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2,900 |
archivos_extraidos/MCE-Corpus-main/Dataset/348
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Rafa Ferrer
|
Cariño, estoy hecho un perro
| 2 | 5 |
muchocine
|
Just like the smaller House, elders as much you will get boot a couple of smiles in hour and a half of footage
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Disney bets by "revive" his classics, if last year we had the tasteless Lindsay Lohan at the head of the remake of "Herbie", on this occasion we have Tim Allen (who has upload to Disney through the saga of Santa Claus), at the head of this revisitación of "A very doggy candidate", the film is 100% Disney, politically correct, family, and happy ending with moralina, in times where the House of Mickey Mouse has to conform to their successes in film of real image; After his rather than famous failure in its Division of animation, with the exception of Pixar, but that's another story.History does not give for more, situations are completely known; a sample is its trailer, and performances by 90% of the casting seems to be thinking in the cheque, rather than like the audience.Anyway, that just like the smaller House, elders as much you will get boot a couple of smiles and a half hours of footage.
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2,901 |
archivos_extraidos/MCE-Corpus-main/Dataset/4297
|
Daniel Galindo
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Across The universe
| 3 | 5 |
muchocine
|
Cutting of the All you need is love in 133 minutes or how to tell a story of love, friendship and desire for freedom with the help of 33 songs from the boys that Liverpool became them too small.
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That nobody is misleading: this soft musical not narrates the adventures of the Beatles but it tells a story that serves as an excuse to honor them and a last time, through their songs. Incidentally, in addition to launching anything subtle criticism, the musical genre charged again force with this tragicomedy that sometimes clears the parody and other stays on mere submission of remnants of life set in the 1960s. Why when something is out of normal we call experiment? Julie Taymor does not experience, but that is it safe: takes well-known songs, seeks an account capable of connecting with the youth and those who yearn - or simply remember - past and framed it in one of the most convulsive decades and lavish turn in claims of all kinds. The result is a simple and fun feature where the content is at the service of the form. Even so it will delight the avid of curiosities, details and cameos Viewer.With a visual network care Fund, almost unknown performers give the do and are displayed at the convincing time: make credible a plot which is conditional, and much to the lyrics of selected songs, do not but highlight the environment of persecuted counterculture, delicious debauchery and Orgasmic explosion. And reiterate here the possibilities of sensory and efectistas resources exploited by filmmaker, very close to the effects of psychotropic substances and hallucinogenic. The Director of Titus and Frida sought to foster the widespread good vibes still sinning of simplistic. Perhaps this comes despite too with regard to film strictly, burdening a footage which seems a hilvanado of tissues and several remnants and which in turn just lengthening is too for the detractors of the genre, although those who connect with his philosophy always you will be insufficient. This goes for others: Across the Universe entroncará with these films of which sales with the uploaded mood. Just have to wait for that purists do not see against the visual film, and for empty moments, Taymor and that fans of the Beatles not put the cry in the sky with certain adaptations made, that Yes, respect.
|
2,902 |
archivos_extraidos/MCE-Corpus-main/Dataset/2535
|
Rafa Ferrer
|
Madagascar
| 2 | 5 |
muchocine
|
It will please most kids of the House that the elderly, who are a tad saturated this kind of stories.
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Every summer we get a tape of animation that will be that "highlight" on screen, this, also undertaken by computer, as it is still normal, however drinking sources more classics of it, such as the "Cartoon" of Tex Avery along with the more conventional animation.A comedy for the whole family, with quite a few jokes and enough humor "blow and with one blow" that starts the pátio seats more of one sonorous laugh, however the film becomes very short (hour and a quarter in opening credits included) and the feeling that the script leaves things in the pipeline is the note dominant in the audience once the projection.I was interested to see the dubbing of the "time famosetes" do again "Madagascar" but as I have seen in you can not judge. Wait for the DVD to do so.A movie that will most like the kids of the House that the elderly, who are a tad saturated this kind of stories.
|
2,903 |
archivos_extraidos/MCE-Corpus-main/Dataset/1443
|
Jeremy Fox
|
El truco final (The Prestige)
| 3 | 5 |
muchocine
|
Preparation and development are the work of a good magician of the cinema which, unfortunately, has failed to finish the trick.
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"Every great magic trick consists in three acts." The first is called the promise: the magician shows something ordinary, but as you might expect, so probably not.The second act is called the turn. The wizard makes the ordinary something do something extraordinary. Now however, although look the secret, so you will not find.This is why there is a third act called the prestige. This is the part of the twists and unexpected changes, in which life hangs in a thread, and somewhat surprising look that you've never seen before "in this sentence, which is repeated several times, summarizes much of the philosophy of"The final trick (the Prestige)", the latest film by Christopher Nolan, interesting Pearl"Batman Begins"or"Memento"director." Therein, the writers (Nolan and his brother Jonathan) we are talking directly to us viewers, letting us know what is going to happen; the whole movie regarded as a magic trick.To build a film mystery it must be very careful with solving it well, and even more, if you spend the entire film commenting that the end will be the milk and you have to be very attentive ("are you watching closely?" repeated endlessly). My biggest problem with the film is that, finally, the resolution find it me unsatisfactory. Both roll to ultimately get the top hat (Yes, has left me a joke) a resolution so glib, find it me rather disappointing.But there are also aspects that I like, and many, starting with the performances of the cast. Hugh Jackman, actor that grows slowly and will still give us many joys, knows to show us all the weaknesses, doubts and transformations of his character. Christian Bale, an experimentadísimo actor despite his youth, is exhibited in his role of obsessed by magic. Michael Caine already cannot be said nothing that has not been said before; It is a large screen which although it leaves little pleasure to see it. In brief interventions can score to Scarlett Johansson, coming out for what could have hired to any other, and a David Bowie that brings an air of aristocratic, lunatic and mysterious to a character that is you could have gotten more juice.The atmosphere is really successful, both by the excellent art direction able to put us at the time, by a photograph that oscillates between the realist and magic with great naturalness. Not by chance, these are only two nominations for the film at the Oscars. In this way, between the careful production, great performances, a story with claw and that capacity that Nolan catch the Viewer, is passed a very entertaining while.This is one of those movies that worth see more than once to appreciate all the small details that are scattered throughout the script (attention to the parallels between what happens you to one and another protagonist). A script that makes us go changing point of view, alternately identifying with the character of Bale and Jackman in this spiral of hatred and admiration in which the two characters become entangled.This moral ambiguity is disturbing and appealing but the problem is that the Viewer to not identify is finally with anyone, can break away a bit of the plot. Plot is complicating it skillfully plot twist in plot twist, until that is damaged with some alleged surprises are not such because us them have been launching face of rather crude form during the last third of the film. Why consider five minutes late, those in which we were going to leave open-mouthed, as most disappointing movie. The own Nolan says it in the script: once the trick is known one feels disappointed. For this reason, many times it is better to suggest that show.My feeling out of the cinema was empty, something akin to a coitus interruptus (I guess). And it is that preparation and development are the work of a good magician of the cinema, able to create an entertainment of first order with fascinating moments. But Nolan, unfortunately, has not been able to finish the trick.
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2,904 |
archivos_extraidos/MCE-Corpus-main/Dataset/3873
|
Ivan Villamel
|
Interview
| 4 | 5 |
muchocine
|
Buscemi goes a step further and shows us a concise and brief account of wounded characters, emotional scars and emotions who sleep threatening inside each of us.
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Exemplary understanding of the world of the film can be described as the acting career of Steve Buscemi, an excellent interpreter whose long career has sustained in the role of strange character, or losing all that represents so well that physicist squalid and disturbing. Be able to change log from work under the orders of people as the Coen brothers or Quentin Tarantino, to do so in productions intended for rapid consumption (Michael Bay to the head), without losing too much charisma on screen, is extremely difficult, and denotes an overwhelming knowledge of the system which has welcomed him with open arms. Neither art nor show, but quite the contrary, as they would say some.After this brilliant acting career (although I repeat, with roundly heinous films that probably allowed pay their bills, and more), Buscemi gave a step beyond little more than 10 years ago, when he directed his first film, "A last drink" (Trees Lounge), a small history he was noted for being a sincere choral portrait of a series of losers and trivial concerns. After this film success in his debut, he directed a couple of films below ("Animal Factory" and "Lonesome Jim"), that incidian in this portrait of the middle-class with few pretensions of greatness, and some episodes of popular series ("Oz" and "The Sopranos"). All this in a period of little more than ten years, which has combined this work with his usual, and almost always right, work as an actor.With his new film, named "Interview" (especially revealing and enlightening about the plot of the film), Buscemi goes a step further and shows us a concise and brief account of wounded characters, emotional scars and emotions who sleep threatening inside each of us.History shows us the routine and especially unpleasant task receives Pierre Peders, a former journalist of political events, been less and with little intention of giving special attention to the character that goes to interview in a local elitist. Katya, a terrifying b-movies and actress clamoring TV, very popular and with an air of diva, with that arrogant look which gives know it is recognizable and desirable by the Legion of followers that possesses. After a nasty face to face, dinner ends abruptly and they have to follow their way each one separately, but an incident in the taxi, makes Katya look in the moral obligation to help Pierre and make sure that it has not been damaged, this leads them to the luxurious loft possessing Katya right near the place where. Once there is when both characters are discovered little by little, leaving aside the character, to discover the person hiding behind such superficial facade.In his work as director, Buscemi ran a serious risk in the face of a story like that has dared to shoot, and is to meet before a story whose narrative rhythm and dramatic progression depended not on a mise en scene hedging or a development of physical action, focusing above all that dramatic progression on the level of depth that could reach the personal relationship between the two main characters of the story. I.e. all hanging by a thread but was able to penetrate in the emotions of Katya and Pierre, and the truth is that's got especially windy so risky initiative, brilliantly a server I would say.All based on an extraordinary script, a master piece of contrasting emotions of subtle behaviors, so illogical on occasions as our own emotions dictate us. Some dialogues are converted by own merits on the basis of the story, and do so with a busy growing drama as it progresses the confidence between both characters, souls lost in works where the pressure from day to day, the effectiveness of the moment, carries with it an additional and suffocating pressure on many occasions.The acting work of both performers could not be outdone to get the true essence so laborious compedio bright and deep dialogue (or in their absence, superficially ironic sometimes). Even in that the film is victorious. And say in that, because while the work of Buscemi as an actor is extraordinary, with a point of view in their actions full of black humour, or even devilishly sarcastic at times, was less predictable than an actress Sienna Miller, usually confined to the role of girl vase function, function as well, and knew endure the interpretation a great as Buscemi duel. While it is true that the work of he leaves the feeling of greater showcasing, Miller not clashes in this emotional confrontation face to face with the character of Pierre, which already is especially remarkable, for all those that we considered this girl just a face beautiful.In addition, the film has the great virtue of not staying in the personal history of these two characters, giving rise to an underground irony with regard to the world for which both have decided to belong. Especially striking is the fact that the character of Pierre appoints Katya as little more than a mujerzuela capable of achieving what was lying with men, which, taking into account the shape as jumped this girl to fame, is a considerable ironic daring. Or even that subtle reference to the frivolous and superficial world of Fame awarded productions aimed at the general public, is Buscemi precisely someone that "sold" to it, in a display of self-criticism on the foundations underpinning the overwhelming film world.It stays in this so successful production, resulting in the most interesting point of the function (and precisely that Word would perhaps be more adjusted to the story, seeing that you it's a work close to the theatrical interpretation and the essence of the mockumentary), the confrontation between two minds without the more minimum sense of ethics. Starting the story as absolute antagonists, because one is a cynical journalist and disillusioned with a desire for, allegedly, to change the world through political means, and the other a snobbish and actress more aware of inconsequential setbacks, or continue being spoiled beyond where it will. And finishing as the reverse of the same coin, both using the medium in which they work to give rein to lies and half truths, not being so far away the positions of one and the other as originally believed.Perhaps in the negative section should be cited certain resolutions of the action in the story, or the little credible decision of Katya's help the journalist (as long as one does not understand another way to relate it to the end of the story) and take it home. And above all, that end with twist in which the tone of the rest of the film, which without being bad, could have been more bleeding and less condescending, in my opinion is a little lost.In short, a notable film, a strange case as predictable American production, a baby of independent cinema and history that speaks of how complex and cheat it is human mind and soul. A notable film, with excellent actors and a script, which is a breath of fresh air and the confirmation that some actresses, as well as attractive, have something more to offer us. Remarkable.
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2,905 |
archivos_extraidos/MCE-Corpus-main/Dataset/4331
|
Natalia Eseverri
|
Monstruoso
| 3 | 5 |
muchocine
|
Abrams returns to playing our chord to another amazing event, which you never know as we are going to react.
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This is the typical film that generated much confusion to viewers, as they come into the room with the idea that it is a film of fear. And it is not the case. Master Abrams wanted to touch the subject of our fears and insecurities, but does not have guidelines that make up a horror film. But that presents us with an everyday situation that suddenly turns into chaos, and we do not know how to react. During the story, manages to keep a constant tension of what is happening and anguish of as the protagonists will come out of this situation.Because, from the outset, surprises the marketing campaign for the film, because nobody really knew it was what I was going to leave you frightened both, and at first they manage to forget that monstrosity and you goals in the central story that you are counted, a kind of macguffin, then surprise you with the true story, when you least expect.It is interesting to use the camera in hand in plan documentary to give greater sense of realism to this collective hysteria, but arrived some time, then I will understand more than anyone, which carry glasses, that camera in hand, it hurts the eyes and many times could not even look or had to be blinking much time to go with the movie.In general, it is a good movie to see something original in what it refers to an approach to film with special effects and a harrowing story, without highlight interpretations because what matters is the end result of all this conglomerate, which without a doubt, for those who they do not stick boats with scares, spend it well, but for the sufferers like mepick you a good match that grab you or get you many popcorn in his mouth, to not scream much.
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2,906 |
archivos_extraidos/MCE-Corpus-main/Dataset/3847
|
Francisco Bellón
|
Viaje a Darjeeling
| 2 | 5 |
muchocine
|
What was great films of Anderson was the combination of his prodigious imagination and his acid sense of humor, and Darjeeling Limited marks first but not second
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Very few times a short film has given so much that speak in a festival as Wes Anderson's Hotel Chevalier in the Mostra of Venice. And all, because it appeared an integral naked Natalie Portman. Naked when the truth is anything but a nude film, and that Israeli actress quickly repent. At least this time not demanded that it eliminated the final Assembly, as it did in short Closer.Dicho form part of the Darjeeling Limited film, in fact is his prelude, which introduces the character of Jason Schwartzman. After the brilliant Tenembaums Los and Life Aquatic, Wes Anderson gives us a trip to his new personal universe. On this occasion, Anderson intended to parody the spiritual and internal discovery trips are fashionable, but always makes it from the greatest of respect. Perhaps an overly respectful way, that after the first minutes in which one feels fascinated by so delusional and fearless trip, discovered the absence of irony and biting sense of humour of Anderson. As usual in the film, all the characters are more eccentric and marciano, but are at the same time pathetically endearing, and it is impossible to not catch them great affection. However, what was great films of Anderson was the combination of his prodigious imagination and his acid sense of humor, and Darjeeling Limited marks first, but not the second. And although the trio protagonist is fine, no actor has been able to better represent the characters of Anderson as Bill Murray, whose cameo is the best of the film, and Gene Hackman.Viaje Darjeeling Limited is a film failed twice, and is so personal Anderson world leaves no one indifferent. However, on this occasion, even his staunchest supporters will be disappointed.
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2,907 |
archivos_extraidos/MCE-Corpus-main/Dataset/3769
|
Emilio Calvo de Mora
|
The Nanny Diaries (Diario de una Niñera)
| 3 | 5 |
muchocine
|
Soft and acidic, at the time, lyrical and prose, at the same time, diary of a nanny is a more than decent exercise of adult film made with elements of teen comedy or, if you like, teen movies with adult material...
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Satire of anthropological inspiration, tell fairy in Manhattan, listened and soft composition of topics, diary of a nanny is a nice effort to satisfy a very broad sector of public and not upsetting in excess, none. Less acid that one would like to, the development of the tape goes more to less, but even thus contains traces of high comedy, notes field sociology and, finally, in its more pedestrian charm, adolescent gender ingredients with plot custom jargon and a very exaggerated sense of his own character hinge between film of the Disney (gentle through to the delight of the chiquillada paid for the heroes) and Disney initiative, intelligent report, Declaration of principles strictly urbanites. In this sense, these nanny diaries pivoting between how wonderful and the weakling.It seems a modern reworking of some snobbish hood, lost in the city, atribulada by the circumstances, comply with the Wolf hinque el morro in the ass, but severe in its considerations on the capricious nature of the human being and his frivolous machinations. In fact, everything embadurna a kind of end of career project where this formidable Mary Poppins (Scarlett Johansson makes a magnificent recreation of the babysitter full - time class C which sacrifices the soul for the sake of the purpose of their study) delights us with his innocent adventures, frankly fun (occasionally) and written a remarkable sense of the plot with primorthat sinuously, moving with grace and desparpajo, without that at any time you get tired or overwhelm or wake up suspicions that, ultimately, we are brewing some creeping poisonous populist message, markedly centrifuge for the clichés of the hundreds of comedies as similar to this that the offer (Christmas or not) pushes us to go to the cinema and offer us the prodigious ceremony of deception.However, the joy is not so much and one admits that the end result suffers from one greater scope: all agree to the simplicity, especially in its predictable outcome. The saves and gives her a corner in the memory of small films that manage to be the surprising boot - these revealing diadoramas, true index of the film and intelligent way to tell us what we see and how is going to be cash - large and very compelling interpretations of its interpreters (Laura Linney is a huge actress;) Paul Giamatti is untapped, but offers a recital; (and even the child Nicholas Reese Art gives the counterpoint desired infante, to be contrary to Hitchcock). Nor the Symphony of blessings left us the scoundrels that we often and decide, for pleasure to seek three feet to the best of cats, undo any hint of excessive praise and express that anthropology that wants to be a debtor becomes later boba clichés prose very stylized, that Yes, that without falling in the romantic or the chic nor melts - as it should - that plot mortgagethat it is well advised and had case of acquiring, desastrado the effort altogether. Robert Pulcini and Shari Springer Berman, directors of the acclaimed American splendor, that I have not seen, sign a good proposal, a fun, carefree, original, white tape despite everything said.
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2,908 |
archivos_extraidos/MCE-Corpus-main/Dataset/3681
|
Andrés Pons
|
Dead creatures
| 4 | 5 |
muchocine
|
We are faced with a different film, a director with a different vision that undoubtedly given a new package to the genus.
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Do include a mixture between the first cinema of CRONEMBERG with drops of Rosemary and the cinema of KEN LOACH British? They probably thought that that fusion is literally impossible and strange, of course it is very strange but not impossible thanks to very interesting ANDREW Parkinson's alone with a couple of films has changed all levels of ZOMBIE terror. Presents the phenomenon of very sad way where a group of friends living the phenomenon as a terrible disease that gradually away them from their world and leads them to a slow and painful death, not saves blood showing scenes of cannibalism in a way really graphic, or missing the Hunter of ZOMBIES chases the protagonistsAll told in documentary style where the story more than Al GORE and the script is the most important. We are faced with a different film, a director with a different vision that undoubtedly given a new package to the genus. 8.
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2,909 |
archivos_extraidos/MCE-Corpus-main/Dataset/492
|
Silvia Giner
|
Superman returns
| 5 | 5 |
muchocine
|
The return of this character was a huge challenge, required almost divine touch and intelligence but is very clear that the goal has been achieved.
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When I heard again the main theme (improved by Williams, the original author) I encogí in the armchair and I escurrí my bum down, I needed some privacy as the tears of emotion not long in coming.Superman is the súperheroe most imitated, revered and loved by all. The return of this character was a huge challenge, required almost divine touch and intelligence but is very clear that the goal has been achieved.This director is headed by Bryan Singer and led a very successful X-Men, Star Trek: nemesis, King Kong (Peter Jackson exhausted by the filming had to ask for help because I needed sleep and Bryan was presented at New Zealand and helped him directing a good chunk of movie.)Go that if helped him), also this director by I see it everything that touches becomes gold that he has directed some episodes of HOUSE, the famous television series that is causing a furor at the moment in Spain. and most importantly, the actor. They could have chosen any other proposals (such as the guy from SmallVille) but I think they have successful flatly in his election. Has an identical to the defunct Reve Cristofer feel, it is an authentic Bonbon, a man with the face of man, a man of those who are close to you and you enter the cold sweats, is 27 years old (his meets is October 9), the is Brandon Routh.Este chico (as all the beauty) went without penalty or glory for several television seriesHere I leave a link on > some sad appearances. Was clear that he had to get Bryan Singer to give him a decent role. This is one more than cases of actors sentenced to oblivion for having a good physical, have already spoken of the vulgarity and normalcy are latest fashion, and an actor of the truth of the old, like this guy, could only be where it is now, making Superman.El Coaching work is very good, because they have managed to make more credible to this Superman. Look in as he places the hands (come that this guy has received classical ballet tables) when you fly as he interacts with them, correct that are their positions, their attitude, it's perfect, it's a terrific job by the actor.Being Superman is not only be high and guapo.es gameplay more, must know the character, as it would move as he imagines as physically expresses a superhero, is complicated, there are very familiar with the world of comics and of course being very geek (that is why I never tire of saying JAMES CAMERON YO SOY LA ACTRESS perfect for your PROTAGONIAR new movie "alita")(", ANGEL of combat", choose whether you want to to any tontita that surely that does not know not who is the author of the famous comic Japanese. anyway) and this guy was was an absolute fan of Superman, well, there is the result, round film.I only have 2 things to say not as good as the previous ones, the first is that the date of the esrreno seems terrible, that they had left him for October or so they had ahead of may, but July. pathetic, hence failed marketing. The second, is the makeup, it is very bad, but by God, are noticeable translucent powders, make-up Superman.horrible.Bryan eyebrows: Farewell to the make-up team.The plot of the story and the screenplay seemed good. Furthermore this whole issue is intimately linked with the producer I gather to preferred, leave the open script to assume future sagas, because now that Superman has a son, now is when Superman is to bore.
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2,910 |
archivos_extraidos/MCE-Corpus-main/Dataset/2611
|
Yul B.
|
Ratatouille
| 5 | 5 |
muchocine
|
Brad Bird has succeeded with Ratatouille a movie honours. Cinema 5 forks.
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Ratatouille is for me, without a doubt, the best movie of the summer so far.Well, to calzón got, I begin this criticism with the apparent risk of confrontation with the view of many of you to write a few words so strong. But, my friends, there is no risk to say open heart that this film is the second best of the Disney/Pixar tandem after?Toy Story?; its high quality is appraised clearly evident with only enjoy the first 10 minutes of footage.And the strangest thing of all is that this film not only noted for its technical aspect. Gone are those times in which we maravillabamos with the almost perfection of digital molded the characters we taught so ilusionadamente these magicians of the animation.All of that is out of date, because such is the mastery with which Pixar already represents, and in this case, the characters human and ratoniles, mixing way superb reality and caricature, that we forget completely that we are dealing with a work of art animated and allow ourselves to cajole for something invaluable to have the tape: an absolutely captivating script.You raise your hand to go to the movies without wanting him they excited with a touching story, either because it contains moments of fun to navigate, with laughter that housing the eardrums of the public in the Hall, go bust or heart-warming moments worth to be calmed with tons of clinex. ?Ratatouille? you have all that, looking for more sensitive side of the Viewer, in the same way as has always done it the Disney with his eternal classics. And the main cause that we stay rendered with this spectacle is Remy, a rat with a special gift for cuisine that is not rated by their peers. Virtues such as tenderness, humility, generosity, going through situations of helplessness to be prosecuted as the biggest enemy of all clean restaurant that boasts, or having moments of euphoria manifestly to be a chef first, are represented with so much emotion and commitment that there is no choice but to fall in love her madly. It is the typical dreamy and helpless character that everyone we love in thousandths of a second.All their adventures are told with the ingenuity of Pixar who had inexplicably lost in earlier work: bizarre arrival to the most important restaurant of Paris, the Gusteau? s, which was run by the late Aguste Gusteau; the need to hide inside the hat of Linguini, a friegaplatos which by various causality becomes a marionette of Remy considering him to him wrongly critics as a revelation of the kitchen, and so we can have a means to cook without being seen; the success that can not enjoy; or the litmus test to lift the restaurant, after the death of its founder and disastrous management of the new chef Skinner: surprise Mr. Ego, the most famous food critic of Francia.Todo flows with complete harmony, extraordinarily extolling such heart-warming and moments of fun that I talked about. Each of the characters in this story has a mission that fits perfectly in the history, but it is worth a special mention of Mr. Ego, professional culinary critics who feared any chef that had the largest number of Michelin stars. Relentless, hard palate satisfaction, get nervous turn the public with their ruthless opinion articles.Never seen a villain so fearsome whose evil should be based on the word. A clear slap to critics with his ego can destroy new talent, for very rare (a rat) that are.By this a sublime moment of the film, which I cannot speak widely, it is where the crux of the footage offered Mr. Ego a very simple dish called?Ratatouille? for its sampling, and on which depends the re-invention of the restaurant. We will now comment on the thread of this criticism, but during those wonderful final 10 minutes put me the willies.There are portentous scenes but as these last no.For all cash I am completely surrendered at the feet of Brad Bird who, with his work in the writing of the screenplay and direction, and with the help of the great Disney/Pixar elite team, has managed a film honors. Cinema 5 forks.
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2,911 |
archivos_extraidos/MCE-Corpus-main/Dataset/2474
|
Jeremy Fox
|
Harry Potter y la orden del Fénix
| 3 | 5 |
muchocine
|
Film for all ages served with efficiency and without insulting the intelligence of young people or adults
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After so many months of posters, trailers and comments that may have tired more than one comes to our cinemas the fifth installment of the adventures of Harry Potter, "Harry Potter and the order of the Phoenix" and directed by David Yates.Una once again, courtesy of Warner Bros. Spain, saw the film in a press pass few days ago by what you come to tell you my impressions thatin fact, not different too of which I have on the previous film in the series.And it is that there is no big surprises in this new installment of the adventures of the young Wizard and I start to fear me that he won't never be. Fear to disappoint or excessively surprise your target audience prevents those responsible for taking risks and requires them to constantly continue longer paths.I do not mean that not worth going to see it, at all. The film is entertaining, can be seen easily and those who we've had more or less well with previous tapes of the series we can get to feel satisfied.But while it is true that one passes a fun time during the slide show, it is not less true that after leaving the room becomes inevitable to feel a certain distaste. The issue is becoming a little repetitive and, curiously, seems to be losing some of the magic of previous deliveries.Not deny that this chapter is quite dark and that reflected an evolution in the characters well interpreted by a few actors who have already made theirs, that makes the viewer feel as close to them and tracked without any problems with them. Interesting are also some of the new characters, such as, the light-heartedness and mysterious Luna Lovegood which would make any surprise in new releases.It is also true that already feels the nearness of the end of the adventure and that it shows in the film. Very efficiently, are creating tension in the viewer that is already anxious to know what will be the solution to all problems. I hope that the climax did not disappoint but there are a couple of scenes in this movie that made me worry, to suggest a possible outcome style "the Empire strikes back" that would consider it me quite little original.Needless to say that technically the film gives the stature, though I am surprised that at this stage a night flight by a city can be so cantoso as the Donner Superman flights, and the art direction is one of the strengths of the tape.In short, film for all ages served with efficiency and without insulting the intelligence of young people or adults. Already more than can you tell other successes of this, so far, is disheartening year of cinema.Final evaluation of moonfleet.es: 6.5 out of 10
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2,912 |
archivos_extraidos/MCE-Corpus-main/Dataset/206
|
Daniel Galindo
|
El color del crimen
| 2 | 5 |
muchocine
|
Awkward, long and tedious movie devoid of its rhythm and hook
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This film starts well. A priori reconciles a mystery plot? a child abduction - and drama of racism in the ghettos of the large urban United States framed. If to this we add the participation of two almost always solvents Samuel l. Jackson and Julianne Moore as head of distribution, the cocktail seems interesting. What happens to that thwarts the essence of this cheap copy of television series about criminal investigations involving social background? The couple of the year and A crazy Christmas director wanted to make the jump to the thriller and so focused on a novel by Richard Price, who in turn adapted to screenplay format. An ugly incident joins the ways of a woman with feelings of guilt and irrationality and a police officer struggling to control the security of a neighborhood of imprisonment separated from the "white areas" of the city.As the story progresses, it starts to divest certain whiff to C.S.I (in any of its variants: New York, Las Vegas and Miami), saving also a similar reasonable with Crash and Grand Canyon, the soul of the city, by its racial connotations, but with crime of through, something which most rooted if fits the sense of discrimination based on the blame for acts. And the story follows its course, jumping from plot to plot and anticipating the end but does not stop when it should. The director is recreated in the oppressive atmosphere where take place the inconsistent actions of the protagonists, comings and goings that attract attention to all but are mostly jerks for one that you already imagine the outcome. When it seems that the argument be straighten and we see the light at the end of the tunnel, dialogues begin to extend without the need for and, no kidding, emerges a beautiful and tender love story. The question we is. from where? Yet by analyzing the moral of this awkward, long and tedious movie. Her leave on hold if still you want to see a bland title heir of the police plots of television, although lacking in its rhythm and hook products.
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2,913 |
archivos_extraidos/MCE-Corpus-main/Dataset/55
|
Dino
|
Brokeback mountain
| 2 | 5 |
muchocine
|
Me you will think that the Academy gives this film the Oscar to the best of the year
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You will think that the Academy gives this film the Oscar to the best of the year. It is the first of the five nominees that I have opportunity to see, but not let the bar too high. Me has been, to some extent, a slight disappointment, because despite all the good that has had the movie, just three noteworthy things: a premise striking to sell at the box office (the love story of two Cowboys), the consistent interpretation of Heath Ledger (decent for the Oscar) and the fabulous direction of Ang Lee. Yes, the story is told with the mastery of the Taiwanese director; another story is the content of his fabulous ways this vacuum or, as in this case, very cheater.The story is, as the English would say "tricky", cheat. It is not fair to the Viewer. Tries to create in us the feeling of the heterosexual lives of the cowboys are miserable, boring, insubstantial, pesarosas, and living in them forced by a reality of the 1960's unfair. And of course, their torrid encounters on the bare mountain are the escape route to achieve happiness. That I call it conditional to the Viewer so that it justifies an action that needs justification on the other hand. They say that the story speaks of love. PSE. I do not think that Jack Twist in Mexico would love.Let's go by parts. What try us have the film? Apparently, he tries to sell that love is superior to any circumstance or condition, and is able to sprout between two rough Cowboys. I saw no need to paint the western rose, but if we want to see a treatise of love, just look at how John Wayne looks at the woman of his brother in "Desert Centaurs", looks full of feelings, but with the heart shrunk to know is his sister-in-law, and that above feelings is the family. Note, with a look we understood as well as seeing to Ennis and Jack inside the tent.And as in itself history account nothing more, besides the Treaty of film tempo and photography which itself constitutes the tape, the rest is empty, pure emptiness intended to be filled with our digestion of doses of unpleasantries that Ang Lee we will prescribing sparingly. Certainly not I has enthused, but it seems not a horror film. Perhaps look at it so that when someone comes with hard enthusiasm to speak of him, we know exactly that it is not for both.
|
2,914 |
archivos_extraidos/MCE-Corpus-main/Dataset/489
|
Jose Contreras
|
Salvador
| 3 | 5 |
muchocine
|
The farewell of the sisters reaches the bottom of the glass as he says goodbye to a convict to death?
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The film begins with the arrest of Salvador Puig. Shoot in a struggle against a police and kills him; he receives more than seven shots, one of them in the face. His lawyer visits him in jail and heard the story of his life. The actually tells us, the spectators. His fight against the Franco regime, the band of anarchists who use France as a refuge, the way in which are raising the level of violence, everything is narrated with inaccurate images who want to seem taken from a newsletter of the time. Only two details seem improved, rather than telling the story to a lawyer, who should know, could have been told something paleto jailer who plays Sbaraglia. Instead of the present because it does not have in past?After this tour by the rebellious Catalonia in the 1970s, the film comes to a disproportionately dramatic intensity to tell us the last months of life of the convicted person. The murder of Carrero Blanco, knows, means yours. The fight against time; the dictator and the invisible military junta as a black hand; the family, the father, the jailer. The farewell of the sisters reaches the bottom of the glass as he says goodbye to a convict? The director didn't need the volume up to get impact so strongly, the mere image of the facts is desquiciante. The film is filled with sense in documents like this (or as "United 93"), when broken down minute by minute the way that builds an historical fact, one of those moments that change our way of seeing things.
|
2,915 |
archivos_extraidos/MCE-Corpus-main/Dataset/2868
|
Berto
|
Locos por el surf
| 2 | 5 |
muchocine
|
Another mediocre movie for the saca, this animation on the decline, few studies retain the ability to make good animated films.
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Today I will analyse another animated film? its title, mad by the Surf, and is the alternative of Sony Pictures before the proposal of Disney, Ratatouille. If you talk about artistic pretensions? do in this film shine by their ausenciaEstamos before a movie that makes boot us from time to time some smile, with a plot that takes spending nauseam? Do an artistic competition, the main character becomes the best, after a long apprenticeship with a retired jāmī who had lost hope? and her recovers thanks to his young apprentice. The moral of always? which still gets in so many films based on sports.Do that if, the presented the story, is very well managed, that it comes to be a kind of documentary in which there are interviews with the protagonists, interviews with children (children penguins, of course), flat recuperated to simulate the camera is in the film, even missing any object that has an impact on the camera? The characters are quite friendly and focus on surf (do surf, beach, Sun? do penguins?), makes it a refreshing, perfect film for these summer dates, if you have already seen his Disney.Pasemos rival now paragraph technical? is impeccable, water and character animation is very good, there is no doubt of that, but we need much more than a 3D animation to make a movie?As a conclusion, another mediocre movie for the saca, this animation on the decline, few studies retain the ability to make good animated films (and when I say few? I mean any of Dreamworks and Pixar). Do the kids of the House and I mean 0-6 will enjoy this film? but there are other quite more succulent proposals for 6 or older.
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2,916 |
archivos_extraidos/MCE-Corpus-main/Dataset/2137
|
Emilio Calvo de Mora
|
La matanza de Texas: el origen
| 2 | 5 |
muchocine
|
Recital of viscera orchestrated by a mechanical saw, a deranged brain.
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Sometimes it is possible to separate the film as an artistic expression, regulated under the Government of beauty or critical thinking and supervised by sensitive creators of cinema as mere trade, subject to the laws of the market and supervised by merchants. Financial gluttony, your WINS do box can match the artistic ambition. There are many examples to demonstrate this assertion so blunt. The reader can think some. There are hundreds. As there are thousands of absolutely reprehensible clunkers who only appeal to the metallic sound of the dollar or the euro and supplying the curiosity and the need of human beings of spiritual food frivolous, thin and perishable. In view of the rapidly deteriorating of the inventive and original resources, film - company - threw contrasted hits, advised by advertisers and sociologists and found the goose that lays the golden egg by with the happy idea add a number to a profitable film. Whatever its year of production, an argument not just in the "the end" classic but requests a continuation, a second part that, if you give substantial dividends, would generate a third and so ad vomitum. The film - as art - lost his aura of innocence and earned as company unprejudiced basing rights in the international port of gold and silver. Honest sequels save this fascination with little think and live income more in tune with the philosophy of television and its fragmented programming than with a sense of closed unit and work finished, which is inherent to the traditional and accepted concept of cinema.Here not just this little story: the last treasure of these filibusters of frames has been the prequel it, which is a term of dubious acceptance by our ínclita and Vinto SAR, but that is already playing us all. It's search for the past of what worked in the future. Assassins in series with a childhood to discover. Galactic sagas which require a solid narrative explanatory to appreciate the context of what we already know more peering. This Vertigo disturbs the viewer puduroso, which should be providing level and lantern so not to lose in the bare-faced rocambola of flashbacks, memories, and stories lost in limbo for the time you need to know to avoid losing the plot of what the designer is going to plug it.The film rises and redo these skin operations that leave the skin more smooth, but most chemically polluted. Guilt or some of the blame has it the magician Lucas, whose monumental history of galaxies has opened a path inconceivable a few years ago, but hardly erasable and that any filmmaker in distress or any greedy producer of pasta goes because cinema, no mistake, it is not always art and sometimes leaves Assualt by these matters unrelated to the real cause of their existencethat what can be leave annotated in another letter.The issue before us, have a prequel of a remake or what amounts to the same thing, an ancient history in a modern history which is a copy of an intermediate history. And no joke: here than it is to watch the movie and think little or even think about nothing. And enjoy, if you can. We enjoy the massacre of Texas, the origin? Half. That give a child to a psychopath is like find the point G to a pack of hungry Lions. Here take the classic Tobe Hopper of 1974 is an abuse. There has already been enough versions and all have an impact on what the first avoided: the trail of blood, the pornographic gore, intergubernamental massacre with viscera, amputations and other savagery sketches by the mind of a beast without a brain with the disfigured face and a stinking leather mask covering it. The animal will we wear with a mechanical saw, we release it in deep America (Texas, what does the State, all have basements and morons reventonas lost roads) and already just need the cattle to decapitated, which tends to be a fresh herd of beautiful females with hormones to explode them tits and bruisers of proven effectiveness in the revelry. All we know, they are going to die and we sat comfortably in the armchair to attend cutting. The proposal of this novelty of video store (it is not another thing, it should not be) is a scam because not says nothing of what's on offer with sanity and rational sense of the plot. Leatherface, the bichaco, the bloody murderer, was born in a slaughterhouse and grew up on the edge of some guys that educated him in the tenebrism of a weak society, isolated and converted into a parade of cripples mental trying by all means do not suffer in this world and, above all, do not go hungry. In the grapes of wrath, when they passed by hunger, not roamed the dusty roads of second looking for bait to accompany the soup in the pot from noon. Because here the family eats guests and they santiguan and call upon God, as in the famous scene of Tara, that will never go hungry. So very well. Lately I can not think of Freud when I see film. I can imagine how frotaría hands with the Barque mindless American society, portrayed in his film, has given to the world. Or Korean. Or Danish. The cabronazo of the moto-sierra should pass them on straws in his early childhood school. They will laugh him the greatest thing. That then it was hired as a slaughterer in a meat company already gives the pattern that is going to develop its bloody existence. Already. There just the origins mentioned in the title. Then there is action and brutality until the paroxysm: all young people who randomly threw the tragedy end up pitted, open channel, all cash shamelessly, exhibiting a more direct contemplation of the crimes. I have not been I never lover or even friend or known of that genre called gore.It has repelled me the abundance of white blood cells and the pure vision of the viscera to eye level, but this touches the "X" classification and me I have seriously promised never again fall into these lapses. There film good to deal with a life watching a movie after another without another concern that go to the service between pass and pass and eat, perhaps, and drink or stop suddenly to assimilate apparently and return clean heart and avid stories. Movie buff, there is one fact: r. Lee Emery, an actor of great and little seen, is the Sergeant porculero of the metal jacket of Kubrick and here is the man his moment of glory when it assesses on the back of one of the youngsters trapped his speech of discipline, authority and value.Jonathan Liesban, who directs this massacre, never better said, has classic material and shoots it with ex officio. I do not go to consider the efficiency of a director or compliance with a technical equipment or sharing. I do not go because maybe there are no ridiculous pieces or beginner errors. Until I read Liesban was a craftsman and that has been able to do more than I did. Everything is subordinated to the rigour of history: at the marathon of gruesomeness that will delight the genre fan, that have no doubt. Anyway, I am now preparing some of Fritz Lang for after dinner. Or I go to the original Hopper, so beleaguered in his day, as delivered to the ferocity of criticism, that did not understand the lack of psychology of the characters or the sadistic brutality of the spot. That was the beginning, and by starting there all the original tape - covered at least - a worthy share in the history of cinema. This return of the screw is unnecessary, but this strikes me as I have already said.
|
2,917 |
archivos_extraidos/MCE-Corpus-main/Dataset/3134
|
Rafa Ferrer
|
Bogus
| 2 | 5 |
muchocine
|
Typical feature of desktop, does not bother in viewing, but that after its predictable argument overlooked with the same ease that is digested.
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On Saturday, while it was time to go to an unfortunate family event, I found this film four put media later and where we had to Whoopy Goldberg (by this woman do not pass the years) and Haley Joel Osment (the famous child of "The sixth sense") when it was pequeñajo, as well as Gerard Depardieu in her American stage (short-lived)(to tell the truth, because is he has not seen by Hollywood).There was talking to imaginary beings in the award-winning and legendary "Ghost" to save any other parallelism between the histrionics of the Goldberg and the candor of Osment and Depardieu, that unfortunately and after taking us almost 2 hours with the soul in suspense advocates toward a happy End already Norman Jewison composed here a tape, dramatic half, half fantastic on the original imagination of the character of Osment, that while it is true Whoopy too elducorada (and sweetener).Osment, with just 5 years already he saw ways and even true talent could guess, and is, no mistake, because with permission of Dakota Fanning, and some that another "whippersnapper" kids more, is one of the best-known children's faces in the last decade.In short, typical feature of desktop, does not bother in viewing, but that after its predictable argument overlooked with the same ease that is digested, go, fast consumption and little more.
|
2,918 |
archivos_extraidos/MCE-Corpus-main/Dataset/3336
|
Ana Belén Pacheco
|
Un funeral de muerte
| 3 | 5 |
muchocine
|
The funeral is linking all the misfortunes imaginable to organize a real ordeal for their protagonists seen from outside is the sea of hilarious, horrifically delicious and humorously very black.
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There is nothing sadder than the loss of a loved and luckily in our country that the funeral of this body included wake still has not been fashion. This kind of social gatherings where part of dealing with the pain you have to socialize with family, friends and acquaintances of the deceased, both those you love as those who should not be torture themselves. Why funerals take the best and worst of ourselves. In this case an average family bury a beloved and loving father, but if the family is strange the dead was even more. In this way their children are involved in a problem of huge dimensions when they discover his "shady" past and while they grapple with several side crises arising from the envy, quarrels, blackmail or accidental intake of drugs.The choral approach in which half of the members of the family are involved in the plot to hide the evidence gets, once again, a film without actors defined as it has been customary in the film Made In UK (if it worked with Love Actually will work for any comedy and precisely one of its performers appeared in both). The anecdotal is that production is not English, its technical data discovers that USA, Germany and the Netherlands have put the money for carrying out this tape where it converges the best of American cinema with European elegance that sells both (although don't have Hugh grant on the poster). The British actors when they get to make movies make it big so the esperpentos attending this burial include pieces worthy of being cattle a film themselves. A uniformity that is much appreciated as the cool breeze it is at this stage where without a great comedian at the head of the productions not come forward. A compact cast very well guided by Oz (may I call you master Yoda for old times) which is comfortable, opting instead for a right direction and little risky that fulfils the objectives.The tragicomedies flavoured English have a certain elegant charm without falling into easy laughter (although I do not share the enthusiasm for one or another eschatological joke). Admittedly, it has cost me years to understand his humor but that once given the step each time enjoy more pearls that are set on the island of bad weather and the eternal tea time. I laughed, I laughed so much when ever is them torcían more things. Is it about the wild sitcom, that once they start is quite difficult to stop them. That way the funeral will linking all the misfortunes imaginable to organize a real ordeal for their protagonists seen from outside is the sea of hilarious, horrifically delicious and humorously very black.As said one of its protagonists: "Has been exciting, to be a burial, clear."
|
2,919 |
archivos_extraidos/MCE-Corpus-main/Dataset/1186
|
Hartigan
|
Apocalypto
| 3 | 5 |
muchocine
|
It promised to be the storm of the Apocalypse, and in the end, Apocalypto Mel Gibson has seen the storm clouds hide the lightning. Or to put it in a way less great, as the multicultural and well-intentioned controversy surrounding has exaggerated expectations can comply with Apocalypto.
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It promised to be the storm of the Apocalypse, and in the end, Apocalypto Mel Gibson has seen the storm clouds hide the lightning. Or to put it in a way less great, as the multicultural and well-intentioned controversy surrounding has exaggerated expectations can comply with Apocalypto. There is reason for racism in Apocalypto? Yes, if you want to find. On the other hand is an ethnic Ode to the indigenous preservation? You want to be him, but fails without albeit. Is it violent? Of course. When struggles with maces of stone is natural that jump brains. But it is not much less in comparison to other products reveling in the guts and that nobody thinks to ban. Finally: Is a great movie Apocalypto? The nickname is the protagonist could be applied to the set of the film: Casi.Garra Jaguar (the fantastic rookie Rudy Youngblood) is a young Hunter who lives with his family and his tribe in the jungle. In a hunting party found a community of refugees displaced from their lands by Mayan warriors. Shortly after the own Jaguar claw village is attacked. This gets put away his family from the massacre by hiding them in a chasm, but is captured and taken to be sacrificed in the capital. By the way it will be witnessed the degradation of the Maya civilization with sinister omens of destruction. A series of circumstances will lead his flight, and the ruthless and vindictive persecution of the warriors who captured him.Actually the premise is not overly complex. Why surprised its duration, two hours for a "film of persecution" (such and how her defined own Gibson) of which hunting only occupies the second. The first is a long presentation of the idyllic life of the jungle community, among costumbrismo and garrulas jokes; then, it is a detailed presentation of the affecting both the degenerate and the spectacular Mayan civilization. When it comes to action, both stuffed him catches the Viewer. And the pace of the game ends up not being as hectic as we would expect: "Hunter hunted" manages to bring them to their ground while their opponents are falling one by one so not especially surprising. Some even by chance, so are not talking about exactly Depredador.En what really dazzles Apocalypto is in the visual aspect. The Mayan warriors tattooed and covered in human jaws are much more frightening than the Uruk-Hai of Peter Jackson. However, such intensity just highlighting clearly that the film has little to offer beyond the obvious. And out the whiff of Manichaeism. The Mayans are cruel, sadistic, brutal and superstitious. Their leaders manipulate them without dissimulation. The only redeeming quality that seem to show that of the paternal love, is based in terms of violence and only serves to justify the persecution as something personal. They represent civilization and are bad, some exaggerated even for an action film. Gibson has no need to be neutral, but onion in the negative to disfiguring it. What it bother to give them names, if only we will know them by the IMDB?Mel Gibson is a guy with serious obsessions. The martyrdom and the horror of war seem to be predominant, seen what expresses in his films and in other more dubious circumstances. You feel that you need to communicate a message and finds difficult it to leave him: some scenes are directly modelled Braveheart and the passion. And as I often say about him, not known to be subtle: believes that it has to present things in black and white, and just working on his own ambiguity. East the case of Apocalypto and its unfortunate conclusion, which leaves in the air the intention of Gibson. Those white men who appear armed crosses and armor mean Salvation or a new era of horror in which executioners are now the victims? What was presented with simplicity just leaving the confused Viewer. And even will have moved it as well as expected.
|
2,920 |
archivos_extraidos/MCE-Corpus-main/Dataset/3590
|
Iñaki Bilbao
|
La vida interior de Martin Frost
| 3 | 5 |
muchocine
|
Interesting film of Paul Auster, poorly received by critics in the past Donostia 2007 International Film Festival.
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"Martin Frost, a successful writer, has just published a book when he decides to retire to a country house for a time." Waking up the first morning, Frost discovers a mysterious and dazzling woman lying beside him surprised.Fascinated with her beauty and intelligence, Martin love deeply for her and thinks that he has met his muse will help to write his best novel. who is this mysterious woman who so well know his life and his work? It will be a real Muse? Is it your imagination? "Is she a ghost that has crept into the private life of Martin Frost?"Excellent idea of Paul Auster, fails all its perfect translation to the screen. The film was not well received by the critics of the International Festival of cinema of Donostia 2007 but my yes I quite liked, and during the first fifty minutes or so, I thought was simply wonderful. I believe that, during this footage, Auster manages to tell of how beautiful, a tender and emotional love story between a writer in search of his work and a beautiful and enigmatic unknown that he sneaks into the House of some friends who have given to get away from the madding crowd and write quiet.With only two characters, and with some simple and clear dialogs, as well as intelligent silences, the story flows easily, impregnating the viewer of purification sensations, where unconditional love tries to overcome fears and fears of shameful secrets.The two characters we are close and friendly, very nice and intimate, while it is not known who and what has gone there. This intrigue, to so call it, is appealing and the interest is maintained.However, suddenly, when the data start to shed light on the mystery, the magic of the film lapses significantly, despite the appearance on the scene of a third character, an expert in plumbing and installations homemade, very fun and much derision. Thanks to this unique character we laugh at their fancy literary ideas, but we also saw a fall of rhythm and dramatic intensity, magnified with the appearance of the fourth character, played by the daughter of Auster, Sophie. A beautiful girl with a beautiful voice, but that frankly adds nothing to the story, giving the impression of being a beautiful decorative object for comfort of his father. Thus, by the way, it gives know. However, I think it is an estimable film, although certainly it is more a less. But the general final computer think it is positive. Now, all the critics that I spoke of the film, only to two had convinced them. So
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2,921 |
archivos_extraidos/MCE-Corpus-main/Dataset/4240
|
Plissken
|
John Rambo
| 3 | 5 |
muchocine
|
In an exercise of honesty and consistency, Stallone directs nerve and simply the last Rambo slaughter without half measures.
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We must not forget it (I write, of course, to not forget what I): Sylvester Stallone is possibly one of the most limited of Hollywood actors, but certainly not one of the most stupid people. In 1982 she played one of the two roles that will always be remembered: John j. Rambo, a tormented veteran of Viet Nam responded to violence with the Armageddon himself. After two sequels that exploded the myth of the machine killing a human, then against the worst enemies of the USA, the Soviet Union collapsed, communism disappeared as a major threat and Rambo ran out of enemies that massacre. Stallone is dedicated to make stupid comedies and action of second row, and we all started to take him by bobo ("do not feel legs").Well well, Rambo returns to the fray twenty years later. And when how easy it would be to check a divertimento light in which the perfect soldier trashed Muslims, Stallone is in charge of the project to return us to a character morally crushed beyond of any redemption and more violent than ever. And what they want to say, may even catch by surprise.After the bloody escabechinas in Viet Nam and Afghanistan, Rambo becomes to remove middle and is dedicated to hunt snakes in Thailand. Some missionaries seeking to alleviate the suffering of the raw Burmese civil war are captured by the army, and Rambo decides to return to hell, after finally accepting himself: he's not going to war, he is the war.In an exercise of honesty and consistency, Stallone directs nerve and simply the last Rambo slaughter without half measures: bodies that exploit, cercenadas heads, crossed by arrows, violations, INCI skulls, gaps of the size of a fist. lejísimos the trivialization of the war who were 'Rambo' and 'Rambo III', 'John Rambo' uses the "post 11-S style" and scratch at high altitude in the action scenes. Furthermore, the solitary nature and almost a psychopath of the main character is underlined by two details: the absence of his mentor, Col. Trautman; and the comparison with the crude mercenaries, appearing at his side newbies. A military spectacle at the service of a figure who, in this fourth installment, reaches an almost legendary dimension.Thanks to the common sense of his actor and a right and crude visual wrapper work of Glen McPherson and Franco-Giacomo Carbone "Hostel", 'John Rambo' is a notable war film despite black spots such as the lack of charisma of the actors accompanying Sly on the cast, that first half hour too redundant or that end missed in part. At the recent press conference, Stallone said that with 'John Rambo' it intended to say goodbye to the character shaping the brutality of war. Objective fulfilled, since then. A 7.
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2,922 |
archivos_extraidos/MCE-Corpus-main/Dataset/3800
|
Ramón Balcells
|
Michael Clayton
| 3 | 5 |
muchocine
|
Absorbent, told simmered, intelligent and quite adult, debut as director Tony Gilroy is, above all, very correct, although it does not reach the level we all had hoped.
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Absorbent, told simmered, intelligent and quite adult, debut as director Tony Gilroy is, above all, very correct, although it does not reach the level we all had hoped. Its effective script and two master interpretations of Clooney and Wilkinson make Michael Clayton another entertaining and contained proposal on human consciousness, the decisions we make in risky situations, the status of the current policy, etc. It sounds like a cliché nowadays, and it is, but its apparent tranquility that turns into a frenetic and wonderful final scenes is first and foremost, the most personal of this film.The film is presents us with a series of images that have little in common, which do confuse the viewer and at the same time going to this dark world of the advocacy and business corruption. Michael Clayton, a truly dark tone and expressive slow than the difference from all the other similar experiences that had hayámos has. Just has action scenes (a couple, if you count them) and everything that happens is overwhelming, a voltage camouflaged by its leisurely pace. The characters, very well written, change as the film progresses, suffer from an internal development that makes them more human and not so monotonous. The lawyer who makes drastic decisions as the accused who wants to freedom and truth above all are two fascinating portraits (somewhat similar) personality human, like the character of Tilda Swinton, although this will be the representative of the evil.After writing good scripts Tony Gilroy is placed after the cameras with a potent staging, although not too personal, managing to create a very entertaining movie, played incredibly well written and, however, contradictory, because to be produced by a downs as the Warner Brothers, one feels a bit of confusion to see what actual complaint Michael Clayton is the power of these companies in our society. Therefore, we have no doubt that money rules.
|
2,923 |
archivos_extraidos/MCE-Corpus-main/Dataset/441
|
Kiko de España
|
Hard candy
| 4 | 5 |
muchocine
|
An experience that can be enjoyed from beginning to end, a descent into the underworld of the interior who whips the morale and entertains a gray afternoon.
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"Hard Candy", the David Slade length debut was for masterpiece but stays halfway due to last half an hour in which give too many rodeos without a specific address, wasting one of the best in recent years. Jeff Kohlver is a photographer of thirty-two years takes a time fools on the network with a girl of fourteen, Hayley Stark. The day of your appointment begins a nightmare of physical and psychological torture that will end in tragedy.Endure with only two actors during more than 90 minutes is a very complicated task Slade resolves masterfully with two memorable concerts conducted by Patrick Wilson and Ellen Page. The camera almost always in close-up, lets see just enough and photography Jo Willems is thick and is sometimes videoclipera, but get plenty of bad environment. Supported in a brief appearance of Sandra Oh, seen in "Between glasses", and the unknown Odessa Rae (excluding a waiter coming out at the beginning), two actors are in a memorable way his duel unless the Director you are Manus the last third, in which isn't at the height of the circumstances, rushing in all the final turns and leaving a sweet and sour taste to the most demanding Viewer. Anyway, "Hard Candy" is an experience that can be enjoyed from beginning to end, a descent into the underworld of the interior who whips the morale and entertains a gray afternoon. A 7.
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2,924 |
archivos_extraidos/MCE-Corpus-main/Dataset/2340
|
Ramón Balcells
|
Historia de un crimen
| 4 | 5 |
muchocine
|
Fails to masterpiece, but I assure you that with a couple of well polished details it could be perfectly. Magnificent.
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Unfortunately I did not see Truman Capote, this acclaimed film directed by Bennett Miller and performed by a November Philip Seymour Hoffman. And, honestly, having now released history of a crime (crime is the translation into the Spanish, because the original title is Infamous - infamous-!) do not think that it would have made me too lack. It is inevitable to compare both films, as they became almost in parallel, although the first premiered before, but like me that have not seen, can not do it, so I shall confine myself to describe you the sensation that has caused me to see the film now, with delay, we can see that the film of Douglas McGrath.Como all know, both films recount the process of creation of the novel in cold blood from the point of view of the controversial Truman Capote. To do this, the writer, upon learning of a terrible news about the murder of a family in a farm, turned to the scene to write it more closely. Although the relationship with one of the murderers lifted a huge controversy in the life of Capote. From what I have seen, in history of a crime not only explores this process of creation, but also the human personality both the writer and the murderer. It is a shocking and very emotional film without being sentimental or tear. It is not cold, and I believe that this is a plus, it appears that Miller Yes it was, but not bad. This is not the typical biópic on a famous writer. Come on, anyone who thinks that better that her not going to see. This is a pure and simple drama about the human race, which explores incredible way, not only the crime that happened, but religions that both Capote and the killer carried out after their very intimate relationship throughout the days. Perhaps this the best part of the film, the dialogues both remain in prison and the last look mutual keep, incredibly accomplished. However, this film, without being choral, presents a wide variety of characters that look especially in the scenes where they explain their relationship with Truman and peculiarities.Say that one of the strengths of this film is its staging and Assembly. Both are harmonized to perfection, acting intelligent and disorderly manner during all the work (many scenes begin to be explained and then abnormally within this type of films are concluídas with another scene without phrases just). It is charming to see history of a crime, not only because it is well narrated and performed, but because it has a taste of extreme delicacy. All, absolutely all the scenes are shot with calculated levels and to not talk about the setting, that would not surprise me that you take an Oscar next year.Secondly, highlight its stellar cast. There is no actor in this film that to realize an even simple interpretation. All are splendid, although, of course, not all appear in equal parts. Special mention to the large Toby Jones as Capote in a perfect, realistic and superb; Daniel Craig, who gives life to the murderer with whom the protagonist has relationships with a brilliance already not so inexplicable; and this time Yes, Sandra Bullock, who makes the best role of her career (not, in Crash not so embroidering, here yes), thing that seemed so impossible. These three actors look incredibly, but as I said, the amount of side appearing not fall short, but they come in their own way, to the expected interpretive level. Sigourney Weaver, Jeff Daniels (all appearances are formidable), Isabella Rossellini, Hope Davis, Juliet Stevenson (pay attention to the phrases which maintains with the Chamber explaining the anecdotes of Capote) and Gwyneth Paltrow in a role that could be considered cameo, but nevertheless makes it awesome (look at the time that cries while singing).Talk about his superb screenplay. There is no time in history of a crime that lack, or not to miss. Everything is in your site, well placed, although sometimes a bit messy, and therefore more elegant. It is a classic air film, because it has many qualities similar to the old films of wealthy people, but it is the structure of the script which MASCAGNI the rest. Thus, due to the excellent work of Douglas McGrath (both of the script as the address) gives this film a different air, a more independent air and nothing commercial, that Yes. There is a huge dramatic capacity and has a narrative strength uncommon, because the scenes not used to be Grand, so the emotion that produces (more contained) has more merit. Attentive, above all, to the dialogues that keep Jones and Craig in the cell. They are really amazing.It is no doubt that the technical section of the film is of first quality. The photography is great, with a few really prodigious close-up and also amazing movements of camera in the tiny cell of Craig. As I said earlier, everything related to the Assembly and the Mise en scène is enviable, to say nothing of music, classic air with songs like the introduction, very touching.A sensational movie in every way capable of thrill at all times and expose the evil and human personalities. Everything in history of a crime has a why, and everything, absolutely everything, is conducted with great skill. I hope that this is one of the candidates for the next Oscars, thing that would not surprise me the least. Fails to masterpiece, but I assure you that with a couple of well polished details it could be perfectly. As I say, great.
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2,925 |
archivos_extraidos/MCE-Corpus-main/Dataset/1275
|
Emilio Calvo de Mora
|
Princesas
| 2 | 5 |
muchocine
|
Princesses risks, but it loses: melts in the impostada comical in some reluctance to give a greater plot background. Without a script in which things become, the film loses unrecoverable assets. Film desguionizado.
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Far from being an acid portrait of prostitution to which many would have liked to put the signature of writer-director Fernando León de Aranoa, princesses is a simple inventory of routines that populate the life of normal people who hide their sins and opens his heart to others when the circumstances so send. Leon de Aranoa is not complicated in narrative stills that compromise prominence to what he considered truly essence of his film: friendship without hesitation, slow, exquisite, two prostitutes who allied against the misery of the people and the harshness of the world that have opposite. Caye (Candela Peña) and Zulema (Micaela Nevárez) bear the weight of the film, which is much and little, which is summarized in three strokes, but lastra a universe wide universally understandable feelings, perfect gestures and sincere looks great.Melancholy, tenderness, sorrow: aspects that have never left at all the cinema of this forensic society, vivisecciona the newly shot body of a city that breathes routine, incommunicado detention and disquiet in all its streets.Script, to tell the truth, there is little: there is no need. This claim of cinema pseudocumentalista, lyric the way Leon de Aranoa understands the beauty, gives a film paused in excess, overloaded on the shoulders of two actresses in State of grace, which seem to not act and estimable dignity carry load Poetics of history.Isn't Mondays in the Sun or neighborhood or the magnificent Opera prima family: princesses is minor film. More is a whim of a restless, and risky, screenwriter that a proposal with commercial scope and artistic sights as the preceding. It would seem that everything has been carried away by the desire to offer a view different from the physical fact and social of prostitution. There is too much ' Costumbrismo ': an unnecessary atiborramiento silence of complicity that we already know and left over. Sweetened as she did not need, the result is disappointing, given (will ultimately be that) of the expectations created with those aforementioned tapes and opened the illusion that Fernando León de Aranoa had a unique voice and a universe of feelings of long-haul. It has not failed himself, in my humble opinion, but it has missed the opportunity to continue risking and winning. Princesses risks, but it loses: melts in the impostada comical in some reluctance to give a greater plot background. Without a script in which things become, the film loses unrecoverable assets. Cinema desguionizado, if any, will be film, but already bordering other territories which, on occasions, provides better results with other weapons like the music (the ineffable art par excellence) or literature (absolute art par excellence).Addenda: the end is somewhat cowardly, ambiguous: perhaps the only one possible, which is a pity that I did not suffer.
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2,926 |
archivos_extraidos/MCE-Corpus-main/Dataset/4339
|
Ethan
|
Él
| 5 | 5 |
muchocine
|
On startup, Buñuel already presents his two major obsessions, which more upset human being: religion and sex.
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The Mexican stage of the director from Calanda, stresses the trilogy which took place "in their own way", on the bourgeois customs of the time. It is "He", excellent melodrama that accompanies the important "El Ángel Exterminador" and "Trial of a crime". Before enter in history and, above all, in the form of tell by the brilliant director, it is worth a brief reference to its usual partners in this important period: Oscar Dacingers producer, responsible for several masterpieces of Buñuel; cinematographer Gabriel Figueroa, very skillful in the handling of the lights and the shadows, indebted to the expressionist movement and author of tapes that, occasionally, darkening the work of important directors to erect as true creator - see "The fugitive" ("The fugitive", 1947) of the selfsame John Ford-; and, finally, his inseparable Luis Alcoriza, a sharp writer and, later, excellent director, also exiled from war and preferred target of jokes by Buñuel. They say that a day of hunting, when Alcoriza was going to charge a piece (a bird that had shot shot), found it already filling up with the price on a label tied to one of its legs. Spanish filmmaker works are very personal and features as if "He" we would have lost the credits, just seeing the close-up, we realise straight away dealing with a tape of his own. And is that at boot already he presents his two major obsessions, which more upset human being: religion and sex. -"Sex without religion is like cooking an egg without salt," he assured Buñuel in an interview-. This scene of the washing of feet in the Church happens to be one of their sequences more provocative and best shot. In the hands of Buñuel, recreation by a priest of what was written in the Gospels has a lecherous meaning. Also the presentation of the protagonist (Arturo de Córdova), a perfect summary of his personality when he observes the feet of his future wife with passion and barely be able to disguise their desire. Throughout footage Buñuel repeats with plans detail the same situation, scene, on the other hand, can be seen in several of his later films ("Diary of a Chambermaid" or "Belle de Jour", are two examples). Although the production of "He" is very modest, however the decoration of the House where the events take place is worthy of study in detail. In a first viewing of the tape can we pass unnoticed, but if you look in the doors, the arches separating the rooms, stairs and Windows we will observe a very daliniana and modernist architecture at the same time, with touches of Gaudí, all in accordance with the tortuous personality of the tenant. The entire film is a prodigy of mise en scene, but apart from the boot, already commented, I would like to highlight two sequences: one confirms that still very personal film Buñuel isn't free from influences. It takes place at the top of a Bell Tower, there the couple protagonist observes people as if they were ants and produces a situation reminiscent of "The third man" ("The Third Man" by Carol Reed, 1949); in fact the dialogue about insignificant people is almost the same as pronounced by Orson Welles in the famous sequence of the Ferris wheel. The other scene is the final conclusion. Sums up the film perfectly, leaves the viewer with a, say, attractive anxiety and it contains many more clues about the Buñuel film than what I can tell these lines in a single plane.
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2,927 |
archivos_extraidos/MCE-Corpus-main/Dataset/391
|
Taliesin
|
Alatriste
| 2 | 5 |
muchocine
|
How is that with so many values Alatriste not working it possible? Because it is not film. It is a video clip of two hours and a half where you only see the scenes of more weight in the plot.
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The feeling that invades you after seeing Alatriste is the great movie that could have been. Or better still: the films that could have done with a material of such quality. Not be if it has been an excess of ambition or naive, but the case is that we can say is that good that "who covers much, little tightens". More than a movie, Alatriste is a slide session. There is a continuing obsession for photography, for the close-ups and what is a great failure for a tape supposed adventures, for a camera that does not move. The result is a film that has a lot of historical and goes to the rhythm of coitus interruptus. And the worst thing is it shows the MIME who has devoted all the film makers and had money to spend. The work they have done with the costume is excellent and the selection of players is perfect. Viggo Mortensen is the perfect Alatriste and, thanks to his great work of interpretation, we can forgive him the strange mixture of English and Buenos Aires accents that forces him to continuously speak in whispers. I would even say that the character has lost part of its loquacity and have removed you Viggo sentences to avoid exposing this problem. Echanove Quevedo is perfect, Javier Cámara plays a very convincing Conde Duque de Olivares and Ariadna Gil gives life to the sensual mistress of captain. Even the battle scenes are recreated quite rightly, far removed from the foreign sonrojantes of Juana la Loca, and passed the harshness of a match in which he kills and dies to blow a sharp steel. How is that with so many values Alatriste not working it possible? Because it is not film. It is a video clip of two hours and a half where only you see the scenes of more weight in the plot, but with the disadvantage that we do not have the rest of the plot. Lack of development of the characters, plot and even historical reality. With this, Alatriste excites the Viewer, but not him touches. It doesn't matter who lives or who dies, because we have known five minutes ago. In fact, some characters seem to have a couple of phrases to kill them then. Some scenes that would have us leaving tacked in the armchair do not pass of anecdotal. If they had only used the first four scenes and they had added film between them would be talking about an epic Alatriste which has left us eager to continue to live their adventures. In short, producers and director have put a pistol charged into the hands of those who say that the Spanish film does not deserve huge budgets. Told with so many media, have been so ambitious, who have lost perspective of what it had a hand. I am convinced that at no time have realized what was happening. Catching loose scenes, Alatriste appears to be a lot of work, but nor the best editing of history had been able to fill some gaps that had not shot. Had just been given a couple of steps back to see the whole of the work, I am sure that you would have noticed that Alatriste lacks film from the first five minutes. Unfortunately for us, for the Spanish film and for own Captain Alatriste, has not happened. Cruiosidad: A few years ago Alatriste was about to take the film starring and directed by Antonio Banderas and with a screenplay by Enrique Urbizu. Seen, the script would have won (La Caja 507, the ninth gate), but the other I'm not so sure. Recommended audience: have read three of the five books that are published alatriste and has cost me follow the (non) storyline of the film, which is why someone who has not approached the novels will be more complicated, not filling the gaps in any way. Even so, if you are the historical film, perhaps you find interesting.
|
2,928 |
archivos_extraidos/MCE-Corpus-main/Dataset/3408
|
Tito Chinchan
|
Shaolin Soccer
| 5 | 5 |
muchocine
|
Eastern film about shaolines who play football. To see her surrounded by chums, with beers and other narcotic. An ideal remedy to combat any depression. Great, without paleativos.
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Director: Stephen ChowDuración: then I tell you what lasts.Release date: 3 June 2005 (according to the IMDB).Spectators: According to me, he has not released in commercial cinemas.See details in the IMDB is the closest thing to the Bernarda pussy. You are on the one hand, that duration goes between the two horazas and the hour and a half, depending on where you've seen her. The release date is Spain of truth that I I do not think, because I am convinced that in cinemas not it premiered. Moreover, in DVD not her have edited in Spain, which tells me that her have not translated into the Spanish (in English if it is). Rebatanmé, if you have what to have.The film is about a former player of Chinese football, after an incident, falling in disgrace. Over the years, discover a kid with a formidable force in the leg, so dare to do a shaolines with capacity football team to defeat the team of evil (Evil) clear dominated the Championship.The first time I saw this film (which was longer than the second, I am sure) was in Korean with English subtitles. Crazy. And I thought dying of laughter. I have now seen in Latin American Spanish her again and I almost small laughter. Let me explain. Get the number of "Champions", Oliver and Benji with a field that length that was the esferidad of the Earth. Not bad. Hire people, cut the fields so that they can arrive in less than 3 episodes, olvidensé of talks means Party on the honour and friendship, leave the catapult the brothers Derrick, the pepinazo brutal in the eye of the ass of Benji, stop relying on the post of Oliver, infernal inventesen some shots more than these and will result in Shaolin Soccera more original and funny films I've seen in life.In short, Eastern film about shaolines who play football. To see her surrounded by chums, with beers and other narcotic. An ideal remedy to combat any depression. Great, without paleativos. Great surrealist.Besitos.P.D: The team of bigotudas women. The captain of the team that dropped a wrench before starting the game. The slippers that plays. The shaolin t-shirt. The talks. Dancing in the middle of the street to tell anything. Coups and other absurdeces. For framing it.Pd2: And that nobody would encourage to bring it to you in Spain.P.D.3: Has the rarest special effects that have been made. Mixture of cutrez and genius. Impresionantes.P.D.4: And in the end it isn't more than a drama.
|
2,929 |
archivos_extraidos/MCE-Corpus-main/Dataset/3335
|
Andrés Pons
|
El Asesinato de Jesse James por el Cobarde Robert Ford
| 4 | 5 |
muchocine
|
This film is dipped in directions quite different from its predecessors, initially only tells his last moments before his death at the hands of his greatest admirer. In the background is not an exaltation on the character since his portrait is not the hero that previous products we sold.
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How many movies were made about Jesse James? WESTERNS who attended her figure in all kinds of productions are countless. Since most commercial that used his name to build routine shows face at the box office, young gun and sequel are clear examples.Passing by authentic wonders of celluloid where sought the truth, one of the most brilliant was bold with an impressive HENRY FONDA. Again come to his figure with a little-known director although he proved a huge talent with other biography I encumbro ERIC BANA in which you interpret the criminal CHOPPER. This film is dipped in directions quite different from its predecessors, initially only tells his last moments before his death at the hands of his greatest admirer. In the background is not an exaltation on the character since his portrait is not the hero that previous products we sold. Here we have a bandit who lives at the edge of the law without any heroism, is a ruthless killer and as such is portrayed.It is her killer that is carrying the baton in a masterful interpretation of CASSEY AFLECK "double win with goodbye small goodbye" where in a way intimate included their stormy love/hate relationship with the Bandit.Highlight the work of a BRAD PITT than when you removed the mask of commercial actor demonstrating good qualities as they tested twelve monkeys and the fight among others club.Photography, music highlights to give the story an intimate air, reflective portrait of a few men who live in the abyss with a preciosista staged.This is certainly a WESTERN in disguise, I say why disguise deceptively gender belongs to the jeans but not the forms. Shots, nor duels under the Sun, or fights in the Hall. It is the drama of two men in a relationship of friendship and hatred in equal parts, is the portrait of a murder by the disappointment.A film precuscular shot with enormous talent by its director, great performances of the cast, immaculate to be one of the most real biographies of the Bushranger technical aspects.Their excessive duration all unresolved deduct you points to what postulated as a great masterpiece of all forms a film high altitude exercise.
|
2,930 |
archivos_extraidos/MCE-Corpus-main/Dataset/2066
|
Patri
|
El hundimiento
| 3 | 5 |
muchocine
|
In general it is a good movie, perfectly recreates those last days of Hitler and his faithful in the bunker and what we believe, is what really matters.
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The collapse shows the last days of life of Hitler and Nazism in Germany from the point of view of the Secretariat that the dictator had during his last years, is a vision close and human in one of the most bloody rulers of history, although no time seeks to justify their actions, simply teaches us that the bloody are also human beings, although cost us to believe it.The pace of the movie is slow and at times becomes something tedious, and more when you're trying to remember as many names of German officers to not miss. The duration (2 and a half hours) helps create that feeling of slowness, but in the second half the film becomes more interesting, although without causing either excessive interest.At the time he spoke much of the interpretation of Bruno Ganz, it is always difficult to play a real character, and the more well-known is that character more complicated it is to recreate it in a realistic manner, but the actor gets to know a more humane Hitler what have always imagined that it is with a personality full of contrasts, something that is very well expressed in a conversation with Secretary Eva Braun, women married Hitler, the Secretary tells him that he is a very kind man, but that sometimes it is able to tell real atrocities to which Eva Braun responds: "If, when it is the Führer", thereby expressing the "dual personality".The character of Eva Braun, is which is more nuanced, and the better interpreted, is a vital and optimistic person full of joy, even in the toughest moments, but this behaviour is only a mask to hide his true feelings.While the story is told from the point of view of the Secretariat, (even at the end get a picture of the real Secretary speaking) the character it is not well developed, we do not know almost nothing of it, and this is something that is missing.There are several secondary stories that are themselves, something that enhances the film, which sometimes lacks drama. Despite these failures, in general it is a good movie, perfectly recreates those last days of Hitler and his faithful in the bunker and what we believe, is what really matters.
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2,931 |
archivos_extraidos/MCE-Corpus-main/Dataset/1238
|
Yojimbo
|
El manantial
| 5 | 5 |
muchocine
|
A great movie with a great climax and large current value. The man who remains incorruptible and clung to its principles has all the win? in its own way.
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King Vidor directed in 1949 this magnificent film starring Gary Cooper and Patricia Neal. It is based on a novel which was adapted to screenplay by the same author, Ayn Rand.Howard Roark is a totally groundbreaking modernist architect. But really modern and groundbreaking of this man is your integrity and honor. After spending much time being rejected by their totally "revolutionary" ideas about architecture, passes to another kind of work that go you to what it has always sought to achieve: his creative freedom.One of the things that most can throw back spectators with prejudice are too direct, too poetic dialogues and with almost philosophical today sentences for today not precisely abound. However they are sparkling, beautifully written dialogues and gives the character of Cooper an entity so valuable and wonderful as the message of the movie itself. To give a reference for the quality of the dialogues could give the example of Eva naked. Another important point of the great dialogues is that they enhance much the moments in which they are used, in those who play with glances and indirect statements, as it is the case of the affair with Dominique Francon (Neal) film is a complete plea for individualism. As complete and straightforward as you can be living as you want in favour of communism. Do however the script relies on a tangible reality: the man who remains incorruptible and clung to its principles has all the win? in its own way. It may sound too naive, but the history of Roark, the architect that is not plegaba to the mandates and taste of the majority, manages to realize your dream without renouncing its convictions. But this knows that you have to pay a "social" price: staying unemployed, endure the criticism of fools who think not if same, support the charity of those who succeed without merits and worst of all, see how others who admire him and rely on it are no longer endure and yield to the mandates of most.The great Gary Cooper gives the character of Howard Roark a serenity and enviable strength, with a vital attitude as clear and coherent as simple to understand: the achievements of a society are achieved based on ideas that people can look forward to. For this reason it is essential to guarantee individual freedom in order to guarantee that all can enjoy those fruits of people with initiative and love for what they do.A full and honest character like Roark not only causes rejection in those sheep that follow the guidelines established by a majority distorted and manipulated. It is also a beacon for those that have repudiated all what they consider correct, as Dominique Francon, critique of architecture of The Banner, newspaper directed by cynic Gail Wynand (Raymond Massey). Two of them are the characters who learn more in this story, incorruptible Roark talent will be for them the ideal that neglected and courage that were non-existent.A great movie with a great climax and large current value. Very indicated for those who know that they do not fold to fashions, nor to the majority or the minority which boast of alternatives with which the time say that they were right. Good thing about individualism portrayed in this film is that if you leave prosper someone in what actually you are passionate about, everybody wins. And it is not something that defends socialism.
|
2,932 |
archivos_extraidos/MCE-Corpus-main/Dataset/160
|
Verolindapechocha
|
Date movie
| 1 | 5 |
muchocine
|
It is one of the most silly films I've seen in my life
|
Titled in English as "Is not another teen movie of love", is definitely one of the most silly films I've seen in my life. In English is called Date Movie is "movie for a date" and your letter of presentation have been created by "two of six creators of Scary Movie". Calculate the nivel.¿Por what a refined spectator as moi ended in the cinema watching this kind of "Laughter and sauce" gringo? Precisely because not all films that my "date" had not seen I already had seen them and vice versa. We only in common had not seen this movie, for obvious reasons of common sense. But, what the hell! Why not let rest neurons awhile and relax with the parody all romantic movies made in Hollywood?I must admit that I laughed enough that the producers of this film chicha forgave not a single movie of love, but I also suffered arcades of disgust in several parts. And that came from see hostel yesterday and have good stomach. There were two or three scenes in which I had to plug me the eyes of truth.I am not going to say that I was disappointed, because the film turned out to be exactly what I expected. Instead to my "date", which is actually one of my "best friends", yes I saw a little more disillusioned. "Not I thought it was so bad", told me at the end. Go, please go with confidence and friends plan "will do something stupid". Not one happens them go with a true romantic date. And step are preparing themselves, that already comes Scary Movie 4!
|
2,933 |
archivos_extraidos/MCE-Corpus-main/Dataset/2756
|
Kiko de España
|
Hostel 2
| 3 | 5 |
muchocine
|
Roth approves let go wrong girls and because it has potential to be a large, although its great movie (and I thought it would be this) has not yet come. Not desesperéis.
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My impression of the first Hostel was quite good, despite the fact that many people did not end catch the trick and see it as what it was: a comedy. Eli Roth is an uncomfortable director in all aspects. Cabin Fever, your letter of presentation, was an excellent treatise on the horror of the 1990s with special aftertaste to the first Raimi Mirada excited the way as mercía.Then came Hostel, a gift from Quentin Tarantino, which has allowed it to enter the clan, participate in Grindhouse both actor and director and produce a very funny, 2001 cult-movie Maniacs. Today is Eli Roth preparing the filming of Cell, adapting to Stephen King.Pero let's talk about Hostel II, is not as fun as the original and presents a number of details that make us go back a couple of decades in the film genre, specifically in the section "aftermath ochenteras" the continuations of the two key of the genre made slasher films in USA (Halloween and Viernes13) wereas well as it was in Porky's, the "next day" and that is present in the movie of Roth, with a clavadita scene which opened the continuation of the adventures of the children of Crystal Lake. Furthermore, before we have on screen to Luc Merenda, seen in Torso, and the great Ruggero Deodato, the Holocaust dire Cannibal, making mischief in one of the best scenes of the movie.The main difference of Hostel II with its predecessor is point of view. If the first part were mindless three newly despedazados by laborers, this are three girls who are also lured to finish in the torture room and the details of the auction of businessmen, impressive, almost as much as torture. And it is the new point of view on these men. In Hostel we suffered by the victim and Hostel 2, we are suffering from the executioner. And by the victim, clear.The surprise factor goes away, but the movie has an atmosphere that did not have the original, although it is true that, as I said after the first, there are more gore in any film Mel Gibson that on all the Hostels in the world.Roth approves let go wrong girls and because it has potential to be a large, although its great movie (and I thought it would be this) has not yet come. Not desesperéis.
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2,934 |
archivos_extraidos/MCE-Corpus-main/Dataset/4073
|
José A. Peig
|
Los Crímenes de Oxford
| 1 | 5 |
muchocine
|
Alex de la Iglesia handles the staging and the film has a couple of planes quite memorable sequence. Shame that everything is in a capricious and self-indulgent, set in an indefinite dramatic tone, and an unfinished when not incoherent philosophical discourse.
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Films defined its quality by the strength that we see in used tones and forms. It is not enough to have an interesting story if filmmaker does not apply an efficient look between hands. The new film by Alex de la Iglesia is a good example of mutual distortion between the conceptual basis of the story (fairly dense, complex) and the playful objective pursued, akin to the classic thriller and the features that better define the genre of suspense, placing the viewer in a puzzle of characters and data coming to be codes, the material to follow the proposed game. Combine these two facets was meritorious and of course the film implies a risk welcome in the times. We do not know the text in which it was inspired, but have a feeling that the writers - in an attempt to synthesize the history so that it can be more accessible to all audiences - have failed to come up with appropriate scheme and development, so we have a very loose and runnig script. Being a product that plays with the keys and the mythology of the genre in order to create a particular effect (surprise), it is more predictable. The same characterization of the characters and - above all - the presentation already pointing to some obvious resolutions for any attentive spectator and connoisseur of the keys of the genus. The different nut laps that appear in the final stretch not transcend that range of possibilities. Therefore, where this surprise?.On the other hand, intended as a fun work, you cannot find the necessary fluidity in a dispersed development due to excessive exposure of philosophical and mathematical concepts. It is not lawful to devote so much footage to this type of elements (which are otherwise unavoidable in the construction of the meaning of this story) without that the viewer can be part of this. Obviously, it is not explained or require the viewer knowledge about mathematics and Pythagorean philosophy. It is a problem about implementing an effective look, rhythm, tempo, synthesize this data set so that it is articulated in a certain dramatic exhibition. In sum, narrative agility. And what we have here is a narrative too thick.In its abstract content and philosophical discourse it sinks in a mere statement of concepts which ends in inconsistencies. This film talks about senses or absence of them, indeterminacy, causality or chaos. Solve the riddle of a crime depends on know your patterns that guide the conduct of the murderer. If there is an implicit order that governs the universe, we can predict and modify the flow of events. The speech - represented chiefly in Professor Arthur Seldom (John Hurt) - points to the unknowable nature of a universe ruled by chance.Curiously, the final scene is intended to emphasize the truth of thought of Seldom, with Elijah Wood doing propiciatoria victim, the butterfly that flaps the wings and determines the development of the story. Indeed, in the universe, there is an implicit order (and we know, and therefore, there is no chance), which produces an inconsistency delves into the story, and is at this point where most notices that the writers play capriciously with items without specified a meaning and a dramatic tone. Worst of all is the last level, the expression of surprise in the face of Elijah, which aims to reflect the (unprompted to effects inherent in the film material) surprise the Viewer. The expressiveness of his eyes was never so badly used.Certainly Alex de la Iglesia handles the staging and the film has a couple of levels quite memorable sequence. Shame that everything is in a capricious and self-indulgent, set in an indefinite dramatic tone, and an unfinished when not incoherent philosophical discourse.
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2,935 |
archivos_extraidos/MCE-Corpus-main/Dataset/162
|
Rafa Ferrer
|
Novia por contrato
| 3 | 5 |
muchocine
|
It is not no thing of another Thursday but get entertain
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Without just seeing the Viewer already knows what you will find: boy that you don't want to leave home, parents hire a young girl, so long be together she falls in love with the typical conflict and happy ending. And it is not them it is gutting the end, ladies and gentlemen, is that you know what happens in "Bride by contract" or don't think so? While one view the film he believes that the movie has already seen, and every scene of the film is known as if memory. Yes, and it is true. But, even so, the film manages to entertain and do have a quite entertaining and fun time to the Viewer, making emerge from the room with a half sonrisilla between the lips. Starring the beautiful star of the hit series "sex in New York" (Sarah Jessica Parker) and with a Mathew Mchonaguy (doubt is written so) repeated once more in the genre of comedy romanticona after the fun "how to lose a guy in 10 days" and whose argument was quite similar to this, or had many similar features. In bride contract tells us an atypical story: that of a young man of 35 living leveraged at home, or as here would, still the boba soup, living thanks to papa and mama and a bed secured in a House also assured. But the parents already can not more, and are tired, so decide to hire the girl with which our protagonist has been dreaming for a long, so that draw you from home and left quiet. Gradually emerges the love between situations of the more disparate and able to do fun drop laughter to the Viewer. As I said, it isn't a movie on another Thursday, and as also had said, it is nothing new, but as often happens with this kind of films, manages to entertain the viewer and make him spend a very pleasant time and gets blown up. The script clear this isn't nothing of another world, with funny situations if, but fairly predictable, and interpretations of both, pretty good for an American film.In short, is not a film to say "often peliculón", but if for fun and forget about the outside in a cinema. Recommended, but only for entertainment, look no nothing more in this film, because we must not.
|
2,936 |
archivos_extraidos/MCE-Corpus-main/Dataset/3970
|
José Córdoba
|
Beowulf
| 2 | 5 |
muchocine
|
Beowulf is the next step in the evolution of the Motion Capture System and despite their obvious and undeniable successes, is a little balanced film whose duration can be heavy for the viewer due to irregular of his pace.
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After seeing Beowulf and start thinking about the comment for the blog I realized one thing: I've seen entire Filmography of Robert Zemeckis with the exception of her first film, Used Cars. Nor is it difficult taking into account that he has worked on films as "unknown" as return to the future, after the green heart, Forrest Gump or who framed Roger Rabbitt. His work clearly shows a progressive interest in the technique of the medium, do evolve one degree more, in providing the greatest possible freedom to directors, make the camera more flexible world element, removing all its limitations. Something very evident in three of his past works of real image: Forrest Gump, Contact and what the truth hidden. Where is the amount of flat really impossible so far huge, being the movie starring Harrison Ford, the clearest example. This particular obsession has led him to develop the technique of Motion Capture, which allows the use of real actors to create virtual from his body movement and facial expressions with the company to Sony Imageworks. This technique was used for the first time in The Polar Express, Tom Hanks being the actor which proved her in their flesh for the first time achieving portraying several characters in the same film. Forced photorealism as well as little debugging procedure did not help too much to the good progress of the film, which was an experiment right in many things like the freedom with which moved the camera over the footage, as failed in other as many as the general inexpressiveness of the characters.A year after this film, Sony Imageworks, with Zemeckis in production, returned to the load with Monster House, much more successful than the previous one, due to his particular departure from photorealism, opting for an aesthetic of pure cartoon for the characters. This decision coupled with a fun and endearing script was a good boost for Motion Capture, while at the box office it did not end be the great success that was expected.Beowulf is the return of Zemeckis film and again with Motion Capture, although much more sophisticated than in his previous attempt and benefited from the introduction of the Digital 3D system in increasingly more cinemas around the world. Another factor not mentioned is that all three films have been intended and designed to be projected in 3D, so any analysis carried out without seeing them in this format is always incomplete. Fortunately Yes her I have seen as well, although in the province of Valencia is only projected in cinemas AEC the Punt Alzira.Habiendo seen both versions, I can say that seeing her in 3D is a great help to the film. The film is technically guilty of practically the same mistakes as The Polar Express: lack of general expressiveness of the characters, much less detail as the weight of the character lapses, poor animation of elements not captured with motion capture (for example, horses to gallop). Fortunately the technique has greatly improved and the virtual actors seem more real that never though still far from the wanted photorealism, Zemeckis also get a 3D effect achieved, by using technology as one element to the story, not just to scare the viewer throwing virtual objects to the face, something that sinned The Polar Express. In the 3D projection, get introduced to the viewer in action, moving the camera between the characters, through the use of panoramic aerial very successful and a myriad of resources returning to demonstrate that the disciple of Spielberg has not lost his desire to innovative.The story of Beowulf, a classic Chanson de Geste, equivalent to the Anglo-Saxons of our Cantar de mío Cid, is about confrontation between the heroes did not name to history and the monster Grendel, which has frightened a village north of Europa.El script, works of Neil Gaiman and Roger Avary, shows us a dirty time, violent not skimping in blood and nuditytoo pudorosos that Yes. For American morale show the demembramiento of a person is not problematic, but show the penis of the protagonist Yes seems it, giving rise to a shameful scene which seems taken more than Austin Powers than a film to be more serious. The development sins of discursive, it speaks too much of things claiming to be transcendental but characters lack the expressiveness needed to empathize with them. Yet elements such as graphic violence (a film not recommended for children under 18) and the details such as the arrival of Christianity through those lands, give it a unexpected turn and nothing significant. It is in the action scenes, sparse but forceful where the film played their best weapons, making the best of the film, although it is a pity that this expiration date almost complete in a Hall for celebrations and in the cave of the monster.The interpretive plane is difficult to assess because these are more convincing due to the design of the characters as more detail presented, resulting in remarkable Ray Winstone as Beowulf, Anthony Hopkins as King Lothar or Angelina Jolie as the mother of Grendel; on the other side of the balance would be Robin Wright does Penn? as the Queen, virtually unrecognizable in its digital incarnation.The artistic design achieves transladarte perfectly to the era in which the action takes place and digital photography is very successful, despite the distraction posed to the viewer all the elements in screen are perfectly focused regardless of its distance from the virtual target. On the other hand the music by Alan Silvestri is one of the best elements of the film being very powerful, without falling into Personnages type factory Bruckheimer. A soundtrack that create love, very much in the style of Conan of the master Poledouris.En summary, Beowulf is the next step in the evolution of the Motion Capture System and despite their obvious and undeniable successes, is a little balanced film close to two hours duration can be heavy for the spectator because the ups and downs in the pace of the story. One would like to that Zemeckis will leave the system a little and back to the real image film, but we know that his next project will also be in Motion Capture: an adaptation starring Jim Carrey's story of Christmas of Charles Dickens. Hopefully, at least, that it drifts away from photorealism.
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2,937 |
archivos_extraidos/MCE-Corpus-main/Dataset/1365
|
Yojimbo
|
In my country
| 2 | 5 |
muchocine
|
Ideological and pamphleteering product to the delight of those who do not feel embarrassed.
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There are films that want to do justice to a real event and dedicate his script and its efforts to overturn this.In the case before us is Apartheid and all the massacres and atrocities committed.The unknown, and I guess so I would because thus relates the film, is that when it ended what was offered amnesty to those murderers and torturers who confess his crime before their victims (or those who survived him). An attitude today today quite unthinkable but based on an attitude of forgiveness and for the achievement of peace. And an idea to transmit very interesting. But the film doesn't help at all.The director and the screenwriter make this film a product of embarrassment. There are two concepts to distinguish when carrying a real event to the screen. The fact may be real, but may be very little credible.And this is a perfect example (example: sequence of the child moved to the murderer of her parents). Precisely because trafficking in a political issue so geared that way and choose two protagonists as bastions of morality, decency and justice: two journalists (unfortunately fashionable today). One, Samuel l. Jackson, American (afro), racist and journalist from the Washington Post which passes fatal in USA and the other Juliette Binoche, native, but white, poet but activist and idealist to the core. Both are erected as the concerned actors to do justice "journalistically" covering the trials to the rest of the world.That Yes, both Jackson and Binoche and Brendan Gleeson are fine, but it is no use if the story does not endorse them. Ideological and pamphleteering product to the delight of those who do not feel embarrassed.
|
2,938 |
archivos_extraidos/MCE-Corpus-main/Dataset/483
|
Oscar Cantero
|
Pequeño pero matón
| 1 | 5 |
muchocine
|
Humor eschatological, lacking in wit, Chavacano and rude, little or no adds to the comedy. In a few months probably we will see on television it, and in a short time will be more a distant memory.
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Keenen Ivory Wayans rose to fame by the unexpected (and inexplicable IMHO) but overwhelming success of Scary Movie, who starred and directed in 2000. Since then had been behind and in front of the camera to bring us some esperpentos similar, full of uncouth, little imaginative, vulgar and regular humor. On this occasion it seems that at least the idea is something more original, because small but Hector tells the adventures of an expert thief of jewels out of prison after several years, which makes it with the intention of retiring from crime, though not without before a coup last and grandiose, consisting of appropriating a valuable site diamond in a jewelry shop. The thing is complicated and our protagonist is forced to hide the stone in the purse of a woman who was in the establishment together with her husband. To recover it not think another that take advantage of their peculiar physical (measured less than a meter) and impersonate a baby abandoned at the door of the residence of the marriage. Vanessa and Darryl welcome with enthusiasm and are supplied with enormous devotion to his work of parents. The multiple exploits and tricks of the tiny offender to recover their precious booty will be causing disparate situations. As already said before, this film is in the line of usual American humor, a humor eschatological, lacking in wit, Chavacano and rude, little or no contribution to the comedy. In a few months probably we will see on television, and in a short time over it, this ridiculous birriosa tape will be only a distant memory. Fortunately.
|
2,939 |
archivos_extraidos/MCE-Corpus-main/Dataset/3905
|
Cp
|
Soy leyenda
| 4 | 5 |
muchocine
|
Spectacular, well shot, fantasy film with an air of realism. Superb Will Smith carrying all the weight of the film, without get bored at any time. A pity that did not maintain most of the book, especially to show the vampires.
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For Christmas, nothing better than film show. So, who played go see a popcorn movie, with one of the players with more hook of the contemporary cinema in the face of the box office, and also recognize that I like Nice and I like to see it on screen, Will Smith. After seeing the trailers, I am Legend seemed quite promising film, but would not have anything to do with the book of the same name, like I, Robot just had in common with the book, his own title. And after two hours, I left very happy film. It was just what I expected.I am Legend takes the original story to go creating a film of tension, where I admit that at times will be tense and expectant, all scenes of horror, or at least, with some shock, are perfectly designed and shot. I like the version of the script have been constructed, based above all on a Will Smith that fills the screen, completely without let us heavy nor to bore us, and which are still carefully and even worried. At times interested in their struggle, and discovering little by little as it is the New York of the future. If something was missing several flashback are showing the early stages of the infection that has arisen on the basis of medical experiments seeking the healing of cancer. All the scenes of those first moments of the plague are absolutely spectacular. But it is that if something is I am legend it is spectacular moments, some of them very well shot. This keeps the viewer tuned, with much skill, vampires are slow to appear, and also do a very calculated way, little by little, keeping expectant about his appearance, his intelligence or his way of acting.And here we reach the great problem of the film. I read in an interview the Director, Martin Lawrence, that this proved first with actors with make-up making vampires, and only then choose to replace them with digital effects. And that is the decision. Instead of vampires, humanoid, jump and move absolutely inhumane way, here have shaped aliens and spoil all the realistic effect of the film. They are not just little credible, they visually I like anything.Even so, could save the movie, but, and without anything, could say it that the ending is a bit disappointing, perhaps too toned, so after long time enjoying, just taking a small slump, just before the end of the tape.
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2,940 |
archivos_extraidos/MCE-Corpus-main/Dataset/2907
|
Alex Largo
|
Ellas y Ellos
| 1 | 5 |
muchocine
|
The script tries to be nice and enjoyable, but only manages to sink. It is not worth or take it out of the video-club.
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Better known as "Trust the Man" ("believe the man"), one title rather more in line with the movie that this translation. "They and them". Let's start: what are the highlights of this film (something loose, everything must be said)?Julianne Moore (that it is time to give him a damn Oscar) and Maggie Gyllenhaal, who stays in mere anecdote next to Moore (which, incidentally, only participates in this film which is headed by her husband.).In addition to Moore and Miaggie. What's left us? A side staff who carry out their duties without stridency (not is no compliment), an insipid and bland address (go eye has Moore choice husband.) and. The script, the great guilty that the. PEL. ícula. (bufff, has cost me but I've said it) to stay in a stupidity of the size of a temple.The main mistake of the script is that it tries to be funny. I repeat: he tries, but fails. The most get is not be boring.But clear, trying to be nice and entertaining, manages to only sink (and quite muddy waters, everything is said) in a clump of clichés and (non-credible) forced and incredible situations.It is not worth or take it out of the video-club.
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2,941 |
archivos_extraidos/MCE-Corpus-main/Dataset/635
|
Jesus Lens
|
La dalia negra
| 3 | 5 |
muchocine
|
It is not a film noir in itself. It is a film that attempts to recreate the atmosphere of classic cinema, one that is cold and distant.
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When it was announced that Brian de Palma would take charge of the film adaptation of "The Black Dahlia", one of the first novels of James dog wild Ellroy, a true regustillo toured me back. A regustillo not without concern, this is step. De Palma is one of these managers with their own personality, capable of the best. and the worst.As the cast was forming, interest was growing; exponentially when it announced the incorporation into the project of the unpayable, oscarizada, magnificent and suggestive Hillary Swank. And reached Venice. And the movie premiered. And I set out as a wolf to read what felt the Carlos Boyero & Co. Y. oh disappointment! "The Black Dahlia" was much ado about nothing. Much of the continent and little content. Too much façade for so little Foundation.And from then on, all were bad vibes about the dahlia. NOVELPOL - the international Cibernético-castellana of the black gender - friends who attended the movie premiere were quite critical and only in a Blog I found some positive reference to the film.For this reason, when Sacai and I we planted Friday in the Neptune, my mood was contradictory. Prepared for the worst, even expected a positive surprise. And the thing started well. Palm quickly it contextualizes that Los Angeles violent and bullanguera, racist, active, unstoppable and exciting that Ellroy so well told us in his novels. In the same way, the main characters are well defined in the first round: two cops, long and ex-boxeadores, climbing on the bandwagon of success media to Ascend, two by two, the steps of the police ranks.But doubt arises me. If all those who have devoured the Ellroy novels quickly we are in situation with regard to these shady and contradictory, obsessive and obsessed characters by the ghosts of the past, violent, justicieros, drug addicts, ambitious, noble and so that the writer insufflated hectic and accelerated life to its unforgettable creatures, what happens with the spectators that come to the film Virgin of the ellroyano universe?In other words, do you get Palm that the movie characters are as interesting as the literary? Sincerely and lack of contrasting opinions, I think that not. The fact to see one of the Portas take bencedrina or lose the papers a couple of times during the footage, not close you to existential hell in which lives the characters in Ellroy. Honestly, during the screening of "The Black Dahlia", never got the emotional identification makes me hate, love, admire and despise, at the same time and at the same time, fascinating creatures from one of the best American writers of the time.I admit that the ambiance, the sets, costumes and music are very well made. History is solvent, is well told, some De Palma camera moves are spectacular, there are beautifully resolved sequences (the fights of boxing and the trap to the protagonist, for example) and I did not bored during the slide. Cierto.Pero in no time I was thrilled the film. Not at all. What I liked most was the recreation of Elisabeth Short, black and white; its tests for the film and, later, sequences of the pornographic film that had been shot. But I didn't feel the tension which should supposedly be among the protagonists. Neither the Johansson nor the Swank (and that tell me, please!) passed the sexual impulse of the great actresses of the American film noir.The problem of "The Black Dahlia" is that it is not film noir in itself. It is a film that attempts to recreate the atmosphere of the classic film that is cold and distant, without the heat of the great films of the genre and, since then, without reaching the dizzying chasms that Ellroy novels reading can cause in its staunchest readers.I insist on be a fan of the novelist can weigh as a slab when watching the film one of his major novels and therefore on this occasion and more than ever, I would like to know the opinion of who, without knowing anything of Ellroy, they went to see "The Black Dahlia" as one movie. So, friends. you have the floor.
|
2,942 |
archivos_extraidos/MCE-Corpus-main/Dataset/636
|
Caruco
|
Hijos de los hombres
| 3 | 5 |
muchocine
|
The Chronicle of?Children of men? It is not only a part of war. It is also a reflection of what us it frightens today same.
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Before a film science fiction or futuristic, brought us images of flying cars, avant-garde buildings and people dressed in very tight and rare costumes. But now no longer.The future us embodies the Mexican Alfonso Cuaron, adapting a novel by P.D. James, is very close, too recognizable on any of the images of a newscast.Engulfed by the excellent photography, dark, filthy, but careful, Emmanuel Lubezki, what we see they are cities affected by social unrest, urban guerillas, terrorism, masses of immigrants that exposed persecuted, bars in which at least thought instantly explodes a bomb, Governments which fall into fascism and "State of siege", tanks and the army taking to the streets in their attempt to keep order. And people not already wears so rare form. Is the same as us.In this future that draws Cuarón, 2027, humanity already not can procreate. Women have become infertile. There are no children of men, and when he dies the last being live on the planet, will not be anyone else of our species.Committed to his own revelation, disorder and chaos reigns in the world. The youngest person on the planet, the Brazilian Diego Ricardo, just kill himself overwhelmed by the popularity. Women and men grieve desconsoládamente. But a very bleak picture also needs an outbreak of hope, and the germ of this lies within the belly of a "fugi", black, illegal immigrant. A young pregnant called Kee (Claire-Hope Ashitey).His involuntary guardian angel will be a disappointed civil servant, Theodore Faron (Clive Owen), with an activist past in favour of human rights. He should lead her up the small stronghold, perhaps only an illusion, that can host and use to Kee and his seed with humanitarian and non-partisan objectives. They must be before crossing places hit by government surveillance, by the struggles of powers within the same organization, the skirmishes. There will be mcuho slaughtered en route.The action gives rise to scenes of action so shocking as the attack on the car where travel Kee, Theodore and Julian (Julianne Moore), ex-wife of Theodore, activist still in full swing and protector of the pregnant girl. Amazing and superbly shot scene.And, although here the views will be for all tastes, Alfonso Cuarón is situated towards the end another summit of the film scenes. When an event does, once friends and enemies, den a truce, stop and leave passage to hope.Among so much sordidness, Michael Caine, as the hippie fumeta Jasper, undertakes to assume the moments more friendly, those who have some note of humor.But the Chronicle of "Children of men" is not only a part of war. It is also a reflection of what us it frightens today same. Floods of people leaving their country, tensions multi-racial, street protests, social phobias, systems dictadoriales masked hotbeds of international tension in the democracy? and a society (or "dirt") suffering from infertility to provide new policies, more resources, ideas, motivations, hopes.
|
2,943 |
archivos_extraidos/MCE-Corpus-main/Dataset/2460
|
José A. Peig
|
Harry Potter y la cámara secreta
| 3 | 5 |
muchocine
|
Do do the Harry Potter saga begins to be cinematically solid when at the charming and playful designs and their individuals? tics?, joins a content set out clearly, winning in dramatic force.
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Following the steps marked by author j. k. Rowling, Columbus returns to lead in the new adventure of the boy magician most popular of all time, in a continuation and extension of the universe presented - lovely but too banal in the approach of history, as already explained-, rather than a progression of the previous story, is an extension of the information regarding the situation and the circumstances of the mystery and the threat that surrounds to the School of wizardry, Hogwarts. The film stresses the strange relationship and similarity between Harry Potter and evil personified in Voldemort, or rather, in how the past of both converge, the salvation of one was the defeat to the other, the power of Voldemort transferred to Potter at a crucial time. Harry discovers a common nexus linking it to the qualities of the House of Slicerin and the dark legend that drag in their powers and abilities. In it, Harry raises questions about his true origin.As for Voldemort, we discover is calling Tom Riddle in his teens, and that already he then conspired to eliminate all those, according to the tenets of Slicerin, which were dirty blood, i.e., children of non-magic people. This hechiceril racism begins to collect plot weight as a ploy to tell a story on struggles for power and influence in the world of Hogwarts, which, from now on, is no longer a world of enjoyment-based gossip and anecdotes mágico-delirantes, Pixies and other typical of the "Potter style" "tics", now a more sinister story begins, with a much more adult tone.However, the problem of "philosopher's stone" was not as a film, but his plot, weak and too scattered. On the other hand, in "Chamber of secrets", apart from being a tale dark and not without some macabre details, history gets progress on a very clear and pervasive thread: the dark threat of a conspiracy and terror kept in secret corners of Hogwarts. The writers and director, do not lose time with sentimental pretensions about the parents of the protagonist or football matches on horseback of a broom, or how does or is pronounced as or which spell, unlike its precedent, which force you want to show much, little chance of development there. "Chamber of secrets", on the other hand, role brilliantly his tale of mystery, a tale of mystery in a Gothic atmosphere and using a more somber tone, which translates into an increase in dramatic force, welcomed. "Chamber of secrets" not only have fun, also handles a smart suspense and it offers some chilling time. What in "philosopher's stone" not finished booting, that suggestive decorated product of one of the best addresses art that they have been in recent years but devoid of appropriate intensity and narrative effectiveness here expands its possibilities as an amazing visual folletín at times, lukewarm in others, but always interesting, never forget the story you want to tell. The myth-poetic elements - elves, magic wands, ghosts, memories in a forgotten book, a trail of spiders that guides us into the dark forest, healing tears of a Phoenix, etc - are no longer just a nice to see scenery, but is now the framework inherent in the history of Harry and his friends.That is why we have a good example of palomitero film with own soul and uniqueness. A narrative clarity in a story focused on a very specific leitmotif, is compounded by a mythological space which is a defining characteristic of the style. Contents and human profiles form a whole developed and coherent with the forms, both of artwork in the effective direction. We talk about the minimum payable in a good movie adventures, to continue dragging some problems, too much maybe the character played by Kenneth Branaght, participant of luxury, but as a frivolous character. In conclusion, the saga of Harry Potter begins to be cinematically solid when at the charming and playful designs and their particular "tics", joins a content set out clearly, winning in dramatic force. And we insist: Entertainment film does not mean "vacuous cinema". Entertaining films must also find its "sediment" of depth, their identity as film representation of a world. "Chamber of secrets" is not a work of art, but this requirement with moderate solvency. For this reason, it is a decent film, while "Transformers" - to give a current example - is cow poop.
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2,944 |
archivos_extraidos/MCE-Corpus-main/Dataset/189
|
Marta
|
Hard candy
| 3 | 5 |
muchocine
|
I have the feeling that, if it exceeds these beginner mistakes, this man could do very good movies
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I like to discuss films without talk too much about the history feature, but in this case it will be difficult, because it is based on an argument really. Basically, it's a meeting concluded over the Internet between a teenager and an adult that just exchanging roles. Even so, get staying for more than an hour and a half without being heavy, something quite remarkable starting from a less elaborate idea. "Hard Candy" is an interesting film. However, it has some bugs that made me ended not convincing at all, despite the awards won at the festival of Sitges 2005.Empiezo by evil. Throughout the film, I had the unpleasant feeling that the director intended to play with a special and different photography and just does not get it. Sometimes - as the car-ride, the film seems totally an advertising spot. A MINI is lost between the curves and waits to be appear the slogan at any time. At other times, the pace becomes video clip, and in addition, the lighting changes blatantly along some scenes. Obviously I'm not saying that you can not play with this type of resources, see Requiem for a dream- but we must be skilled so you don't leave the hand and the image not be, simply, absurd. The director of "Hard Candy" is not. At the end of the movie I read the tab in the Renoir: "David Slade has won recognition in the world of advertising and music videos." (.) "Hard Candy is his directorial debut." I thought: "Vale, now I understand everything."On the other hand, the film was something "tosca" at times. Nothing more start is a poster of a girl that reads "Missing". That image is totally unnecessary and conditioned the Viewer, so that, instead of creating intrigue where could have created, I get that is Intuit what clearly is what will happen. In addition, some dialogues are very fake and unreal. Having said that, I still have the good. The idea - that sort of "Red Riding Hood" upside down - is interesting, and latches to the film despite the simplicity of its argument. The two main actors do a great job, and get even save some of the worst lines of the script. In addition, the film has the strange ability to alter the point of view of the viewer throughout the film, getting you questions who is good and who is bad, or, better said, if the actions of the protagonist are justified or not.I have the feeling that, if it exceeds these beginner mistakes, this man could do very good movies. We'll see.
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2,945 |
archivos_extraidos/MCE-Corpus-main/Dataset/2088
|
Emilio Calvo de Mora
|
Moscow Zero
| 1 | 5 |
muchocine
|
I don't know if this moon will continue in the film business for many years or if it will make us change your mind when it undertaken a project of greater fortune. Perhaps. Meanwhile, zero.
|
There must be a program type crypt 2.0 to generate arguments type Moscow Zero. I have no doubt after having wrecked my leisure in this unbearable demonstration that cinema can also a factory of scams.The laughable and regrettable guignol of catacombs, shadows moving, Bible verses and pre-pubescent ghosts fails to rescue us from the printing to be attending something awful, absolutely pathetic. One of those rare times in which one wishes to have the courage to give the stop of the player (in this case the Windows media 10 beloved). As I have not had, I have endured as a brave Eastern folly of tunnels infinities and beings marginal living, i.e. a non-mortals daily routine, i.e. shopping, tender clothes, go with their children to the school, walk through the parks, coffee with friends or moved with a melody of Joni Mitchellfor example. Perhaps what happens is we are tired of this already exhausted trend of resorting to the stocked warehouse of religion, hell and salvation by prayer. Even Val Kilmer, who should be taking gut at his California mansion rather than going cold in these European gimmicks, get Eaglets as a whole to a decent standard. Or Vincent Gallo, another actor of bells which crashes into a simplistic plot, reduced to a sleepy underground rescue children from the beginning of the century and stuffed theories about hell and the sulfur from the wicked. Already the voiceover of the Orthodox boot, a view of the monumentality of the Russian churches, a notice that everything is going to turn around its mysteries and its spell, puts a halt to the skeptical Viewer: who speaks, tells how the underworld has opened because of the sins of humans. That God and the devil touch: that bla bla bla to what Dan Brown, which should ask copyright by the extremely rich vein that have opened their shadows and archangels, his diving interested in myths of Christianity. Anthropologists, priests, mercenaries make up the absurd fauna of this silly story that will only settle for the bland public that does not stop, nor lack that makes you, in the background, to think what pigswill optical via le is inoculando. I don't know if this moon will continue in the film business for many years or if it will make us change your mind when it undertaken a project of greater fortune. Perhaps. Meanwhile, zero.
|
2,946 |
archivos_extraidos/MCE-Corpus-main/Dataset/96
|
Taliesin
|
Crash
| 4 | 5 |
muchocine
|
The best that has gone through the cinemas this year
|
There is nothing new that made film products in USA are low hours. There are only a handful of titles that manage to get us out of the boredom that tend to produce us remakes, salads of clichés and commercial cinema. These titles often come from more or less new directors, few are the gods of cinema capable of doing something different. This is the case of Crash and its director, Paul Haggis, who comes from the world of television and has made his debut with this film that was shot during 2003 (after having written the script for Million Dollar Baby). Crash is situated in Los Angeles, one of the cities with greater racial mixture of United States (and may that worldwide). This mix causes conflict on a daily basis among white, poor blacks, rich black, Arab, Hispanic, Oriental. It's communities with many differences that are forced to share the same vital space and survive day to day face the adversities. The protagonists of Crash are walking stereotypes: the Black Brothers, dedicated to the crime; the racist white policemen, one of them pair and the other is not; Arabic, which is not willing to integrate into the Western culture; the rich black, which can be more racist than a white; the white politician, who only sees the black community as a sack of votes. All of them will live different stories that at some point will intersect at some point in the streets of Los Angeles. Depending on the situation, each of them will be the worst or the best carry inside, what the director seems to want to say that different people are so many things that unite them as separating them. Aesthetically, Crash reminiscent Traffic, which also shares the rhythm and the development of the different stories. Although some interpretations are remarkable, especially Matt Dilon in the role of police and Don Cheadle in the detective, the strong point of this film is the script (not in vain Higgis have more tables as a writer than as a director). If you have to put a but, is that it starts with a crude realism and is transforming into a history of almost happy ending more sweetened, losing some of the credibility on the way. Crash is the best who has gone through the cinemas this year and plays an issue that increasingly have more news in our societies: the mix of cultures and racial. Paul Haggis shows ability that are many differences separating us, but to a certain level are also many things that we share and that should be the starting point to move forward in the right direction. In short, a film with a subtle moralina which could perhaps have maintained the level of realism with which starts, but that in any case keeps the interest until the end with enough solvency, which is not little.
|
2,947 |
archivos_extraidos/MCE-Corpus-main/Dataset/3792
|
F. José Lorite
|
Réquiem por un sueño
| 4 | 5 |
muchocine
|
Stark dramatization of the fall to hell, where involving the spectator, making to produce havoc on the stronger stomachs, where squeezed them to fall with the characters.
|
Darren Aronofsky film based on the novel by Hubert Selby Jr. Aronofsky was the creator of the opera prima Pi, cult film for many that chronicles the neurotic life of a mathematician, and which won the prize for best direction at the Sundance Festival. We found a Director with concern to forge her own universe, he is considered one of the last masters of film tension, able to engulf the viewer and make it to grip to seat, as well as that you experience everything that feel the characters on their journey to self-destruction, and personal mutilamiénto, is an author able to the modern post avant-garde cinemacreating the aforementioned, his own universe.The work take on wheels flawless performances by actors many times in State of grace. Ellen Burstyn (Sara Goldfarb), represents the journey more complete and with which the viewer suffers, by embodying innocence consumed by it to say and be someone out in his means of personal liberation, television. He accompanies Jared Leto (Harry Goldfarb), son of Sara which already this hooked to drugs and who is representing the spiritual guide in the fall to hell, where he accompanies Jennifer Connelly (Marion Silver) pair of Harry, which represents an independent dressmaker who plays the abyss to sell his body to get drugs, losing part of their human condition to becoming like his fellow slaves of magical substancenext to them is also flawless interpretation friend Marlon Wayans (Tyrone C. Love).Together represent the history of Sara Goldfarb a greater, lonely and widowed women and that of Harry, his addicted and opportunistic son. Sara is suddenly nominated to compete in a television program. Excited at the prospect of becoming "someone" for appearing on TV, decides to do a strict diet. That is the only alternative if you want to attend the program with his old and lovely red dress, because their weight goes beyond measures of the dress. Meanwhile, Harry and the delicious Marion begin a relationship based on love, drugs and a life project away from the poor and abandoned semi of Coney Island beaches. To speed up the processes of "increase" of capital, Harry and his friend Tyronne C. Love become small dealers of hard drugs. The problem is that the product apart from sell it, they consume. Suddenly, the fate which had promised them another opportunity is belies and take another path away from their lives.The overwhelming pace increchento of the film introduces us to the world of drugs, which feels before and after having consumed using optical effects such as acceleration or deceleration of the image to your liking to create the environment and the sensations of consumption. Aronofsky raised an avant-garde realization that uses many daunting parallel mounts and mounts upward and rapid preparation and consumption of drugs that accompanied with a magnificent sound installation at certain moments almost musical that involves the Viewer to the maximum.Uses previously unused resources and above all not used so brilliantly, as the fact that divide in two the image to show us characters often separated by few centimetres and it gives you great emotional load, or the placement of the esteady cam, in the body of the character to represent the confusion of these. The overwhelming pace of Requiem for a dream is probably a strong indication of what he feels before the prick and what continues. It is not a film that promotes the use of drugs, as they were not Trainspotting, panic in Las Vegas or Drugstore Cowboy. Aronofsky, simply wants to convey the feeling that impacts on the human body before a dose of drug.The dizzying succession of images can deplete the unsuspecting Viewer. The speed in the Assembly, could transform into a nightmare or a migraine. If the viewer can overcome certain sequences of schizophrenic Court, enjoy a film, frantic, surprising and above all, uninhibited. Although those with sensitive stomach will have to abstain because that on many occasion it may offend sensibilities.
|
2,948 |
archivos_extraidos/MCE-Corpus-main/Dataset/496
|
Emilio Calvo de Mora
|
Una llama en mi corazón
| 1 | 5 |
muchocine
|
It seems a reality show bad that a director ex officio, but genius, has become a film for the benefit of his ego. It is not film. It is a hoax claiming injunction with the fashion of a modern European cinema.
|
Love, such as loneliness, as fear, has its intimate, undisclosed calligraphy. In A flame in my heart, one attends the absolute sacralization of the impudor of methodical pornography of the fugal soul of his wisdom. Tanner, the French director, the provocateur of this depressing spectacle of the human heart, never has been characterized by a consistent filmography. Usually fall into the trance of love of his muses (Mezyeres is the last, but there were others) and like good French worship, dress of intellectual curls bald evidence of his film romo.A flame in my heart is pure pseudocultural formalism: a long dramatic tic is a spiral of emotions that, in free fall, vie to avoid spreading the burst viscera on the sidewalk. It seems a reality show bad that a director ex officio, but genius, has become a film for the benefit of his ego. Above, the leading lady is not neither actress: it has an actress, confined to be carried away, to impose a few gestures without dramatic Foundation to exhibit a body broken by pain on screen. The body perhaps actress and we are prevailing, suddenly, with a new film language. I do not know: I have finished noqueado in the viewing of the tape.His black and white burnt, it is not at all unpleasant, it can already lead to evidence of where the shots go in this fabric of lost worlds and wells with predictable funds. There is no (I think) in this type of average movies. Or we adhere to it with passion and engolosinamiento of lover or repudiate them viciously and warned his ineffectiveness as a vehicle for entertainment. Because it is not film. It is a hoax claiming injunction with the fashion of a modern European cinema, with hints of cult, which just rummages in the rotten and saca of the spectator, between the drowsiness and disgust, hastío.Because this is a gem for taste when tiredness that produces the American film abochorne us taste and want, at midnight, to go to bed with the stomach well raised strong feelings. Ah, the gentle reader will be asked to what comes (being bad) my dedication, the minutes that you ofrendado to see and then write about it.It is that I saw, years ago, Jonah who will be 25 in the year 2000. And I liked it. They were times of University and had then one eye accomplice and innocence to baskets. Any night her restores the 2. With subtitles.
|
2,949 |
archivos_extraidos/MCE-Corpus-main/Dataset/3552
|
Ramón Balcells
|
Rec
| 5 | 5 |
muchocine
|
A roller coaster truly stimulating, disturbing, terrifying until but not power; a real demonstration of cunning, devastating, really impressive. Brutal.
|
If there is something that fascinates me is the originality. For my own taste, [REC], lo nuevo de Jaume Balagueró and Paco Plaza, is one of the most impressive cinematographic experiences of recent years. A roller coaster truly stimulating, disturbing, terrifying until but not power; a journey without end towards the most primitive of all human beings, a true demonstration of cunning, devastating, really impressive. Brutal.Su plot premise is simple. Now, the tandem of filmmakers get, through a prodigious camera in hand and an absolutely baffling credibility, the spectator experience this pure fear and ends up believing such seemingly ordinary history of zombies. And in addition, associating himself with terror, are costumbristas scenes of astonishing realism that associate them perfectly with our habitages, our habits. [REC] is probably one of the films more intelligent of the past years, since nor misleading, or resorts to any common topic in the recent film Spanish. It is, simply, an originality and boundless creativity. A perfect key to understand the film, something which should bring and be experienced by the Viewer. And without doubt, this film get something as big as introducing one, not in a conventional manner, but in devastating fashion. Someone like Balagueró, a director that I used, in his films, a subject as fear old-style, used here to something already not so little common today: bringing fiction to reality. Camera in hand, terror of the good, unforgettable and totally unexpected shocks, laughter, excellently written and interpreted characters, tension, grisly end more can ask for? Because simply not make its remake, the Yankee thing unlikely, because it is already underway shooting. And it sounds really weird this that our ideas employed in Hollywood (the second Spanish wonder of the year, the orphanage, will also have its American version) to the point that "steal us" ideas. Do you know what? Worse for them. While we improve, they worsen. Something amazing, but as real as the wonderful film in question.Technically speaking, we could say that [REC] lies in something approaching the Summit of perfectionism. It could cross out unfinished, heady, its low budget, etc. But really isn't it the real way that the viewer experience the fear? If its principle might be an introduction to what it is going to happen, something calm and senzillo, its plot development is a real marvel of the unexpected, unforeseeable events and a rare strain. And then, as a final Fireworks, one of the outcomes more terrifying and overwhelming of the past years, a splendid plano-secuencia which would jump to more than one viewer of which are usually not shy away. Undoubtedly, the script is sublime, is perfectly structured and few disruptions that prevent it a masterpiece contemporary. Although it is true that at the end of see it, one has the feeling of having gone to something spectacularly perfect, and subsequently found some other somewhat forgotten detail in the film. And it is that as I say, it close to perfection, with an innovative aesthetic and a brilliant direction. The actors, all virtually unknown, shows his most terrifying, more humane facet that instinct of survival that we have all had (or will have) ever.A real breakthrough in the seventh art, and the clear demonstration that good and original film can always be made, but with a work and previous ideas. There is no doubt that [REC] is the Spanish film of the year next to the orphanage, both very different, both splendid. Balagueró and Plaza have worn, and this prodigious work deserves, at least, twenty minutes of applause.
|
2,950 |
archivos_extraidos/MCE-Corpus-main/Dataset/4
|
Torbe
|
Los Increibles
| 5 | 5 |
muchocine
|
Why are the animated movies much better than normal?
|
It is not the shit anywhere, all the movies that are increasingly better. Even not fall into stereotypes that it is so easy to fall, which is repeated and repeated, as the shit of American Pie 3, which is to do the same jokes, bad few and predictable to the mile again. What is it hidden behind these movies? How is that you they not bored a single moment it? What they entertain alike to children than to adults? I have no fucking idea, launched the questions into the air, if someone knows, that answer right now in alto at his home. This time I happened something that not I had never happened before with a movie (well Yes, with Pocahontas a bit). And it is that the mother and the girl I been brutito. The mother at the beginning of the movie this quesito, her entire mona, and then at the end of the movie when he gets in plan wrestler also, on the other hand when this mother is the downturn of total penis. The daughter at the beginning cool plan so sinister pseudo freak. But not pa fuck yet, only to give him handshakes and muerdos. It is then, when thrown to the pa hair the laos when this to do evil deeds. Why I possible females ready for mating see up in cartoons? Why I put the woman for being a woman, both natural, movie or cartoon? I guess it's a default physical characteristic of my hobby for reading comics erotic. They are pictures, Yes, but you put as aquatic motorcycles, throwing water foam on all sides. Damn, I want to see the second part of the incredible, and the third. That pussy make not more than this kind of movies and are so much pain in the ass shots, serial killers, polis bad and good, natural disasters where all are saved, boring dramones, comedietas do not laugh, superheroes who do not have anything, and a thousand movies for teens is to kill them all? Make more movies like! And if possible with more good aunts! In this movie there is a phrase that I love, which is when the father tells the mother what mania have the Yankees in enlarge and continuously celebrate mediocrity. In reference to go to the Party of end of course or that make the Yankees when they run studies, my cole called party of course. There were diplomas I think. Therefore, id to see this great movie that is funny, witty, with great action and entreteniemiento. It for once you get a movie this good, must be said!
|
2,951 |
archivos_extraidos/MCE-Corpus-main/Dataset/2830
|
Emilio Calvo de Mora
|
El señor de la guerra
| 3 | 5 |
muchocine
|
Social impact of amazing technical invoice document, but orphan of emotions and slightly interesting as film and film divertimento.
|
The Lord of war must have been conceived as a documentary host to this new genre of cinema of complaint that favors the message about the narrative discourse and sacrificed the classical forms by a concatenated demolition on the injustices of the world or on the aberrant arms escalation that will despanzurrando this world of ours once so blue. Gray is the color of this tape of New Zealander Andrew Niccol Gattaca (Nicole): a sterile grey, a grey not makes us boil blood before the dark plot of interests and conspiracies to which witness because the tone of the tape is shy, sparsely risky, even if you have enough arguments to get abreast of the mafia of the arms trade and the hypocritical justification of the democratic Statesso aware of the excesses that they themselves cause. Perhaps the prodigious boot had enough: the life of a bullet since that is billed until that staying in front of an African child. It's raw. Those minutes, added formidably assembled in the credits, it encapsulates the spirit of the film, a subjective, symbolic, journey of what is to come. The rest is extra. Or, at least, does not add information: Niccol is limited to illustrate with images, technically impeccable, the biography of an arms dealer. He left the option to delve into the psychology and supplies an irreproachable plastic ammunition that moves the Viewer to consider very seriously the ametrallado flood of moral considerations about the war and its damage and collateral benefits.Fiction hosted on the label of "real facts" confirms that this is an exercise in complaint naïve: succeeds to make explicit the barbarism that portrays, but remains pitifully short in that, in the light of the means deployed, would have not cost much greater effort: make an entertaining film and not a documentary so impostado like this.The story of Yuri Orlov (a satisfactory Nicolas Cage, Hallelujah) is the story of the last stretch of 20th century had: cynicism and hypocrisy to full hands. So the film can be for encyclopedias, as a devastating document on a thorny issue, but not the round film that could have been. Lacking verve, dreary, orphan of emotion budgeted as necessary to cope with the flow of sensitive information, the Lord of the descarria war its noble purpose and joins in that social, pretentious film that does not last in the memory and just arrumbado on the store shelves of failed projects.
|
2,952 |
archivos_extraidos/MCE-Corpus-main/Dataset/2399
|
Jose Contreras
|
Shrek Tercero
| 2 | 5 |
muchocine
|
Worse, perhaps, that whole story revolves around characters who do not want to accept a gift that makes them life.
|
There is a scene in which Shrek has give a talk to the young Arthur, so sweet music goes up very high, Shrek goes around angry and discovers that it is a montage of Merlin who is trying to create sound environment. But it is not Merlin, is the director which indicates its own narrative traps because he knows that he goes to a public that is back everything. The public speaks of film with the same terms as a critic, known film resources and complains about the details of the interpretations of the pace. This type of audience are directed films as Shrek with his metalingüistico message. There are fierce wolves, pigs, ginger cookies, dormilonas princesses who only know how to use the trick of sleep to solve their problems, a Congress of bad fairy tales giving vent to his resentment for the role that touches them to do in life. They are not the characters in a story, they are the characters of the famous stories. Shrek collects topics to play with them. Others given back to leave them in evidence, for example, of the OGRE bad and dirty which is ogritos bad and dirty, or Arthur not turns out to be a brave man, but a young loser of the Institute. Puss in boots is a mockery of the sentimentality of the tales, when placed plaintive eyes of minino; the ass is the character that laughs at himself.The three deliveries consist of put us on our guard against the tricks of fairy tales. The end serve to tell a fairy tale now that we have low defenses. "Once it has become clear that viewers are not idiots, and we are tired of the stories always (if possible of what makes competitors of Disney), the good and the bad are faced in a final as in any other story battle.""Shrek the third" adds an interesting element to that battle. And it is that Prince Charming, that we should have translated by Principe Azul and not charming, does not conform to defeat his enemy Shrek. You want to do so in a theatre, in front of an audience, just like Nero needed a fire real for his poem, just as Hamlet which needed to represent the murder of Claudius before Claudius. The theatre within theatre frightened Borges who saw a hole to the infinite. The case of this film seems so elemental as the puppet who ask children where is gone bad, or the canned laughter of the sitcoms. The final battle occurs in a theater to involve the viewer of the film in history following the example of the viewer of the play.It is not the worst that can be said of Shrek. Worse, perhaps, that whole story revolves around characters who do not want to accept a gift that makes them life. Arthur does not want to accept a wreath and Shrek does not want to accept his role as father. I do not know which of the two grieveth me more.
|
2,953 |
archivos_extraidos/MCE-Corpus-main/Dataset/3453
|
Iñaki Bilbao
|
Las crónicas de Riddick
| 2 | 5 |
muchocine
|
Irregular science fiction film.
|
Second of the adventures of the hero do? Riddick, which began its journey in the entertaining series B "Pitch Black".Here, along with the character we have very different facts, i.e., it is not a continuation but that simply takes advantage of the same character to tell another thing, although, logically, David Twohy, its creator, continually makes reference to his past (viewing even scenes from Pitch Black) for showing their evolution and their origin, their origin.In"Chronicles", note that you there are more budget, and is used above all in the art direction and special effects. Normal in this genre.The art direction is irregular, take advantage even (found me me) decorated the first. But the interiors of the buildings are very achieved.As for the story itself, what to me I am interested in a film, has it all. From moments filled with fantasmadas (one tired a little bit that the protagonist is almost impossible to touch a hair on the fights and if you get it, despite the brutal blows him does not make more than any heridita without importance) and guionísticas inconsistencies to galore, so well filmed scenes with tension and sense of entertainment. All this until you get to a, for my taste, satisfactory end, ambiguous and designed for a third party, of course.Interpretations, broadly speaking, are normal but esforzadas, although seen Thandie Newton is a joy. Always good actress, each prettier movie. To emphasize the dialogues between the character of Newton and her husband, which remind me, and no kidding, shakesperianas pages; and above all to the character of the Purifier. A curious and very nice character exemplary played by Linus Roache.En summary, improved but entertaining, although somewhat chaotic and irregular. Wait (I have no hurry, the truth) the third part.
|
2,954 |
archivos_extraidos/MCE-Corpus-main/Dataset/1641
|
Francisco Bellón
|
Edmond
| 3 | 5 |
muchocine
|
Edmond tells the descent into hell of a man and like that man is facing their fears that in turn are their most unspeakable desires.
|
With almost two years of delay, and after being released on DVD, it releases a very minority form Edmond. To talk about this film, the first thing next to one to the head is a question, and simple why not her has directed David Mamet? Not only is to be given by insurance, nor her put one of his fetish actors, nor that it involved his wife, but that in addition to having written the screenplay, it is based on a play by the author himself.Edmond (William H. Macy) is a normal, grey, man who has a good job and has been married for several years. One night, Edmond realizes of how empty is his life and his marriage, which has just abandoned his wife and his quiet life with her. The film chronicles a descent into hell of a man and like that man is facing their fears that in turn are their most unspeakable desires. The power and intensity of the script by David Mamet are more than tangible, though not as the address. Debutant Stuart Gordon does not finish done with history, and the scale of the work of Mamet comes big. The pace is somewhat slow, although the short duration of the film is that it does not suffer too much. This great actor named William H. Macy is immense in its role, giving his character of a great emotional register. Beside they parade usual film of Mamet, as his wife Rebecca Pidgeon, as well as young performers such as Mena Suvari, Julia Stiles, Dulé Hill or Denise Richards, doing very good work.
|
2,955 |
archivos_extraidos/MCE-Corpus-main/Dataset/4371
|
Taliesin
|
Monstruoso
| 3 | 5 |
muchocine
|
This production of Abrams will not pick up awards at Cannes, but offers a different experience to what we are accustomed and becomes the first "Monster" film in which the monster is not protagonist.
|
Imagine that Godzilla comes to town. After a running gag with a fisherman and destroy some buildings, they enter in scene Matthew Broderick and Jean Reno. Both one and the other know where comes the giant lizard, know what it is and how they can face him. A few blocks from there, while that campa Godzilla by rampant by downtown, there is a group of friends celebrating a party and suddenly they see as the city becomes a chaos. They don't know that there is an animal of fifty-storey walking through Central Park, just do not know what has happened and all have clear is that we must leave the city cagando milks. Cloverfield is about this group of strangers. It is clear that Abrams with Cloverfield bet (I refuse to call it Monstruoso) is risky: a "Monster" film in which the monster isn't important, apparently recorded with camera in hand and total absence of music. I do not think that Lars Von Trier gave the label dogma, but the proposal is innovative and avoids the conventional offer. Share with REC direct false and the immersion of the viewer in the first person action, although it is much more loaded with special effects. However, the effect is the desired and the film is oppressive, mystifying and thrilling moments. It is overwhelming because, as the protagonists, you suffer the continuous changes in the situation and the film becomes a roller coaster, which helps a lot the recording mareante camera in hand. The million-dollar question is: is the monster? Because Yes, although I think there is no an only flat fixed the see "of whole body" (in fact, there are few levels fixed in the film). Abrams makes good the maxim of the monster behind the door and only listen to it is sufficient to convey concern, so or let us see him a bit, although it is by far. Logically, when that is recording the action sees the monster approaching it stays standing to get a close-up, as that would be idiots and we saw in Godzilla. The guioncillo is unimportant, because Cloverfield offers an experience, rather than a story. The plot is only an excuse to not leave New York and to record the action everything how close as possible. Unknown actors are only puppets in the service of the film and are nothing more than bait with concerns, but with not too many. It is assumed that dialogue forward had distracted the viewer's main objective, which is none other that get him in the shoes of one victim. Ultimately, Cloverfield is not film. It is an experience that would perfectly fit into an amusement park and is irreproducible in the Hall of House, lot 5: 1 that you wear. Now that even the most computer illiterate can download a film in a couple of clicks, producers may have to consider extending the use that gives the film circuits and offer experiences that cannot be in the Hall of the consumer. Although I am afraid that the film industry inopia (on par with the music) did not enable assess the impact that movies as Cloverfield have in the market and will return to the formula that never fails: copy, tweak, sell, copy, tweak, sell, or if that fails?
|
2,956 |
archivos_extraidos/MCE-Corpus-main/Dataset/1015
|
Elena Suárez
|
Eragon
| 3 | 5 |
muchocine
|
Do not disappoint lovers of fantasy film (although it is not love her), but I must warn that you must not make the mistake of compare it with?"The Lord of the rings"
|
If we look at the image that fantastic and chivalric literature awarded to the imaginary dragons, perhaps, these not go well unemployed: evil, bloody, wild and lonely. Fortunately the molds can also be downed and it is precisely what did a teenager named Christopher Paolini when he published the novel Eragon that, years later, has been moved to the cinema.This is not a history of large battles (that there is any), nor of impossible love; It is simply the nice story of friendship between a farmer and a dragon. She is awesome (an exquisíta infographic work that deserves to be admired); He is a tender young which still may not be converted into an Elvish-sexual element (component which not only influences on libido but also at the box office).They emphasize its special effects (something to which the Americans we are accustomed) and a fairly consistent with the narrative music, making very complicit in it. The cast of actors that appears around the screen nothing has to envy to other types of films (John Malkovich, Jeremy Irons and Robert Carlyle). The narrative is dynamic but somewhat predictable (something which, unfortunately, happens quite often in this genre). Against him appear a little elaborate scenarios (above all, the room where he manages his Galbatorix Government: more than a real room seemed an After Hours of calle Gran Vía). Also, sometime suffers the lack of information: we do not understand why the King guard the egg Dragon if this can do so much damage, not is can destroy? We do not know. Nor is explains very well the initial battle that the authoritarian reign of evil begins. Appreciated, on the contrary, the detailed explanation on the relationship that keeps a rider with his dragon, relationship that stands out for its beauty and loyalty (some men should learn from the Dragons).In general, I think that the movie will not disappoint lovers of fantasy film (although it is not love her), but I must warn that you must not make the mistake of compare it with "The Lord of the rings", they belong to the same genre but the theme and the stroke are dististos. Moreover, it would be so stupid to expect that all novels were as "Don Quixote".
|
2,957 |
archivos_extraidos/MCE-Corpus-main/Dataset/1599
|
Puspus
|
Diamante de sangre
| 3 | 5 |
muchocine
|
Excite not excited and also presents its faults (too much footage, dialogues forced...) but is entertaining and complies with its mission of stretch consciences. Money well spent.
|
A Director as Edward Zwick, common in the movies for the showcasing of the shift guaperas (Brad Pitt in "Legends of the fall", Tom Cruise in "The last samurai", etc.), a server did not expect much. But hoped that, because the frame on the African continent and be about the recruitment of kids and trafficking of precious stones, "Blood diamond" Yes to provide something more than the usual succession of snapshots of di Caprio smiling at dusk. Fortunately it happened and the film, without being perfect, it rises above the average and entertains more than two hours and peak that lasts. The cause must be sought in the script, because it shows worked and is approaching its fragments more escrabosos with the seriousness and respect that they deserve. In this way we encounter scenes such as amputations to machete or the murder of the child, unthinkable in a product of these features, that not never forgets his interest in the box office, but they are there, with his brutal intention of complaint exposed. The music of almost always impeccable-James Newton Howard, the spectacular African landscapes and the worth of Mr Zwick to shoot spectacular scenes of action also provide theirs. And what to say at this stage of an actress as Jennifer Connelly. to me this girl already gives me like you do, which I always think is extraordinary. It does not usually happen the same with model Djimon Housou, usually relegated to empty productions of action/adventure, but here discover as an interpreter loaded with talent. Leonardo di Caprio, curiosities of life, should be the most benefited from the trio, because for something the plot of the film is structured to his around, however, nominations to separate Oscar, me me is the least successful of the three. Simply me so I don't believe in the role of cynical smuggler of diamonds. It is that childish face, this soft fluff that makes up his knob, these golden mechitas. A character so ambiguous and skeptical as that interprets would have needed an older actor, with best saddlebags. I speak of Clive Owen, or Russell Crowe or even our "spanish friend" Viggo Mortensen. If what the academics wished was to relaunch the career of Di Caprio (something that I doubt that the boy needs), there were "Infiltrators" to enjoy an outstanding performance and seamless-just. In this with nominate Housou had enough. In short, things in the film. So, in short, "Diamond of blood" is a good film and with this I am referring to it belongs to that class of movies that like everyone, folks, grandparents and children. Excite not excited and also presents its faults (too much footage, dialogues forced.) but is entertaining and complies with its mission of stretch consciences. Money well spent.
|
2,958 |
archivos_extraidos/MCE-Corpus-main/Dataset/3280
|
Queralt Antu
|
Caótica Ana
| 2 | 5 |
muchocine
|
It does not have the magic of the lovers of the Arctic circle. I'll take some pictures of beautiful, as always in Medem, Said, the man, and with the relationship man/women posed by this film: man = war; Women = life; Man = rapist; Women = bitch.
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Or what is the same, Medem vs Guerin. Recently I have seen "Caótica Ana" and "En la ciudad de Sylvia" and I love to talk about them. I will give you my impression. Those who know me know that I am a big fan of Medem, so the expectation that had to see his last film was huge, as was my disappointment. "Chaotic Ana" has Medem stuff but not the magic of "The lovers of the Polar circle" in any frame. Expresiveness actress, is a current girl who says that it is beginning to study acting, and you have a long way ahead, to start: must learn. History, has nice things, I do not deny it, but he speaks of something that I never comes at all. A girl who after hypnosis comes to contact with their previous lives, all young women with great tales and tragic deaths. Reincarnation would be long topic of discussion, but in principle, I do not know if the education of my biologist mother or my studies of philosophy, I do not believe in this. I'll take some pictures of beautiful, as always in Medem. I prefer Said, man. I'll take the relationship man/women posed by this film: man = war; Women = life; Man = rapist; Women = bitch.
|
2,959 |
archivos_extraidos/MCE-Corpus-main/Dataset/1038
|
Ramón Balcells
|
World Trade Center
| 2 | 5 |
muchocine
|
World Trade Center is a failed film that could have been a great representation of the courage and bravery that took several policemen.
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You can perform a tear film, but however be minimally interesting, exciting face to the public or with pace. It appears that someone does not know to do. He is Oliver Stone, a director who has done a little of everything: from intersantísimos political and war films (Platoon, Nixon, JFK, Commander), films very, very controversial ex officio assassins (any given Sunday) until real shit (Alexander the great, born on the fourth of July). His last and expected work, so far, is nothing more and nothing less than a film dealing with a subject as controversial as September 11. But the trouble is that not treated it as Paul Greengrass in his wonderful United 93, not. He manipulates the feelings, if it reaches them playing, and turns what might have been "a story of courage and survival" in a seedy, corny, crappy with all topics of the American superproudcciones and a really pathetic end. And worst of all is that everything is based on real events, to the smallest detail, which is why Mr Stone can be embarrassed even more. World Trade Center, as well as called and I suppose you know, tells the story of two policemen who were trapped for hours (we also suffer and we slept with them) by pure luck, could be rescued and return with their families. Anyway, the topic was interesting, but I think it would have been more treat the 11-S in general, without focusing only on two lucky men. Well, first of all, this is my opinion, and I think that if the topic had treated well, it could have been just as interesting. The problem is that there has been as it should.Although everything has to say, and that is the first hour of footage incredibly master, which shows the ignorance of the people, the tranquility of the city prior to the attack (very well achieved with that shadow of a plane and an image of the towers from below) and at the same time nervousness created to crash an aircraft against the first tower. All this is perfect, also including the relaxed and normal lives of the two policemen protagonists, both with their wives and children happy (well, Cage isn't very well with his wife, something which is then arranged, how not). Now, once begin to collapse both towers, the film also collapses. I think that even when they prepare with the dresses with oxygen and lower the lift, the pace of the film begins already to wane. Both the script, the pace and up photography go after this collapse. Do perhaps Mr Stone not know a film to balance? Well apparently not, since that is a totally unbalanced film. It has a dash of more topical and without intensity. I dare say that even in the more dramatic scenes and more tragic not puts you goose bumps or you emotions (which it did happened with United 93). World Trade Center, in addition to being a long suckling pig, has several really pathetic failures. One of them is this mania that has the director of coloring and put (very common one in cheap telefilms) brightness in the flashbacks. Even in the homemade scenes, where women are all day moving restless from one side to another, contrasting and are coloured in a manner which seem recorded with a digital camera of high definition. Besides, who demons to makeup to Maria Bello? It seems more an exhausted mother of five, a wax Doll or a model. Another huge, incredibly pathetic failure is the appearance of Jesus Christ. Who, tell me, who demons come you to add a sequence very, very badly recorded a type dressed up as Jesus with a bottle of water the hand? By very symbolic that it is, is really unnecessary. When I saw her I thought that they were wrong tape or something similar. And you may not believe that then Mr Stone rectified, no, the image appears twice. On the other hand, the home scenes are nothing credible. Especially those of Maria Bello. How can so false as good actress you be? By God, who is does this woman hardly cried and consoled his son that her husband would return to take you to a game of baseball or American football? Well, perhaps it's true, surely it is, but do not think it appropriate to add it.Anyway, that World Trade Center is a failed movie that could have been a great representation of the courage and bravery that took several policemen. You do not sleep, you sleep not tells Michael Peña Nicolas Cage after several hours buried. I think this tells to the public, not to his partner.
|
2,960 |
archivos_extraidos/MCE-Corpus-main/Dataset/1550
|
Francisco Bellón
|
El buen alemán
| 4 | 5 |
muchocine
|
With the good German, Soderbergh paid cult to film noir par excellence, of the classic Hollywood studios.
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Steven Soderbergh is a type of film that seems to have come out of the classic Hollywood by a tunnel of the time, not because of his style of leadership, or the stories that account, not even for his films itself. But for their ability to jump into the void with different and risky, projects of improvisation. Any current film is capable of making a film as Traffic, then Ocean? s Eleven, from there turn to an independent tape as Full Frontal, a futuristic thriller as Solaris? and thus a list longest ever. Only for this reason, all his work, until the more unlucky ones, have this so attractive aroma, and unfortunately so rare, classic cinema, cinema of truth.With the good German, Soderbergh paid cult to film noir par excellence, of the classic Hollywood studios, from which have emerged some of the greatest masterpieces of the history of cinema. Jacob Geismar (George Clooney), war correspondent, travels to Berlin to cover the momentous Summit in Potsdam which will decide the future of Europe and the world for the next half-century. Returning to the city in which he lived before the war, he reencontrará with his longtime girlfriend, Lena Brandt (Cate Blanchett), to discover that it hides an important secret, and that his driver, Tully (Tobey Maguire), is helping her. Based on the novel by Joseph Kanon, Steven Soderbergh recreates the atmosphere lived in post-war Berlin with great credibility and realism. A city marked by an increasingly more tense and unstable balance of power, in which each power seeks his own spoils of war, while the entire country faces trial winners and humanity. With that background, Paul Attanasio signed a solid script which is mixed with ability to intrigue, the political situation, and even romance. The script is a tribute to film noir, with a few good characters that appear to be taken from any classic 1950s: a hero, hard and lonely, that a resounding but contained George Clooney gives great uncertainty, as well as provide a variety of emotions, and la femme fatale, role that endorses a splendid and disturbing Cate Blanchett, in the style of Marlene Dietrich. Of the technical work, emphasizes that fantastic picture in black and white, as well as Assembly, both of the own Soderbergh, and the music by Thomas Newman. All these elements give the tape a greater aroma to classic movies, which is commendable and worthy of applause. Good German has numerous references to films such as the third man, and especially to Casablanca from the poster to the final scene, winks that can be seen as tributes or blatant copies, that item leave it in the view of the Viewer.The good German, in addition to being one of the most attractive proposals of the Billboard, serves to be reconciled with the commercial téoricamente of Hollywood cinema. It is also a fantastic excuse to enjoy with the great film noir titles.
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2,961 |
archivos_extraidos/MCE-Corpus-main/Dataset/1570
|
Rafa Ferrer
|
Arena en los bolsillos
| 2 | 5 |
muchocine
|
The problem of this film, is that the rest of the actors are bad, very bad, sobreactuando nauseam, leaving the film in a mere TV movie or pilot episode of a TV series of low length of antenna.
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"Sand in the pockets" is the typical tape of conflicting guys, who appeared before others, with titles such as "The peak" or "I am the Heifer" put in question of the 80 youth, now, in full turn of the Millennium have to update this type of film, and the "Almodóvar" Yohana Cobo, Clara Lago ("the journey of Carol") or several secondary TV (among them Daniel Guzman or Antonio Denech) have been those who have taken over from This type of film.The problem of this film, is that the rest of the actors are bad, very bad, sobreactuando nauseam, leaving the film in a mere TV movie or pilot episode of a TV series of low length of antenna, and where the argument; at times it reminded me the song of Ismael Serrano "The escape", it gives for little, for very little.At any time one may come to believe what you see on screen, and, frankly, doesn't matter what will be the lives of 4 players kids, separate, tape points pull all possible issues, abuse, discrimination, isolation of parents and children, bullying. Without disheveled the argument the least; That screenwriter fiera! A tape, not give for more than one viewing and I only has conquered during a few moments with their soundtrack (Quique González and elbicho).
|
2,962 |
archivos_extraidos/MCE-Corpus-main/Dataset/3294
|
Ana Belén Pacheco
|
Buenos Días, Noche
| 3 | 5 |
muchocine
|
Buongiorno, Notte is social and political cinema in its purest form. It is a tape of claustrophobic fear and anger, despair and concerns to equal doses that deals with a topic which, unfortunately, is still strong today.
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"Buongiorno, Notte", takes its title from a verse by Emily Dickinson and tells one of the most black episodes of the Italian history of the setenta.16 of March 1978. The so-called Red Brigades, a group of Communist character has kidnapped Aldo Moro, a former Italian Minister of the Catholic Democratic Party just talks with parties Italian Communist Marxists of the moment. After murdering the bodyguards in public they keep held for almost two months in a rented apartment whose only Union abroad is Chiara, a young woman who works in the Ministry and begins to doubt the noble initial purposes to see the political implications and media of these acts.Buongiorno, Notte is social and political cinema in its purest form. It is a tape of claustrophobic fear and anger, despair and concerns to equal doses that deals with a topic which, unfortunately, is still strong today. Almost documentary desire of an era is reflected in images from archive of news of the time and the front pages of newspapers that shook the country creating a false sense of reality that clashes with the oniric pieces of her female protagonist and were quite dispensable part of somewhat confusing. But no doubt Buongiorno, Notte goes beyond, is a critical approach to a situation whose wounds are still open (the sons of Moro gave the go-ahead the tape and praised the treatment given to the character of his father), in fact even with a bit of historical perspective former members of the armed band have talked about the feelings that are reflected in the tape and justified their acts in the same way that make it the own characters. A film that teaches and recalls without desire to politicize, where the bad guys are so heinous, nor the good are saints, a film showing the principles, remorse and the decisions that lead to a normal person to fight for his politics to unsuspected heights and where the more innocent young may end up being a terrible terrorist and innocent boy being accused for a crime he did not commit.The story is based on real events but narrated in a way very free that, apart from the crosses of releases of the band with the Government during the "popular trial", little is known of his captivity.Real are the letters of Aldo to his family, the replies of the President Giulio Andreotti (recently convicted of the intellectual authorship of the assassination in 1979 of journalist that spread the former President with the Italian mafia links) as well as the same Pope Paul VI. Documentation for the film is quite long, fit to highlight other two tapes that narrate the same events "The Moro (Il caso Moro) case", in 1986 directed by Giuseppe Ferrara, and the recent "Piazza delle Cinque Lune" of Renzo Martinelli. "the prisoner (Il prigioniero)", written together with Paola Tavella by Anna Laura Braghetti, responsible for monitoring the hostage and the House of the Caetani StreetMarco Bellocchio is freely inspired to make the film. The rest is filled with a bit of wit and common sense to give the history of Chiara and his double life of interest needed to become an anti-hero with remorse caught by own events. It premiered dubbed on Spain.
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2,963 |
archivos_extraidos/MCE-Corpus-main/Dataset/1105
|
Ana
|
El truco final (The Prestige)
| 3 | 5 |
muchocine
|
In the end who knows be too trick and without enough reverence by the magic. But experience swings and no longer a recommended show.
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It is difficult to not go to a movie by Christofer Nolan with huge expectations, but it is unfair. This film this well built and works but it is not Memento. It is as if you know her best trick, very difficult to leave impressed. But it's fun to see someone play with the line of the narrative with the talent he has. It is a satisfying experience although I can not be sure if it is consistent.My favorite scene of The Prestige is better to know nothing about this film before the start, but is very important to pay attention. It is a fluid, but complex structure as it should be a trick. It seems easy but at the same time you don't understand how it works. When you discover the secret you realize how easy that is and then you can not see it without giving you, the magic is lost. Here what interests are the tricks.The novel which is based the script must also be a complex structure, it shows scenes in each of the three protagonists reads the diary of his rival, something which is difficult to translate to film work but insurance was a quick trick in literature.Michael Caine reminds us that it is important to pay attention when you start the movie. His performance is so good that he steals all the attention of every scene in which he participates. The emergence of David Bowie as most scientist is also a great pleasure.The problem is that at times the film gets a little repetitive. It gives many laps on the same idea. And it seems to not be relied upon for having made it clear his message so at the end it becomes a little talkative. But it's fun and you catch in their game. In the end who knows be too trick and without enough reverence by the magic. But experience swings and no longer a recommended show.
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2,964 |
archivos_extraidos/MCE-Corpus-main/Dataset/1887
|
Jose Contreras
|
Sunshine
| 3 | 5 |
muchocine
|
Some time ago I thought to create a platform to defend the euthanasia of the spectators. The motto would be something as well as: "We don't want that they will save more movies." "We want that they leave us to die in peace."
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The worst thing that can happen in an American film is that they save you life. It is a degrading situation viewers suffer without protest, session after session. The hero it is not enough to take away the girl, it is not enough to carry his rush of adrenaline, nor with dispatch to the bad or staying with the treasure. You are not even enough the six euros of the entry, we have to thank him. The villain has a weapon that will destroy the planet and if we leave the room alive is thanks to him, to the good. Some time ago I thought to create a platform to defend the euthanasia of the spectators. The motto would be something as well as: "We don't want that they will save more movies." "We want that they leave us to die in peace." Sunshine is an expedition travels to a Sun endangered to reactivate it with a bomb, and though it may seem, does not belong to the genre of salvadores-petardos was talking about. The crew are not heroes and no need to kiss their ass. Since that is not an expedition of children cool looking for medals, as Willis at Armageddon, is, at least, quite tolerable. Also the fact that spend half movie thinking as save them, and not save me makes tolerable to my. They have to make drastic decisions, sacrifice lives, choose who stays and who dies because there is a suit for one, or oxygen for few. The feeling of vulnerability is tremendous for the short distance separating them from the Sun. Their lives hanging by a thread that increasingly becomes thinner. And behind the need to save the mission is: If fail is over the Tierra.El success is, without doubt, the plot premise that fires the importance of each step. The bug is that fifth character that is out of the logic for my taste, to evoke a significance that is always so risky. It is not easy to get evoke the more beyond, as it showed "2001". And it is not easy because if they want to know my opinion, I would say that "2001" nor did.
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2,965 |
archivos_extraidos/MCE-Corpus-main/Dataset/1710
|
Emilio Calvo de Mora
|
Time
| 3 | 5 |
muchocine
|
Loses a point of improbability that certainly leaves abolished the interest. Metaphorical and sobering vision of love in these times of haste and mental fast-food...
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In a tale of Benedetti, very briefly written, a man found in a woman not found in yours. This infidelity is not such because in reality is his own wife which has been thrown into the street and has become who overrides. The magician of Cortázar (hopscotch) goes on to say that "were not seek us but knowing that we were to find us". This game of identities gives rise to a comedy and also provides sufficient elements to build a melodrama or a thriller. In this case, the Korean Kim Ki-Duk exercises its right to check a film metaphorical, slightly saddened, restrained in their concluciones, but lyrical in its development.This story of sickly jealousy is written with already known materials. Balzac or Zola had already outlined the anguish of humans powerless not to find love in the way in which believes that love should be. However, Time is a nineteenth-century novelón nor a melodrama to the Sirk: nature provides a more ambiguous evidence of time cercando passions, of time cracking the beauty and stranding it in a vague limbo of emotions between the routine and how comfortable. And its protagonists are enlimbados beings, allow me, subjects of a destination invariably rogue that operates out of moral or philosophical considerations of their affected.Women that modifies his face and his ways to return to engolosinar to his beloved is not a new chant: has Time features of Greek tragedy, abound dialogues (the new thing in the head of the hermetic iron 3) and the flow of events refers to classical models, planned under Orthodox standards, always, subject understandable to Cartesian logic helm. This novelty, worthy of applause in a director as Kim Ki-Dak, nor (do not believe) excited. There is nothing here that it chirríe, although there is no beautiful arpeggios, uploaded on the telar musicality of the whole. The symbolism of yesteryear have now been readjusted to naturalistic dissection of the psychology of characters always escorados to the ends of the scales. As these statues in the park representing love and pain, the two points further away from the spectrum of emotions. A Time loses a point of improbability that in absolute, leaves abolished the interest which survives thanks to a practical montage where there is nothing superfluous and everything engarza with sober effectiveness.
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2,966 |
archivos_extraidos/MCE-Corpus-main/Dataset/1403
|
Emilio Calvo de Mora
|
Dreamgirls
| 2 | 5 |
muchocine
|
Acceptable, without fanfare, musically more than correct, but empty, food of self-love, cluttered places common in the genre.
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The hagiographic so in vogue Chronicle does in this viewer a devout fan: tend to avoid that kind of film that grows around a myth or, in his absence, about a character with public draft, whose notoriety and relevance supplies the shortcomings of history because, after all, everyone knows where is history going and does not require too much cleanliness in his evidence as hot gunpowder. Dreamgirls meets the exact conditions for being candidate to not see her ever, while the Tamla Motown music excites me (these The Dreams are a very acceptable shadowing of those The Supremes and Jennifer Hudson is a vocally credible Diana Ross) and the cast has enough bells as not fail sound unless you put in the cinema queue. I walked in these for a few days, but then the temptation (good name) led me as res to the slaughterhouse of the armchair. Dreamgirls is not Chicago, that I was unbearable. Not Cotton Club, which I admire. Bob Fosse made the acid All that jazz (starts the show) in the past and now the Hollywood machine makes musicals because it must revive some genera that occasionally become lost, joyously wounded in the showcases of the history of cinema, without any luminary with sense of smell put the pasta to make a deal with nombradía and a director with size (again) the popcorn and coca-cola make couple in the row seven. Despite this thrashing of semantic sticks, Dreamgirls is not a bad film: it could have been even one exceptional if not observe too much certain irregularities of planning, some collapse in the argument and, above all, a debit excessive to all topics than on cinema of musicians who escalafonan until that shine, glittering in the stardom of the fame and the money have been written. We have the trio of gold with their already very expected roles: the innocent, the discrete and the carnivorous. We have an abuse of musical numbers as necessary to resolve what the script does. Finally, we have an atmosphere so impostada and mannered that seems that we are watching a movie. (The good, at least) cinema should move away from the idea that we are witnessing a monumental deception. Cinema deceives, but have to disguise the lie so that everything is affordable to our astonishment. Gives equal to leave astronauts, aliens at a bowling alley or yankees in King Arthur's Court. We are for what we are: to have fun, to enjoy. Dreamgirls, in this storyline, not take advantage of the excellent material available and crashes, without much noise, everything is written against the clichés of the prodigious machinery of the system, who always knows where to push to give the product headquarters to Word of mouth, and in the end, as happened to me, all leave our small crematística contribution.Diana Ross will be very happy because his career, always so ailing again in dance. Greasy rhythm and blues of Detroit will again sell discs here and on their land because music knows no labels of the geographies where it is good and it is great I agree. Jennifer Hudson sings beautifully and see the movie brings of Rondon the idea of later purchase the cd with the original soundtrack. That is all very well, but Dreamgirls is, in its most artistic background, hollow: can spare you many minutes and many others missing. Vale that Eddy Murphy demonstrate that he is a great actor after three hundred films where he has done the fool, the fat, the clever and the giggles or Jamie Foxx continue demonstrating that this is their natural (as in the also irregular and plumbate Ray) environment, but might have found a film bolder, less chic.The ramblings philosophical of All that jazz are here as far as Vladivostok, in whose rooms her exhibit for the greater glory of the Siberian Viewer, I think I say OK. I, just in case, pointed out in the book of obligations find on the shelf my copy of the tape of Fosse and there all my love (by others, limited) musical or music lover biopic will be fully satisfied. Or Moulin rouge in order to hear one of my favorite songs (Your song by Elton John) melifluamente carried the theatrical paroxysm by Nicole Kidman and Ewan McGregor.
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2,967 |
archivos_extraidos/MCE-Corpus-main/Dataset/3100
|
José A. Peig
|
Esplendor en la hierba
| 4 | 5 |
muchocine
|
Do has written of Splendor in the Grass which is? pure romanticism?, but their development and conclusion they imply a deep and desperate tragedy about how dreams and the purity of the young soul can be destroyed by the misunderstanding and the unconsciousness of society as a whole.
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Bud Steamper and his girlfriend Deanie enjoy love, begins the film and provided the genesis of a life experience. The teenage years are that make fire the fate and life, and on this central theme Elia Kazan articulates a dramatic epic that touches various topics through different characters and the relationships between them, defining a social context which is a unavoidable key to understand the argument. In the latest images we see the reunion and last goodbye between Bud and Deanie. Their fates diverge, but converges the story to use the symbolic characters that open the narration to tell us, in the images that close narration, from the unpredictable flow of time and the sentimientosBud and Denie are the central axis around which revolve the dramatic movements of the remaining cast in a story that integrates and contrasts ideologies and attitudes, with particular emphasis on the generational conflict, which ultimately becomes a critique to the Puritanism of the American families in the roaring twenties. It should be noted the importance of communication between parents and children, not because of absence of words and phrases swapped, but by the inability of parents when it comes to interpreting the adolescent world and, above all, change or translate the cultural codes inherited by tradition in order to illuminate the conflict and know the real meaning behind each gesture.It has been written of Splendor in the Grass which is "pure romance", but their development and conclusion they imply a deep and desperate tragedy about how dreams and the purity of the young soul can be destroyed by the misunderstanding and the unconsciousness of society as a whole. While the final images express reconciliation and restoration of emotional balance as well as the fulfillment of the true vocation, underlying bitterness of a distorted destination and a frustrated dream. Nostalgia, melancholy and bitterness in harmony into perspective and avoid the cloying saturation, colour and light predominate in a consistent picture with the landscapes and vital records represented in the narrative.When you look back at the past, you acknowledge the life which could be yours, happiness and spontaneous desire as a splendor in the grass that disappears with old age. We are not talking about biological aging, but which imposed by society when already these prisoner of dogmas and social prejudices. What is left is the memory of what we were and we were able to become, as the light of the glory has faded with the passage of time, and each new step involves a bend of darkness.
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2,968 |
archivos_extraidos/MCE-Corpus-main/Dataset/501
|
Kiko de España
|
Gracias por fumar
| 5 | 5 |
muchocine
|
The comedy of the year and one of the best movies seen this season. They leave no puppet head while you do not know whether to laugh or bring Manus at the head.
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Jason Reitman he debuted in feature films with a huge movie nor his father could equal (which is not saying much, I think that the last good movie of Reitman father was Ghostbusters.) Thank you for smoking becomes in the comedy of the year and one of the best movies seen this season. Bad host abundance from the first anthological scene and characters defined as perfect so that, even if they have only one scene, hold in memory as well as which interprets Aaron Eckhart, without risk to make mistakes, the best performance of his career.The side are all outstanding (and there are many: Sam Elliot, David Koechner, William H. Macy, Rob Lowe.), the only negative is that Maria Bello comes out. dressed. It is the film adaptation of the novel by Christopher Buckley, which is not edited by Spain (I think.) I mean that it is not edited in Spanish. (I think), and has the most sharp dialogues in recent years.They leave no puppet head while you do not know whether to laugh or bring Manus at the head. It would be a shame that you wore her you, I tell you that it is the very best there is on the Bulletin Board. Great credit, outstanding photography, great compositions and an acojonante pace. 9.
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2,969 |
archivos_extraidos/MCE-Corpus-main/Dataset/2724
|
Francisco Bellón
|
El Club de los Suicidas
| 1 | 5 |
muchocine
|
The suicide Club is loosely zafia, vulgar and lacks any grace. In short, is a perfect example of the State of Spanish blockbusters.
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We live in a world of fools, in which we are all with the nerves to the skin surface, and when the Queen the order of political correctness, she is not going to be that someone is offended by a simple comment. Where these effects are most noticeable is in the comedy, where the authors themselves are tied hands so as not to disturb to certain groups. But, what or who decides what is really offensive or simply an ironic or satirical joke without malice?Anyone who knew the path of Roberto Santiago, would expect to find in the Club of the suicide a pretty crazy and wacky comedy. Instead, you'll see a film quite correct politically, what about the issue of suicide gingerly by not trivialize with a serious theme. It should be reminded Roberto Santiago the last work of maestro Billy Wilder, here a friend, hilarious dialogue on suicide it held Woody Allen all say I Love You, or attempts to a Bill Murray trapped in time. This is perhaps the worst flaw in the Club of the suicide, but unfortunately it is not the only one. By his ambivalence between drama and comedy, the tape not never ends boot, and at no time attracts the interest of the viewer with enough intensity. The script does not help for anything with a few characters that happen to be mere empty cartoons, and a few own the mindless adolescent film dialogues. All the care that had not offend anyone with suicide lost it as soon as they deal with other topics, much more given to the easy and rude joke. But we know that nothing wrong with offend certain groups of our society there is. As for the actors, little can expect of them with similar characters and dialogue. Only saved from burning Luis Callejo, that brings the few really funny moments that has the film.The suicide Club is loosely zafia, vulgar and lacks any grace. In short, is a perfect example of the State of Spanish blockbusters. Perhaps, if Roberto Santiago would have left aside the easy joke and had opted more for the wacky comedy, the result would have been better.
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2,970 |
archivos_extraidos/MCE-Corpus-main/Dataset/1824
|
Emilio Calvo de Mora
|
Balas sobre Broadway
| 4 | 5 |
muchocine
|
Woody Allen dismantles the intimate mechanisms of artistic creation. Masterpiece, deep reflection on the fringes of the art and the divinity of the artist....
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With bullets over Broadway, Woody Allen desempacha cargo sentimental (Mia Farrow dressed in toga and mallet) and affiliates new and joyously to what he likes most and what more truly brilliant flashes shines his talent cinematógrafico: comedy. It flows cynical and blithely through the usual byways of the genus, but Allen, in love with the roaring as, its syncopated music and its perfidious choreography gross mobsters and without scruples and loggerhead damita filled with beads, negotiates with the viewer a subtle treatment: I give you a comedy so you throw a few laughs, but you let me as the view of intellectual satire on the vagaries of artistic creation. That is, ultimately, what most concerned Director New York, who recruits a spectacular cast (Cusack, Wiest and Palminteri, estelarmente all) representing a group of actors on Broadway of these agitated 20, overrun by cazurra interference of some gangsters more worried about a few lines in a booklet to a charger in the knickers with astonishing naturalness.Woody Allen is metaproyecta in David Shayne (John Cusack) and even another face us, made to see the face of Woody Allen even if not, don't need much to find the gestures that betray him, their neurotic tics, his hypochondria tendency to intelectualizar the gags and its territory of aesthetic influence fragilísimo.The purity and integrity of the artist committed to his work is desnucada when appears a capo of the mafia (the unpayable and regular Joe Viterelli) interested purposes cover theatrical mounting with right to her lover (the recklessness Jennifer Tilly) have their piece of paper. For anything out of what has been agreed by the mafioso, Cheech (Chezz Palminteri), his second, we who oversee the righteousness of the work and the dramatic demands of his boss, which become absurd, desajustadas of good taste.This plot Peripeteia enables that Woody Allen desenmascare the frivolities of the artist and the idea of that, as we will know his personality, acquire the true extent of his farce of his deception: in this case with the pardillo and paid Yes Shayne. Bullet on Broadway characters are, in the opinion of the own Allen: "intellectuals of coffee they are spent time making questions like what saved first, works of Shakesperare or the life of a stranger?" I loved that his works were rejected, suffer and so go hungry already that it gave them the status of artists, but the truth is that being an artist is a matter of chance, a happy accident of birth. Live as an artist not equals to handle disguised pathetic histrionic situations or events of frivolous nature that celan highly reprehensible or even criminal, behavior manifested once the enormous love of the author towards the theatre scenes, to the small eccentricities of the artist touched by the numen, or believed played by him be "This masterpiece of Woody, perfect vehicle."Woody Allen unmounted (also now says deconstructs it sounds more airtight) the intimate mechanisms of artistic creation, the unique talent and way, deliver a new catalog of wonderful, always escorados to the cartoon, but human beings clearly categorizables to its arrobada audience of faithful.
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2,971 |
archivos_extraidos/MCE-Corpus-main/Dataset/817
|
Emilio Calvo de Mora
|
Saw 3
| 3 | 5 |
muchocine
|
If the first two deliveries were pleasantly disconcerting this third was disappointing, by repeated.
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Saw III is a franchise with viscera and heart attack signs: is fast food organic and twisted for restless souls already back from almost everything and beyond (or indifferent) the routine program of serious film with love that break and sentimental brushstrokes of families in crisis.Saw III is very B movies with a stench to chicken with consciousness that eggs that are gold. The reasons of the Prodigy at the box office and the undeniable pull in the dvd market come from his witty, intelligent, sometimes approach although burns the formula by sobada himself soon and no longer the truth, much.Hybridization between commercial cinema and film gore gives the phenomenon lasts ten years longer. New generations are refocilarán with the exploits of the Jigsaw, which will become the new Freddy Krueger willing to cut the morale of the viewer more benevolent, cautious and timorous.There is a very light, very brief reference to Seven, while in the narrative field and in Crassus stylistic field was shining at a height infinitely greater, giving the genre a new packaging, a dignity which lacked for the sake of this flood of adolescents ranging to the cinema to see how shift bastard disgorging to the blonde with silicone and botox in the brain.The long dozen films in this style between the apocalyptic and the Venereum puebla with intention of perennial residence more briosas racks of the video neighborhood shops, which are my downfall when the screens do not provide golosinaje of posh or the time, anyway, what we say, do not get to go to the big room with all the frequency that one would like to, but not us deviate from the fundamental purpose of these letters. Saw, I repeat, is complicit in this mortar perverse and requests, each delivery, another more extreme: more overload to the received atropellamiento of murders.And if the first two deliveries were pleasantly disconcerting (I even had my moment of reconciliation with the genre in the first, the best, certainly), this third was disappointing, by repeated. Would not wish to the gentle reader think that the film is bad: isn't that. It doesn't matter here make it clear whether it is good or bad in the eyes of this spontaneous chronicler. Noticiable truly is the phenomenon Saw going forward: triumphs, sweeps, gives the curious diana of the sensitivity of this new modern, strong sensations, Avid audience eager to get out of the room with a point of trepidation of nerve crazy spinning like a top in the same pit of the stomach.I guess I do that the writer, whose name I do not know, has already tired: has pulled previous vices, also of any acceptable virtue, and has produced, without effort, not disposable, although unnecessary continuation. Money, in this case, is the claim, the dog of Pavlov, the icing that makes color cocktail.In this installment the screenwriter has escaped with the daughter of the producer and now I have no doubt that a daikiri in any Hilton of the Caribbean away from the tumult of Hollywood, well breastfed of alien lust walk taking in our name. In this issue of the account, Jigsaw, hereinafter the psychopath in continuing problem with the world, dies, although we know that it takes dying two films. You die, I say, but is hoeing a henchman with identical degree of disturbance that perpetrated, in its own way, not more, desvelemos the go plan for revenge of his mentor in the crime.Series runs of shocks and already not afraid: the number ten slicing concerned not the slightest. The first, to deny what this evidence, yes that brought us the soul in a tris desbocar is and give of face to face with the Knight of the row in front, that seemed, in the distance, at the rear, a mannequin, a subject completely disarmed by eloquence rogue of the images. Come Saw IV this summer: they wait and see. Come Jigsaw, the Spanish Puzzle, with new tricks, with a renewed nasty and avid for progress public queues.I saw last night at my video store header to two mozalbetes that explained, his way, forms and the funds of the previous Saws. One defended her with burning. The other, more wise, heaped them the swampy store films of rapid consumption. Fast food, I say, but let's not fake: cinema is plagadito of jumbles of this ilk, and more would like many reach her to a crystal clear height, because although he ranting against angry adjectives and sweetened vitriol, I admit that I have entered and have endured, without excessive blushing, with dignity, the stretch long of writhing (that is the more accurate Word) mental. And who knows, like I'm in row seven, in August, when want to give another session of burnt flesh and GLUGs of marketing. In addition the surprise at the end, on this occasion, less strain: or anything. So another of torture for the mass.
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2,972 |
archivos_extraidos/MCE-Corpus-main/Dataset/2203
|
Tito Chinchan
|
Ekipo Ja
| 1 | 5 |
muchocine
|
Infumable film that will like your audience and the rest like almost going to be that not. That no, that does not convince me, that not not and no, that is very bad.
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To me the duos of Spanish comedians that do not go in 2, almost that can not stand them. Some grace I do, from time to time, but if we add and explain exclusion, leaving the operation refusal. Although it is true that, I was surprised this end of year seeing the special of no is who and riendome as a tontícola. It would be the effect of the alcohol added to the excessive amount of food? Or is it that I am older and I like Noche de fiesta someday? There is that.The film is about a few Gypsies who sell antiques. One day a gang of Russians - Italians want them to buy a reliquary containing the unique power ring linking inside to the. This, Jose Mercé anillaco. So one does not want to sell, others no longer want to buy if not kill the Gypsies is lia an absurdez ending with tits and a silent that retrieves speech. Or that me whole, ja kill me!What want tell you? Personally the film seemed an infumable pigswill, but I understand to have your audience, given that is a sense of humor to a sector of society. It is clear that so many nonsense as they say, some you have to make grace, but come on, the whole is infumable. I highlight the musiquilla that true is that I tarareé her a few times.In short, infumable film that will like your audience and the rest like almost going to be that not. That no, that does not convince me, that not not and no, that is very bad.Why leave pechis than if not.Besitos.P.D: have I commented that it is infumable?
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2,973 |
archivos_extraidos/MCE-Corpus-main/Dataset/1827
|
Florinda Chic
|
Pudor
| 3 | 5 |
muchocine
|
The existential crisis of maturity are more bearable when the narrates a Kevin Spacey who lives in an American urbanization or travelling in a yellow van. When the props are the dishes of Duralex and stage a district very similar to ours, we are too familiar and escuecen more.
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Modesty is not a drama, they are five specifically. Ulloa - David and Tristan - brothers after the short film cycle return to work together to produce a film of those who leave bitter taste and not invite you to recommend it - despite being pretty good - because they incite to self-destruction and spend the night in the bar in the corner.The story focuses on a family on the edge of the precipice. Grandmother just died, the father discovers that there are six months of life, the wife feels ninguneada and is it mounted on their own, the daughter enters puberty with very bad foot and as if this were little, the child occasionally? looks dead. As is.It is true that all this can happen - well, about the child only to Bruce Willis - but as moving footage, such misfortunes cluster becomes quite unpalatable and is missing some nice situation for distendir the environment and a better, if end well I guess that it is from the book on which is based the fillmeno longer see light at the end of the tunnel.The Ulloa brothers have done a job on family held incommunicado, the things that we take it as understood and not say out loud and how can we become unknown to those who surround us. Something exaggerated in my opinion, already to survival leads us to seek us routes exhaust make us more or less bearable the existence and in the case of the protagonists of modesty, their distractions only serve to accentuate its shortcomings, with what the remedy that the disease is worse.The existential crisis of maturity are more bearable when the narrates a Kevin Spacey who lives in an American urbanization or travelling in a yellow van. When the props are the dishes of Duralex and stage a district very similar to ours, we are too familiar and escuecen more. But while in American Beauty or Little Miss Sunshine scripts has an important - and essential - component of black humor, on modesty, is conspicuous by its absence.The actors, except the children, are great. Nancho Novo changing registration completely and Elvira Mínguez, reaffirms the role mature in emotional bankruptcy. All very content, as well as conducting and music, the film is intentionally sober and stark. The camera plays an important role because it puts us in a position of voyeurs. The viewer has the feeling be spying on the characters and have crept up in the privacy of your bathroom. On the other hand, some stories and situations are too well-worn and that of the child directly, spare.
|
2,974 |
archivos_extraidos/MCE-Corpus-main/Dataset/3078
|
Jeremy Fox
|
Odette
| 3 | 5 |
muchocine
|
A movie of those that are usually described as "beautiful" but which is quite far from the brilliance and that it is unfair to compare with "Amelie" because it lacks the magic and the atmosphere.
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Preceded by the echoes of his blockbuster in France and compared with clear commercial interests, with "Amelie", premiered ago time in Spain "Odette, a comedy about happiness" (Odette Toulemonde).My ever-increasing allergy to dubbing, coupled with the fact spend nearly all summer in Coruña, prevented that he saw the film until his pass in original version subtitled in theaters Yelmo Cineplex Los Rosales of the city.The film is the debut in the direction of feature films by Eric-Emmanuel Schmitt, known writer "Monsieur Ibrahim and the flowers of the Koran".Trying to the directorial debut of a writer, one might think that the script would be the strong point of the film. However, curiously it isn't so. Or at least not the whole as the best and worst of the film is precisely in your script. Anyway, I think that we can consider the debut, in general, as quite satisfactory.Its main virtue has been the creation of a wonderful character (Odette), a woman that anyone would like to know and let it iluminase his life. Therefore, the Viewer is identified without problems with the writer protagonist (do perhaps an alter ego of the director?) and leaves Odette to fill life sense during the time that lasts the projection.He is no stranger to this success of the character, the good interpretation of Catherine Frot or the good overall role of all children.However the script, and therefore the film, promises more than what offers maybe by a lack of courage to take risks that causes history avails itself in excess to the topics and solutions easier and more predictable.In summary, we have a movie of those that are usually described as "beautiful" but which is quite far from the brilliance and that it is unfair to compare with "Amelie" because it lacks the magic and the atmosphere.Despite this, the viewer will forgive these shortcomings in exchange for having a good time and out of the film with the smile on the face.Final assessment of moonfleet: 6 out of 10.
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2,975 |
archivos_extraidos/MCE-Corpus-main/Dataset/2580
|
José Antonio Bermúdez
|
Wolf Creek
| 2 | 5 |
muchocine
|
Under the direction of Greg McLean, notably the final section of the film. In full light of day the Hunter chases its prey. And, in the absence of film, viscera. And the Viewer is still digesting as much cruelty, until when?
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The bar is very high. The viewer accustomed to see anything on screen, cruel and sadistic scenes have crossed the horror genre (only remember the final scene in HANNIBAL, semi-closed brain of Ray Liotta). The public expects more novel, stranger and more intense impact. arriving a moment in which it is not surprising, nothing surprised. In recent years the horror genre has revisited successful formulas of the 80s, with al gore's background and the remake as airy way out of a crisis of originality. So, in the absence of new stories, the main goal is to impact (as does the television or internet).With the exception of JEEPER CREEPERS, the vast majority of semi-independent productions opted for classical and better-known story youth lost in an inhospitable place and that, inevitably, have to deal with crazy or family of crazy, thirsty of flesh and blood. The current horror film baby directly of emblematic works such as 2000 maniacs, the massacre of TEXAS and the hills have eyes. Thus arises, for example, the HOSTEL endiablada. And time when Australian cinema (as an extension of any American production) brings its bit to gender. Unique proposals were in his day films TOTAL calm and Highway to hell. WOLF CREEK, it is not the same. The same story: three friends who decide to spend their holiday in a place called Wolf Creek, they have a mishap with the car and accept the help of the strange man named Mick Taylor. From there, you can already imagine. And if to all this we add about "based on a true story", which it raised at the beginning again. Horror film in particular is making use of a purely media, away from the film (sadly) language. In this case, it conveys the idea that what we are seeing is reality (as it happens with the big brother television). Nothing beyond reality (forgive the redundancy). Under the direction of Greg McLean, notably the final section of the film. In full light of day the Hunter chases its prey. And, in the absence of film, viscera. And the Viewer is still digesting as much cruelty, until when?
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2,976 |
archivos_extraidos/MCE-Corpus-main/Dataset/2654
|
Berto
|
Turistas
| 1 | 5 |
muchocine
|
A film about the dangers of tourism, and that, on the basis of the infamous Hostel, it seems (and I say OK, just seems it) pose a social critical minimum to American tourists.
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Production notes say that tourists is the first American production filmed entirely in Brazil. And I say that seen the result, could have been spared the journey, because even the (scarce) portrayed landscapes offset experience.Alex (Josh Duhamel), his sister Bea (Olivia Wilde) are on vacation in Brazil together to her friend Amy (Beau Garrett). On a trip by bus, they suffer an accident and just knowing the Australian prudent (Melissa George), who travels alone, and Londoners Finn (Desmond Askew) and Liam (Max Brown). While waiting for the next bus, they decide to go to a nearby paradise Cove, where Kiko (Agles Steib) will be host, and after a party night, discover that they have been stolen and are lost without clothes and penniless in a strange country.It is not question of going into much greater depth in the plot, but suffice it to say that just falling in all topics of this kind of films, with the exception that this nobody says that "divide us". That Yes, with all the characters well together nor are may exploit the uncomfortable sense of helplessness of a character isolated in a hostile territory.The worst thing is the slowness with which everything develops: the first hour will teach us bikinis and caipirinhas very mixed. And this wouldn't be bad when used to create a future climax, or making something ask the viewer what awaits to the protagonists, but no, not be fooled, that is not the case. Or there is climax and there is no mystery about the fate of the characters, because between dance and bathroom they are already responsible for gutting everything.The greatest skill of the interpreters is look good the swimwear, that's what the director, John Stockwell, was also responsible for jewelry as lethal immersion and on the edge of the waves.In short, a film about the dangers of tourism, and that, on the basis of the infamous Hostel, it seems (and I say OK, just seems it) pose a social critical minimum to American tourists. But I guess that, among the water, alcohol and other fluids, will be quite dissolved.
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2,977 |
archivos_extraidos/MCE-Corpus-main/Dataset/344
|
Tito Chinchan
|
El secreto de Anthony Zimmer
| 1 | 5 |
muchocine
|
We am not intrigued in no time, the thing is very predictable and once completed you realize that the entire film is absurd.
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We see that, we see that, he told me the awareness. For desintoxiacar the brain of mega American productions with shots, explosions and other action. And at what point did case to the brain, when theirs is to leave it on the nightstand before going to the cinema. In the end.The film is a girl that has a role where it says take one at random. Total, gets involved in a high-speed train and choose one with stupid face, quickly believed that it has been linked. This makes it to dupe those who persecute Anthony Zimmer (a famous international fraudster) that he is the and thus to kill him and that the true escape of scot-free. But as the film progresses, the face of silly is that it zafa with more or less wit, with more or less help, and falls for which tricked him at the beginning. And at the end is the big surprise unsurprising to anyone (except for the House in which takes place).This is a fart in all its splendor. The story they tell us is quite absurd, based on continuous coincidences. I was not hooked in no time to the car, and that the plot is very lentita. Then the things that makes the protagonist make me very nervous, touching the absolute tontez. We am not intrigued in no time, the thing is very predictable and once completed you realize that all is absurd (if you see it, consider whether the situations they fit or everything is fruit of the most extreme coincidence).To sum up, roll without plot interest, with characters that do not end attract and a story so far we fail or happens to us to glimpse her.
|
2,978 |
archivos_extraidos/MCE-Corpus-main/Dataset/2866
|
Marta
|
Death Proof
| 4 | 5 |
muchocine
|
Tarantino takes a hilarious argument and adds dialogue covers and original, a few precious levels, a wonderful "retro" image, a fascinating protagonist, a great soundtrack and some women who fall in love, not to mention countless references to the delight of the fans.
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I went with "Kill Bill" and me has returned to spend with "Death Proof". I went to see the latest movies of Tarantino convinced that, in reality, me they wouldn't like too and in the end I have loved. The vengeful girlfriend did not expect more than fights and more fights and proved to be much more. Or not, but at least it was very well made. Now, with the killer driver, was ready to meet with. Good, because that, with a killer driver. But no, that is only a fraction of what this half of the Grindhouse project offers. We will go through high now all say "Grindhouse" as if it were a term that we had been using for a lifetime - Yes, as when we learned to say "place" with "Farmacia de guardia". At this point we know that Quentin Tarantino and Robert Rodriguez were launched to shoot two works in homage to the B-movies that they saw in double session in United States and here in Spain we them have separate, and I don't have much more to add to this. The fact is that, without knowing anything of the genus – like most of those who write these days about it, no mistake - "Death Proof" has seemed great. I have not seen "Planet Terror" and am quite certain that will be very down. While Tarantino is a great director that hoeing them to pick up anything and get something bright, Robert Rodriguez appears, simply a guy with good luck. Anyway, I guess that sometime I will see and I will see if I am right. For the moment, I prefer the friend Quentin. The uncle takes a hilarious argument and adds a few dialogues original and covers, a few precious plans, a wonderful "retro" image, a fascinating protagonist, a great soundtrack and some women who fall in love, not to mention the countless references to the delight of fans, sure that I not got even half, and that I noticed a few. All this in two very distinct parts - something key to make the footage not eternal-, in a very fun and worrying, I suppose, to maintain fidelity to the genre. The truth is that this last is what I liked least. I would have been able to dispense perfectly blood, but the truth is that it is not even a fraction of what you'd expect after trailers and promotion, and I understand that it is a fundamental element. Not they thrilled me especially false failures of image and sound, that were too obvious in a cinema "latest model", but not at all so excessive as I had read in some sites. And, finally, it upset me a couple of stories were completely disrupted and behind, what I gather to be another nod to this kind of movies, because it is somewhat exaggerated. Was no one else eager to return to see the cheerleader or know where to lead the suspicions of the sheriff? Both characters as the actors - in reality, the actresses - that they interpret deserve special mention. If Kurt Russell (specialist Mike) outboard to a seductive psychopath, each of the girls becomes a heroine with a personality and a unique beauty, of those who can really drive crazy anyone. Rosario Dawson, in particular, I will put it on an altar. It has never been so beautiful as here.It was convinced that no one would be able to get something decent like history of persecution and good aunts. I even thought that someone could keep a simple approach during the time that lasts a film. What error. Tarantino does so, and wonder. It is clear that the fame has not come by chance.
|
2,979 |
archivos_extraidos/MCE-Corpus-main/Dataset/4035
|
Ivan Villamel
|
Freaks, la parada de los monstruos
| 5 | 5 |
muchocine
|
A masterpiece of the genre, which despite that Court in the footage, endures as a film full of double readings, some of them harsh, and that it might force even in our days with so much worship extreme to the cult of the body.
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Born as Charles Albert Browning a July 12, 1880 in Louisville, Kentucky (USA), Tod Browning was an exceptional case during the prolific period of fantasy films from the 1930s, because, unlike other peers, their almost unhealthy obsession for a bizarre cinema and out of any prevailing fashion at the time, earned him be always considered an extravagance in the horror film. The Chronicles describe him as an introvert, manic and unpredictable, man that avoided any hint of popularity to confine much of the press. At the early age of 16 years, Browning joined a traveling circus, guided by the growing love for a dancer, which gives good example of well-founded knowledge of the filmmaker in this world so little rooted to the stable, traditional life. Between 1912 and 1914 he moved to Hollywood, where he met D. w. Griffith, and that means you the privilege to intervene as an actor in "Intolerance", the director himself. After intervening in several works commissioned, especially screenwriter, Browning directed his first film in 1917, from that moment, starts a prolific and rich career with one element in common throughout all his work, the manifestation of abnormal in the area of the real. While it is true that the groso of his work was developed during the time of the film mute (with room even for the legend, as that film's name "London After Midnight", which today is missing, but rumour that possessing a private copy could become millionaire when the rights in the work by the proprietary producers expire)It is also true that it has been particularly recognized and valued over the years, and so absolutely fair, by their few incursions in early talkies during the 30s. Films such as "Dracula" (1931), "The mark of the Vampire" (1935) or "Dolls Hellions" (1936) are today in day bright manifestations of talent for creating large pieces of gender by its director. But it would be "Freaks, stop the monsters" (1932), the masterpiece of his career, the film that would pass to the annals of the history of fantasy film in particular, and the seventh art in general, where Browning showed his mastery of the dark elements (remember that he studied psychology and was a renowned collector of books on occultism magiay)to offer us a ruthless vision of humanity human. The plot of the film us is situated in the everyday lives of a group of members of a traveling circus, where we have on the one hand the characters that play deformed employees, in this case, dwarfs in most cases, either cripples missing them elements of your body, without the typical bearded woman, the two Siamese or one person half man, half woman. And on the other hand, people, say normal, they are responsible for the rest of works that make up the elements of the circus, in this case, the strongman Hercules, the clown, the tamers or manipulative Trapeze, protagonist of the hub of the story, attempting to take advantage with Hercules, the Fortune inherited by the Hans dwarf, with subsequent intention to end his life to be free of any tie. A halo of disturbance crosses the few, but forceful, 65 minutes of the film. Browning introduces us to a world which, as discussed above, knew perfectly given his experience in life real surrounded by peculiar beings. Having for the main roles with real members of circus, they are all deformed, considered fair, and not only in the film monsters (the label that warns us about the treatment received by these beings in the reality of the time is devastating), gives the finish an extraordinary ability to analyze semi-documentary although from the base of a fictional story. As well described by Umberto Eco in his latest book, the contrasts of life is when it takes on real meaning each of these contrasts, without the macabre, there would be no basis for considering any element of our society as beautiful in that eternal comparison is when we realize that the Poles opposed van together hand in hand, which tend to be the reverse of the same coin. Throughout the film, deformed beings, or freaks as I will call from this moment, give sample of an enviable sense of honor, friendship and education extreme even (cite the two dwarves, Hans and Frieda, and impeccable chivalry), driven by an inner beauty that instead manifests itself in the opposite way in the more "human". The other characters are shown as strong, beautiful and looks pristine in their physical appearance, but on the other hand, hide some of them more stark evil inside. Browning play again with this fact, the duality between spiritual and physical beauty, implying that what hides something beautiful, sometimes it is more monstrous than any physical malformation. Significant in this sense is a point made in the film, as annotated dinner of compromise between Hans dwarf and the villain of the story, the ambitious trapeze artist and little scrupulous who intends to marry to seize the money and then end the lives of so polite be (with the help of her lover herculeo as discussed above). It is that humiliating demonstration of malice and contempt towards the Group of freaks, the trigger for the behavior of these beings become twisted and macabre, United by a desire of survival before any external element. But not in vain, subtly insinuated by Browning as a virus full of evil that seizes slowly beings seemingly good heart, without being so casual the engagement, i.e., the clash between the two worlds, blurs the line which separated the duality of physical or moral beauty, already nothing is safe from the evil, or even those of greater spiritual purity (citing as one example the innocent clown transformed into avenging lover). The film is full of scenes really unpleasant and discouraging about the human condition, marked by an appreciation that certainly felt Browning by less gracefully beings of our society, scenes like the beginning of the film, with the humiliating attitude as ruthless woman when drop his attire that Hans, being a dwarf, putknowing that his small stature makes the situation in a little humiliation Juniper and vile, or the own the dinner scene, causing a disturbance in the viewer that freezes the heart, give sample less clear that we are facing one of the most cruel films in the history of cinema. Everything is a constant moral unease just create a feeling of discomfort seldom achieved by any filmmaker throughout the history of cinema. Discussed even in a multitude of analysis the fact of considering the film as an advanced product to its era, full of a dominant modernity on the look neat, spotless and even superficially beautiful productions of the era, without having either a happy ending which implied a contrast to such evil, as a collective catharsis of much of the cinema of the time regarding the troubled time that was happening in American society. Accordingly, while it is true that I believe that it is unquestionable and gave him an air of film damn, misunderstood and massacred at the time, am not convinced that it implied a look modern conventions of the genre, more than anything because no film has returned to this area who knew so well how to show Browning, or even films 50 or 60 years later have managed to develop these as dangerous terrain. In his absence, has meant a great filmmaker contribution to the history of art, and not only of the film, being an exceptionally rare case of timeless film, not on the sustainability of its proposal (which also), but by not belong or conform to any film movement or social gaze. It's an enduring, extraordinary film and a capital piece of genre fantasy, not so much in its subject matter, but in what always has been called as the fantastic look, the way with which certain unique filmmakers knew how to provide it with a mise en scene to his films to intuian a fantastic tone, even in films, or even scenes, away from the genre. Multiple legends are about the film, starting with the fact that the film was cut in almost 30 minutes, in which, they say, Browning went even further if it fits in their capacity to disturb the Viewer. With a final in which it is said that the character of Hercules was deprived of his masculinity, finishing as one eunuch, and nothing but a dwarf in the body of a man. Also the mere fact of having forced Browning to add a final more optimistic with the character of Hans (although there is still one more elongated and optimistic that adds nothing remarkable to the film), perhaps to compensate for the horrific scene where you see the final destination of the Trapeze manipulative as that which had always detested and despised, a monster of fair. He commented further, only Browning could relate in every day with such deformed beings that populate her film, being the only "normal" that allow him to sit at the table with them, in a clear of the mysterious of this sensational film tone sample, which, despite stay clear sense of cut film, where the narrative pace is set in some sequence of the film with some inequalityIt has the ability to be tremendously enlightening on such unique beings. Or go no further, scenes such as courtship by two men to the Siamese, full of black humor taken to extremes. In short, a masterpiece of the genre, which despite that Court in the footage, endures as a film full of double readings, some of them harsh, and that it might force even in our days with so much worship extreme to the cult of the body above the intellect or the heart. Powerful and direct, cruel and magical, the pure essence of good cinema in the end.
|
2,980 |
archivos_extraidos/MCE-Corpus-main/Dataset/1715
|
Alvaro Oliva
|
Lola: La película
| 3 | 5 |
muchocine
|
A biopic in every rule, which stands out mainly by the atmosphere and the big players that form the cast. I liked, and Gala Évora is one of the responsible for this.
|
The truth is that not it attracted me much this film, but I have to say that I liked, and Gala Évora is one of the responsible for this. Recently emerging old friends of "Pharaoh", saying that it has nothing to do, not her arriving or to the bottom of the shoes, but for all those who we do not have known, I have to say, that the interpretation of this young actress is to remove the hat. The history of this film, directed by Miguel Hermoso, focuses on the life of a young Lola, we see how will bond since childhood to devote themselves. All this sprinkled with their struggle to make their way in a difficult world, as he is on the show, and the sad reality that all men wanted to be with her, but none dared to take the plunge and marry. His stormy relationship with Manolo Caracol, portrayed by José Luis García Pérez, as well as with others of her lovers (Carlos Hipólito), teach us the liberal and that this artist was temperamental. A biopic in every rule, which stands out mainly by the atmosphere and the big players that form the cast.
|
2,981 |
archivos_extraidos/MCE-Corpus-main/Dataset/1166
|
Tito Chinchan
|
Braveheart
| 5 | 5 |
muchocine
|
One of my five favorite films. Since then, he has the floor more times habré able to shout when I get excited I "Libeeeertaaaad". We may take our lives, but can not steal you our freedom!
|
First of all, congratulate the new year we have just released to all my readers. I hope this year be at the same level as last year, or that at least I continue liking thing to read. Well, it is that we were seeing the television programming, with several films interesting when my medium Zucchini has commented that he had not seen Braveheart. After three downloads to half an hour of breathing and the heart I have regained the sense. What my medium Zucchini has not seen one of my favorite movies? Fast doctor, an ultra-thin cylinder via dvd and three hours of sondadas needs.The film is about William Wallace, a Mr Scottish living during the English invasion of a stack of years ago. Total, than the live happy as a child when life gives him a blow on the nose and becomes adult in a matter of six frames. The boy recovers, but as life is very bitch, and the King of England again, they begin to happen little things that make the piece of Scottish this mount one of shit the dog lame, until finally yell "Libeeeeeeeeertad" and make me jump from the sofa to search around the kitchen knives and release I alone Scotland. I'm not saying more.Puff, hairs and hooks are me. I am going to confess something, only think about the film cloudy me sight, I drop the distemper and an emotion runs through my body. The film has everything what I can expect from this biographical - war - historical genre or as desired name. It's very exciting, with moments that put the skin of chicken, as the first rebellion or the final emotional incredibly. Other very dramatic moments of betrayal and broken love. And moments of action that current media is not reached or imagine something like this. Good, and not to mention the use of photography or soundtrack. No, I have no words to describe a film as well.To sum up, one of my five favorite films. Since then, he has the floor more times habré able to shout when I get excited I "Libeeeeeeeeertaaaaaaaaaaad". We may take our lives, but can not steal you our freedom!Besitos.P.D: See that Mel Gibson I don't like anything, but since then I am thrilled at this papelón.Pd2: I heard one day the scene in which more naked ass out of the history of the cinema, which has not be if is it true.P.D.3: Tears as balan Canyon ply my face while I write these lines.Moments to remember: when it enters the village riding his horse to surrender and starts the alone rebellion.Two vengeance of two husbands.The mostramiento of the buttocks (also called bald) that make them to the English.The meeting, in the center of the battle of the Irish with the Scots.When the father of the carrot throws his lover by the window.Treachery on the battlefield of the nobles.The scene of the battle against heavy cavalry, when Wallace says "Quietos, quieeetos, quieeeeeeeeetos" rather than the scene itself, by the picture at that time.Treason in the castle of the nobles.The first speech by Wallace, referred to the enemies "[...]" "they will be willing to change a lifetime for this day, by a chance, only an opportunity to come back here and tell our enemy we can kill, but never will remove us our freedom!"Of course, with hair like hooks and the penis as a mast of a sailing Brig, when cuando está is suffering torture and everyone he shouts "clemency" and him, with the last breath left chest shouts "Libeeeeeertaaaaaaad" thus killing the son of a bitch of the King.The final speech of Bruce "in the year of the Lord of 1314, Patriots Scottish, starving and outnumbered, attacked the fields of Bannockburn." They fought like Warrior poets. They fought as Scots. "And they earned their freedom." Pufff, tremendous.
|
2,982 |
archivos_extraidos/MCE-Corpus-main/Dataset/899
|
Alvaro Oliva
|
Borat
| 3 | 5 |
muchocine
|
Documentary fake smart that shows the shames of the most powerful country in the world and how they react to different people.
|
Sometimes it happens that when it gets so well into a movie and creates so many expectations then you pass bill. This is what has happened with "Borat". It is true that not everyone has put her well, there are many parts that her branded as being anything but a film. The truth is that it is a false intelligent documentary that shows the shames of the most powerful country in the world and how they react to different persons and also when they laugh in their faces. Reporter Borat makes us a brief presentation of his country (Kazakhstan), including any gags showing us where you going to go the shots in what is left of footage, and informs us that he is going to go to the United States to do a story on the way of life and culture of this world power, to then be able to take it in their nation. Once it lands in America, begins the Carnival of this comic and showman that shows the various recesses of geography and American society. It has scenes and gags very witty and amusing, but as in all scales at the other end we have parties that either could have been eliminated or failing that best developed, lower level and can reach out to the Viewer.In short "Borat" occurs as a show where controversy, the transgression, the easy joke and even love are present and will spend a good time viewers with a sense of humor means and not away easily.
|
2,983 |
archivos_extraidos/MCE-Corpus-main/Dataset/2912
|
Alex Largo
|
La vida de los otros
| 5 | 5 |
muchocine
|
No one will deny that it is not a "great" director, because, in addition to its height, the German should recognize the undeniable merit of having written and directed this small wonder.
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Fair winner of the award for best film at the European film awards but unjust (in my opinion) Oscar winner for best foreign film. For me, the fair winner in this category was the film by Guillermo del Toro, who had to settle for carrying three Oscars of the 6 that played.Let us continue with this German film whose director is about two meters. No one will deny that it is not a "great" director, because, in addition to its height, German (Florian Henckel von Donnersmarck) should recognize the undeniable merit of having written and directed this small wonder. And in one way rather than outstanding.The film does not have any conjugation defect. Moreover, few things are can be blamed on this film, very few. One of them, and perhaps, that more plays against is the lack of pace.Don't get me wrong, the film never is guilty of being boring, but his pace lapses at times making it appear heavy, I repeat: think.Otherwise the film is an exercise worthy of praise in all or almost all fields. From a magnificent script to some more excellent performances. In fact, the work of Ulrich Mühe and Martina Gedeck have been very winning in a multitude of contests. Although that does not mean not to be the work of all the staff side more than remarkable.Perhaps one somewhat disappointment aspects of the tape is the music composed to two hands Gabriel Yared & Stéphane Moucha. And precisely for having the name of Yared, it is already disappointing. I expected more from composer of their stature, and all I find is with a simplistic music, not bad, but that seems more accompaniment than anything else. Not enhances the images, not it gives them more forces, simply avoids that we will not hear the silence sometimes.Usually a great film, worthy of Grands Prix, but which, in my view, does not exceed in quality to "El laberinto del Fauno".
|
2,984 |
archivos_extraidos/MCE-Corpus-main/Dataset/2853
|
Hombre Lobo
|
Wolf Creek
| 2 | 5 |
muchocine
|
Nothing that we have not seen before hundreds of times, and although the originality doesn't have to be the strong throughout film main, at this stage already becomes somewhat cansón and repetitive.
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The appalling delay that Wolf Creek (2005) has reached the Spanish billboard has served, inter alia, to grow the expectations around what initially was defined as one of the most outstanding horror films of recent years, a jewel coming of Australia that promised to be of the pieces more wild the survival horror, with scenes allegedly as "strong" which was forbidden by law to show in your advertising materials. All that apparently has gone to hell, because the truth is that this first feature of the Australian Greg Mclean is finally among more typical and seen us has fallen. The good Office with which many of their sequences are shot makes that stands out a bit of the lot, but not enough to justify all the praise that have fallen you over even before its release.Belonging to the increasingly defined sub-genre of "dead tourists", Wolf Creek keeps track of three young backpackers lost in the endless meadows of Australia and dams of the follies of a psychopath who has decided to use them as part of House, nothing that we have not seen before hundreds of times, and although the originality does not have to be the strong throughout film mainby now already is somewhat cansón and repetitive. Which in any case Yes differentiates this tape of Mclean is having a prologue of almost forty minutes in which literally nothing happens, and we only see the three youngsters behave as authentic garrulos and gloat in his bland love triangle. The creation of an environment wouldn't by itself alone no problem if at least this was dedicated to build tension, but almost none of this first half has something to do with what we see then. In fact, when the killer finally appears marked a total break with the rest of the tape and almost makes us believe that we are seeing another film instead of the indie road movie before soporifera. From here see as (once again) a young director tries to emulate the massacre of Texas (1974) for ultimately did not succeed as (incidentally that comparisons with Tobe Hooper film are not any whim; are more than obvious).It is during this "second part" when Wolf Creek gets its most interesting moments. Having only three protagonists, history is obliged by balls to give some relevance to each of them, so at least appreciated the absence of cheap resources whereby several of the cast members are only there as meat gutting. The plot goes jumping of one character to another and although it seems that at times he opts for a character in particular as the action hero, handles very soon change point of view to not make this so clear. Another point to keep in mind is the presence of veteran actor on Australian TV John Jarratt (who has returned to work with Mclean on his new tape), undoubtedly the film acting engine and is here that it overflows in its role as the most overused and endearing Australian cliché of all time, with some touches of humour, capable of booting a smile even in times of increased tension.These two details, however, are the only ones that have captivated me from the movie, everything else is the same old story told in the same way as always, and for nothing justify the disproportionate praise she has received. Perhaps if it had been released about 10 years ago he had a valuation best, but in these times in which every horror film aspires to be more beast than the previous and types as Alexandre Aja, Rob Zombie, Eli Roth or Neil Marshall are the names that most sound in this genre, a movie like that we have today is little more than redundant, and largely only by does not come from the Hollywood circuit. Even so, its almost unbearable prologue, the blatant exploitation of the demagogic and hackneyed phrase of "based on a true story" and that foolishly falls in the same clichés of the slasher already parodied nauseam (when the victim will ensure that the killer is really dead? when?) you there are still many integers. And is that a change of emphasis on the actors and the joke about Crocodile Dundee insufficient to Enthrone this when much medium effort called Wolf Creek.
|
2,985 |
archivos_extraidos/MCE-Corpus-main/Dataset/3563
|
Rafa Ferrer
|
Bee movie
| 2 | 5 |
muchocine
|
Animation this quite achieved, dubbing, not so much has that Arturo Valls, and Furthermore, the jokes stuck with shoehorn reach tire, both big and small.
|
I usually hallucinate me always with the cinema of animation, whether it's a film of sheep, or of bees, as in this case and, although the idea, and the proposal (a little copy of the excellent "Antz" which put voice Woody Allen), is something original. That bring to trial the human.However, and after 2 or 3 good moments (all of them shown in the trailer), the tape is deflated and one becomes more exaggerated boredom (with included yawning), and so the 90 min. (too, for a film of this magnitude) they are eternal, and it is that is extra, or missing or bored, or all together.Animation this quite achieved, dubbing, not so much has that Arturo Valls, and Furthermore, the jokes stuck with shoehorn reach tire, both big and small. If to this we add that a tape of animation is not only overwhelming animation is the first "bluff" of the holiday season that ends almost almost of inagurarse.That disappointment holy God, that disappointment, waiting for more than just much less.
|
2,986 |
archivos_extraidos/MCE-Corpus-main/Dataset/776
|
Emilio Calvo de Mora
|
Las uvas de la ira
| 5 | 5 |
muchocine
|
Chronic descarnada of the qualified injustice as demagogic by more rancid sectors of criticism, the film resists all destructive analysis with its sober treated social x-ray of an era.
|
1. The birth of a naciónAhora film has passed its first century, will be good (to complete this urgency of grilling recent make balance sheets and compose loas) remember the two trends which forged its matrix and its subsequent propaganda apparatus. On the one hand, cinema of nature documentary filmmaker, univocal, sober, naturalist, who filmed the departure of workers of a factory, put on the case, and the film creation, instrument valid of literature, visual entertainment (audio came later) to decimate the pockets of the proletarian and greedy worker of these new busy that just came out of the factory before recorded.The art should come after this first vocation of invention to entertain the masses and pursue them, between newly parido century so much misery, a distraimiento, a powerful stimulus to renew capacity of astonishment of the citizen.This statement of principles is important for putting the grapes of wrath in precise context. The film is born in a splendid Hollywood that is beginning to be considered what has later been: dreams factory, industry of epics larger than the life of the style that the wind.The new public debate between the great depression to survive and cope with the glamour of the new times, undeniable crucible of opulence and luxury. This is why what the film could not be born: not having been designed, produced and invoiced during a fragile temperament as they were the late thirties and principle of the forty States founding premise windsurfing from the novel by Steinbeck on which it is based (and in addition the Ford film) is the criticism of social injusticemanifested in the Joad, a family of Oklahoma who emigrated to California Golden in search of work once the mechanization of the field esquilme them all hope of progress and that a company they will expropriate their land, ancestral symbols of its roots in the world.Ruin and famine push them westward, the land of promise idealized by the new batch of rumors that draw a paradise to be discovered for the brave that hug. In this, Ford feels comfortable because, ultimately, what we are talking about is transfigured, metamorfoseada presence, of the classic western with his useless heroes they sacrifice to see birth a country and be they part of this mythical Foundation. This stench to Americanism novice is still noticeable in XXI century, but we not leave the argumentativa.2 line. The grapes of wrath baldíoLas trip is, as we have said, a rarity. Does not seem to be easy to make a very contemporary film, shackled in a so little margin of chronological difference: that portrayed the miseries of a country and its precarious work with such a degree of verismo.It is a film-mirror: a chronic descarnada of the injustice, that is, in the absence of laws to govern a country. Rated as demagogic by more rancid sectors of American criticism, reduced to easy tear melodrama, the film resists all destructive analysis with his sober treatise of social x-ray of an era.Describes a period of history from the same story: John Ford carried term in the middle of an economic depression excruciating so the film acquires, in its genesis, in its context, a patrilineal testimonial character, documentalist, truffled of a truth the reality not discussed because it was, at times, more raw, more atrocious than this fiction of a family that seeks its place in the world after having been dispossessed of whichin truth, it belonged.These dispossessed, these desclasados, these outcasts of the Earth are the film Joad. Archetypal characters that assume others compassion, that have nothing and they not want much, but lampan to find a site on which to build their new existence.Tom Joad (a sublime Henry Fonda who did not win a well-deserved Oscar) acquires a up Trade Union, social and political and civic awareness in their journey to the promised land. There is an epic of the working class exciting, heartfelt.John Ford opts for a realistic point of view: suits the plot dispossess of any artifice. What will narrate the director is an eviction, an exodus, so it has to adopt the technique of road-movie, which did not then exist either as a concept.The narrative discourse of the film (hence the Steinbeck novel) is an ode to the human. No Joad or the troubled Tom, so tight in his tormented complexity of failed, seeks a benefit that is not love, tenderness, the terroir (more closely). John Ford being a Catholic militancy and a declared Republican there is another view of the matter. Also fixed nor a guilty of this misery. The culprit (it has a character) it is a bank in Tulsa, but there is only an administrator that does what say you. To that (add) we cannot put him a shotgun before. It is a term. A worker. Otro.El travel, finally, abrupt climatólogicas inconveniences and transportation (this truck rickety where it is worth everything and where stirred an intense microcosm!), is vacant. The voyage to nowhere, that I would say our Fernán-Gómez. A trip that progresses to a destination that already intuímos: corruption, deceit, racism.California is Oklahoma, but two hundred humiliation beyond.I read does not much to the grapes of wrath disturbs, shocked. This is the perfect definition which I endorse. Especially shakes the sweep of faces that the Ford House (with very precise photography Gregg Toland, then collaborated with Welles on Citizen Kane) ago in the camp of illegal, its simple misery and without deception of the infamous barracks.Ma Joad, at the end, said: "We are the people". "Always exist". His son, Tom, the ghost (there are up to a disk of Springsteen that takes this idea: from the espectralidad of the failed and anonymous hero of Tom Joad) wanders a changing, utopian, lyrical and brutal country is clearly in the figure of the disenchanted preacher, which hangs the habits and grabs new faith, labor activism then it became what today we understand as unions. The acclaimed reception of the film in the Oscars that year (best director for Ford and best supporting actress for Jane Darwell in the role of the tender mother) infer that times were changing and that America (that part of America, more properly) condescendía to the navel-gazing and declared unstable, corrupt, but also hopeful and exciting. It was a country by train, stuck in a war and a devastating economic disaster renanciendo.The Joad were there to raise the flag of his homeland. John Ford, not forget, was a Patriot mind-sets. No adversity they would bother too much. Why are heroes and that is why one attends this formidable show with the shrunken heart and with the secret idea that the world, despite their frivolities, their here and his penalty (both punish to die for one, said our Miguel Hernández) worth and in the journey, in transit, is the joy of life. The story that we see is the story of man: its achievements and its penalties. Universal, enduring film.
|
2,987 |
archivos_extraidos/MCE-Corpus-main/Dataset/3107
|
Daniel Galindo
|
Siete Mesas de Billar Francés
| 5 | 5 |
muchocine
|
The universe of Gracia Querejeta is extended with a new sample of intimate, simple and comforting movies and that Maribel Verdú and Blanca Portillo face two of his roles harder and better built.
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Few filmmakers bet give a slap in the face so accurate, disrupting everything and, at the time, return to deal with the little things, of the details of the emotions. Insert everyday situations with moments of great intensity gives a particular richness to the story.If you don't have a strong pulse, so many ups and downs can confuse, making a path with curves very impassable. Properly managed the issue Gracia Querejeta and missing miles. So momentum is risky but carries a reward and which receives Querejeta - though the gift she does to us - is the honor of having one of the most heartfelt films of recent years. The fifth emotional journey of the screenwriter and Director is easy, is narrated without large shock, penetrates gently and that the sediment that leaves us, but with touches of humor, is not easy to swallow.Plays with a value of close and deconstructs it: the characters outlines are people like you, like me, are people who gather around a project and you delude. They wear out and recovered forces, progress and then they fall, but they raise. This struggle to move forward, sometimes alone, best in the company, mark the work of this woman who has much to tell and that times relies on an external observer, as David Planell (who signed Hector), before serving us the final result in tray.Blanca Portillo and Maribel Verdú beat in duel, the Viewer is who should judge their performances. From here we think that leaving unscathed, the two occur as survivors. It is the general tone in the cinema of Madrid, remember the confrontation between Mercedes Sampietro and Adriana Ozores in when back to my side, of which we highlight everything: Marta Belaustegui, intensity, Julieta Serrano... Like that, this tape that conveys reality is not one more: is highly recommended for all those who ever we have felt a bit abandoned and thanks to a helping hand, or to the cinema of Gracia Querejeta, have come forward.
|
2,988 |
archivos_extraidos/MCE-Corpus-main/Dataset/1982
|
Emilio Calvo de Mora
|
Hana-bi ( Flores de fuego )
| 4 | 5 |
muchocine
|
This is a brutal poem, an excessive and also beautiful singing about destiny and life from very few materials and filmed with an extreme tenderness
|
There are honor codes requiring a rugged calligraphy, an epic background to justify the deployment of violence. No violence to the way in which Tarantino filmed her: oversized, master for your visual enjoyment, but totally Rome in dramatic profiles. I prefer Sam Peckinpah or Samuel Fuller, who are (perhaps) the relating two immediate about exerting this unnecessary, although movie fan Mania (the cinephiles of idle fancy) of being Westernized Asian film. Hana-bi (fire flower) is the portrait of a man driven by circumstances exceeding you - who does not? -: terminal illness of his wife, partner which has been paraplegic in a RAID and the clan of mobsters who pursues him with funeral and evil intentions. And it is death () which dictates the script. Death accompanied by tenderness or beauty or melancholy. The brief, almost fragile, outline explodes when necessary in a powerful visual stream, hypnotic action scenes that are flanked by beautiful and unexpected recesses in which the characters, to which we dedicated to a fatal destiny, stop to contemplate the sea not a landscape snowy with the delicacy with which would make it a character in a film of Bergman or Kurosawa. This tottering thriller (does not appear it in his boot) is a funeral poem, a kind of hymn to life since the consent of his escape. Perhaps despiste profane spectators in the Filmography of Takeshi Kitano or which consider only the frames for content to that biased public and the American, who exude violence, blood and adrenaline, GLUGs, there's all this and in adequate doses. But Kitano cannot contain his poetic breath and upload your camera to the sky or let it rest on the sea: us Tames in the Tempest, leads as you want to the ground that most pleases to ultimately make us descarrillar in the abrupt drama of a pressing destination, fabulously orchestrated from the shadows of the sky or the neural crests of the infinite sea. This lyrical breathing is also possible to appreciate the various drawings that appear throughout the film and that they are the work of the director (and actor Beat Takeshi) was awarded the Golden Lion at the Venice Festival in 1997 and brought international recognition to the work of a man who has a very peculiar sense of violence and how to narratematrimoniando minimalism and spectacle, making their Yakuza, these gangsters of the rising sun, hechizados by some spell ancestral, expressionless and lethal, hieratic and thinks, constitute a caste of loyal Archetypes of his dramatic universe, who comes to these mimbres, the spell, the plot and the paucity of gestures to make explicit an enormity of resources and an almost unfathomable array of messages.
|
2,989 |
archivos_extraidos/MCE-Corpus-main/Dataset/269
|
Tito Chinchan
|
Las colinas tienen ojos
| 3 | 5 |
muchocine
|
Fine offal with a screenplay by the introduction, development and ending something absurd but passable. Recommended for lovers of cinema of terror sangruiento and violent.
|
UY, a hill that has eyes, hell to fright. And with all the dust in the desert, we are sure that all pay drops is left to cool them. By the way, say that I am a coward, but I do not understand how in these films the protagonists do not commit suicide. Well, it may be because they are Catholics, but get your in one of 28 days, in which humanity is half extinct and the zombies you dismember but not before kill you scare. Pussy, you stick a shot and so quiet. If you know that you're going to eat and it will be worse. The hero there is loose, really.The film is about an American family, which the parents silver wedding, decide to cross the United States, from end to end in caravan. When it is going through the desert, they encounter a gas station where indicate them that to save a few kilometres can go by a shortcut that very few people know. So they decide to follow him, but a few miles, they have an accident by a blowout, which forces them to spend the night in the middle of nowhere.Well, we have before us a tape of a genus of disgusting terror, thin guts and good scares. The typical American family, as always, is to kill the first round. The bad guys are quite elaborate and, although show them us openly since the first frames, you finish does not get you to them. The development is quite distressing, bearing the climax towards the middle of the recording. And the rest? The rest is already worthless for almost anything. The timorous family guy is trasmusta in an indomitable marine that espachurra ele with great ease and fits the blows as the man of steel if it were. The characters, up to half of the film are all in place and very well, although towards the end they disfigurement too making us lose interest. The story is elaborated, with his revindicativo touch against the nuclear experiments. And the scenarios I have liked, giving the total certainty that what they do is all he could do.In short, offal fine script of introduction, development and ending something absurd but passable. Recommended for lovers of cinema of terror sangruiento and violent.
|
2,990 |
archivos_extraidos/MCE-Corpus-main/Dataset/4314
|
Tito Chinchan
|
Alien vs Predator 2
| 1 | 5 |
muchocine
|
Bad film as a testicular kick on a few alien coming from picnic to the Earth and a predator makes guardian of mankind. Or what is I. Bad, very bad. Only viable for those viewers who like this type of movies.
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Director: Colin StrauseDuración: Infernal hour and a half.Release date: January 11, 2008. how great was Hugo Sánchez, the more male between males. It was to go to the field, accommodating güeval, and feminists go crazy (maybe I have stopped carrying). I remember a time before going out to a party, a companion pointed Coif a Keyring of this Lord and knelt to entrust to him. And that we played handball. That what's this? That one of the actors is the great Hugo Sánchez, or his cousin of the people, for that matter.The film is a predator that has a tremendous constipation. Given that the natural route goes, because created you a milestone by the belly, like sang Albert Plá, so that it looked like both his mother and his father. As you know, these alien are affectionate taco, so they roll to morreos in the mouth everything what are caught, including all humans to fuck when the ship crashes into the Earth. Before his death the estreñido, makes a loss which recommended him to eat plums to pass it, and this is going back to kill the Alien. That I said that could have gone with one couple more, right? why not you think that the movie is that I've counted? It is true, but it is what this milestone, I think that my readers deserve better than the vile reality. While the first part had an argument, bad or good, this is simply that the Alien want to colonize the Earth (reproduce more than the Gremlins in the bathtub) and a Predator are encouraged to go for them. Brave masters! The characters rub pathos, the plot is absurd, the action is such that the Director told him "do that don't have eggs?" And what if you had them. My madrecita that milestone.In short, bad film as a testicular kick on a few alien coming from picnic to the Earth and a predator makes guardian of mankind. Or what is I. Bad, very bad. Only viable for those viewers who like this type of movies but which are enthusiastic. At times, it has really pathetic scenes. Tremendous truño.Besitos.P.D: never have I told my theory about the aliens? Which I must say why have that power breathing our air, why not kills them water (as in signs of bowel), why are corporeos may be a mere gas, etc. Other day I tell you my theory that you are going to laugh.Pd2: "the Government never lie us" is the climax of the film. It is placed so that you get to endure what remains of petrified that you stay. Repeat with me "the Government never lie us" without laugh, that if.
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2,991 |
archivos_extraidos/MCE-Corpus-main/Dataset/1134
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Ana
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El ilusionista
| 3 | 5 |
muchocine
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The film feels as if out of another era because he plays with the illusion of optical and deformations of lens blurs effects, giving you another texture.
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The magic of Vienna at the beginning of the nineteenth century there but know that it was filmed in Prague. The film feels as if out of another era because he plays with the illusion of optical and deformations of lens blurs effects, giving you another texture. For the special effects of the magic tricks using the technology of the era. Arguably it is real magic, but we know that it is illusion. What is more is film, and of course, there are also digital effects but have been able to moderate and create a charm.Paul Giamatti is the inspector Ulm, the narrator of this story quite conventional. He becomes obsessed with Eisenheim the illusionist, and wants to decrypt it. Ulm is the son of a butcher and friend of the Prince. Eisenheim is the son of a cabinetmaker and the fiancée of Prince is his great love of children. The Prince has his own plans to overthrow his father. To use the magic to unmask their arrogance they begin to despintar the boundaries between art and reality.Ed Norton plays Eisenheim with his battered look that is becoming darker. The magic begins with radiant orange and is putting up to spectra of more than. Phillip Glass music emphasizes the dark tones.The film has resonance even if it is humble. It elegantly combines intrigue, romance and magic between smoke and mirrors. It is based on the Steven Millhauser short story. Up the typography of the end credits is lovely.
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2,992 |
archivos_extraidos/MCE-Corpus-main/Dataset/4098
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Moebius
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El gabinete del doctor Caligari
| 5 | 5 |
muchocine
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The Cabinet of Dr. Caligari was listed as one of the inescapable reference in classic world cinema.
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A good Berlin day dawned with posters on the walls that praying one sentence: Du mußt Caligari werden! (You must become Caligari!). Berliners amazed due of scratching your head trying to decipher the meaning of that phrase. On 26 February 1920 the mystery was dissolved. Premiered in the German capital the Cabinet of Dr. Caligari.Como all great artistic work the Cabinet of Dr. Caligari has given rise to studies, criticism and theories offering various interpretations on the background of its history and its importance within the European and world cinema. Usually consensus to consider this classic silent as the beginning of the German expressionist movement in the film and the first horror film (or at least the horror film) as we know it today in history.Producer Erich Pommer would have wanted that Fritz Lang will shoot the strange story written by Hans Janowitz and Carl Mayer, but unable to the creator of Metropolis to be implemented after the cameras the project went to the hands of Robert Wiene. The historian Siegfried Kracauer generalized theory that Janowitz and Mayer had been based on the horrors experienced in the great war to stop a script by dyes anti-establishment director Wiene would end up corrupting. Most modern currents have discredited these facts. It was true or not, the truth is that the revolution of the Cabinet of Dr. Caligari was not political but film cutting.Robert Wiene, whose work had apparently been quite discreet within the UFA, surprised friends and strangers with a film that although not lost sight of the commercialism (do some film lost ever?) it introduced all kinds of artistic elements of modernist currents and built a narrative with two parallel stories really intricate. Never ceases to amaze me that a very old film can be reached remain valid today, but so is. It is curious to see that plot twists as the sixth sense are as old as cinema.The plot of the film, briefly, is thus: a type by calling Francis is sitting on the bench in a park chatting with another man. When a beautiful young woman that seems to walk in a cathartic State, the young man preparing to narrate a story about him and that girl that occurred long ago. Francis and his friend Alan are enamored of the beautiful Jane. As they leave their choice who will be the lucky and swear eternal friendship, a strange man calling himself Caligari requests a license to have a seat at the next fair in the city where all kinds of inventions, gadgets and phenomena will be displayed.Francis and Alan attend the fair, while Caligari speaks to the masses on his show: the case of a sonámbulo called Cesare who had been sleeping and years. To the general astonishment, Dr. Caligari announces that the sleeping will wake up before your eyes and then may ask any question. Cesare has all the answers. When the sonámbulo abre los ojos, Alan interrogates him about the date of his death. Cesare tells him that that same morning will die.When the terrible fact finally happens, a sorry Francis is going to give the terrible news. Other strange crimes happening in the city, Francis, with help from the father of Jane, seek to find out the connection between Cesare, Caligari and assassinations. Later, Jane, concerned by the absence of his father, goes to Dr. Caligari. He tricks her into its particular barrack of fair, and there it will be attacked by Cesare. Thereafter Francis will try to unravel the secret behind Caligari and Cesare.La most of the narrative of the Cabinet of Dr. Caligari is, therefore, a huge flashback which in turn contains another lap back in the timeline in the scenes in which Francis reads the diary of Caligari. That particular narrative structure should add all that dream and at the same time depressive atmosphere in which moves the film. The sets of clear modernist influence are hurtful, loaded of hostility. Impossible angles, sharp corners, strange shadows and twisted lines. It seems as if citywide express the anxiety of Francis, while by contrast Caligari and Cesare can sometimes appear weird objects in motion, trees and faces that once were part of the city and had now claimed lives. Cesare, accompanied by the shadows, with that strange makeup that makes him look like a twisted some crazy Alice Cooper show dancer, is the epitome of the villains of the horror genre. From Frankenstein's monster to the silent Michael Myers, all saved some parallelism with the disturbing sonámbulo.And the Cabinet of Dr. Caligari was the first step all that expressionist movement that influenced both the classic old Universal horror, and hence in virtually all films of horror have been filmed since then. Janowitz and Mayer were the first to collect the seed of science and horror planted by Mary Shelley and her moved to cinema. So to speak, the Cabinet of Dr. Caligari's the myth of Frankenstein what Nosferatu was the of the Bram Stoker's Dracula, only that Wiene tape Yes constitutes a modernization of the classical figure while that in the work of F.W. Murnau film conforms more to the original story. And it is that the Cabinet of Dr. Caligari goes beyond the monster and mad scientist to play with the psychological factor, a key element of the film. Everything that happens in the narrative by Francis, from the manic decorated to the same labels (the restoration of 1996 sought respect original garish banners), passing by the characters, especially those of Caligari and Cesare, depends on psychology. Enter the world of this film is to travel to the bottom of the psyche, unconscious, to the interior of the human mind. For this reason, and for many other reasons that you must discover, the Cabinet of Dr. Caligari was listed as one of the inescapable reference in classic world cinema.
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2,993 |
archivos_extraidos/MCE-Corpus-main/Dataset/1406
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Florinda Chic
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Diamante de sangre
| 4 | 5 |
muchocine
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Very impressed I have been with blood diamond. Edward Zwick - experienced in epic tragedies - takes us back to the recent past of Sierra Leone during the civil war.
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Very impressed I have been with blood diamond. Edward Zwick - experienced in epic tragedies - takes us back to the recent past of Sierra Leone during the civil war. In this chaotic context one soldier - rather than fortune, misfortune-, a villager desperate and an American journalist are trying to find a diamond, as a ticket back to sanity.What I liked it - and disgusted by truthful - has been they display which makes the director of baby killers, child soldiers are trained killers who were drug and manipulates that combat in the conflict with less than twelve years. The film impresses and stir consciences and stomachs mainly does not leave indifferent.With regard to the purely artistic issues, DiCaprio, smells like Oscar. To me personally, despite their efforts, I fails to convince at all even in this role. I see very last thread in some scenes and provides other as improvised? demolition man?, in my opinion, quite exaggerated.The movie is long, warn, but as several frames at the same time develop and do not let happen things, is not heavy at any time. The picture of the girl with the Pearl Earring - Eduardo Serra - shows all the beauty of the unfortunately belligerent area. It has some time video, supported by the music of James Newton Howard, which is somewhat pretentious but it serves to relax tension accumulated. However, if something spare you the film it is the Hollywood touch.I mean, the pseudo flirting between DiCaprio and Connelly is worth and not strain. Do do stage is less suitable for these ventures and sucks producer claiming:? Let's get a girl mona albeit with shoehorn? - as the doctor in Prison Break, more or less-. The other aspect that chirriado me is the epilogue, which will be real, but it is pretty bows and seems hatched by former producer.Except these two buts, a film of the not to miss that will be released, I sense that in many cinemas, this Friday.PS: After seeing the film and absolutely aware, would like to use this platform to tell my numerous suitors and admirers: I do not regaléis more diamonds, please. Do do Diamond? s aren? t a girl? s best friend.
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2,994 |
archivos_extraidos/MCE-Corpus-main/Dataset/3685
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Ramón Balcells
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Mr Brooks
| 3 | 5 |
muchocine
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Mr. Brooks manages to be above the average of thrillers that have been premiering during the last years, and just very entertaining and burning result, above all, for a Sunday afternoon.
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Mr. Brooks is one of those movies whose plot premise is really good; Moreover, this uneven film by Bruce a. Evans begins in a masterful way, to become a simple entertainment, but equally interesting. The star is Kevin Costner, whose consciousness (played by a superb William Hurt) pursues him during the footage, and you will be warning of all the facts "should" be. You can say that this part of the film is the most interesting and best carried out, but unfortunately, with an intention to nothing rather than commercial, Evans chooses to add the effect police thriller, with a correct Demi Moore at the helm, and with a rather disappointing result, since it has little to do with the story and also too topical. So I would call this Mr. Brooks as a film very entertaining, with some dialogue and interpretations that surprise and, despite everything, irregular in its storyline.Somehow, could be a return to the genre of the psychokillers, either by its classical form of being told by his noventera aesthetic (very typical of the costume), and this is, for my taste, a real success. We are not tired, already, the typical modern thriller with cutting-edge technology and empty characters? As I said, Kevin Costner and his alter ego are those who carry the Palm, with some great interpretations, will undoubtedly make a style elegant and at the same time sadistic. But Mr. Brooks contains a huge and aforementioned bug, and the have added a police plot even more complicated (not complex) than the of the killer protagonist that little is beside the point. This, undoubtedly, makes waver the irregular script and losing interest to the main story, whose content is much more work. Unfortunately, a clumsy and unnecessary character appears in the middle of a painful Dane Cook, and makes the work of writer will end up being lousy. Thus, this is a film with a screenplay with interbedded absurd and a truly interesting initial plot. A film really irregular, but not entirely failed.However, Mr. Brooks manages to be above the average of thrillers that have been premiering during the last years, and just result very entertaining and adiente, especially for a Sunday afternoon. Before all, recommended.
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2,995 |
archivos_extraidos/MCE-Corpus-main/Dataset/1018
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Daniel Galindo
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Arthur y los Minimoys
| 3 | 5 |
muchocine
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Neither love nor uncomfortable the foray into the realm of digital one of the most curious filmmakers of the current scene animation.
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Surprisingly, and to some extent like risk it on the European continent to titles of this draft. After the compliment we can criticize the lucrative desire which imposes on the creative of Luc Besson. Here is not only the director, so it is also logical that someone who invests money wants to retrieve it.Do judging by the employees, first quality ingredients, commercial success is assured: simple story combining adventure with a subtle idea of overcoming to the adversity story? everyday? framed in a world of fantasy that could well exist if not for the licenses that permitted the French filmmaker.He told us that love is equated to the four natural elements and pulled out the depths of Joan of arc side, but to prove it we had to endure too many minutes sitting in the armchair. Now drop the idea of a rotten creatures similar to Elves? are not talking about even the Invisibles - descoyuntan nothing makeshift dance floors where sound modern hits and confers the power of the omnipresence of an African tribe members. What mess.From a technical point of view convinced the wanderings of a real child by a fictional land although little improvised and built on too many references. Taking into account patterns and archetypes, comings and goings of Arthur worthy, throwing in lack more reckless passion and a touch of recklessness by the French filmmaker: good boy who meets a cake to resolve conflict finished without giving too many coherent explanations and girl that falls, lazarillo lucid and comic, bad very bad. Yes takes care instead of leaving the door open to future sequels? returns to his facet as a producer.This type is ready to throw hooks: nothing more bite, the networks we catch. When the film ends if wish you we too wonder: current winks, proliferation of elements who, for very natural that they seem, has an aura of unreality; the look of some of the bichejos, which reminds Mila Jojovich in the fifth element. A simple exercise of observation leads us to the hand of Luc Besson in this rural version of the tiny television creatures who are too far away to final consumers of this title: children born at the dawn of the new century.
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2,996 |
archivos_extraidos/MCE-Corpus-main/Dataset/2016
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Tyler
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Una canción del pasado
| 3 | 5 |
muchocine
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It is a little slow, but not boring, needs attention and accept this leisurely pace to enjoy.
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A film like this it often happens what happened. Pass something unnoticed when they should not.They belong to this genre drama, something acid, who tries to recover some lost customs of the cinema of yesteryear type "Mas Dura will be the fall". Beware, not ataqueis, not compare them, only say that share that tone or that intend to recover that tone. Several things happen you to "A song of the past". It is a little slow, but not boring, needs attention and accept this leisurely pace to enjoy. On the other hand need to pace dramatic because in part the story goes that nationally. The passage of time and the use we make of it. Waiting.The thing goes a girl, Pursy Will (Scarlett Johansson), which receives a call that his mother has died. The chavalita in question long ago that happens by his native house which, in theory, has received in heritage. Arriving at New Orleans (city film like the most) discover that there are two installed characters that tell that the housing, his mother, also was left to them are two friends in the House, which is nearly sunk. My colleagues are a pair of Alcoholics; a former Professor of literature of dyed hair and an aspiring writer.The best of the movie lies in the character of Travolta, although it sounds cliché is true, that inpregna his role as a pathetic, powerful and overwhelming personality at the same time. You really think that such is the case. as well of worship and so useless, with your fingernail on the verge of rot. We also have the opportunity to see him singing and dancing. Sing a cappella with a guitar to the same plays very well. Travolta remains one of the finest actors of his generation and is still a very young voice.What I wanted to say with the tone of the movie is that it is very Orn, and believe that the only one in the movie that understood that acidity been Travolta, because the rest and interpreters are limited to do something very typical, following his performances you can imagine an end as the one who has, that may be the great failure of the tape. Through the interpretations of others you can imagine that there will be hope at the end, and that's where this script fails think I. If for the character of Travolta and, above all, the tone it gives you; the terminaria of much more dry and cruel movie, as you should be. While pedia looked screaming by my himself that this movie left me bad body. But in the end the "America" is the "America" and they are a family and maybe want to. That makes the story, in my opinion, lose lot of force.The city leaves precious because it is beautiful. I think that New Orleans is one of the cities more kinetic. "JFK" 0 "Human target" attest.A movie something failed in some things, good view, enjoyable. With good dialogues and a very enlarged development. A boot that, that Yes, it portends a movie good and hard.
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2,997 |
archivos_extraidos/MCE-Corpus-main/Dataset/1764
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Luis Zueco
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300
| 2 | 5 |
muchocine
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The film adheres well partly warlike but laugh in the diplomatic or politics. The "300", a technical feat, a shame of pro-American movie.
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This film has two very different analysis. From the point of view visual, effects, image processing, of technical quality, ability to engage the Viewer? And another, terrible, political fanaticism and its implementation in the service of the American Empire because, my friends, United States does not seem at all to the Greece of of the 6th century b.c. Nor the film resembles in nothing to the original, which was on which was based the Comic.Grecia defended an invasion of Persian, in clear inferiority, with a multitude of doubts in its strategy, with a time where there were no countries, but City-States.The film adheres well partly warlike but laugh in the diplomatic or policy, we are not in antiquity or the middle ages, or if you want to in the centuries 17TH or 18th, where the art was used by the Church and the power to manipulate his subjects. Please! Why destroy what could have been a great movie?
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2,998 |
archivos_extraidos/MCE-Corpus-main/Dataset/1713
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Florinda Chic
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Fundido a negro
| 2 | 5 |
muchocine
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With this cast, it was difficult to make a crappy, but Walker succeeds and introduces us to an Orson Welles that seems a bulimic soplagaitas mainly and although it is presented as a thriller, it seems more a comedy because the plot and situations, if they seriously, are a joke.
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One of the best scenes of Ed Wood is the dialogue between Vincent D?Onofrio and Jonny Depp. They fantasy a conversation between Orson Welles and Ed Wood in which Welles, gives this Council: Ed, is worth making own dreams is why moving life making the dreams of others?If Welles were had appeared in any of its forms to Oliver Parker you would have deterred you also make this film and to read the script would have surely killed you.Because fade to black, puts in scene Mr Welles reaching Rome newly divorced Rita Hayworth to shoot at the Cinecittà film series B under the command of a director of series C. dies in shooting one of the actors and Welles, converted into Jessica Fletcher Hall or Cluedo seasoned player, gets to investigate the incident. Adorns the plot a romance with the worst Paz Vega has ever seen ever playing an Italian actress who speaks English like me Mandarin. As backdrop a subplot of political corrupctión with Christopher Walken, Diego Luna and even the dreams of many hairdresser: Anna Galiena. Unexplained presences and they can call to deception.With this cast, it was difficult to make a crappy, but Walker succeeds and introduces us to an Orson Welles that seems a bulimic soplagaitas mainly and although it is presented as a thriller, it seems more a comedy because the plot and situations, if they seriously, are a joke.Maybe I am exaggerating but it is that I do not see where take it, it seemed a sacrilege, me angry and I bored me more than what I guess is bored Melanie Griffith watching the camino de los ingleses. And for films of Welles: Citizen Kane and evil thirst. Anathema!
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2,999 |
archivos_extraidos/MCE-Corpus-main/Dataset/3081
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Cristina Álvarez
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The host
| 4 | 5 |
muchocine
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The film could include in a very specific area of fantasy which uses the figure of the monster as a paradigm of the challenge to natural and social laws, to explore the cracks in our everyday world and the fragility of everything that we call normality.
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One of the greatest virtues of The Host is as a hybrid experiment. The film could include in a very specific area of fantasy which uses the figure of the monster as a paradigm of the challenge to natural and social laws, to explore the cracks in our everyday world and the fragility of everything that we call normality. However, on many occasions, Bong Joon-hoo get that his film is penetrated by generic digression paths very well resolved, denoting enviable narrative pulse and a sense of rhythm.Without losing sight of the motivation his characters The Host principal sandwiched scenes of thrilling action and brilliant special effects with moments that pivoting between tragedy and comedy, and thanks to a few actors always at the height, these trancisiones are extremely emotional and revealing.Bong Joon-hoo assumed the challenge of engaging in a smart and successful game with the expectations of the viewer and so displays a renewed and original treatment of many cinematographic resources while it is a juicy challenge the conventions of the genre.Director confidence in the possibilities of their material is left to note, for example, in the decision to show the monster little after the beginning of the film (in a spectacular sequence of nearly ten minutes which leaves the bar very high). It is precisely this domain of the situation allowing the director to place also at the other end, to work on some topics (the deployment of skills to be found in the sequence of the liquidation of the monster) without that they are too forced or strident.The staging of The Host emphasizes the expressive qualities of the different scenarios creating a very disturbing contrast between the aseptic and aggressive target of the interiors of the hospital and the dirty and rainy, cold atmosphere of blue and grey tones that will preside over the rest of the film.Another of the successes of the film consists of slow to moderate but very effective use, away from emphasis exhibitionist that usually is used, in The Host accentuates the disorientation and confusion of the characters. Through distortion and echoes the alienating treatment of sound power dilation of the suspense and the isolation of the characters while it helps to suggest the features of the Monster (result of a design that oscillates between the extreme heaviness of his body and the reptile sinuosity of their movements).The choice of a very tight Assembly and nothing dramatic will allow the director a very dynamic use of camera movements that stresses the lines of action that they take place within the table and provide high doses of truthfulness and realism.Bong Joon-ho puts abuses of power in its sights since the first scene of the film. The constant presence of newscasts on television screens exhorts us to question the role of the media while the progressive dismemberment of the family serves the director to articulate a fierce criticism against the harmful action of all sectors involved in the case that it will culminate with a very bleak ending where it is revealed the loneliness and the vulnerability of the individual in a terribly hostile and threatening world.
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