a family model which will be questioned later in the form of moral dilemma. Not in vain Gone baby gone is a work of the writer (Dennis Lehane) that we also acongojara with the forceful Mistic River. In both works dealt with issues of difficult host popular, such as paedophilia or abuse and murder of children. Some have seen as an opportunistic Act by the director recreate a story that reminds us too the disappearance in the girl Madeleine Portugal. Debate a pilgrim both, given the tone that is taking the script over the tape.But despite the sobriety in the staging and the agile glibly of the script, Gone baby gone is a work that would have perhaps required a greater distance on what counts. Taking as a reference point to Mistic river, the work of Affleck becomes too predictable in its moral claims. It is played without more letters that the presentation of the final dilemma, and his characters not boiled with bed rest as for the Viewer to appreciate its contradictory folds. This psychological finesse is evident in the work of Eastwood and dignifies the set by his manifest humanity. Even in Million dollar baby - equally divided by a script that plays to be another gender - are profiled the characters without monocromatismos, fleeing to be defined and forcing the Viewer to get lost in the murky but necessary tide of emotions.However, this not worthy a worthy attempt in the hands of a novel that has woven a plot suggestive, but without the nuances that requires any work aspiring to excellence. Ben, you expect in your second. But please, stop the actor. |
1,055 | archivos_extraidos/MCE-Corpus-main/Dataset/2462 | Rafa Delgado | Transformers | 4 | 5 | muchocine | Transformers has the ability of making me enjoy as a toddler in a movie theater, as any movie has done for some time. | Amazing. Transformers, the new comercialoide super virguería of Michael Bay (director of clunkers as Pearl Harbor, but also of real wonders as two rebel policemen 2), has had the admirable capacity of having transported to the past, to return to feel a kid of ten years enjoying a blockbuster summer as those already not made, for after leaving the cinemafantasize and play down the street on seen on screen and want to immediately buy the shift action figures.The characters are quite flat (despite the efforts of Shia Labeouf, which is huge), his sense of humor is sometimes too child and lead, and history is simpler than the mechanism of a Transformer (sorry for the joke xD). but it is rapidly entertaining, it has one of the best rhythms of the year (lasting more than two hours and gets you on a flight) and, best of all, not be takes seriously itself.Bay is aware that you have between hands is absurd to take him to the movies, a cartoon series about giant robots with its own life are transformed into things and are in continuous war only would have to stay in that, in a series of cartoons. Out of the top hat a roller coaster gruesomely entertaining and enjoyable, with great sense of humor and he is aware of this (in occasions too), sometimes even up to autoparódico (attention to the conversation between a very irritating COP, played by John Turturro!, and the two kids protagonists, in a car, on the Transformers!!), without any hint of pretentiousness (a part of wanting to sell many cartoons of action.) or delusions of grandeurthat up is allowed launch poisoned darts to the Bush administration!By far the best premiere big what you carry summer, and one of the most spectacular films of recent years. Pure cinema of evasion, full of fireworks good, is enjoyed, despite some too sudden camera movements in the action sequences, to the Batman Begins. Bay.Es tipiquísimos a genuine pity that many people be swayed by their prejudices, and her cane to the film because it is directed by Michael Bay, or simply because it is an action film. If the film, as he came, her signed James Cameron, another Rooster sing? |
1,056 | archivos_extraidos/MCE-Corpus-main/Dataset/3862 | Iñaki Bilbao | La Búsqueda: El Diario Secreto | 2 | 5 | muchocine | Fantastic adventures (for implausible that are) with the new hero Ben Gates, and their friend as listíssssimos. | Second film adventure of Ben Gates and friends willing to endanger their lives in order to find the truth.Here is still more problem or search for some imagination, the footsteps of its predecessor, proving to be a comic book adventures, allegedly realistic, at the end but truly fantastic given what little or nothing credible that is everything.No, I know that he is it not seem credible, is that nothing makes sense of the measure but nothing is minimally plausible.Situations, filmed almost all at breakneck speed, so that only the viewer visual break, they occur, say, so that there is no analysis of what is happening, being all a flurry of levels after levels.Luckily I once the camera stops and is when the protagonist speaks for the first time with the President of the United States. It is the best moment in the film, as the two talk, they talk, saying things fantastic dye, but not overwhelm the viewer with many levels, loud music and impossible situations.In Haw passes the time without the slightest problem. It is an entertainment easy and superficial, quite less achievements than its predecessor.Not bad and the photography is beautiful, highlighting scenes as the of the famous mount (Rushmore) of the faces of Presidents of the United States, but lacks consistency to be remembered past several hours of his vision. And among other things, by the ease in which good achieved its objectives, by very rather impossible that are. So many fantasmadas the truth is just a little hartín. |
1,057 | archivos_extraidos/MCE-Corpus-main/Dataset/1213 | Jose Contreras | Apocalypto | 3 | 5 | muchocine | Getting to know the Catholic code of Gibson I bet that not pre-Columbian america he chose at random. The message that he wanted to sneak us is, I suspect: a world without God is uninhabitable. | Mel Gibson leads to strictly one of the first principles of the good script: the hero must mistreat him. Gibson should learn others as the "Harry Potter" or the Bond series, with the exception of the last "Casino Royale". The abc's of the good script does not ask what take up such suffering desmelene. That's a stop, a bad habit that everyone you hold better or worse to the Australian.When one sees a Tarzan film, squeaking you at first glance the scenarios of cardboard stone, elephants in zoo, plastic plants and ponds who wanted to imitate African rivers. The viewer of the thirty conformed with such similar doses; the viewer today asked for more, but neither claims reality. The film caters tastes and adds some realistic detail when the demand note. I think that Gibson comes otherwise. It's approaching the world of Jesus, or the Aztec removing Middle old habits of the film, leaving only one which he believes could be reality. Why not fold films, or why the Aztec city does not seem to a city, and the road does not seem a way. Gibson tries, at first glance, not giving facilities to the Viewer.But he only tries in the first half. When speaking of powerlessness within the clan that is lived as something collective, storytelling with bonfire, the struggle between warriors and native, the journey, the eyes of the people who look to the prisoners of the cruelty of the sacrifices.The second half dispenses with the cultural contrast and us puts squarely in a narrative of always. The flight is full of evidence that speak little of another era, and much of the adventure film clichés. I guess that the producers were willing to risk only to limited extent. Either to one point in the footage.Getting to know the Catholic code of Gibson I bet that not pre-Columbian america he chose at random. The message that he wanted to sneak us is, I suspect: a world without God is uninhabitable. And as this is my page and I am not yet censorship, I take the freedom to respond to you. I do not think that the Aztecs lacked humanity and compassion from Christians. They had their human sacrifices to get rid of its surplus population, and we Europeans, we had our wars and our crusades to end up doing, with hypocrisy that Yes, the same. |
1,058 | archivos_extraidos/MCE-Corpus-main/Dataset/406 | Jeremy Fox | United 93 | 5 | 5 | muchocine | Greengrass has managed to create a gem of a film on the basis of a human tragedy and has given us wonderful and distressing ninety minutes while they are culminados by a final quarter in which it is impossible to contain the emotion. | Lot of courage was necessary to deal with events so recent and traumatic for a country such as the attacks of September 11 to the United States.UU. For that reason alone Paul Greengrass deserved applause for carrying out "United 93". But that also has given us a peliculón which are few.If you do not know what happened on 11 September 2001 in the USA do not stop reading this criticism because it contains some very revealing details. If you know, probably not need remind you that United 93 was the aircraft that day, while New York was suffering from the attacks on the twin towers, crashed in Pennsylvania after being hijacked by a few terrorristas.It is not necessary to say so, but respect for the victims and their families was obviously a prerequisite to let anyone you direct this film. In that sense the script and the direction of Greengrass are exemplary. But it is that also not incurred in the stereotypes that I thought would it incur with respect to the figure of the terrorists, who are here portrayed quite objectively. What they did was a brutal and no possible excuse crime and the fact that seemingly normal people can commit such an atrocity is much more terrible than if portray them with bad face, scar on the face and antipáticos.In order to make us much more real and credible the story, the style of the film deliberately reminds the documentary film. It also helps to get into the movie the use of almost unknown actors, coming in fact to use authentic flight controllers for some scenes. However we must not forget that it's a tape of fiction and their fidelity to the facts should not be what to decide our opinion about it. And even more so bearing in mind that possibly never know exactly what happened that day.The film is divided into two distinct parts. Do the first attended the gestation of the tragedy: terrorists beginning the journey to the airport, the preparations for the crew of the aircraft, the control tower, the aerial surveillance centres? In short all those that played an active or passive role in the fateful day. Does the second part focuses already definitively what happened inside of Flight 93: the hijacking of the plane and the progressive conviction of passengers that the only possible solution was to fight against documentary terroristas.¿Estilo? Almost unknown actors? Two different parts? Scenes with authentic air traffic controllers? Do counted so perhaps to many not you sound very attractive but? the pace is so frantic, so alive, that there is no place for boredom. From the beginning the spectator attends hooked events. Even more. Despite knowing in advance the outcome of the story, has even the hope that something happening to avoid in (feeling that they transmit only the major films).But if a word defines perfectly my experience watching the movie, that Word is angst. For a long time that I got so into a film and passed so distressing moments in its interior. Paul Greengrass has managed to create a gem of a film on the basis of a human tragedy and has given us wonderful and distressing ninety minutes while they are culminados by a final quarter in which it is impossible to contain the emotion.My only doubt about the score of the film is to see how the passage of time and generations trafficking that narrated tragedy find distant. It will be in a few years when can decide with greater objectivity if "United 93 ″ or not is a masterpiece." What no doubt is that we are one of the best films of the year. |
1,059 | archivos_extraidos/MCE-Corpus-main/Dataset/815 | Ivan Sainz-Pardo | Borat | 3 | 5 | muchocine | Borat works perfectly as a mockumentary where we see the protagonist causing certainly excessive, eschatological and hilarious situations. | Must see this film in English with subtitles. My subtitles were in German because agreed me that I saw in Munich. The cinema was crowded. And the public, to five minutes, totally delivered. Word of mouth on this comedy this running as never before. I guess that word of mouth advertising is something that bewilders in greatly to the large film studios. Always so unpredictable and little controllable.The main virtue of this film is that they present as a comedy and it really is. It is very, very funny and complies with what promises, it is already much more than most of the films that reach the Billboard to say. In fact, I not remember laugh both a cinema and the projection of Borat.El Borat mood is a mood quite cabronazo. It is the humor of me River of you and not with you. But also, at the same time works as reflection on the true nature of our modern societies and the current clash of civilizations. Consumerism, fashions, double morality, prejudice, materialism, there are many items that are very cleverly us slapped between laughter and laughter.Sacha Baron Cohen plays a reporter of Turkmenia marching to the United States together with his producer and a faithful camera operator to make a documentary about American customs. It will soon be transformed into a documentary Roadmovie irreverent, satirical, and the Antipodes of being politically correct, where the destination to pursue will be neither more nor less to find and marry Pamela Anderson, from whom our Borat falls in love watching an episode of "The watchmen from the beach" in a room of hotel.¿Con this premise can make a film?Well Borat works perfectly as a mockumentary where we see the protagonist causing certainly excessive, eschatological and hilarious situations. The improvised parts and more documentaries work brilliantly as a kind of mixture between Michael Moore and Jackass. And it is precisely that Cohen is spinning a plot and is forced to stage, when the tape loses some strength. However, the creator of "Ali G", is a smart, daring and talented showman and get to do that throughout the film stays in place thanks to this.This Borat breaking all world box office expectations and will no doubt be the phenomenon of the year. Deserved. Do not miss and enjoy the humor acid and relentless of Borat. |
1,060 | archivos_extraidos/MCE-Corpus-main/Dataset/1644 | Emilio Calvo de Mora | La Caja Kovak | 4 | 5 | muchocine | Without prejudice to foreign glories, worthy example of autonomic thriller (almost) with attractive enough to enrapture the audience and earn a place in the desolate ranking of gender in Spain. | The national thriller has little background so that we obviemos this piece strange in our cinematography that has value in itself and what it represents. Away from the formal selfishness of other products of the genre, Daniel Monzón (a critic got to director, the man crossing the mirror) clings to the Hitchcock film, to its elegant, and elastic frames in debit with the literature of Patricia Highsmith and B movies of the sixties (there are implants and the evil of the film with nod to the bad guys of the Bond series or a vulgar Manchu). Nor need look grateful to Ray Bradbury and the greedy American production of the 1950s with threats Psychotronic and terrifying theories about alienation.The Kovak box is a fast-paced film paused when necessary, embastada with discrete moviegoers notes and performed as a macabre Symphony whose final (in some very well thought Cuevas del Drach) deserves to go to the history of the patriotic cinema for the simple reason that we are not, in any way, accustomed to that whiff to end made in Hollywood. The doctrine of monsoon is entertainment, a meticulous sense of the filming as a vehicle of transmission of entertaining content. And the tape, complete, entertaining over not being able to. It cracks by the artifice of the script, which gives the impression of being very forced, although writer (own monsoon with writer Alex de la Iglesia, Javier Guerricaechevarría) engasta all the excesses that everything flows gently, with a package to great classic movies occasionally. Not in vain started quoting Hitchcock that monsoon extracted from the estimable Chair of Don Alfredo the twists and the wordplay, monumental levels (scenes from the airport, the rush of the House to the vehicle that is giving away the dangerous roads of the coast) and, above all, the mechanics of the fascination, that is, the way in which the film takes place until its outcome, it may seem a forced point (also), but there was no other unless we resolve a purer version of Sci-Fi, nothing relevant. Timothy Hutton, Lucía Jiménez and, above all, David Kelly (Grandpa of Charlie in the chocolate factory) are great, although the role of Silviia / Lucia is raised, not explained if we are aspiring to earn a territory in the thriller with solvency, not thing of trying (taking into account our holganza in everything that it smacks of risk) strain us already with carpet and fanfare in science fiction. Time, no doubt, it will be. While to savor Spanish films like this, so pleasant in the formal, so enjoyable (again).A commentary from the director about Gloomy Sunday, the song that the tape plays Billie Holiday and underlying all the plot: "Is a very special song called Gloomy Sunday and which has an incredible legend." Wrote it a Hungarian Rezsô Seress in 1933 and later committed suicide. In the following years, was a song banned in the radios of the United States and Great Britain because they said it was a song that induced suicide. Indeed, it was found that many suicidadas people had heard the song before the kill. It's a song actually very sad, with something very special and mysterious in it, which is one of the songs more versioneadas in the history of music. "I have tried to give the film a tone very similar to the song, i.e., dark, disturbing, but with a large underground romanticism". |
1,061 | archivos_extraidos/MCE-Corpus-main/Dataset/1487 | Florinda Chic | Venus | 3 | 5 | muchocine | The film is not, however, a pastelón sentimentaloide and tear - as I have said that to me personally, the subject I raises - is a skillful comedy-drama with excellent moments of humor. | Venus is one of those movies that voluntarily never had gone to see the film. Everyone has weaknesses and I, fled all film that includes a child, dogs or lawn as protagonists. So, they have been excluded from my retina or have flooded me her films as: Elsa y Fred, life is beautiful, Cinema Paradiso, champion? This film enters the category of my alienista vetoes and from frame one entered me a grief that is still me.Peter or? Toole plays an old glory of the interpretation that, currently, endures the monkey of the foci with the wrinkles of his voice and his roles of dying or dying semi leather. Not him it has have been difficult to get into this character that twenty years ago that this actor of perfect diction and porting of gentleman not played a player.The case is that Lawrence of Arabia is not the typical endearing man, is a sort of green old cynic who, with the bull given by age, it is an insolent and still flirts with girls descocadas. In the recent news of his life, crosses a twentysomething and between them begins a relationship in which the veteran is more a Pygmalion than Benny Hill. The film is not, however, a pastelón sentimentaloide and tear - as I have said that to me personally, the subject I raises - is a skillful comedy-drama with excellent moments of humor provided above all by the encounters with the generation of the protagonist fellow - Richard Griffiths and Leslie Philips - with a very bright hyphen of the architect of my beautiful laundrette or Intimidad.En tone of derisiondo, are drawn in the footage the misery of old age: loneliness, physical limitations, go saying goodbye to friends? and something very important that says the protagonist:?I'm dying and I still don't know? A highly recommended reflection about the parallels between adolescence and old age that speaks of what fuímos, we are or will be someday. (snif)PD: the Lord or? Toole owes me five litres of liquid, because I almost deshidrato me years ago also seeing the man of La Mancha. |
1,062 | archivos_extraidos/MCE-Corpus-main/Dataset/1124 | Bloody Will | Candida | 3 | 5 | muchocine | Fesser, has a very special mood, and channeled it in an extraordinary way through all the characters in the film, creating that world where the protagonist dealt much tenderness and affection. | Me is very difficult to be able to classify this film, because undoubtedly plays a few genres: drama, comedy, social commentary. The undoubted is that "Candida" is presented as a certainly endearing character, and counts for a lot know that here the protagonist does not interpret, is unchanged, and its history is very in keeping with its time of release. Speaks of lost people and an angel guardian which does not have to wear pigtails or pronounced cleavage.For those we have followed the duo Gomaespuma for quite a few years now this film we are familiar. Family by the type of humor that uses, how to hold the dialogues, the apparently incoherent phrases, and at the same time to be seen on screen to this lady that has been delighting us with their impossible criticism. Quite rightly, those who come to see the film without passing through the filter prior is find something misplaced at the beginning and perhaps fail to understand fully the protagonist, but this does not mean that towards the 5 minute already keep us eating out of his hand.Candida, as in reality, facing the hardness of his family life through the kindness and without obstacles. Junkie (Raul Peña) has a son and another crazy auction (Victor Sevilla), works for a Countess of the three to the room that racanea you up the Loofah, and begins to ensure the master Pablo, a presenter of TV with chaotic personal life. The objective of Candida will be the same for all: make life pleasant as possible at the expense of their kidneys.The director of "Candida", Guillermo Fesser, 50% of Gomaespuma and brother of "Mortadelo and Filemón" - Javier Fesser, has a very special humor and channeled it in an extraordinary way through all the characters in the film, creating that world where the protagonist dealt much tenderness and affection. Like his brother, low Fesser histrionico and not so colorful a stepping stone towards situations more real and harsh as the drug addiction of the youngest son, the irresponsibility of a daughter something lightweight helmets, a neighbor who receives sticks every day and Marathon days of an Assistant which conforms only with his tele.Best thing is that at the end erizaron me hairs and the knot of the throat was I not going. The worst must also mention it, and is the film towards the second half loses the direction altogether. Perhaps lengthen too much the relationship between Candida and the master Pablo makes you lose at the end the axis on which rested the movie at the beginning. A final very conformist and very white, perhaps too much for so much shame that the protagonist brings.Indeed, something that characterizes the Fesser brothers is the music chosen for his films. Once more, songs in 100 increase the intentions of the director and give a warmth to the film that is very difficult to achieve with hits of the 90. The version of Julio Iglesias Gwendoline Pitingo is impressive.Nevertheless, "Candida" I meant the same shock that was "Babel," and by God not me crucifiqueis because I am not comparing them. I am referring to a lagrimitas is never wrong, and a history of ordinary people in the neighborhood of 500 metres beyond is as a stew that you take two weeks after eating spaghetti: a warm for the head. |
1,063 | archivos_extraidos/MCE-Corpus-main/Dataset/3533 | Sandra Ríos | Cerdos salvajes | 3 | 5 | muchocine | It is a film many unpretentious and simple to disconnect a little routine, stop to rest the mind of concerns, bad times, etc and have fun. | I will not dedicate many lines to this film, because this new film by director Walt Becker nor warrants. I can tell you then, it is a slight but quite fun Ribbon. It is not to see the strictly critical perspective; then do so, the film happen without penalty or glory and insurance "was not the exam". Rebels with a cause is a single film without many pretensions to disconnect a little routine, stop to rest the mind of concerns, bad times, etc and have fun. In fact, not forces you too though, to be absolutely vigilant, you does not exhaust. It is in quiet short, relaxed and fun.The cast is luxury, all very recognized in the world of cinema, highlighting the actions of William Macy for me. Its subject matter is interesting, since thinking in a "fifties" who want to give a "Canaanite in the air", can be very identifier for some, reflective and motivating others. Who perhaps does not reach that stage of life, where probably many things have been left to be done, where absorbs it the everyday or their prejudices and fears not let him, to think of giving this chance to have a good time with old friends. Well there then, does this argument, comedian, crazy and something different. The film then based on this idea, creates 4 characters: one odontológo, another an unemployed, another a computer programmer and the latter an expert in security, all with same denominator; oppressed by the pressures of everyday life, decide to go then, to an appointment with if same, leaving aside, their families, their children, their jobs, cured in their bikes a journey without equal, unique and probably unique. Who isn't like you do the same, at any time of your life?There are many moments in what really you loose to laugh almost non-stop. Given the genre, this is a major success of the tape. Finally to be honest, I do not recommend it go see movies. As always I say, in these cases, this is to enjoy at home |
1,064 | archivos_extraidos/MCE-Corpus-main/Dataset/2471 | Francisco Bellón | Red Road | 2 | 5 | muchocine | Road network is first and foremost a film little honest with itself and with the Viewer, full of unnecessary artificial tricks that divert the attention of its chief virtue, history. | The theorem that reads "any reaction followed a consequence" is physics and philosophy, elemental. In recent years, the film industry has followed the footsteps of major productions full of special effects, by putting the spectacular and dividends at the box office to a good history. One consequence was the independent movement, innovative proposals, and another way of seeing and understanding the film.Road network is part of the Advance Party project, a proposal a priori very interesting, which consists of three movies based on the same characters created by Lone Scherfig and Anders Thomas Jensen. The directorial debut of Andrea Arnold, winner of the jury prize at the 2006 Cannes Film Festival, is the first of these tapes. Jackie (Katie Dickie) works in the city of Glasgow carefully monitor images from security cameras scattered throughout the city. One day, go on your monitor to Clyde (Tony Curran), a man who hoped not to see in his life again. Thus, slowly starts a story showing fully and openly the miseries of the human soul, which is gradually capturing the attention of the Viewer to immerse it in a spiral from which it is impossible to escape. At least, it would be impossible to escape if the film does not convey that so annoying sense of artifice. Amdrea Arnold tells the story sparingly, feeding the intrigue and anxiety of the Viewer, but does it jumping some rules. The script is full of tricks and blows from effect to cause confusion, to believe what is not, diverting attention from what really matters. When dissipates the smoke curtain woven by Arnold, there will be anyone who finds it deliciously perverse, or there will be who sits fairly cheated. And it is that Red Road right at the bottom, but fails miserably in the form.Road network is first and foremost a film little honest with itself and with the Viewer, full of unnecessary artificial tricks that divert the attention of its chief virtue, history. |
1,065 | archivos_extraidos/MCE-Corpus-main/Dataset/3200 | Kiko de España | La Huella | 2 | 5 | muchocine | Here be very clear what balls wants every one, without going into the issue of sexuality, so last of mother as a "Balance of" Palma does not end. | Kenneth Branagh signed one of the experiments of the rarest of the season with his version (with the permission of Harold Pinter) of Anthony Shaffer which had already led to the film in an impeccable way Joseph l. Mankiewicz makes thirty and five añazos with bad luck to coincide with the Godfather the Academia.Ahora ceremony occurs in most twisted waymore visceral, visually impeccable for forty minutes (the composition feel me great at times) and with a script more or less "equal" until that gets it out of hand, and that way, in the other forty-five. Correct, it lasts three quarters of an hour less than the previous and I appreciate the Director because the thing could have ended up in Stampede.Michael Caine gives bad baba her ex - nemesis of almost four decades ago and Jude Law becomes at the end in a sort of Jim Carrey English with echoes jockerísticos him ahead of pearls for the writer of the next Scary Movie. If in the original we had two characters with two completely opposite objectives and a game of cat and mouse delusional and malevolent, here does not end be very clear what balls wants every one, without going into the issue of sexuality, so last of mother as a De Palma "In balance".An exercise much more risky than the Rob Zombie Halloween but equally unnecessary. |
1,066 | archivos_extraidos/MCE-Corpus-main/Dataset/4380 | José A. Peig | Monstruoso | 4 | 5 | muchocine | Cloverfield has overtones of future masterpiece of exemplary reformulation of language film, incentive to reflect on our relationship with reality. No, the film is not dead. | Modern audiovisual recording media transmitted the reality from the guidelines of any observer. Typically, we call this way of displaying the low film story the epitome of "subjective camera", as if it were an application for exception to the traditional staging. Entire House is subjective, a personal look at the universe of phenomena represented. Even when a filmmaker sets the picture from the perspective of a character, not doing something else which concretize their point of view standing at an angle from which to accommodate the whole. The star of Cloverfield is not the / characters who maintain and directed the recording, it is not its exclusive point of view, but that includes the rest of the cast and the same Viewer, which you can - that filming breaks the canons and the traditional technique and this allows improvise and understand the dynamics of the narration without previous knowledge - feel that it is he who controls the image and the movement in the process of adrenaline and exploration of the bends of the reality. On the other hand, it should not be forgotten that in cases such as REC and the now before us, the impulse that drives the image is not exactly one of the character's eye, now that this subject to patterns implicitly marking technology in use. The character precedes the registration, similarly the spectator creates their own image in his mind. The issues raised by this debate: is this metacine, or rather the deconstruction of the cinematographic language in order to understand the link between spectator and a half in a new technocratic framework?. Today, everyone can be creators of images. Improvisation, moreover, is somehow a "metarealidad" that sneaks into our future everyday with a simple act of consciousness: look at the fabric of the phenomenal world from a second registration who will be at the same time contemplated by other minds, with the consequent modification which it cannot produce in our relationship with the world. Reality within reality, multiplicity of views registered in a single image, multiplicity of consciences which ultimately are a same experience at all. (Inland Empire, David Lynch, is the latest parable about the synergy between metacine and metarealidad).In the film of Balagueró and Plaza, the registration of the "reality" is limited to a univocal and linear route which, from simple plain of its conception, stagnates in the dramatic reality that transcends not the obviousness of the used resource, without exploring the possibilities of this language. Cloverfield appears to be a nut back over to the monster movie, but the truth is that the monster is only the variable that puts in motion the emotional flow that takes us to the resolution of the drama. Matt Reeves film is a love story truncated by the brutal eruption of the present in the past, although the tense remains in the registry. In the first images, at the dawn of Manhattan of an April 27, we see the protagonists - Beth and Rob - representing the budding romantic relationship. Weeks later - 22 May - the same camera - and the same tape recorder - confronts us with the prospect of another character to take step to the representation of a banal feast and people who don't have anything interesting to say. But soon the story comes to a bitter tone through the description of a latent problem between Beth and Rob (stress the magnificent use of the ellipsis between the segment which opens the story and which now pickpocketing, by synthetic expression). As so many times we have written on these pages, it is essential that the elements that shape the narrative are duly vertebrates in all relationships and meanings. Rob, accompanied by his brother (the first victim of the circle of friends) and his best friend (which holds the camera that will allow us to be witnesses of everything), get outside and sitting in the fire escalerilla, express their bitterness and their inability to resolve the emotional conflict with Beth, to express their feelings. As well, at that precise moment it sounds the first outbreak, from the right corner of the image (we see how turn off the lights of skyscrapers).Given the insecure and turbulent internal situation of the character, the extraordinary bursts in with fury from the outside. This is a fundamental feature in all major mythological tales: the uncertainty of the hero is a (necessary) correlative phenomenon in the external world. Thus, registration is not confined to a statement of events that break the rules of the known world (the monster, in this case), but it expresses the events from the psychological layer of the central character. On the other hand, the sequence of events follows this same pattern; set the reader that in the course of the journey through the streets of Manhattan until the building of Beth, everytime Rob expresses doubts about what to do before the dangers and the desire to save his beloved, the monster appears from any corner to motivate the solution and the progress towards the objective. Ongoing correspondence between the internal state of the character and Monster creates a rhythm not only in the visual layer, but in the same internal dramatic flow, which demonstrates the devilish dynamism that characterizes a single film in the eyes of viewers less smart. In the penultimate sequence, the last outbreak caused by the presence of the monster motivates the Declaration of love between Rob and Beth, definitive and realization - somehow - atonement of the latent conflict. That scene, the desperate proclamation of mutual love while they are buried by the avalanche of Earth and cement between the fire of explosions, has a potential huge dramatic. The final sequence represents the State of original happiness before the decline of the world surrounding Rob and Beth. Bloating in the face of both and the idyllic image of the sea, the normality of the world before the catastrophe, is the reverse of the two faces of reality recorded in a same tape. The juxtaposition of two worlds, two States of existence and of being and a continuum in which the past invades the present, and the present reevalúa to the past. This cinematographic language is made of the same stuff that memories are made. And the Viewer from the armchair contemplates the future of space and time and carried out their own assessment from its present thanks to a visual language that makes them part of the represented. In what representation of reality this placed the Viewer?. Metacine and metarealidad.Let us also look at this excerpt from the text written by Nacho Vigalondo, from his blog on CNN. com: the best time, and perhaps the level sequence bolder all: driven by blind chaos, guys assail an appliances store. Rob follows that if you want to get in contact with the missing girl, you must steal a mobile phone in the same establishment. The camera follows him. Inside the premises, a plasma television emits an informative: an air Chamber and the voice of a speaker tell us the destruction of the Brooklyn Bridge, that minutes earlier had referred, in a confused and volatile manner from the very center of the tragedy. Our camera moves to another TV, it broadcast live images, in which we see the monster loitering among buildings, cleverly hidden to our eye (to our lens?) between skyscrapers. A thunderous noise draws the attention of our camera, which goes on the outside. It focuses on the horizon, with what we receive, again the perspective, even more fragmented, but immediate, Monster. The House, espeluznado, again entering the store, to notify Rob of the proximity of the creature. Inside, the confused attackers with objects stolen in hand, are looking at TVs, without leaving a tab. Our camera also looks at. This time, the screen shows the attack of the criaturas-araña soldiers. The cries of shock that accompany the horrifying onslaught do not come from our room cinema, but own fictitious viewers inside the tent. That you download the movie in one of those shoddy screeners may not notice the difference (which multiplies the metalinguistic attraction, admit it). Sequence not only recasts the situation, recapitulates what has happened, and anticipates further disasters based on overlapping views with enloquecedora skill, but that condenses the essence of the movie in seconds: the collective disaster is reduced to the individual event (at the end of the world, why not steal a Wii), which in turn is crushed by the collective disaster (even with a Wii in the hands)(the end of the world is the end of the world). New foray into the collective crisis 11-s, but on this post can soon say it won't say until exhaustion. It is the least interesting aspect of the film and - especially taking into account that still has not made the definitive film about this state of affairs - does not exceed the value of previous reviews. Be destroyed in our freedom by a projectile which takes the form of the head of the iconic monument, is a potentially painful, terrifying vision. Although certainly not beat the "decapitation" seen in the last seconds of Planet of the apes.Without reaching the State of perfection, Cloverfield has overtones of future masterpiece of exemplary reformulation of language film, incentive to reflect on our relationship with reality. No, the film is not dead. |
1,067 | archivos_extraidos/MCE-Corpus-main/Dataset/541 | Emilio Calvo de Mora | Palindromos | 4 | 5 | muchocine | Not let indifierente: cala in any type of public, even one that does not connect with a stimulating director as few (twisted) mind. | Solondz has an exquisite sense of risk, a self-satisfied responsibility that is narrative based on the journey of a girl. He is not a physical journey, although the film desmembra in a fantastic range of scenarios: what evidence is a very well trabada and staged denunciation of the world of childhood.It enlivens Victor, the protagonist, wants to be a mother. Straitened family life censors their desires for what it is bound to seek the realization of their dreams on the street. It will not be easy. In fact, it will not be possible.Solondoz pull a character who interpret many actresses. Trafficking (imagine) that everyone can feel us accomplices of their vital expertise. Attempts to (I insist) to create an empathy, a natural state of affairs, a sophisticated, but minimalist in the background, reconciliable exercise with all the vices which the spectator leads to the room so that the film leaves no indifierente: cala in any type of public, even one that does not connect with a stimulating director as few (twisted) mindwhich he explores in the human soul and extract from it the most sensitive material, the less contaminated by social constraints, political or sentimental.Using the figure of the Palindrome as the title of this cuasicircense Pirouette also has its Crumb. The Palindrome is the phrase that reads just as the right to backwards. "Ana brings to bear the hazelnut".It is the metaphor that we are all equal: that there is no journey, that there is no change.You will want the comfortable spectator, done so are you in the food mascadita. Here requires a provisioning of good intentions, some complicity ethical and aesthetic.Or is that this is a film of Championship, will not succeed in box, as did neither Happiness or Bienvenido to the wrists, the other creations of this unclassifiable author box. There is, however, an indolence in the portrayal of situations more dramatic when not scabrous, of the plot. Sees everything, sometimes excessively distant, cold, hieratic almost. There is no heat: is obvious the component by hand of human emotions, which is the naturalness. All very well compartmentalized, stanchion: everything ready so that we do not know if we are witnessing modern fairy tale or an urban legend.I have very clear is that when one has finished the movie, the runrún of its history colea in memory, hammering our placid bourgeois life of citizens pleased with the gentleness of this (false) the welfare State, cacareado by democratic Governments as seal of the House. |
1,068 | archivos_extraidos/MCE-Corpus-main/Dataset/2500 | Taliesin | Bajo las estrellas | 3 | 5 | muchocine | Count Alberto San Juan for an opera prima is an authentic lujazo and under the stars its director, Félix Viscarret, wanted to maximize. Perhaps too much. | Awarded as best film at the Spanish Malaga Film Festival, as in paragraphs of best direction and best male performance, the truth is that I had some expectations with the first feature film of Felix Viscarret. I can not say that under the stars it had proved me disappointing, but I expected something more. And it is that this film stands almost altogether in a superb work of Alberto San Juan, it proves once again that it can move in other waters other than those of the comedy. However, if we take your interpretation of the equation, the end result does not has much to offer.It is a story that should be tragic, but that ultimately it is friendly. There is no shrill in the argument and the Viewer is always with the feeling that the plot is going to break somewhere. The truth is that it breaks, but less painful hand and although it sounds masochistic, this is one of those movies that should give direct to the liver and then deliver something sweet to not leave wanting to commit suicide. The mimbres to hit the viewer are, but finally remains in the tale of the prodigal brother who discovers in the rural world everything what had stolen the city. It is true that the fact of being based on a novel closes the path to plot more interesting variants, but I am sure that you could have done something better. In the end, everything is wobbly wobbly and I guess that the endearing rogue who gives life masterfully Alberto San Juan has a lot to do with this.The alma low stars is the transformation of the character that starts being an alcoholic trumpeter surrendered to nightlife and is gradually approaching the Viewer. Keeps ramalazos that make it insignificant, but when she begins her relationship with "puerquita" the tone is more comedy than you might expect at first. In any case, Alberto outboard his character and has great chemistry with small violet Rodríguez, which makes his scenes maybe that gives us the tape. Emma Suárez as Julián Villagrán are discrete in their roles, but probably more because of the script that by itself says.In short, under the stars is a great movie that could have been much more if they had opted for a few characters more strongly, at the expense of subtracting protagonism to the main. The general tone is could have sharp enough changing some scenes that are almost filled by others to give the viewer the opportunity to want more characters. Nevertheless, another shows more than there are professionals capable of bringing to the screen stories close and able to touch us chord, which we already have Michael Bay for the Transformers in the Spanish film. |
1,069 | archivos_extraidos/MCE-Corpus-main/Dataset/3160 | Rafa Ferrer | Os declaro marido y marido | 3 | 5 | muchocine | We have a sweet comedy that, the issue of the gay goes on tiptoe and stays in a pair of successful jokes and a plot seen thousand times, although there are who can see and laugh a while, does not have to be black or white in this world. | I must admit a unique predilection towards Adam Sandler, and it is that, this muchachote always plays more or less the same role, and is accompanied by all their buddies cameos in tapes, I like especially well, and I just always falling (though gripe) in this type of film.On the other hand have Kevin James, perhaps the best of this romantic comedy starring Will Smith and Eva Mendes (talk about "Hitch" to the confused), that got put in his pocket to everyone in his role of clumsy in love with the gorgeous Amber Valletta.Es true, and not deny it, that the film seems quite contrary to what is, and in the times in which we are, is not very politically correct to stop the issue of the Gay movement by the lining, jokes or jokes in bad taste (the SOAP Tablet is very view.), on the other hand, the film has the one, its 2 or 3 fun points (which I imagine will be the trailer that I have not seen), and that with an argument already seen earlier in infinity of comedies (now a boat soon come to mind at least 2 or 3 films with a similar plot), manages, not only boot these smiles I have already said, but leave in addition a semi-agradable taste.I have to say that it is not that I have loved; but it is not that I have offended or annoyed at all the proposal, in addition, enjoy the beautiful and the body of Jessica Biel, well deserves almost 2 hours of footage?In the band sound to highlight from subjects of Queen, until George Michael, in addition to the presence of another gay quintessential symbol, speak of Richard Chamberlain.Resumiendo, I do not want to spend in extension: is a sweet comedy, passing on tiptoe the homosexual theme and is in a couple of successful jokes and a plot seen thousand timesAlthough there are who can see and laugh a while, does not have to be black or white in this world. |
1,070 | archivos_extraidos/MCE-Corpus-main/Dataset/1445 | Emilio Calvo de Mora | Los amigos de Peter | 4 | 5 | muchocine | The friends of Peter are our own, that part of us that we leave the path, but to which we go when we want to. The film is a canticle, above all, to friendship, to the need for friends to make bearable the racking at times insorpotable of life. And Peter knows well. | In the friends of Peter there are very favorable circumstances so that the impression of viewing is excellent and lasts long enough so that the film will be remembered with a special affection. The first is a dazzling cast: Kenneth Brannagh, directed, Emma Thompson and his wife then the always efficient Stephen Fry, recently seen in children of men, which are three of the best British actors of his generation. Then there is the beautiful script by Martin Bergman, Rita Rudner and the own Brannagh, that scales between comedy to the Woody Allen (ten friends meet after ten years in the House of one of them, the such Peter, Stephen Fry) and acidic, sentimental, mocking, more overload to the drama look to the Woody Allen also (ten friends not only tell war stories and make jokes about vaginitis of the daughter of the President but that they put the) (fingers in the mouth and scratched beyond where the itching then mutates in damage).The film benefits from the State of grace of the cast, but also the relentless evidence that feelings and confessions that emerge at this meeting in house of Peter (and its luctuosa pressing conclusion) are affordable to any sensitive heart, intimately plaited to his own life experience.Does not require the friends of Peter Motley machinery of other films of Brannagh, so friend bizarre Shakespearean verb and complex narrative structures as in the more crude in the winter or the Frankenstein by Mary Shelley. To the way in which Love boat, here holiday at sea, she opened her barrage loves of Caribbean cruise, small orgies of random frivolona, Brannagh film also discovers a showcase appetizing, predictable, is true, but sincere, archetypes, you are configuring the concatenation of revelations, confessions and disappointments that bedevil Peter to confess in the end, what grips truly its heart and everyone knows / we all know what's the role.Brannagh renounces his Lair to the vitamin text of epithets and rimbombancias to offer a Honourable entertainment which, on occasions, could well be confused (and that is a loa) with an episode of BBC television, but see welcome placidly shocked by the wealth of a few disaffected and sane, sincere, characters goes to life, lucid and nearby. |
1,071 | archivos_extraidos/MCE-Corpus-main/Dataset/660 | Alvaro Oliva | Wicker man | 1 | 5 | muchocine | There are aspects that highlight, except the art direction, which recreates a kind of civilization Amish, and locations, as the rest of the film, being very demanding, well could burn at the stake. | New trailers back to play us a trick. And I say this because we are tired of seeing films that are not what we expect. There will be people saying that it is marketing and have achieved its objective: to buy the product (in this case that goes to the movies). Well, on the one hand his manoeuvre is effective but it is also negative for them because you can make many people by the type of trailer to take back and if he knew on the other hand as it will be the film could have gone to see it.I have to say that The Wicker Man is another remake of a 1973 film, which I have not seen in this case. Well, the fact is that the trailer for this new version sells you pressure, scares, spirits and other elements of horror movies and all that then find yourself with a story brought to the screen that do not have any of the above ingredients. The home looked promising, because in the closing credits we read the participation of Nicolas Cage, Ellen Burstyn, Kate Beahan, Leelee Sobieski in the interpretation section and Neil Labute at the address. Apart from what I have read, the initial images also present a situation that could have been much more than Yes. Nicolas Cage, who plays a policeman Edward Malus, fails to rescue a girl nor her mother, that just burning after the car in which are (from a car accident). Afterwards, Malus, has hallucinations and is for sick leave, until he receives a strange letter from their exprometida asking you for that you help, that his daughter has disappeared. Until here everything normal, "paranormal" is that the girl who died is very similar to the daughter of his ex-girlfriend, that he has sent you a photo of the small. So the good of Cage, after ignoring the advice of his friend, decides to go to the enigmatic and mysterious island where she lives. There you will discover that they are a species of sect, but well I won't tell more. At all times you expect will happen something of what we promised in the trailer, but nothing at all. So the rest of the footage takes place seeing Nicolas Cage investigating and looking for the lucky girl by meadows and houses on the island. The truth is that there is no points that highlight, except the art direction, which recreates a kind of civilization Amish, and locations, as the rest of the film, being very demanding, could well be burning at the stake both respect the protagonists of the film, except the producers and some other involved none lloraríamos loss. |
1,072 | archivos_extraidos/MCE-Corpus-main/Dataset/3483 | Francisco Bellón | Arritmia | 3 | 5 | muchocine | Arrhythmia is cinema's complaint in its purest form, is a film that makes us think deeply not only about what is happening and surrounds to Guantánamo, but about the very nature of the human being. | If the nature of the human being measured by their acts, it would be impossible to determine if our nature is good or bad. Because acts of extreme generosity or kindness, or the extraordinary sensitivity of certain artistic manifestations, we have acts of unmatched hatred and cruelty. As example is what happens at the base military at Guantánamo, a disgrace to humanity as a whole, and by which history will judge us.Vicente Peñarrocha in his second feature addresses this problem, but does so from a new perspective, unlike what was Michael Winterbottom. A Guantanamo prisoner manages to escape, and a dancer in Havana welcomes it in his house despite the danger. In arrhythmia, nothing is what it seems, and anyone who wants to discover what the mystery hidden in the depth of the film must pass through box office. Arrhythmia is an innovative and risky proposal, complaint in State pure cinema, although it is not terrible or disheartening for free. Suggesting rather than showing, Peñarrocha manages to convey to the viewer all the anguish, humiliation, fear and horror suffered by the protagonist. Powerful visual aesthetics that has managed the Valencian filmmaker, as well as the rhythm that gives the history, contributes significantly to this atmosphere of terror that exala the tape. And all this accomplished cemented in a solid script, in which everything is well explained and detailed, despite the shortage of dialogues. Rupert Evans performs a formidable job, as a seductive Natalia Verbeke and a disturbing and masterful Derek Jacobi.Arritmia is cinema's complaint in its purest form, is a film that makes us think deeply not only about what is happening and surrounds to Guantánamo, but about the very nature of the human being. And in addition, is an innovative proposal and more attractive, with three players in State of grace. |
1,073 | archivos_extraidos/MCE-Corpus-main/Dataset/240 | Tito Chinchan | El asesinato de Richard Nixon | 1 | 5 | muchocine | When they killed Richard Nixon? It seems to me that this film begins lying us... | Let's see, when to kill Richard Nixon? It seems to me that this film begins lying to us. By the way, does in the poster Sean Penn seem one of those of the CIA responsible for disrupting the plans of murder of the presiendente? Flying there, with his image over the White House, as if the arcangel San Gabriel. As we cheat, really.The film is a man who is to see it. It has everything and does not lack detail. Begins the film just separated from his wife and this does not like to go to see her by surprise (basically because it is a bit slimy). On the other hand, it works seller in an Office furniture store, with a somewhat peculiar head. Finally, it has a black friend who leads a mechanical workshop with which you want to start a business. So with these letters that have given in life, a little paranoia and desire to change the world to the beast, gets 90 minutes Sean Penn. Exciting, huh?My mother than Ortuño truño. Damn, is that the entire film is infumable. Sure there are many people that are passionate about with this film based on a Mr wrong head and do pathetic things but not to. A server certainly not. In positive terms, the actors quite well, and impressive Sean Penn, being a tremendous performance recital. In the plain negative, everything else. The script lacks interest to film buffs mortals. History not hooked, and to even feel pity for the protagonist. In addition, you finish do not understand why is so bad head. Come on, that we did not like nothing at all.In short, for the viewer medium popcorn and flat encephalogram is worthless and can burn the film. For the brainy lovers, lovers of devious plots and characters of perverse depth, may them be interested. To the family of Sean Penn secure who love. |
1,074 | archivos_extraidos/MCE-Corpus-main/Dataset/471 | Tito Chinchan | Stick it | 3 | 5 | muchocine | Prototypical sports film of overcoming and team that will vomit detractors and it encandilará to the fans. | One thing well, go ahead. This is the typical film that my medium Zucchini hates and that I finished with her nipples as darods of emotion. And I mean, I love sports movies of overcoming, in which a bunch of useless unmotivated arrive at something in life in the hands of a coach mamonazo who wears a tremendous heart under his rock shell. If this will we join that if there are two characters in a film and one shouts excited "Vaaaamos" and the other shouts him "Vaaaaaaamos" I have spasms in the marrow of ejaculation I have, why tell you that the movie I loved it but I am not impartial.The film is a girl of 17 years who likes urban risk sports, until that one day he shits and it is condemned to enter an Academy of gymnastics rítmíca. Here we learned that could be Olympic champion team, but he withdrew in the very final sinking to her companions. So he returned to find his ghosts of the past, with a trainer in decline which has become produce talents to produce lesions. Can you harness this girl and win something in your life again? My God, that emotion. Libeeeeeeeertaaaaaaad!What want tell you? The movie I loved, given that it is not at all typical of sports commented at the beginning. It has things that are fine, as the brutal criticism in competition systems, or voice-over comments that save us footage. The history is known and archiutilizada, but I like to see it. It shows a little hard which is the rhythm, although the largest is the end, Braveheart-style (but not blood). Great in which I was touched as a Magdalene. When it comes out on DVD I the crook to repeat even though you receive the mockery of my medium celery.In short, prototypical sports film of overcoming and team that will vomit detractors and it encandilará to the fans. |
1,075 | archivos_extraidos/MCE-Corpus-main/Dataset/810 | Emilio Calvo de Mora | El apartamento | 5 | 5 | muchocine | His script has a mixture rich of genera that make an unclassifiable film, but who has desire to classify the pleasure? | The maximum of not bore you never had Wilder. His proverbial weapon was the intelligence: his films squander it, without exception. Her advise in the monumental serious work (the crespúsculo of the gods, days without trace, downfall, witness for the prosecution) and the fascinating comic work (with skirts and crazy, one, two, three, the temptation to live a above).The apartment is located between the laughter and the tears. Installs easily in the most hilarious comedy and to following drops with arguments of classical tragedy with all of the law. His script has a mixture rich of genera that make an unclassifiable film, but who wants to classify the pleasure. The talents of Billy Wilder as screenwriter wallows in acquire narrative provisioning in any of these genres and engarza them with such precision and with both technical aplomb that we attended (as he does not want the thing) the closest thing we have that, forth, might be called pure films, this is life. The apartment portrays the restoration of dignity in a bland man who, for love, for love always, gets invaded by others: can they ninguneen, that they manipulated to taste such not be noted and perhaps with the secret purpose of doing good, without looking at whether such an exercise of goodness will put him in a difficult territory, in a limbo of idiots.The visual style of the film receiving a black-and-white prodigious, the work of Alexandre Trauner, usual Wilder and artistic director superb, able to imagine and realize the enormous Office that illustrates the mediocrity and mechanical life of Buddy Baxter, our endearing bobo.This Chronicle of bitter feeds some performances seamless where Lemmon shines at a great height and Shirley MacLaine, new after his meritorious first great role but who killed Harry, of the master Hitchcock, outlines with astonishing naturalness.What gets Wilder with the apartment is to introduce the lyricism, beauty, tenderness in a plot of measured extravagance, in a recital of absolute pessimism (he himself was a consummate pessimist who believed, above all and in spite of that recidivism belief in the moral high ground of the individual.)Buddy Baxter, our endearing protagonist, has a huge moral high ground. He is a good-natured. A man without cynicism (so unlike his creator). A perfect character of humanity of the best times of Frank Capra comedy. One sees Lemmon and warns that James Stewart could also have completed the greedy role of the play.Satire sweet, bitter, sad, cheerful, romantic even. There is a point of pleasant surfeit in the treatment of the events. Occasionally, we came to irritate us by the goodness of Buddy. In others, we hope to change. Get Wilder get so in its history we are Buddy Baxter and identification occurs at a level absolutely intimate, irrevocable. The love he feels is the love that once all we have felt. Connivance with the cunning and the double standards of his boss is the feeling that we have had, at some point, when we have witnessed any injustice in this society our so bizarre, hypocritical, false in which Wilder, if I now lived, enjoy because it contains all the ingredients which he introduced in his narrative corpus and that raised to very high levels of clarividiente master in superlative mode.It is said that Shakespeare is all over the map of the human feeling. Also in Wilder. In the apartment are many. Just being carried away by his tender story of late love and fairy in concrete blocks which are, between the plant once and the twelve, pongo by case, her Prince, to know its blue and vague nature corridors, pensive, desasistido of charm, dreaming of a world (who is going to deny) best: cleaner, fairer. |
1,076 | archivos_extraidos/MCE-Corpus-main/Dataset/735 | Joseba | Near dark | 3 | 5 | muchocine | Vampires without teeth?... without teeth and with very little common sense. An adopted that almost reaches the good for being shot before the 90, and little more. | Vampires without teeth?. without teeth and with very little common sense. A group of vampires that is dedicated to go in an autocarabana by the desert and sunny spots in South America, drinking the blood of dirty bars road, and rough and hairy truckers waitresses. There is not I the biggest fan of Ann Rice and his vision romantic (and homosexual) of vampires, but, this gang of bastards curran it very little.First you fuck life poor Cowboy star of this roadmovie semi-telefilm, then go to him, and while the poor boy vomits it vomits from all corners, denying its nature it kills. normal, the only victims who put shot his comrades are young attractive dressed in tight jeans. suspicious isn't it? Well, despite everything, the movie has a huge Bill Paxton, who is shot, burned, hit, and finally disintegrated to the four winds. but its presence (and some memorable scene as that of the bar or the final duel with the own Severen) manages not far the disastrous end with transfusions of blood to discretion.In short, dear (s) reader (res), an approved that almost reaches the good for being shot before the 90, and little more. |
1,077 | archivos_extraidos/MCE-Corpus-main/Dataset/3039 | Jeremy Fox | La Carta Esférica | 2 | 5 | muchocine | I have not read the original novel by Arturo Pérez-Reverte on which this film is based but I'm beginning to think that poor Arturo, writer nothing insignificant, is hexed film. | I have not read the original novel by Arturo Pérez-Reverte on which this film is based but I'm beginning to think that poor Arturo, writer nothing insignificant, is hexed film. "The spherical letter", despite being directed by the prestigious Imanol Uribe, author also of the script, it does not escape this gafe.Several are the problems and defects that bedevil the final outcome of the film. The first of them and against all odds is the main actress. Aitana Sánchez Gijón is a beautiful talented actress but is not the most appropriate for the role. What the character needed was a magnetic woman, attractive and mysterious; a genuine "femme fatale". Aitana is beautiful, Yes, but theirs is not being "femme fatale". In Spain we often confuse sensuality with beauty and is not necessary to be a bellezón to interpret a role so we know all those who, to give just two examples, remember Marlene Dietrich or Barbara Stanwyck. The worst is not not giving the role Aitana, worst thing is that in fact the plot is absolutely amazing if one does not believe that character. It is ridiculous that a man experienced in life as Coy (Carmelo Gómez) and even Palermo (Enrico Lo Verso) have been able to be crazy of love for her, to the point of leaving his wisdom on one side and put his life at risk.Perhaps because of the lack of credibility of the most important role, the characters in general appear to be not nicely drawn. Thus, deprived the film of much of its attraction, we feel that not nothing happens during much of the footage: there is no adventure, no physical nor emotional journey that would justify the duration of the movie that could have been cut enough (and that) despite several strange ellipsis which spare us a couple of important moments. For example, eliminating two quite free sex scenes, even though they are there so that we better understand to Tangier (Aitana) and its relationship with Coy (Carmel), they fail its purpose.When it seems that the word adventure will look on the screen, the film accelerates up to reach a hasty end and a tad silly that does not fit very well with the rest of the film.Of course, the technical invoice is impeccable; from the artistic direction of photography, through the soundtrack. The problem is a lack of substance, of soul, chicha.As hope is the last thing that is lost, the next time that release a film based on a novel by Reverte I will be there to see it. Sooner or later someone will do justice to one of the most prolific and entertaining writers of our country.Final evaluation of moonfleet.es: 3 out of 10 |
1,078 | archivos_extraidos/MCE-Corpus-main/Dataset/2607 | Silvia Giner | Planet Terror | 4 | 5 | muchocine | Planet Terror will come to become a cult film, it has all the ingredients to be although perhaps the mass public is not prepared to assess the real magnitude of this project. | Planet Terror is part of the GrindHouse which they carry out R.Rodriguez and Q.Tarantino and consists of two parts, Planet Terror and Death Proof, latter is which directs Quentin. We all know how well that take these two, well I as a result of a night of sex, drugs and alchool, is born this project that has not garnered the success expected.As you sit in the armchair and started to put the trailers you enter in the eighties world of the movies in series B. I think that I am not the only one who has been astounded with the trailer for "Machete", is more I assure you that more than one (among which I include myself) would be willing to see it. The effects of noise in the frames of the movie, uncredited, the absurd stench of the eighties and its Z series. It is increñible. For my Robert has emerged from the peyejillo with this film.Planet Terror is a caviar not suitable for all tastes. It must learn to appreciate it and understand it in its enviroment. "Isn't a poorly made movie of zombies" as I read somewhere. It is an important tribute to the horror of B series of the 1980s. The dialogues, the plot, everything is perfect.I have to show my weakness by the divine Macgowan Rose (Ex Marilyn Manson), being his film career with effort and intelligence. One of the examples of overcoming. An actress that deserves a place on Hollywood Star System by all his talent that she herself has been forged that nobody has given absolutely nothing. From here my wholehearted support to this great woman.Rose is the soul of Grindhouse and especially of Planet Terror. Represents the mythical character who discovers by chance its true but entregandose to him and upon his own existence. Do something more pure and true?It is absolutely raucous and sometimes heady time "Pata de Palo" and when I wanted to die of excitement is in the amazing "Submachine gun foot" moment, go Super heroin friend Robert has been created. Of course Rose has taken all the juice to the character. It is full of sensuality, claw and audacity.Two against the world. the love story is fabulous.I think that Planet Terror will come to become a cult film, it has all the ingredients to be although perhaps the mass public is not prepared to assess the real magnitude of this project. |
1,079 | archivos_extraidos/MCE-Corpus-main/Dataset/3781 | Andrés Pons | The man from earth | 4 | 5 | muchocine | A small wonder that demonstrates that it is possible to carry out interesting projects replacing budgets mastodonticos with good ideas. | JERONE BIXBY was a fairly prominent author of science fiction in the 1940s and 1950s, writing numerous short stories and television for series as well known as STAR CAMPIÑA.In 1946 the argument of THE MAN FROM EARTH, bag for decades will try to do the film without reaching his dream as he died in 1998, was his son also writer and screenwriter who finally this year was shooting the film to his father's memory.A very small production that featured in the direction the unknown RICHARD SCHENKMAN previously I make documentaries for PLAYBOY and some other movie.Precisely the television comes from all the cast where they occur to appointment a couple of faces known by all fans to the horror, the charismatic star of CANDYMAN TONY TODD who set aside their interventions in terror more visceral with this work accompanied by another distinguished veteran of the genre with WILLIAM KATT as starred one of the jewels of the genre of the 1980s in HOUSE in a cool house.A science fiction film made in one space with the simple tools of one of the more intelligent scripts for years. Obviously already be they forgotten special effects, action to abundance or hectic pace.Sit down to enjoy a crash course for film virtually handmade but with some performers in full State of grace that make credible a simply incredible history, where there are all kinds of questions about the different steps of the centuries.A small wonder that demonstrates that it is possible to carry out interesting projects replacing budgets mastodonticos with good ideas.The promotion also exits rather than normal and was published initially in channels of P2P file sharing on the network.His success in the United States can facilitate the release of is rarity in Spain even direct to DVD. |
1,080 | archivos_extraidos/MCE-Corpus-main/Dataset/4051 | José Antonio Bermúdez | El milagro de P. Tinto | 5 | 5 | muchocine | A tale. Once upon a time a director named Javier Fesser proposed to make his first film. I now had to decide which story told. Until that one day an extraordinary fact happened in his life. He was a father for the first time. | A tale. Once upon a time a director named Javier Fesser proposed to make his first film, after the recognition received for his short film entitled the SECDLETO of TLOMPETA (1995). I now had to decide which story told. Until that one day an extraordinary fact happened in his life. He was a father for the first time. After a period of strain and pressure for what was going to happen, by how they educate, what do, ask if it was prepared suddenly, seeing his daughter, everything changed. Really realized that he was who would learn from his daughter, grow and mature with the most important experience of his life. A discovery. A liberation. He had something to shoot. Then, it began to shoot creating a very particular universe. Cartoony characters as a Spain of post-war, with real resources (Science) fiction. Gazpacho. Nothing to do with the construction of a family type home and car, paterno-filiales relations with some other conflict, etc. Fesser, in his opera prima, I wanted to tell all what he had seen, lived A surreal gazpacho. A narration in a tone of comedy, comic, with dramatic overtones. From small p. Tinto (great, played by the charismatic Luis Ciges) has a dream: having children. Know what will be the woman of his life, Olivia, blind and stingy. Isolated in that had been a bully of a railway lost, create their home and spend all his life, hoping to have offspring this fails and they will take a couple of Martians before the arrival of "his" big black with canister. Fesser gives color to a negrísima period in the history of Spain. Raises the education received by the boys, directed by the Church, in which the family institution is the epicenter of all social organization. Everything for the family. A greater number of children, better parents. Clear that any type of pedagogy in the sexual field is to espensad of Divine Providence. And, of course, that is a terrible problem. A drama. Even up to reach the fact in the stepson to teach to his stepmother, in the twilight of his life, the pleasures of the flesh. Incest? Not, nor much less. One more thing to learn from "our" children Finally, life as continuous learning and a constant struggle to get what one intends, beyond the obstacles, in the form of black robes, exemplary ignorance, waiting for miracles without losing hope. THE miracle of P.TINTO is, without doubt, one of the best exponents of the latest Spanish fantastic cinema, along with the day of the beast by Álex de la Iglesia and opens the eyes of Amenábar. The film of Fesser a prodigy, full of imagination and rhythm. His best son film to date. |
1,081 | archivos_extraidos/MCE-Corpus-main/Dataset/2188 | Jeremy Fox | El niño de barro | 3 | 5 | muchocine | A successful, interesting and humble proposal of good Spanish cinema. | "The tremendous kindness of the people of guess productions and the timely notice of muchocine.net not only allowed me the interview to Jorge Algora and Maribel Verdú but attend the premiere of"The child of clay"in A Coruña Filmax cinemas.""The child of clay" puts us in Buenos Aires, where some terrible crimes are taking place. Mateo (Juan Ciancio), a 10-year-old boy, hides a secret: sometimes your mind leads him to a dark place of the memory where is witness to the murders.To discover its secret many believe is the murderer. Estela, her mother (Maribel Verdú), with the support of the forensic police, Dr. Soria (KET Lera), try to find a rational explanation to the visions and thus undermine the skepticism of Commissioner Petrie (Daniel Freire).Although it is the first feature film released in theaters in Jorge Algora, it is not his first work after cameras as he has done before some documentaries and a TV movie. The same director told us that he had tried to prepare before his film coming-out. A humble attitude that honors him as a person but that, perhaps, prevented you more risk-taking in the Mise en scène.You choose a narrative style quite classic and well done, based on the solid script written by himself in collaboration with Christian Busquier and Héctor Carré, and delivered actors include Maribel Verdú and Juan Ciancio and Abel Ayala children that are frankly well Algora. In fact, the latter has a couple of really gruesome scenes, aided by the direction of Algora, who can leave the still camera so that what happens is shocking by itself.I can not fail to mention that to confirm his love for the classic film, the tape allows an intelligent and sutilísimo tribute to "M", one of the great jewels of Fritz Lang.Se supports the director, as I say, in a solid script (brave and little complacent with the Viewer) that sails with some ease between the thriller with fantastic touches and more stark drama, although unfinished fit perfectly both possibilities (something, of the other part, very difficult to make and that is achieved only very rarely).In short, an accurate, interesting and humble proposal of good cinema, things all of which we are not mates precisely, showing that we will have to follow very closely the career of its director.Final evaluation of moonfleet.es: 6.5 out of 10 |
1,082 | archivos_extraidos/MCE-Corpus-main/Dataset/59 | Ivan Sainz-Pardo | Batman begins | 3 | 5 | muchocine | Still not not going more, maintains at least the suspense and is successful | In the film I saw at the end of the eighties the first Tim Burton BATMAN. I still remember that summer with the cities flooded with the Batman symbol announcing the film in an advertising campaign, at that time, amazing. The film I liked enough, but already with sixteen seemed also pretty child. And it is that Burton feels predilection by these dark and Baroque scenarios but always with this atmosphere of fear for children tale. The character of Batman was important, but most were the villain, brilliantly portrayed by Jack Nicholson, or shadows and the mystery of the same city of Gotham, who took a leading role and served as a Gothic scene for the adventures of man bat.Arrived several sequels, BATMAN RETURNS, also by Burton in 1992, BATMAN FOREVER, in 1995 and BATMAN & ROBIN two years later, the two latest hand in hand with the insufferable Joel Shumacher.Y have taken eight years to achieve rescue the saga of this character of comic and so I returned to theaters to watch another episode of Batman. I've always thought that Batman deserves a dark, scary and violent environment and any of the films too provided thereon. I have not been able to finish watching me three other deliveries or even on TV, but I went back to recover the interest and curiosity with this new installment due to the choice of Christopher Nolan (MEMENTO) for the direction, Christian Bale (AMERICAN PSYCHO, the MACHINIST) as Batman and that dark and realistic look of those trailers and promotional posters so promising.The movie, loosely, I quite bored. One enjoys an interesting that estiradísima first part and really wants to see Batman in action. This is the part that I like best. A tormented protagonist and an approach which, still not not going more, maintains at least the suspense and is successful. In favour I will also talk about secondary actors of luxury, an attractive look and a production more or less to the height than expected. But sooner or later we must discover the Mise en scène of Batman, have to see the hero in action, and is then when the plot is no longer exciting or original, and just stays in monotonous and complicated (by pulling to confusing) and where, also awaited action scenes, are perhaps only worthy of a pilot episode of a bad action television series. The choreographer hired to plan the fights was during the shooting of the film on vacation and in return, put two monkeys addicted to the caffeine behind the camera. Result: Not seen a pepper. There is more than a go and come flat and see to move the wings up and down with the bad guys while flying through the air, while Batman flies again to below, takes the pistolita, flies again up and our eyes we escuecen, we feel dizziness and our yawns betray some poorly hidden torpor. You can do a lot better. Christian Bale has to his credit a cult film, unknown to nearly everyone, EQUILIBRIUM. In this film demonstrates how Yes can be done with Bale, and even with a much tighter budget, a few exceptional aesthetic, choreographed fight scenes, adrenalíticas and very exciting.Add also that I am not of those who hate the new design of the Batmobile, because I believe that flee from those other models so admired and coveted by funeral companies more daring, and away from the only airship with a fantasmada propulsion as tying the car underway to lampposts to curves. buff. Much better as well. However, so forced persecution with the Batmobile garrafón is repetitive, and not get surprised.The Gotham City is dark, corrupt and foul as it was also to be expected, but isn't well portrayed or with depth and never seems real truth. It seems impossible to believe at all that someone wants to live there. Before and after Batman.Por across the pseudo-existenciales frasecitas by Lian Neeson, Jedi style, squeaking quite. Some of the only Batman lapidary phrases come with shoehorn and it irritates me even not knowing that since costume so drastically changes the tone of the voice. But worst thing about the film is zero chemistry between Batman and his girl, the menace of Katie Holmes, with its caritas and his crooked sonrisita not painted by absolutely nothing at all in this movie. (Seeing her act I am afraid that not in any other.)Still and all, I think that the direction taken is quite right, and now only expected to keep to the always tormented and mysterious Bale as Batman, that comes as a ring to the finger. Keep this new look more serious and dark and hire a Director more skilled with the action scenes for the next installments of this prolific and millionaire saga. Although, what to my terms, I fear that these will already be, in the best cases, future meat of the video store below. |
1,083 | archivos_extraidos/MCE-Corpus-main/Dataset/3678 | Oscar Martínez | À lintérieur | 4 | 5 | muchocine | He manages to maintain the tension over the orgy gore that we often find in the splatter, thanks to an oppressive atmosphere productions and a few special effects, above the truculence, seeking disturb the Viewer. | One of the extreme proposals of this edition of the Sitges Festival has been the French film À l'intérieur, translated into English as Inside. If last year was 13 Tzameti the main gala representative, À l'intérieur already has been named by the press as the bloodiest French film of recent times À l'intérieur is the work of a couple of new directors, Alexandre Bustillo and Julien Maury, who, by the way, already been hired to make a remake of Hellraiser. The film, starring Béatrice Dalle (who can also see in the fantastic drama Cannibal Trouble every day), Alysson Paradis, Nathalie Roussel, François-Régis Marchasson, Jean-Baptiste Tabourin and Dominique Frot, tells the story of a young girl, Sara, pregnant and alone since the car accident that took the life of her husband, that on the eve of Christmas receives the unexpected visit of a womanwhose an itention is snatch her son still unborn. À l'intérieur has been one of the movies that one server has enjoyed in the present edition of the Sitges Festival and, undoubtedly, it is the most extreme difference.With this peculiar style of the most recent French horror film, À l'intérieur could not leave of remember me, especially in the first section of film, high voltage, Alexandre Aja. And is that the initial of both films approach continues to be quite similar: while high voltage we have a young man who is going to spend a few days with a friend and her parents in a hidden rural area, where victims of harassment apparently unjustified from a villager, À l'intérieur ourselves with a young pregnant woman toon the eve of new year's, it is attacked by an enigmatic woman, also no apparent reason.In both films the original tension focuses on the first stretch of film because one of the key premises of all-time horror movies, the lack of justification by the aggressor. And, really, the first steps of the film of Maury and Bustillo are really creepy, at least until the moment in which the lens of the camera begins to dye red.And it is that À l'intérieur, on the other hand, has been able to let remind me also that great jewel of Takashi Miike's Audition name, while Japanese filmmaker gets book with a master's degree without precedent throughout its explicit and overwhelming savagery until the average end times stronger in the history of the cinema, while the novice French directors are certain promiscuityoffering us already the first round a good dose of offal that it will only overcome herself in an anthological crescendo.As well, however, and with the exception of a couple of scenes that, if they had been omitted, would have made À l'intérieur film infinitely more round than it already is, especially if we take into account that it's an opera prima, the film manages to maintain the tension over the typical orgy gore that we often find in the splatter títpicamente productions, above all thanks to an oppressive atmosphere and a few special effects, above the truculence or the desparrame intestinal free, seek to disturb the Viewer.In short, a delight for lovers of extreme cinema, and a really brilliant début.I give it a 8 out of 10. |
1,084 | archivos_extraidos/MCE-Corpus-main/Dataset/2097 | Rafa Ferrer | Ellas y Ellos | 1 | 5 | muchocine | Do a bloody shit of film (sorry to be so clear) by which is not worth paying even a paltry?. | Mira myself cured of horror to the sum of "comedy + románticismo" but this film, I'll try to keep my my mosqueos and suspicions to another similar film, has far exceeded any type of bad expectation you could have, especially when the tape (of 2005) has taken 2 years to reach our screens, and it is that anything we happily premiered in Spain,, and say this thing as a synonym for film, but here should have much imagination to characterize this film with this little word.The actors, the vast majority of them is them most noticeable thinking of the cheque that will charge, which contribute something on screen, is more Duchovny seems to laugh in a last personal problem (addiction to sex), indeed this already coincided with Julianne Moore (in my life I have seen more freckles per square CM), in "Evolutión".Clint Mansell, which I quite like in their work with the Cronos Quartet on the soundtracks with which he has collaborated, however here is a simple (and sweetened) music selection, which barely one can withstand, prefer to listen to the great successes of Manolo escobar, than the full Score of this script experimento.¿El? Non-existent, even my nephew turned a year last week (congratulations Albertito), he could have written something better, which is that the evolution of situations, one not good, and is planted to half of the film without knowing very well by him where come shots, and more boring than a pig in a garage, todaythe price of the film does not deserve the disbursement for certain films, although we accuse then if others to spend money on other things (drugs, sex and rock & roll).Anyway, and in short, bloody shit of film (feel so clear) by which is not worth paying even a paltry?. |
1,085 | archivos_extraidos/MCE-Corpus-main/Dataset/2514 | Rafa Ferrer | Next | 2 | 5 | muchocine | A very good idea, badly exploited that loses both bellows arriving to stop at all, a penalty, but can not ask more of a summer release of such ephemeral features. | Well, well, now come to understand the reason why "Next" has taken so long to release in our country, while it is true, that summer is time conducive to this type of tapes, however, the film, a story of the mythical and famous (after his death) Philip k. Dick is a more than so many, and even dare to match with another of the same author"Paycheck" which starred in the ineffable (which not infallible) Ben Affleck, lol and without having it prepared went me a couplet.It is true, the main idea is wonderful and the first act is masterful, leaving one in the armchair, wanting more, however, the film which had begun masterfully hits a sudden halt, just at the beginning of the second Act and becomes sosa, at times predictable and simplistic in its final execution.Nicolas Cage in his line, start to believe me that this man has a kind of curse toward the movies he starred in, and is that, however much that my lady loves, project this man plays, project that he fails miserably and it is that this film, has just raised $ 45 million, a figure almost excasa quantities that nowadays moveincluding box office and on DVD in the States.Tanto Julianne Moore, Jessica Biel as they are quite normalitos, the Moore was note that you enjoy being a bit "out of the water" (lease dramatic cinema) and Biel, despite being vase women (metidita Casita I te espero.) sometimes seems that you think more about the cheque going to charge once the work is completedthat give him something, he more than packing his performance.Special effects, I would say that almost, a character in the film, are normal, fairly simple, so we are going to cheat, and the direction of tamahori quite excasa, this director was what brought us one of the most loaded with 007 action films? (not recognize you).In short, a very good idea, badly exploited to lose both bellows comes to stop at all, a penalty, but you can not ask more of a summer release of such ephemeral features. |
1,086 | archivos_extraidos/MCE-Corpus-main/Dataset/157 | Alejandro Salmerón | Mi noche con Maud | 4 | 5 | muchocine | Difficult film, visually little attractive and with a great script that compensates | Rohmer reveals a heterodox and highly personal style of film-making with their arts where, perhaps the way it is not much, but the background of his stories are a contribution to the seventh art; especially this film, the most prominent in his career. The film begins with two key elements, predestination and free choice of the person arising on basis of mathematics undecipherable conversation between protagonist and secondary instances of syllogisms. Once put the chips on the Board only is enjoy the crux of the story which is the pinnacle of the same, where we will be witnesses of a struggle for the strong defence of values; who the enemy Maud, a beautiful woman with much expertise, will try to subvert them in a night trap's friend Jean-Louis will prepare. As it was for me "The godfather", really exemplary values of life are learned of Rohmer. Another remarkable nuance is that in this story no good nor bad, anyone who is to judge how to act in the individual; making it a more realistic film, which opens even more the sea of uncertainties and doubts which is undergoing the protagonist and the viewer that by adopting that approach everything becomes more grey.The film is made in the key of comedy and would really be attractive as such if the view I not turned in a couple of fairly obvious details, such as the end, which has a reflective twist (fairly brief, by the way) that reveals the background of latent melodrama, which leaves you a bit cold at the end of the film; the other "but" are sets of lighting which seem to be a bit made "hair", i.e. If one is accustomed to see comedies may appreciate the light tends to play a sweet paper to wrap the film an aura sweetened product which really this great work lacks, not to say that it is the antithesis. This last may sound to connotations but sometimes a factor compensates the other, as it is the case. However it can be deduced that the lighting looks for other purposes.In conclusion and as a recommendation or not, just say it's a difficult film, visually little attractive (not for photography, eye, but also by its lighting) and with a great script that I think that it offsets totalitariamente Jean-Louis Trintignant and especially Françoise Fabian makes collection of elegance and intelligence in this film. A work focused on a more purist audience on the topic, in short. |
1,087 | archivos_extraidos/MCE-Corpus-main/Dataset/1714 | Alvaro Oliva | 300 | 4 | 5 | muchocine | A plasticity beautiful scenes, as well as other more raw, make up this work, in which fighting move halfway between slow and other tricks that will delight all fans to the epic films. A film that no one should miss. | It has finally come to our screens "300", another graphic novel by Frank Miller, who turns into images, after the exceptional "Sin city" of Robert Rodriguez. Zack Snyder, who really dazzled us with "Dawn of the dead", get that people are behind him, and he is already beginning to call director of worship. The argument of "300" is simple, Leonidas, King of Sparta, attends along with three hundred warriors defend the imminent attack of the Persian troops of Xerxes. To do so, and the abysmal gap of the troops, he attends a strategic point of its geography, the pass of Thermopylae. From here, and with other plot lines in the Middle, Leonidas and his, offer us some spectacular battles, showing us that the Spartan warriors are made another pasta, and even more, when we see the ritual to which they are subjected in his youth.Snyder and Miller give us the possibility, together with the technical and Visual effects, see a new way of making films and translate that particular vision.A plasticity beautiful scenes, as well as other more raw, make up this work, in which fighting move halfway between slow and other tricks that will delight all fans to the epic films.There are other details that stand out as the cast, headed by Gerard Butler (Leonidas), Lena Headey (Queen Gorgo) and David Wenham, who returns to films after incarnate Fáramir in "The Lord of the rings".A negative point is the excessive affectation of the King/Lord of the Persians, Xerxes, played by Rodrigo Santoro, who, apart from the negative voice, unfolds in a somewhat comical situation, in which the Spartan king turns its back, at the time that this ruler of the East, puts his hands on the shoulders and you loose a Pearl of dialogue. Except for this, and any creatures that might be more successful, see the Spartan hunchback, costume design, art direction and above all the image and visual style succeeded, make "300" a film that no one should miss. |
1,088 | archivos_extraidos/MCE-Corpus-main/Dataset/724 | Calaf | Infiltrados | 4 | 5 | muchocine | Very notable film, which critics elevated to the altars, and I am sure that like much to the public in general, even if only to see the impressive performance of Jack Nicholson and above all to Di Caprio is immense. | It seems that movies are encouraged and is full of interesting proposals. The Black Dahlia, children of men, El Laberinto del Fauno, Scoop, Copying Beethoven, or which took me, the last of Martin Scorsese, who after his fiasco with the Aviator returns to sonar for the Oscars this year. And it would not be surprising because it is a very notable film, which critics elevated to the altars, and I am sure that like much to the public in general, even if only to see the impressive performance of Jack Nicholson and above all to Di Caprio is immense.A small synopsis, to know what is going, which reveals nothing of the plot (but is good to read it), because it is what we have nothing more to start: a young policeman, Billy Costigan (Leonardo DiCaprio) in the city of Boston is infiltrated a criminal organization with the intention of ending the head of the local mafia, Frank Costello (Jack Nicholson). At the same time, another policeman, Colin Sullivan (Matt Damon), is part of the unit that aims to put an end to the mafia group. The police not suspect that Sullivan is a mole of the own Costello.Yo compare this Scorcese's Casino. If you liked the style of Casino, you will like this without remedy, but if one did not convince you, can the script you end paying. With the style I am referring to dialogues, transitions, the way raise the scenes, pace, characters, the level of violence, etc. what liked me? Leonardo Di Caprio. Spends the entire film with a face of crazy that it reflects the anguish of their situation. And above all, not let it eat at levels with Nicholson, who is also immense, although that is less surprise. In fact, like all actions except Matt Damon that I do not just believe. I also like how the plot is closing slowly, as if it were a funnel which ends with the expected duel. The use of mobile phones, history key is also very intelligent as well as songs that will sonando.¿Y why not I liked? Violence, verbal and visual. I went with the aforementioned Casino, who arrived at a saturation point that bothers me. It is clear that the gánsters are killed, and speak by saying many tacos, but I do not know, also found me it noisy, and a tad long. Total, which is worth seeing, even if only by actions, and a clever plot, although it still does not convince me at all Scorcese. A. 8 |
1,089 | archivos_extraidos/MCE-Corpus-main/Dataset/1320 | Alvaro Oliva | Apocalypto | 4 | 5 | muchocine | Apocalypto will delight all lovers of strong emotions and good cinema. | Mel Gibson returns to give us a lesson of film "Apocalypto" in this case. This actor, Australian director, many things can blame you, but no one can deny what his talent behind the camera. It is one of the best narrators that we can currently find, and their images have an amazing strength. If in his previous proposal revealed us the passion of Christ, and what life was like at that time, now shows the Mayan culture. It is visually spectacular, and must thank you shot in natural settings, and we can thus show more credibly the ups and downs of this civilization.Filmed in maya, and reaching the screens without bending, "Apocalypto" surrounds us since the first frames in a fantasy world, in which will be presenting us the different characters, with which convey us the message that fear is not going anywhere. Fear is a disease that corrodes inside and with that you can not live. Something that will have to take into account our protagonist, if you want to be able to continue enjoying their existence.After this start, us occurs to the other civilization, with which we will be the rest of the footage. Travel, slaves, prophecies, sacrifices, and finally, survival.Gibson shows us an amazing and thrilling end of film. A very physical film, where barely there are dialogs and introduces us squarely in the jungle, showing us the capabilities and limits of human beings to survive. There are several messages that can be drawn, since need us a God to guide us and take an appropriate course, that evil is among us and that we must overcome it supporting us and helping us in family. Also is the quote that opens the movie, which tells us that any great civilisation succumbs not by a foreign power but because previously has been destroyed inside.There will be people to draw other interpretations, but the main thing is that Gibson tells a story in an amazing way. It has strong, as moments that in "The passion of the Christ" which show us how hard and bloody that were at that time."Finally, there is a brutal picture (and not) by violence which takes place at the end of the movie and I am obviously not going to gutting.""Apocalypto" will delight all lovers of strong emotions and good cinema. |
1,090 | archivos_extraidos/MCE-Corpus-main/Dataset/1565 | Emilio Calvo de Mora | Cabalgar en solitario | 5 | 5 | muchocine | Modest, simple, Western of stylistic resources apparently minor. Western hero traumatized, although stoic in its primary role, heroic almost. A masterpiece. | Ride solo, very faithful translation of the original Ride lonesome, it is a western sober invoices, without embellishment, subordinate to the narration of a story and oblivious to any other aesthetic consideration. This helps the professionalism of a director underrated, absent in the usual lists of Directors of posh that when occasionally populate the industry magazines or Web pages. Budd Boetticher was a master of westerns, where he made a dozen of great films. Most of them with Randolph Scott. Scott plays a bounty hunter carried a prisoner before the law. A couple of very curious Bill outlaws addressed it in the road with the Pilgrim idea of stealing the goods. Flat Boetticher camera generals (which he was also a bullfighter, behold the also more than curious data) amplify the idea of the hero solo, mythical, convinced that his loneliness is the best in the world and that their mission does not need another company to his horse. We are dealing with a very original western, which has gone down in history (to mine also, secondary and jubilosamente) due to its neutral colour appearance of the West film little West, to put it in some way. Characters have a new dramatic content and the story, impetuous, spurs them way so accurate that it seems that we are witnessing the first western, a genre virginal and primary.The movie buff will recall with special pleasure more than notable flat end mounted crane in which Ben (Randolph Scott) finally gives settlement to his revenge (his dead wife) or the scene in which an Indian arrow has an impact on the body of a driver of proceedings. Maps showing the efficiency of an extremely meticulous, artisan director in the sense of manufacture a work narrativamente portentosa, precise, able to feed the interest of the Viewer from very few ingredients.Film classic or perhaps classic in one sense of the term because there are other western of greater nombradía. This is rugged and masculine, significantly spiced by some touches of humor very welcome and, above all, honest in the proof of the worth of a genus that ultimately was dying as the 20th century was maturing and the Viewer (the American and which is not) believed to have views all films of the West when the genus is infinite and has the potential to huge expand its unquestionable pre-eminence in the history of the Film. |
1,091 | archivos_extraidos/MCE-Corpus-main/Dataset/861 | Pablo López | Piratas del Caribe 2 | 3 | 5 | muchocine | Friend Verbinski, that although I have past tit seeing your film, I think that you could have a little more risky and have done things in a position. | Dear Gore: Sorry you tutee, but with a few movies to your back and other so many entries of the film to the mine, believe that confidence there is. During the viewing of your ' Pirates of the Caribbean. The dead man chest ' has assaulted me a question, the same when I saw its predecessor. Why not make one says the film adaptation of the video game the secret of Monkey Island and stop winks, copied scenes and other fruslerías? So much money does Disney say that you basáis in its attraction of fair? It is coincidence that ILM is there, being the owner of rights LucasArts? Many questions for any response. That Yes, I gonna allow a claim: film adaptation of the adventures of Guybrush Threepwood already!As regards the film, male, you've tried, very Curran special effects (courtesy of tito Lucas), decentitos actors, a story flojita but elite and an atmosphere of scandal. Although you have used easy technique, the give more of the same and in larger quantities. Nothing in there is disappointed, but lose the freshness of the first part, where everything was novel, here already you you smell things the League and if you also unes you that the movie lasts two hours and half (made larguitas) because he loses charm.Separate mention receive your writers, who have evil to make this part of the trilogy a not auto-conclusiva film, which subtracts points, but those WINS recovering to that great character will war in the third and lost in the first. Good change, in my opinion, and a strategy that my always liked. I see that Hans Zimmer has enlisted in the boat. a good choice, but, while half the world creates the first soundtrack was a pigswill of refried and plagiarism, Gore, I have to tell you a secret to me, I loved it.Final friend Verbinski, that although I've been tit watching your film, I think you could have a little more risky and have done things in conditions, have cared a little more the script and stuff, but well, you understand: bad news is the haste and that power has pasta, and much more if Mr. Bruckheimer which gets you (prisa)(, and pasta). A hug, colleague!Carefully, and waiting for the third part, Pablo.P.D. Not be if in the third pondréis scene after the credits. But if ye do just a detail: put something interesting. Thank you! |
1,092 | archivos_extraidos/MCE-Corpus-main/Dataset/208 | Nisuyaves | Volver | 4 | 5 | muchocine | A film basic best friend Almodovar, but with these actresses piece any... | Returns to its birthplace "La Mancha", and is in this film you recognize what you see (I do that I'm from La Mancha parents more), since the houses with its courtyard, the gates, wafers, bring you doughnuts to Madrid, the way of speaking of its inhabitants, etc. A commissioning scene very carefully, and a wise take people to shoot any other scene. Nosé if my feeling but the dialogues sometimes seemed (especially in the beginning) with too many breaks between a phrase from an actress and the reply, did me something weird.Once again reunited with Carmen Maura, who had already long, and is that she is one of the best actresses in our country without doubt, succeeding abroad, especially in France Sergi López (and speaking in French? if someone can confirm what to do). Anyway despite being one of the main protagonists not highlight much, rather seems that you deja show off to others, which caught the witness quickly.As this is a film of actors (rather only 4 women and the small role of Chus Lampreave) Let's talk about them.Let's start with the youngest (to finish with the best taste) Yohana Cobo that although the that more footage has, does not add much, I think that it lacks more expressiveness, in fact she has the scene with more dramatic charge which kills the "father" and not just transmitted.Lola Dueñas with the most "expendable" role and without much to show off, but we already know that to her need you little, his presence makes it more essential, perfect really. Also, for me, the best (well are several times) point of the film, is when the door opens, look at her sister, pauses and says screaming: "good morning RAIMUNDA!" hahaha madremía to laughter by God!Blanca Portillo, the eternal Charlotte (their loss in 7 vidas, is comparable to the Paco), which makes the best role of the film, the accent and the way they talk, their form of dress and walk, treat the family front. His voice on the phone saying to Raimunda what happens, is bestial. And her final scenes are excellent, congratulations! I much upset his departure of 7 lives, but if there will be performances like these, I am glad.For the end we left the great Penelope Cruz, because if it seems that Almodóvar is underpaid, she is very underestimated (could be its relationship with the mission impossible?). The truth is that it outboard its role, but it is that it is no longer that interpret well, do you think the character, etc. Is that when it is on screen and do you a foreground, you can't be aware of another thing, especially when you have watery eyes, I think another of those actresses (such as Meryl Streep) who with his mere presence filled her fill the screen and leave you astonished. By the way, there is a moment in which Carmen Maura says that Penelope was the girl of his dreams, remember that already was "The girl your eyes" Fernando Trueba, do coincidences?, good just curiosities.As for the plot stands very well, with the surprise that all we know, but without being a big surprise, because it would not come to tell the film depended on if there is someone is dead or not. The film focuses on the relationship mother-daughter, that makes good and relations in general, be a nearest movie and you enjoy it. So we have before us a basic film, best friend Almodóvar, and it does not leave any transsexual! Back to succeed (although with these actresses piece any!). |
1,093 | archivos_extraidos/MCE-Corpus-main/Dataset/4283 | Tito Chinchan | Todos al suelo | 2 | 5 | muchocine | Film on four bank robbers beginners and their avatars in your first shot. I've not liked, that has few sympathetic moments, is too tontorrona and gets us a pufo moralist that sucks. And the worst, which is in administration. | Director: Mariano OzoresDuración: 86 minutes.Release date: April 1, 1982.Espectadores: 1.294.874 of human beings.The other day I commented with a digital dearest (which has all the fingers of the hands and feet) that this humble blog is doing a great deal by Spanish films, namely by Mariano Ozores. I think it is an exaggeration, but if it is true that I have not found any other review (rather than the who are beginning to read) of this film. Neither of the most critical. I will be a rare freak raaaroooo (which would say Papuchi)? Do I encumbraré to Mariano Ozores to the altars as this French magazine made with Hitchcock? Grow my son watching these movies mentally healthy? Do or tell at school "Ñiaaa, that riiiiica is her fuck" step away from their teachers?The film is about four gentlemen that come together to rob the Bank in which you work. Each has its idiosyncrasies, one which is a flirt (Pajares) is married, she is pregnant to a lover and you want to escape with another. Another is Ozores which has a workshop and is eyed (and a prostitua wants to live with him). Another is Juanito Navarro, that her daughter fights with her husband day if day later, while his grandson suffers. And finally Esteso makes cashier bundled with a woman of hipergordas tits. Comedieta of entanglement, which is usually decir.¿Me liked the film? I'm glad that always ask me you the same question. Because on the one hand, I've laughed, but nothing to do with other titles of this people. And on the other hand a number of things that happened to list to facilitate the understanding of my readers have bothered me: in the first scene leaves the only teat throughout the film. This is mislead viewers. As counterpoint, do not see the duo in his underwear (TAD to Esteso, but enough time to close your eyes) her comedita mess is for you rias, not to make mess you a tearing absurd and tontorrón. The theme of the son who suffers by his parents fight is pathetic.Finally, what the hell paints that advocacy against abortion in a film of these? I guess that for things like this they joined Mariano Ozores with the extreme right.In short, film about four bank robbers beginners and their avatars in your first shot. I've not liked, that has few sympathetic moments, is too tontorrona and gets us a pufo moralist that sucks. And the worst, which is in administration.Ozores comedy without tits and few laughs, bad thing, friends.Besitos.P.D: A salute to my faithful follower, the father of Chinchan sr, which makes me much publicity, that thing is I. It is not if it will know that I am referring to my parent, heh, heh.Pd2: Scene Juanito Navarro and Antonio Ozores priest, dressed in Pajares medium dress in nun saying to a girl that passes "Go ass to give injections" has seemed very good.P.D.3: Has another "tricky" critical moment "to something" that we could say it is surprising. This dark Office, with sinister character, that you move the wires leading up to the elections. Ains, Manolete, if you don't know what you get. |
1,094 | archivos_extraidos/MCE-Corpus-main/Dataset/3102 | Oscar Cantero | Doble agente | 4 | 5 | muchocine | A film of spies that reminds them that proliferated during the cold war, with all the ingredients of the classics of the genre, only that transferred to the enigmatic East. | It is not that I have nothing against Asians, or a lot less. In fact, I have always felt interest for that part of the world so full of secrets and ancient traditions. Obviously, this does not mean that I like its current artistic manifestations, and I ask for the reason that the anime and the manga, many disciplines have so many followers around the world. Obviously, something must have water when they bless, but honestly I can tell you that I do not I see no interest.With Asian film I think something different, that although many times I find extremely interesting approaches, it occurs to me, and I promise you is not joke, that I am not capable of differentiating characters of others, by its huge similarity in features. It is what has happened with double agent, a Korean film which tells the story of an agent of the Korea of the North that is passed to the South as agent that defector, and facing a complex story in which it is not always clear what their loyalties.The film is interesting, deals with a complex subject and that area is very sensitive, and does so without the typical exaltation of the motherland that characterizes this type of movies when they come from Hollywood, making it clear, to put it in some way, that "everywhere boiled beans".It is present at all times, that Yes, transmitting the good movies of spies, and tension that resemble those on the cold war were shot in the 60s and 70, with arguments based on the excellent Forsyth and Le Carré novels. A good production and a tempo midway between Asia and the European complete one more than acceptable tape, which has all the necessary ingredients to spend a good time the viewer which is capable of differentiating characters of others. |
1,095 | archivos_extraidos/MCE-Corpus-main/Dataset/2718 | Emilio Calvo de Mora | El fuego de la venganza | 3 | 5 | muchocine | Apocalyptic vision of the guilt and redemption in the costume of a tape of irreproachable, but charisma action altogether. | We have seen dozens of movies where the hero is his redemption in the limbo of bourbon. This physical punishment blunting the brain and delete the exercise of memory which, in this case, in the Tony Scott film, is a predictable decline to the hells of war and the latrines of morality of their stretch marks. The narrative pulse of the tape is fragmented into two antagonistic, necessary blocks: one an ex-marine flawed by the excesses and taken refuge in the Bible and the alcohol takes its time in protecting a rich girl bands of kidnappings plaguing Mexico D.F; on the other, what we see is an overwhelming display of blood and revenge, a climax already seen pure film adrenalítico, mounted with the dash and the claw that Scott signed his films (love at point-blank range, put for example). The existence of the second part is an inevitable consequence of the first and it is understood that, to greater degree of tenderness and humanism in the strokes of a thunderous and unbound will be those who pincelan the course of another. The surly, airtight and unsympathetic bodyguard full Charter, seeking to atone for their sins in the lines of Scripture, is a girl seeking her still honest part, the hidden man in the shell. Defense mechanisms, once defeated, offer a beautiful film of characters added formidably described (the writer of L.A. Confidential or Mystic River, Brian Hengeland work), but then the fireworks of revenge illuminates a sky less artistic and more in line with the fireworks of the film as a window to other world. This is manly and sparsely metaphorical: Peckinpah style. Scott plans to his films as a long video clip (two and a half hours, in this case) and has access to the universe of advertising, where they came to favor the visual impact on the narrative sanity, denying the essence of the story and his purely literary discourse to fall into the trap of subjecting the entire weight of the plot in the technical architecture of your, in any case, dubious professional efficiency. Worse it would have been if Michael Bay had taken the reins of this matter, which appears that it was about to be tristísima reality. Anyway, so we will never know.The appalling spiral of violence unleashed by the kidnapping of Pita Ramos, an incredible Dakota Fanning, raises many ethical dilemmas in the viewer interested in be carried away by the socio-political implications of a direct film that not censorship more explicit barbarism and where you can attend warmed-over dialogues on the interference of God in human affairs. Rusty photography by Paul Cameron, the abusive use of slow motion, the fracture of visual continuity with incessant levels unrelated to natural events spinning or the Baroque palette of grossly subjective levels confirms that Tony Scott is a very personal, recognizable, equipped with an undeniable talent to capture the viewer's attention, but nothing of this recitation benefits granted to be an author close to excellence. I had the painful sensation of that, although I was liking the film, was eager to of that ended: perhaps was sobrevitaminado of fire, the dark network of crime investigation Mexican or simply exhausted by this hectic thesis on pain and guilt, on the ethics of violence, ultimately. Tarantino tends to check a similar product, but not enfanga in mixing mystical revelations, centuries past and this aesthetic to the mtv ending fatigando too much. Campechano fascistoid tone here encouraged does not deserve further reflections: we have come to see a vigorous extravaganza, which it is, and to see to what extent the American film, who both love you, passes funds from catalog and continues offering the same story. Because the fire of vengeance, despite the melodramatic novelty and the pastelón of its first half tone, is a greasy exercise of violence, pleasant to the curious eye, but not overly worthy for the measured sieve of memory. Ah, the soundtrack (Gregson-Williams) exudes an eclecticism that is so outstanding that it ends up being deficit. The passages of great orchestral masses, drum n' bass buffered or folk guitar and local lamentation incursions despitan staff to the point that McLean viewing. |
1,096 | archivos_extraidos/MCE-Corpus-main/Dataset/3307 | Ana Belén Pacheco | Una verdad incómoda | 2 | 5 | muchocine | What I dislike A really uncomfortable, that is exclusively based on a strong name and a so well perpetrated marketing campaign. | Documentary or Video political advertising? This is the idea I had in mind during the viewing of the tape. It is not that it is a shocking or my cousin has told me that climate change is as false as the Pérez tooth but it is actually scientific data and format of an incovenient truth giving enough to think about their doctrinal and scientific bases.Al Gore record entirely one of their multiple conferences on climate change and this will be the groso of content on the ecological problems of our planet, the rest is decorated with a handful of images of his political career, his family and his children. Many graphics, diagrams and photos demonstrating what almost everyone knows, increasingly less ice at the Poles, increasingly more natural disasters are preventable?, CO2 emissions to the atmosphere and increases in temperatures around the globe. All very correct, very orchestrated and very well put in scene by an Al Gore with a point of unpayable Showman but the dilemma is whether it is a good or a bad documentary and I think that from a scientific point of view any best and most successful but that llegaríansemanas Earth, a documentary macro it took to record several years has failed the images that Al Gore only bothered to generate computer (as) (the bear swimming adrift in the Ocean) a colossal work that nobody is going to enjoy because we we obcecado to see the work of the almost American President.It is unquestionable that a politician of his stature speaks, it is easy to buy the product is selling because he is known, committed and get on the big screen. If an Oscar have given up! But from the documentary point of view I am missing things, I am missing sources, scientists, experiences in the first person, something that is not a dogma of faith to believe me this so well sold and unquestionable truth. That is what I dislike of A truth Incomoda, based exclusively on a strong name and a so well perpetrated marketing campaign. |
1,097 | archivos_extraidos/MCE-Corpus-main/Dataset/2657 | Antoni Messa | Los Simpson: La Película | 3 | 5 | muchocine | The film lacks a tad more of political incorrectness. But it is what it is. And fun and entreniene, which, in essence, is the main thing. | For a long time, those responsible for the Simpsons, is proposing making a feature film with their characters. What's more: both James l. Brooks and Matt Groening, over a long season, denied guided a possible step to the big screen. They should not know that the "never say never again", the phrase that snapped the wife of Sean Connery to this when, in the early 1980s, the Scottish actor returned to embody James Bond figure. And the Simpsons, as Connery did in his day, have finally invade cinema screens around the world with his film: the movie; uppercase (click on this link, the official website, because it has no waste) is not surprising fear, by producers and scriptwriters of one of the best series of the history of television animation, make the leap to the big screen. In fact, they have since 19 seasons in antenna and, initially, because of the success of hearing, not needed any other type of empowerment for your product. It is undeniable that, during a long decade, episodes of the Simpsons were brilliant in almost its entirety. And now, just when the series begins to lose its initial freshness and part of its corrosive force, appears the claimed film.The Simpsons: The movie suffers, largely, of the defects of the latest television deliveries. Its hurtful sense of humor has become more light, acquiring at the same time, a tone more family and intended for all audiences. Even and thus on the tape, there are details that recover that critical and stabbing side that were characterized, as is the case with the initial question that loose Homer Simpson, and from which it arises as to why the viewer attends the film when, from the couch at home, could also enjoy their presence without having to pay. Shortly thereafter, Burt will write his usual punishment in the slate of school: "do not download this movie from Internet".Despite the softer hue, it is not a bad film; just the opposite. Entertainment and fun in abundance. Perhaps too elongated in their final 20 minutes, but full of excellent and unexpected gags. Surrealism and the hooligan spirit come together to offer the viewer moments of great ingenuity. A sarcastic nod to Disney (with included the forest animals) or the relationship that Homer keeps a pig newly adopted, have already become part - own - from the classic and pure delirium simpsoniano right.His argument is unimportant, but alluring. On this occasion has opted for a policy-fanta-fictional story, in which pollution of the planet and furious the clueless President of U.S. intervention.UU. (the own Schwarzenegger occupying the seat of the Oval Hall), could be wiped off the map of the world to the city of Springfield. A terrible tragedy whose solution only lies in the hands of Homer Simpson. Although they may be greasy due to multiple remains of Donuts and burgers.A horny reference to the media now Al Gore and his incovenient truth, and a lot of passages in which totally dominates an enviable sense of the absurd (the antiidiotas barrier installed to prevent the dumping of waste in the River, or the fleeting appearance of a total physical similarity to the Simpsons family), stand out among all kinds of political and social improprietiesat the time saved more than excessive protagonism of Homer and the little (or almost no) exploitation of this unique Gallery of secondary geeks, in the Fund and with the passing of the years, have become the Simpsons a gigantic series.A curious addition to loyal fans of the series (including myself) Although overall, showing unable to overcome the majority of television episodes that they comprised the first seasons. Everytime I remember that chapter in which Homer maintained a priceless conversation with God, I think that the film lacks a tad more of political incorrectness. But it is what it is. And fun and entreniene, which, in essence, is the main thing.In conclusion, allow me to a Council led directly to the restless spectators; those that rise from the Chair with the first letter of the end credits: not to abandon the room until they finish because during them, there is a pleasant surprise for the Simpson family and its large fauna of adepts. |
1,098 | archivos_extraidos/MCE-Corpus-main/Dataset/875 | Caruco | El perfume | 3 | 5 | muchocine | Get that translation of sensations of the novel that precedes, but is the notion that is a film moments and details. | Lying them if they say that quite a few passages of "Perfume", the movie, not I became somewhat slow and pretentious. But it is more true that the fragrance of many of the images distilled by Tom Tykwer still accompany me, by its beauty, and its disturbance. what luck he was chosen rather than any other filmmaker applied and correct! The director of "Run Lola, run" dares to include curfews or very personal decisions. Risk in one of European blockbusters with more euros invested in recent years. And makes it aware that it will be on view, and olfateada, by millions of readers, fans or not, the highly original novel of the German Patrick Süskind. but the most interest for which we had to read the book, and who was not, to see how the film would solve the complicated task of adapting the universe of olfactory sensations evoking Süskind. the challenge also required an imaginative directorenemy of the mere illustrations for a novel large screen. Obviously the results are not always the best. Do difficult era, for example, avoid the? voice-over? (from John Hurt in the original), especially in their first sequences and to allow us to access best in what is cooked in the mind and such as well developed sense of Jean-Baptiste Grenouille (Ben Wishaw).But in just twenty minutes Tykwer manages since chain 4 or 5 scenes of impact.The artist and her world.Hyperbolic and hyperrealistic, there are strongly contrasting colors, the rapid progress of the camera, scene changes sudden, virtuous? circular close-ups?, ecstatic faces or inserts of all kinds of objects, food or human faces, intended to produce us a few immediate effect blows.Perhaps another director would have limited to abuse the close-ups of noses and nasal cavities, or to frame simple still lifes. However, Tykwer get images of a beauty and horror, plastically impressive, especially as regards the morbidity of its eroticism or as show bodies, chaste and grotesque pose, of the victims of this crazy and misunderstood artist is the perfumer Grenouille. A genius to the search of his great work, and a media that make it a killer.Theirs is trying to extract and preserve the well most precious ever known, and this only emanates from the skin and hair of young and virginal young girls that, denying the first to cooperate, eventually she and the other lifeless.Ben Whishaw is excellent as this insignificant man in the eyes of others, but with a superhuman gift. I do not think that Gaspar Ulliel when will it release, probably next year "Hannibal rising", is his height recreating the adolescence of other popular and fictitious serial killer: the Cannibal Lecter.Wishaw gets fully into that almost imperceptible being that does not identify at all with people and the world that surrounds him. A world that could be our current, but is of the pre-revolutionary France of the 18th century, indecentemente little scrupulous hygiene and the good smell. Where the aroma seems to only join noble persons, either of nature or social status. And where Grenouille seems one of the few elected to separate most of the mundane; to capture the beauty among so much misery; to reinterpret the world according to their codes. But neither occurs they imitate him!A nose, a baby and a redhead.Although the two hours and twenty minutes of footage not always scratch at the same height. There is irregularity, delinquency and artifice, and even one of the scenes most complex, crowning and expected, as it is that of the orgy, choreographed by La Fura dels Baus theatre group, resembling to that, too theatrical.Do do Dustin Hoffman keeps the mannerisms and? tics? many of his more recent films, perhaps why the weight of the clothes, makeup and wig are what prevent. "And Alan Rickman, sometimes great actor, has the audacity to not change the registration of his countenance in any, absolutely none of the scenes in which it acts.""The perfume" as film get that translation of sensations of the novel that precedes, but is the notion that is a film moments and details.And these abound. My favorite: the camera approaching the nose to move us to the past of Grenouille. The birth of the baby in the middle of the putrefaction of the Paris fish market. Or that superb air plane linking Grenouille tracking, sniffing, to its most coveted object, the beautiful Laura (Rachel Hurd-Wood); and as it flees on horseback, weather-wise by his father (Alan Rickman), the flight of his hat lays bare his gracious redhead mane. |
1,099 | archivos_extraidos/MCE-Corpus-main/Dataset/3030 | Plissken | Amor y otros desastres | 2 | 5 | muchocine | Ñoño, but nice, homage to the "nottinghills" and "bridgetjones" and "loveactuallys" and "cuatrobodas" that flooded the screens during the 1990s. | Another decade we're going racing, and the writers making watermarks to recycle all recyclable. After exhausting the "standard" English romantic comedy (all a sub-subgénero) Philo, the voracious reescritores of Hollywood began to spin to the concept, and have brought the penultimate straw by squeeze: 'Love and other disasters' (miraculously, the English translation is accurate: holiday of the Titrator?).The synopsis will not blind with his brilliance, precisely: Emily "Jack" Jackson, a young employee of Vogue in London strives to both fix the love life of her friends never has time to deal with yours, quite ruined, incidentally. The appearance on the scene of an attractive Assistant of Argentine photographer will be the opportunity that his friends sought to return the favors to Jacks. But in the 21st century we live, young, handsome, and single usually amount to gay. Or not? Or Yes? Or not?The disappeared in combat Alex Keshishian (which only left front "In bed with Madonna"), which Simon Phoenix, has been defrosted and put back into circulation to write and direct this curious attempt metacine, romanticón and speech, but modernillo to the end and Cape. The first thing that makes Keshishian is situate ourselves in the same starting point for the typical sentimental comedy british, but with a monísima and correct Brittany Murphy instead of Hugh Grant. Murphy's character is a calque of Audrey Hepburn with clothes (or without it), but there is no worry, because it's the metacine thing.The simplistic plot progresses, with a gallery of characters we all know from an 'Enchanted April' or 'four weddings and a funeral': rich and dumb friend, friend gay sickly and sensitive, perfect stranger. Everything is modeled, but, Oh, the metacomedia!, in today's world almost all friends of Jacks are perfectly integrated into their community gay. Go change of scenario, eh?And the element perhaps more importantly of what proposed Keshishian is the roommate of Jacks, Peter (also correct Matthew Rhys). screenwriter. And speaking with Jacks continuously on romantic comedies, repeating themselves sobados schemes. This allows Mr. Keshishian spun gags that Yes worth seeing "Love and other disasters", that ends up being ñoño, but sympathetic, homage to the "nottinghills" and "bridgetjones" and "loveactuallys" and "cuatrobodas" that flooded the screens during the 90.Aparte of this detail, that Yes, nothing to highlight: routine address, photo routine, routine music. just takes off a little artistic direction, which gets us worldwide impossible of simple servants of Vogue who live in simple and centrally located lofts and have simple friendly multimillonarias. But as said Galileo: ".""And yet it moves!" Not much, but moves. a 5 pelao. |
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