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Grupo de investigación en Sistemas Inteligentes de Acceso a la Información (SINAI) de la Universidad de Jaén 13

archivos_extraidos/MCE-Corpus-main/Dataset/1308

Emilio Calvo de Mora

El truco final (The Prestige)

muchocine

Film of smoke, impostada legerdemain, cold fabulation, everything that should not be good cinema of magicians.

To dovetail with the illusionist, compleméntandola without underfoot, both occupying different zones of a same narrative angle, the final trick (Prestige) are clamping on the Bulletin Board as a title interesting, worthy of a sober manufacturing and an absolutely splendid campus (Christian Bale, Hugh Jackman, Michael Caine, Scarlett Johansson). Directs Christopher Nolan, who delivered the lavish and elucidates Memento, insomnia thriller (with a very palatable and surprising Al Pacino and Robin Williams, in roles of a containment proverbial being who they are) and this latest installment of Batman, away from the cliché of the politics of Hollywood and heels, with fortune, to the more shrewd study of the characters and a conscious of forms departure classic superheroes to reinvent (did)(, I have no doubt) gender. Because in view of all this, the final trick (the Prestige) should have been a peliculón or, at least, a film with mimbres quality, entertaining, with enough references for the movie buff demanding and all commercial shrapnel for the consumer of film more passive, less delivered to find under stones Scorpions of genius.That hope blurs shortly move footage which to me I felt like confused, embarrullado, devoid of hook, cold maybe. It comes to spend with that of the magic tricks that once had been the "prestige", as they say on the tape, nothing is already relevant. And Nolan makes lavish tricks, brewing a vigorous staging that is not without bright elements (there are a Gothic tone, an aftertaste almost unhealthy by diving in the most perverse roots of revenge), but that falls (with noise, I would say) in the final stretch: when the hole cards are placed face-up and we are witnessing the rationalization of fantasy.Bale and Jackman are well below what we expect. Caine plays. Scarlett Johannson not just find the definitive role and languishes as ayudante-amante of the two magicians in a strange role, not just produce empathy in the Viewer.The magic and science not never matrimonian: repel each other. Everything that you love and for its magical then brings disappointment and disenchantment in the rational. Go into more detail would reveal the plot byways that make bearable (say than just bearable) (excessive) footage.Or what happens (not I have it clear) is that my entenderas have been today to a level below than usual, which also say that it is much, and whatever Nolan account and how account you I have been half. Without making effervescence in my brain. Without waking my intelligence. And we need to be very smart to watch a movie like this? I think that no, the truth. Intelligence, the fair. Only a stay awake, a wanting to catch the details, a not to abandon the plot because there is in excess, traps, tricks, how not, which then become simplicities of little wit, tricks of a writer that him has been the large excess matter and then, in the end, the trick failed close it as they send the canons of the magic, while we see the root, the seed, the secret.Bowie appears makes sure everything has a morbid plus: one cannot help (I, at least, could not, fascinated to see the great Duke white, the absolute genius of music, to the legendary Chameleon of the vanguard of the rock of the last three decades) feel a tingle in the pit of the stomach so that at the end of the film grabbed my bookshelf CDs and heard (of the pull) Ziggy Stardust and the Spiders of Mars... and oh my god, hence thanked him Nolan, magic, film that there is music and that perhaps the film has only served to remind me that there are perfect discs, sleeping the dream of waiting until that hand accomplice removed from its case, and introduces, greedy, deleitosa, sinfully in the player tray behind it allgrabs the potentiometer of the amplifier, monitors the family isn't too close and leaves that the decibels (say now that during appalling awhile) flood the air, disappear overnight, leaving in my memory jubilation and joy, love and reconciliation with the world and its barbaric. I've written film or I've written of the Bowie? Well I have it very clear.

archivos_extraidos/MCE-Corpus-main/Dataset/825

Yul B.

Un buen año

muchocine

Scott is a newbie in the romantic films: there is no depth of characters and situations, not even a fairly consistent and original argument.

When learned me that Ridley Scott was preparing a film? pastry?, I thought was quite rare. Is not a director that prodigue in that genre (to say practically nothing), so he had several previous opinions, clearly contraditorias, ranging from the sceptical? do it may be a daring twist to recover from the stick of?The Kingdom of heaven?, until the rotunda?is this man going descabezao?.What made me doubt for Scott was the presence of Russell Crowe, because after his masterful performance in?A beautiful mind? and its prominent role in?Do Cinderella Man?, both from Ron Howard, made me think that he would repeat the feat. But, of course, we are not talking of the same director nor of scripts of a similar level.After this experience, shows that Scott is a newbie in the romantic films. In?A good year? There is no depth of characters and situations, not even a fairly consistent and original argument: an expert in bag, addicted to the work and the city, Max Skinner (Crowe), receives in inheritance a country house with a small vineyard in France, specifically in Provence, of a deceased Uncle his call Henry (Albert Fenney) which sees not long ago. Initially decides to sell it, but as will spending more time in it, you will get to know the people of the place, especially a girl (Archie Panjabi), and are happening various recent which is logical it unveils not by not definitively destroy the film, comes more strongly the idea of keep her.The story you sound already known, right?. Because that is precisely what happens to?A good year?; It has one the feeling of seeing before, apart from lacking the depth of which I have spoken before. Everything is very predictable and even some details are inconsistent; and must not make much effort to guess what will happen in the next scene, almost to the first, what is even going to be the end. The only two moments that work very well for the film are the uncertainty facing the Viewer, for about 30 minutes of footage, to know which of the two girls made to shot of the protagonist is going to be which will fall into his arms. Do and bucolic past years by small Max with his extravagant Uncle Henry, lover of wine, in the casa de campo, are remembered by? flash-backs?.As for the first time, the uncertainty is resolved quickly. And entered in the typical relationship in which the girl goes from hatred and initial indifference to Max, to a minimum interest for him but without going over, until you reach the passionate love. Can you see more of the same. The second time does not last many minutes. Would have been a success spend more time the tape this past because Fenney chemistry with the actor who plays Max's small, Freddie Highmore (?)(Charlie and the chocolate factory?), it is magical and hooks. I was wanting more.With regard to interpretations, everything revolves around the star, Russell Crowe. The carries the weight of the film, which is a success if the actor in question did a papelón, but as it is not the case the tape loses bellows in many minutes. Its interpretation is not mediocre, but required more commitment.The rest include Fenney and Highmore, as I have said before, building two characters married to perfection and which transmit the feeling of love and admiration between the two wanted to Scott. In summary?A good year? It is a film that could have reached more, despite its sobado argument, but who has become a dominguero movie that can be seen. With this criticism I meet a request from Eva, a companion of work.Do do certainly Crowe does honor to the title of the film, because the man is seen of? good year?.

archivos_extraidos/MCE-Corpus-main/Dataset/212

MrDaine

El código Da Vinci

muchocine

Is soda, devoid of rhythm, of substance of interest and with the feeling that all the participants in the film are aware of this

The history of the cinema has many and varied examples of bad books adapted to major films, some of them so big that they have traded their own context of adaptation. The Godfather, jaws or Jurassic Park, for example come me to memory. Books which, apart from its literary qualities, have reached the screen stomping and making their mark, as the silence of the lambs, or Lo Que El Viento Se led. It was quite obvious that the Da Vinci Code could have entered perfectly in the same group, not the height of certain titles, but have done a worthy role adapting a theme that could have given so much of itself.Well, because not even that. Faced with the film by Ron Howard, fearing to fall into a substantial bluff, nothing more to see the cast. Too many familiar faces, I think, all in poster. Too much interest because we see how many famous people involved in the film. Too many aires of over-production.Let the movie begin commented me that it is calcadita to the book, which I am not surprised too because me has come from other sources that the book only lacking the relevant dimensions to convert it into a screenplay. So me I grabbed to the coke, I open the potatoes and note.After the film, I can only say it is bland, lacking in pace of substance of interest and with the feeling that all the participants in the film are aware of this. It is as if from the director up responsible for styling horribly to Mr. Hanks all knew that the film does not have any chicha and limiting to recite text and move the camera waiting for not much delay in ending the scene. The film is sleeping, and not only blame the book to which suited, but the entire production itself. And why, in my opinion, we are dealing with a subject that could have left a big blockbuster, if only had apetecido them enhance it: when they roll to explain all the stuff of secret societies, historical figures wrapped in a historical conspiracy, and tests that have left behind in their works, only then seems actors to recover a bit of life in their faces and are interested in the subject, doing a little to the respectable part of this (although at that point already are all more than boring). In other words, have a history that like everyone, linking characters and historical sites with dark power plots and secret societies. Something trite, is true, but this are born the blockbusters: of topicazos. And if you know well bring those topicazos, you can at least provide a decent result. However, in the Da Vinci Code all leads with the most absolute unwillingness, worry only in make it mascadito of what will roll with unnecessary flashbacks loaded with budget and continuous references to the same concept as if the public, as well as fool, idiot.So there is little to say of holes of script, of the lack of historical accuracy in more than one fact to release, or the fact that half of the puzzles, supposedly of ancient origin, are subject to modern English. There is little to say of a film whose authors are aware of that are no more than a small part of the huge marketing operation involved in the book by Dan Brown, and that they are not limited to makeup, albeit with a little bit of show. Da Vinci, moreover, it is not even the heart of conspiracies. Only a famous name to bring the masses to the book, screen, or the hundreds of books whose title is composed of a celebrity and a synonym for "code". And with this movie box office data, do not be surprised if in a couple of years we have the box office full of subsequent adaptations?

archivos_extraidos/MCE-Corpus-main/Dataset/1316

Tito Chinchan

Hollywoodland

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On a very good and interesting idea, has been a perfect atmosphere to develop a slow and heavy film that leaves us the bitter aftertaste of having some expectations that fail to comply.

The face of Ben Affleck is a mystery of modern science. Many insist that if the Mona Lisa smile, that if you have hemorrhoids, that if a fart, that if it is a man, so if it is is holding and point. But they overlook the face of this man, if strives is able to express with the same face joy, sadness, swallow is a grapefruit and stick a PIN in the left genital. Curious, of course, although less expressive is the making of Superman. That always have hallucinated me which have a hoyito on the Chin by manly resulting.The film is a private investigator middling suddenly found in the case of his life, discover who was the murderer of Superman. Well, specifically the actor who embodied the character at the end of the 1950s. Slowly discovers that the Hollywood life has little to do with the fiction that projects outward, and the glamour and luxury not hide if not misery and more misery.Let's start with the good news. The film has a very successful setting, type film noir, but with a current touch that is difficult to remove. The idea of the script is very good, uncovering the miserable lives of those who fall in Hollywood with the idea of being superstars. But then the development becomes slow and cumbersome, with a continuous coming and going flashback eventually mislead. It has very sad and raw, moments that contrast with each other with a little luck you shut.In short, a very good and interesting, idea has been a perfect atmosphere to develop a slow and heavy film that leaves us the bitter aftertaste of having some expectations that fail to comply.

archivos_extraidos/MCE-Corpus-main/Dataset/3069

Alex Largo

Hero

muchocine

"Hero" is a (good) example of good cinema, one of those movies that only with the images does not leave sitting and watching the screen embobados.

"Hero" is going to be perhaps one of the shorter criticisms do. Why? Because it is a waste of time to comment on a film as well. Let's go by parts: the address: arrogance. Actors: I say more than bright brilliant (look at those (impressive) fight scenes). Screenplay: Although "simple" (for lack of a better word) the director takes all the juice delighting us for 100 minutes passed flying. Photography, the art direction, staging are. pufff. imagine. as explain it?. What would the word?. Despite vulgar pareceer will say: Orgasmic Paul.The martial arts scenes removed hiccups and all the others. The soundtrack will the film like a glove and never takes protagonism to the images, which complements in an excellent way.In a few lines would say that "Hero" is a (good) example of good cinema, one of those movies that only with the images does not leave sitting and watching the screen gawk until that just the end credits.

archivos_extraidos/MCE-Corpus-main/Dataset/3747

Ana Belén Pacheco

Rec

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In short, a waste of time, money and above a sense of scam by wanting to be like people of the announcement when in fact I've bored as an oyster.

I am in favor of using the system, on the other hand illegal for the Viewer, protect the Spanish cinema at any cost. That sometimes translates into subtly decorate the virtues of a tape and a little to hide their mistakes rounding to the stands, as if it were the euro, the general outcome of the same.In this case I will betray this agreement not written with the Spanish film industry to tell all those avid spectators who have been dazzled by the unique and intelligent promotional trailer for Rec that will not see her to the movies, or at least that lowering their expectations. Being one of the most misleading campaigns of the season the subtlety of teach the faces of terrified viewers watching film in a movie theater and not talking about nor average word of his argument have hordes of teenagers go to see homeland terror and shame to summarize in two minutes a film without feet or head that also has four numbered scares that had surely been gutted in its promotion have spared.A couple of reporters will follow a group of firefighters in their overnight trips. Spineless reporter and her camera start their interviews to the purest style Spain direct portends a roll of story unless something to happen. Finally they receive a notice and people in a building where accompanied by some policemen enter the House of an old woman alerted by neighbors on the strange noises. The aggressiveness of this and subsequent events they think that in that building something very serious is happening. So reporters, policemen, firemen and neighbors will see trapped and sealed inside along with a mysterious virus that become "zombies" to all those who are infected by him.The Ribbon is a kind of surreal cross between the project of the Witch of Blair (by the subjective nature of recording and blatant theft of planes), and best and worst tapes of zombies in the history of cinema (including the head of plagiarism to 28 days later). It would not be bad if it were not for the inability to make coherent what happens from the first minute. It is a nonsense. Against more try to explain this more they roll and contradict each other, more sensible against wants to appear more ridiculous is the explanation, and if not me I belong to the final scene in the attic and challenge any son of neighbor to tell me how, where and why started the infección-posesión.Three numbered scares adorn the narration. Also sees all of them are so obvious that even a child of two years them come. None of anguish or printing, everything comes on the screen and does not give time to process any feeling, part of hatred toward the Lord of the toupee you want to be the next victim as soon as possible to put an end to that vision. To finish the play think Manuela Velasco is possibly one of the actresses more lumps, heavy and ñoñas that has left on the big screen. In short, a waste of time, money and above a sense of scam by wanting to be like people of the announcement when in fact I've bored as an oyster.

archivos_extraidos/MCE-Corpus-main/Dataset/365

Alberto Concepción

Piratas del Caribe 2

muchocine

In its attempt to entertain and be bigger and more spectacular than its predecessor, WINS in the visual, to the detriment of originality.

Two years ago landed on the charts of half the world of Disney's film, starring the brilliant Johnny Depp, the guaperas of fashion (Orlando Bloom), and a young British woman: Keira Knightley. The result was a magnificent comeback film adventures (do pirates, who would say!), with a mix of action and comedy, took the applause of critics and public, which resulted in an impressive collection at the box office, a merecidísima nomination for Depp, in addition to launching the career of the young Knightley and do Guaperas Bloom had more fans and money.And all so happy.But as the norm in Hollywood is that if you had success, you have to do a sequel. what happened? Therefore that this case is not going to be less. And or so less, because they shot the second and do final? third part of simultaneously. Before reaching Spain, he earned in his first weekend in the us the spectacular figure of $ 132 million, surpassing the record of Spider-man, of 114 million. He was going to destroy the summer box office, and so did (and continues to) pero.¿y the film?Because it turned out to be a small disappointment. Although only halfway. Not for failing to meet its initial to a genuine 'blockbuster' job, which achieves 'grandly' with spectacular battles (being worth mentioning the fight between Kraken, the giant sea bug, and the Black Pearl), as well as pirates and really made a picture that lead to turn the film into a real visual spectacle. As the film progresses, the story gets better and with her entertainment and comical, looking like the pace still already then a certain logic. All this leads me to say that, at least, the second half of the film is superior to the first.But if something was disappointed to leave aside the 'magic' and the originality that he had 'The curse of the Black Pearl'. It is true that in a sequel, one that wait is to see the same thing that you liked the anterior.o see something new while retaining the essence of the original. Then Verbinski (correct director ever there), Bruckheimer (producer ricachón where there) and the writers Ted Elliott & Terry Rossio bet on exaggerate everything what liked of the first, forgetting something so basic and essential as it is the script.The first hour of film is really confusing. Not by difficulties in understanding the historia.sino because one wonders what happened to the previous spark. A top of the most soporific, it takes almost 90 minutes to have history mounted and where the gags are really enforced situations and meaningless. Then when one already sees that the film has no more end to entertain no more (formula that successfully carry out recent films like 'Poseidón'), albeit at the expense of their own valores.¿Es that what was intended? Might be that they were looking for viewers? It is likely, but this small disappointment is still there. And I repeat, not by lack of fun, action, adventure and these visual effects so meritorious, but for lack of genius, at least in the style of its predecessor.One of the most undervalued aspects in the analysis of films, at least in my opinion, is the musical and sound section. And that it is impossible to not finish this review without mentioning anything about the great soundtrack of the film then, still very much in the line of 'The curse of the Black Pearl', the musical pieces that accompany each of the hair-raising scenes allow a greater joy and enjoyment of them. Not in vain, it is one of the pillars of the tape, allowing me to thus appreciate the excellent work done by Hans Zimmer, though in this sense who has to be the merit is his disciple Klaus Badelt, composer of the first part of the trilogy.Photography is an important, almost central point in the 'blockbusters'. And the technical team would not let pass the opportunity to reflect, and even highlight the beauty of the Caribbean landscape, the sea and exotic islands through which pass the adventures of our pirates. Do it is here where the tribute to 'Monkey Island' is obvious, with that bruja-pitonisa that reminds (the swamp scene is practically a copy) to the legendary saga of games of PC.¿Y what about interpretations? Johnny Depp repeated character for the first time in his career, and does so with that much (even more) fame has been reported: Captain Jack Sparrow. While in the first part, his performance was brilliant, this time is a little exaggerated, although I must admit that this may be due in part to the film as a whole has too many aires of greatness and the surprise factor has already lost its meaning. Depp returns to get fully into the role, but perhaps he has betrayed be knowledgeable of what was his previous characterization. Orlando Bloom plays the handsome, loyal and adventurous Will Turner as you can: correct but not never to shine. Keira Knightley, which despite having already certain maturity interpretative, acquired and recognised especially after his work in 'Pride and prejudice', also manages to make a remarkable performance, very in line with his partner on screen. But, despite the fact that his face becomes unrecognisable (almost), who makes a notable performance is Bill Nighy, in its role of Davy Jones, to fill of charisma to his character, coming to instill respect despite the comical (or scary?) of the face.Thus, we have a film that, in its attempt to entertain and be bigger and more spectacular than its predecessor, WINS in the visual, to the detriment of the originality and the script that did the curse of the Black Pearl a success a few years ago.

archivos_extraidos/MCE-Corpus-main/Dataset/1836

Iñaki Bilbao

Hombres errantes (Lusty men, the)

muchocine

Extraordinary film of Nicholas Ray, without doubt, one of his best works (another masterpiece is undoubtedly "Johnny Guitar").

"A star of the rodeo in decadence try to rebuild their lives by joining a young marriage." "This somewhat destabilize the relationship of the couple".Extraordinary film of Nicholas Ray, without doubt, one of his best works (another masterpiece is undoubtedly "Johnny Guitar"). Although, in principle, it is clear that the story is not new, and therefore, original, yes that makes suggestive way to tell Ray it. Rarely has narrated so clear and clear the myth of the return to the home of a person, their attempts to find a few roots and influence of a supposed hero in another normal person but without excessive character. The performances are excellent, with an unusually poignant Arthur Kennedy. A film difficult to forget for his humanity, with a few dialogues are superb and admirable leadership.

archivos_extraidos/MCE-Corpus-main/Dataset/2919

Emilio Calvo de Mora

El romance de Astrea y Celadón

muchocine

Bucolic, pastoral, cinema of Druids and nymphs, impossible love and romantic travestismos. Capricious film of a director of back already commercial Manichaeism.

The Magisterium of Eric Rohmer may also fall into cheesy, in the postal bucolic in birds that shades in its branches while the forest nymphs persuasions on love and poetic height of their contenders. Around ninety years and continue in full authority consents to these pastoral rants that mancillan not a gloriously untouchable cinematography, but not I who puts in solfa this obsolete history of sweet plasticity as a language rebañando a jar of jam. I stick to the facts, which are blunt: what Rohmer counts isn't, in itself, disposable. What made me very uphill was the theatricality of the matter, its impostado language, the forced sensationalism of a few characters who talk about contaminated formulas so archaic that they weigh too much in the course of the plot. This rare form of film-making is not scarce at all of interest: Rohmer aims to entertain, exercise of narrator as he always did. Need, by Tutalis, Obelix onstage any loose, carrying a menhir or some juicy wild boar hunting. In the absence of this visual candy, enjoy in what is it gives us: a vigorous show alien to the dictates of the commercialism, checked by a man also alien to the speeches of the industry, illustrating - film film - human emotions, its undisputed Vertigo. In that regard, Rohmer is bold. Their freedom is the most notable of the evidence of this film a contracorriente, who will not like at all who do not comulgue with linguistic artifice. I did half. Not I enjoyed as I do know, but me not bored. Just worth a second viewing.

archivos_extraidos/MCE-Corpus-main/Dataset/3942

José A. Peig

Viaje a Darjeeling

muchocine

He has, Yes, with an effective construction of characters that makes the viewer can connect with psychological of each one of them, States although this fails to be the appropriate vehicle for the film exceeds the lukewarm and bland in their development.

The sour look from inside a train that - looks from time to time - head to the world outside to try to see something more than chaos, exoticism as subterfuge, the only Mystic a deceit of the losers. The train is the way, the metaphor of life, and so begins and concludes the film representation, with the train that is moving towards the uncertain destiny (falls clearly in the spirit of the traditional movie road). Three blood brothers (that spirit), Peter, Francis and Jack, walk the India beginning and ending nowhere. That look of Wes Anderson, to emphasize pathos of wanting to find harmony and sense from chaos and a certain postmodern devaluation begins being absurdly expressive because it explores the empty no matter what may lie beyond the ailing personality of the protagonists. Erroneously, as the story progresses, Anderson introduces too much information about the conflict between father, mother and children (including the unnecessary sequence retrospective). To make the explicit, the story, until then very well sustained in its tonality of comical absurd but quiet and accessible (i.e., that at the end and after moves in the field everyday), drift toward a Mannerist portrait on immoral individuals in search of redemption. We believe that it would have been tougher to maintain greater suspension of the sense of the narrated, won in a singularity of affine - and more consistent - with the concept to develop: film acts and gestures supported on an idea of indefinite tragedy, the palpitation of the pain behind the comical. Anderson, starting, wants to be subtle, but ends up giving to attempt to simplify.This is a type of film that uses the extravagance of the absurd to have really nothing, and from that nothing express a nihilistic pessimism. If you look in its structure and in the Schematic of its forms we have a descriptive parable that engarza in various sequences and topics relating to alleged purifying mysticism of the far East, pose a dissection of the mood and familial of three brothers through the incompatibilidad-tensión between these and the exotic atmosphere of the India. The film, in short, is a cluster of sequences - satirical code - which reiterate the State of informalization and emptiness of the characters in respect to their peers and these in relation to the environment. And where the story ends? The future of the trip ends leaving a sediment of reconciliation of the brothers among themselves and with the life that surrounds them, and is best expressed in the sequence of the three brothers to the race, freeing the baggage which until then had accompanied them, in order to finally upload the train. And then, contemplating the baggage that lags (ambitions, affections and wounds of the past), the three faces draw a shy smile to then continue the March towards nowhere. And it seems - say Wes Anderson - despite everything, life can be deliciously absurd. The inconsistency between the subtle stroke of calligraphy (put in scene, editing, photography, landscapes and silences) and simplicity that eventually looks at global content (schematic description of a destructuring and subsequent redemption family) makes the look of Anderson finished saying very little in relation to the dramatic and evocative potential that hides its comical and its forms. He has, Yes, with an effective construction of characters that makes the viewer can connect with psychological of each one of them, States although this fails to be the appropriate vehicle for the film exceeds the lukewarm and bland in their development. In film, be subtle does not reduce the chances of the content to a schema that represents the most obvious, to then say - and forgive the repetition - the most obvious.

archivos_extraidos/MCE-Corpus-main/Dataset/30

Victor Omar

Munich

muchocine

Too shallow, simplistic and didactic

The new film by Steven Spielberg is such rare cases that become a dilemma for who writes this. It is difficult to outline the tape without giving personal points of view on the subject in which attempts to deepen the script. So we will try to explain two things. Spielberg develops the tape with the consequences of the event, following the chain of violence that, far from a problem simply perpetuates and exacerbates it.At the beginning of "Munich", Spielberg recreates the terrorist attack, during the 1972 Summer Olympics in Munich, ending with the death of 11 hostages, five Palestinian terrorists and a German policeman.Golda Meir, first Minister of Israel, then begins a secret operation called "Wrath of God", where five ex-agentes of the Mossad (Israeli secret service) carried out a campaign of revenge, killing the 11 ringleaders of the Palestinian "Black September" terrorist group.These men were part of a Palestinian nationalist command which was called "Black September", named so in tribute to the three thousand dead and 10,000 wounded left as balance the operation of expulsion of Palestinians mounted by the Jordanian army in the month of 1970.La film does not show those events, but it is obvious that they are part of the chain of violence and revenge took a new turn from Munich and arriving with their dramatic effects to the present day. The Israeli hostage-taking at the 1972 Summer Olympics was, perhaps, the first terrorist act broadcast live worldwide on television.And it was the seed that gave rise to a new type of Israeli, different from the conventional military response and which led to the adoption of methods of counter-terrorism which, in many cases, are assimilated to the enemies.In this way, we continue to Avner (Eric Bana) and his group of agents around the world for months, while carried out its work, getting information about a mysterious French man and questioning the usefulness of the mission at each step.Obviously executions are sending a clear message to the Palestinian terrorists, who also respond with violence; and, worse still, kill the leaders of the terrorist organization cannot be the dismantling of the same. "Do murdered chiefs are simply replaced by even more violent men and militantes.¿A who benefits the chain of violence?""Munich" has received severe criticism for its alleged historical inaccuracy, but must take into account that his screenplay is "inspired" in a book that is also "inspired" by the alleged facts.Since then the main points of the story actually occurred, but the plot and characters are probably fictitious; and I see no reason to criticize this attitude, because the purpose of the tape goes beyond being a mere educational tool; Instead, he dares to offer a much more important message, raw and clearly denouncing the vicious circle of violence generated by terrorism and the so-called war on terrorism.Certainly one of the more mature Spielberg works, because it manages to complement the narrative with cinematic style, which emulates the visual plastic of the thrillers of espionage of the seventies, immersing himself in that decade, but without falling into childish exaggerations.In the same line we have the accurate way as recreates the violence of the attacks; far from falling into empty visual spectacle, the violence occurs naturally and even prosaic, thus giving much greater impact and realism to these scenes.The work of the cast is outstanding, and applaud Spielberg the decision not to use "stars" in the tape, but authentic actors capable of transforming into their characters.And although always maintained their anonymous position behind the scenes, we must make special mention of the dynamic duo of Janusz Kaminski as director of photography and editor Michael Kahn. No doubt much of the "magic of Spielberg" comes from these two constant partners.I wish I could say the same of John Williams, whose music is now so soft and anonymous as it was spectacular and noisy in past decades.His work on "Munich" is not bad and works reasonably well, but we would have liked to see what some more innovative composer (say, Elliot Goldenthal or Graeme Revell) had been achieved with the tense scenes and ambiguous emotions of "Munich".Beyond of courage (narrative, dramatic, and especially politics) of his proposal, "Munich" has everything to irritate the different segments of the public.

archivos_extraidos/MCE-Corpus-main/Dataset/1745

Iñaki Bilbao

El hombre invisible

muchocine

Everything about her is enduring, with magnificent interpretations, while Claude Rains more sexy and mischievous than ever, while threatening to head. A wonderful film with Gloria Stuart, the beloved elder of "Titanic" of charming female protagonist.

"We start with a handful of killings." Important people. Little people. "Just to prove that we not make distinctions".Mythical, brilliant, fun, fantastic (in all concepts) film that has gone through merits to the history of the cinema. Thanks to James Whale, an excellent director, misunderstood and reviled because of their sexual orientation, owner of her own universe, the film goes beyond the moment in which is going to be world heritage sites. View tens of years after its premiere, the movie has the same vigour, freshness and nasty than when performed. Everything about her is enduring, with magnificent interpretations, while Claude Rains more sexy and mischievous than ever, while threatening to head. A wonderful film with Gloria Stuart, the beloved elder of "Titanic" of charming female protagonist.

archivos_extraidos/MCE-Corpus-main/Dataset/966

Rafa Martín

Brick

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Pure film noir directed by Rian Johnson with a mostly stable, but sometimes irregular, pulse, taken out of context and inserted into an Institute today, directed by an immeasurable Joseph Gordon-Levitt.

Occasionally it is a delight to be able to take a look at the current independent film. It is at the moment in which it departs from the contents classic for this type of film (drugs, problematic family relationships, social complaint and similar conaza) and focuses on revitalizing a genus of life. The recently released Hard Candy is an exercise in suspense. Brick, for its part, is pure film noir out of context and inserted into an Institute today, starred by an immeasurable Joseph Gordon-Levitt and directed with a mostly stable, but sometimes irregular, by Rian Johnson.A pulse characteristics despite the flat long combined with Moloney Visual effects, natural photography and the almost total absence of soundtrack, with which the indies lead us wow / torture since the 1990sBrick complies to strict standards: there is a victim, a fatal woman, two sides of mobsters, a representative of the order, and an anti-hero smarter than hunger, who knows all the moves and possesses an undeniable practical spirit and a dose of above-average intelligence. The major asset of the film, as we have said, is to put all this panda enclosed in an Institute. It is a great idea but it is even more: is a brilliant development that extends during most of the film until his last scenes, in which breaks slightly the balance when we entered the field of fire.Brendan and his girlfriend Emily (Emilie de Ravin). Common sense versus desquiciamiento paranoia.However, the forces of Brick lie elsewhere: dialogues and actors, is called. While the outlines of the plot occasionally too reminiscent of the Coen brothers masterpiece mentioned in the holder (if, Fargo is very good movie and Arizona Baby is funny, but death among the flowers plays in another Division), are talks between the characters and the conviction with which all interpret them making a Brick into something more than a simple experiment Mondosonoro balls. I do not usually do it, but I recommend that you see the film on dubbed version because it is incredibly easy to miss: history is incredibly twisted limits and the dialogues seem to machine gun fire, plagued of replicas of the flag (in particular, for example, "you have given this guy to see as she is what they zampaban, not like you what you eat").It is easy to convert that phrase into a joke, but not when tells Gordon-Levitt, an actor well ahead of the rest of his generation and has survived to films to his credit as Halloween H20. Brendan Frye, the protagonist of the film, is three-dimensional thanks to Gordon-Levitt, combining weak human (the trigger for the film is the murder of his girlfriend) with mental agility of pantera and above all, the disdain for the rest of the human race which he shares with the great detectives private gender. The rest of the cast is almost swallowing, but Lukas Haas, Noah Flynn (in his role as mafiosetes of middling) and Nora Zehetner should be mentioned, in particular this last, which makes wonders with her role as femme fatale.Brendan and the Femme Fatale. The photo does justice to the big eyes of Nora Zehetnera.Lo said here extends to the particular vision of Johnson on the Institute, where again all groups are perfectly differentiated (the cool, the hanging, the snobs, the nerds, the abandoned) but they move at the same time in an almost surreal environment (the Roman Feast where Brendan arrives by chance). It is the touch of alienation that breaks the routine practically at every level of the film, which however never leaves that history will hand, supported in a couple of scenes of action, inserted at the right time, quite surprising and shot with energy.However, if Brick inherits all the virtues of film noir (as a constant tension: is virtually impossible, with a good story behind, bore the Viewer) also has some weaknesses, and some drawer: the end, x-rays, it is not that it is a little unsatisfactory, but leaves a slightly strange taste. That no one expected a climax, but a kind of quiet end, where all the pressure ends up yielding almost at once. Johnson seems to realize this and try to get an emotional component (without specifying more unwanted pregnancy) that was not necessary before being introduced, and which in my opinion seems a bit forced, because with what there is behind (the famous "Brick"? title do brick?) is already more than enough. In any case, there are reasons enough to lose an hour and a half of our time: it is fresh, original and there are more chicha that appears behind a brilliant idea. And a brilliant idea is a finding, the problem is that it only gives a short.

archivos_extraidos/MCE-Corpus-main/Dataset/3449

Emilio Calvo de Mora

Redacted

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Maybe is not, at the bottom of any allegation against the war and their hatred but an exercise of cinematic textures, as a kind of collage of formats, on the way, giving a blow at the table of the teletypes.

Brian de Palma has curioseado on the Internet and found material to mount a burning movie of compromise, denouncing the wars in general and the Iraq war in particular with the reconstruction of the rape and murder of a young girl and her family at the hands of a group of U.S. soldiers in Mamoudiyah, a village near Baghdad. Away from the discursive asepsis of Robert Redford in his recent Lions for Lambs, De Palma unreported to the wars the alum a politician neocom with broadband in the blackberry and high ideals of Pocket Bible. Yours is (has been) making films with a minimum of life, films lovingly installed in entertainment, in the respectful tribute to the teachers who encouraged him to take a camera (Peckinpah, Hitchcock) and give us visual euphoria. Here it away from what we might expect from their house brand and addresses adolescent enthusiastically even wounds that have not yet lacerado the skin of the always innocent votive offerings of the battles and the wounds of the conflict, wounded by cauterize. The problem is that he acquires limited commitments with the image and loads of political thesis, pure activism. To translate this drama not used actors but archetypes.What account Redacted is not the spoliation of the war: his vocation is to stoke up image uncomfortable to the Viewer so it reasons the madness of the conflict and understand that beyond commercial Hollywood steamroller, the film occasionally can give rise to intelligent dialogue and remover, that they sometimes anquilosan and ideas do not fall at the blast of the decision-making positions and media manipulation to which subjected the criterion of who they do not consent information to flow without the interference of their interests.Cold: Redacted is a cold, meaningless allegation of emotions. The fact that reality can be configured at the whim of ideologies and cabinets of crisis or marketing is not a new matter in the film. Images require an ethic. The erstwhile aesthetic audacity to De Palma is here reduced to a documentalism soulless, excessively burdened by the modernity of the formats that seek the iconic content (mobile, youtube, infrared, photo montages, websites, security cameras.) All that is added formidably mounted on the tape, but cinema is also a novel issue, which needs the beauties of fiction and Redacted is a distorted testimony raised on a real event, but levísimamente built on emotions that real fact produce in those who dramatized. Almost nothing to the director not plasmase, with more fortune, in hearts of iron, tape twinned to this and current claiming following replies wars taken to striked blushing and shame of peoples. Before Viet Nam; now, Iraq. Brian de Palma, exceptional creator of dreams, is a filmmaker more akin to the fireworks of fireworks that encouraged the birth of the seventh art that instrospectivo travelling from who, camera on his shoulder, aims to capture the essence Poetics of the flight of a Nightingale or the depictions of the human soul. Without being rude, the gaze of De Palma not qualifies. This mock aware film speaks to two bands: the box office, which is lost, and criticism, which will cover this effort as a political or social to strictly film outburst, banked to the agitation of the voter (that is the story, almost is none other) that take care of form and content and check in a product of greater height.

archivos_extraidos/MCE-Corpus-main/Dataset/2339

Rafa Delgado

Shrek Tercero

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A "caca-culo - fart-pis" of zillions of dollars that elevates the masterpiece category to its predecessors.

Absurd, it has no feet or head; They could sell us as Epic Movie in the Shrek universe, which colaría. Vanished nasty breathed in the first part. All the gags are repetitive, jokes have no or a minimum of grace (falls, blows, the burping and the flatulence do grace: feel sorry for), and it is full of useless and shameful moments. It could be perfectly with half of the fingers of one hand everything what has made me a bit of grace throughout the film (the princesses, the end, and credits). If even small children have laughed shortly!.Above, for which lasts (time and a half), me has become very long. And to make matters worse, final moral tontorrona, easy and descaradísima, falling in the same topical disneyanos that both derided in Shrek 1.Un "caca-culo - fart-pis" of zillions of dollars that elevates the masterpiece category to its predecessors. Totally expendable.

archivos_extraidos/MCE-Corpus-main/Dataset/1469

Mala Besta

El Motorista Fantasma (Ghost Rider)

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The screenplay, in addition to the original character, trample trampling himself. The characters are all incredibly bad. The protagonist has intellect and dialogues of a border.

"Ghost Rider: the rider phantom" is the last product set in the Marvel Universe who comes to our screens. Starring Nicholas Cage, a big fan of the comics, it seems that even has "helped" with the hyphen. Such is his love of comics which one of his sons has named it Kal - the (the original name of Superman). If it has been able to commit such cruelty with a poor child, imagine what you can do with a film.In short, the film tells the story of Johnny Blaze (Nicolas Cage), a stunt rider to save his father from certain death makes a pact with the Devil (Peter Fonda). In exchange for salvation, Blaze becomes a minion of Satan, whose job is to collect the souls the Lord below requires. Motorcycle. When appears in scene a powerful contract manuscript by the sale of thousand souls, they both Mefistófeles and his son Blackheart (Wes Bentley) want, Blaze has manage to save the file, kick ass bad guys and bind to Roxanne (Eva Mendes), and all this while fall you is the wig. Because they hear, Nicholas Cage has a wig that it seems have smeared you the bald in brea and forced him to run a barber shop. Awful. The director and screenwriter is Mark Steven Johnson, that those who follow the genre of superheroes will recall as the perpetrator of "Daredevil". Here again to make your own. Any hint of interest beyond the special effects of the Ghost Rider character may have, has gone down the toilet. The original story unfolded largely around a man who had sold his soul to the devil but that was forgiveness before God with true love, an issue which has given rise to great classics of literature as "Faust" or to some extent "Don Juan", here becomes a ridiculous fights ring. But what is expected of a man that has been said about his character: "a demonic vengeful hero, a sort of Orpheus or Faust". Define Orpheus as a demonic vengeful hero comes to be equal to say that the chicken Caponata is a bird of prey, more or less.The screenplay, in addition to the original character, trample trampling himself. The characters are all incredibly bad. The protagonist has intellect and own a border dialogues; Eva Mendes is limited to teach the neckline and put silly face. Satan seems a teleshopping presenter and has less authority than a urban guard. Blackheart, the fearsome antagonist from hell, is so threatening as a man with a very bad hangover. Furthermore, none of them seems to have some clear motivations, or at least the film does not bother to show them. For what. The case is to get many motorcycles.The development of history is very irregular. It take long to start, after a long presentation of characters that is useless, because while it raises the basic relationships between them, it passes through high details insignificant as why Satanás chose Johnny Blaze, or what he has done, or what. Of course, all this will clarify later, when a character explain it word of mouth. The real antagonist appears well past the three quarters of an hour, and everything ends by solve quick running, when more or less all the protagonists are turn a corner.At the visual level, "Ghost Rider" is a real horror. The greater creation of the film, the rider is appalling, and has proportions more than resemble the Ghost Rider, they make it look biker Microcefálico. The special effects are quite poor. Not technically, but in its design. All the demons, spirits and ghosts that swarm out there seem to have been taken from other films, and nothing surprises at any time, except Nicholas Cage.Miren hopefully this page always little cage. We hope that us it just hurts see it on screen. But in "Ghost Rider" us agrace with what is, without a doubt, his worst performance to date. It is absolutely ridiculous. The two characters are taciturn and solitary rider and a demon that face has a skull covered in flames, and Cage gets that both have the same expressiveness: that of a lighter. His body language is that of Elvis in his worst era, and above it seems that he does very well the subject of aging, what motivates ridiculous levels in which teaches its powerful musculature, hides one of the sides of her face (which to me gives me that it has gone through the operating room, very poorly), takes a horrible makeup, or directly put an average in front of the camera.His co-stars do what they can. Eva Mendes has a ridiculous character, the quintessence of the vase female character that laughs thanks to the protagonist and which has to be saved. Peter Fonda, who has seen you and who sees you. And there is also Sam Elliot, who makes about always: cowboy who spits on the ground.Finally, a boring film, worthy successor to "Daredevil" in the career of its director. Recommended for those who have put their scooter Metra-Kit.

archivos_extraidos/MCE-Corpus-main/Dataset/1728

Francisco Bellón

Madrigal

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Madrigal is a film for lovers of the rarities of the enigmatic and incomprehensible, stories these posed a multitude of incoherent questions that do not offer any response, and allow an infinite number of interpretations.

In the absence of originality that suffers from the film, increasingly more abound in the definitions of the movies words like reference, tribute or nod, referring to scenes or very similar approaches with other films. Do this is not to mention the long list of words which themselves describe cinematographic works, as a sequel, prequel, remake? and so on.With Madrigal, Fernando Perez paid tribute to David Lynch and one of his last works, the touted by some as denostada by others, Mulholland Drive. They see what I mean? All have fallen to again tempted to use buzzwords to referinos to this or that tape. But what is that difference to a tribute of a crude copy zarrapastrosa? Then something very subjective, as it is the evaluation of the film itself: If the evaluation is good, can pass over the alleged lack, but poor of the director as the valuation is bad, because in that case it will consume in the fire for all eternity. This tirade is beside the point of Madrigal and their suspicious and dangerous similarities with Mulholland Drive (will turn a blind eye to the dedication to René Clair), especially in its final stretch. Fernando Pérez, as it already did Lynch, transforms reality to suit in the last act, twisting her and moulding it to your tastes. The two stories raised Madrigal are gimmicky excesivamentes while predictable, empty, and rub the absurd and the grotesque, in the worst sense. The film lacks originality, not to mention the absolute lack of pace. Best thing is the very careful technical aspect, and interpretations of their actors, yielding all to a good level.Madrigal is a film for lovers of the rarities of the enigmatic and incomprehensible, stories these posed a multitude of incoherent questions that do not offer any response, and allow an infinite number of interpretations.

archivos_extraidos/MCE-Corpus-main/Dataset/2865

Emilio Calvo de Mora

La Jungla 4.0

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Entertaining ration of action cinema to desastacar the mind of pesarosas wanderings. Viva McClane.

The jungle 4.0 is a feast of so inconsequential as pleasant adrenaline which appeals to the primary instincts of a spectator inevitably conquered by the mesmerizing pyrotechnics of jumps, gunfire and explosions. Guaranteed amusement not deallocates the certainty that the model of action hero to the McClane is already burnt, although the first version of the franchise implied an ozonated exercise of quality action movie. What has happened with the wanderings of the urban police who saves the world from scratches and blasphemy is that they we not longer astonish. Everything that happens has already seen and everything that we have seen too many times is possible to us not engolosine. The jungle 4.0 brings nothing new to the genre: his subtle progression of scenarios is foreshadow as a clumsy witticism to baste the crossfire of an army of assassins insípidamente handled by a villain is not commensurate with the circumstances. John McClane, Bruce Willis comfortable in a role that belongs to benefit of encyclopedias of film, continues antagonizing the wicked with his homicidal language and its irreducible ability to overcome, despite the thrashing of sticks it receives, the pitfalls, the fights, falls and the damage that he violates the imaginations of the writers, always so eager to please the well apoltronado public.The original Nakatomi, the claustrophobic scenario and true protagonist of the jungle of glass, first and best version, went to an airport and then to a city is now a broadband connection. So are the times. A certain excess of cables, usb ports and screens flickering with cryptic retahílas of codes and algorithms that officiate the eminently apocalyptic nature of the plot: a kind of Total chaos, the demolition of the system, the desquiciamiento of the digital society. But hete here that the rough analog poli, the calibrating McClane, well-armed bad milk and expertise to emerge unscathed from any infringement, skews the greed of the enemy and sends him to hell with a yipi ka yei, son of a bitch, which is what we wanted to hear since that we install in the armchair in the room to receive doses of americanada to use, but we like.

archivos_extraidos/MCE-Corpus-main/Dataset/181

Jesus Lens

Plan oculto

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Torrent of images, dialogs and confusing situations with echoes and resonances of that mythical 'Usual suspects'

Is it true that Spike Lee, answer fly of African-American cinema par excellence, had been launched to shoot a classic thriller, a story of cops and robbers, without more? I wanted to believe it, but I couldn't. Those who have been following these reviews know that I like the film engaged with the reality and the society that surrounds us, but also know that, beyond the content of the film, what really matters to me is that the story is well told. And well shot.Therefore, although much of Lee's recent projects were interesting on paper, its translation into celluloid was quite bland, boring and failed. So I wanted to see good Spike with a film genre, beyond one of its inevitable films of thesis on the violated rights of the poor black man of modern America.The interest to see "Hidden Plan" was to grow as types of criterion as solvent as José Luis Muñoz, Álvaro, Rash and Miranda were glosando its good qualities and strengths, but the irrepressible desire to go to Cinema 2000 Neptune I invaded when the own Miranda, in the middle of a generous grilled meat, we connected via mobile phone with this musical joy which is the song "Chaiyya Chaiyya Bollywood Joint"performed by Sukhwinder Singh and Sapna Awasthi which opens and closes the film.Therefore, nothing more return of Sitges, Anuca and I went to see the movie with Spike Lee. and really enjoy her as guys kids, watching us swept away by the torrent of images, dialogs and confusing situations prepared by the writer of the film, with echoes and resonances of that mythical "Usual suspects", but passed by the traumatic post 11-S, the war of Iraq and the kidnapping and execution of hostages by the Taliban.But we are going with a bit of order. And concert. Suddenly, in the central Office of a well-known American Bank, based in the heart of New York, come masked guys and commit a robbery, leaving with more than fifty hostages between workers and clients. The police moves (and how moves that poli's Mayor Giulianni, with trucks, cars, assault, etc. commands) and sends one of their specialists in kidnappings. and the mess begins.A mess based on the classic who's who and why does what you are doing? Come into play ancient secrets buried, intriguing and enigmatic negotiators external, spatio-temporal games and a wide battery of narrative resources of all kinds that make the two hours of footage to pass in a sigh.The cast is impressive. Denzel Washington to Christopher Plummer through a surprising Jodie Foster, Willem Dafoe always disturbing and coriaceous Clive Owen. Up the footballer Vinnie Jones reveals his fronted become police assault.

archivos_extraidos/MCE-Corpus-main/Dataset/1873

Ramón Balcells

Seduciendo a un extraño

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Seducing a stranger it's erotic as the laberinto del Fauno of comic. The only thing that saves him perhaps Giovani Ribisi, in a role also absurd, but which at least has some grace.

After fascinate me with the good Shepherd, I expect of seducing a stranger, the new film of the earlier promising James Foley, a decent and minimally entertaining film. Because even that. Here are the 8 reasons and media to not see seducing an extraño:1. By his absurd script. Really, one of the worst in recent years, lacking grace, sense and intrigue. It has absolutely nothing attractive, their plot twists exceed the idiocy, the last one, in theory, the most important reslatando. Pathetic 2 by the Bruce Willis character. It is one of those papers left over completely. His speech is purely designed to augmentar the salary of box office, nothing more. It makes no sense and is very badly drawn. It has its own personality, little you know nothing about him. Anyway, that if Willis fails to accept the role would have to have changed the "script". 3. By inexpressiveness of Halle Berry. As they say, it has only made a good performance in their life, Monster's Ball, and from there, his career has not more than worsen. Let's see, by God! There is very little love cinema to accept roles as Catwoman, Gothika, operation Swordfish and seducing a stranger. 4. By the lack personality that has the film. Even a mediocre film director could have shot a film with a bit of personality, or that is a little. Here there is no original detail or staff, and less a plane that is worth your while. They are all this style Hollywood lately is fashion, this where only focuses to the character and nothing else, that Yes, with very good image quality. 5. By his painful setting. So it seems, everything is shot on sets and occasionally gets some image of the street or a (very common in this type of thrillers) párking. 6. By both resemble a telefilm of Sunday afternoon (Antena 3, above). Up su, initially promising outcome is going to the pot using the technique of the final surprise, in this case, badly carried out, given that it makes no logical sense and do you not also believe not in jest. Really decepcionante.7. To see that it is an erotic thriller to the reality and basic instinct is a thriller to dry, because of erotic has nothing. What's the affair with the character who plays Gary Dourdan (the black of C.S.I.: Las Vegas)? Really, it is not account, because it is totally dispensable. It brings nothing, absolutely nothing, to history. It is not for nothing, but seducing a stranger is so erotic as the laberinto del Fauno of comical. 8. By this kind of final moral that does not come to mind. If you do a bad thriller, you do a bad thriller. Now that I do not come with logic and psychological things! A crappy is a hodgepodge, and more when it simulates wasn't. It must be very silly to make ready while you are going a tape like this. If you've annoyed her, her you have fastidiado.1/2. By the painful publicity campaign that has had. Their posters (both of Spain as the official) are really horrible, just a touch of originality (fiajos in the topical promotional sentence: until where be capable of reach?) and its trailer of the same, although the final part is a little more interesting (slightly!). The only thing that saves him perhaps Giovani Ribisi, in a role also absurd, but which at least has some grace.

archivos_extraidos/MCE-Corpus-main/Dataset/2802

Ramón Besonias

Disturbia

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Disturbia was born to be flavored with popcorn and Yankee syrup. Intrigued, no, we will not find nothing more than scares of telefilm. Even the sex scenes promise a climax exceeding an advertisement.

Much of cinema universalizable consumption found lately by the charts continues the icon of the avant-garde artistic dictum pop-art, Andy Warhol, whereby the essence of art is not the originality of the work, but in its reproductive potential, both in the popular psyche and in the process of production and dissemination. The art, therefore it is not creation, but eternal return of the same, always fleeting, and in their contingency is where its wealth. Thus, a portrait of Marilyn can adopt various colors, even knowing the obvious repetition of its forms and still coming its figure of popular iconography drawn from the common media, leisure or consumption.This philosophy of art entails a decrease in the slow process of creation (in this case playback) classic, and a cheap and universalizable dissemination. But in turn he evades responsibility that Yes existed in classical art to be creator of a genuine work, product of the brilliant idea of his maker. On the contrary, the postmodern artist is heir of art as a form of popular dissemination of icons that one day were called works of art or teachers, but today only reactualizan from the movie fan nostalgia, or as it is here, from its reproduction warholian for fast and cost effective consumption for a large mass of spectators.Disturbia is, like so many others, a recent example of this trend in which supported with more than demonstrated success crematístico the apparatus of Hollywood production. In fact, Hollywood invented film as this machinery full of fetishes (geniuses that it looks as if we talk of painting) represented through their actors, actresses, directors and movies. The idea, the concept, the theme, the intentions of the author (screenwriter or director) are diluted by the dazzling glamour of this props that both love to the fan-áticos of its pageantry. See if not photogenic glamour that sold emblematic as Cannes or Venice festivals, guarantors on their day of a film blessed as classic today.Disturbia is adaptive reproduction of the classic which supports, there in it will nor less deconstructive passion still seeking to pay homage to the Hitchcock and his rear window (1954). Everything is cold and calculated. More talluditos characters come to adolescents, who is with whom mainstream (which polls say fill the seats of theaters in the developed world) will identify most likely. We are thus presented with elements whose contextualization (modernization?) does not comply with an artistic or narrative function, but a mere adaptation to the public that will bring the expected final benefits. This is the case of the use that is made in the film of new technologies (mobile phones with camera, laptops, digital cameras high definition and small size), whose archetypal shall exemplify the typical Eastern clever (but histrionic), faithful friend of the protagonist American shamelessly. To allow the director (do not know if suggested by his lucid producer) the idea of including in the protagonist knowledge of Spanish in clear complicity with the most influential Hispanics in the United States.UU. Up the aspirants to the White House know that they should be bound to venial winks to the potential voter Hispanic if they want to scratch votes. That Yes, the Hispanic police will not have a very decisive role in the resolution of the facts that Disturbia suggests. Everything must be like the America welfare would like: white men seeking white women in residential area of single-family luxury.Disturbia was born to be flavored with popcorn and Yankee syrup (more profits leaving the exhibition halls). Not disappoint to who is swayed by his futile but natural need to bask in this September that promises much backward heat. Intrigued, no, we will not find nothing more than scares of telefilm. Even the sex scenes promise a climax exceeding of an advertisement with girl mona palmito strolling the neighborhood.Warhol not deceived its delivered Viewer. Everyone knew that the empty banality of several colored Marilyn lies in that, in his electrifying transience of fair media.

archivos_extraidos/MCE-Corpus-main/Dataset/3105

Ana Belén Pacheco

Hairspray

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Lacquer, dandruff, lice and music. Musical show sixties suitable and highly recommended for all ages.

I am a geek of the musicals. It seems to me they are the essence of entertainment without worries. Well, in honor of the truth some musicals Yes dare with themes that should think like racial integration, discrimination or bad taste in hairstyles.It had long been wanting to write about Hairspray but I dared not until having seen the theatrical musical to know exactly the part of credit that should be granted to the film and its "predecessors". So come with the antecedente:1.-John Waters, famous director rude, scatological and absolute owner of the bad taste created Hairspray in 1988. Then the film wasn't music if not with music and essentially was him rebellion of fat and black against the world. As absolute detractora of Waters (admit that only stand the murders of breast) seems to me that his film was boring, with its tonic general jokes bandir them. In fact appears fleetingly as cameo in this latest version of the movie 2.-Theatre. Apparently John gave the Welcome to represent his work on Broadway. Tracy took the great leap to the stage and became a musical of success. Apollo Victoria was as follows in hosting in London and thus began his journey for the tables. For my fortune and given the success of the film a group of amateur theatre it is representing in Madrid by what I have seen has nasty Walter with the dose of innocence just then exaggerated in the film. Those who have the opportunity to compare both will notice that the play is more faithful to the history of Waters but her descafeinó it to make it suitable for all ages. I.e. nothing kisses of screw or impossible to cockroaches suits, a most accommodating end and much more light and humor.3-the 2007 version of Hairspray comes to cinema as a safe bet. (Part of an impressive in the U.S. box office and the always disturbing "summer movie" title thanks to five factor:a) regalia Travolta. There are many criticisms of that mass of latex which is in Hairspray but after wild pigs and others is appreciated to be able to fit the petticoats and again put in a musical though it is far time which marked the passage by the Saturday night fever Broadway. Some have compared with the Mrs Doubtfire. Is that an insult? Because in my innocence I thought it was the best movie Robin Williams that make the mistake that is repairing Travolta has done in his life: takes himself too enserio.b) Zac Efron. He has become an idol of masses by High School Musical. A television success has surprised up to Disney's own and whose sole peculiarity is that the boy sings well, moves better and girls love. Adults suffer from total ignorance towards Link. No mistake, the blame is not the poor kid, is that Link is the stereotype of the "women vase" but with pants. (If we give such importance in the plot the truth is that it survives with quite dignidad.c) Queen Latifah. I admit, I I remove the hat that is fun, charming and sympathetic over not being able to. After bland and stereotypical comedies is fortunate to have the role ideal in the musicals that is so fashionable adapted to the big screen (already sneaks in Chicago) .d) Michelle Pfeiffer. An impressive return to the screens with Hairspray and Stardust. To me deserves the honorary card of bad irritant of the year. (Chapeau.e) not remove merit to newcomer Nikki Blonsky has managed nobody steal a scene in her role as obese without complexes.Tracy, endearing gordita which seeks to demonstrate that their physical appearance did not prevent him to become a star of the dance in a TV show. On his way the struggle for the rights of blacks, find love and impossible hairstyles. Something that could be extrapolated to 2007 without much lacquer and carded but possibly with less grace and fun which offers this suitable and advisable sixties musical spectacle for all ages.

archivos_extraidos/MCE-Corpus-main/Dataset/4197

Ethan

Los Crímenes de Oxford

muchocine

It gives the impression that the director had been halfway between a personal film and a commercial without more pretensions.

With great enthusiasm, I went to see the crimes of Oxford, with the illusion of an admirer of Alex de La Iglesia, one of the directors with more talent in this country; first of all a great film lover as evidenced by some of his most acclaimed tape "hitchcocknianas" sequences. Pity that in the film that concerns us, the orondo director has been far from the day of the beast or the community. And is that in this film fails almost everything. The casting fails miserably. No one believed the couple "Frodo"-Watling. Which fails really is American actor, with a role which fits great (and I am not referring to the height of Elijah) and thumping next to the much more appropriate John Hurt. Failure the obsession of Alex shoot based on close-up and convert the tape in one of those "already the see her den when on television". The plot fails. Gives the impression that the director had been halfway between a personal film and a commercial without more pretensions, where the resolution of some points is hasty and where alternate scenes placed with shoehorn (some sequences of bed are even foolish) with others performed without any conviction by actors. Only some shots of his style - the fake plane sequence and the scene of the concert that reminds the man that he knew too much (The Man Who Knew Too Much of Alfred Hitchcock, 1956) - and the music, very similar to what Bernard Herrmann was saved to tape to qualify her mediocre and not bad.

archivos_extraidos/MCE-Corpus-main/Dataset/727

Bloody Will

La matanza de Texas: el origen

muchocine

Bad, very bad. Puzzling and engañabobos. Almost two hours of blood without any explanation, although he never needed, and with a few ways to mascadas and manidas to finish the characters. Hopefully that it is the end of a saga.

I do not remember very well how was called the documentary, but for many years issued it in TVE and was a kind of collection of the best scenes of the cinema of fear of the 1970s and 1980s. Appeared in "Halloween", "Nightmare", "Thing" and a host of more films. The image that struck me most of all was that of Leatherface behind a blonde that bellowing like a pig at a slaughterhouse, in the original "Texas Chainsaw Massacre". What is far left already that, and what they have done with the saga, God mine. does "the origin" of what?. Stupid argument trying to equip a research into the origins of the murderer of the saw for a film which tells the same story than its predecessors. Do not fool, the birth of Leatherface lasts 30 seconds. Its origin, vague explanation. Its development was seen in the remake, but with different girls.A road, a sheriff who preys to the kids and a succession of races and short breaks on the outskirts and interiors of the House that is unmistakable. That is not the origin, but the same mechanics used to kill 70 and peak people, and which can make 30 sequels more, to the rhythm of the dead we have. Not have I heard why Leatherface killed, what led him to have the disfigured face, nor their obesión by cutting the carne.¿Por what it was butcher?. How, it's easy, what scam. I assume that the mask that accompanies the psychotic is the face of the first youngster dead, played by Matt Bomer. This must be, because it is not you see it clear. Gentlemen, this is not a film of origins, is a film franchise that continues needlessly, and which we can expect no surprise, that, to its prequel, won't die caracuero, obvious.The girl, Jordana Brewster, very cute, seen in "A todo Gas". The boy, Matt Bomer, seen in "True Calling". Their roles, flat encephalogram, with the sole purpose of stay alive the greater possible footage online. The other two co-stars better forget them.The best two: one, r. Lee Ermey as sheriff Hoyt, of which we know his way to ascend in the Police Corps; and the other, the sound of the mechanical, brutal sierra until the end. Perhaps it is that the end, the only thing remarkable for a film that already not scary to anyone, and where blood, in abundance, is not giving much disgust.Bad, very bad. Puzzling and engañabobos. Almost two hours of blood without any explanation, although he never needed, and with a few ways to mascadas and manidas to finish the characters. Hopefully that it is the end of a saga, although I doubt very much that, not being dead caracuero, carnage continue?

archivos_extraidos/MCE-Corpus-main/Dataset/137

Tito Chinchan

V de Vendetta

muchocine

Highly recommended movie, with a very elaborate plot that makes that we are looking forward to know the outcome from the first frame

A thorough study of the poster may annoy us throughout the film. So I recommend that if you want to see the movie, not mireis that this deserves the poster bears a lot as to which os they spoil nothing of it. What is more, not deberiaís or read critical, is going to be they unveil you something this essential film. By the way, is from the creators of Matrix (although much milder and I dare say that better than the last two deliveries). And that I don't tell you that it comes from a comic.The film is developed in a futuristic England that has become a police state. United States is mired in an internal civil war and England has become a superpower. Within the reigning chaos by the new regime (motivated by a terrorist attack that exalted the current leader) comes a figure calling himself "V" it's overthrow by all means to power. In these, a young woman is going to be raped by a sort of police force when the mysterious "V" makes them a cut of hair to the flying knife that leaves them nickel. Who will be "V"? or better yet what is all this?.Well, we have a movie of those that better not blinking because you lose details and, although at the end put all the pieces in place, much better follow from the origin. The story they tell us is really good, with futuristic (though not much) scenarios that give the pego perfectly. In addition, as "V" have mask, therefore not we can criticize him nothing for the performance by the actor who plays. And we highlight the Mise en scène that has, with a few very interesting photography details that make this a great movie. In the bad, that spare you half an hour of roll. It is not be wrong this time, but gives a court action that you can get out of the movie.In short, highly recommended movie, with a very elaborate plot that makes that we are looking forward to know the outcome from the first frame. By the way, the end is great, those who you would like to see all films.

archivos_extraidos/MCE-Corpus-main/Dataset/2635

Bruji

El último rey de Escocia

muchocine

The big difference that a history of history fall into expert hands or reaches the producers of 28 days after, resides primarily in that, in the first course, I could be talking about a masterpiece; While, in the case before us, it is only hear about the interpretation of Forest Whitaker.

That that history judge each and every one of the dictators of the world, okay; but it would be much better if, in addition, be brought to each and every one of the all-powerful who, at some point, smile at you them. The butcher of Kampala accesses the power of Uganda following a military coup which is supported by Israel, while the Ministry of Foreign Affairs, British he defines as "a splendid type and a great football player". A few aspects which, like many others, not transcend in a film of "historical genre".The big difference that a history of history falls into hands experts (I can think of Mr. Spielberg) or reaches the producers of 28 days after, resides primarily in that, in the first course, I could be talking about a masterpiece; Whereas, in the case that concerns us, you only hear about the interpretation of Forest Whitaker.No is strange. We have a film which is lacking too many essential elements, such as depth and historical rigour, a solid script, an effective arrangement, and an intensive course on what was meant by "measuring time" in the narrative of a footage. And that, on the other hand, has to go camera moves sea, scenes that do not fit and inserted artificial way (due to deficiencies in the script, in the montage, or both) and, above all, the claim that places it within the historic genre. The director of the film expresses his desire for the Viewer to a remote location, such as Uganda, for? assume - bring the socio-political reality of this country in the era of Idi Amin, "Given". (I say OK, we suppose). We are assuming that, being a November documentalist, success is assured; and we were wrong. The only thing offered is a film of adventure, "Doctor in Uganda", and a superfluous panoramic view of an imaginary country, ruled by a bizarre tyrant that coexists with English characters which do not explain his presence, which are episodes of kidnapped flights without clarification of the positions of anyone, and where is sensed the brutal repression against a few opponents of unknown provenance. Said with other words, the filmmaker turns into one of these travel agents which provide idyllic destinations in paradisiacal circuits closed, away from the harshness of the place you visit.Which is a real shame, because there are valuable ingredients that do not have managed to explode, as they are the attractive story of Giles Foden; the presence of a personal fictional, medical advisor of the dictator, who is representing the civil population seduced by it for later, suffer the revelation of his true personality; and the possibility of filming in the heart of Africa, which is only used to show the different types of existing mosquito, under the rule of a torturadora soundtrack.A clear example of what happens when it fails the "approach" which dealt with an argument, which leads us to wonder how different this film would have been if he had used the novel to deepen the historical episode, as did Steven Zallian in Schindler's list or Tony Kushner in Munich or even manages to capture the essence of the slaughtererwhich is brimming with of affability (which certainly was), but which not been attributed explicitly those other aspects which expressed his schizophrenia, which led him to appear in the Court of the Queen without prior notice, to make a telephone call to the President of the very USA at five in the morning, or to rebuke his admired Hitler "for not having murdered enough Jews". Some details that make, leaving the film, 1,500 doubts that assail the Viewer, having gone to the incredible history and, at all times, forced approach.In a product aimed at the satisfaction of a nothing demanding audience, it pleasantly surprised the extraordinary leadership of actors that develops the documentalist. Not only is worthy of praise the work of (deservedly award-winning) Whitaker, physical resurrection of the "King of Scotland" filmed in 1974 by Barbet Schroeder; but also they are interpretations of James McAvoy, Gillian Anderson and David Oyelowo. As much as the right picture of Anthony Dod, sober and sharp within the British Empire, intense colors in Ugandan territory. Which leads us to believe that the next time a filmmaker decides to venture into the African continent, will have to flee (as if it were a hungry Tiger) of the cynical message that release products like blood diamond, as well as well as the historic grey created by MacDonald. I am sure that the famous acronym AEAEA (this is Africa) are still pending to explain.

archivos_extraidos/MCE-Corpus-main/Dataset/251

Silvia

La ardilla roja

muchocine

Who would not like to reinvent their lives, leaving aside what we were and not we are pleased to see from the present?

Jota (Nancho Novo) attempts to throw from a banister to the sea but his cowardice prevented. Instantly, a rider has an accident and falls into the arena. He does not remember anything, not even his name. Amnesia. Jack invents an identity to the girl, Lisa (Emma Suárez), invents a life in common with her, poses as her partner when she accompanies to the hospital. As soon as it is possible, Jota and Lisa leave the hospital where he remained entered to begin a life together. A life which supposedly had in common before the accident but that only exists in the desire of Jota. They are installed at campsite La ardilla roja to spend time on vacation and there to weave a Web of lies and deceit on a non-existent relationship but they created from their desires. Who would not like to reinvent their lives, leaving aside what we were and not we are pleased to see from the present? To who do not would like to rebuild their own lives without anyone remind us what we have been?An intriguing tale of love and lies directed by the creator of the fascinating lovers of the Arctic circle and sex and Lucia. A magical and surreal tale which probably will appreciate only lovers of the universe of Medem.

archivos_extraidos/MCE-Corpus-main/Dataset/4215

Alvaro Oliva

American Gangster

muchocine

It will delight all amateur movies of gangsters, Russell Crowe, Densel Washington, the biopics and good film, because if something can be said of this product is that it is a great movie.

It's nice to start the year with a proposal like this. Mechanical Scott back on the path of the great films, and "American Gangster" is a good proof of that. Surrounded by great actors (Russell Crowe and Denzel Washington) immerses us in a true story, the life of Frank Lucas, puzzled the Viewer, to show us the corners and methods of the underworld of New York and New Jersey. Everything in this movie is sensational, starting with the address and ending in any technical department. It is incredible that the Oscars have forgotten it in many of the major categories. Denzel Washington (Frank Lucas) returned to build a character of those that leave footprint, and presents us with the way and the brain need to have to become the most important person in the drug trafficking and the mafia, beating the Italians and showing us how was murky the army and police enforcement. Russell Crowe is the polar opposite in terms of roles, it is the honest police which is responsible for the operation to dismantle the Organization of Fran Luke and company. The director of "Blade Runner" returns to give us a lesson in cinema with this proposal, that well could be equated to the great titles of the genre as "The godfather", "One of ours", "Once upon a time in America" or "Casino". Despite its duration fails to make heavy, with a pace and a superb, charged performances of realism that help shape all the aura of veracity that distills the new proposal from Scott. In short, "American Gangster" will delight all amateur movies of gangsters, Russell Crowe, Densel Washington, the biopics and good film, because if something can be said of this product is that it is a great movie.

archivos_extraidos/MCE-Corpus-main/Dataset/1079

Silvia Giner

Babel

muchocine

The final message of Babel, is a call to the compression. The importance of paying attention to what others have to say. A highly recommended film and a fantastic farewell for 2006.

Alejandro González Iñárritu (Mexico 1963) after indisputable as "Amores Perros" or "21 grams" successes, brings us a fábulosa and unpredictable, Babel. The name of the film is derived from the Hebrew verb balál, "confused". And precisely on the confusion, on the words and the important thing is to listen to them, is about what this magnificent film.Alexander, returns to surprise us and fall in love with your genuine personal touch. This man not wheel, this man makes authentic verse visual with the camera, although the result of this tape as well as well as those mentioned above, not have been possible without the narrative magic of Guillermo Arriaga (Mexico 1958) writer of the three titles.Having chosen Babel as a name, is a colossal success, for those who do not know the history, the Tower of Babel prentedía be a construction of type ziggurat, will reach heaven, mentioned in the Bible in Genesis Chapter 11. According to, Dios Yahweh descended to see the city and the tower that the men were lifting and said: "Behold all form one people and all speak the same language, this being the principle of their companies." Nothing precludes them that they carried out what they intend. «As well, let us go down and there same confuse their language so may not understand each other '.Something similar is occurring in this film, people with parallel stories that are United in a point whose butterfly effect influences as a Domino in all of them.Outstanding players not only in its interpretation, but in his characterization, Brad Pit with those wrinkles of father and husband, tired or the real Adriana Barraza (Amores Perros) as a nanny. The truth is that you it can not put no but (although Gael García, interpreted likewise).This director like me, because it is faithful to the actors who have helped him get the triumph. Hovers them again and this time accompanied by names stellar as Brad Pitt and Cate Blanchet (beautiful).Perhaps someone rate the movie as slow pace, but it is not, we must think that this story with a faster pace would be hasty.As a novelty, Alexander us discover a new Muse for Hollywood "Rinko Kikuchi (Japan 1981)" to which we have previously seen in "69", the rest of his filmography is from Japanese, but has enough films in his credit and announcement that will give much to talk about in the Hollywood universe. For the confused, this is the actress who plays the teenage sordomuda Japonesa.El final message of Babel is an appeal to the compression. The importance of paying attention to what others have to say. To make a better world through words, our words and the words of each other in perfect harmony.A highly recommended film and a fantastic farewell for 2006.

archivos_extraidos/MCE-Corpus-main/Dataset/3424

Andrés Pons

Aprendiz de Satanás

muchocine

Precisely these veterans with stagnant careers than practically already lost the opportunity to highlight the celluloid are occasionally before the nothing to lose are not afraid of the genre was taken lightly and offer full of freshness films on all four sides.

JEFF LIEBERMAN debuted in the mid-1970s already distant with the interesting SQUIRM. Typical serie b on mutant worms transmitting true talent in the plot and great sympathy in all your footage making it a small cult.However there stayed his work because his subsequent proposals did not be mediocre SLASHERS or Teleplays from desktop leaving his name into oblivion.Precisely these veterans with stagnant careers than practically already lost the opportunity to highlight the celluloid are occasionally before the nothing to lose are not afraid of the genre was taken lightly and offer full of freshness films on all four sides. In this lies the charm of this tiny production where the author sends walk all cinematographic standards leaving technicalities, forgetting to do something half decent quality.Simply leave take with sense of humor gone from revolutions to tell the Odyssey of a stupid kid lost helping a psychopath believing it to be part of the game. Before such cluster of little credible cirnscunstancias you let Guide to laugh leg loose with situations so surreal to cause a real Gale of good comedy probably carried out with the effrontery that in any case a prestigious director would dare to do.All that helped with actors in full possession of sobreactuaciones carried the limit where they emphasize the independent AMANDA PLUMMER "PULP FICTION, MIMIC 3" and the gorgeous KATHERYN WINNICK who appeared in some parts of the HELLRAISER series.In short a bad film but with the charm of the audacity that if you you take a joke you will spend a good time.

archivos_extraidos/MCE-Corpus-main/Dataset/2894

Kiko de España

La jungla de cristal

muchocine

In 1988 John McTiernan directed a movie of action had a prota with charisma and sense of humor, something that does not then abounded (does now if?) that if we look at fellow Billboard then we to Seagal and Van Damme and the uncle of Crocodile Dundee.

In 1988 John McTiernan directed a movie of action had a prota with charisma and sense of humor, something that does not then abounded (does now if?) which if we look at Billboard's then fellow finds Seagal (above the law), Van Damme (bloody contact) or the uncle of Crocodile Dundee; also there were major gifts such as doll DiabólicoA fish called Wanda or Cocktail.La jungle of Crystal presented a poly with very bad host and problems at home in a skyscraper full of very bloody foreign terrorists and the feet small. What should not do Tarantino with McClaine toes?The poly makes the threat with effort, sweat, blood, ultraviolence, and plastic explosive. The bad guys were attributable to Hans Gruber, a guy that reminds the Sheriff of Nottingham and is coolto of balls. Hand will not tremble you to count up to three and popping the head of the head of Holly Gennero. Sorry John. 9.

archivos_extraidos/MCE-Corpus-main/Dataset/2175

JLO

Desmontando a Harry

muchocine

People loved Match Point, but we know that those people is that not like Allen. Woody is this film, by principles, by intelligence, cynicism, by nature and by quality also.

Woody Allen films could be divided into thousands of subgroups. The comic of its inception, the serious "to the Bergman", the safe, the great, the latest standard autopilot, etc. But let's talk about his best film of this last stage: Deconstructing Harry. Or rather, Deconstructing different Allen.Film and clearly exaggerated, a kind of Woody Allen reloaded. From its top, note the purpose of Allen by cause. A furious and choppy montage? used in throughout the film, unpublished in their cinema - makes the difference. And not to mention his politically incorrect humor. Very wrong.Despite being the protagonist?Harry Block - a monster without apparent virtues more than the literary becomes likable and irresistible. Could it be the own Allen? This character is a face more sarcastic himself?The biographical elements posts here are a mirror? its relationship with psychoanalysis, sex and religion – and so do appear. Although thinking a bit, its history with the coreanita, not desentonaría for nothing in this script.Unlike Allen's latest deliveries, it never loses its overwhelming rhythm. We said before a nervous and at the same time bright Assembly. A film is bad for women, all religion, so beloved psychoanalysis, the American middle class and even to himself. A rarity for its degree of acidity.The gags and the dialogues are unbeatable. Few in his film as imaginative as the actor that is out of focus (Robin Williams ja!). Or death touching the door. And we could say more.The jokes about Judaism are hilarious: "already be lost 6 million but records are to be overcome" "what's wrong with science?" "Between the air conditioner and the Pope, I prefer air conditioning". Or one of his former women reprochandole to teach his son in common phrases like "I shit on God".Level actors parade is endless, demonstrating once more the prestige and importance of the film of Allen. The amount of characters and endless stories of this film, show a prodigious management of timming, where never get to mingle or tired. And that shows people characters in the film more imaginaries more the characters in his book more. Uff. Genial.la people loved Match Point, but we know that those people is that not like Allen. Woody is this film, by principles, by intelligence, cynicism, by nature and by quality also.I I would encourage to say that you aside from his undisputed classics?Annie Hall, Manhattan, crimes and sins, this Deconstructing Harry is undoubtedly his best film. Or which best represents.

archivos_extraidos/MCE-Corpus-main/Dataset/1820

Iñaki Bilbao

Diario de un escándalo

muchocine

I do not think it a good movie, but as it happened years ago with "Fatal attraction", it has hypnotic power thanks to the clever mix of various genres who know how to win over the respectable.

Interesting film of psychological intrigue, benefited by the extraordinary work of two immense actresses: Judi Dench and Cate Blanchett.Porque if it were not for them the film resentiría, to begin with, a lack of truly remarkable rigor. In addition to some guionísticas eccentricities and exits of tone that easily her could do little convincing, at least from the point of view of the more logical minimum (the reason for which expands the secret is of descojono, as well as the scene in which are about to go to the premiere of the work in which intervene the son of Blanchett).But thanks to the great work of these ladies of the interpretation, as well as the superb soundtrack by Philip Glass, with a potential huge dramatic in some scenes, such as when Blanchett comes with the newspaper to meet journalistic carrion, is achieved by the Viewer to follow the story forward expressing to do it, sometimes exciting.If it reflects a little at the end of the vision of the tape, one can realize that, ultimately, there has been too much noise and not too many nuts, but while you are viewing is undeniable that force printed at certain moments, freeze without remedy, by passing a good time.I do not think it a good movie, but as it happened years ago with "Fatal attraction", it has hypnotic power thanks to the clever mixture of different genres who know how to win over the respectable, although it is far from having much film quality.

archivos_extraidos/MCE-Corpus-main/Dataset/224

Jesus Lens

Himalaya

muchocine

Pity is that Valli has no narrative pulse of Hawks and the caravan later both to boot because the movie is correct

"Himalayas" is not only a western in which doesn't stick nor an only shot but that, in addition, its action takes place about five or six thousand meters of altitude. Nothing less. Strange? Perhaps. But if Sam Peckimpah filmed his exemplary "duel in the High Sierra", to see by Eric Valli, despite its ironic name, would not be able to shoot this mountainous initiatory story, survival, overcoming and redemption.It goes without saying that the film was originally titled "The learning of a Chief" and that perhaps by the strong climbing Hispanic tradition, our distributor decided give it a name so generic as "Himalaya". We have a movie that, on the basis of an archetype as classic as the dead hero and the struggle for the leadership, shows us, with the precision and detail of a National Geographic documentary, the hard life of the inhabitants of a unknown town in the middle of the Karakorum.Se show us the funeral rites of the community, the puzzles and riddles used by priests to decide when is the auspicious day for the departure of a caravanpreparations, it teaches us the interior of the houses, clothing, gadgets of everyday use, etc.And then, the characters. Father afflicted by the death of the son, the new hero, the widow, the little orphan or the prodigal son star in a range of situations connected with the Greek classicism, medieval chivalry novel and, of course, with the western; not in vain, that "Himalayas" is driving a caravan through extreme situations, playing many of the experiences that Howard Hawks tell us in his "Red River".Pity is Valli have the narrative pulse of Hawks and the caravan later in both boot because the film is correct, the situations that pass the characters still predictable, they are very well resolved and, in general, "Himalayas" can be seen with pleasure.

archivos_extraidos/MCE-Corpus-main/Dataset/4168

Oscar Martínez

John Rambo

muchocine

Incredible as it may seem, 'John Rambo' is the film splatter of the year; from Braindead he saw nothing of the sort.

Twenty-five years after his first delivery, and almost twenty years after its third installment, Rambo 4, or Rambo: return to hell, or John Rambo, as it will be called finally in these parts, comes to our screens on 1 February with more violence than ever before.Directed by and starring Sylvester Stallone, to whom accompany Julie Benz, Matthew Marsden, Graham McTavish, Reynaldo Gallegos, Jake La Botz, Tim Kang, Maung Maung Khim and Ken Howard, this fourth installment of the character created by David Morrell shows us a green ex-boina already veteran John Rambo who now lives a solitary and peaceful existence in the jungle of northern Thailandfishing and hunting cobras and then sell them. But everything changes when a group of Catholic missionaries need guide them to the border with Burma to provide food and medicines to some refugees besieged by the Burmese army, which has made the torture and murders commonplace. Rambo won't have no choice but to return to get involved. It will be forced to do what they know better, because although yours takes the war in blood.Novel company specializing in CGI want to promote is offering its new and revolutionary software specialized in bloody disintegration of human bodies to balance price. If you want to take advantage of this amazing offer, just should contact us at 555 - 12 34. In addition, if you call within the next fifteen days offer, completely free, two dozen of cobras. Exhausted the promotion of pythons.To this phone the teleshopping lamó Sylvester Stallone at wee hours of the morning to deal with the Visual effects of John Rambo, film funded, probably, with the money saved to take advantage of the offer 2 x 1 in Botox that promoted the branch of Corporación Dermoestética in Los Angeles.Y is that gods, often películón that is John Rambo.Aclaremos things: If we talk about in film termsJohn Rambo: return to hell, is one insult both to the seventh art in particular as any minimally rational intelligence in general, because its plot is practically non-existent (in short, the usual premise of all the sequels of Rambo), its completely archetypal characters, and deliberately obvious development.But, to my surprise, I found that it could no doubt catalog as best film splatter of the last fifteen years. Come on, from Peter Jackson's Braindead a server had not enjoyed both with similar dose of wild and free violence: tens of warheads that explode, hundreds of amputees Member violations everywhere, bodies vaporized in a huge cloud of blood after giving a mine antipersonnel, infanticide, ele crossed by arrows, massive desparramamiento of internal organs, mines that they trigger (almost) in Atomic explosions.All this and much more, in explicit key, is what John Rambo offers.As I said, the premise is indignantemente predictable, the archetypal characters over not being able, and Sylvester Stallone is passed throughout the film or killing indiscriminately or losing the gaze on the horizon thinking, one of two in which his circle of violence has been closed definitively, or have forgotten again buy bacon for breakfast, it is something that a server has been unable to decide.So, ladies and gentlemen, buy a bag of popcorn giant, a few soft drinks, left with the more hooligan chums who have, and be available to enjoy, laugh and applaud in this violent spectacle and gore without equal which is John Rambo: return to hell.

archivos_extraidos/MCE-Corpus-main/Dataset/2180

Matías Cobo

Dreamgirls

muchocine

The tape provides enjoyment for who leaves to viewing it as a long video clip emerged by a minimum but not bland argument and much less boring.

We live in times of hatching of musicals for these payments, where previously just arrived the echoes of the taquillazos of Broadway and London. I do not know if recent film adaptations of popular this Dreamgirls or Chicago works have received the overwhelming kindness of the cyclic premieres of the Lope de Vega or the Apollo. And although it lacks accurate data, I very much doubt that both phenomena have reached gauging success. In my case, I've never declared an adept of the genre, both tapes seemed fascinating by its balanced commitment between a history of some interest and a brilliant audiovisual show. Topicazos outside, because the history of the rise and fall of the 'Dreamettes' abounds in the hackneyed structure of the so of fashion 'biopics' musicians (Ray, do tightrope?), tape offers enjoyment for who leaves to viewing it as a long video clip emerged by a minimum but not bland argument and much less boring. Contextualizada between the beginning of the 1960s and half of the 1970s, the film recreates how this trio of women first, resisted his predestined junior role as choristers and later, reached stardom in a country where it seemed still reserved to white artists. In this regard, the passage of the tape which shows how was common currency swiping successes to black groups distributed at the local level, cover them with a band of white and then get juicy revenues in national lists is very eloquent. Indeed, this issue, that of the hits and the struggle in the charts, is very present during all the footage from the tape. To the extent that many of the conflicts between the 'Dreamettes' come motivated by this issue, and the jealousy of some compared with other in the bid for higher levels of prominence. Moreover, some other good reasons to see this tape are attend the magnificent recital of that powerful whirlwind that goes by the name of Jennifer Hudson, discover a surprising double dramatico facet in Eddie Murphy and enjoy themed magnificent soul who squander rhythm pours more danceable versions and much feeling in his ballads.

archivos_extraidos/MCE-Corpus-main/Dataset/3644

Emilio Calvo de Mora

Abierto hasta el amanecer

muchocine

Excellent in its half, impossible to take seriously in his second, open until dawn is a vampire road movie, a joke of 90s and peak minutes...

Cafre apotheosis film gore in its final stretch, cynical and even discreetly adult in his boot, open until dawn is an ineffective thriller vampire guidance which offers pouring testosterone and expresses his conviction of film pulp in the visual orgy of his bloody coda: La Teta Enroscada, a gambling den in the middle of the border desert where the monsters play Tejanothey drink as Cossacks and engulf the soul of truckers and bikers with fierce tusks and morbid dentellada. That is where the film loses all the bellows which won in his home. Here Tarantino garabatea his apocalyptic vision of reality, truffled of comic books and B and Z series, tribute to the giallo and its filmmakers of header - from Peckinpah to Scorsese, Samuel Fuller and Sergio Leone-, but burden the technical aspect to Robert Rodriguez, absolute iconographic accomplice (brotherhood continued in the recent pair Death Proof - Planet Terror). Open until dawn can get bored: it is communion with the cutting, of being contaminated by the outrage of amputated members and viscera spreading of bourbon. Otherwise, in their light, in the formidable boot version, the tape is a hypnotic road-movie of superbly pincelados characters (the skeptical pastor, daughter fascinated by evil, the violence of the Gecko brothers, Tarantino and George Clooney in State of grace). Just fun (at least for this digital British) when they come into the den where the gang of vampires steepen the elbow and behead innocent souls fallen into disfavor. This is perhaps the party to fill with enthusiasm to the enthusiasts tarantianos, among which I have, but that sometimes is healthy desparrame and autoparódico joke, here it is not. It stands out, how no, the dialogue: Tarantino is a formidable writer, although - as we know - it has not ceased to write the same script since it hocicó in the star-system with its rupture and hypnotic Reservoir dogs (1992).Salma Hayek teaches lewd flesh in a lewd dance of border blues that has created school, snake as a scarf included.

archivos_extraidos/MCE-Corpus-main/Dataset/1047

Ramón Balcells

Scoop

muchocine

A notable comedy of entanglements (and laughter) that should be noted, in addition, one of the few comedies of genuine laughter in the Filmography of this excellent director, actor and screenwriter, Woody Allen.

Since Woody Allen began to opt for the simplest comedy with simple movies such as an end of made in Hollywood, everything else or middling Crooks, no one would have thought the director of crimes and misdemeanours returning to his most appreciated genre (with the exception of the first comedies), the drama. And so it was, he filmed a masterpiece called Match point, in London and with Scarlett Johansson. A year later, the director, remember, New York, has decided to return to the comedy, no doubt intelligent, but, instead of putting it on Manhattan as the rest of his films except the appointed, try again with London, and to follow his "Muse" routine, choose again to Scarlett Johansson. It's Scoop (here it is not translated, but we understand the Word as "scoop"), a comedy without pretensions and moral background (well, perhaps a little Yes.) which aims, creating laughter, no smiles. Perhaps you could tell that he speaks (or criticism), otherwise completely comical and without as much moral British society. And it's no fluke that the two únicsa films he has directed in the British capital are a critique of deep on their social classes. But we must also say, and the British upper class is, in general, totally classist and set, and encounter, successful, one way and another, what did Mr Allen. And nor do I want to be as pessimistic as the director does shows admiration, not by the class, but by the city itself, both in Match point and Scoop. Both films are totally different, so I do not think fair to compare them. I will only say that, as it is logical, the first is deeper and shows more feelings, as well as the second, it is simply a comedy, but intelligent. Yes, smart, and I would say that more than the previous, already mentioned at the beginning. Scoop is what it is, a comedy without pretensions, but nevertheless with a very cool script. It can be that the argument is not any wonder, but is not to be so. It is, without doubt, is a magnificent film, comic sense, because that will not let any scene without any gag. This you must thank Allen, that for years it not laughed so much with one of his films. A point that afavoreze a lot is the fact that he himself appears, each time that does it create laughter in the cinema. For me, Scoop is a mixture of the excellent murder mystery in Manhattan and Match Point, although rather less than these two. Well, rather than a mix, is as a portrait semi-calcado to the first, but in this case, the protagonist falls in love with the suspect.The actors are all splendid. Both Scarlett Johansson and Hugh Jackman play its role perfectly (she, a fearless rookie journalist, or rather, Woody Allen female and he a young actor who comes to the height of several collaborators of the director, Tony Roberts and Jeff Daniels). And then, there are two more veterans, the already mencionadísimo Allen and Ian McShane, a splendid actor, usually secondary, which here plays the deceased journalist giving you a tip-off to Johansson so that the plot begins to unfold. In short, a remarkable comedy of entanglements (and laughter) that should be noted, in addition, one of the few comedies of genuine laughter in the Filmography of this excellent director, actor and screenwriter, Woody Allen.

archivos_extraidos/MCE-Corpus-main/Dataset/1347

Emilio Calvo de Mora

Vidas cruzadas (Short cuts)

muchocine

Acid collage of American society (and was not Bush yet). In these times of cinema desguionizado Short cuts is a plea of the importance of having a text height.

There are who admires to the now sadly deceased Robert Altman for his heroic attitude of filmmaker upstream, ácrata, decadent, and not atinan to see that above this politicization of his film it beats, beautiful, neat, remarkable insights that eludes any concession to free (except the very regrettable Pret-a.porter) and is offered free, complex, intelectualizado without being airtight in no time.Short cuts (Vidas cruzadas) is a history still ably engarzadas: the argumentative framework is of a thick fabric, but the puzzle assembles with precision and Altman cuenta-historias gives us in consciousness with a history full of life, that exhales life, that touches us all and that everyone can be part of our story, fragment of our own lives.The routine of the characters, which are many and varied coat becomes epic: twin routine and epic, confused, are the grey picture of the plumbate homeland of the director, which castigates as a Michael Moore more lyrical, less cold.By Vidas cruzadas it walks a long dozen beings thinks, bland, losers, marked by the failure, involuntary bulwarks of a moral bragada in daily battles against loneliness and disappointment. And in one or another way, the world of Altman (or the short stories by Raymond Carver on which is based the film caters people broken by pain, but sometimes oblivious to his evidence in their lives: only at the end ultimately recognize him, as the drug addict who only gets serious with his addiction when he suffers a trip too interrupter.) There are small more frivolous dropouts and irreparable losses, but they are varnished by fine indifference of a director who gets no hand in what counts and let everything flow naturally: what makes appalling vision of this film is a genius ability to mount all the stories and that they are, in the end, a. The choral film by Robert Altman is the reference in which Paul Haggis (Crash) should drink before addressing his November (unfairly) film. Paul Thomas Anderson and his well above Magnolia (with the best Tom Cruise in front of a camera that I have seen).Altman leave no one only: or a pastry, inconsustancial, seemingly unnecessary, seems obviable, although only ten minutes out on screen. Until the earthquake of the end is a character.Vidas cruzadas or Short Cuts (short cuts, a title of a great sonancia in Spanish) is a wonderful collage of stories: the deliberate fragmentation of its plot, the excessive acting machinery, settled later in a well greased ascent to the outcome, which also brings its moralina, but did not say what should not.In these times of cinema desguionizado (that is my claim in the desert from a lone Viewer), Vidas cruzadas is acid allegation of the importance of having a text height. I have not read as a whole the work of Carver, but some of the stories that guide the film. Then each opposing history that more you like (or conmocione you more, anyway.) I'll stick with the police who plays Tim Robbins, detestable, cabronazo until the climax, and his history of marital reconciliation truly unusual ways.Won the Golden Lion at the Venice Film Festival, which also granted, unusually, the prize for best interpretation to the cast. . A special category that also gave the cast interpretive award created for lives crusades at the Golden Globes. Altman aspired (failing) to the Academy Award for best director.

archivos_extraidos/MCE-Corpus-main/Dataset/2560

Francisco Bellón

Lucky You

muchocine

Apart from the opening scene, the most notable of Lucky You are poker games. The rest is to forget, which will not be easy because the two hours of tape.

The shadow of Steve McQueen and Edward g. Robinson in the King of the game is very elongated, and therefore Poker has been almost a stranger to the film. In poker, when your opponent bet, if you want to see your cards, you have to see the bet or upload it. Fortunately, when went to watch a movie only pays the amount of the entrance, and there is no cover no preconceived bet.But, and if I had to bet on Lucky You, what would be suitable? Bet by the brilliant Curtis Hanson's L.A. Confidential and young Prodigiosos, or the mediocre Curtis Hanson's 8 mile and in her shoes? But with our heart we wish Lucky You it were the first, evil that despite us is the second bet. Eric Bana plays a professional player who seeks desperately to participate in the World Championship of Poker and prove himself and others is at the height of his father, a two-time world champion that Robert Duvall gives life with solvency. And among these complexes sneaks the character of Drew Barrymore, most vase seems the typical annoying Bumblebee. Lucky You starts with great force, with an opening scene that sums up the essence of what is Poker a thousand wonders. film endures the type the next half-hour, but from that moment will deshinchando over its excessive footage until you reach a very predictable outcome which leaves anyone unsatisfied. Between, the spectator attends a double cheap melodrama: on the one hand we have a paterno-filial conflict would blush of shame to the same Sigmund Freud, and on the other we have the sweetened relationship between Eric Bana and Drew Barrymore. There is one detail that of really funny, and is placing the action in 2003. It is supposed to add more drama to the script load, to oppose to the veteran players with new technologies and new ways of understanding the game. Which will be quite incomprehensible to all those who are not versed in professional poker.Apart from the opening scene, the most notable of Lucky You are poker games. The rest is to forget, which will not be easy because the two hours of tape.

archivos_extraidos/MCE-Corpus-main/Dataset/3954

Iñaki Bilbao

La casa número 11

muchocine

Nice film of "great robbery".

"An agent of precious stones, who works for a large organization, is mandated to make carving a large stone in the form of Opal, and which will provide for a beautiful woman." For this he received a large amount of money. "The stone is stolen, so the life of the agent and his girlfriend, who accompanied him on the trip, will change completely".Entertaining film framed in the subgenus (not because their overall quality is bad, or anything, but simply for not being in "great genres", however, overlooked some easily.) The reason is that almost everything is subject to a great robbery, forgetting the rest easily. Except the superb interpretation of James Mason, exquisite and tender as a few times, still very well accompanied by Charles Grodin in a serious role, and not as now, that makes many patochadas and the always-charming Candince Bergen. The rest of the great intérprertes are generally British, such as exquisite and always remembered Trevor Howard or the great John Gielgud.Se goes well while while it lasts and then there is almost nothing, but it is agrdable.

archivos_extraidos/MCE-Corpus-main/Dataset/958

Rafa Ferrer

El código Da Vinci

muchocine

A good way to translate a bestseller on screen. And now also widespread.

It is difficult to talk about a film when you take a couple of days reading criticism, some better, others worse, but not leave you indifferent, when I entered the room, was almost as "pig to slaughter" by dragging feet and thinking that I was not going to like what I was going to find, and what is worse than the 13? input (mine and that of my companion) would not deserve the show referred to on screen.Nothing could be further from my intention, the tape I liked, some changes are logical for the narration on screen (of a book to film things change does that not?), but in general terms the tape like convinces and Moreover, to finish at my meeting more than one has escaped a round of applause.Tom Hanks restrained, nor much or little, go, that it outboard or convinces, perhaps most his partner Audrey Tautou, who still see as "Amelie" (mention besides that insufferable dubbing with French accent that sometimes was ridiculous), Jean Reno, its online, as always making the role to which we are accustomed, Alfred Molina normalito, my two favorites Paul Bettany (plasma a Silas as he imagined it when I read the book) and Ian Mckellen)(which although does not make us forget his role as Gandalf), is the character most vivacious of the film.Quite achieved special effects, special mention when Langdom gets to "ruminate" or mixing of the Flashback with narration which I loved; and another thing to note is the excellent score of Hans Zimmer full of melodies that give the film a mysterious air.A good way to translate a bestseller on screen.And with regard to the extended edition: once seen the film, and now, with the DVD Edition, and Recalling my Moon of honey by Paris and London (scenarios where the action takes place), I have been pleased to find me with places where I was 3 months ago.The film quite beats the scenes added, giving another view the characters a lot more deeper and closer to the novel, as I said at the time, the transfer of the book to the film always is complicated, since many things are left in the dark. Finally, a way to revisit this film thanks to the DVD media.

archivos_extraidos/MCE-Corpus-main/Dataset/3991

Ivan Villamel

The Lookout

muchocine

UA great film making by own merits in one of the best films of the year, a sample of film noir with dramatic overtones and internal improvement, with a lot of work in all the elements that make it up.

There are occasions in which a modest film becomes by own merits one of the surprises of the year, and that is precisely what is the vision of this little film on media but big in terms of results. Undoubtedly one of the best American films of the year.Chris Pratt is a former student outdone the rest, its popularity as a hockey star, his wonderful girlfriend and friends show him as the prototype of young winner, but all this is truncated the same night which has a car accident and causes serious consequences, in addition to the death of two of his friends. These consequences affect its central lobe, which causes distortion in the senses, confusion, sudden aggressiveness and loss of short-term memory. He lives with a roommate of middle aged and blind, which does not prevent that despite his blindness he see much further than the majority of the people. The mysterious appearance of a former student of their school and their dark intentions in securing the collaboration of Chris in the robbery at the bank where he works, will lead to a series of unexpected turns in his life. Scott Frank made his debut in the direction of feature films with this film before us, after having devoted his career to the development of screenplays serving directors of renown as Steven Soderbergh in "A very dangerous romance", or Steven Spielberg in "Minory Report". And could not have better debut showing by this excellent drama hidden in a history of traditional film noir. Classicism in its domain in the narrative, both in the most dynamic scenes such as those that require verbal confrontation between the protagonists and the Mise en scène is commendable and worthy of compliment. Everything shown without Visual fanfare but if classy a lot when it comes to telling the story.Special mention deserve the excellent players, all of them in a State of constant grace, notably Joseph Gordon Lewitt as the protagonist of the story, an actor who already demonstrated in another excellent example of recent black film as it is the essential "Brick" that we are faced with some of the finest actors of his generation. Its ability to show sadness, melancholy, their anger contained by a fact that marked him of life, makes its interpretation a masterful display of acting ability. Not far behind Jeff Daniels in the role of Lewis, his friend and confidant, that borda also his role as blind man with good heart, smart and marked by the tragedy. With respect to the rest of the campus actoral, its mission, all of them comply with far from Matthew Goode portraying the villain of the story until the emerging Isla Fisher (attention to their small but effective nuances throughout history). To all this it helps an effective script that despite the lack of convoluted plot twists and some inconsistent decision in the characters, is very effective and melancholia, with a dramatic rather than correct progression, showing a history that begins as a brilliant drama in which doom seizes each and every one of the characters in the filmwith scenes brilliant and forceful as the encounter of Chris with the character played by Carla Gugino or the dramatic family dinner, displayed with a simplicity that does not prevent to be tremendously powerful and revealing. Even when all this brilliant drama gives rise to the scenes more blurred film, those pertaining to the preparation and development of the bank robbery, the film maintains a balance of surprising taking into account the error of much of the recent film.Brilliant history in its approach and in its outcome, this dress inevitable sad and hopeless, no less a story on how to accept our mistakes, those which we mark of by life and not let us move forward. Our decisions or errors can become a slab in our life, and this brilliant film witness.Looking for the negative points of the film, perhaps the very fact that halfway through the film history takes a radical turn and this causes a sense of rupture in the history, that is why suffer as I said anteriorme the film but without allowing him to reach a level of excellence.In short, a great film that turns on their own merits in one of the best films of the year, a sample of film noir with dramatic overtones and internal improvement, with a lot of work in all the elements that make it up and with an exceptional protagonist that outboard his role as it did in the previously mentioned, and excellent, "Brick". History with many layers of background that shows, once again despite plaintiff voices, that American cinema is not dead. Notable film.

archivos_extraidos/MCE-Corpus-main/Dataset/1167

José A. Peig

Braveheart

muchocine

Gibson is not a filmmaker or staff or great, but relied on a solid script, with a structure effective and honest, and a direction between sober and correct, sets up a historical drama in which - to practical purposes - not enough or missing pieces.

Mel Gibson signed in this strong historical biopic with messianic airs, which is probably his best film (that either IE both considering the mediocrity of the rest of his work) and - as in the Kevin Costner with his "dancing with Wolves" - came to recover the flavour of epic film deployed with all kinds of media and with an elegiac tone quite suited for his story about the Scottish liberator for the general public, while is true that cannot be said that "Braveheart" is a complex movie. The case is that, if we look at the whole of the final result, nor that complexity was a prerequisite to be the great film that is.The idea on which is based the whole of the story is a heroic profile that brings together the physical force with the strategy and intelligence in the battle, adding the faith in ideals brought to its maximum consequences, which creates a rebellion perpetrated even by those who originally moved by self-interest and unafraid to run the most vile of betrayals. That messianic air has established the value of William Wallace in the last moments of his life: the Resolutive cry of freedom (including the position of the crucified), at this point in the footage and in the context of a situation in which everything has already become against their chances after a long and intense trajectory of exploitsvictories and bitter betrayal, contains a deep emotional significance of liberation in the intimate space of the hero and momentum and faith in the great ideals for beings of their immediate environment. Wallace, with its huge and powerful obstinacy, defeating pain and fear, leaves a seed of hope.Gibson is not a filmmaker or staff or great, but relied on a solid script, with a structure effective and honest, and a direction between sober and correct, sets up a historical drama in which - to practical purposes - not enough or missing pieces. Characters live, react, are wrong, feel desire of freedom, falter in their faith, fall in the weakness of the betrayal, repent, reflect, lose or win according to the impressions and/or facts arising out of each act or Word of Wallace. This cause of a script perfectly structured, is always in the Centre from which the plot is structured. A plot not complex, but not mechanical. There is always a margin for reflection between the facts of some subtlety in the decisions of Wallace and those who form its environment, whether they are friends or enemies. Therefore, without being a round work, the narration has life, human spirit and a lyrical sense of the epic, which is result not so much of a good preparation and a good script. When you have a good story to tell, if it you add the careful structure of the script, almost everything else has been done.Is not a round film: can be detected a deal too stereotypical to characterize the profiles of different warring groups; Revolutionary slaves are gross, dirty and brave and the dominant English are given an effeminate air, which is somewhat simplistic and vulgar. And in another order of things, Gibson combines his meticulous style visual, very laudable in many sequences of battles, with plans crappy-salchicheros of TV: happy close-up (or also flat media) slowed in scenes of dramatic emphasis. Such plans and slowed sequences are easy recourse of the filmmaker who does not know to emphasize the dramatic far beyond the mere sensationalism. Gibson is not Orson Welles and his own narration puts in evidence when it requires greater depth. The fact is that us is narrating a story sustained in an argument of masterpiece: the final cry of freedom, even with its powerful dramatic significance and symbolism of the cross position, would have a greater expressivity visual (and, consequently, value and film depth) if Gibson had placed the camera in a position in which the human and spiritual profile of William Wallace dying charge a more subtle meaning than what is derived from a simple game of close-up and slowed sequences. What type of angle, perspective or position of the camera be ideal for that purpose? I neither know nor I is responsible for, that is a job and a challenge for the visual imagination of a film director. What I do know is that the mode used by Gibson is irrelevant and little expressive in its form, while the Fund itself is great dramatic force and thereby the viewer can well guess the tragedy of the represented.To the end and all, not just film is narrated, but, above all, intelligence, insight or the creativity of an artist who plays with his instrument, camera and its huge resources as window open to a world of representations, in this case, the representation of someone who put an ideal world the immediate consequences of the reality. And that demands and requires something more.

archivos_extraidos/MCE-Corpus-main/Dataset/3098

Andrés Pons

Promesas del Este

muchocine

Again the poet of the dark is handled way exemplary about characters in the wire before really atrocious acts that put goose bumps. The fight in the sauna is already a really memorable time in the Filmography of genius.

What is the Canada CRONEMBERG disregards his obsessions of the past that both surprised in its principles. Female genital mutilation, the new flesh, genetic experiments in unforgettable terrors orchestrated by the mastery of one of the most psychedelic minds of the current panorama. VIDEODROME or the fly are among my favorite films. I do not remember where law that this author is a poet of the dark. Totally agree with that statement, because changing the horror by a slightly more edible film for the large audience, his films remain quite sinister. Where crazed characters passing through universes traced under the mantle of his brilliant madness.An accomplice of luxury found in the brilliant actor "VIGGO MORTENSEN" who was already colossal in the previous collaboration of both "A history of violence". Nothing new under the Sun in is Eastern promises, a very hard story of a suffocating darkness where an outstanding cast does the rest.In addition to MORTENSEN we meet NAOMI WATTS "THE RING", VINCENT CASSEL "DOBERMAN", ARMIN MUELLER-STAHL "The music box". Again the poet of the dark is handled way exemplary about characters in the wire before really atrocious acts that put goose bumps. The fight in the sauna is already a really memorable time in the Filmography of genius.

archivos_extraidos/MCE-Corpus-main/Dataset/2168

Rafa Ferrer

El sonido del trueno

muchocine

Nice series B, pulling to (c) (crappy) in his dialogues and, above all, absurd (and therefore to joke) funds and effects.

Nice series B, pulling to (c) (crappy) in his dialogues and, above all, absurd (and therefore to joke) funds and effects. The argument is based on a tiny but very interesting narrative of Ray Bradbury, however its development is not round, finishing by entertain, but forgotten with the same ease that view.There are some moments of filling, with, again, stupid dialogues, and more hot air towards the middle of the tape, than I would have liked. Situations occur without passionate and one covers everything with a bit of confusion, not knowing if the story that unfolds is taken from a serious tone or overtly comic, so it seems sometimes taken it a joke a bit.In the chapter on special effects, they are of pure craftsmanship, with computer, perhaps immense, but singing over not being able to work. It seems that there was not much budget for the filming of the movie and is quite noticeable when used more endearing slices and an artistic design that mixes good findings with authentic churros.As regards interpretations, are not notable, but yes we must make special mention of its protagonist, Edward Burns, making it frankly wrong. Well, it is wrong not to do, is it even acts. There are more dramatic feeling in the voice of his Spanish voice that in the face of the actor in question, which is always unimpressed. It gives the same that is talking to the girl about to be eaten by a dinosaur. In the end.And on the positive side, that there are "bugs" curious and enough situations to keep the viewer history with desire to see how this will all end. And not to be really interesting, because the truth is that something is done long, but because there is a well achieved minimum of tension and intrigue is sufficiently effective to not disengage. Thing that there are certain moments that seems to happen.In short, entertaining broadly, but very below what could have given them.

archivos_extraidos/MCE-Corpus-main/Dataset/1483

Rafa Ferrer

Alone in the dark

muchocine

An hour and thirty-eight minutes, starting almost the same as just and that one gradually comes to understand the major failure that has been the film in the USA both public and critical.

Bad is that at the beginning of the film you have almost 75% of it (in the text), bad is that the soundtrack is so noisy and bland as possible, bad is that you try to give an air "roll game" without knowing very well how to do it. Uwe Boll who already directed in a nefarious way "House of Dead" based on the video game of the same name, repeat "Alone in the dark" that is the saga of Survival horror that appeared on pcs much before the legendary "Resident Evil", a film that tries to drink plenty of sources (copying without stopping) from "Resident Evil" to "Alien" passing by "Predator" or "Children of the corn" or even the series "Alias" with these aerial views l.a. Prota, Christian Slater as this major (although there is crushed in the Gym for the film) in some scenes he is literally "throwing the bofe" when it comes to running or doing some other movement away from normal, he accompanies Tara Reid, before his chest operation, honestly this girl confined to the romantic comedy ("American Pie" "Van Wilder") and allow experiments like this, and finally this Stephen Dorff as after the first "Blade" and many films of series C (of those that van direct to video) here puts its usual fronted and claims to be "The saviour of the cause".An hour and thirty-eight minutes, starting almost the same as just and that one gradually comes to understand the major failure that has been the film in the USA both public and critical. Not a single shock and everything more predictable than an episode of "Anna and the seven".

archivos_extraidos/MCE-Corpus-main/Dataset/4113

Moebius

El halcón maltés

muchocine

The Maltese Falcon, one of the final films of classical Hollywood.

When one faces a script where memorable phrases are so many that you can hardly one remember them all or choose one to open an entry like this, and when that script presents a story whose plot keeps you in suspense until the end, and rhythm works like a Swiss Watch and the characters interact among themselves in such a way that one comes to think that reality is on the screen and not in What we feel and touch, no doubt we can say that it is not only one of the best works of the genre, but that hardly could leave something unworthy of a job well. If add to the talent of one of the best American directors of the history and a hardly surmountable sharing, there is no doubt that we are talking about one of the greatest classics in the history of the cinema. Ladies and gentlemen, join me in the search for a rare and beautiful statuette that was once a gift for the Emperor Charles V: the Maltese Falcon.Before a work of this caliber it is always difficult to write without having the feeling that everything you say is going to be short. I even believe that anyone who loves cinema can speak of the Maltese Falcon without be carried away even a little. Anyway, about to begin somewhere, say I think not mistaken if I say that the film is the best remake of the history of the cinema. And it is that if it sometimes seems that Jimi Hendrix has composed "Hey Joe", it is also sometimes difficult to remember that the Dashiell Hammett novel had already been made into a film in 1931. Ricardo Cortez had been the first Sam Spade, and we had everything a Dwight Frye making bully serving El Gordo (what a pity to not repeat the role under the orders of Huston!).John Huston as several writers participated in the writing of the screenplay, and director worked two days in the storyboard, but it seems they were quite faithful to the novel. Until then Huston had debuted doing small roles but soon had converted in writer. As it is well known, we are talking about one of the best debuts in film history, since this was the first film by Huston as director.And it is that Huston helped lay the foundations of the American noir film, and created a lasting image of the detective's hat and raincoat. Although I am not very placed in detective fiction, it is assumed that this figure already existed in the black own Hammett novels and other authors of the genre such as Raymond Chandler, but at least film regards there we have the final characters, Humphrey Bogart, such interpreter marking an image that still currently influencing filmmakers to fire in the history of the cinema, writers, cartoonists of comic, etc.I certainly think that Bogart him much due to the mistakes of the actor George Raft in their transition from villain of the films the hero and tough guy that made him a superstar. Raft had already rejected the role that would later interpret Bogart in the last refuge, where the drinker friend of actor John Huston was writing the script. Another film after the fuse was prepared, and only needed a spark to launch the career of more stars Bogart. And since the Raft contract stipulated that it was not obliged to act on any remake, and poor George considered that the Maltese Falcon would be another film more of series B, rejected portraying Sam Spade. And finally, as you say, the rest is history.And I don't think there is doubt that Humphrey Bogart was born to play this role. The history and the role were there, just for a little talent to make Sam Spade a legendary figure, and Bogart knew what it was. A tough and shrewd, detective idealist in his own way, loving and cruel with women at a time, a romantic stranger misogynistic, knowing when to speak and when hit, smoker and drinker, and always done with great style. I think that even Dirty Harry was not a similar revolution in a police character from the side of the law.Well, let's talk a little about the history. A woman (Mary Astor) attends the Spade & Archer detective agency that you returned to your side to his sister, who has allegedly fled home to accompany a bad guy. Miles Archer, fascinated by the beauty of the Lady, undertakes to personally follow the bad man, but is killed. His partner, Sam Spade, then takes charge of the case. The gross which had followed Archer dies shortly afterwards. Spade becomes the main suspect, and while police followed closely discovers that the woman he has lied, and his alleged sister there. Behind the mysterious matter is a statuette of great value, and a deferential although viperino man named Joel Cairo (Peter Lorre) will go to Spade to help get the precious object. So Sam Spade will be trying to desenmerañar a murky issue in which will be stuck to the hilt, and where will gradually discover that nothing is what it seems.Disturbing and also magnificent actor Peter Lorre was at the height of Bogart portraying this small albeit dangerous man who does not like being touched, and whose appearance is as elegant as twisted its methods. Few things are more threatening on a screen than a villain of scarf and cane. It is just give him his fair share of gloria. In addition, one of my favorite moments of the film is the first encounter between Spade and Cairo.Como is also the interview of Spade with "Fat Man" Kasper Gutman, who ceaseth not to utter a sort of strange proverbs praising the vital attitude of Spade, man who likes talking and likes to go to the grain and is also quite unpredictable. The character of Gutman is one of the great characters of roundwood has given the film. He was played by the British Sydney Greenstreet, an actor who had spent their lives on stage and which debuted in the Maltese Falcon passed the sesentena. They say that its physiognomy served starting point for the creation of the viscous Jabba the Hutt. Detective Tom is Ward Bond, a regular for several years of the films of John Ford. I also like that, rather than Secretary, women for all of Sam Spade, the intelligent and full of resources Effie, played by Patrick Lee. Incidentally, dying type that delivers the Falcon to Spade is the own father of Huston, making a brief cameo appearance.Perhaps he was lying as one Mary Astor any to say that it was impossible to stay with a phrase from the film. I think that probably all have heard of one in particular. One of the policemen asked to Spade on the composition of the statuette. "Of the material with which they forge dreams", responds the detective. Great contribution to the script, who was inspired to turn Bogart (imagine that it should not be too surprising, there is a better writer than him?) in a sentence of a work of Shakespeare.El Maltese Falcon, one of the final films. It was so good that he apparently served to baptize two terrible mechanical devices that ended with the second world war.

archivos_extraidos/MCE-Corpus-main/Dataset/3804

Ana Belén Pacheco

Soy leyenda

muchocine

I would advise I am legend because, despite the rare occasions where the tape suggests ways with their dose of mystery and the balance with scenes of action, in the end always just deshinchando is not.

It is hard sometimes to elucidate the quality of a film based on the good or bad press received. In this case and after hearing their views on the last film of the fresh Prince of Bel Air buddies expected a hodgepodge of overwhelming dimensions, so perhaps did not seem so bad.I am legend is the title of a novel by Richard Matheson in 1954. It's about the last man alive in Los Angeles, after an epidemic which has transformed all humans into a species of vampires. It is a magnificent exercise quasi scientific that explains the progress of the only living man to kill the virus and its daily routine. If there is something funny is that as every science fiction book his distant future is already distant and that his work ambientaba a pandemic during the 1970s. Two films before the blockbuster dared to adapt this peculiar vampire film: The Last Man on Earth in 1964 with Vincent Price and the own Matheson script (but signed under pseudonym by disagreements with the producer; in 1971, the last living man only takes small threads of the original novel and Charlton Heston leaves the arduous task of fighting against the "mutant photosensitive" and to finish this new version that could have been done in) 90 with agarrense this is going to hurt, Arnold Schwarzenegger of protagonist and director Ridley Scott. Thanks to the stinginess of the producer not could carry out and thus Will Smith a decade later took over the role and starred in another taquillazo.In I am legend, Will Smith gives life to Robert Neville, a doctor and member of the army that it survives the mutation that occurs after the failed attempt of a cancer vaccine developed by the very same Emma Thompson which does not appear either in the credits. Those infected develop an allergy to the Sun that forces them to live at night and have authentic attraction to human blood. Neville in this case is not only a number of people who are immune to the virus (thing which never appears in the book). Besides their routine is more scientific than anything else, is not dedicated to go to hunt vampires as their counterparts in books or films if not that stays on the sidelines (and sober because now we all very politically correct) renting movies in his video store and radiating offer of help messages if someone drops by the film.If it is true that make a serious film with material of series B is risky. It is also true that the mutant "vampiros-zombies" - is not that they are holy in my devotion (especially if they resemble Lord Voldemort) and much less recycling of mutant dogs to the Resident Evil but since then no one in the room who could resist the wonderful interpretation of Oscar (of the dog, of course). That Yes, I create a bit of uncertainty to know how people are able to enter and exit from Manhattan when they have destroyed bridges with as much joy and ease when at the beginning of the evacuation of all trapped although, of course, is not the only incongruity of the script. Otherwise Francis Lawrence does not bad bearing in mind that the only time that he has picked up a camera for something longer that to make a video clip of Britney Spears has been to Constantine but the truth the idea that could have fallen into the hands of Guillermo del Toro seemed much more appealing.Why a sense of "neither cold nor heat" will let you. The first part is much more exciting than the second when it focuses on the daily routine, in the anguish of spend the days glued to a clock escaping from the shadows. When the vampires make Act of presence and insinuating that they learn, risk and begin to be desperados begins a crash dive in the narrative even bored.I would advise I am legend because, despite the rare occasions where the tape suggests ways with their dose of mystery and the balance with scenes of action, in the end always just deshinchando is not.

archivos_extraidos/MCE-Corpus-main/Dataset/3438

Francisco Bellón

La Luna en Botella

muchocine

The Moon in the bottle is a fresh and innovative proposal within the Spanish film, a deeply Bohemian history punctuated by touches of magical realism and Surrealism.

Make a movie in this country is a really risky and complicated. Very few are novice filmmakers who come to get the necessary funding to carry out his work, although the misfortunes have not just here. Because it is difficult to make a film, it comes to see if you can a job worthy of Hercules, and if not they should ask to Grojo, whose directorial debut, the Moon in the bottle, going out with less than one third of the copies which would in principle. Once written these lines as a form of protest at the treatment which has received the tape (as happens to Nacho Vigalondo and their Cronocrímenes go no further), there is to say that the Moon in the bottle is an atypical film within schemes following cinema (not only the Spanish) at the present time. It is a joyful, deeply Bohemian story that conveys a great freedom to all those who see. That Yes, in order to enjoy the viewer must take a leap of faith and immerse themselves without prejudices in the universe so particular that proposed Grojo. Obviously the film is full of references, winks and homages, ranging from Manuel Gutiérrez Aragón to the great maestro Fellini. Aesthetics and the setting of the film, among which excels the music of René Dupéré, is very successful and collaborates to transmit that Bohemian joy that follows the film. To give some negative point, perhaps the end leave more than one slightly dislocated, and the truth is Eduard Soto isn't at the height of the excellent group of actors by which it is surrounded.The Moon in the bottle is a fresh and innovative proposal within the Spanish film, a deeply Bohemian history punctuated by touches of magical realism and Surrealism. It is a film that comforts and returns the illusion and makes us believe in utopias cosmic even if only for an hour and a half.

archivos_extraidos/MCE-Corpus-main/Dataset/3037

Adrian Bravo

En la ciudad de Sylvia

muchocine

If you want to spend a nice time stirring the drawer of the bedside table, looking for something that you know you are not going to find beforehand, but knowing that the search will return to life forgotten objects? This is the film.

Jose Luis Guerín has more to do with the painting, with the trade of cabinetmaker of images with the search for purity in the chaos, that with the film, and therefore worth approaching his work. Already in his film "under construction" sat the bases of its modus operandi of his relationship with the world. The images that give off their films are portraits of perpetual motion that puts in the same epistemological plane waves wind draws in the mane from an unknown woman and the dance of trams, passers-by and bicycles that dominates the current pulse of any European city. Jose Luis Guerín seems to have condensed inherent to the world and to the people, to the gestures of each, to present reality pills. "En la ciudad de Sylvia", his latest film, gives vent to his self more voyeur, and embelesa in the search for an ideal of the perfect image of womanhood, of the faces that do not know or we will know. What the director get, therefore it is one of the most unsuccessful and at the same time beautiful searches has seen in a film, and that is too much. With exceptional naturalness occurs mimesis with the main character, of which we have minimal, if anything its diseccionadora look, but not their motivations (and that's an asset, since the spectator inevitably creates his own world, their own stories that will enrich the that shows the director) is perhaps preferable to not talk too much about the plot. Perhaps this film isn't too important to do so, because the argument is the search, search in uppercase, and the self-absorption that produces its viewing. "En la ciudad de Sylvia" is a film to enjoy in silence and with respect. In silence because his footage is practically silent: a few lines of dialogue slip in a slow, quiet, montage at the same time requiring a complete concentration, because each gesture is important, every gesture carries a full identity. With respect, because it is as the director tries to humans and their complicated networks of interactions between people and the world, between the city and people, and finally between people. If you want to spend a nice time stirring the drawer of the bedside table, looking for something that you know you are not going to find beforehand, but knowing that the search will return to life forgotten objects this is the film.

archivos_extraidos/MCE-Corpus-main/Dataset/1855

Tito Chinchan

King Kong

muchocine

If compressed in twenty minutes the first hour and a quarter, removed the bullshit of insects, and subtract you drama, we would have a great movie.

A joke told me the other day related to the film. This is a guy that not going to the movies for many years. Total, says that he is going to see "Tarzan of the apes" but wrong and gets in "King Kong". When he returns home asks the woman "about the film". "Very rare, very rare, Tarzan it does not appear anywhere, but you have to see the mona Chita the lug which has stuck". Damn, almost I fall of the sidewalk when they told me. I now understand how Chiquito raged with bad jokes.The film is about an unsuccessful film director that makes with the plane of a lost island. It's convincing producers to finance him to go there and thus regain his standing, but these refuse it, so decides to run away with all the material which is not yours to the island. As you want to record a movie, takes a girl that is down the street (quite pretty, by the way) and a Schleifer of cams, writers, etc. When found the island, discovered more than a lost landscape of the hand of God. And so far I can tell. Well, then get a monkey as a home, which as you may know, and Tarzan does not appear anywhere, je, je.Special effects on all sides. During the first hour and quarter, the truth that there are not many, but as soon as get the monkey, already breaks the budget. Direis, the first hour and quarter? Few there? So here comes the first problem, which are three cathedrals as three horazas of film. And there are times where nothing happens. The scenes of monkey are fine, but the rest is a truño. Peter Jackson has passed three villages, with special effects and the script. I do not know how it will the book, but the scene of insects is a sovereign bullshit that disqualifies the half of the movie. Fuck, and the end is a hell of melodramatic (albeit with some funny point).In short, that if compressed in twenty minutes the first hour and a quarter, removed the bullshit of insects, and subtract you drama, we would have a great movie. As they have not done so, we have a peñazo quite long, so I recommend take it on DVD and skip until you see King (booooooooooombaaaaaaaaa;-) only large special, but very long and silly effects.)Besitos.P.D: As noted the style of Peter Jackson, I was waiting that orcs appeared to thousands throughout the film.Pd2: A real story as life itself. We saw the film and in bed, while was laundered teeth my medium chandelier, I go to bed to do King Kong. The part of the blows on the chest well, perfect grunts bad the monerías. In one of these tumbling I figured wrong output of acrobatics and ended up with the back on the cold floor. That scallop.P.D.3: Look, not can silence me. We are going to see Peter Jackson, if you troubled a woman for five minutes running down the field, which is still the neck splits in two. You know.

archivos_extraidos/MCE-Corpus-main/Dataset/1352

Ramón Balcells

El truco final (The Prestige)

muchocine

In short, we could say that the final trick: the Prestige is an excellent movie that mixes with magic and style varied themes and which, moreover, enjoys some absolutely brilliant performances and a script that deserves everything.

While he concluded the year 2006, we had the "luck" to watch two films with the theme of magic by in the Middle called the illusionist and Scoop. After these simple entertainment, people (including me to me, of course), anxious, expected the release of the latest film by Christopher Nolan, the final trick: the prestige. And here is my critique of the film, which without a doubt, I have enjoyed it as if it were in full magic show. Memento premiered in 2000 and was a huge success. And it is his incredible originality left open-mouthed to anyone that see. Before this film, Christopher Nolan had directed Following, or the same as a novice film experiment (with critical acclaim, that Yes). Two years later the success of his second film, Nolan led a brilliant film - which however not surpassed the previous - with Al Pacino and Robin Williams as protagonists. Insomnia was titled and its distressing atmosphere and this practically perfect staging made us reach the conclusion that this young director was, undoubtedly, a prodigy. In 2005 he released Batman Begins, which was another disproportionate success (after being a hair ignored the Pacino). I must admit that it is not a bad film, but it could have been much better, more personal. But staff have the final trick: the prestige, the last tape of the director, which supposed to be, without almost any rulings, their second best film after Memento. The final trick: prestige stands out basically for its originality, both in the history in such environment. I could say that this peculiar way of counting and mood stories Nolan are entirely personal, or at least it seems to. This dark and gloomy atmosphere, atmospheres which seems trapping you, the narrow alleys which seem to have no exit and these characters so characterized by its failures than one way or another are rewarded either, those seeking revenge. Here are examples as Leonard Selvy, an amnesiac man who tries to take revenge on the man who murdered his wife or other characters such as Batman or Pacino in insomnia, rather than revenge, decides to hide a fact that if it comes to light will be harmed. In the final trick: the prestige the topics dealt with, mainly, are the envy and rivalry, among many others. The protagonists, after spending a period of friendship, by a terrible consequence begin to hate until you reach unexpected limits. This would be the main subject of the work of Nolan. Although, as I said, this is only the main, since there is, in this magnificent film, a series of extremely sensitive issues which, if they are not treated with such delicacy, can collapse the film. But luckily Christopher Nolan (and his brother Johnatan) have been able to create this story so exciting and complex in a formidable manner, brushing the perfection. Topics such as insanity, wisdom, common sense, the perfection and overcoming, the triumph, intelligence or the very prestige make the film complemented details and facts which benefit the complexity of history.On the other hand, I find that it has sold exceisividad this so seemingly dazzling final trick. As you know, the original title of the film is The prestige (Prestige), thing that it does so in view this "surprise" ending, but I think that the main theme of the film, apart from "be vigilant", as us warns Michael Caine at the beginning of the film, in an absolutely incredible way (pay attention to the image that appears then and remember it until that then serve you)It is the simplicity of things either, the apparent complexity of everything. The obsession which leads to complicate ourselves while, things that are really simple to see, do not see them. So, rather than concluding tricks (that there too many or rather, they are foreseeable, the Nolan film wants to show you just that and can that someone you disappointed by the absence of this surprise ending (unless not so guess - wholly, or partially - before that happens, which I rather doubt).) But not so the film is interesting. Quite the contrary! I prefer at least a final is designed with reasoning and has a credible conclusion not appearing a 90 degree turn which does not match anything. So the end of the final trick: the Prestige is unexpected.Part of the script, the work of Christopher Nolan has many positive aspects. One of them is the setting. The film is is situated at the beginning of the 20th century, in London, therefore the streets, the surroundings, the theatres and all buildings have been be built especially for the film. Anyway, that is not a modern (but yes with touches of science fiction) wizards and therefore have needed sets of large (and quality). Another highlight is the great photography. Wally Pfister is responsible for creating unique, totally overwhelming (and at the same time hopeful) sensations. I recommend you pay attention to the numbers of magic, where the photographic director may look filming some magnificent flat filled with personality and above all, with an exquisite taste (look at Hugh Jackman beneath the stage, pretending they applaud him, with light coming out from the Woods.) (Perhaps one of the sequences with one of the best planes). Then there are the Assembly and Edition, of which I can only say that they deserve at least a nomination for a prize (to secure Oscar that no, so have already announced the nominees). And finally, to say that the soundtrack of David Julyan is formidable, because it fits a finger to the footage as a ring. Attentive, above all, to the final, totally exciting topic. After mentioning all the technical aspects, it would be unfair to not nominate all performers that appear in the film, because they bring a higher density and depth to the story. First of all to the two protagonists of the film name: Hugh Jackman and Christian Bale. Two authentic teachers of the interpretation that, curiously, in this film is where look more. You have to pay attention to the intense dialogues that occur at the bottom and also in the penetrating eyes that are made between the two. And within the side, all luxury, highlight first and foremost to Michael Caine. What about this actor? Well that here, despite not appear too, and offers a brilliant interpretation, endowed with intelligence and, above all, common sense. The female cast is not that it is too extensive, but it is true that both Scarlett Johansson and Piper Perabo interpret two key characters from the film, so it makes them more important, then. Finally, highlight the appearances of David Bowie and Andy Serkins on other two roles which also have much to say in the history. The final trick: prestige lacks important failures, so we can say that it almost reaches the master. It doesn't perhaps be for the excess of details that make the film empache of so many of them and be a bit overwhelming (in a more or less positive sense, because at least is appreciated to enjoy such formidable script, although it has its excesses).In short, we could say that the final trick: the Prestige is an excellent movie that mixes with magic and style varied themes and which, moreover, enjoys some absolutely brilliant performances and a script that deserves everything.

archivos_extraidos/MCE-Corpus-main/Dataset/1451

Luis Zueco

Paris je t'aime

muchocine

As sings Edith Piaf?Does Paris sera toujours Paris, plus belle ville du monde?. This and much more is what expresses this film. Undoubtedly one of the most eagerly awaited, desired and hopeful films of the beginning of 2007.

As sings Edith Piaf, "Paris sera toujours Paris, plus belle ville du monde". This and much more is what expresses this film. Certainly one of the more expected, desired and hopeful films of the beginning of the 2007.Quien does not know Paris will be able to admire its essence, here what makes different Paris. Who knows here has a unique opportunity to get away from tourist guides and delving into the bowels of the city, in those corners that fill the books and stories, lost in its streets, dine in some hidden bistrôt, lost in some small gallery of art, in a travelling position and live the city as it is, not as we they want to sell. And who loves the cinema will be able to feel that it is still possible to sit in an armchair, cry, laugh and ultimately feel, with a great movie made of 18 short stories.A days walking in Paris heard as a Spanish tourist asked his companion why her call the city of light? with grey that is. Madam, called thus not by the light that it receives from the Sun, but because it is the city itself which enlightens all those who are in it. Paris radiates light by all its corners, and this film is a clear example of this.Directors: Joel Coen, Ethan Coen, Isabel Coixet, Alfonso Cuaron, Christopher Doyle. Wes Craven, Gus Van Sant, Tom Tykwer, Alexander Payne and Walter Sayles. And now a few actors: Natalie Portman, Steve Buscemi, Elijah Wood, Nick Nolte, Willem Dafoe, Bob Hoskins, Ben Gazarra, Gena Rowlands and Maggie Gyllenhaal.Actores: Bruno Podalydès, Leïla Bekhti, Cyril Descours, Marianne Faithfull, Elias McConnell, Gaspard Ulliel, Julie Bataille, Steve Buscemi, Axel measure Frankie Pain, Catalina Sandino Moreno, Barbet Schroeder, Li Xin, Sergio Castellitto, Emilie Ohana, Miranda Richardson, Leonor Watling, Juliette BinocheMartin Combes, Willem Dafoe, Hippolyte Girardot, Yolande Moreau, Paul Putner, Sara Martins, Nick Nolte, Ludivine Sagnier, Lionel Dray, Maggie Gyllenhaal, Joana Preiss, Seydou Boro, Aïssa Maïga, Fanny Ardant, Bob Hoskins, Wes Craven, Olga Kurylenko, Elijah Wood, Emily Mortimer, Alexander Payne, Rufus Sewell, Melchior Beslon, Natalie Portman, Gérard Depardieu, Ben Gazzara, Gena Rowlands, Margo Martindale, Florence Muller

archivos_extraidos/MCE-Corpus-main/Dataset/2473

Jeremy Fox

Bajo las estrellas

muchocine

A good debut in the direction of Félix Viscarret, with a good script and some good performances.

"Under the stars" is the debut in the direction of feature film produced by Felix Viscarret, until now renowned short film maker, who also wrote the screenplay based on the novel "The trumpeter of the Utopia" Fernando Aramburu.La tape account history of Benito Lacunza, a sleazy waiter aspiring jazz musician who returns to his people to attend the funeral of his father. There he discovers that his brother Lalo has pushed girlfriend, Nines, a friend Benito knows of their adolescent revelries. Their lives and relationships will change when Benito meet the daughter of Nines, which will establish a very special friendship.Struck by the amount of good works of the Spanish film I'm seeing lately. Tapes in which note a fondness for characters in forms and in the background that are encouraging care. It is no stranger to this current emotional, sad and yet fun script Viscarret.Dicho script has strong characters, real losers that may seem rare, and even a few mamarrachos (as it is the case of the protagonist in the first half hour of the film) but that we must take them the dot to appreciate them. In this sense, I believe everything with a knob of a door as a visual metaphor for the characters.And as I mention about the pomo, say that all this gag continued (of those that work for accumulation) is treated with intelligence by the director so fails to never tire. A good demonstration of how to make a running gag narrativamente without sobreexplotarlo.But a script needs, inevitably, a few actors who know how to make them consistent without falling into excesses. Violeta Rodríguez, Julián Villagrán, Alberto San Juan and Emma Suárez are outstanding in this regard. I was not very fan of Alberto San Juan (pardon the rhyme) long but I have to admit that, with each job yours I am seeing, I will like more.It is not a perfect film, that much is clear. The first half hour is something weaker than the rest, partly because it takes enough to connect with the main character for his antipathy and his selfishness. It is joining the already game all characters when the tape is the right pace and engages the viewer until the end.What I've been suggesting in passing but I must make an express mention to the direction of Félix Viscarret which I consider to be very exciting for the future. From here wish you all the luck in the world?Although debuting with a good film, also produced by Fernando Trueba, it is difficult to improve luck.Final evaluation of moonfleet.es: 6.5 out of 10

archivos_extraidos/MCE-Corpus-main/Dataset/3903

Luna

XXY

muchocine

Lucia Puenzo debuted as a Director with a drama about identity. A film that won't leave anyone indifferent.

Caste comes to the Greyhound and in this case the directorial debut of Lucia Puenzo (daughter of Luis Puenzo November) comes to our screens endorsed by the string of awards it has been harvested to date (Grand Prize of the critics week and Golden Rail award of 2007 for example) and the likely to reap (it has been selected by Argentina as a candidate for the Oscars and is nominated in the Goya in the category of) (best Latin American film).If all this display of tinsel fails to mobilize the Viewer to watch this film, we are still giving him reasons to not miss this film which tells the tribulations of a hermaphrodite in 15 years, although this serves to reflect more deeply on the individual identity and the search for meaning and membership of the individual in society.First of all I would like to highlight the always splendid actor Ricardo Darín. It is always a luxury to have this great actor in the cast of any film because it manages to give life and reality few characters interpreted. In this case it makes one role rather than convincing of father of the hermaphrodite, filling the screen with its overwhelming force. But it is not the only actor that plays a great role. The Division achieved a degree of admirable naturalness, and behind them intuímos the hand of Lucia Puenzo, hitherto tanned as a television screenwriter, but with large dowries for the direction of actors, as this film shows. I would like to draw special attention to the interpretation of the hermaphrodite at the hands of Agnes Efrón, a masterful interpretation which has already earned recognition as best actress at the Clarín awards. Secondly, I would like to highlight the photography Natasha Braier, cold but nearby, which portrays with a look homesick and glacier the Uruguayan coast.It should also be noted the soundtrack composed by Andrés Goldstein and Daniel Tarrab that adapts as ring to the finger to the dramatic progression of history.In short, a film that won't leave anyone indifferent.

archivos_extraidos/MCE-Corpus-main/Dataset/3735

Rafa Ferrer

El inolvidable Simon Birch

muchocine

Ideal tape to see at Christmas where it shows us, that ideal of overcoming that much like in the family film.

Always I've confused this film with "A world tailor-made" Peter Chelson, one day, talking with friends, asked (without knowing that film we were talking about) in that minute leaving Jim Carrey in the film, everyone laughed and told confuse them!!! The movie which comes Jim is in "The unforgettable Simon Birch" so it was not forced to look at my usual place and I have to see her.Comment that this tape, however much that confused her, he had managed to watch on TV some loose scene, but never more than 2 or 3 min, stressing also that I had always been the seemingly fragile little Ian Michael Smith (his first and only film), accompanied by Joseph Mazzello, Ashley Judd, Oliver Platt and as I have said, Jim Carrey.Es striking as its director, Mark Steven Johnson, shot this film, based on the novel by John Irving, "Prayer for Owen Meany", in an excellent manner and with hints of tapes as "Account with me" or "My girl" and then lost in things like "Daredevil", "Elektra" or "Ghost Rider", successes which have raised many $ at the box office, but which have a very bad film Bill behind.Ideal tape to see at Christmas where it shows us, that ideal of overcoming that much like in the family film. And is that our little protagonist is a great example of this, as well as the surprise factor of the protagonist, and that "human miracle" which is the small protagonist, apart from many of those moments that remain in the retina of the Viewer for a long time, mention of true humor eschatological very of the taste of the "kids" by the House.In the soundtrack of Marc Shaiman, appear in addition, artists such as Babyface, James Brown or the great Marvin Gaye, accompanying the tape of Steven Johnson.De new masterfully ended with an excellent phrase of the Narrator (Jim Carrey); "When you lose someone, you do not blow, but little by little"

archivos_extraidos/MCE-Corpus-main/Dataset/2361

Emilio Calvo de Mora

Taxidermia

muchocine

It blasfema puerca, vulgar, indecent, pornographic, taxidermy is agency this string sound epithets and even lampa by any noisy yet. Under the offal there is no bad film, there are no evils Arts: what sinks, and how, the props, the lewd showcase of animaladas of majaderías of tronado.

If just write that taxidermy is one of the strangest films who has borne him this 2007 you would be doing a great favor because the fact of the strangeness is not always in the Viewer, sometimes rendered adhesions and conceived the film authentic as a tour de force of news that finger you of lethargy that you have led hundreds of normal films (say) exempt from anything truly amazing and designed with own asepsis of a Pulcher surgeon using the scalpel with majestic choreography without specifying any improvised movement I uneasiness to the hypothetical public attending your function.Taxidermy is strange because exhibits ways of strange, i.e. of different, from avenible to escoradas circumstances of the norm, but in addition taxidermy is grotesque and also unpleasant. I do not know if the script hidden in the mind of the pertrechador of this monstrosity (György Pálfi) was impossible to translate to images without the integrity of our stomach was called into question. Bad taste, the crass eschatology, the painful feeling that the human being, basically, is a viscerally primitive animal van gripping the patience of the viewer until the vomiting, in anticipation of mental anguish, principia arcades in the vocal cords. The Hungary portrayed through the vital adventures of three family member (grandfather, father and son) is the decadent story of a miserable country, slowly phagocytosed by the charms of capitalism that demonstrates the rigors of a grey communism not giving to the people any incentive to cope with a postwar dignified, noble and well fed. All this comes to talk about this work awarded in various festivals (this was one of the causes that it moved my interest, cursed is the hour) that, taken together, could be saved by the risky visual concept that handled its pyrotechnic architects, by its deliberate aberration, which is resolved without shame and oscillates between pornographic (penises in ardent delivery) and unequivocally gore (the final part of the tape is not recommended for sensitive souls).Go to the Dantesque for staging the deflagration moral and social devastation of a country eaten by Communist paranoia can be a point of view among many, but not the only one. Taxidermy spends all his heavy narrative machinery in the strength of a disarmingly complex images because there are moments in which one is raised (with seriousness, without prejudice) leave the room or consider the show as an exercise in masochism goer whereas equal to forge the spirit and Taming all the taboos that we have been keeping well inside since thewell little ones dad Disney inoculated his terrible poison in our natural way of seeing the world.This summer, ambitious as few, shameless and stacked their excrementicias prowess, will have her addicted audience, his barque of amply plentiful souls of value and meaning of the art. I lack that sense: left it in some chapters of Salò and the 120 days of Sodom by the poet Passolini or some titles of pure and simple gore I've had luck or misfortune of getting into vein (la mentirosa Holocaust canibal or calving gamberras of the toxic factory of Herz and Kaufman in his delusional Troma).Nothing remains to the beautiful adventure of imagine, everything is violently thrown into our pupils awarded, because finally, the certainty that over time (or as already we do him) taxidermy will become one of those tapes of worship that they promote lit moviegoers speeches and give rise to regular outbursts of fascination and of collective hypnosis which many movies "cult" inevitably seek to their faithful membership. More freakie Jack Fisk of head borradora cast in a film by Jose Luis Garci, taxidermy, their troubled way, no longer a scathing criticism to the conventions of a strangulated country's close Communist policy and which is the removed uprooted all capacity of Jubilee. That, I think, is the most cultured substrate of this indecent whirlwind of characters open channel for artistic reasons or to kill straws, not exaggerating, or to vomit a galore at the time that between push and push reason the deeper nature of love and its Candida Symphony of colors. It blasfema puerca, vulgar, indecent, pornographic, taxidermy is agency this string sound epithets and even lampa by any noisy yet. Under the offal there is no bad film, there are no evils Arts: what sinks, and how, the props, the lewd showcase of animaladas of majaderías of tronado.Very delicately sustained by its unique charm (exacerbated tremendismo, scatological passion, recidivism irreverence) taxidermy it is a rare bird in our bulletin board and will be a rare bird greater, more sad and harsh in his silence, on the shelves of the patriotic videoclubs. Oh, I forgot: your pass even on tiptoe by Cannes awakens my astonishment.The curious fact is that the production company which finances this tragicomedy of sputum, semen and pseudointelectuales farts is called. Fortissimo. Do not, please, faint-hearted and sensitive.

archivos_extraidos/MCE-Corpus-main/Dataset/4292

Daniel Galindo

Caramel

muchocine

The most delicious recipe that gives as a result a delicious dish with the curious ability to leave an aftertaste of bitter and sweet at the same time can produce with warmth and serenity.

To go at least trivial topic only must learn to give way to the right ingredients and let them stand in memory so that the good taste we repeated from time to time. All these similes culinary give an idea of the interest aroused by this daring and modest tape should not see.You can not establish a strong parallel between them, but if not seen in his day the French film Venus, beauty salon can compensate now entering the hairdresser mounts Nadine Labaki, a Centre for social gathering in which five women, different from one another, leave emerge their feelings and secrets, in short, a curious shape, subtle, with a touch of sensualityto give brush strokes on the status of women in Lebanon. between these four walls is possible to openly address the five major themes revolves around which their world, close and intimate: freedom, friendship, men, sex and maternity. Taking advantage of the aesthetic impact that proposes the Director and establishing a metaphor with the color of the candy, which does not become brown or yellow, Caramel is halfway between the sweet and melancholic touch and the bitter slap.The young leader to do the outline of this piece of life painted with a palette of Mediterranean tones proves that, besides being good make-up artist - known cover defects with a layer of details-, know give stitch the fabric of patchwork, or short stories that make up the costume of Caramel. More than one exalted filmmaker should apprehend the philosophy of walk House proposes Nadine Labaki in footage that is taking us, way paused by the domains of a group of females with their problems and virtues, without neglecting certain political commitment. And more interestingly, that a reality of more quiet in one of the countries most scrambled, shows although, on the other hand, this is the greatness of this film which gets into the arena the dilemmas that crosses the woman without the minimum explicit reference to the civil war that plunged the country for 25 years or to more recent conflicts. Because, without neglecting the problems, another film is possible.

archivos_extraidos/MCE-Corpus-main/Dataset/840

Rafa Ferrer

A todo gas 3: Tokyo race

muchocine

Argument helpings, simple and predictable, aesthetic videoclipera to but not power, the deafening music, disservice do them to the tape.

I must admit that the first 2 movies I liked, what is more, the first, with the direction of the video-clipero Rob Cohen, was an original proposal, ideal for fools of tunning and sports vehicles, the second, with a loose direction of John Singleton (food film where they exist), is simplistic, but again Paul Walter and Eva Mendes manage to save herApart from Cole Hauser, in both me I grabbed something I like, but in this? Let us be serious, complicated in this kind of films, a tape where the 10 min. Projection you are wishing to end, or that the players drop a ray. is not a good sign right? This happens with both actors, on the one hand we have to Bow Wow (or as noses call), a boy who I met at "Like Mike" and that should be as cheap as the Lady of the cleaning of the casting, since lately it appears in quite a few films, on the other hand the Lucas Black stranger and is that her roles in "Cold Mountain," "Jarhead" and "Friday Nights Lights" are not for more.The aesthetic videoclipera to but not power, the deafening music (I got out and got the volume of the DVD at least occasionally 500), argument helpings, simple and predictable but not power, girls wearing "chicha" (well that her said on the positive side, jodamos not), levels fast, almost made by manco brother of Michael Bay, disservice do you to the tape.And to think that at least kept a small hope that I liked.

archivos_extraidos/MCE-Corpus-main/Dataset/2151

Patri

El último rey de Escocia

muchocine

From the first moment in which this character appears already scary, although at the beginning it pretends to be a nice man, reflects perfectly the double aspect of the personality of the dictator.

Dictator Idi Amin, who interprets Forest Whitaker had a very complex personality, as it could be extraordinarily charming and be capable of the most brutal and bloody crimes. He has been much of his performance in this film, and rightly so, because it is impressive, from the first moment in which appears this character already scary, although at the beginning it pretends to be a nice man, reflects perfectly the double aspect of the personality of the dictator.The protagonist is a young doctor who decides to go to Africa in search of adventure and also with intent to assist in humanitarian work, in the end will be exercising as the personal physician of the dictator and as your trusted advisor, which initially is a good relationship between the two, will be turning into something much more dangerous.The doctor is played by James McAvoy, whose best-known so far role was as the Faun of the Chronicles of Narnia, in his first role of weight makes it quite well, although not noted both as a Forest Whitaker.En as the rest of the movie nor there is much stress, the head is the Scottish Kevin Mcdonald, director of documentaries, in some moments the film seems to be filmed as a documentary, although this not bother because the performance of Forest fills the screen.

archivos_extraidos/MCE-Corpus-main/Dataset/1793

Rafa Ferrer

Va a ser que nadie es perfecto

muchocine

Finally, he could not forget me the cameo of the great Nacho Vidal... A simple tape that is visiona and forget just as quickly.

Starting the tape in a few opening credits that slightly resemble "Atrapame" If you can of Spielberg, this vehicle for showcasing (with an argument of joke), we find for Santi Millán, Fernando Tejero and Jose Luis Garcia Sanchez (this last have seen you in "Closer" together with Belén Rueda), a soundtrack, full band of Spanish music, as well as Mastretta, with its characteristic sound.As counterpoint, or curiosity, say that Fernando Tejero Lucia during the filming some opaque lenses which prevented it from the vision, as well as the Santi Millán character seems a silent too forced for my taste, and is that I know a couple of deaf and dumb to not mark both as Millán, on the other hand, the character of Jose Luis García Sánchez reminds me of my father, led an orthopedic leg during a good part of his life, his jokes are those who have heard in the film.Finally, he could not forget me the cameo of the great Nacho Vidal. A simple tape that is visiona and forget just as quickly.

archivos_extraidos/MCE-Corpus-main/Dataset/1143

Jesus Lens

Babel

muchocine

A film that leaves no one indifferent and that view once and announced the divorce between Arriaga and Iñarritu, leaves us with the question of which will continue to both parties of an extraordinary pairing that, with this route?Does babel?, as well as with?Love dogs? and? 21 grams? It has set the bar very high.

The flapping of a butterfly in Hong Kong can unleash a storm in New York. This is the poetic definition of chaos theory, also known as butterfly effect. And "Babel", an original ideal of González Iñarritu and Guillero Arriaga, part of a premise as simple as worrying: a grateful Hunter gives his gun to his mountain guide. and this simple gesture will affect and trastornará the lives of four families forever.Chester Himes, for its part, in the introduction to his wonderful "A blind man with a pistol" departed from an anecdote that told you a friend, Phil Lomax. According to his friend, "a blind man had been shot with a pistol against a man who had slapped him on the subway and had killed an innocent spectator reading his newspaper on the other side of the ride quiet." And I thought: damn is, just as the news of today, the riots in the ghettos, the war in Viet Nam, masochistic acts in the Middle East. "Then I thought of one of the leaders of strident voice that incite our vulnerable brothers of soul and harass them to make killing, and finally thought that all disorganized violence is like a blind man with a pistol".Breton, father of surrealism, argued that the surreal act par excellence would be to take to the streets armed with a gun and firing indiscriminately into the crowd. Can the boot in "Babel" be an example of globalized surrealism in which we are plunged into this boot of the 21st century?Photographs of tourists in the Atlas Moroccan, watching the landscape from the Windows of a bus, as the astronauts watch outer space, as if they were in a Zoo, but upside down, tucked inside his cage of glass to protect themselves from a hostile environment; they are a perfect example of that surrealism which flows in a bullet missed, absurd, impossible and meaningless that triggers an unpredictable sequence of events linked together by chance, fate and a chaotic to precise sequence of cause-effect as unlikely as some.Paul Bowles was carried the deep South of Morocco the characters of "Protective heaven" to address his existential vacuum with vacuum of a wilderness and border space in which begins black, poor, unknown Africa and hopeless. Arriaga and Iñarritu do the same with those parents who seek solitude in the crowd to overcome by the loss of a child. "And this effort almost cost them life, to them and, paradoxically, their other two children, living comfortably in the modern and prosperous San Diego.""Babel" is a border film that speaks of silence, solitary confinement, the clash of cultures, globalization, the contradiction and dissatisfaction. It is an undogmatic, without good and bad film. It is a film that drinks of surrealism, Existentialism and the aforementioned chaos theory. Have we evolved really? Towards where? Sense for our life?The Japanese part of the story is thematically more fix far-fetched, but it is very illustrative in this regard. If the open spaces of the Atlas can be arid and oppressive, nothing more distressing than the deep and unfathomable loneliness that you may feel in a room, at a restaurant in a plaza or a disco, spaces all brimming with people.As all movies episodes, and this is, as much as the three stories are linked, there are fragments achieved more than others. Personally, perhaps because I identify with the landscape, aesthetically I like the Moroccan side of the story, humanly, excites me that most nanny character which, among all and almost without that she can do anything, they complicate you and fuck the existence. However, the Japanese history ends making somewhat tired.The character of the girl sordomuda and his deep grief are so long. Curiously, however, it is the part that better connects with the previous work of the Mexican, one of the eleven stories of the film shorts that many directors around the world filmed on the attacks of the 11-S, where skyscrapers, artificial silence and leap into the void acquire all ownership.We have a great ultracontemporánea film that, even though not perfect, is told with the premiosidad history requires putting feelings into a foreground. A film that leaves no one indifferent and that view once and announced the divorce between Arriaga and Iñarritu, leaves us with the question of the way to follow the two parts of a binomial extraordinary that, with this "Babel", as with "love dogs" and "21 grams" has put the bar very high, putting in images that tempus fugit which accompanies the human being since man is man.

archivos_extraidos/MCE-Corpus-main/Dataset/1154

Tito Chinchan

La vida en juego

muchocine

Prison sports film of overcoming, in which a retired player takes some offal of society to become people's benefit. Would happen further penalty glory of not is because it is a true story, as well as having a sober development although long.

There are films that have an added value which makes that they go a little level. In this case, that added value that we find ourselves is that it is based on real events. Moreover, at the end of the film, when leaving the letters and people rises and can't you see the cast, leaving "real" scenes from the life of boys that are reflected in the tape. It is very interesting to think that the scenes, which in many cases are "absurd", is not so much and have really happened.The film is a worker of a reformatory in the us. Apparently 75% of those who pass by this country's prison system before turning 18, to become senior citizens return to the same, and the percentage of dead is also violently chilling. Total, he decides that this has to change, and that the problem facing these guys can solve with the discipline of a team sport. So it joins kids with very different characteristics, and in cases of rival gangs, to form a football team.Look at that when I saw the theme I supposed to be a very big roll. When my Middle Chinese melon slept in the first talk that gives them, I thought to myself "this is good". And is that they spend the entire film with speeches Braveheart roll, but with less clothing. History, however, is told in depth, but with many sporting moments. The characters are quite believable, although situations facing us are very far here in Europe. But hey, if it is a true story, it will be that they are true.In short, prison sports film of overcoming, in which a retired player takes some offal of society to become people's benefit. Would happen further penalty glory of not is because it is a true story, as well as having a sober development although long.

archivos_extraidos/MCE-Corpus-main/Dataset/600

Ricardo Marquina

Zombie nosh

muchocine

Unnecessarily long scenes, crude and free erotic, crappy makeup, unfortunate interpretations, and a hellish dubbing.

First thing, this movie is bad, bad, bad. A group of American kids attend the night of Halloween to the forest, with beers and leftover hormones. Meanwhile, a grajero in the,(casualmente_esa_tarde_noche,_mira_tu_por_donde) area, is a tomb with a menacing inscription (covered by dried leaves and a bit of Earth), and after opening it, (which everyone would do in his situation) a zombie hits a Museum in the neck. From here ended the argument, because the film turns into a massacre without sense, dode all die, and where the viewer knows that everyone will die.Unnecessarily long scenes, crude and free erotic, crappy makeup, unfortunate interpretations, and an infernal dub make one is raised to stop the movie constantly. Just to save a couple of details: the family murder perpetrated by son, daughter and zombie wife of family guy. And an enigmatic phrase: "They are dead and are dangerous" so is this humbug of movie, 1988, directed and written by Bill Hinzman. Considered a classic by many. Basically it is a shit movie. But well, I me her swallowed. will I be coprófago?

archivos_extraidos/MCE-Corpus-main/Dataset/1340

Rafa Ferrer

Epic movie

muchocine

The best of these films is that the ambiance, makeup and sets calcan exactly to the original film, the rest, the simple, sad and forgettable that I have seen in a long time.

Cojase a good list of blockbuster films (beginning by "code Da Vinci", following by "Snakes on a plane", "X-Men", "Charlie and the chocolate factory," "Saw", "Supernacho", "The Chronicles of Narnia", some television programs made in USA, and even "Scarface", "Mission Impossible", "Superman Returns", the "Harry Potter", the adventures of "Pirates of the Caribbean", "Click" and even "Borat" which in the end have gotten shoehorn)(even some strokes of "Last lap", "Star Wars" and the new adventures of "007").The best of these films is that the ambiance, makeup and sets calcan exactly to the original film, the rest, the simple, sad and forgettable that I have seen in a long time.Sharing highlight the presence of Carmen Electra, Jennifer Coolidge (the famous mother of Stifler's "American Pie", David Carradine cameo, and Kal Penn, who took part in one of the films parodied ("Superman").)In the end, little more than highlight.

archivos_extraidos/MCE-Corpus-main/Dataset/2670

Bruji

La noche de los muertos vivientes

muchocine

A cult movie and an excellent example of how to create fears without means, while the story continues under the opening credits...

Today will see the ingredients that make up, no longer a simple masterpiece, but nothing less than "a cult film", which is different.Firstly, the absence of money (the budget is practically non-existent), is supplied with multi-faceted staff which, moreover, has clever free time, good friends and relatives.In the absence of professional actors, who can not pay, requests please the wife of one of the producers, a school teacher and a burly truck driver. None of them had experience in film, theatre, or student comedies, and none of them returned to make a film. That Yes, the lead role offers a true actor Duane Jones, an unknown absolute, embarked on this project to make debut in the film. Both liked the experience, which would not be gender, reducing his filmography characters related to the world of the living dead and the vampiric creatures of the night.This is also the first feature film for the director. George Romero comes from advertising, and exploits the situation to ask photographer, screenwriter and film editor. For its part, the producers become supporting actors, make-up artists and sound technicians. They receive no salary, but all the members of the technical and artistic team (uncles, cousins, friends), obtained the promise that "you charge if the tape of manners works at the box office". One aspect that does the Distributor, the Continental, which invests a sum of money derisory in to introduce it.Chocolate syrup (the picture is in black and white), organ meats you buy to a butcher and the dollar that is paid to the extras (they are so few, that enough time to become familiar with all of them), do the rest. And that begins with love, shot on weekends and holidays, is revealed as the benchmark of hundreds of filmmakers; history with which many film buffs fall in love of the genre.Is true that the tape contains rabbits that give to write a book. The car without key in the contact that moves along a path to take three curves without any problem, do not block the flyers in these situations?. Do the same car who ends his adventure passing by a tree? that not touches - to declare sinister altogether, or blood that it comes on the back of a zombie that has shot up front, without that appreciation of the impact of the bullet in his chest. Clear that, it is likely that the "blood of the zombies" (good title for another movie) to flow differently.But true is also that it has memorable frames, unforgettable scenes that will be repeated endlessly in the following years horror movies. The fixed level which encompasses a tortuous road that approaching the protagonists, clear premonition that evil awaits them (Jeepers Creepers); the flight of Barbara (the massacre of Texas, Friday, 13); the psychological evolution of the protagonist (Scream); the truck surrounded by "stuff" hungry of viscera (which they bought the butcher); the explosion that is reflected in the faces of the actors (the debutante and producer); the close-up rolling camera in hand, paradigms of the facts unleashed after (impressive which reproduced the recipient of radio, the tombstone, the fuel pump).With a political background of acid criticism of the career of nuclear weapons, an unusual abundance of imagination, intelligent dialogues, and a dash of extraordinary composition that warns of the consequences of interference in alien wars ("the deceased, by dear sean, would funeral, not being more than dead and dangerous meat"), night of the living dead is an excellent example of how to create fears without mediaWhile the story continues under the closing credits.

archivos_extraidos/MCE-Corpus-main/Dataset/173

Cp

Misión imposible 3

muchocine

May not want to go to the movies, but then do not miss on your DVD

I've never liked Alias, nothing of nothing, and lost no me has hooked, so much that even taking the chapters of the second season, I have not yet spent of the fourth. Thus, that although recognize you good ideas to Abrams, the truth is that it is not a copyright on my list, in the sense that when you create a new work, go running to enjoy it. As for Tom Cruise, I recognise some large works, along with other notable and some interesting. The truth is that it seems that it is boring at times, and not works, except when there is a Spielberg demanding.Against this background, mission impossible 3 was not on my list of essential films, but admit that seeing trailers and images he was increasing my interest, and in the end I went to see her the day of the premiere. And when I realized. the film had already ended. Taking into account that it is an action film, it is one of greatest praise that can be made to it. Combining scenes of thrilling action, along with phases of dialogue and where it tells us the life of the character, for the first time in three films.Perhaps style of camera very, very close, moving to crazy, not allowing you you do a general picture, and jumping like crazy, not me just convince. A current fashion, which allows you to hide poorly choreographed fights and little athletic players, but J.J. know move it, as well as Paul Greengrass in the second part of Bourne, and when you know how to use, is when a unique rhythm gives the film. The scenes of dialogue, we are finally creating a character of Ethan fuller Hunt, which although it will not deserve an oscar, Cruise makes it credible.Next to it, the rest of the actors are perfect for their roles. His performances are not excessively (except Philip Seymour to simply this perfect, especially when confronted with Cruise) but each actor fits the character like a glove, and you think. And that is essential in a film like this, where you must accept skills and feats of the characters, especially Ethan in a world like ours, but a little more game, more extreme, with impossible jumps, miraculous escapes and perfect costumes, but which now Ethan already shoot the bad guys without any remorse, repairing a detail of previous films I had not just convince.The story, well, a single argument with a hyphen well built and very well filmed, where you vibe with some scene (screaming "once cogelo" to Hunt in a moment that drop you an object between the cars of a Shanghai Avenue) and although not surprised you almost nothing leaves you sleep.In summary, breakneck action, a few touches of dialogue and construction of personal stories, actors perfectly coupled to his characters, a very bad bad, and a main actor believed his role. You may not want to go to the movies, but then do not miss on your DVD.

archivos_extraidos/MCE-Corpus-main/Dataset/1440

Emilio Calvo de Mora

El resplandor

muchocine

One of the best films of Kubrick, but it was always considered minor works. It is also the best adaptation of a Stephen King novel. And it is the best performance of a Jack Nicholson almost always outstanding. Is it needed most?

Well we all shine onLike the moon and the stars and the sunWell we all shine onEvryone come on (Instant Karma John Lennon) A start: A yellow car along a road that skirts a lake between mountains taken from above: so starts the shining (The shining, taken from Lennon's song), but the director not was in Oregon filming that scene: he delegated decision-making Douglas Milsowe and the expertise of his daughter, who oversaw the location of foreign film.Jack Torrance is a writer in search of a novel, an alcoholic writer, married to a prudish and father of a son of a paranormal outstanding sensitivity. Will they hire to do the maintenance of the Overlook, a luxury hotel in the Rocky closes season low by snow. In five months of isolation, prefigures Jack, you can write her novel and do a simple job. Grady, the former security guard, they inform, became crazy: he killed his wife and their daughters to hack and then committed suicide. Life in the hotel leads to Jack becomes crazy and make Grady during the last footage of the film.Everything else: Danny, the son of Jack, walking the aisles with his tricycle. Richard Donner accused Kubrick of plagiarizing him that a child with a tricycle appeared in his successful "The prophecy".Room 237: Danny was invited by two twins to play with them forever. We have seen a lift who vomits a ton of blood.A spectral barman serves Jack a whisky in a kind of party at The Gold Room, the huge Hall of the Overlook. The hotel, except for the Torrance, we know that is empty. Room 237 again: Jack is there a nude young woman in a tub: to kiss her turns into an old pustule and sores.The ballroom of the Overlook are crowded of people: Jack suffers an accident, a waiter poured you a drink over the clothing. Animated chat service serves so that we know that the waiter is Grady, the previous guard, which killed his wife and daughters to battering, although the Grady we see does not remember to be such. "I'm sorry dissent." The watchman is you. You have always been the watchman. I remember it well. I've always been here ", says Jack while he assesses it.""The typewriter:" do Although one will rise early, it won? t dawn sooner "or what amounts to the same thing." "Not for much early Sunrise earlier". Kubrick, detalloso until the obsession, was personally responsible for that in each country the typewriter most a text according to the popular phraseology. The phrase is repeated until the naúsea.Jack gets bastard: Wendy, his wife, tries to escape when he sees a little already played Jack. She locks him up in a closet and take awhile. Jack, with the help of a reasonably nice Grady escapes: brandishes an axe (the most famous axe in the history of the cinema) and breaks the door of the room where Wendy takes refuge. Loose there the famous: "Here's Jaaaaaaaack", which has its legend, of course. Apparently the phrase was improvised by a willful Nicholson and although Kubrick you pleased, made repeated 157 times. Now we don't know, at this point, if the bastard is Jack or Stanley. Jack kills Halloran, the former chef of the Overlook, who has come to the hotel by telepathy linking him to Danny.Jack, the axe, the snow and Danny, fleeing: the technical work of Kubrick is an amazing exercise of brute steadycam by the labyrinth of snow or the corridors of the hotel. A ghost with the wounded head tells to Jack Torrance, already completely gone: "do A nice party, truth Jack Nicholson is here in her wild gestures sauce, inebriated himself as seldom seen.??"The final photo: Kubrick, in the hands of Grady, teaches us the photo that closed or open questions. We see Torrance in The gold room in the dance of July 4, 1921. Grady it seems he was right with everything what you told in the service.Inventory of curiosities: all the interiors of the film are real. A rumor: the initial takes of Kubrick with car debris tuck mountains were used by Ridley Scott for the escape of Dekker with the replicant in Blade Runner.Es the Kubrick film, along with Barry Lindón, where there are more repetitions of scenes. Jack Nicholson clashed repeatedly with Kubrick by this abuse. The narrow-minded of Shelley Duvall was continually battered by the director to get her a more natural, in his words, "State of stress or fear or bad grapes".Kubrick cared especially the soundtrack of the film as it was always his habit: parade Ligeti, Bartok, Penderecki, Beryl...or the Orchestra of Ray Noble in the songs of jazz to salpimentan any part of the film.Dubbing: lumpy and splendid voice of Rafael Taibo covers Halloran, the chef. Neither the Forque Veronica that doubles or doubles of Jack Nicholson Wendy contented to the Spanish public, although choice (very curious thing, really) was carried out by the own King Kubrick.Stephen was not satisfied of the work of Kubrick. Yes, on the contrary, he was enthusiastic about a miniseries filmed by his friend Mike Garris. In the novel of King, the hotel arde. Kubrick saw him laughable. A vulgarity.Conclusion: the best 1980s horror film. One of the best of all time. Only by the great madness of Nicholson worth all of it. King was deservedly honored in Carrie and Misery. This is the most successful, which contributes to his love for leaving filming his works more solidly.

archivos_extraidos/MCE-Corpus-main/Dataset/574

Kiko de España

La prueba del crimen

muchocine

Vibrating. You don't have another adjective, although he choked the viewer based on all kinds of postpro theatrics.

Pass a good time this morning watching the thrilling (has no other adjective) Running scared here, the Parrot, the proof of the crime. And it is a movie with possibilities, what happens is that during its one hundred and twenty minutes there is time for (many) good things and bad things (many).The case is that the movie, filmed with nerve by Wayne Kramer, who already gave us three years ago the estimable The Cooler, sins, especially in its first half hour, excessive (could say something like "choked the viewer based on all kinds of postpro clichés"), but then takes it with slightly (but only slightly) more than calm.Among the numerous successes of the film is the sequence that takes place in the House of marriage that "welcomes" Oleg, simply masterly. I do not say anything else at this sequence. Well Yes, that David Lynch sure he likes.Paul Walker not clashes (something that had browsed around) and are welcome to see Palminteri on the big screen, but do always of. As I said, that to spend two hours entertaining can be recommended over this month. A 7.PD: pity to have half a dozen of late and a couple of the usual traps of the scene of the modern thriller, the last of them pa kill them all (screenwriter, producer and director, although insurance that the blame is the second).

archivos_extraidos/MCE-Corpus-main/Dataset/342

Emilio Calvo de Mora

Una historia violenta

muchocine

That vision pure violence, desmaquillada, gives the film an innocence. Who would say that trying to Cronenberg and with a hyphen ex officio assassins and vendettas and grudges hyperbolic

David Cronenberg is a sick director who wallows with avatars and the vicissitudes of his illness. None of his films could have done Steven Spielberg, for example, but he would have it done, successfully, I have no doubt, the Terminal or the Empire of the Sun. It would have checked them with the humor corrosive him, hidden in the least perceptible fringes of history, solvents always. With A history of violence, Cronenberg made a film that, in principle, was not yours. He resembled more a project of Brian de Palma or Tony Scott. This alien material lacks the usual formal apparatus with which Cronenberg rummages in his obsessions and visually explicit their perversions. Has A history of violence absolutely nothing to do with the fly or Crash or came within de.o Spider... Or no longer speak of inseparable, jewel of the insane cinema, cult movie and probably the best performance I have seen very notable Filmography of Jeremy Irons, but good, not desbarremos. A history of violence is the survival of a style of life and mutilation, if not the absolute elimination of memory. Tom Stall (Viggo Mortensen, formidable, restrained and sober as always) erases its past and begins a new life. Random rescues this past and begins a crusade to regain his identity, something which, in the end, in a marvelous picture, contained, is evident. Then there is Ed Harris, a magnificent actor which still lacks an absolute chocolate so people recognize it by the street and the studies you trust newsprint flashy and not, as now, as almost always, outstanding second. What deserves separate chapter is the treatment of violence in the film. Apart from the aftertaste of the director by the lowest instincts of humans, the film obvious violence in an almost Cartesian manner, but her extracted from underground of the soul of his characters when the famous script needs so require. Like when the Hispanic uncover. "Sends it the script". And there they came and went thighs and pubic half to encabritar staff, novice in these iconic lides. Here manifests very dose violence, but strong. I read that Cronenberg wanted a natural, brutal violence of the kind you see in the street, without elaboration, descontaminada of pirouettes, choreography and all that trash symbolic of unnecessary gestures and false kicks to the Bruce Lee that populate the tape action of these days. That vision pure violence, desmaquillada, gives the film an innocence. Who would say that trying to Cronenberg and with a hyphen ex officio assassins and vendettas and grudges hyperbolic.The footage, hour and a half very little, not enfanga the purpose of the director. Strain half-hour more irrelevant material could have distracted the viewer of the primary role of the main show, i.e. the destination as a magnum of 32 encañonándo us the temple, although the years pass and not realise from the pressure of the Canyon in the skin. That happens to Tom Stall, basically. She has lived years provided and now comes memory to collect its share of screen. At the end, I will not gutting the outcome, don't worry, they earn good, as always, but we do not know who they are. Today I will not recommend to open the armarito of DVDs and pull file. If after this binge of violence, it would be good place in the tray of the player the quiet man of John Ford. And if you look, notice, that at the bottom in the same rugged and stark background of always, it's the same movie. John Ford omits inherent in all forms of violence pornography and sweetens the cliché of the man who cannot leave their past (without forgiveness by Clint Eastwood) with relaxed Irish grasslands and generous taverns that smell whiskey in malta and storm of October. In the end. We are a few romantic.

archivos_extraidos/MCE-Corpus-main/Dataset/3177

Tito Chinchan

Los burdeles de Paprika

muchocine

Movie tits and ass. The argument is easily among the teetering of majestic breasts, beautiful ass and populated pubis. A joy to the eye in these times of anorexias and other hueseces. Viva wine, say, viva Tinto Brass.

Tinto Brass, are what give me? Jur jur, which rhyme more subtle. Well Yes, friends, before the visual another film of the famous Tinto Brass, who did not know who was until the other day. But hey, that most good director there with their wives in leather and its desparrame sexual. Fine cinnamon. By the way, I read the other day a colleague as he titled his critique of this movie and do not understand as he was able to say tits three or four times. If I I had to take drops seven times to remove them from the retina.The film deals with Paprika, a Italian girl who decides to devote his life to encourage banana (as I have the rhyme!). Total, that what starts as a reason to make money, is becoming a working hobby that gives good yields, as well as joy to the Netherlands. We could summarize with the title, given that the movie is about the brothels in which works Paprika, but hey, we don't need much argument.Tits and more tits. Beautiful ass, those that you hold for not falling off of the bed. Well dense mats that you have to do scans to investigate the origin of life. And the film has something more? The truth is that not. But what happiness gives bone happy see these Brunettes meats, that as the saying, what are going to eat the worms that eat before them Christians. Making a special section, the actress who embodies Paprika, has tits for sleeping the big sleep between them. Cinnamon thin, I reiterate.In short, movie tits and ass. The argument is easily among the teetering of majestic breasts, beautiful ass and populated pubis. A joy to the eye in these times of anorexias and other hueseces. Viva wine, say, viva Tinto Brass.Como movie is very bad, but that joy and desparrame.kisses.

archivos_extraidos/MCE-Corpus-main/Dataset/2417

Pruden Rodríguez

Café solo... o con ellas

muchocine

Malilla, torpona, GLib, simple, empty and another series of adjectives that are never compliment, but that might be more corrosive.

Upon entering the film can only be a question: is it as bad as it seems? And to leave only a response: could be worse. Eye! This does not mean, nor much less, be good. It is not even mediocre. But stays in quadrille, torpona, GLib, simple, empty and another series of adjectives that are never compliment, but that might be more corrosive.Of the argument do not need nor speak. Four thirtysomethings looking for its place in the world, and everything naturally revolves around the women. That if I want to marry me, if I have left me, that if I do not like me a rosco, that if I am a flirt but I can't find love. Finally, four situations more views than the comic book, which mingle without grace or art and only from time to time are able to offer some comic situation worthy of a smile.Coffee alone, or with them will be another one of those movies that in two days pass into oblivion. Taking advantage of the fame of a pair of actors in television and the pull of the format "romantic comedy ñoña, but funny, but not so funny or so ñoña" they rush to cinema with the hope that the four bored teenagers and four despistadas couples that teem by the Multiplex is swallowing this monstrosity. It is bad without objections, but not kill boredom. If you have nothing better to do and someone pays you the entry, maybe even you agradezcas any of the four crap that make laugh throughout the film. In fact, if not seek shamelessly easy situations, supposedly emotional or sweet, it would up had some interest. And also would have to change most of the actors, of which only unless the Dumpy. And also the soundtrack, with the stuck to fill 40 hits or so get oldy without coming to story. Well, thinking well, to spare so many things that we should make another movie to give it interest.

archivos_extraidos/MCE-Corpus-main/Dataset/3701

Andrés

Testigo de cargo

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Although everything is concentrated on the future of this piece of Agatha Christie, Wilder garnished the film with brilliant dialogues where humor is mixed with the jargon of lawyers.

"I'm now going to make a movie better than Hitchcock" said Wilder and led his own courtroom drama to the big screen. Sir Wilfrid Robarts is an old ailing lawyer whose instinct of Fox forces him to take the case of Leonard Vole. An inventor of little rides charged with the murder of an elderly woman, solitary and rich, who frequented by friendship.Clearly, the charge seems unfair but the circumstances indicate it as the prime suspect. Everything is complicated when his wife, Marlene Dietrich evil, declared against him. In a few hours Robarts has to deal to save his client from the gallows. Although everything is concentrated on the future of this piece of Agatha Christie, Wilder garnished the film with brilliant dialogues where humor is mixed with the jargon of lawyers. Constructs a round character, Wilfrid Robarts, very insightful although next to his final heart attack, always pursued by his nurse who escapes to smoke their cigars.

archivos_extraidos/MCE-Corpus-main/Dataset/3919

Tito Chinchan

This is England

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Film about a 12 year boy who enters a youth group simply by being wrapped. Not the I recommend, because although it has English humor dose, is a film quite hard and raw. To me I liked.

Director: Shane Meadows. duration: hour and half past.Release date: January 4, 2008.Hay many ways to learn the history of countries. One that is very well is to be immortal, so can having lived all kinds of events. As this is not too common, and given that we are too vague as to study or read anything that it doesn't start by "Sea" and ends by "ca", we must see movies. In particular, I've seen several films on the contemporary history of England, such as the child who wanted to dance or of those danced in the unemployment queue, which find me very interesting. Perhaps even more interesting background than the film itself.The film is a 12-year-old boy that has a difficult life in the Great Britain of Margaret Tacher (if the read out loud you will sound better than read) given that has lost his father in the Falklands war. Total, that as he has no friends, all put to him and is extremely ugly (this fact extract it I empirically) then became a friend of the group who welcomes you. This group is nothing less than one of Skin Heads, where his life takes a major turnaround.It is interesting to see this movie without prejudice, as the Group of Skin Heads where the boy nothing has to do with the concept that we have. The film itself I liked with reservations, given that it is very interesting and entertaining, but keeps you in a tension which I don't like. The actors are all unknown, perhaps even amateurs, which gives it a unique air, as much more credible. The substance of the film shows us how, simply to find a bit of affection, anyone can be associated with any group, regardless of the end of the same. And only after very serious events, leave the same. Curious, of course.In short, film about a 12 year boy who enters a youth group simply by being wrapped. Not the I recommend, because although it has English humor dose, is a film quite hard and raw. To me I liked.Besitos.P.D: The treatment given to the humor may be even black, but I think it is more by prejudice commented at the beginning that because of the film itself.Pd2: The protagonist, with all small and ugly, acts very well and extremely credible.P.D.3: The documentary treatment of certain images with background music, is brutal.

archivos_extraidos/MCE-Corpus-main/Dataset/398

José Córdoba

Monster house

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Not only the technical level is exemplary, script the film works, you are their characters, their feelings, in addition the director knows give rhythm to the action and even get some other startle in the armchair.

Monster House represents a return, rather, a regression to children, these 1980s meaning for many our innocence. Then the film premiered products aimed at children, but that they could be seen and enjoyed by adults. Amblin, hosted by Steven Spielberg stood out among all the producers that emerged at that time. It emerged classic child film like the Goonies, E.T., the secret of the pyramid, the back to the future trilogy and who framed Roger Rabbitt, among others. I grew up with these films and I keep fond memories of all of them, have also stood the test of time in an excellent way. Why the premiere of Monster House is a joy, as it recovers the spirit of that film. Set in the early 1980s (although without saying so in no time) tells the terror that has a child into the front of his house. A house inhabited by a hateful man named Nebencracker and he seems to have their own life.The film, produced by Spielberg and Zemeckis, portrays as usual in these productions about events taking place in the suburbs of a city, a neighborhood of homes where children can head-on at your leisure. In addition it introduces us to two children that do not stand out for being the most popular of the College and with emotional problems (the father refuses to tell you I love to his son, while the mother is requested with insistence when they go on vacation; or the parents always absent from the other child nicknamed Croquette), a common factor in the film and Steven Spielberg productions. These two children joined the know-it-all girl and insect repellent, it ends up being the only one who believes in its history and also marks the sexual awakening of children are already close to enter in full puberty. We also have the nanny "zamanfou" with a boyfriend sobón "fumeta", who, of course, nor believes in warnings of children on the House and a couple of policemen that disrupting the attempts of the protagonists in discovering the secret of the House. And then there is the House. A House with life, terrifying, with clear references in Poltergeist or night of fear. At the level of history, characters, the film is, as I have said, nothing a contracorriente, returning us the characteristics of the missed children films of the 1980s.The film could frame as in animation film, although it has a radical difference to the productions of Pixar or Dreamworks: have been carried out with the technique "Motion Capture". This technique allows to record the actors doing the movements of their animated characters, so that movements, bodily expressions, dialogues are directly taken from the work of the actors who play the characters. This technique was first used in the movie Polar Express, though fortunately it has evolved a lot since then. In this the faces of the characters, the eyes convey emotions and despite its cartoonish design can reach parececernos real beings, something that never happened with the movie starring Tom Hanks. Another radical difference in this technique is that it allows to managers with little or no experience in the field of animation, filming a movie in this style and it shows. Digital technology makes the camera not a difficult move cumbersome but simply a point of view, that can move anywhere without hindrance and in this film applied it. A camera always on the move gives personality to the film. Clearly influenced by Spielberg and Zemeckis, the rookie Gil Kenan, presents a few levels in which the camera moves, turns, has freedom of movement around actions and characters, obtaining extraordinary moments such as the scene in which the House back to life. In this way, get away the film of traditional animation which tends to mimic the difficulty of movement of a camera in a real shoot, with multitude of fixed planes or crane, without benefit to the fact of being in a non-physical environment. But not only the technical level is exemplary, script the film works, you are their characters, their feelings, in addition the director knows give rhythm to the action and even get some other startle in the armchair. In addition, perhaps to close the cycle, the legend that surrounds the House just proving very burtoniana and beautifully sad. In the field of music the film is also very achieved with a score escritar Douglas Pipes, a composer for me unknown, that performs an amusingly approach to the music of terror of the B.En series summary, a film very advisable, nothing pretentious or ambitious, far removed from the technical virtuosity of Cars, although, on the whole, quite better resolved. A wonderful surprise which stands for on top of all the animated films I've seen this year, and that, in addition, get have eager to see the new project by Zemeckis filmed with the same system and inspired by the legend of Beowulf.

archivos_extraidos/MCE-Corpus-main/Dataset/678

Alberto Concepción

Scoop

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Allen returns to its origins. To his comedies disparate, with this universal humor that only the known transmit. We have one of the most characteristic of the director New York films. Laughs, suspense... and more laughter.

After the master 'Match Point', had been much speculated on the new film by the film genius called Woody Allen. You knew that it would be a comedy, with his new muse Scarlett Johansson and Hugh Jackman. And in London, clear. Result? Modern view of 'Manhattan murder mystery'. with some 'Match Point'. Allen returns to its origins. To his comedies disparate, with this universal humor that only the known transmit. We have one of the most characteristic of the director New York films. Laughter, suspense.y more laughs. If you have ever been disappointed with 'Match Point', then this is the Allen you were looking for. And if you had been fantastic, Scoop you seem simpler, but it will not fail you like.London again, for the second (and penultimate) time the chosen scenario. An acierto.si already Manhattan so loved, now will be the British city who do so. No one as this director know reflect a city, from within, translating that live and these customs. And this is probably the best film of Allen: combine a good script with the visual aspect. But we have a masterpiece? No. Difícilmente (that not impossible) a comedy can be turned into something as well. And then? The movie entertains, and long. Like, and pretty. Not only complies with its mission, but that leaves you with a good taste.Scarlett Johansson change log with a comedia.y meets. Note that Allen has done the script thinking therein, because there are several scenes (and the comments) which leaves for his showcasing. And when love is mutual, the effects are great. Hugh Jackman outboard his role as rico and gentlemanly English galán, although really you always have to do the same role. And Allen? When this filmmaker acts, always makes itself: neurotic over not being able to, but with phrases great. 'Scoop' will delight lovers of the filmmaker. And also of those who only seek to entertain themselves. That Yes, no hunting for the genius of 'Match Point'. It is not perfect. It is only a comedy, so you have to treat it as such. And not one any comedy: is Woody Allen. There is no more claim that making people laugh. And in this sense, Allen returns to get away. We can only hope to continue to do its own thing.

archivos_extraidos/MCE-Corpus-main/Dataset/3560

Hombre Lobo

Rec

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Say it is the best Spanish horror film of recent years is risky, but it is true that it is one of the few who shun the typical "easy road": autoriles claims (on one hand) and dandruff (on the other)

Long before its release, and after his recent tenure in Sitges (whose famous projection, unfortunately, not could attend), REC (2007) came wrapped in an aura of incredible expectations, perhaps too much for something that, ultimately, is an extremely simple film whose highest virtues are exactly literal in its proposal. Even so, it is surprising to see how something that began more or less as a project of marginal of its two directors (Jaume Balagueró and Paco Plaza) has ended up becoming not only one of the more effective this year's horror films, but also the work stronger to date for both filmmakers, to those who Filmax should take into consideration more than ever.For those who have been locked in a bunker during the last year and a half, I inform you that REC is basically a zombie film narrated from the point of view of a video camera that records the outbreak of the epidemic in a Barcelona building besieged by the forces of order, and that bad luck has wanted that two leaders of a local affairs program remain lockedalong with firefighters and a few neighbors. Already commented similarities with films such as the project of the Witch of Blair (1999) are, at best, limited only to the format and superficial: Unlike what occurred with the mockumentary of Daniel Myrick and Eduardo Sanchez, REC does not seem be mounted, but should be composed only by material rough of a camera that records a violent fact"real" and visceral in which the protagonist ends up being pretty invisible camera "Pablo" or television reporter, not the public that receives each and every one of the shaking.If above said that REC is a simple film he did in a pejorative term. Contrary to what happens in the canonical zombie film (talk about here obviously films of George Romero), the tape of Balagueró and Plaza does not demonstrate second readings or interpretations of any kind beyond sample (sometimes in humorous key) of the miseries that usually seize humans under State of siege. Both directors seem to be much more interested in the way in which history is transmitted and the emotional effect that prints in the Viewer, something that would not be blameworthy that horror movies is, in essence, a genus of emotions, rather than intellectual speeches (though obviously can become much more). In this light, the film gives the nail on the head: once after the introduction of the course programme and initiated the escalation of terror of the argument, what follows is a time of the most intense that have seen in horror movies, at least this year. That I have no doubt.It is that in my opinion the greatest virtue of the film: the capacity to transmit that binge in the viewer along for almost an hour and a constant crescendo that, unfortunately, seems that Plaza and Balagueró not found the best way out. The first uses his familiar formula of creation of environments even with a scenario not very distant of the employee in his previous film, repeating to enter to live (2006). The trick goes well, but to be an experience which depends mainly on the produced feeling and little else, let me show some skepticism when it comes to repeat viewing, which is really when recognizes a great movie. Attach, Yes, that the tactics employed to frighten the staff are very effective although we have seen them many times and even recently: certain images and moments of the film (some of the most chilling) we had seen earlier at the dawn of the dead (2004) Zack Snyder, only that such moments are here tratandos with filter similar to the journalism of war realism.In short, I do not know until that point we can say that REC is one of the best Spanish horror films that have been made, but it is true that it is one of the more honest and less dodgy and overblown, and that at the same time (this is the best no doubt) has not fallen into the temptation to go for the easy way of dandruff. The fact that a film so visceral and direct can hurt your prospects in the future (perhaps), but I cannot deny that you did me go very wrong. And is not that of what will the horror film in the background?

archivos_extraidos/MCE-Corpus-main/Dataset/1076

Francisco Bellón

Banderas de nuestros padres

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When the talents of three geniuses such as Eastwood, Spielberg and Haggis come together, the result cannot be but a masterpiece.

World War II has been and is one of the large veins for the American film. Before even of after the war, but with victory secured Europe, Hollywood machinery began to make the first films, propaganda, on the war. Once past the euphoria by the positive outcome, the films became less panfleteros and more suited to reality. The battle of Iwo Jima was the beginning of the end of the war in the Pacific, to be the first Japanese territory invaded by the Americans. It was one of the most bloody war moments, as in little more than one month the Americans suffered almost 26,000 casualties, of which nearly 7,000 dead, while almost all of the 20,000 Japanese soldiers of the garrison of Iwo Jima were killed.The film tells the story of the three survivors who raised the flag on Mount Suribachi, immortalized by Joe Rosenthal instantly. That picture makes heroes John Bradley (Ryan Philippe), Rene Gagnon (Jesse Bradford) and Ira Hayes (Adam Beach), and they are embarked on a tour to dupe the country in hopes of victory, and to upload the sale of war bonds. Clint Eastwood from a fabulous script by William Broyles, Jr. and Paul Haggis is immersed fully in the history to make it own to offer the viewer a film that will leave you shocked and stunned. Eastwood tells the war in all its harshness, showing an almost indescribable horror, and at the same time, uncertainty and fear of the soldiers. War scenes remind saving soldier Ryan, and rightly so, that own Steven Spielberg is a producer of the film. But flags of our fathers is not only war and battle, its hardness is also found in how politicians manipulate three survivors, and without any qualms, put them in a race to sell more, to become icons of heroism. Clint Eastwood demonstrates once again that dominates the art and magic of cinema like few others, that pace that prints is the perfect history. Not to mention her beautiful score, hopefully that recognized this time in the form of nomination for an Oscar. All the technical work is impressive, highlighting photography Tom Stern, and the Assembly of Joel Cox. The icing to the cake put him interpretations, excellent, especially those of Ryan Philippe and Adam Beach.Cuando gather the talents of three geniuses such as Eastwood, Spielberg and Haggis, the result may not be but a masterpiece. And flags of our fathers. Now you only need to wait a few months to see the second movie of the project, the Japanese vision of the battle, letters from Iwo Jima.

archivos_extraidos/MCE-Corpus-main/Dataset/1424

Caruco

En busca de la felicidad

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Do do deserves to be above other similar proposals that reach us from? the industry?.

The cube of rubik or a poster of the mythical "raging bull" as a distinctive symbols of an era, early 1980s; and an actor Will Smith as another cinematographic icon, this current, or 90 at the beginning of the 21st century, because of his popularity and be a value guaranteed at the box office.All places us squarely for "In search of happiness", or the latest in drama of human interest belonging to the subgenus called "based on actual events"; and also, another shows more (see "Night at the Museum"), of the sub-subgénero of father troubled with problems to find your site in the world and with child of by means, or rather, to slopes.It will Smith is Chris Gardner, a family guy who in 1981 had water up to the neck of bills and debts, having invested until his last penny in some expensive bone scanners that almost no doctor wanted to acquire.Dragging up and down, those ubiquitous white briefcases of 20 pounds with a wife tired for a life that is already not makes happy (Thandie Newton), and a creature of 5 years covering everything from their perspective pure and naive, Gardner should deal with a thousand hardships to fulfill their dreams: a job as a broker on Wall Street, and stay with his son.Does the film meets all the requirements of a drama? made in Hollywood? to make an impact easily at the hearing, but it Will has resorted to an Italian director Gabriele Muccino ("the last Kiss"), hoping to give the product a different packaging.Fleeing from "felycidad."It doesn't matter that the film has its pitfalls. It will Smith is too nice and his character too smart that we come to doubt that it is an outside series that, sooner or later will reach their goals. "It is not an obstacle Will appear practically on 100 percent of all scenes, only giving in some moments to give some to another level the child, perhaps falling into the account which is his own son (Christopher Syre Smith), also named Christopher in the film"."In search of happiness" gets even by insistence that we metamos in the skin of this poor devil, or not so, called Gardner; We vibremos and we keep in tension in our seats during the nearly two hours of projection. All seasoned with a good invoice, fair dose of sentimentality, even a hilarious joke about shirts and pants, and a notable music composed by Andrea war (which I'm just listening to write these lines).The touch of sarcasm, surely unintended, is that "happiness" or that "achieving the"American dream", happens not only in staying together with his son but also in the pursuit of money, and to someday have a beautiful mansion in which to raise their offspring (outside of this neighborhood where write"felycidad", thus, incorrectly, with the first"i"in Greek)."And curiosity is this person prototype made to suffer, to be always in tension and to the brink of collapse. The test is that labour broker is not precisely of those who put one relaxed and comfortable.Taking into account the type of film that is, and the optimal achievement of their results, well he deserves place above other similar proposals that reach us from "the industry".

archivos_extraidos/MCE-Corpus-main/Dataset/551

Silvia

Separados

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More bitter than sweet, separated is the portrait of an episode in the life of one couple either. A step beyond in the genre of romantic comedies.

Boy meets girl. They fall in love, argue, are separated, but in the end love can with all the problems and the couple ends together again at the beginning. So are the majority of romantic comedies that have passed through our screens. But not you ye have wondered never what happens with these couples a few years later? How they sobrellevarán the routine? Or, what happens when there are hobbies, reproach or the daily small quarrels?Separate part of the moment when a couple decides to leave their relationship after two years of cohabitation. So, the movie - despite the issue of the relationship between parejas-no remains the classic plot scheme of romantic comedies, so it becomes a romantic anticomedia.The film tells the story of Gary (Vince Vaughn) and Brooke (Jennifer Aniston), two people who, despite being diametrically opposed (she works in a gallery of modern art and he is bus tour guide) happily share their lives. Everything goes well until one day, after a trivial discussion, end up breaking the relationship. Pride, none of the two prisoners will be ready to leave the apartment they share, by which he dedicated to boycott in order to throw to the other apartment. In this peculiar war remain, are given the most comical situations from the film.With a quite brilliant dialogues for than usual in this type of movies, separated a step beyond in the genre of romantic comedies. The film could be categorized as comedy-drama, although in my opinion, has much more drama to comedy. Of course that there are moments of humor, but are short breaks of the bitterness that emerges from the history. What is surprising this kind of films - such as the highly recommended "The man of the time" - is the enormous capacity we laugh the outside misfortunes, a smile that fails to be cruel but causes by the contemplation of the vital disasters of the protagonists.Bitter sweet, separated is the portrait of an episode in the life of any couple, with real scenes as life itself, without idealizations and late romantic fairy tale. The viewer who feels to see the history of these characters has the feeling to be attending the actual breakdown of a relationship.

archivos_extraidos/MCE-Corpus-main/Dataset/3389

Tito Chinchan

El séptimo sello

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Cult film of the deceased Ingmar Bergman about a Knight who plays chess with death while you search for a meaning to life. Essential to see to be able to say "I saw 'The seventh seal' and it is not so peñazo as I thought..."

Duration: The time when referring to Bergman, is a very relative variable. For my medium Zucchini that has slept the two times that I've seen, it lasts until the scene which acts the Buskers. If awake, stand a little more than an hour and a half.Premiere: The movie is 56, but it premiered on Spain on March 20, 1961, in the Palace music (I think it lloviznaba slightly, but to me fails the memory, heh, heh).Spectators: 32.675, although there is no human being not claiming that it is a peñazo, what get me 48 million viewers only in Spain, right?.Spanish, Franco is dead, this, not that I've been busy. Spanish, Chinchan Tito has reached maturity as a human being and can affirm, with knowledge of the facts, that the seventh seal is a film for viewers of fine palate (or a peñazo for the rest, of course). Why? Because we have seen her, not one, if not twice. Thus, with two balls. Therefore, and for the present, you can call me Excentísimo e ilustrísimo gentleman of the Court Imperial intergalactic, Mr Tito Chinchan. It is said.The film is about a gentleman and his faithful squire who return to their native Sweden after 10 years of battling in a holy war of those. Upon his return, nothing more making landfall, you are presented the death to tell him that his time has come. That I said that could have said it before you paste the Holy Land palizón - Sweden, right?. Total, the Knight tells him to death that they have to play a partidilla chess to see if he has the time, or not, that he is very jover to die, and thus step to clarify doubts about the meaning of life. And all this happens in 3 minutes, warn him that you may know that it is dense.Let's see, this film is not to do with colleagues while you smoke you some canutos and eyes give laps as the cherries of the slot machines. With this you have to sit at a decent time, with a glass of water and a guide to explain the film, that if you will not be with the same face I am I. At the beginning, the thing promises, but as it progresses, it will espesando and ends turned into a paste with a strange ending. Eyes of a critic with cinematographic knowledge this have many crumbs (which I've reported in the went), but my feral eyes, not. I'll stick with the scene is that tells the Squire a girl something like "Do you know cooking?" You've saved and you want to make love without violating you. "I hope that my wife is dead, so I need company, we will." And the girl will follow, of course. The hecatomb.In short, cult film of the deceased Ingmar Bergman about a Knight who plays chess with death while you search for a meaning to life. Essential to see to be able to say loud and clear "I saw 'The seventh seal' and it is not so peñazo as I thought."To tell the truth, it is a little boring, but not as much as they say to those who have not seen. In addition, over the years makes me think that in his time he had to be very impressive, since very increases tone (not sexual, boeotian) scenes have.Besitos.P.D: I've seen twice that my medium avocado I mess and promise me it won't sleep. That if, as the saying goes "or have given me ass or I will return to give". There is that.Pd2: One thing if that bag in clear, religion, the more far better.

archivos_extraidos/MCE-Corpus-main/Dataset/1939

Francisco Bellón

Spiderman 3

muchocine

Viewers who see Spider-Man 3 without the blindfold of fanaticism blinding them eyes, will have a bland, boring and excessively long film.

Bad us though, there is never two without three, and in the film this maxim is true to letter, except cataclysm box office. And as the Spider-Man franchise has generated huge profits for their producers, already took too devise the third installment of the saga, which will be the last (not for lack of desire but because Tobey Maguire has already said that it will not hesitate to mesh). The invasion that now suffer the Spanish charts only may be comparable to that it suffered for almost 200 years at the hands of Napoleon and his Grande Armée. To that we planted face and we won, but the man spider is difficult to stop him.Sam Raimi gives us the darkest film of the saga, in which the inner hero conflict multiply, at the same time increase in that strange (laugh of the Bermuda) triangle formed by Tobey Maguire, Kirsten Dunst and James Franco. Finally, turn Hollywood fashion, which says that in a pure and simple tape of action and effects must be human and dramatic elements to demonstrate their depth. And since then, with similar arguments, Spider-Man 3 manages to demonstrate that it has the same depth that the flow of the Júcar river. The script has both development and progression as a Communist in Wall Street and all its characters are flat encephalogram. If outside little, to achieve size effect, must be made a film of two hours and a half duration, i.e. 60 minutes more than any human being would be considered rational. It must be said for the tape that has a couple of good sequences, and a really impressive technical deployment, but that despite its spectacular nature, you cannot fill the vacuum resounding plot.Staunch supporters of the Marvel, Spider-Man 3 will love. The rest of the spectators, they see the movie without the bandage of fanaticism blinding them eyes, will have a bland, boring and excessively long film. What a shame that not mount a stall that sells insecticide and mata-moscas, because it would be a true pitch, and a relief for more than one disconsolate Viewer next to the box office of each film.

archivos_extraidos/MCE-Corpus-main/Dataset/328

Rafa Ferrer

Bandidas

muchocine

Simplistic tape of desktop, where neither the presence of Salma, nor our Pé, saves for the disaster film

I was not interested the slightest film, mention other than the promotional "auto-bombo" that her have been giving in countless media (promotion calling it now) and that makes you go to see her almost obliged, hoping and praying that stupid thus cessation of once and for all the heaviness that media submitted us.In honor of the truth, I will say that the final push towards the theater I it gave Salma Hayek and is that the curves of the beautiful Mexican help the more reluctant towards more distant planet film, just by seeing her swagger on screen.And after the excuse, that is not so, we go with the film; a simplistic tape of desktop, where neither the presence of Salma, nor our Pé, saves film of the disaster, suitable for television desktop, and sustained in the "girl-power" that such harmful results bearing on screen, tries to tape, not without certain doses of lack originality, take the Viewer to the garden, where Steve Zahn practiced vase man, pa' then say.It is curious, as a diarist tape, tries to exploit the cool side of Mexico and the villain of the "gringos", but if the film is shot in France! Lords distributors, producers and other elements whose position just in - you money, do not lose to the public their valuable time in these films. We are so welcome filling their coffers at the box office.

archivos_extraidos/MCE-Corpus-main/Dataset/95

Iñigo

Truman Capote

muchocine

Up the own Truman Capote reaches bore

A new biopic comes to the big screen. And another biopic, as it would not be otherwise, an Oscar winner. It seems that there was a strange deal with the Academy which had to go forced per year, at least, a film of such characteristics. It has already become a constant which, incidentally, he starts to get bored. Amen to be indicative of a worrying lack of ideas that it denotes, the truth is that many of them, usually arrive with a very dubious quality, only underpinned by the presence of a striking interpretation or recreation of the famous character in question.But maybe with "Capote" is a little different. Although, really, not so much. Once again, the biography (or some portion of it) a famous character or that arouses curiosity, tells us in a way that is dangerously near the telefílmico tone. The truth is that the person of Truman Capote was eccentric and curious enough to arouse curiosity and interest in an audience eager to obtain data to explain the reasons for their actions. For this reason, "A cold blood", the well-known book created by the character before us, could be an ideal accompaniment to the film for squeezing juice from Capote to the maximum. Unless it is a staunch interested in knowing in detail the ravings of the man, really, is don't need the book to guess the future of the film. Truman Capote was not as eccentric or unpredictable as he made us believe. It was, simply, a self-worshiping complacent who grew up with the abandonment by fellow elevated himself to a status already, and as much as he intended to identify with people that made him remember his terrible childhood to earn greater recognition, not allowed change to the position of the affected.With the automasturbación as a standard bearer, Capote had allowed (rather was in a position to do so) manipulate which puppet to those people who were part of the lower society, killing each other for survival. I could use them to increase their already disproportionate ego and achieve a story that would never be forgotten and posicionaría his name in the annals of analytic history: narrating more sobering reality with all kinds of detail, surpassing even the most fierce fiction.Really, the movie is filmed in a way somewhat cold and dry, which manages certain aseptic character and not her positions on any side in particular. The camera observes and analyzes the confessions of their protagonists. But it is also true that, in an effort to try to understand the character, falls a little into his own trap. Capote is portrayed so well that we cannot avoid feeling different feelings toward his person.From the deepest revulsion to be so selfish and opportunistic, until some pity. Although he fails that their acts are covered with the blanket of their uncertain fate. A destination, on the other hand, very predictable. Because, in essence, is not more than the umpteenth mantra facing the poor and to the rich, while confronting their feelings and being sentenced at the same time, by the same.It was not surprising that someone so unstable emotionally as Capote ended succumbing to the weight of the alcohol and the condemnation of their own acts by betraying their deepest feelings towards to elevate his pride above the average. And Philip Seymour Hoffman details in a remarkable way the dramatic construction of Truman Capote.El actor performs a minimalist and study detailed almost until the perfection of the character. Concluding with a closeness so amazing as dangerous, due to the risk of being labeled as simple mimic. Anyway, work is obvious and Oscar more than deserved, not simply for this role but by the final recognition of his amazing and versatile career as a exceptional second. Who does not remember the great and amazing gay in "Boogie Nights" or nurse "magnolia". Paul Thomas Anderson has always recognized the immense talent of one of the best and most versatile actors of the current panorama.In short, and if with the exception of the work of Philip Seymour Hoffman, the film isn't in a mere interesting document which is, surely, the most important vital portion (for consequences) of the character in Capote. The other characters are not properly profiled and the history is a little diluted with the analysis of the protagonist. Everything ends in a ballast devoid of interest and too flat, cold and, in essence, failed. As the movie and its irregular construction causes a bump a bit difficult to overcome in relation to the "tempo" of the film. Up the own Truman Capote becomes bored.

archivos_extraidos/MCE-Corpus-main/Dataset/416

Vsancha

La joven del agua

muchocine

Fable on as escape from the routine and sad monotony and find your place in the world.

Shyamalan is personally a director that I like, I think one of the authors of contemporary cinema, although he is a director that arouses many passions, hated and loved by equal parts and unknown to many more. If unknown and if not ask a known: "Have you seen the latest M. Night Shyamalan movie?", who will answer you, as well as launches a look incriminating, "I do not see porn" and your while contienes laughter you tell him, no man, is the director of the sixth sense, then and only then will be aware of whom you speak. To my personally I like his way of making films, and this water young being the weakest of his filmography is a good movie that gets a good time. Possibly with "The girl in the water" goes with the rest of his filmography, the exception to the sixth sense, i.e. to win with the reviewing which make all the juice and messages that Shyamalan leaves on their tapes. But first I found that a dot missing to get to the level of the forest or the underestimated signals. But again you can find many of the constants repeated in his earlier work, already not only in common elements that is often used when creating tension, if not in his characters, all try to find your site in the world, a role that develop in this life, whether a father who has lost the faith, a type that does not know that he is dead, or a man who discovers that he has superpowers and must learn to live with them. In this case is responsible for a block of apartments named Cleveland Heep, played by a brilliant Paul Giamatti, one of those actors who have an extreme ease to harmonize with the public, who one day rescues a mysterious young woman from danger. The girl turns out to be a nymph, a character from a children's story that seeks the way of returning to his world of Fable from our. Cleveland will attempt to help her. Shyamalan again to demonstrate that it has an innate to tell stories, brilliantly, which in the hands of others might seem ridiculous. The picture is adequate, the great soundtrack and the characters very good from the morbid nymph played by Bryce Dallas Howard, through the Group of hippies and their brutal talks until that great character that is the pedantic critical film that just moved to the block and course is not right nor a great mockery of Shyamalan critics often put to fall from a donkey. Girl with water is a supernatural story, a beautiful tale for children, a fable that many do not understand or do not want to understand, people still waiting for a horror film when you go to see a movie of this man, and do not realize that Shyamalan has ever shot a tape of terror, has ever shot a superhero movie, and he has never shot a tape of aliens, he talks about family, love, faith, specifically in this film of how magic can serve us to escape the monotony, the sad reality, or of a distant past which seemed already forgotten.

archivos_extraidos/MCE-Corpus-main/Dataset/4357

Jaime Martínez

Adiós pequeña, adiós

muchocine

Much of the footage remains integer. Acceptable Opera prima for Ben Affleck, but no point of comparison with the play master Mystic River genius Eastwood. The worst, a simpleton Casey Affleck.

Well know all the aforementioned Director Ben Affleck, but rather (and unfortunately) in his facet as actor. Anyone surprised by the non-existent acting ability of Ben Affleck (is also true that the quality of the scripts which decided to accept dismal, except "The unforgettable Hill Hunting", which occupied the role of co-writer along with his tireless friend Matt Damon). But the truth is that me I brought a pleasant surprise in terms of the work as director Affleck. Without an exceptional work of technical invoice, the film stays more or less throughout much of its duration.Affleck, also exercises here as co-writer along with Aaron Stockard adapting a novel by Dennis Lehane. Although the raw material from which leave is undeniably fantastic (let us not forget that it is the same author of the novel in which this based "Mystic River"), the final result is tottering. Will not go into comparisons (forbid Sr.Affleck), but I think the narrative pulse print Clint Eastwood has nothing to do with the Affleck.En first, we occupy about 45 minutes of leisurely pace at which adormecen the Viewer to coma. At times you think if not you've teleported of cinema to the armchair of your House and you can see Antena3 or Telecinco at 16: 00, as the first part of the film is more reminiscent a telefilm that chains to a (presumed) film in conditions. Suddenly, the pace of the film changed completely, the story gives a turn of 180 degrees and you say: but that is happening now? Where do we want to bring Mr Affleck? Then to the garden, to the very same orchard.In the final stretch, the film starts to get a bit of pace (but without exaggeration), to give us a resolution too explicit. Affleck should think that the spectator is half stupid or that he had written the script of "Memento" because but I do not understand his decision to put past images while describes the final explanation.As regards the protagonists, I do not have more than positive notes for Ed Harris (impeccable as always) and did cameo? Morgan Freeman (3 few scenes). When they appear on screen does not need anything else, they alone fill content the scene.Casey Affleck (the hermanísimo of the director and protagonist) is limited to go top to bottom, to make grimaces of pimp and bacillary tall blacks while they point a gun to the head. I can hardly believe me the role of his character. A detectivillo private three to the fourth going 'smug' and with that face of pamphilus, without no gesture without any emotion. It has the same interpretative ability a melon (or Sandra Bullock), just that the melon is the brother of the director. Michelle Monaghan is just right. You don't have the papelón of his life, but nor it it tries too hard in their scenes. Anyway, it just being a little wasteful.Technically speaking, acceptable although most normalito mounting. Decent to be Ben Affleck, and his first feature film. That put a final means to half of this movie picked up with tweezers. The picture if that is more accomplished. Dirty environments in Boston, street ghettos with a lower-middle class society are perfectly portrayed through the camera. The band sound, simply correct. It starts great at the start of the film with the voice-over of the protagonist, but gradually he loses bellows as it progresses the film. Finally, in the latter part of the screening there is the central axis of the film. The backbone of the film joins in the morality of the character and the decisions of their acts. Good and evil, yin and yang, right and wrong. Affleck, invites us to empathize completely with the protagonist, to ask that would do us in their situation, to choose between the rational and the emotional. Moral values become the protagonists in the final minutes of the film, loading of tension thanks to its approach. And it is here when the film gets what he proposes. It explores between the borders of good and evil and manages to succeed in the attempt (luckily).

archivos_extraidos/MCE-Corpus-main/Dataset/3748

Tito Chinchan

Soy leyenda

muchocine

Film of extermination of humanity, where a man with his dog wants to find a cure for infected survivors. It is not like any of the genre, and I see, is not popcorn film. It has a little more.

Director: Francis Lawrence. duration: hour and a half well served.Release date: December 19, 2007Ayer told my cuñao "Let's see Rec" as well as very embrabuconado. When I said yes I saw at his side, clutching him and telling him that I wanted to go and that almost did not convince me. That is my cuñao me as a courageous type Sandokan shaving to sword. Thanks movies allied himself with me and as the meeting was of those who call themselves whores told him that two hairy men entering a cinema at these times was suspected, because that does not. So today I said to see this, that had been my sister-in-law and the other going to give am. My manhood has been injured, but still alive, heh, heh.The film is of a near future in which a researcher with crappy aspect discovers a cure against cancer. The girl that he was right, because of cancer, since then nothing at all. Well, now infected humanity with a virús kills almost everyone. And which not, they become creatures of darkness. Only Willy Smith and his dog survive and are dedicated to finding a cure for the virus.The two frame, if I had been the protagonist, I would suicide. I was not born to be legend, even a small review in the annexes of the history. This film is a little roll of always, with humanity extinct, bugs to eat the survivors, I never understand as not is suicidad. The peculiarity, in my view, that the survivor is only, with which it entered much his role, even more distressed than him. Instead of escaping, he decides to seek a cure. The action scenes are not many, say that they are well distributed, and the spectacular lies in see desert Manhathan, which gives much bad feeling. In the flat negative is that it leaves a little cold, but I think that the culprit of this is thinking it is an action film, when it is not exactly that. It has left me a strange aftertaste.In short, film of extermination of humanity, where a man with his dog wants to find a cure for infected survivors. It is not like any of the genre, and I see, is not popcorn film. It has a little more that may mislead the public.Harrowing, very distressing for my fragile and child mind.Besitos.P.D: My sister-in-law is has "transposed" a few frames, while my brother-in-law looked at askance thinking if had not deceived you for not going to see Rec. Not to say that they do not like.Pd2: A man alone, a young bitch. Suspect, dear Watson, suspicious;-) P.D.3: is apparently based on a book (those who have read have emerged from the film saying "it was best the book") and made two movies before, and the rumored of Charlon Heston. You save the search in Google.

archivos_extraidos/MCE-Corpus-main/Dataset/4368

Jefe Dreyfus

Ratatouille

muchocine

Highly recommended, great film animation and direction, but could perhaps ask something else in the plot.

Good morning, I am the Chief Dreyfus, today is Friday and return with one of those movies that has been in many lists of the best of the past year: Ratatouille started! Symptomatic form of Americans to face the best chef of France: a rat! (rookie) The story focuses on a rat's field who dreams to cook delicious dishes and away from the garbage that eat his family and teammates, but that, by a twist of fate, it will end one wandering through the sewers of Paris until it ends up doing a friend a kitchen Assistant responsible for washing dishes in a restaurant come to lesswith which you decide to join forces to achieve his dream. For a few years now, I have the feeling that films aimed primarily towards children (while bearing hanging the sign of "film for the whole family" makes me something nervous) are too overvalued. This film, in the wake of what I had read before see it, also. Ratatouille is a film that is good, and if you press me even I would say that it is very well, but here to rip vestments and put it nothing more release of the label's film of the year, I think we, as little, out of the line. Pixar continues to do a brutal work in animation, surpassing the Ribbon film to film and this is not an exception, getting great results (especially in the animal field, in the human perhaps I would be still with the Incredibles), but which above all highlights the movie is in the section of the direction which I think is the best that I've seen in animationbecoming the real strength of the tape. On the contrary, the history, not just me conquer, because the somewhat child (if they sell "film for all ages" I can say that the plot is child) and because in the end we are telling the same thing have been telling us during all the movies premiered with the Pixar label (and the vast majority of the Disney): that if there is not to settle if conquering spirit, that if there is to pursue your dreams, that if the importance of the family, that if the triumph of friendship, that if whistles, that if flutes and stating that in the end history is very well resolved and you can find very funny gags, but it is that basicallyone, always want more and tells us the movie because we know. In short, Highly recommended, great film animation and direction, but perhaps we could ask something else in the plot (and something else of bad milk) posts to ask and to vary.

archivos_extraidos/MCE-Corpus-main/Dataset/3750

Hombre Lobo

Soy leyenda

muchocine

To make simple vampire monsters, betrays the subject spirit of the novel by Richard Matheson, but as action film is ambitious enough to make it worthwhile viewing.

I am legend (2007) credits include, the foundations of his screenplay, not only to the Richard Matheson novel, but also to John William Corrington and Joyce Hooper Corrington, the couple of writers architects of the Omega Man (1971). This is an unequivocal sign where Iran shots in the film, that while the argument quite away from the film starring Charlton Heston, yes it shares with her his desire for action film, high clear is at its maximum power to become the blockbuster that, finally, finished by razing this Christmas. Let us remember that this project leads in particular be brewing more than one decade, and finally we have been without the promised version of Ridley Scott starring Arnold Schwarzenegger. Fortunately, director Francis Lawrence has managed to offer a spectacle worthy about Will Smith star status, and although I am legend is far from being the adaptation of Matheson we both waited, has enough hits to merit a viewing.The story is already known to everyone at this point: a military scientist Robert Neville is the last man remaining in the devastated and lonely New York City (a geographical change of this story to date had always developed in Los Angeles). During the day round the streets in search of supplies and during the night is entrenched in his house to resist the embites of the hordes of vampires / mutants that inhabit the ruins of the city. Vampires are the result of a mutation caused by a viral cure against cancer has finally turn against its creators and ruined the human race. Neville, however, continues to search for a vaccine at the same time struggling to survive in the city who refused to leave.This city is, certainly, the greatest success of I am legend; In addition to the already proven reality that an empty city is something that hits in full context, the desolate New York of this version is perhaps the most impressive ever seen in cinema, and a test of the true scope of this version. The shots of the solitary City (which, in an unusual windfall for our time, are devoid of all music) are so appalling that I cannot even imagine how must have been seeing this movie version of IMAX, which unfortunately we won't have this side of the pond. Throughout the first half of the film goes in the recreation of this atmosphere of solitude in which we only see Neville and Sam, his German Shepherd Dog and only companion. Funny thing is not only that Will Smith succeeds in making a convincing Neville (in spite of those who complained that the protagonist was, unlike what happens in the novel, black race, an opinion which I do not know to think), but that the dog is also a major character whose interaction with the prota provides the most effective drama of the film. The relationship between the two is perfectly credible, and during this first hour the public reached a real connection with Neville, in spite of the flashbacks that explain the origin of the plague and which, for me at least, were not necessary, with the exception, perhaps, of the the escape sequence of Manhattan, a scene that seems deplorable recent version of Spielberg's war of the worlds (2005).But despite its spectacular nature, I am Legend fails the most important paragraph: Vampires are facing Neville. While the first time that we see them succeed in creating one of the most successful and tense of the footage, sequences dead once the surprise are technically disappointing, creatures made digitally and that they seem to exits of some mummies film directed by Stephen Sommers. But worst of all is that, inexplicably, have decided to display them as simple monsters entirely devoid of humanity, with which they directly uploaded the thematic Center of Matheson novel to a level that none of the other two versions had reached. To make matters worse, the end of the film shows a pseudo-religioso twist completely out of place and that somehow ends up altering even the meaning of the title of the novel (something I cannot explain without spoilers).Literary betrayals aside, what we have is a very good film with a first half highly recommended. Essential to see her in a movie theater to appreciate his spectacular and maintain the hope that a future adaptation of the novel that meets our expectations.

archivos_extraidos/MCE-Corpus-main/Dataset/3537

Tito Chinchan

Las vampiras

muchocine

The most prolific director of Spanish Cinema cult film, where a vampire he is eating what fancy you a chatunga. More bad to stick to a father with underpants I suda. To say that you've seen one of Jess Franco.

Director: Jesus Franco or Jess Franco, as they like.Duration: 89 minutes.Release date: 1973.Espectadores: 236.615 human beings.The other day was watching a video of Mariano Ozores (with an Esteso in a deplorable state, everything is said) and mentioned that there is a Spanish director who has made more films than he. Which would it be? What a thrill, what a thrill. Turns out that Jesus Franco changed its name to Jess Franco (he wanted to Jess Franc, but could not not be why) has made more than 150 movies. Nothing, nothing, let's see one of so illustrious director, think who like women in leather. "The vampiras", which in German is something lesbians vampiras that draw me much attention, which seems to arthouse.The film is (recognize that it may not be my version too faithful to the reality) of a girl that not be what happens. Total, a voiceover tells that a King (or similar) got his wife into a Palace to cal y canto to see if he died (the real divorce, which call it) with a hundred slaves. Time passed and the girl was more solid everyday and more dead slaves. Over the years, which seems to be the wife of the King (or similar, I insist) still nibbling the pescuezas to young girls that are provided.Let's see, I have not seen the entire film. And that salén aunts in pelotas eating bodies licking and lengüentás. But it is that it is unbearable. Flat amazing, as in the climax follarín of the players focus us a Scorpion walk (leave as 20 times), then a moth trapped in a network and other insect that I have deleted memory to get the cover of the brand today. Dialogs are the worst, with an argument that is understood, or hooks, or nothing at all. Come on, it is that it is unbearable, with what no wonder that has become something of a cult quickly.In short, the most prolific director of Spanish Cinema cult film, where a vampire he is eating what fancy you a chatunga. More bad to stick to a father with underpants I suda. To say that you've seen one of Jess Franco.Besitos.P.D: sensual levels the truth as to leave the hips to culetás, it is said in honor of the truth.

archivos_extraidos/MCE-Corpus-main/Dataset/3495

Ana Belén Pacheco

Saw 4

muchocine

If the third you felt the same sense of pathological boredom I felt it is better you taches of memory the existence of Saw IV, if on the contrary you enjoy with the pointless gore and no you matter the obvious end... now!

You thought that he had died? Yes, of course, all we had done, but when they do the autopsy to Jigsaw has left one of its cryptic text messages in his stomach for the sake of saving humanity from themselves. In this last installment (which surely will be preceded by more Roman numerals very soon) we find another orchestrated series of bloody evidence and gores and a bit of history pre-asesinatos in which we meet the protagonist after the clown of the first three deliveries before their final goodbye.Saw IV attempts to offer a bit more of the same. There is not much new, is a species of huge Deja vu that not only adds nothing new if not that is plagiarism itself (namely its predecessor Saw III) and fails to appeal to the novice or reconquer the viewer of their first deliveries. We recognize that a part of a good lover of horror movies with its first part thought that I could finally find a reference in the current film release at any talk of the genre, but seeing as the saga unfolded it is better to forget all the other tapes that have caricatured the good idea of the first to turn it into a joke of if same. If in the third you felt the same sense of pathological boredom I felt it is better that you effectively taches memory the existence of Saw IV and let things as they were, if on the contrary you enjoy with the pointless gore and you no matter the obvious end from the beginning. Go ahead! All yours.

archivos_extraidos/MCE-Corpus-main/Dataset/1499

Emilio Calvo de Mora

Delicatessen

muchocine

Poetic blend of perverse comics and modern fairy tale, film noir and romantic pastiche. 13 rue barnacle carried the film by David Lynch

Opera prima Jean-Pierre Jeunet, then recognized by other works of more impact media (Amelie), but minor film depth, Delicatessen is a love story between cannibals. Already warns the playful character, naive almost, of the film in their delusional titles of credits. Then the story is classic in recent European cinema, as orphan films of this type (here have to Guillermo Fesser that invoiced El milagro de p. Tinto and the adventures of Mortadelo and Filemón to tow this foundational Delicatessen). There has been a kind of cataclysm nuclear or something similar and we are on the outskirts of Paris. Rises a cochambroso building in which lives a curious and consensual community. The butcher who runs the business of the low is killing them and gives by chicken or cow that continues to be human flesh. All consenting the Muskat because there is need to eat and no one believes that he is going to touch him in disgrace come next. The arrival to the building of a circus performer in search of his boss disrupt routine and forcing all tenants to rethink the food chain. The artist falls in love with the daughter of the butcher, which represents just the opposite than his father, partly because she is a vegetarian.Not I revealed anything relevant with this mild synopsis (I not being friend never writing details of the argument because this site or me I no place gutting what not should know), but I bosquets the surreal narrative machinery of Jeunet.La comedy of the film relies on broad humor so crude as cash strokes. Shantytowns of the scenes (which is, by far, the fundamental appeal of the film) love so much that we are for a few days (and with all the films that in those days we can see) infected the plastic extravagance of a genuine and perverse artist who knows if old reader of any French edition of our immortal Ibáñez Percebe 13 Rue. The building seems, eaten by the mist, populated ghost gothic castle. Or is that its inhabitants are not actually?The truculence of his proposal is lightened with the love story and the humanity of the clown, but weighs more Expressionism, the distortion of light, some hypnotic ability to reconcile reality and fantasy, logic and disorder in a handful of excellent images.Jeunet jumped to the U.S. to shoot an Alien: the wonders were in France. The author did not fly: could not write their imaginary particular symbolic. Here he exploits in every corner of the House, in the gestures of the characters.Delicatessen is apocalyptic, eschatological, beautiful cinema in his rust, mixing poetry of perverse comics and modern fairy tale, film noir and romantic pastiche.I saw her in its premiere, large room, and it fascinated me. The review, online television, generous, but little always, not I was disappointed nearly twenty years later. I most appreciated the lavish and delicious music (which are unexpected as saws or piers objects creaking) I have been able to slow the Vertigo of the action, look behind and stop playback when I wanted to. Privileges of home theater, says a friend.Jeunet and Caro, his other buddy in the whitefish, separated shortly thereafter. If there is a fantastic film, using the most legitimate and language of this adjective, it's Delicatessen. If they have not seen, look. Do what you can sit two hours and stop polluting this wonderful insanity. The film ends with an excellent visual apotheosis: the building, contaminated by the ridiculous and tragic epic of its occupants, comes abajo.addenda: so exquisite photography of the film is the work of Darius Khondji, who would then work with David Fincher on the uneasy Se7en. addenda 2: upon the death of an old, his daughter is sorry for not having been able to dismiss it. The husband, cooler, resolved by saying that they are still in time.

archivos_extraidos/MCE-Corpus-main/Dataset/1607

Emilio Calvo de Mora

El ciclo dreyer

muchocine

Joke with serious film violet. I wasn't on the work or I learned anything as much as I wanted to. Dreyer, film lover sausage in Franco's dictatorship and the spectators do not deserve this.

The declive, this agora leads for the movie buff enjoyment, the hermetic space of geeks of the seventh art as a vocation of life, has in the Millennium Startup little shaft. The Vertigo of time opens up new scenarios for the exchange of fluids in the form of frames, understand me well. The cinephiles is a disease, we know, but now isn't even frowned upon. There are so many rare people loose the world which the passion of an individual to devour film and speak passionately of their devoured matter produces no resentment, I pasmo or revulsion in who, oblivious to these goings, attends his troubled addiction. The cycle Dreyer speaks of geeks film-forums in the 1960s. Carl Theodore Dreyer is flag for the presentation of its protagonists and we already have a movie about movies, a naïve brought texts of palimpsests of cinematografiada reality cannibalism.This hodgepodge of transcendent pretensions produces hilarity, but not because the purpose of the director (Álvaro del Amo) is the grace, the nastiest joke. It is that there are dialogs that can not be heard without embarrassment. By bad. The other solution is the reflexive way, told me my friend j., who walks lately very movie buff. It can happen that the director wanted to whatever does not already give us both characters but archetypes, signs of a reality (1960s, Franco, dark cinemas of fluid verb) necessarily constrictive. I thought up in my admired Tim Burton and his fantastic ironic exercise called Ed Wood. This tape is our patria Ed Wood. This socio-political frieze fails to get bored because the actors (especially the cure) are outstanding. Records pointing them dialogs do not allow that his dramatic delivery can go in other directions. They do what they should: well.What not just enable us to attend with interest to this manual costumbrismo is the excessive artifice of the set. The bombast of the title matches the impostada flood folletinescos, melodramatic, inopportune and humorous dialogues which do not fall almost never. The cinephiles of the Spaniard of the sixties deserved more respect when it comes to pay him a tribute, certainly deserved taking into account (I guess) of the moral strictures of the time.

archivos_extraidos/MCE-Corpus-main/Dataset/3786

Luna

Irina Palm

muchocine

Mariane Faithfull, the grandmother who does everything by his grandson in Irina Palm.

The second movie of Sam Garbarski had a good reception in the Berlin Festival in 2007 (a standing ovation after its projection predicted the best for this film) but in the end failed to do with the bear of gold against all odds.Its protagonist, Mariane Faithfull, has also garnered critical acclaim in his role of grandmother, as well as to be nominated as best actress for this role in the last edition of the European film awards, he also got.And is that in spite of the benefits of the film, as the correct direction of Garbarski or sober interpretation of Mariane, there are certain elements that does not leave you with a taste of "film round". For starters, the soundtrack does not help at all to the fluidity of the frame and impede, rather than facilitate, the passage of a sequence to another. Ghinzu fails to create a memorable soundtrack, in his debut as a composer of film soundtracks, and all that achieves is a reprise of the main theme that tires and hastia the viewer that it hinders the narration.In addition, the tape ends somewhat abruptly and with the typical "happy ending" so typical of American commercial films. The written script to 6 hands by Philippe Blasband, Sam Garbarski and Martin Herron begins with force but loses intensity and interest in the latter half to conclude, as I have already mentioned, of too sharply.Undeniably the film grabs the acting float of Mariane Faithful, who bears the weight of history, as the grandmother who sacrifices himself to get money for his sick grandson and so will do anything, even work in a sex-shop. He is the only character that the plot allows to develop as a whole, because of the other characters only have short sketches.In short, it's a nice movie about filial love that, despite its faults, will leave a good taste for those who dare to see it.

archivos_extraidos/MCE-Corpus-main/Dataset/2035

Alberto Concepción

Spiderman 3

muchocine

Yet in order to spend time entertaining, and nothing else, I would cost recommend. But I'm going to do. That Yes, atenganse the consequences. More than one can leave the angry film.

I notice from the outset: I am not a fan of the comic or Spidey geek or anything of the sort. You had a lot of sympathy to this saga, I liked the television series when it was small and little else. If you have not seen the film yet, keep not reading. And if you expect a "serious" criticism, either.Spider-Man 3 has been released on records at the box office worldwide. Trailers and the previous films were big incentives for viewers come en masse during the first weekend. In addition, it is the most expensive film in history, so expectations were high.But the end result is, without a doubt, DISAPPOINTING. Thus, in uppercase. The film does not make any sense, the presentation of characters is not only regrettable, but that do not complete fit in history (if it exists). The reactions of the characters are totally unrealistic, the dialogues are almost comedy romantic (that end with the dawn of Fund, by God, only missing a kiss.), and if outside little, visual paragraph offers nothing new, and although it is not bad, the truth is that there are quite a few scenes that note too that the actors are in front of the famous screen green. does what good then? Little. Very very little. Ignoring special effects, only he managed to do it enjoy a comic scene from the movie. Nothing else: no Venom (with the amount of hope that had been deposited in the bad malísimo par excellence), or Sandman (but what crap is that that was who killed the uncle and wants forgiveness from Parker?), or anything. Harry plays a quite stupid (in the line of the second part of the trilogy), Mary Jane behaves like a real bitter selfish, and Peter Parker outbursts that are not kept by any lado.¿Pero who believed what you enter? Let's see. might start with a thousand things. But I'm going to do with the end. A man of sand of thousands of tons of weight is destroying what is its paso.pero there is a girl with his camera, next to his "Mommy", photographing the moment.-"look MOM!" A black bug and a mountain of sand are crushing to our dear Spidey! And all before mine!In addition, on TV you have live, as if it were the most normal thing in the world. And what about Mary Jane? What faces are those when you're trapped in a car, to 80 stories tall, in a giant spider web? If it seems that when they focus it is watching TV on the couch of his home!It seems incredible that it is the same team than in the predecessor films. Why the script does a downturn in quality so brutal? How they intend to us we traguemos phrases such as: "My best friend", "Forgive you", or scenes like the kiss between Spider-man and Gwen Stacy, the bailecito in the kitchen, the club.? And the story of Sandman? Wants the money to his daughter but. There goes! The girl does not appear but the principle! What is doing the rest of the time? Can to feed the pigeons?The problem of Spider-Man 3 is that you not think nothing of what you are telling. And Yes, what I know, it is a movie about a hero of comic and blabla. But you already know that it can find some kind of things, but never a series of nonsense, a film without storyline any. In short, there is no where catch her, and that I love the previous two.Yet in order to spend time entertaining, and nothing else, I would cost recommend. But I'm going to do. That Yes, atenganse the consequences. More than one can leave the angry film, without going into the inconsistencies with the comic, which already gives me equal.PS: Feel Me bad writing this in a series that had predilection. Perhaps it had not been for both. Or Yes?

archivos_extraidos/MCE-Corpus-main/Dataset/3165

Ramón Balcells

El Orfanato

muchocine

A masterpiece from beginning to end, a dazzling debut full of imagination and intelligence. Moving at all times, terrifying several sequences and a grandiose Belén Rueda.

There, in this debut, a disturbing, bleak, acechadora atmosphere and, at the same time, some children also pursued, but in this case, the protagonist. There is no doubt that we have the best film of what it far this year, and that is much. The orphanage, presented at a thousand festivals and acclaimed by all living that we have seen, is the film which, in my humble opinion, takes the cake. It is true that it has been sold as a ghost story; and it is. But goes far, far beyond. Moreover, orphans who persecute Laura are, simply, the symbolic complement of this so powerfully dramatic story. This is a trip to the faith, the pain and reality. Without doubt, a cinematographic poetry finally come true.And it is that the direction of Juan Antonio Bayona rookie deserves no less than a strong applause. Perhaps at the beginning of the footage seems somewhat flat and overly formal (which not bad), but as the film goes into his own entrails, charged not only more pace, but also more life. No, the work of the director is not perfect, and that, precisely, makes that the orphanage is a sublime film at the same time that very personal. Although it shows a clear tribute to the cinema by Spielberg (especially to close encounters of the third stage, a favorite of Bayonne), or classic horror, the film manages to get away with its showing a glorious scene, very risky levels and an incredibly terrifying suspense. Highlight the infinite good moments in the movie, this travelling around terrified Laura, the visit of the medium told in very risky way and traffic accidents (monitor not break the seat of the leap that pegarán.) (I warn them). But do not want to forget key scenes and all that happen at the end of the film (I also suggest buying scarves before officers in the room). This is undoubtedly one of the most heart wrenching and terrible decades úlitmas endings, and I am not exaggerating, because he is cheating or is as unreal as the of the sixth sense, for instance. A poetic and metaphorical conclusion about the power of pain. And not to forget the last two levels, just round off this masterpiece in any way.While the Directorate presents some other esguinze or even important, the screenplay for Sergio Sánchez is simply perfect. Probably with a start somewhat precipitated, but certainly essential to understand the end, begins to be carried away by the tragedy of the protagonist and a few strange very well-written. And it is that you are not fissures, especially in its conclusive, absolutely round part. Lack is not anything, no extra anything. He flees from the topical structure and skips several steps that are really, absolutely redundant. The characters, especially the central, are portrayed in a realistic way and nothing sentimental. A prodigious writing done with intelligence (perhaps too much) and with a perfectionism rarely seen in a screenplay.Another of the strong points of this poignant story is that Belén Rueda, not in State of grace, but at the Summit of the interpretation. Its superb recreation us delves inside, its past and its present terrible without barely put faces of easy scare even make grimaces. Their eyes say it all. And that is what is most valued in a performance. It does not exageraría if say that the nomination for the statuette Golden that Pe finally Almodóvar deserves thousand times. Although everything remains to be seen. For the moment, we can taste his, repeat, magnificent, shocking and realistic performance. If it continues, this woman will become the quintessential Spanish film actress (for my could be perfectly already). Although not fall short side, offer us a great example of how to act without view that lie behind the story. All of them, to be well-written, pate will be showing different facets throughout the film. Fernando Cayo shows courage and a very expressive facets (attentive, very attentive to his final face), Geraldine Chaplin shows us once again that he can convince us with only appearing few minutes (remember a phrase telling you to Bethlehem and which is essential to understand, once again, the end), Roger Prince (for the moment, the first child of a film that is not heavy)(, or tiresome) and Montserrat Carulla, in a very risky though quite brief role (prepare, prepare ).The intelligence of the orphanage is due especially to the fact that manages to create fear and tension with scenes where nothing appears and everything you imagine. Terrible sequences, that Yes, that say it all just looks and reactions (mostly thanks to the excellent Belén). But the most important element of the film is drama, achieved in such a way that moves us and shakes with claustrophobic and tense scenes as Laura recreating the old orphanage (terrible and sublime game from the wall or the meal). Bayonne and Sánchez offer us a perfect lesson in how to combine two very difficult as the horror and drama genres. This is called pure cinema. There are moments in which the viewer will jump of tension, others that will cry (and much) and some that will not know if what you are seeing is exactly a film or a simple dream. And there is the magnificent trick of the film, this foray that undergoes the viewer in the history, which in the end you end up believing you her at all.Finally, say that the technical section of the film is excellent. Telling that there are many beginners in the orphanage (musician, director of photography, montadora ), barely noticeable difference between a film made by veterans and one by novices. Moreover, all technical in this film is maintained so that you wrapped it in magic and dazzling way. And this, without any doubt, is a huge achievement. Both the beautiful and poignant score by Fernando Velázquez (unforgettable the song that sounds at the end), as the incredible picture (there are some levels truly prodigious, as her husband is for example the protagonist's running across the sea approximately going to rescue, or all levels in the dark), and not to mention a wonderful Edition (grandiose main credit titles).A masterpiece from beginning to end, a dazzling debut full of imagination and intelligence. Moving at all times, terrifying several sequences and a grandiose Belén Rueda. If they finally nominated her for an Oscar, I will not to think that the Academy of Hollywood is doing something really good, very good. And, finally, to mention the producer Guillermo del Toro, which has been able to rely on a type as ready as it is Juan Antonio Bayona, a director to be much, much into account. Congratulations!

archivos_extraidos/MCE-Corpus-main/Dataset/2441

Jose Contreras

Odette

muchocine

The paradox is that it is the star who needs him arrope his admirer, and not vice versa.

Realism is a burden that is sometimes unbearable. "Our friends the logical" as he called them Hitchcock in the Truffaut interview, cling to any irrelevance to demonstrate that the director is wrong. I have a friend that told Indians of Western films to demonstrate that they had killed more than those who were missing. Why managers who want to get rid of the noise of "our friends the logical" wasps give them completely incredible atrocities and have them silent throughout the film. Odette levitates.A famous writer in low hours receives a letter from an admirer who returns the faith in life. He goes to visit her and stays to live with it a few days. The writer lives life who have chosen others, success, money, plastic women. Critics said that writes for hairdressers and employees of stores that have in their bedroom posters with a sunset. Odette is the paradigm of the employee of a few stores with one of those posters.In a society in which the famous known a fraction of those who know them to them, the paradox is that it is the star who needs him arrope his admirer, and not vice versa. The protagonist is her, although at the beginning it is not very clear. What can you offer a widow that collects dolls a famous writer? Either that is the happiness of the title? He has hand with their children, is happy with his son gay which brings many boyfriends home, but not with the tapped has chosen his daughter. It adorns the small things in life with cabaret numbers. Dance beautiful choreography while doing the household chores. Is that enough? Possibly not, but the attempt is grateful for. Her have compared with "Amelie" for its tenderness, but I her ideas with our Candida by its militant naivety. The result owes much to Catherine Frot, not because you do well, but because its 50 years, it is to eat.

archivos_extraidos/MCE-Corpus-main/Dataset/2312

Francisco Bellón

Corazones solitarios (Lonely Hearts)

muchocine

Lonely hearts is a film that soundly fails in its attempt to emulate the classics of film noir, offering a history that despite being based on real facts nobody is able to believe.

If there is a genus that is could qualify as symbol, as the epitome of the classic Hollywood, would certainly be film noir. Some of the greatest films ever made belong to this genre, such as Casablanca, doom, the Maltese Falcon, Cayo Largo or evil thirst. Not to mention the filmmakers who directed such productions (do Welles, Huston, Wilder, Hawks, Preminger?) and great actors who worked in them. It is difficult to find a great Star of the classic Hollywood to not make at least one of these movies.Go these lines as sincere and heartfelt tribute to an era of cinema to a genus in particular, today already practically defenestraded. Not only because just return to him, but because many of the recent examples are abochornantes, as that nefarious the Black Dahlia. But let us focus on what we are discussing, it's lone hearts by Todd Robinson. The tape is based on real crimes committed by Ray Fernandez (Jared Leto) and Martha Beck (Salma Hayek) at the end of the 1940s, and in the capture of the latter, in which Elmer Robinson (John Travolta) played a crucial role. Coincidences that has life, it was the grandfather of the director. The film drags a serious mistake since its inception, and is the approach which has in the form of flashback, showing before the final that the outcome. If this lastrara not enough history, Robinson tells very poorly, no sense of rhythm, slow times and atropellade in others. Admittedly, the script not missing anything to be full of clichés and own mediocre samples of film noir topicazos. The characters are merely empty shells, and as it could not be otherwise, both the protagonist and villain live tormented, suffering each his own cross. Lousy interpretive work, better let alone.Lonely hearts is a film that soundly fails in its attempt to emulate the classics of film noir, offering a history that despite being based on real facts nobody is able to believe.

archivos_extraidos/MCE-Corpus-main/Dataset/3365

José A. Peig

Shootem up

muchocine

An honest film with itself and with the public, exemplary action cinema, is its balance between vulgarity and ingenuity to be entertaining without lapsing into unnecessary Bendy.

Brilliant hyperbole about action cinema (that not of action cinema) the Michael Davis offered to us in this despiporre of references to the graphic and kinetic style of the comic and the mythology of the so-called z as a whole series. The lack of honesty and consistency to the public and to the very essence of the product tends to be a problem in a genus as the "film shots and call", as in the recent case of the trilogy of Bourne, pretentious vacuous apparatus whose possible validity disintegrated because of an alarming imbalance between history and development (fingido)(cheater) between the deranged and imprecise Chamber of Greengrass (which was intended to be the same action without such action needed so much artificial) and dramatic content-supposedly - motivated throughout the whirlwind of paranoid persecution. In Shoot Em Up we find a naked piece of embellishment that intend to praise this film genre beyond its essential attributes. The same title insinuates the nature of the product: a multiplication of shots and mira points that gradually develop the persecution and the plot until an outcome at the height of the joke already proposed from the outset. One might assume that behind the feast of artillery and hilarious imagination lies the vulgarity and vacuum related screenwriter has nothing to tell and limited to fascinate the viewer with frenetic rhythms. But we insist on a golden rule, take conscience that certain type of film is composed of scents that are stories told with sufficient capacity of synthesis and concisely.If the product knows what she wants to be, and if necessary expository clarity we perceive in the sequence Idea-ejecución of the Idea, other considerations are lost in elitists speeches. Shoot Em Up builds his own style inspired by a vast universe of references to pulse of cynical humor and wordplay as nervudos and electrifying as the same configuration of mounting, that succeeds in creating a magnificent pace of images and linked sequences so that the sensation transmitted by this show of delirium and impossible situations end up becoming the soul of a film perfectly geared towards a realization of libérrima evasion, but certainly vacuous. In fact, unlikely exposed situations is the expression of implicit in the subgenus laws, always taking care that we have that kind of movies that don't take seriously as well same and, more specifically, to the homenajeados cliches. The cinema show proved long ago that their legitimacy lies in the simplicity and accuracy in its proposals, and would be unfair not to recognize the expressive and formal fluidity of this piece.The great pace is added thug wit of dialogue, playing with the puns. The phrase that best exemplifies the narrative construction broken down into two strata of playful evasion which gives it his best film expression: the frantic pace of the images and dialogue that punctured laughing and cynical humor: how empty the pistol. In short, an honest film with itself and with the public, exemplary action cinema, is its balance between vulgarity and ingenuity to be entertaining without lapsing into unnecessary Bendy. Too bad, in any case, that the profiles of the characters are somewhat left by way of simple filling (regardless of the fun duel between Clive Owen and Paul Giamatti), that some - very few - action sequences are not at the height of the whole and that, perhaps, that broadly speaking is an example of a hyperbolic show restraint (thing nothing easy)at times tends towards the bad taste. Enjoy it and judge for yourself, because at least here there is talent for the purpose. If they do not like is not fault our, nor of Michael Davis.