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3,100 |
archivos_extraidos/MCE-Corpus-main/Dataset/1760
|
Enrique Colmena
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Diario de un escándalo
| 3 | 5 |
muchocine
|
The overall tone of the film is solid, robust, with that personal touch that only manages to British cinema, that often seems at time but develop in our days.
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Richard Eyre is a filmmaker with a relatively short career, that has developed almost always on television; comes from stage direction, and this is evident when it comes to bring to the screen a film like this; not understood this as a defect, but as a mere evidence. His film, is therefore made, as said Vicente Aranda, "with actors and walls"; There is no place for action, adventures or special effects, but only (do almost nothing?) to faces of actors playing their characters. It is therefore fundamental in his film actors are first line, and in this case not you complain: Judi Dench is one of the great ladies of the theatre and English, splendid cinema also making Queen Elizabeth II or M, the head of the British secret service in the 007 series. Cate Blanchett, for its part, is one of the most brilliant actresses of his generation, which now frisa forties, a woman of rare Nordic beauty earned him even to interpret the role of Queen Elf in "The Lord of the rings" saga. "Diary of a scandal" crosses several bridges, with themes as glassy as the love between an adult (the character of Blanchett) and a minor and unpremeditated lesbian attraction that carries the young new teacher who plays Cate on the elderly teacher that composes Dench. Clear that the real subject of the film, on a stage with so many figurative quicksand, is the cloth of spider that weaves the elderly teacher on the incauta newly arrival, narrated in first person by the also metaphorical Weaver of this fabric. It is true that there is a true, diffuse touch homophobic in the portrait of this old lesbian that truffle its seductive strategy with the kind chicanery of friendship between the young and inexperienced and more mature and so wise; Despite this, there is no express pejorative tone about the homophile love today be meaningless. Dense drama with some percutantes scenes (the meeting where Dench calls on the adulteress Blanchett to abandon their paidófila relationship, finding thereby that the is "about to candy" for their intentions; the outbreak of the marriage crisis of the young teacher), the overall tone of the film is solid, robust, with that personal touch that manages only to British cinemathat often seems to time although develop today, perhaps because stage powerfully reminiscent of the Victorian stage that familiar it is thanks to the numerous television serials with the characteristic hallmark of the BBC.
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3,101 |
archivos_extraidos/MCE-Corpus-main/Dataset/1989
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Elena Suárez
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Spiderman 3
| 1 | 5 |
muchocine
|
No just action and special effects that have been more expensive than Visual, narrative shows a stitch of melodramatic stories that have a clear folletín taste. Nothing short of disastrous. I have warned them.
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Third parties are hardly good is something that almost everyone certainly believe. That much money is not always synonymous with a good product, the check week Yes and another also on the Bulletin Board of our cinema. That a movie based on a comic book only serves to entertain is an axiom. But is that even trying to justify it, the last film by Sam Reimi can only be defined as a boring and pathetic story that disappoint both the superhero lovers and to those who, without being sympathetic to it, enjoyed with the two previous sagas.No just action and special effects that have been more expensive than Visual, narrative shows a stitch of melodramatic stories that have a clear folletín taste. And do not believe that the director has had some decency and only has amuermado us for ninety minutes, none of it more than two hours of unbearable torture!During the succession of anaesthetic events will appear two new characters based on the original comic (venom and Sandman), however, as happened with the main protagonist (Peter Parker), these rather distanciarán between the paper and the screen.To all this add bizarre transformation Spider-Man who suffers in the hands of the alien: gives listening to Disco music and believe Benny Hill. Amazing, isn't it? In short, nothing short of disastrous. I have warned them.
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3,102 |
archivos_extraidos/MCE-Corpus-main/Dataset/4002
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Sandra Ríos
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Alien vs Predator 2
| 2 | 5 |
muchocine
|
AVP2 should not be more than a project for television. The Strause brothers desauciaron any possibility of creating a third party.
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There is not much to say with regard to this tape is one more than the unfortunate copies infiminidad made the first version and that nothing beats the one made by Ridley Scott in 1979; "Alien the eighth passenger", which has become perhaps his most promising work and who has stayed in addition, in the minds of his followers, apart of course from Gladiator of the year 2000 and American Gangster nominated for best film at the Golden Globes this year among other nominations, speaking in more recent terms. It is sad to see how it has been 29 years, with much more technology and the capacity to achieve more realism in special effects, how it destroys the good image that these two aliénigenas have.Alien Vs Predator 1 premiered in the summer of 2004 to assume since then, that its future was not going to much because the history and struggles between these two beings did not imagine otherwise. Apart from this the low collection of that time; 171 million dollars confirmed. However, thanks to the successful results of the comic books, novels and video games environment, made this second version that has managed to pick up little more than 76 million dollars.Inevitable is the fact to compare these two versions and before such discouragement and despair with what the film is constructed, becomes much more preferable to its first part. The problem in both is the story and his script but in the version number 2, these defects are accentuated. The plot is really stupid, stubborn, alternating a story of teenagers a little awkward and very little credible. Many are the gaps that have and many are the cliches that are handled throughout its short duration of 1: 26 Min, not only in characters and history, but also in sound clichés. The desire for making this franchise a success with low-cost movies, has done is to acquire low budget actors also, that experience they do not contribute to the story and that on the contrary they tarnished the few results that may have. At this point what manages to save himself no more passing the "raya" are: music on the one hand that resembles to a large extent their predecessors and the respect by being faithful to the previous characters, which is something that if it is due to their great knowledge of AVP the Strause brothers.The setting but did not help the characters in the judgment, as I said earlier, is appropriate, unlike its rhythm which is a back and forth that goes and returns in the passing of the minutes. After his home is given much return to action, what is a clear reflection of the lack of hyphen and when the climax makes its appearance, the action is obvious and too bland. Dramatic space is just the tight, focusing on a small Colorado town, deepening in this way in their disadvantage and thus justifying its final outcome.Aliens Vs Predator 2 in my opinion should not be more than a project for television and much less should have been created the possibility of generating one third of this story. The Strause brothers desauciaron any possibility; at least in the majority of your audience, that happen.
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3,103 |
archivos_extraidos/MCE-Corpus-main/Dataset/612
|
Calaf
|
El laberinto del fauno
| 4 | 5 |
muchocine
|
A pelli is not for children (despite the fantasy), though it may be a little sad, worth seeing by far.
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Did not want to let go long or intoxicated me to see this Mexican production, USA and Spanish, targeted (and written and produced) by the Mexican Guillermo del Toro recently critically acclaimed and it seems that also by the public. And I liked it much.I think that it is better to not know nothing of the plot to enjoy it fully, but yes you can know that it is set in a farmhouse in post-war times, and that it mixes fantasy with reality.At first it took me getting into it, because the beginning is slow. The first fantastic developments are not what I expected either, until the real part of the story is improving to acquire genuine ownership of the tape. In the last third are already played both worlds, with the public in the Pocket by completing a round story.I liked the actors. Sergi López making national captain is too exaggerated in their evil, but is a very bad bad film in every rule. It has both nazi touch which seems or Spanish (will be a way of beating the academics of Hollywood for the Oscars?). The girl, very well. You think and makes it us believe. More things I liked: the camera transitions, very real special effects and the atmosphere in general.What not: you don't need to be so explicit in some scenes. What is not shown more impression and is more elegant. But there are a couple of very violent scenes, and some as Captain sewing it makes the hair stand on end. Care for more details. Why the character of Maribel Verdú not ends the captain when just you hitting two stabbed and cut the face?In short, a movie that is not for children (despite the fantasy), though it may be a little sad, worth seeing is more than.
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3,104 |
archivos_extraidos/MCE-Corpus-main/Dataset/1512
|
Florinda Chic
|
Bosque de sombras
| 3 | 5 |
muchocine
|
The deep Euskadi of 1970s forests are the claustrophobic scenario of a western outlaws Patxis and outsiders Smith. A good Spanish movie that while it is not round, is more than decent.
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A student outdone, that is what occurs to me say Koldo Serra and his forest of shadows. Taking into account that it is his directorial debut, I give an eight. If outside her third film, would be left with a 5.5 and my evaluation would read something like: Serra manages the climate, but not the climax. But on the other hand, this is a movie and not a test as they seem to believe some media, and is a good Spanish movie that while it is not round, is more than decent.The deep Euskadi of 1970s forests are the claustrophobic scenario of a western outlaws Patxis and outsiders Smith. Two British couples come to spend a few days relaxing in this environment, but obviously that nothing. From the beginning it starts to smell the toasted and the locals will not receive these guiris to the Bienvenido Mr. Marshall. However, Serra wallows in atmosphere that if we had not seen previously trailer or picture, we think that it will not happen anything in the footage.For me too obvious homages of film buff, who just saturating. Serra Pekinpah straw dogs you should like and has left record well, as well as other western classics. Not be so I blame, it has done so Soderbergh in the good German and all felt them great.The actors are superb, starting with Gary Oldman - 10 for Koldo to recover for the independent film - makes no shade no in this forest to the magnificent Lluís Homar. The art direction is brilliant and the only bug that I see as a whole is already commented of the argument, which as a dish countryman Arzac, promises a lot when they have it, but if you ask... It is half empty and full of superfluous ornaments.PS: Recovery this premiere of last Friday because I have already given the rod with the highlights of this week: the last King of Scotland and Inland Empire. Good weekend and on Monday? Oscars!
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3,105 |
archivos_extraidos/MCE-Corpus-main/Dataset/97
|
Jose Luis
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Brokeback mountain
| 4 | 5 |
muchocine
|
Apart from any dispute shall be conducted in the heart of many people
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By how much scandal for a movie of two gay Cowboys? Is it that we are not so liberal and open as we presume be? I think Yes. On all whereas the so carried and brought film is not so much about homosexuality or sobre as males who are the Cowboys of the American West; It is simply and before all these things, a sincere love story.Ennis and Jack are hired to take care of a huge flock of sheep in a mountain away from any civilization, there in the midst of loneliness, begin an affair which unknowingly runs for his life. A love that will have to hide, knowing that homosexuality in those places is punished even with the death penalty.From the opening scene is given one account is not to tape as "gay", a few simple shots on an also simple scenario accompanied only with a couple of chords of the minimalist but effective music. We have a simple and realistic, tape that does not require large elements to tell their story. The main feature of the film is the economy, in all its aspects, the music, the scenery, costumes, the captures you, everything is simple, at least in appearance. As well as performances, especially that of Heath Ledger as Ennis Del Mar, who goes to a character who speaks little, but with its silences expresses much, breaks, the gestures, everything helps you build a tormented but realistic character, which I believe, will be remembered for a long time. The script, as sober and simple, tells a story that extends for several decades without any qualms, skipping days, months or even years with just a cut, which makes it very easy to follow the story with a rhythm and quite unique detail without many problems. For that when you almost reach the end and the events occur with more calm suffers a bit slow, which at other times of the film was more enjoyable. Ang Lee, all a consummate artist, build an excellent film, that beyond all the alleged dispute will be carried in the heart of many people, both gay and heterosexual regardless? as it should be in all.
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3,106 |
archivos_extraidos/MCE-Corpus-main/Dataset/3168
|
Iñaki Bilbao
|
El Orfanato
| 3 | 5 |
muchocine
|
Good Spanish film genre that is impeccably made from the formal point of view.
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Good movie genre Spanish, which has recently been chosen as a representative to the Oscars in Hollywood. And, although we do not know how are the other two who were on the list that have not released them yet, yes we can say that, at least, is made flawlessly from the formal point of view.It has a very attractive staging, excellent music and photography and a superb montage that gives a considerable dramatic force. To all this we must add, how not, good very worthy performances, highlighting a breathtaking Rueda.Sin Bethlehem not any embargo is positive because the interest declines somewhat towards the middle of the tape, at the very moment in which the character of the enigmatic snowing disappears.Hitherto the film keeps growing tension the Viewer, with moments frankly notables as when the mother note that her son has disappeared from the House in the middle of the party. But as soon as it does an appearance the team that will try to help them come up with the child, begins to decrease, not the interest in knowing how to end all, but the unit completely internal cohexionada that existed until then.Thus we come to an end of the totally credible story and, luckily, closed round in shape, with a beautiful and moving epilogue. It is a success that, through an excellent Assembly which is flailing us the steps that give the characters in the past, can guess and understand what really happened. This makes the apparent ñoño end, its total sense, provided that we admit the spirit of the film.In short, which is frankly fine, although obviously it has been overrated.The seven minutes of applause in the last Cannes International Film Festival gave a huge popularity to the tape, but the have given a category of sublime that it does not deserve. But it is worth the trouble.
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3,107 |
archivos_extraidos/MCE-Corpus-main/Dataset/1526
|
Emilio Calvo de Mora
|
Wicker man
| 2 | 5 |
muchocine
|
Scruffy version of a classic that I do not know: has the (huge) merit of making me want to see the old. It will be a gem. This weakens for many minutes, but in the end, weighing pros and cons, we give an acceptable opinion.
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The wicker man is housed in the modern flood of remakes billed some irrefutable classic beside or on the nostalgia of an icon of the series B. After viewing, ranging from the intrigue to the disbelief in a few minutes, have entered me a huge desire to dig on some store shelves stocked the original work, English, from 1973, filmed by Robin Hardin.Esta second release confirms the idea that, on occasions, we should leave things as they are exceeding all the efforts of these people (Nicholas Cage)(dull as usual, involved included producer) focuses on this curious scribe and other kind readers take the old film and her devoremos to see what went wrong Neil Labute, cultural agitator in this telefilm luxury and erstwhile director of really interesting tapes as chasing Betty and in the company of men.A policeman traumatized by the death of a mother and daughter on the road while he has been able to avoid it suffers a huge depression which is suddenly released when he receives a letter from a former girlfriend who asks that he go to a coastal island in the Pacific (Summerslide) to look for his daughter, who then turns out to be bothIt has disappeared. The island is a community that lives under a Matriarchy magical, subject to a number of laws unrelated to the civilized logic of the police. Pagan rituals and a very precise hierarchy of religious type confuse the police until the final outcome, which has an interest and we are not going to gut canallamente here.The downside of The Wicker man is that the end is predictable from the first minutes. Still feel admiration for that kind of films which entangled the argument to the point that one feels at the end idiot by having not seen before, say. Everything is clear, even if there is an unpublished point (mild, predictable one also for sharper than my own minds) that raises the overall impression a few points. Very meritorious (artistic and evocative of worlds that the movie still looking for them, curiously, not recreating) the location of foreign (an island in the Bay of Vancouver near the border with the United States.)UU. ) and the photography of Paul Sarossy.El role of Ellen Burstyn (the supposed Queen Bee of the community) is laughable as it also is the final scene in which everything starts again, although we (viewers already posts a day of intrigue and the perverse machinery of these mystical Amazon) already know where it leads and with what untapped modes.
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3,108 |
archivos_extraidos/MCE-Corpus-main/Dataset/107
|
Javier
|
Cargo
| 1 | 5 |
muchocine
|
There is no where to take her
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Yesterday, while returning from my breakfast of pseudo official, a snowing stopped me on the street asking me if I wanted to go to the movies free. Obviously said yes, and there we were last night surrounded by people whose average age could fully overcome the sixty years, seeing charge, a strange film (strange by the incomprehensible in its cast, type European co-productions in which there is an actor in each country, for notice who has contributed money and how much money has brought) directed by Clive Gordon (author of documentaries that becomes the long and that has not begun to a very good start) (his career) and written by Paul Laverty, long-time collaborator of Ken Loach in the writing of some of their films (sixteen happy or Carla song) and I guess already had wanted to get rid of both social and committed cinema and go directly to the entertainment pure and simple.The film tells the story of a man (Daniel Brhül) who must escape from an African country where have stolen you all the documentation and where can't get out (why is there? how is it possible to escape so easily the police? who is so stupid to steal a bracelet in an African country?). Therefore sneaks into a gigantic ship of smugglers bound for Marseille, where the person with a group of sailors (avoid jokes, please) whose fans throw overboard all free riders who are on the boat during the journey (but incompresiblemente, to him they adopt and protect: will be that you just throw if you stowaway and black) not be where to start for gutting the film, because there is really no where take it. For starters, the characters are reliable far impossible: sailors (not is if eight or ten, I lost the account) are gross to but not power, and does not add absolutely nothing when they open their mouths to Growl. Say two words without releasing a taco and shout, and the writer puts in his mouth dialogues like these: Captain: "Id to register the cellar and found him!"Sailor 1: "It, that it is not any living bastard" sailor 2: "(a) that hijoputa" sailor ·: "Come on, we will find that bastard" character of the captain, played by Peter Mullan (go disservice that has made him the screenwriter of Ken Loach in recommend it), is of those who speak with metaphors all the time, and has an oscurísimo past that must have been horrible to do the things it does. This (the mystery of something that happened in the past) is what supposedly makes move history; but I can say that no, which is precisely what her sinking. During one hour and a half trying to know what happened on the boat for. Discover at the end that nothing happened. Characters throw people overboard to not pay the fine which imposed it in the port if discover. Do not look for more.Luis Tosar, contribution more visible Spanish acts with the autopilot required in this type of movies. It seems that went there and he was asked to act. Above, if they ask to go made a pig and bearded to the Fray Leopoldo, then the in their sauce. For more inri, bends if same, although well, not it note too, because more talk seems that everytime he opens his mouth he Snarls.The only that is saved is Daniel Brühl, which gets put face of scared during the footage, not sure if by history or see what were perpretando them they surrounding him. In addition there are failures of photography, obvious blurs, inconsistencies in the story, things happen that Yes, and a final scene type "Piety", which has no waste (by sonrojante).Photography is the only thing that seems designed and worked on a tape in which was very easy to get the feeling of claustrophobia that ahogara to the viewer and you would identify with the protagonist (a boat in the middle of the sea full of ins and outs, corridors and rooms), but it seems that only the director of photography was raised this possibility, and the screenwriter and the director are determined to destroy the feelings it provokes.And all this for a film which shows, in its promotional poster, the phrase "Magnificently filmed." "excellent interpretations" (Geoff Gilmore, director of the Sundance Film Festival) and "Inquietante." "rough and feverish as a heartbeat" (La Razón). If so is the level of quality, I do not want to even imagine what is to come if this infumable tape is successful. Let us hope that not.
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3,109 |
archivos_extraidos/MCE-Corpus-main/Dataset/1709
|
JohnTrent
|
300
| 4 | 5 |
muchocine
|
Miller and Snyder has been a film reference to take into account all the fantasy film aficionado. Do not miss the criticonas voices on this 300. Do including? most - critics still anchored in the past...
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To start talking about 300, and for a broad view, we have to mention two key names: Frank Miller and Zack Snyder. Both together on this occasion or separately, have become soon a film reference very to consider for all amateur film in general, but especially to the fantastic. The work of this renowned author of graphic novels consists of very well-known titles like Batman year one, Sin city, Daredevil, the man without fear or the now before us, 300. Not until the second that I quoted, Sin city, Miller when really began to have relevance in the film, was hitherto quite reluctant adaptation of his works. Along with Robert Rodriguez, Miller also sat in the Chair of the director to ensure a faithful adaptation and quality, that do not stain the reputation created by his novel graphics, and thus it was. Do sin city premiered with a moderate commercial success? I guess that DVD will be sold like hotcakes, but Spain we still do not have a decent Edition-, but a legion of fans were very satisfied with the artistic results, as well as the public in general, with greater or less pleased, responded well just measured a very risky formal proposal for the times. After this, do not take to hear rumors about another adaptation of a famous work of Miller, is not one that this 300.Para this time we tried having another director of proven? him despite who gets upset, Robert Rodriguez is - in the fantasy field and with a powerful style that can get the most out of the novel not graphic in its translation into imageswithout losing the magic of the cartoons, as usual? or so they say many fans, since I, as you know those who read me regularly, not follow too the world of the comic - in other so many adaptations. The director chosen for the occasion was the emerging Zack Snyder, accustomed to the field of music videos and that triumphed with the magnificent remake of dawn of the dead, which even surpassed the legendary film by George a. Romero, unusual thing in the world of remakes and more even if we talk about so recognized original movies. Snyder was already confirmed in the first minutes of the dawn of the dead as a director capable of printing a force and a tension to the images that, today, are very few who get in their proposals. And that film was not a bluff, because now, in 300, Zack Snyder has become it to do with very pending suit Miller and without losing respect for the novel graphical or, from what I see, fans.Do already entering himself in the movie, and not in the novel graphic? that have not read, although I'm considering doing so-, we can already say that, after the long wait and high expectations, 300 doesn't disappoint. And it is that, as was the case in no city, visual experience which he proposes is something worth seeing in a good movie theater, with a giant screen and sound quality. Only this, 300 already merits view and recommended. Does now well, entering in other sections, the film barely lose force, being an interesting, entertaining, well performed work together?Does Gerald Butler magnificent, with a few flat brutal late-, mounted in a superb manner? do a comic in motion in structure, but not at the same level as the most strict city-musicada to perfection? customer such metalheads sometimes summits or to epic music that gets bristle you hairs - and chords with an invoice and a work of stunning art direction, making a trip to a modern well known film 300? and not pretentious, or modernete - seeking viewers of many types without becoming a mere blockbuster, and achieves its objectives through the fulfilment of his promises: pure and simple, show as well as innovative and even man character.Of course that does not miss the criticonas voices on this 300. Among them? the most - boring and view critical little wider, still anchored in the past and not innovation, in the progress of the film as art, now that the technology is capable of offering more ways. Do them there will be that, as was the case with no city, not understand? or do not try to understand - the variants involving such works in its conception, and the school that, surely, to create. Do actually there to be cheating, because 300 is a type of film with a public secured: the thousands of fans of the novel graphical or Frank Miller in general, fans to the world of the comic, fans of video games, fantasy fans, fans to the epic film purists unprejudiced? well, and within a few lines speak of thisdo, 300 not exactly noted for its historical accuracy, nor it intends to - and, in turn, the public seeking blockbusters, that has become the great success of what it took for year, grossing $ 160 million in three weeks and moving smoothly towards the 200 to this exercise in style? this speak more widely in the summary in the box office that is arriving.And as I already said, does not intend to seek a history class in 300, not. The film, as the novel graphical? which, I understand, adapted faithfully almost everything - are visions of the battle of the Thermopiles, which, indeed, fought Spartans against the Persians, in clear inferiority of number of the first. Do up here all right, but the section fantastic, even mythological, makes presence very occasionally, and narrative licenses do not know limits, I do not see as something negative, because to my knowledge no one said? Miller neither Snyder nor the respective protagonists - at no time intended to tell something true to historical data, but to create a solid entertainment and a dazzling visual spectacle to serve more as a film of genre as epic in the classic sense of the term. What also seem to emphasize his detractors is the supposedly xenophobic burden of the story, leaving the evil and stereotyped as villains Persians? the Jerje King is seen as an effeminate giant--which already point some 300 that turns into a plea pro Bush (!) in, say, an obvious metaphor of what is currently happening with its foreign policy. Do I, for my part, I think that people have too much free time, while it is true that the Persians do not go well unemployed, some what not to say, I at least do not understand even remotely, that the Arabs are the greatest evil of mankind or similar things, like seeing the passion of Christ was me unlike thinking should be hate all Jews by appearing on the screen? and There was also controversy, even some enlightened even said that that film would create a new extermination of the Jewish people (!)-.
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3,110 |
archivos_extraidos/MCE-Corpus-main/Dataset/858
|
Tito Chinchan
|
Casino Royale
| 2 | 5 |
muchocine
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Little action film about a secret agent that begins in this license to kill. Almost better us hopefully to his version on DVD and her enjoy a rainy day.
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To my the 007 this I never ended like, but thanks to the love of my father by bondiano refinement, I I've swallowed all repeatedly. Yore, viewing of one of their tapes was all a family event because, although it will not liked much, had to recognize that the explosions, the action, the devices used, etc, were only in the movies of the time. Now the topic has changed and any film has a few special effects of scandal, so it costs more than highlight the movies with "licence to kill".The film is a secret agent in the service of the British Government which kills two gentlemen to be double zero. Then in his first mission almost creates an international conflict, so give it a vacation, take advantage to pull the thread and discover a bad taco type who cries blood by an eye. So it gets in a game company to put this man in leather and remove million to international terrorism (if it had given him a shot at the beginning of the movie, there eventually). What do that I think the film? I am glad that ask me this question, friend. The film found it me fairly loose, and that I was expecting little. They have to start (the actor and the character) catch a fairly backed bond, with little refined manners that humanizarán you, but that take away all the glamour. Perhaps is correct for the times they run, but I prefer an anachronistic character. They show the evolution of the character, as it matures during the recording, but in cinema entertainment pure and simple that needless. Then, where is the action? It has three "Hairpin" scenes, some sex and love, eternal and boring game for which we do not understand the poker, some of the humor caracterísitico and I like and little else. The tape no wasted action as expected and has a depth of script that found me not necessary. By the way, the torture scene is a little pathetic.In short, little action film about a secret agent that begins in this license to kill. Almost better us hopefully to his version on DVD and her enjoy a rainy day.
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3,111 |
archivos_extraidos/MCE-Corpus-main/Dataset/1035
|
Ramón Balcells
|
Infiltrados
| 5 | 5 |
muchocine
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A master piece (how van already?) that will certainly remain forever as a classic, and also the best film by Martin Scorsese (do I've been?).
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When one is born to one thing, nothing can change you. Scorsese is back!, aviators, gangs and biopics. He has returned to what it gives better, mafia movies. And he is the director of one of ours was born to be director of film noir. His new work, the departed (The departed, or the dead, unpublished, but much more accurate title), it is an absolute example of film talent and Supreme intelligence. You will perhaps seem that I'm going through and that this, by many movie of Scorsese, no longer a tape of cops and gangsters. Because you are wrong: the departed exceeds the quality of many films of its genre. Why: Scorsese. The film could be termed as a return home. The truth is that I can not express all their virtues in a single sentence: his excellent script leaves you with your mouth open every minute that passes. The pace of the film is thrilling, because that keeps the viewer stuck in seat minute by minute (despite the film lasts two and a half hours!). Its cast is defined with one word: spectacular. And what can I say more? Ah, Yes!: Scorsese, are a true genius. Who would say that the departed is a remake? Because the truth is Yes, although more that a remake is an inspiration (based on the acclaimed trilogy hongkonesa Internal Affairs). I must admit that lately I like less remakes, but of course, there are exceptions, and the tape in question is one of them. Charge of the script is William Monahan, considerably unknown writer, and here, does a masterful job. The fact is that this inspiration has become a real paranoia scorseniana (or as it is called), and to end soon, say that it is a single piece, without a single bug that pretends to be, and get to be so, a work master. Another strong point of the film is its excellent cast. It shine three, or perhaps more, generations of actors. For a band, we have the great Leonardo DiCaprio, who plays his third collaboration with Scorsese after the normalillas Gangs of New York and the Aviator. The American actor, of, more or less, second generation confronts Matt Damon, who also played one of the best roles of his career, making evil mafia infiltrated the police, and finally, within the trio, protagonist, Jack Nicholson, rather than portraying someone in particular, plays himself (excellent as always, of course). The rest of the cast is completed by Mark Wahlberg, the real discovery of the film, with a masterly played role; Martin Sheen, great actor, already veteran, which plays a role that I like very well; Alec Baldwin, an actor who never me has fallen too well, but here makes it Pearl; and finally, the only woman in the team, Vera Farmiga, a great actress that makes real "marbling" (in the other direction). And finally, say that with each actor you feel very, but very identified (look at the anguish of DiCaprio, the apparent naivety of Damon or frivolous and immoral personality of Nicholson). Scorsese has been surrounded by a few real stars.In short, a master piece (how many go, already, this month, right?) that no doubt will remain forever as a classic, and also the best film by Martin Scorsese (do I've been?).
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3,112 |
archivos_extraidos/MCE-Corpus-main/Dataset/3695
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Rafa Ferrer
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Mr Magorium y su tienda mágica
| 3 | 5 |
muchocine
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A sincere plea to return to be children, a look back at maturity, and a simple one, slow and at the same time effective way to translate what, in many other films, do not know how to do it.
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From the first time I had contact with this tape knew that it was going to be different, as well I have seen in my feelings some have children, little adult, but that mix all the concepts that makes that you one as well, continue viewing hoping to more, since that way you have, perhaps for kids of the House explain barely in that is that "go" (I I had to learn when) (my grandfather "was", perhaps the person most good that I've seen in my life.), which is sometimes, too deep for kids and too infant for elders, but with good doses of fantasy and realism (almost 50%) leaves a strange regustillo to complicity in the armchair.It is true that, and say that for adults, is better to sit down to see her leaving prejudice, and is that, in these holiday times, all must be a little more kids, and enjoy sometimes recalling these dates in which being dwarf we lived like crazy with the illusion of gifts (Kings or Santa Claus, as appropriate) and with those toys that made us spend hours killed in the room of our Houseonly, only thus, can we, not only understand references dissolved in the film by its director, but in addition, leaving the film with a tender child smile from ear to ear.There are already many occasions that I usually refer to a "Quasi-theatrical" tape of those that just they have a development, there is much dialogue, and could be made perfectly in the solid structure of a theatre, is, is one of these films, given that until the few special effects for the same stranger on the other hand in a tape where "Magic Shop" is almost one characterthey are a simple and at the same time so beautiful invoice could be developed in this area.A plea to return to be children, a look back at maturity, and a simple, slow and at the same time effective way to translate what, in many other films, do not know how to do it; I like to see that Zach Helm being his films to a cinema that will be the envy of other directors such as Spike Jonze, Michel Gondry and similar. The future is full of young people wanting to give the film a "new-look".I'll take his Score with that melody that even though repetitive gets you in the depths of the "brains" and with the spectacular interpretation of Dustin Hoffman, (I have read who likened its role to Willy Wonda played by Depp), that converts to Mr.Magorium in this juguetero all have known as children and with which we loved to share our small wishes (Sr.Cuadrado in my case).Leaving aside the character played by Hoffman eccentric or is upside down? Natalie Portman this normal in its sauce, restrained, without showing much too much, or not enough, has moments where it seems more immersed in his character and others which in their eyes shows he cares little what happens on screen, then we have to Jason Bateman (this man I has fallen ill always) and lately appears up in the soup (this time voiced by my great friend Luis Posada in the dub), and finally the small Zach Mills which seems the real version of the protagonist of "Monster House".I conclude with a phrase from Hoffman who loved me: your life is an opportunity, it is used.
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3,113 |
archivos_extraidos/MCE-Corpus-main/Dataset/104
|
Iñigo
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No matarás
| 5 | 5 |
muchocine
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What murder is more cruel? The individual or social?
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Unpublished so far in Spain, "No Matarás" is one of the Summit of the Filmography of Kieslowski, both from a qualitative point of view and for being the film which raised the recognition of the director Polish, very limited until the explosion of his "Decalogue". On the occasion of the tenth anniversary of his death (Krzysztof Kieslowski died on 13 March 1996, at 54 years of age, because of multiple heart attacks, which already suffered from long ago), Wanda vision decided to pay homage to the genius through projection and revival, 10 of March, his visceral and sublime masterpiece. Kieslowski, rather than leave us a message ambiguous, as often do so regularly, here tells a crude and direct allegation against the murder. That Yes, contains numerous symbols and metaphorical moments that bind with the rest of the "Decalogue" and his filmography, which not everyone will succeed in capturing. And these intelligent winks are that bring the true magic and worth to the film. Flashes of true genius, knowledgeable about film based on a visual narrative language reaching a metaphysical level. As I said, Kieslowski here offers us his vision about the murder, rejecting it entirely. But not only speaks of the murder from the point of view of the individual, also speaks to us of the moral and physical murder of society and politics. For Kieslowski, life is something that no one has right to snatch. and when I said no one it was, of course, no one. No institution, no complex, any such. Here not only makes ridiculous policy Poland and his death sentence, also left in evidence to the society, to that world that has spawned violence and therefore only gets the same response. But that same society, we, we created the monster of aggressiveness, not known to solve a problem that escapes from the hands. And logically, the easiest way is to kill it. Why be upset? About always the case throughout history: those that have created the monster are unable to control it. To solve the problem, the best way is to put an end to it, strike it. When something disappears, logically, it already does not create problems. But that is not a morally acceptable position. If something you create conflict, what are we doing? We eliminate or put on our part that everything be fixed?"No Matarás" not it asks whether the accused is guilty or not, that in Kieslowski is something quite secondary. What really is questioned is whether someone has the right to decide on the fate of another someone. Why the figure of the "judge" appears frequently in films of Polish director. For Kieslowski, punishment must be carried out so that the accused aware and can be recovered, are you the chance of cure in a society which should be the true defendant. If we impose a punishment by way of revenge, the only thing we get is generate more hatred, throwing us against our main ideology, contradicting ourselves. As the Polish director: "never, since Cain, a punishment did improve anyone or dissuade him to commit a crime". It seems more difficult today, is to give aid to who really needs it. Therefore the simplest way, which suggests that our surroundings, our society, has cracks on all sides are used. Everything has become dangerously inhuman and automated. If the murder who commits Jacek is repulsive, it is also the murder being committed to executing the sentence of the offender (precisely, Kieslowski, to show the brutality, resorts to filming uncut and without spare on details of both crimes, which it is not for nothing usual therein.) (and it does as we reflect, that we realise that an act is so disgusting and dehumanised as the other). No one can decide on the life of anyone, whatever the situation, person or institution. Life is not something with which you can play two cards. As well, and each time is more, creating a virtually unrecoverable society, where the damage is not only made, but it has reached such a level that the murderers and criminals are very difficult to re-educate, due to a succession of laws that did not watch the person inside, you look only at the fact happened, unceremoniously. Many aseverarán that try to offer help sometimes is impossible, many people fails to choose their choices, which are not linked to personality problems, closer to an incorrigible psyche. and that might be an attempt to, occasionally, too naive. In current times, in part, yes it may be true. But the problem comes from much earlier. At any given time not been given the opportunity to fix it, they have not had neither support nor understanding. And gets to a point where by loneliness and lack of sincere help, arrive to lose his head in an uncontrollable manner. But is more than shown (in a very high percentage) this kind of performances (which, of course, become unpredictable once uncontrolled) have an emotional and purely personal basis. Therefore, if things are as they should be, and at the time, could avoid evil so accomplished and propagated as the aggressiveness or the (a good hours sleeves green), so criticized today, penalty of death. And that is what is questioned Piotr, newly licensed attorney who will take the case of Jacek. If, while he was in the cafeteria, in the moment in which Jacek is tied the rope to the hand, had tried to persuade not to do. What would have happened?The lives of the three characters crossing isn't free, that you can see its volitional decisions and chance are interwoven so coming that at the end they end up together. They are close, but they are not looking. they are simply one soul in the world, with no one who can listen to their prayers. Thus, the time in which Jacek is already absolutely uncontrolled comes. Even the character of Barcis (essential symbol throughout the "Decalogue", as it will be the old woman of the container in "The double life of Veronica" and "Three colors"), which crosses the road while working on a play and forced the taxi to stop, manages to stop with its supplicatory look (in an existential moment that close to perfection)(, and may feel in the meat of the Viewer to shake) to the already lost Jacek. He even wants to do so (as you can see, becomes it much worse than the victim at the time of committing brutal crime), but is devoted to a situation with no possible return. For this reason, from a start in the film, we see a Jacek walk alone, with a vacuum existential rather than evident in their walk and their actions, without knowing what to do with his life, and devoid of sense. We see a protagonist caught up by his past, who feel unhappy and guilty for the death of his sister. It has absolutely lost the sense of his life, which is why their subsequent reactions will be entirely illogical and dangerous. Only notes a little light in their existence, which is still able to smile (the only smile that we see Jacek's in the entirety of the footage is when he plays in the cafeteria with a few girls, in a scene full of emotion and sincerity): want to "return" to life to his beloved sister. But hatred towards his own person just destroying it all, and is forced to download it against someone. And for simple reasons of gaming (is not a choice at all) will be the taxi driver. Kieslowski, in this sense, not put on the side of evil. What it does is demonstrate that in our society (and increasingly), is not understanding the "villain" in turn. The simplest is put against him and get rid of him. Polish director we were invited to reflect on the why of such acts, to offer forgiveness, aid and re-education, in a world that has come to a point of absolute, but logical slippage by how events were happening in a society increasingly intolerant and dehumanized. As exquisite metaphor for this, we have the old woman of the pigeons, or your own driver. But most are those people who roam the world without looking to its around, without disturbing more than by his own ego. Thus, in the technical section of the film, we have several very significant details. It is not nothing free, isn't Gallery, it is no pretentiousness, but it requires the use of intelligence by the Viewer. For the majority of the footage, predominates a sepia tone light full of expressiveness, especially in the scenes of foreign (while it is not as sharp or as predominant as in "The double life of Veronica"), in which we can see close-ups of Jacek, trying to reach his soul, to understand the reasons for their actions, and can also glimpse a city, an environment completely rotten, obscured to the maximum of the picture. trying to reflect the more than obvious State of society and its people. One photography exceptional, on the other hand, it tries to focus on numerous objects filled with a very complex symbolic, since the "foreboding" cat of the beginning to the strings, eyes, gaps and silences. Therefore, Jacek, which has only had the love and understanding of two people in their lives, is lost and without direction in the middle of that nothing which is society. These two people would be the (now deceased) sister and lawyer Piotr (remember that, carcelera conversation, Jacek stated you he called him by his name, which really was interested in him), which from the outset wondered about the sense of morality in their work, about the meaning of life and its obligations as a human being. Many will tell you that the case was lost, that it was totally impossible to save him for any lawyer, that his destiny was written. But he knows that if that has become so it is due to a few errors that have not been resolved, human points out that not has attracted attention. A person (whatever that is), and, ultimately, always must be heard and cared for. And that is the greatest error of a policy and a society totally rotten, dehumanised and quite egomaniacal. Thus, Piotr cannot avoid being sunk. and even guilty. We will not see, but the life of Pyotr won't be the same at all. And Jacek, that after his performance will feel even more lost, what will be asked what he has done, how has reached this limit. And the answer is very clear. They have pushed you the circumstances, circumstances created by the same company, the sole culprit (if any). And that society, which has generated these assassins will be the same that want to solve your problem (remember that they have created) fast-track. Sometimes, we even see that Jacek or any other offender, really are not far so anyone else who walks around the world. By pure chance, come to the point of crime, but. and if Jacek had not drunk the day of the death of his sister? The taxi driver would have not died, he would continue with her normal life. and nothing would be the same. By a single decision (which sometimes lasts no more than a second) completely changes the lives of several people. And if the taxi driver had picked up the drunks rather than go in a bad way? I could not pick up Jacek. and the rest I think we would already. A small decision changes the lives of a complete environment. so do not think that anyone is different from anyone. There are occasions where there are to look at the circumstances, not to the facts. It's really incredible to how a volitional decision, a performance not always marked by chance, we can lead to the most serious of the underworld, to the continuing loss of freedom, even though we are not always aware of this. Freedom, once again, not only is called into question, for Kieslowski drawn by the society freedom is not more than a lie. And in the end, we will not find justification for our actions, as it happens to Jacek. We will suffer the intolerance of our environment, we will walk the streets alone, we drive the taxi without knowing where we go (the taxi driver is another in the world, with the same loss of love and understanding than the rest, and Jacek therefore acts in a way so despicable). In the end, we will become victims of our society. Surrounded by rot which, little by little, loses the sense of existence and that, without doubt, is becoming a problem without a solution. Do not look at our spirit is something that is killing us. Thus, there are no murders that can solve, everything is going to lead to a succession of acts without justification. because our life nor has it. The silence over the footage, the lack of communication that has come to suffer Jacek, everything is created in a way that is inviting us to reflect. Kieslowski, as I said, does not justify anything, evil or good, it is simply trying to delve into the human spirit, seek its meaning and make us understand that the values of life increasingly sink more, and that, despite a naivety and a desire for healing, everything is becoming a lot of shit. What society really deserves. What we have broken down, are not willing to fix it. And thus, the snake biting its tail over and over again. until that, finally, will not be tail biting. Kieslowski, thus may to seek something very difficult (to not impossible), but I think that search within ourselves, to understand and improve, is something to which everyone can get. Are we really ready? With the direction we are taking, I doubt it, and long. The death penalty, it is criticized when some also apply it (even if they are not aware of this), it is a creation of society itself, by its inability to cope with the deepening in them. Lack of understanding, lack of listening, the due (solidarity for the Gallery is not acceptable), are issues that, apparently, we are not prepared to deal with. Then, we suffer the consequences. And worst of all is that they believe that balking and amputating they manage to solve the wave of current rot. And laws are still their way. A path that, sooner or later end up being as impassable as a path of nails. Therefore I will try to conclude with a symbol that introduces Kieslowski along all the "Decalogue" and I said lightly. It is the Artur actor Barcis, which, like the old lady of the container, it seeks to establish linkages between the stories and Union among the most crucial moments of these. They are also a kind of person which seeks to represent reality, above all that of the Polish director. You could say that, Barcis, is as a kind of witness, as the conscience of the characters from his despair, and that, after having to take a decision on "Endless" made an appearance over and over again in each of the stories of the protagonists. "Endless" marked the first appearance of the actor, and most importantly, that it is shows in what situation was and that earned him a decision, always curtailing their moral freedom. A from there, the character of Barcis knows the consequences of actions, and is shown to those who go to another vital decision in its existence. Thus, always appears in the Summit moments and the most dangerous from the point of view of volitional, to show their knowledge in this respect. It is a kind of support subtle for them, but really hard to understand. Nobody realizes completely their aid and their presence, as much as observe you. Fail to understand his appearance, as it happens in real life sometimes. Also occurs, in my opinion, as a reflection of the own Kieslowski, as a means of Union that allows us to accept his position, his position in life as an observer of human contradictions. Polish director never said anything about it, but I think Barcis represented his own person. Little more to add. I will simply stop to praising the interpretation of Miroslaw Baka, totally accurate. All the gestures, silences, glances. perfect. Kieslowski and his visual narrative to a level that raya perfection, forcing involving the viewer in all and each one of the planes. The domain owned by Polish director in relation to the film treatment of objects, scenes and people is impressive. Sublime. Picture excellent, as well as loaded with emotion, impressive and melancholy music in charge of the Preisner Companion. a unforgettable, essential and timeless work that demonstrates what is the true cinema and left exposed to the rest of the Billboard, for many resources available. "Do not kill" is oriented towards the "5 Decalogue" Kieslowski created for Poland television in his day based on the ten commandments. As a necessary point of support and understanding of all of the message which Kieslowski was intended to show us, is extremely interesting and forced viewing of the entire series and his filmography. Then we will see the Union ties and direction changes based on personal and human experiences. "Short film or zabijaniu" shows his untouchable mastery when it comes to delve into the human spirit without assert, close circles or judge. The House of Kieslowski always was (and is) the best example of camera aseptic in search of concerns and questions, so that we seek with her answers, if it is that actually there are. It was, along with filmmakers as Bergman, one of the craftsmen who best understood the essence, humanity and spirituality of film as art and way of thought and expression. Kieslowski with his death left the cinema without the eye who best knew how to portray the human soul. And although many not realize it, the film has been very resentful with their loss. I doubt that any work that has touched the subject we are discussing here is has approached the slightest his genius, success and respect. Masterpiece.
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3,114 |
archivos_extraidos/MCE-Corpus-main/Dataset/1748
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Calaf
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300
| 4 | 5 |
muchocine
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Although historically not reproduza with veracity customs, weapons, even more importantly, boasts many accurate data historians, such as the time of the battle or even phrases of combatants. Pure entertainment.
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It is said that Xerxes I, Persian Emperor, to come up with the Spartans, meant that these marcharían to see the size of his army. It took four days and Xerxes, impatient, sent an emissary demanding the Greeks that they paid their weapons immediately to not be annihilated. Leonidas I, King of Sparta, replied: "Come and look for them yourself". Thus began the battle.The last adaptation of the famous battle of Thermopylae, which faithfully follows the style of the eponymous comic book by Frank Miller, who participated in the production of the film I've seen. No doubt there will be detractors and supporters. I am of those who enjoyed it from start to finish, with an entertaining movie where they exist.Although historically not reproduza with veracity customs, weapons, even more importantly, the number of combatants (the 300 Spartans would have added them other 6000 Greek allies) Yes account with many accurate data of the historians, such as the times of the battle or even phrases of combatants, as I have read.Actually can blame you many weaknesses to production: abuse of slowed scenes, history very flat with absolute mastery of (video game) aesthetic on the characters (only the King and the Spartan Queen have some personality), even there will be many who lost interest before both salad of blood and stringing in "the battle of the kebabs" as a friend said.Even so, it is pure entertainment. I liked the use of the descriptions, as if it were accompanied by images of a book. Also the narrative with voiceover, which also provides interesting things. It has humor (derived from the bravado of the Spartans or the surrealist character drag-queen Persian King). And has many notable phrases for the lovers of the harangues of battle type Braveheart or Gladiator: Spartans! Prepare the breakfast and feed you well, because tonight cenaréis in hell!The man is not a being of peace. He has to get it, but not at the expense of their own dignity.
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3,115 |
archivos_extraidos/MCE-Corpus-main/Dataset/2106
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Oscar Díez
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Zodiac
| 4 | 5 |
muchocine
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David Fincher makes a good film excellent manufacturing but not surprising nor dazzles, still leaves a good taste.
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The first thing the viewer should know to choose this film is that little or nothing here relates to the previous tapes of the director, David Fincher, the visual spectacle of the fight club is not seeking, nor leave without Truce to the viewer with a tension in crescendo to discover each new murder in Seven, nor nor pursues an oppressive in the panic room atmosphere. In this film we want to convey the frustration suffered, journalists, police officers and the population of California during the 1970s by the alarm caused by a serial killer, who became one of the most famous and unfinished American criminal history.The second thing that should be noted is that it is an excessively long film, 2 hours and 40 minutes, although they could have been cut in the editing room, are necessary to try to get all the details, evidence and records which are necessary for the explanation of the plot, that is another important aspect to be taken into account, here the viewer has to be attentive to every detail that says that it's a police thriller to the classic American style of that time.That is one of its strengths, the setting of the time is impeccable about 70 years perfectly recreated, as it is the work of acting, featuring Mark Ruffalo and Jake Bonelli, separate deserves mention Robert Downey Jr., an actor who seems to be recovered from their additions though it seems that they going to pigeonhole in roles of precisely addicteddoes not awaken my sympathies but here does a job more than correct.The plot has the years and murders that he committed the serial killer known as Zodiac, and as he could keep in check the police, FBI and CIA, since he used Cryptograms for recognize the authorship of their crimes. It is precisely these Cryptograms that call the attention of the character of Jake Bonelli, who becomes obsessed with the case and is the only one that even spending long years continues investigating and closing the stranglehold on the main suspect of the investigation and almost solving the mystery of the identity of Zodiac. His tenacity in the resolution of the mystery which gives meaning to a life otherwise, submitted to us bland, obsession for solving the mystery is which just destroying the rest of involved in the resolution, except the companion of the Doctor emergency Green, Anthony Edwards and Mark Ruffalo (if someone is bald, his image of recent years is that of a bald?)(do, because putting a pad so impossible that it lays bare the falsity of his character?), that seeing endanger his career and marriage decides to get off the search that would end with the rest.David Fincher makes a good film excellent manufacturing but not surprising nor dazzles, still leaves a good taste. Perhaps their detractors who accuse him of very videoclipero see here a better job of direction, of which for which writes is one of the great directors of the recent film.
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3,116 |
archivos_extraidos/MCE-Corpus-main/Dataset/178
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Victor Trujillo
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Psicosis
| 5 | 5 |
muchocine
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What would he that movie that made my dad, the bravest man in the world, left terrified of the room as a soul that leads the devil?
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My first memory of psychosis is vague, but also shocking. I remember we were veraneando whole family in Almuñecar, and while my grandmother looked after us my parents went to see a movie to the movies of summer. When they arrived I heard my mother say that since then I keep in mind: "Dad has had to leave the film". Often childhood trauma, which would have that film, I thought at the time to make that my dad, the bravest man in the world, leaving poor the room as a soul that leads the devil?When I think of psychosis, also comes me to mind a word of difficult definition: art. And also comes me to mind one of the best definitions that have given me on this word. No matter what or how to be when something arouses in you an emotion, that is art. So the head of my school, I said Amen. And this film fits perfectly in this definition, without a doubt a polished jewel of the orondo and convoluted Hitch, art in its purest form of the master of suspense.Needless to talk about scenes, actors and argument, because of psychosis are well known by all. Just there to encourage everyone who see with clean mind, as those people who in the 1960s went to the cinema to enjoy "another" film by the master, as if they had not spent the years and still believed the virginity and the magic of the seventh art. An art which sank in the dark of the human mind and deep slopes without neglecting the more pure entertainment. That which is now called Hollywood.
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3,117 |
archivos_extraidos/MCE-Corpus-main/Dataset/3635
|
Calaf
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Encantada: La Historia de Giselle
| 2 | 5 |
muchocine
|
Much sugar and little smile. Only for teenagers or for those who have been in New York.
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Delighted, it's a movie of Disney that tells the story of Princess Giselle, expelled from their magical land and musical to the harsh reality of the streets of Manhattan.Es a movie that doesn't fool. In my opinion, the sector that most can enjoy it is ranging from 10 to 14 years. And I dare say that it is not for those who also like adults, since that forms are pure teens.Even to someone like me, able to withstand high doses of cake in the movies, this is me indigestó without remedy with a message too sweet, although worthy of praise: the illusion for the ideal love, or almost.Does the comic part of this romantic film, almost no gag, getting just any smile aislada.¿Por what went to see her didn't me then? For a misleading comment of a radio station, and because a couple of months ago I was in New York, and for me, only to see the kiosk in Columbus Circle where ate breakfast or the sequence of Central Park, makes it worthwhile.Conclusion: If you have a tontorrón day (but long), or you have 13 years, or you've been in New York, you can have a nice time. If you can not, you save without problems
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3,118 |
archivos_extraidos/MCE-Corpus-main/Dataset/2897
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Agente Cooper
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La Jungla 4.0
| 2 | 5 |
muchocine
|
The villain is more gay which their teeth and the roll of hackers always smells already a bit far...
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The roll of hackers smells always already a little far. from the movie Hackers. Then it goes in my class of law, which the teacher thinks that we are all criminals and we create virus and entered the Government systems. Ayy I'm going on the issue, only say that the villain is more gay than their teeth and últimoYippie Ki Yay (Video with care Spoiler)
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3,119 |
archivos_extraidos/MCE-Corpus-main/Dataset/2439
|
Rafa Ferrer
|
Team América
| 3 | 5 |
muchocine
|
Another fun way of doing animation, either with peanuts or puppets.
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I have always loved "South Park" and since that I learned that he was going to make this movie, I was looking forward to seeing that they had occurred to the two "crazy" by its managers, just as they did with this strange tape called "BASEketball".The film is very funny, highlighting how well done they are puppets, which sometimes can remember the "mythical" Thunderbirds, they do however possible that may seem cumbersome, unsuccessfully, (and that is always seen threads) and the little "cajqueria" appearing is tomato and little else.The plot parodies everything that we have been living, weapons of mass destruction, terrorism and many doses of humor and bad baba, that make you go the movie flying. In addition to the "cameos" also in puppets of Michael Moore, Susan Sarandon, Tim Robbins, Sean Penn, Helen Hunt.En final, another fun way to do animation, either with peanuts or puppets.
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3,120 |
archivos_extraidos/MCE-Corpus-main/Dataset/542
|
Daniel Galindo
|
Palindromos
| 3 | 5 |
muchocine
|
You may not like us, but there is the narrative capacity of a complex filmmaker, that puts us on the brink of the abyss to try us.
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The director of the well valued Hapiness achieves its purpose of breaking us schemes with this story about a girl who wants to be a mother in a world full of fierce creatures. It seems easy to recommend a film hanging over paedophilia, conservatism and the desire for freedom in American society. Easier even if in addition it is well shot and has good performances. But in this case costs for one simple reason: Todd Solondz is an director complicated and quite exhibitionist, accustomed to introduce us in labyrinth or dreamy, frames that transform simple and palpable in implicit. And that, if played with the truth unpolished, gives too many headaches. We started by the literary game which consists of treasured words or phrases that read the same left to right, than from right to left. If Julio Medem introduced us to Anne and Otto in the lovers of the Arctic Circle, Solondz trust its protagonist, Aviva, six different actresses and uses the figure of metaphorical and less clear way. Funny? In itself it is the film as a whole: the main quality of the filmmaker is not exactly the indifference. Clarification of the title aside, what did realize us will be the mania of the filmmaker to nervous. So get going direct to the germ of history? the identity of one's self, which remains unalterable - although stopping at poetic corners where we want to convince that we are confused. The tone of fantasy isn't shrouded in bitterness and cruelty-free. As the most accurate fable and adult, he robs life of beautiful things and presents it naked. You may not like us, but there is the narrative capacity of a complex filmmaker, that puts us on the brink of the abyss to try us. The thing is that we like the idea that we threaten and removed the bandage from the eyes in such a way. Then, if we let go, is what proposes Solondz: in life, as much as one strengthen in change, always comes back to the point of origin. But that's another story within the flow of sensations that causes this unclassifiable film.
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3,121 |
archivos_extraidos/MCE-Corpus-main/Dataset/3401
|
José A. Peig
|
La invasión de los Ultracuerpos
| 4 | 5 |
muchocine
|
The best trump card of the film is a remarkable work of mounting and the use of the set to create an unsettling atmosphere from beginning to end.
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The invasion of the body snatchers, signed by Don Siegel (1956), was already a remarkable tale of terror with sociological implications, inspired at any given time of the period of the cold war and the collective neurosis provoked by Senator McCharty. That film was playing with an idea that affects a fear so universal and deep as the fear to lose the soul (or discover that our close beings, are suddenly no longer be themselves), or - using a language free of religious connotations - of losing the humanity. This resolved with few economic resources but great talent in using black and white to emphasize the feeling of paranoia through the play of light and shadows, a great script that could deploy the costumbrista description, through film noir to the reality of the nightmare that leads progressively. The invasion of the ultracuerpos (Philip Kaufman, 1978) is the perfect example of a remake as never unnecessary provided that the potential of a story be given to revisitaciones that allow us to glimpse new nuances to the pace of the times, so accelerated as the colonization of bodies and minds exposed on screen. In this case, Kaufman produces a much more current and generic, allegory for the invasion of the said title and narrated nightmare can be a warning of what today's society might be if the homogenization of styles of life, the loss of values and interfere in a network of relationships, purely productive, impersonal and subject to the clock of the social machinerythey continue gaining momentum. Expressed as well it sounds bombastic, but the truth is that we are talking about an allegory on slavery and unconsciousness in today's society, and the paranoia of humans known victim of itself.Perhaps the prologue, in which we see the extraterrestrial origin of the drama-causing biological organism, it is too explicit and drowns the possibility of speech WINS ambiguity on its route between the approach of a collective neurosis and the on-site Royal of beings from another world. Therefore an unnecessary preface, but the description of how a plant cell group land on Earth and begin to develop on the leaves of trees due to contact with water is filmed with the appropriate Cadence and fixation in detail, predicts subsequent anxiety when the protagonist of the film makes his first appearance to boot an outbreak of the flower coming out of this world while the Kaufman Chamber draws zigzags to recreate the vision of the character (Robert Duvall) that rocks on a swing with some children. Someone monitors. The best trump card of the film is a remarkable work of mounting and the use of the set to create an unsettling atmosphere from beginning to end. The streets and the looks from a background which hint at the control, the violence isolated as an omen of the moral decline. An important detail is the presence of characters acting as automata already from the start, reflection of a society which begins to decline without that hardly anyone is aware of this. We enter a world dominated by the clock and threatened by pollution and the carelessness. Our protagonist (Donald Sutherland), a rude health inspector, shit of rat in the stew of a restaurant, and berates the person responsible to then find a bottle of glass on the windshield of the car. Dehumanization begins at the level of known social order for later manifested into a nightmare of science fiction.Human culture is based largely on our capacity to feel, moved, the sensitive perception of the world and its phenomena introduces us into a spiral of painful contradictions. If we eliminate the sensitivity, we remove our vulnerability. The only goal is to survive and kill all those who resist being mere automata. The visualization of Kaufman builds the crushing loneliness of two people harassed by the new order dehumanizing; the map sequence shows the legs of the two main characters walking down the street to meet other legs moving in the opposite direction, until they notice the identity of two "outsiders". Then again on his steps to begin the ruthless persecution. The social majority conspires inspired by hatred of the different. The same gestural language of ultra bodies focuses on this very effectively: arm extended forward and the finger pointing to the "stranger" at the time that uttering a cry of animality. Dehumanization deep what we can get.Note also the varied assortment of characters, which contributes to a narrative that becomes quite fun despite being a much more pervasive - and dense - allegory than it seems at first view. Special mention to the charisma of Donald Sutherland, the always justified overacting by an actress as Veronica Cartwright and the eccentric pose of Jeff Goldblum. If we put Mr. Spock - Leonard Nimoy can be an insane cocktail, but the case is that it works, and the characterization of the central human block that will fight against the invaders is an essential quality in this film. Concluding, the truth is that it is a great story that can get a lot out: as a horror film, as science fiction film, as sociological reflection (disturbing aspects of human relationships, lost confidence in the human being, the globalization and the end of diversity, towards a society of automatons, etc). However, if we look at the possibilities of its content, nor the version of Siegel and that Kaufman's exploit its full potential. Therefore, being two exemplary works in his field, the invasion of the body snatchers still waiting a master hand that raise to the deserved State of perfection.
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3,122 |
archivos_extraidos/MCE-Corpus-main/Dataset/910
|
Bloody Will
|
El perfume
| 2 | 5 |
muchocine
|
Neither found me month peliculón, nor the hodgepodge of the year. Give an approved.
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I have not lído the book, starting out there. Why is that I lose something basic to see this movie, and it is check if the director, Tom Tykwer, along with the adapter writer, of course, has managed to capture the essence of the novel, or has at least brought diligently. It is well known that when we read a book our imagination flows until create us our own movie, why fuck much to come another to destroy the charm.At least tell you in what has cagado her this film, because comparisons are them going to his readers.The main failure is the silence. Ojito, not is that go me the movies where is cotorrea no sense constantly, though the verbiage of Kevin Smith is my favorite. It was simply intended to move to the screen the hundreds of detailed, thorough and devious descriptions that surely coparán the book, and that translates into images, images with no dialogue, and when there is no dialogue because you can not have them, the thing starts to become tedious. Of course I prefer to a script by Michael Bay, but as a regular reader I am aware of are where I tangando.Everytime the protagonist intends to commit some of their crimes make sure you about ten minutes in total silence, and fuck you supremely know in this silence, the auor of the book you are detailing with an impressive wealth odors, feelings, grief and desires of the protagonist. That there is no co ** put it on screen unless it is with a voice-over, and because we know that that may be worse than the silence.The history you know something. Jean Baptiste Grenouille, born with no body odor, has a gift: the distinguish all the scents of this world. This gift will be to turn the curse of the obsessive quest for the perfect essence. If we need to assess the work, first, of the director Tom Tykwer, I don't have any objections. The director has done best for the story and that is provide it with a photograph and a way to handle the camera you approaching how that scene in the book, has narrated brilliantly so you can guess that it has faithfully reflected the environment requiring adaptation. Perhaps what I am most grateful for is that it is a film of a murderer and see just a drop of blood. The director has not needed and already I think that is quite an achievement, seen in the film current addiction to red blood cells.The actor protagonist, Tom Wishaw, is has been encotrado with difficult ballot of try to transmit the world that Grenouille moves, and at least his eyes do a good job. I think it's an obsessive, because it acts during the film as such, and is well above the other actors in the film, Dustin Hoffman outboard not his best role precisely, and Alan Rickman nor has lines to show it off. The question would be if for those who read the book Jean Baptiste has been the murderer had hoped. I can not say, I hope that you can give light to this issue.I have a friend (that ricky) which says that there are books that are scripts and others who are literature. "Code Da Vinci" is a hyphen. Any of Grisham is a script. "The perfume" should I assume is the latter, because I know that they have omitted me tens of pages of the book, and that gives me a lot of courage. For the rest, or it has seemed the month peliculón, nor the hodgepodge of the year. Give an approved.
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3,123 |
archivos_extraidos/MCE-Corpus-main/Dataset/3014
|
Enrique Colmena
|
Sin reservas
| 1 | 5 |
muchocine
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Scott Hicks confirms that theirs is not precisely this genre in which, as in any other that they populate the film, it takes quite more personality than that demonstrates in this forgettable story clearly dispensable.
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Increasingly, more film is more predictable. Isn't that the "trailers" the almost entire movie, nor the press releases that facilitate the distributors to give you all the keys you have: is that a mere twenty seconds television advertisement tells you exactly what you will see. In this case, a romantic comedy, with prestigious completely overturned a New York restaurant chef in his work, without social or sexual life worthy of the name, their dose of sentimentality with girl unexpectedly resigned, and the intruder will be unsolicited kitchen Assistant, which finally Doña Perfecta (destripamos nothing: in these stories the happy ending he is inherent) is pleased the pajarillas. With much benevolence arguably that the protagonist learns to live while trying to exercise the putative daughter mother (at times daughter of a bitch, is true) and the emerging chef girlfriend, but it would be too grandiloquent, because we really are facing a roma, flat, romantic comedy with little chemistry between the actors, with the Catherine Zeta-Jones that not even imagine as a perfectionist head of kitchen, and that Aaron Eckhart, usually expert in villain roles, here with a beard of two days and hair imitating a coconut, pint of gañán who does not know nor open a tin of canned foods, the less be a chef. The director, Scott Hicks, whose highest level as such was reached because too many years ago with "Shine" (to make known to the great Geoffrey Rush, who later gave both as villain game), confirms that theirs is not precisely this genre in which, as in any other that they populate the film, it takes quite more personality than that demonstrates in this forgettable story clearly dispensable. That Yes: the character of Zeta-Jones begins the film by describing his psychotherapist recipe for its exquisite quail saffron sauce, the end and the Cape a bird batter in some concoction; If, as we say, ends brighten the pajarillas, is that, in addition to exquisite gastronomy, sobrevenidas maternity and unexpected romances, the thing also goes Ornithology "avant la lettre"? Sorry, I've not been able to resist
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3,124 |
archivos_extraidos/MCE-Corpus-main/Dataset/2955
|
Rafa Delgado
|
Spiderman 3
| 3 | 5 |
muchocine
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It has its big bugs, but I appreciate much, at least I have entertained enough. I am minimally satisfied with it, but I can not help the true sweet and sour regustillo that has left me.
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World premiere of 'Spider-Man 3', session golfa (00.15) in the Lauren Viladecans. Despite the time that was, the crowd was considerable. On the floor below, at the entrance of the room, the overcrowding was such that what seemed the entrance of a concert in the Palau Sant Jordi, something that my eyes had ever seen, not least since the boom that was 'The Lord of the Rings'.Definitely, 'Spider-Man 3' raged and had already become a taquillazo. The desire for see it were many, and expectations, very altas.¿Mis expectations? At a midpoint. Throughout the day I had heard all about the movie, and already did not know with what body would come to see her.The fact is that 'Spider-Man 3', I had liked and disappointed in equal parts. The bar was as tall as the Empire State building after the outstanding 'Spider-Man 2', but they have not been able to overcome it. The ingredients were no doubt prepared on the table, but something has failed when it comes to cooking and conceive a succulently satisfying dish.The script and, above all final Assembly (scissors sing la traviata from Plutón), make water: are there really is an argument for a purpose other than the close as the trilogy? Everything is a sequence of sequences like "cause and effect". Now this happens and therefore passes as another, and that is why one has to pass what will happen then. As a soap opera. In fact, 'Spider-Man 3' could be considered a soap opera, as the relationships between the characters (Peter-Mary Jane-Harry) are too present, so much that the appearances of Spider-Man are anecdotal, almost cameos. where does Spider-Man in a film that is specifically entitled 'Spider-Man 3'? Where is this sublime and exquisite planning plot, with a memorable action sequences well vague over the footage, which was 'Spider-Man 2'? In 'Spider-Man 3' sequences of action and wafers that, let us be frank, is what you want to see people (and not) to Mary Jane off-key as one descosida in a Jazz club, you can count on the fingers of one hand SOLA.It disappoints almost null argument and they disappoint the villains, cartoons that Raimi already we had used the first Green Goblin and Doctor Octopus mauve Alfred Molina in the second part. There are important gaps and incomprehensible behaviors with the Sandman (huge and memorable,) on the other hand, the birth of his powers, in a sequence where are only actors images and the beautiful score by Christopher Young, with the new Goblin (if it can be called so) play as they want (now am bad, now good, bad, good, bad, good.), and the symbiote and Venom is the igualicas. And is that they sell us the film as an internal fight between Peter Parker/Spider-Man and its darker side, but said hand, like Venom, is seen and not seen. Twenty minutes of treats and bailecitos (Yes, bailecitos) and au, ahuequen wing.Ultimately, Raimi tries to cover too many things (characters, sub-plots.) in one movie, and it has just saturate itself and without knowing where to throw. Note the pressure suffered by producers director to include with shoehorn venom (it does not look anything,) to the delight of the fans, who were (were) looking forward to. The result. the consequences. This is what you can see on screen: since that the symbiote is Peter Parker (do Spider-Man? does that who is?), that everything happens because Yes (how Earth know Venom to the man of sand O_o?) and too fast. When it comes to the final battle climax, from Peter gets rid of the symbiote (great scene, on the other hand) not have been able to remedy thinking a major "already?".It has its big bugs, but I appreciate much, at least I have entertained enough. I am minimally satisfied with it, but I can not help the true sweet and sour regustillo that has left me: could have come out of 'Spider-Man 3' something really great, possibly one of the best films of superheroes of all time. but not.
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3,125 |
archivos_extraidos/MCE-Corpus-main/Dataset/3009
|
Bloody Will
|
La última legión
| 2 | 5 |
muchocine
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Seems more a movie than a job for the big screen. More palatable if it is accompanied by advertisements between twenty minutes and twenty minutes of footage. A pity.
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A good disastrously missed opportunity. This is the phrase that more often has repeated in my head while watching 'the last Legion'. And is your television director, Doug Lefler, has pulled by land the basic material of luxury he had in his hands: a backbone plot of bells as it is the bestseller of the same name written by Valerio Massimo Manfredi and a workforce of British actors which are the flower and cream of U.K., in their different generations: Colin FirthBen Kingsley, John Hannah, Peter Mullan, Iain Glen or Thomas Sangster.Si above has a very exotic touch as the presence of one of the Queens of Bollywood, Aishwarya Bai, of impressive beauty, this film did not have to have disappointed anyone. But it has disappointed, at least to me, for several reasons: first, the adaptation of the script is very poor. Manfredi continues in his book a fascinating trajectory of the last stirrings of the Roman Empire, imaginatively linking this period with the start of the do legends? Arthurian, whose maximum stronghold is Excalibur, and using as vehicle mediator the story of the abduction of the young (Sangster), the new Western Emperor, Romulus by barbarian troops. Come to her rescue a group of Roman soldiers led by Commander Aurelian (Firth), and accompanied by the Druid Ambrosinus (Kingsley) and the beautiful sights (Bai), Warrior of the Byzantine army Allied of Rome, to try to release first to Romulus in his confinement on the island of Capri and then resist the embargo in the distant lands of Britania.Sin, Doug Lefler makes a slow and boring by the original story tourwith a plot mounted catch-up that resembles scraps of the inspiring work of Valerio Massino saccade and forward enough to follow the thread. On the other hand, the lack of attention to the subplot about the appearance of the mythical sword of King Arthur, their minimal relevance to the plot and the accelerated outcome that gives rise to his legend makes the promotional phrase of 'the true story of Excalibur' a joke.Secondly, the staging of the film flirts dangerously with the series B. Exceptuando some shots of fight with weapons and hand-to-hand alleged intentions of big production reflected half, the rest of the scenes are clumsily developed so missed locations, in such small studies and with very limited visual means and without frills that take away the film this epic character that should have a minimum success. Lies in that regard light years of great films which have left their mark in the genre, said is 'Troy' or 'Gladiator', and even the correct 'King Arthur', talking about our most recent film, and 'Spartacus' or 'Ben-Hur', in the classics, to give some examples. Gives the impression that the budget which was has been directed mostly to other seemingly more important meneteres, as it is the cast. But even with these.And this is the third reason for the disappointment, an interpretation of the actors of unacceptably low profile. It is not conceivable that as respected interpreters in the UK, with an indisputable international relevance, express their emotions with so 'little blood', figuratively speaking. The feeling they give is have been bucket without caring the project at all.Colin Firth forgets that he is in a passionate film and remains the same of sosón, even in scenes more 'hot' with Aishwayra Bai, the motif of the film which brings a physicist, in all aspects, spectacular.The boy Thomas Sangster still has shooting to have a much more remarkable presence that has, and will also do need to lose that air of repellent caused antipathy. John Hannah, Peter Mulan and Iain Glen are those who have benefited more bucket, not only because of its limited presence in house but also by its infíma and repeatable acting contribution in the minutes of glory. And finally, the most bloody, Ben Kingsley is a shadow of that actor that has captivated us in 'Gandhi' or 'Schindler's list'. In some scenes it verges on the ridiculous, aided by a characterization of primary school little theater.In short, 'The last Legion' looks more like a movie than a job for the big screen. More palatable if it is accompanied by advertisements between twenty minutes and twenty minutes of footage. A pity.
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3,126 |
archivos_extraidos/MCE-Corpus-main/Dataset/3117
|
Ana Belén Pacheco
|
La Joven Jane Austen
| 3 | 5 |
muchocine
|
I must admit that the young Jane Austen I liked very much. And I'm going to mark a single person responsible for this unusual fact: James McAvoy. Otherwise it is romantic and irregular portrait designed for fans of the genre who worship era dresses.
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The title in English, the young Jane Austen, is fairly explanatory on what we find in this film although it is redundant since the famed writer of romance novels died aged just 42. I confess that I have experienced some reluctance when watching this film because there are several factors that play against him. The biopics of writers, and more INRI firstly the Victorian or English of time in general tend to be quite boring and extremely long. Secondly the disappointing Miss Potter still retumbaba in my head with an echo which saw possibly veiled my perspective. Also look at Anne Hathaway, is American and despite having demonstrated that the American actresses are cannon fodder to demonstrate his interpretative spirit posing as English (really the Julia Roberts in Notting Hill) is something that always gives me a bit of respect above all coming from the hands of a Princess by surprise. Then is the factor that although I do not consider myself a faithful follower of the work it of Jane Austen if me I have read five of the six works he wrote so the mixture of his fiction with his life could be me highly repetitive. And finally the fact to turn Jane Austen in an own characters out of a cocktail of pride and prejudice and sense and sensibility (as it is) might be too much for my fragile mind bearing in mind both the novels and the film and television adaptations.After all these "buts" I sing a Mea Culpa and recognize that the young Jane Austen I liked very much. And I'm going to mark a single person responsible for this unusual fact: James McAvoy. I've been watching from his two latest films this Scottish actor still unknown to the general public is one of the strengths of any genre cinema names. An all-terrain that the same is a satyr repented in Narnia as it is confronted with a dictatorial regime in South Africa. It is risky to accept after several committed roles of "infamous galán" seed of Mr Darcy and out not just unscathed but conquer any female who is in the room. And well, it's nice to not see Hugh Grant, Colin Firth and Rupert Everest sausages back in the pants of the time.Unquestionably, I advocate that the young Jane Austen is a film made for women. I not contempt to the masculine gender whose passion for Georgian arranged marriages can be as wide as my own but both the rhythm of the narration and point of view of the same is eminently feminine which sometimes can become terribly extensive (such that two hours duration) or sticky because in reality it is not a biopic in the strict sense but a love story in times where women did not have a position ample in order to allow a little paid marriage and say that he could earn a living with his pen where was almost blasphemous. The story does not stop in the role of worker and made women and focuses more on the life of a woman who seems taken from the stories of the era with their marital intrigue and leaving the irony for fiction. In short, romantic and irregular portrait designed for fans of the genre who worship era dresses.
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3,127 |
archivos_extraidos/MCE-Corpus-main/Dataset/1985
|
Ramón Balcells
|
Spiderman 3
| 3 | 5 |
muchocine
|
We have a film one hundred by hundred popcorn maker, without hardly personal añadimientos, with doses of action at raduales, a couple of really painful scenes and it relies on a really light script.
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"We all need help ever," says Mary Jane Watson Peter Parker in one of the multiple discussions closer to a saga that the most expensive film in history. The sentence, perhaps the best of the film, concludes: "? inclsuo Spider-man". So yes, even Spider-man (Peter Parker) and even own Yes, Spider-man 3 movie. We are certainly some, before a film palomitero one hundred per cent, without añadimientos just personal (perhaps saving the history of Sandman, the best of the movie), with doses of action at raduales, a couple of really painful scenes, which feels embarrassed, and based on a really light script.All the bad welcome that took the film once you surprised is preestrenó, even to me, but is that they were right. Yes, some her admired for his spectacular (no doubt, that Yes), but others, the more ready, her KTP not treat well the characters and lack the magic of two previous deliveries, which for me are much better than this. Spider - Man 3 not only lacks magic, but also maintains. A film can be designed completely to the public (in this case, to a rather silly public), but man, need to know what is done, and more, with Sam Raimi. Here, more than doomed to a certain audience, youth theory, is made without personality, with economic intentions, above all. The action scenes, for example, are not as of the previous deliveries, with that touch of intensity high, tension one hundred per cent and intrigue. Here the emotion is not so great. Yes, all of them are very well done (except the final battle, with a lousy editing and repeat, without a minimum of maintains and intrigue). I would stress above all the brief but interesting fight between Spider-man and Sandman in the truck, what is perhaps the best made and the most intriguing. And better not to mention the small battle have Harry Osborne and Peter Parker in the first House. I that call you the sum of Los Angeles of Charlie more Mr. & Mrs. Smith, with exemplary music, of course. So we could say that the third part of this series, hope that finalized up to this release, there is no point on many occasions and magic is virtually non-existent.The screenplay for Spider-man 3 would be envious. I mean that it would have to be envy of others. Actually, the number of sequences which could have left for the deleted scenes of the dvd are many, not to mention that with them feels embarrassed. For the former, highlighting many of the dialogues between Peter and Mary Jane left over completely, by not say that threat of Harry Mary Jane, to that extent sorry, because it makes no sense. Also highlight the phase transformation of Spider-man in a bad and rebellious, man because of the poison that is goes to the body. In my opinion, this idea of the change of personality, good man and bad man, her was, at first, original and innovative. But it is when you see the film you see there that the transformation is painful, totally painful. It could have been care much more personal change of Peter Parker, also the physical (to what comes this hairstyle to the rebellious?), because many (Yes, many) dances which gives us during the movie (especially on the street, because even I am laughing of pathos that results) are completely dispensable. That Yes, the black suit is great. Also talk about the lack of sense that has the anger that you are corroded journalist Eddie Brock then formulate the alter-ego of Venom. I, at least, would like not to cold-blooded murdering the man who I left without work and kissed my girlfriend, or is there need to be very crazy. Well, in any case I would have read the comic before I say what I say. In short, that if it would have worked and cared more aesthetics and personality of Mr Parker had been, Spider-man 3, a really good film, with its other small errors, but that Yes.And to not be so critical this criticism, I speak on the points in favour that I find the Raimi film. It is true that has some gags really successful and funny, as the French restaurant, very well coordinated and nothing cansino. The love triangle, despite being affected by too many unnecessary turns, remains attractive. I believe that the end should have been another, more than anything because SPOLIER that slow and romantic dance which is melting black scene not paste or glue in a Spider-man movie. Because it could have been stopped nonsense and end as they ended the previous two, with the man spider flying happy through the streets of New York. END OF THE SPOLIER. But as I say, the love story between Parker and Watson affected by the friend of both, Harry Osborne, does not become too heavy, although it isn't anything original. Another aspect to be highlighted is the story of Sandman. I will not tell, because it makes more grace follow her watching the movie, but yes I will comment on that you except the formation of alter-ego, everything has its meaning and is, its history, the most attractive, credible and dramatic. And not to forget the last dialogue maintained with Peter Parker, with a few very well introduced flash-backs.Cast it would highlight nothing more and nothing less than to Thomas Haden Church, in the role of the above-mentioned earlier Sandman, alter-ego of Flint Marko. Within the extensive group of performers, he is the most believed his role and that, to be brief, makes it better, much better. It is also necessary to stress the other new addition Star: Bryce Dallas Howard. She plays Gwen Stacy, the girlfriend of Eddie Brok and the daughter of a police captain. Her role is so much untapped and gotten a little with a shoehorn, but along with the Sandman, is the most interesting and fresh, as it is which breaks the relationship of the protagonists. Rosemary Harris neither does anything wrong, although it was already expected. Their interventions are more sense give the love story between Peter and Mary Jane, like Kirsten Dunst, which is more than correct in his role, very confusing (personally) on several occasions. And to end the good, highlight the interventions by j. k. Simmons and James Cronwell wasted two veteran actors that make his brief role, as best they can. Tobey Maguire is a case apart. Has it been the alien black which has become a very bad actor? Or what the budget has made him move from his charisma and act without dash and then collect? I do not know why will be, but it is clear that his interpretation is pathetic. And not only by the dances, but by all false expressions that transmits, the face of pasmarote throughout the film. For me, only okay when it takes place costume. It's really incredible that an actor like him, who had given us good performances in the two previous installments, now, don't know why, has morphed into this. So as you can see, the cast itself isn't at all bad, but what in theory is the most important thing, the protagonist, is really painful.As you would expect, the digital effects are of excellent quality. To see the transformation in Flint Marko Sandman in this kind of experiment and their subsequent attacks or the final battle, already we can only clear that money has been much greater than in your script. Although this already no one could doubt, so I I contendré with respect to the comments of each of the scenes of action, which, as I have said before, are all spectacular, but without too much emotion. As always, the picture is correct, no personality (multiple planes, just highlight on Spider-man dressed in black at the top of the city climbing up the crystals of a building). The Assembly by another band is simple, to become, at times, quite bad (sometimes resembles the of the television series, with those fades to black between). And music, this time not composed by Danny Elfman, but Christopher Young, still in his score for film commercial, correct line and with many hisses. That Yes, the main theme of the first composer is still, which most attracts.In short, a film irregular, rather disappointing, although incredibly spectacular in the action scenes, despite not having the same excitement and intrigue that the of the first and second installment. Spider-man 3 is what it is, a palomitero blockbuster without the intention of being a cult film or anything like that, which could have been reduced its lengthy duration (156 minutes). Boring is not, but there are plenty amount of scenes, some of them painful. I recommend it to the unconditional fans of Spider-man, which they are interested, rather than as film, in its contents regarding the comics, which in this case is well managed. Those seeking the magic of the first two deliveries, which is not ilusionen with this third. It will disappoint them.
|
3,128 |
archivos_extraidos/MCE-Corpus-main/Dataset/2030
|
Silvia Giner
|
El niño de barro
| 3 | 5 |
muchocine
|
It is not a horror film as perhaps he has claimed at some point but rather of suspense and drama. This is the 4th film of Algora and I believe that it is the most effective of all.
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Jorge Algora from Argentina brings us a story that chronicles the events that happened on the "Petiso Orejón" reached become a legend of terror among children as here could be "The coconut" or "The man in the sack".Inspired in real fact, we enter in Buenos Aires in 1912 when a series of brutal murders children is prpopaga by the city. Mateo (Juan Ciancio), a 10-year-old boy, has a strange quality: sometimes your mind leads him to a dark place of the memory where is witness to the murders.It is not a horror film as perhaps he has claimed at some point but rather of suspense and drama. This is the 4th film of Algora and I think that it is the most effective of all, although I think that some stuff has been left in the dark.For example, if we look at the poster of the film there are two things that call attention powerfully a "Child of clay" is title of the film and the other is the motto "the evil has 10 years", both may resemble a sinsetido simplevista, but it has its explanation (see my story on the press pass), although for my has been rather a poor marketing strategy.Another thing to keep in mind is the more obvious like the character of Maribel Verdú that played in "El laberinto del fauno" Although sicneramente for me are identical and she insists that they are completely different. We must also take into account that the interpretation of the Argentine cast is incredibly good, but my there is something of this film that does not fit me and it does not end by believe me history and pisses me off because I recognize that the work of Chete Lera, Daniel Freire (aka the penis of Lucia and sex) and the indescribably beautiful Juan Ciancio is muyyy goodis perhaps the contrast with Maribel which I don't like. Eye that Maribel itself always liked, but perhaps in this role, it is something contained, lacks it claw.For me there is a great film, but a film you must see (premiered in cinemas on May 18). What is clear is that for Jorge Algora is an important jump and perhaps this is one contribution to eliminate chronic boredom that suffers the Spanish film.
|
3,129 |
archivos_extraidos/MCE-Corpus-main/Dataset/3514
|
Silvia Giner
|
Paris je t'aime
| 4 | 5 |
muchocine
|
Film composed of small great films (shorts) that converge in a result absolutely brilliant and recommended for all those who are enamored with all possible forms of love to imagine.
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Love life, love people that fell in love with people and people who can not fall in love from the love of their children, of memories, of fantasy, strange, impossible, in a landscape of a city. Paris Je t'aime are numerous stories, each one of them directed by different directors of renown as Alfonso Cuaron and with a cast of actors that goes from unknown to commercial as Natalie Portman.Las stories in general are endearing and although there are some boring is not the tonic for all, it is impossible to get bored seeing this kind of betting to the "Manuale d'amore" already that if not enjoy seeing some of the storiesinsurance can coincide with another.I liked very much the merger that managers has been achieved with the history that they had that one extending all they in famous tourist places in Paris, a feat of great beauty, no doubt. This accompanied by changes of rhythm and narrative of each director makes that we are first and foremost a range of forms, colors and even smells.Film composed of small great films (shorts) that converge in a result absolutely brilliant and recommended for all those who are enamored with all possible forms of love to imagine.
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3,130 |
archivos_extraidos/MCE-Corpus-main/Dataset/883
|
Oscar Cantero
|
Déjà Vu
| 2 | 5 |
muchocine
|
Tony Scott seems that it has lost the few film foundations had and Denzel Wasghington has forgotten that a day was an actor. To forget.
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Preceded by a monstrous campaign and only one week after its official premiere in United States, reach the Spanish screens a multimillion-dollar production whose main objective is to restore and revitalize the decadent careers of its director Tony Scott and its main protagonist, Denzel Washington. But as the talent, fortunately, there is no money to fill, has resulted in a full of absurd mediocrity and at times bordering ridicule. And it is that after a promising beginning, the film will deflate and slowing down until be tired. For those who do not know, déjà vu is a French expression that describes the feeling of having an experience before something new; i.e., experience the feeling that what is already happening at any given moment happened. And this is exactly what happens to a detective and what applies to their inquiries. Playing with a theme that American society is hipersensibilizada, as it is terrorism, this film has difficult framing because it is halfway between science fiction, drama, thriller, suspense and the peripatetic comedy. Tony Scott seems that it has lost the few film foundations had and Denzel Wasghington has forgotten that a day was an actor. It is possible that it is a box office success, and promotion expenditures have been brutal, but this will only be enough for the producers, do not see beyond the so-called vile metal. A new disappointment of Hollywood; and they are a few this year. To forget.
|
3,131 |
archivos_extraidos/MCE-Corpus-main/Dataset/2103
|
Ramón Besonias
|
Apocalypto
| 3 | 5 |
muchocine
|
Gibson joined this list with dignity and signed a film fresh, direct, without modesty, which enjoy equal that it suggests. Some serve the critical academic about its historicity, nor the attacks of indecent assault against their scenes of explicit violence.
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The history of the celluloid has given us many films with greater or lesser success, and more or less depth, have addressed the always appetizing affair of the origins, nature and the decline of our civilization. From vindictive films of the goodness of life in captivity without the poison spread of voracious civilizing machinery, as the great emerald jungle (Boorman), the coast of mosquitoes (Weir) or the adventures of Jeremiah Johnson (Pollack), the buttery dancing with wolves or the militant gorillas in the mist, through anthropological studies as the little Savage (Truffaut)Nanook the Eskimo (Flaherty), or that gem called Dersu Uzala (Kurosawa) or films on a unfathomable and devouring nature, which just devouring who try to conquer it (Aguirre, the wrath of God). Not to mention fascinating works on potential natural destroyer of the human being (Apocalypse Now).We also have infinite eschatologies that premonizan bad which will go you to the world if follows depleting natural resources (the day of morning), investigating topics that belong only God or mother nature (Frankenstein, 12 monkeys), or developing artificial intelligence capable of replacing us or even to use as energy (Terminator, Matrix). And if we get tip we will get even some Disney products praising the rousseaunianas greatness of natural, free and carefree life (the book of the forest, Robin Hood, Tarzan), or its approaching dangers (Bambi, the Lion King, Finding Nemo).Gibson joined this list with dignity and signed a film fresh, direct, without modesty, which enjoy equal that it suggests. Some serve the critical academic about its historicity, nor the attacks of indecent assault against their scenes of explicit violence. Gibson has been a wisely seasoned film, with critics of the spicy forgiveness. Anyone who wants to see a fast-paced staging (those final thirty minutes of persecution are as beautiful as exciting). They made me remember much the end of the Emerald forest.Also thank an unknown cast and an original version (in Yucatec Maya language, still spoken in the Yucatán Peninsula) that situate us without crutches in the story you want to tell.On the other hand, who have fun drawing tip to a script with modesty and without fanfare anthropological explores the paradoxes of all civilization, Apocalypto have quite a few cafés of debate and discussion. To my opinion, Gibson? always concerned to preserve the individualistic values of build all American hero (Braveheat, the passion of Christ, when we were soldiers), or stressing the need to protect the family as a bulwark of the whole community (rescue, the Patriot, signals) does not end up choking the pursuit of capitalist achievement or fears that situate abroad (neighboring tribes) as the target of their hatred - he presents the epic of a survivor of this world trip civilized is say, immoral, dominant and complacent - in pursuit of protecting his wife and children of his egotists claws. Happiness is always somewhere else, outside of any Empire, maya or Spanish (more fierce if possible, it will not only attempt to dominate bodies but also souls to save from the eternal hell), but always in family. No wonder the end proposed by Gibson, nothing illogical.As who is not inquire constantly in family relations as a catalyst of the nature of their societies. Thus the Mayan father has two sons who instills fortress with heavy-handed (as told Hobbes, or Machiavelli, societies were founded in fear), front to the protagonist, whose father finds that his son nor topic, but measured against each other as potential enemies, and Yes knowing inside on what that is concerned. As you would say Yoda, fear leads to hatred and hatred of the dark side of the force. Things in the manual of basic psychology made in USA.Why Gibson is concerned in the initial half-hour show us the simple but effective happiness lives all small community in a rural environment (in this case, tropical), occupied in household chores and innocent laughter. Including in the batch to the typical absorbent mother-in-law. This community does not take as its own giving Earth, unable to share it with others; why the head of the clan will allow visiting tribe established there without hostility. Gibson here is American to the core. The values of the old settler? it is already known from westerns - they are love to his family and to the land (if is that there is a difference between the two). In fact, Gibson is the sixth in a family of eleven children, and he currently has seven zagales.
|
3,132 |
archivos_extraidos/MCE-Corpus-main/Dataset/4332
|
Iñaki Bilbao
|
Monstruoso
| 3 | 5 |
muchocine
|
Curious blend of romantic film, in the style of "boy finds girl, loses and tries to find to make peace and live happily", and genuine science fiction film / fantasy, banked fully towards the genre of disasters.
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Curious blend of romantic film, in the style of "boy finds girl, loses and tries to find to make peace and live happily", and genuine science fiction film / fantasy, banked fully towards the genre of disasters.As idea is not bad. The famous and frankly nice television producer J.J. Abrahams, out of the manga, not without much risk by dubious company, a tape that has something of the original and is not regularly in this type of product, although for a time this part really starts to spread (see the Spanish "REC", much better)(incidentally).However happens, well, not true broadly, but what in my regard, the company is turning with the passage of the minutes, somewhat repetitive and charisma.Not much, lasts less than 90 minutes, but it becomes something long, although it never bored or miss the interest, at least as to know how Earth will end the shebang.And that, that of seeing everything through a camera in hand, with continuous movements of camera, with the passage of the minutes become something sea, it is a double-edged weapon. On the one hand gives a greater patina of credibility, of realism, and, sometimes, a documentary halo which gives strength. This happens, for example, at the beginning, with the scene of the head of the statue of liberty falling suddenly on the streets of Manhattan and the huge polvaredas that will cause and leave the streets you miss a few foxes where poorly populate the atónicas people of the place. Achieved scenes, that put the willies and make good hope.However, I think honestly that will gradually losing strength as the film progresses. Fail to maintain interest in the same way that the beginning and the originality becomes conventionalism.The final, against what perhaps could be expected, it is different from what one might expect in a movie of this kind. Not just trite way, so in this case I do not know if it is a good thing or not. The truth is that I get equal. No, I spent the time of agreement, but has not convinced me.The best, without doubt, the extraordinary music of the opening credits end, with a powerful, superb orchestration. By the way, who stayed to listen to?.
|
3,133 |
archivos_extraidos/MCE-Corpus-main/Dataset/1726
|
Nüx
|
Apocalypto
| 5 | 5 |
muchocine
|
"The Odyssey" maya version. An excellent film, technically superb, narrativamente as simple as perfect and aesthetically beautiful. Again, and despite the criticism, chapeau, Gibson.
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As you would expect from a work of Gibson, the emotion is the sustaining element of the film, being built, from this, a splendid narration.He returned to become manifest the taste by the simplicity argument, no puzzles or unexpected twists, but why not leaving a maximum interest in the Viewer. They are two hours and fourth film, however, giving the impression of eating in a sigh, this is the intensity and power attractive of the same.Games of lights, fleeting levels, impossible angles and stunning crane movements occur to put us squarely in a world where the life of an individual depends precisely on that, its speed and its expertise.As if Odysseus they were, our protagonist takes (much to his regret, that Yes) a journey of survival and improvement, where the fate, boldness and, above all, the desire to return with his family, will be your best asset.Actors are incredibly compelling, looking like, moreover, have been taken directly from a real populated maya. Their gazes, passionate, reckless and defiant, are exchanged constantly, getting so involved in this risky game that one can only be winner.As moving at the beginning of the film, a civilization cannot be destroyed if not destroyed before herself. This is precisely what reflects the film, the self-destruction of a people, of a culture, a way of life; do whose final executioners come, slowly but inexorably, through the ponto.¿Sangre? Yes, many. Dead? Yes, many. Savagery? Yes, much. Film gore? At all.In short, an excellent film, technically superb, narrativamente as simple as perfect and aesthetically beautiful. Again, and despite the criticism, chapeau, Gibson.
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3,134 |
archivos_extraidos/MCE-Corpus-main/Dataset/3897
|
Ana Belén Pacheco
|
Negra Navidad
| 1 | 5 |
muchocine
|
My advice is that you wait for her to draw on DVD and her you rent in full Christmas orgy next year to see with friends accompanied by large doses of alcohol and organize a baton to guess who dies.
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Clear, if we say that it is normal that when a murderous psychopath enters your brotherhood and goes killing all the world is reasonable to leave the House by legs and call the police then we would have been without film in five minutes.Black Christmas is a funny comedy, no, no I was wrong movie, if taken to laughter from the beginning is possible to spend an hour and a half with continuous laughter product of the pathetic situations that you occur to this writer that will surely be at this stage empachado of eggnog. A sadistic patient, brother of the type of Sin City, or at the least as yellow like him, killed his entire family after spending half a lifetime locked in his house which is now a massive University student residence in the 1980s. Yupi! We will do so in the 1970s and this would have been the igualicas of the genus of serie B, but in 2000 we intend to put money into the film have more than substance why we lose this show of painful deaths. My advice is that you expect her to draw on DVD and her you rent in full Christmas orgy next year to see with friends that rant on Christmas accompanied by large doses of alcohol, try to organize a club for guess who dies before and who survives and if you not laugh is that you do not have blood in the veins. If you would like to take seriously, then nor her see.
|
3,135 |
archivos_extraidos/MCE-Corpus-main/Dataset/1523
|
Daniel Galindo
|
Paris je t'aime
| 3 | 5 |
muchocine
|
Beautiful postcards are confused with leaflets without value in the mailbox of the film memory. They are the consequences of meeting a challenge so attractive as heterogeneous.
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Beautiful postcards are confused with leaflets without value in the mailbox of the film memory. They are the consequences of meeting a challenge so attractive as heterogeneous.The challenge, surpassed by far was to bring together two dozen filmmakers and convince them that each one had to shoot a short story? 5 minutes?, with Paris as the background. The theme was free, it was enough to have relationship with love in any of its forms: desire, passion, selfishness, loss, memory, etc. A contribution to further glorify if the most romantic city in the world, with permission of Venecia.Por should be what we see, those responsible for whether the pearls were short, and that the collective work reaches the 120 minutes. In this drawer find everything from elaborate stories, such as those who sign the Cohen brothers unsurpassed Steve Buscemi - and Tom Tyker - Natalie Portman again in State of grace - until some that another joke camouflaged as cinematic experiment. The end result is more than acceptable and even with the most tasteless episodes managed to entertain us. To stay with good taste after taste all the candies of the Pack? I already say that some aftertaste is us antojará stranger than others-, not go into issues of marketing and originality, because this city, like New York, has inspired this type of containers. An example with sequel is seen Paris by. premiered in 1964 and more than one you will remember to 40 filmmakers involved in Lumière and company, although the link is different.When you leave the film will pass through his mind the faces of Juliette Binoche, Elijah Wood, Nick Nolte, Sergio Castellito, Fanny Ardant, Maggie Gyllenhaal. Also for those of others to which we have no name, such as the occasional tourist who writes an essay on the Paris that has been. Memory is selective, and only some pieces, survive to oblivion as the epilogue of Alexander Payne, loaded with irony, Isabel Coixet, Fable fall better or worse, but it is an excellent storyteller, and the signed by Walter Salles, the more moving parts.By the way, that the "pieces" not him carried error: is not a puzzle because there is to eat the coconut, just enjoy, muddle of scents contained in small jars.
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3,136 |
archivos_extraidos/MCE-Corpus-main/Dataset/1246
|
Yojimbo
|
En tierra de hombres
| 4 | 5 |
muchocine
|
Niki Caro gives a Campion to all those that make portraits victimhood and simplistic.
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When you see that the subject of a film like this can be summarized in "the struggle of a woman" by their dignity in a male-dominated environment, many believe, and I the first, which we find with insults to the intelligence and film as the Te doy mis ojos of Icíar Bollain, who does not hesitate to explain the inspiration of his films.However, Niki Caro, this film gives a Campion to all and all those that do portraits victimhood and simplistic situations which reflects this film. In the mid 1980s, a woman comes to work in a few mines of Wisconsin. But they are not mine to be found in Asturias, underground, in which also worked women and whose conditions are tougher than the film. The case is that Josie M'aimes (Charlize Theron), who runs away to her parents escape a husband who mistreats her, is not the first woman who comes to work at the mine where the number of men is higher. Her friend Glory (Frances McDormand), because it is in the trade union representing the women, warns him how hard this job can be.As soon as Josie enters there, is not only not supported by his father (Richard Jenkins) who also works there, but begins to suffer abuse and harassment of fellow and that other classmates see it as something normal and accepted. However Josie, with a reputation for "lightweight Helmets" girl and young mother of two kids, will try to fight to bring anyone back to do the impossible job with humiliation. You will not only find with male chauvinist a good part of the mine workers prejudices, but you will also see how fellow hide head to that complaint, fearing that his works run danger.There is no explicit beatings, not physical violence. Yes, that we usually see in news and scavengers programs of "journalists" garbage. Here the abuses are more "realistic" and credible. And I assure you that they caused in my (and surely more than one) a rage turned on that in any sequence of beating of Te I my eyes, Troglodyte (this Caveman is the only thing that was missing the title, but insurance that is not recommended).Decent against fair against miserable bastards daring against cowards. That is the subject of the film. The good pulse of the Director, a beautifully chosen and superbly directed cast (look at the sequence of just 2 minutes from Richard Jenkins before the members of the Union), shocking characters and musical moments used with great tino (Santaolalla in his line and a new song by Bob Dylan that you can hear in Radio Katana) are the ingredients to highlight a good movie that I think is being underestimated.I at least enjoyed her and her enjoy when it comes out on dvd.
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3,137 |
archivos_extraidos/MCE-Corpus-main/Dataset/2608
|
Tony Astonish
|
28 semanas después
| 3 | 5 |
muchocine
|
It is a history that continues well its predecessor, making us spend a harrowing and terrifying time: a good attempt of Fresnadillo but lacking original ideas...
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A few years after Danny Boyle directed one of the best and original horror films today, the Spanish Juan Carlos Fresnadillo advocates "28 weeks later", a sequel to it that does not reach his level.The story puts us back in London but focuses on a family separated by tragedy. The father (played by Robert Carlyle) takes over the great regret of having left his wife in the middle of a matanza-zombi and tries to change his life with the help of their children in a city that has been rebuilt, "cleansed" and controlled by the United States. However, a new threat looms to the protagonists.In this film are cared for details of his predecessor, on the basis of the address in a point of view similar to a documentary. Fresnadillo adds to this a much darker tone without a small glimmer hope, with much more macabre sequences and getting to really give us fear (the first ten minutes are really frightening). The interpretation of Robert Carlyle is really fascinating and the picture is very good, with completely engulfed into chaos London planes. However, just as its predecessor was a good change towards the second half of the film, this remains constant during all the time doing that in an attempt to not very well spent for Fresnadillo and with the feeling that we have been "more of the same" stay to the end.Therefore, is a story that continues well its predecessor, making us spend a harrowing and terrifying time: a good attempt of Fresnadillo but lacking original ideas.
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3,138 |
archivos_extraidos/MCE-Corpus-main/Dataset/3456
|
Marta
|
El Orfanato
| 3 | 5 |
muchocine
|
It sometimes seems that in Spain let us dazzle for well done anything to get out of the more usual productions. A highly recommended horror film. No more, no less.
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At this point I must be the only one who has not written yet on "The orphanage", which seems to have been already taken the title of "film of the year". And it isn't because it has very little to say about it. I liked it, Yes, and I was very scared, but I do not think the work of the century. And I am convinced that it is a mistake to submit it as a candidate to the Oscar. Let's start with the good news. Juan Antonio Bayona confirms that Spain can make movies without resorting to postwar drama or comedy of entanglement. It was not the first, but it seems that even not us so we believed at all. This horror film, focusing on the story of a woman who loses her son in strange circumstances, is very agile and entertaining and, above all, gives a long, very scared. It is clear that, of itself, claims children are always very disturbing, but would not get anything if they were not accompanied by a compelling script and, above all, a staging superb, with pace, agility and distance at the precise moment. And the work of Belén Rueda is essential. Who would have thought only a few years ago that this woman would become such piece of actress? The truth is you eat the rest with potatoes, starting with her husband in the film, Fernando Cayo. But of course, is that the poor man had a role of the superfluous, as if the subject were not too much with him. And there begins the weaknesses of "The orphanage". First of all the characters. Some are fine, and others, been half-hearted or are disconcerting. Does it come that a figure would be as Geraldine Chaplin says "police mola" to half of disturbing scene? Very funny, Yes, but is stuck with a shoehorn. And, if the appearance of one of the most "horrific" protagonists (Montserrat Carulla) will cause the laughter of the audience in the most tense moment possible, certainly there is something that is not working too well. On the other hand, the truth is that the argument is lame at times. The script is good, is not stupid and hooks. But there are details that do not fit at all and, although not to call too much attention in a first screening - possibly because it is easy to "get" in the story and ignore the inconsistencies-on further reflection jump in sight. It is not the only thing not just square. The visual approach is sober and elegant, and uses more psychological stress than the terror of blood and viscera. So that when the camera chooses to recreate in unpleasant and efectistas images, the result seems forced and free. The end is also excessively long and redundant, and the last scene is completely. It is the eternal question: should make things very clear so everyone it is very clearly, or is it better to be subtle, although some Viewer just not understand everything? I bet, definitely for the second, but it looks that Bayonne does not share my opinion. "The orphanage" is a good film, I could not say otherwise. It is correct and effective, and very much afraid, which is his goal. But it is not the best that has been done in Spain, and I do not believe to have chances to win the Oscar, precisely because it may well be an American work. The award of non-English speaking usually lie with much more personal works, which can be identified as characteristics of the country they represent, and this is just the opposite. That is not counting the terror does not seem to have too much recognition in this competition. If at least it was something original, you still trust a little in its possibilities, but it is not. I too know the gender, but no to look far to find notable similarities to, for example, "others", both in history and in photography, the atmosphere, the Visual resources or pace. And if Amenábar failed, I do not see why this "gifted student" was going to do, as much as his work is very well done. It sometimes seems that in Spain let us dazzle for well done anything to get out of the more usual productions. And things are not so simple. Even so, "The orphanage" continues to be a highly recommended horror film. No more, no less.
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3,139 |
archivos_extraidos/MCE-Corpus-main/Dataset/1218
|
Yojimbo
|
El derecho de nacer
| 4 | 5 |
muchocine
|
A SOAP Opera made movie that follows with great interest and which is made with passion.
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Who I was going to say (no, Bisbal has the patent) that my grandmother might find me a "pretty well" movie?Because in a store lost in that section of dvd which they paid up because they carry, and that nobody wants to find "The right to be born", 1952. Then get a small notice from Outlook in my head saying "film to give".I started to investigate a little before see it and discover that this film is based on a Cuban radioculebrón shocked the country and hooked you in the history of Maria Elena and Reed more family forward, the Mexicans shot a film with Clark Gable at the time, Jorge Mistral, Gloria Marín and a cast that includes a black chacha (of lie)(clear).The overview no longer delusional. Attention, some spoiler: María Elena becomes pregnant of a pimp who doesn't want to take responsibility for the creature. At that time, you have children of maiden supposed a disgrace for the family and obviously for herself, so the head of the family, Junco Rafael, decides to have Alberto but afterwards it tries to kill her. María Elena trusts his maid, Mama Dolores, a black maid who takes the creature in secret and the baby as if it were his own. When the baby grows, it becomes Alberto Limonta, a prestigious doctor that is socially frowned upon for having a black mother. He also reconcomen the doubts of knowing his real parents.And from there there are coincidences and various dramas that turn the film into a historical portrait interesting and obviously amazing for the times in which we are. A SOAP Opera made movie that follows with great interest and which is made with passion.So if this film along with the passion of Christ, can be turned into a perfect double session to certain kinds of people: P
|
3,140 |
archivos_extraidos/MCE-Corpus-main/Dataset/2292
|
Caruco
|
Bajo las estrellas
| 3 | 5 |
muchocine
|
The work of Viscarret WINS thanks to the interpretations of its actors. Especially to an Alberto San Juan, that achieves a scoundrel of his ilk get to play the chord.
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"Under the stars". Homeless and wandering without fixed abode, or protecting with a blue mantle broken dreams or unfulfilled. Suggestive title of the directorial debut of promising, or so hope, Félix Viscarret, a pamplonica, under the auspices of Fernando Trueba in production, leads from Madrid to the lost village navarrés of explodes, to assist the process of maturity, and reunion with himself, of Benito Lancuza (Alberto San Juan).A trumpeter who, in that search for your destination, escaped from those valleys and people in an attempt to succeed in the metropolis. And there was it renamed, artistic and symbolically, as Benny Lacun.Pero talent or luck, were not allies of this "great" Benny Lacun, actually a gift no one, a loser, a cafre and a drunk. Unable to shed a tear, or by his dying father on the deathbed. Question of selfishness, or trauma that go back to childhood. And Benito, big kid, ready to find their way.Human tapestry has been enriched with a good-natured brother until the pathological, nicknamed "tuboloco" or "Iron" for his unusual gift for making sculptures with simple scrap (excellent Julián Villagrán); a girl, now women punished for his past, trying to overcome the future (Emma Suárez); and a girl, silent, enigmatic and rebel (Violeta Rodriguez) capable of stealing the heart this man who could not mourn.Do do not lacks poetry and sensitivity to the proposal, nor a touch of alleged boorishness mountain mixed with urban nihilism, in this work of rookie Felix Viscarret that seasoned their images of naturalness? amateur? and careful carelessness in the framing and mounting. But especially, not scarce the more dramatic elements, always under the varnish, over that of the stars in the comedy that both helps us to move away from the rigidity of the tragic. Still, more conventional and, at times, lead, than is desirable, the work of Viscarret WINS thanks to the interpretations of its actors. Especially to an Alberto San Juan, that achieves a scoundrel of his ilk get to play the chord. Divertídisima, for example, the sequence in the phone booth with benito talking with her lover of Madrid, Pauli (Luz Valdenebro).Do special mention deserves also the music of Mikel room ("Romasanta", "Baghdad Rap"), and good eye, it is assumed that Fernando Trueba for choosing composers, with a splendid theme? country? do do that links with that tone of? western? to the navarresa has sought its director.And although the argument, adapting the novel "The trumpeter of the Utopia", Fernando Aramburu, does not offer more, but not less, get attest that, in this earthly world our, "under the stars", in the same way that the scrap can reach to sculpt art, also between the lives covered in dirt and debris can have hope.
|
3,141 |
archivos_extraidos/MCE-Corpus-main/Dataset/1185
|
Noa
|
Hijos de los hombres
| 5 | 5 |
muchocine
|
Children of men is the perfect excuse to love the film. It works as a puzzle, nobody stands out more than necessary, the star is the film as a whole.
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"Some of the anticipated dangers that have been excluded from the list of accidents in the arguments that seem too unlikely to cause a terminal disaster at the global level are: solar flares, supernovae, explosions or mergers of black holes, explosions x-ray range, implosions of the center of the Galaxy, supervolcanes, loss of biodiversity, pollution, gradual loss of human fertility accumulation"", and several religious views on the final day." (Nick Bostrom, director of the Institute for the future of the humanity of Oxford University).Alfonso Cuarón is a quite peculiar, able to deal with all kinds of films, such as the "Harry Potter and the prisoner of Azkaban" entertaining, to give a new revision to the works of Charles Dickens in "Great hopes" or do his most personal work to date, the road-movie "Y tu mamá also". I guess no one argued for "Children of the men", beyond of several advances that aroused our curiosity.In my case, upon seeing her relatively late on its premiere, it was willing to meet with something pretty good, but everything that presupposed falls short. It is (and greatly sorry for Marty and yours) the best of the year (in the absence of seeing "Babel" and "Flags of our fathers" and some that another release, which like this remain so will not have numbers to rate my assessment).The story is sensational and terrifying: 18 years ago that the company is doomed to extinction, for unknown reasons (or lack it does know them) mankind has lost the ability to procreate. With such history, we would already have enough for an interesting film, but Cuaron includes other evils global as a direct consequence to that problem and also derived from ours, now, 2007 newly released: immigration, poverty, terrorism, military control, the war and the hopelessness facing an uncertain future. And Cuaron discusses everything from a Prism pessimistic and spectacular, full of verismo. Involves us in history, we participate in the movie, sorry. The narrative is beautiful. It is also able to embed camera in the most shocking scenes of the film, giving legs to run between chaos and death, and making us all actors of barbarism.And to bring forward this jewel of the Sci-Fi plant on the charismatic (and other things) Clive Owen, to make it he who guide us on the path to Tomorrow, giving it life as a great current hero. And also gives a small role to Michael Caine, leaving us more endearing and comic of the film sequences. Julianne Moore is different, the time is so well shot no matter at all to not enjoy it the rest of the film. Each secondary (Chiwetel Ejiofor, Claire-Hope Ashitey,.) works as a puzzle, nobody stands out more than necessary, the star is the film as a whole.Children of men is the perfect excuse to love the film.
|
3,142 |
archivos_extraidos/MCE-Corpus-main/Dataset/3147
|
Francisco Bellón
|
El Orfanato
| 2 | 5 |
muchocine
|
It is a mixture of some of the best horror films made in Spain, and alone, is itself a story tasteless and bland. Most staunch lovers of horror will love the orphanage, while the rest it will cause them a great indifference.
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Two weeks ago, the Academy of film made public that the orphanage would be the film that would compete for the Academy Award for best film in English does not. Juan Antonio Bayona's debut could not have been better, with international critics love to her feet, with an extraordinary international distribution, and it endorsed the support of the Spanish Academy.If Spanish Cinema is in crisis, since then it does not affect to terror, that is the genre that most international successful harvest, both critics and public. The orphanage is the most recent example of this, although it can influence somehow the presence of Guillermo del Toro as producer. The first thing to be said of the directorial debut of Juan Antonio Bayona is that it is made in the classic style, which is very welcome. However, and perhaps in the search for the classic aroma, the film recalls, to a greater or lesser extent, many previous films, such as La Residencia, Los Otros, El Espinazo del Diablo or fragile. It shows clearly the hands of Guillermo del Toro in the final result, and they say evil tongues that Assembly which will finally see the public is building yours. Rather than be scary, the orphanage provokes boredom among the respectable, and some other dramatic startle achieved by the ability of Bayonne. The tape, the interest at the beginning nor manages to keep the suspense, it is very predictable and incurs many clichés of the genre. It is technically very well done, but this does not hide the flaws and inconsistencies of his screenplay. For its part, Belén Rueda is not able to carry the entire weight of the film on his shoulders, and performs a correct but something forced interpretation.The orphanage is a mixture of some of the best horror films made in Spain, and alone, is itself a story tasteless and bland. Most staunch lovers of horror will love the orphanage, while the rest it will cause them a great indifference.
|
3,143 |
archivos_extraidos/MCE-Corpus-main/Dataset/2013
|
Tyler
|
El caso Slevin
| 4 | 5 |
muchocine
|
Tene a script very well, those with plot twists, multiple views, lots of action, good dialogues and, very important, few pretensions. Reinventing film noir.
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The Slevin case is one of those modern film noir movies post-Tarantino not made by Tarantino. Well, for a server, Tarantino represents something much larger than Ra for the Egyptians. Which does not mean that he decries anyone who mimics him, on the contrary, I am a great admirer of imitators and good imitators.That if. contempt to bad imitators, but happens that this movie is not any imitation of Tarantino. just follow its wake, that verede which opened the right to make movies of this type without actually copying evil to Quentin, is the case of this infumable movie which was "things to do in Denver when these dead".After Quentin came (almost at the same time) Rodriguez, and next came Guy Ritchey. This Paul McGuigan movie follows more the parameters of the English that the Tarantino. "I'm late to this criticism, but I went to see recently and wanted to say something about it.""The case Slevin" has a script very well, those with plot twists, multiple views, lots of action, good dialogues and, very important, few pretensions. From the beginning it keeps you entretenidísimo. A good narrative pulse for a story that required of him, a story that still very confusing you is perfectly clear. He has some these wonders that are "Ocean's Eleven" and "Ocean's 12"; this playful and frenetic, but more violent tone.Interpreters are in State of grace. I have always felt that all actors, once in his life, want portraying a gangster boss, because it must be the role more fun to interpret of all. Sir Ben Kingsley already it had done with great results in that movie so magnificent that it is "Sexy Beast", directed by a man, Jonathan Glazer, which we then disappointed with that pretentious little pain in the ass that was "reincarnation"(con_ese_niño_de_cara_insoportable) Morgan Freeman never thing had made, we do not have "Hard Rain", and it unfolds in a perfect manner within its role.Bruce Willis is still an actor that it consider after his death, most by these roles than for those for which said many people who remember. I prefer John McClaine as the dead of "The sixth sense". I believe that modern cinema owes a lot to this actor. its roles of "Jungle of glass", "The last Boy Scout", "Twelve monkeys" or "Pulp Fiction" (obviemos the tripped corny "Arnaggedon") Genial.La movie has a very good rhythm, is long but not boring, has good story but not memorable, good characters but not epic. It is what it says is a very good film, that they should do more frequently so that spectators move so well.The director, Paul McGuigan, is a Scotsman who made a movie that some people will remember. "The Acid House", a movie neither good nor bad. something rare in the era post "Trainspotting". And also an entretenidilla movie that was filmed in part in Spain called "The Reckoning" and recommend it without any urgency at all.A highly recommended movie of a writer obviously coming from the tv. environment where great writers are finding lately. ask him to Dr. House.
|
3,144 |
archivos_extraidos/MCE-Corpus-main/Dataset/769
|
Yul B.
|
Los fantasmas de Goya
| 3 | 5 |
muchocine
|
A movie to pass the time, without excessive enthusiasm. At least the original version may be more appreciated.
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It is frightening to feel so visibly how the Spanish Inquisition raged in the lives of many innocent people.Scary see impotent used how heinous tricks and unfounded allegations and esperpéticas to stop torturing, accuse (after the confession to avoid the pain), and, finally, in the majority of cases, sentencing to death at the stake or the garrote vil supposed heretical enemies of Catholic orthodoxy.Such miserable work of evangelization and their consequences, incomprehensible today, is what shows mostly in this film.Moreover, it is the engine of history: a story that takes place through the eyes of the master Francisco Goya (Stellan Skarsgard) from the last years of the Spanish Inquisition in 1.792, through the invasion of Napoleon's army and ending with the defeat of the French and the restoration of the King of Spain by the British of Wellington.No army is more than the sad episode in the life of Inés (Natalie Portman)a teenager musa of the famous Spanish painter who is accused of heretic by the Episcopal inquisitors led by father Lorenzo (Javier Bardem), and imprisoned for 15 years without absolution.Milos Forman has managed to make a film of Goya where the painter is the least important of the history. He is the character as a mere observer, and at some times, like an unsuccessful mediator.Do do you would think that by this premise, the film disappointed immediately, taking into account that the title mentioned you with appearance of being its? leitmotif?. However, the tape fails entirely to the Viewer for other reasons very different from the explained, and which are outside the scope of the address.There are several strengths; among all the setting of the film. Do magnificent locations, majestic decorated and care clothing and props make of?The Goya's ghosts? a movie time visually believable, especially with regard to the scourge of the Inquisition. Historical accuracy in the rest of the details, including the figure of the artist, is another story.On the other hand, the script works very well for the first three quarters of the film, managing to keep a plot continuity entertains.And, finally, the interpretation that makes the character of Agnes Portman after being imprisoned for 15 years, is very successful and it is really emotional, especially in the final scene of the film. The incredible characterization of the actress helps quite.The weak points are also several; among all the auto-doblaje of Javier Bardem, mainly of the first part of the film (in its stage of Inquisitor). This actorazo has a port, an exceptional presence, which is reflected on screen, but his great touch is the naturalness with which represents their characters, so it is too artificial to see him portraying the father Lawrence with a voice dubbed by himself with an overly leisurely tone and suavón, that clears the cartoonish in English. In the second part of the tape, for plot reasons, his voice has to be different, more strong and secure, so then start to fit his image; but you are not going head which is a dubbing. The dilemma of doubled himself or leave the job to a professional has opted, in my opinion, for a misguided choice.If to this we add the appearance throughout the known Spanish actors film (is a UK-Spain) whose usual medium is television, along with characters from the gossip (Cayetano Martínez de Irujo y his Holy wife!) attention to the plot is lost. All this causes big ups and downs in the credibility of the story.Also the script at the end of the film becomes precipitate. The Napoleonic invasion and the restoration of the monarchy by Wellington spend in a sigh without giving time to assimilate the changes.With regard to the interpretation of Portman as Alice, the daughter of Agnes, is not excessively bright (divinely to hairpieces teeth more exaggerated have given) and his character slightly disturbs joining him temporarily with the same Agnes, much to say that the resemblance is amazing.Of Stellan Skarsgard can say little. It passes through the film as his character, making little noise.If we all commented in a balance, the result, in my opinion, would be a movie to pass the time, without excessive enthusiasm. At least the original version may be more appreciated.
|
3,145 |
archivos_extraidos/MCE-Corpus-main/Dataset/4028
|
Rafa Ferrer
|
Kiss kiss bang bang
| 1 | 5 |
muchocine
|
In short, bread for today and hunger for tomorrow.
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Since I got to read news about "Missionary Impossible III" I was with this film, almost the first tape of Michelle Monaghan, so refer to it over and over again, over and over again. The film, quite simplistic and pretending to give an "attractive" air of narration, is nothing more than clichés and clichés about the "Buddy Movies" (tapes cops that proliferated so much at the end of the 1980s and early 1990s, taking the series of Richard Donner "Lethal weapon" as a greatest exponent), and although he tries to take off ever succeeds, predictable, weak and uneven developmentHe is forgotten almost with the ease that view.In short, bread for today and hunger for tomorrow.
|
3,146 |
archivos_extraidos/MCE-Corpus-main/Dataset/2208
|
Yul B.
|
Oceans 13
| 3 | 5 |
muchocine
|
?Do Ocean? s 13 (Thirteen)? It is for me a good movie because it has given me exactly what I wanted: fun. But if we compare, does not reach the master of?Do Ocean? s Eleven?
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Do I figuratively bows before the fans of this franchise to recant part of my omens on?Do Ocean? s 13 (Thirteen)?.The superstitious who writes you underestimated advance this film to consider it as a stretched repetition of the formula, a tape dispensable and unnecessary, and a future sacacuartos.Today, view once, still think almost the same, but must admit that it has not hurt anything to pay for enjoy it. ?Do Ocean? s 13 (Thirteen)? It is for me a good movie because it has given me exactly what I wanted: fun. But if we compare? do does not reach the master of?Do Ocean? s Eleven? (from 2001).What is clear is that?Do Ocean? s Twelve? She sweeps it. They are night and day. It is the contrast between boredom and complexity, and the divertimento and the simplicity. It seems incredible that two sequels have been made by the same director and (almost) the same actors.In the second installment Soderbergh we riddled with long preambles, convoluted plans and sub-plots, and complex dialogs that looked like they were not wearing anywhere. This last? hit? It is completely the opposite. Now everything is infinitely easier: Ocean band performed again only and exclusively for revenge, nothing more. They will try to recover the honour of one of its members, Rebuen, scammed by Willie Bank, pretentious and greedy owner of a hotel-casino that is about to open in Las Vegas. The goal: quit bankrupt and throw the soil its prestige. The major obstacle: the supposedly impassable supercomputer called?Greco? supervises and controls everything that happens in the enclosure to the smallest detail.Under this approach the film unfolds with a highly ordered structure, fluid, agile and without strange twists of those that appeal to the director. Starting with the impatient preparations of the plan, through the entertaining implementation of such a plan, and ending with the surprising, that not unpredictable, the culmination of revenge, everything passes before us in an exquisite manner? but simple.This simplicity is that deprives this film to pass the test with note, being far from being excellent.On the one hand, the plot takes place smoothly. The band of Ocean comes almost everything right, and that did not fix instantly; and again, as expected, of which there is a minimum tension in scenes that you may have worried in the armchair. Only enjoy peacefulness and quietly watching how the guys, with apparent ease, go giving sticks everywhere to the despicable Bank.Aparte of this, there is no depth in characters. Each timely performance of each actor takes very few minutes, which speeds up the development of the film but left the public without taste of art who have guys like Don Cheadle, Bernie Mac, or Elliot Gould, to name three examples. Do but that is what has the? overbooking? Star. If you give footage one by one to show off the film wouldn't last two hours but six. Why Soderbergh has chosen this time, with success, the action rather than the mileage dialogue.It is palpable that those who leave the cod in this installment are secondary, which are the cornerstones to run well the plan. Oh, and Matt Damon he is at least more frequently.George Clooney and Brad Pitt, friends walk through the film as authentic vases, the low turnout which has the sweetheart of la Jolie in the plot of the sequel being blatant. At least Clooney is seen that it makes her role as supervisor with some interest, but Pitt has brought a good cut with this film because it has the bucket without barely disheveled.In addition, I have missed a most prominent female presence. I recognise that Ellen Barkin is a Cannonball physically; It is amazing how spectacular is this woman at his age of 53, and would like to see I to any girl encased tight dresses that brings me so well in the film. But you don't have the glamour and the prestancia of the rest of females involved in the saga, he said is Julia Roberts and Catherine Zeta-Jones.Para the end I left the master Al Pacino. I have already said that he would be one of the reasons why this tape would be. And I was not disappointed; What happens is that it has been eaten by the rapid Dynamics imposed by Soderbergh, and his performance has fallen short to make an apotheosis showcasing. However, I also said that this man filled the screen even silent and that I was not wrong.Andy Garcia is an anecdote.Anyway, while Soderbergh has dropped a rung on good do respect to her?Do do Ocean? s Eleven?, has been able to give this sequel a place recognized in the saga. For me the second best film of the franchise.If what you deprived the glamour, luxury, good music (amazing BSO) and spend a fun time without comeduras of pot, this is your film. Recommended 100%.
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3,147 |
archivos_extraidos/MCE-Corpus-main/Dataset/2454
|
José Antonio Bermúdez
|
The host
| 4 | 5 |
muchocine
|
A true update of the genre of monsters comes from the hand of South Korean director Bong that, away from the digital approach to the Hollywood industry, presents the monster in the background to the main characters.
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Nobody knows the face of the family, there are people who say that it is like a huge dog, or a black Adder with cat's eye, and they say that at night it goes through the reedbeds dragging a chain.[Jorge Lanata, dead of love, Ed. Alfagurara, Buenos Aires, 2007]That strikes something which oppresses us, us, us devora.ha State, is and will be represented in the film (as in any of the arts, literature to comics) through the figure of the monster. Our represented fears be indescribable. The monster as metaphor makes us prisoners of our fears, curtailing our freedom of action, causing flight, horror and despair. Film - will awake our instinct of survival, and only, the heroicismo - there we rescue from the absolute brink.The range is wide. Zoology surprises us in Moby Dick or shark. Devastating extraterrestrial, as Alien and predator. Friendly Gremlins. Classics such as Frankenstein and King Kong. Z series with a hero named the Toxic Avenger. And always the Japanese such as Godzilla and Godzilla. Our latino Faun. We desdramatizamos through the cast, with the monsters of Píxar and Dreamworks.Una jewel true update of the genre of monsters comes from the hand of South Korean director Bong, away, the industry approach to digital Hollywood (special effects above all), presents the monster in the background to the main characters. The really important thing is what happens to the protagonists, their emotions: how face that something and how change them, personally and in relations with others. Each of the members of the family will discover the monster inside and how do away with him.To this end, Bong builds the history from different angles. This fact produces pass comedy, to the terror of the family to an action film drama. Difficult task which the director goes away. And that is the happiness of this Asian cinema; that us disorienting and us held captive at the same time. And even, Bong gives an ideological tone. Political representation of the monster as allegory of any form of repression. And foreign interventionism, from the hand of the American superpower which, in the same way that bombs Baghdad will also launch chemical weapons on Seoul to stop the Monster (which, incidentally, themselves created), as they did on Monster Hirosima.Ese indiscriminately throwing bombs on defenseless populations is the most fearsome of all.
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3,148 |
archivos_extraidos/MCE-Corpus-main/Dataset/2616
|
Oscar Cantero
|
Planet Terror
| 2 | 5 |
muchocine
|
Ochentera aesthetics and blood pouring in the new production of the overrated Rodríguez.
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In an experiment that will surely have no continuity, due to his stupidity, and with an aesthetic characteristic of the B-movies of the 1980s, premiered in Spain Grindhouse: Planet Terror, next to Grind House: Death Prof, composed a vulgar history of zombies, whose shooting have been distributed between Robert Rodriguez and Quentin Tarantino.Dos directors greatly overvalued and with an almost unhealthy devotion to violenceblood and organ meats. Two jewels are going. The part that touches today analyze is the first, Planet Terror, whose synopsis is reduced to two doctors checked that the town is filled with undead and in a more normal reaction lían shots, palos, navajazos and shoving with regard to hand. To make an idea, something like (although to the beast) to what one can find in the street the day of the ** Erizada. The struggle for survival, the claim of the resistance of the human being and the overcoming of the same capacity, are some of the characteristic of the genus usual nonsense are also here present. The poor image quality, aesthetic imperfections and some other details, get further accentuate the premeditated image of two decades ago that the film already by itself conveys. Even though I know that they enjoy a great Pleiad of followers, I can not finish without saying that Rodriguez and Tarantino, cinema except some exceptions such as Kill Bill I and II and Sin City, seems to me incongruous, vacuum and more like a disposed to the genius that some see in them. In any case, the viewing of this monstrosity can apologize if this one passes a couple of hours a fresco of the air-conditioning of the sala.* La Erizada is the event traditionally opens the Carnival acts in Cádiz, which consists of thousands of people eating sea urchins and drinking non-stop through the streets of the neighborhood of the vineyard of Cádiz.
|
3,149 |
archivos_extraidos/MCE-Corpus-main/Dataset/1913
|
Elena Suárez
|
El número 23
| 2 | 5 |
muchocine
|
You pick up seat with the feeling of just being robbed by a film production company. ?The number 23 ″ hooked me through an interesting trailer that invited me to spend a couple of hours drunk thriller but, rather, I ended up drunk of boredom.
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How many times we have fallen into the tentative world of creativity and we bought something which, subsequently, has not exceeded our expectations. In these cases, is often the case that the advertising campaign is better than the announced product. Therefore exactly the same applies to quite a few movies. The trailer is quite attractive and adventure story that we will leave, at least moderately satisfied. However, the reality is entirely opposite and you pick up seat with the feeling of just being robbed by a film production company. "The number 23" hooked me through interesting breakthrough that invited me to spend a couple of hours drunk thriller but, rather, I ended up drunk of boredom.The parallel between the life of a reader and the character of the book which is enjoying will give foot into a spiral of obsessions that end up with a final bordering schizophrenia. One of the greatest mistakes of the film is the visual treatment that shows literary history that reads the protagonist: the artistic style chosen, of a comic, subtract all the mystery to the thriller and you therefore expelled from the narrative.During the script we have plenty of narrative traps enough suspicious: still do not understand why one of the characters enter his personal address between the leaves of a book that tries to publish anonymously; but it is that still I understand less as a hotel sits on the wall of a room full of blood and not only no one calls the police but that, years later, the blood still there.The end, as expected, is quite bizarre and any student of Psychology first may suffer a fairly strong mental collapse when you see. Finally highlight the strange partnership is that it makes the number twenty-three with certain historical personages, any resemblance to reality is pure coincidence.The best of the film, without doubt, the trailer.
|
3,150 |
archivos_extraidos/MCE-Corpus-main/Dataset/588
|
Marta
|
El laberinto del fauno
| 5 | 5 |
muchocine
|
Guillermo del Toro has managed to unite two stories of reality and fantasy with admirable skill
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I leave it clear from the outset: without doubt, this is one of the best films I've seen in recent months - if not the best. As for the script and direction, "El laberinto del Fauno" is brilliant. Guillermo del Toro has managed to unite two stories, the "real" and the "fantastic" without no end with the other have not become inconsistent. A drama about the civil war and a magical tale. A totally balanced, so that the Viewer does not know if you are interested in more one or the other, and without that the film becomes absurd. Either of the two would be enough to hook if same, and here are the two perfectly integrated, and leaving space so that each can decide whether he prefers to believe that magic really exists or everything is Ophelia in the imagination of its protagonist. Personally, I went into the film thinking that the first five minutes ramifications on the surface, so to speak, and the rest in the labyrinth. Nothing further from the truth. The film is jumping between the two worlds through its protagonist without involving any problem with admirable skill. I believe that few Directors would have overcome that problem unless the film is sometimes forced. Guillermo del Toro gets as if such a thing, and ends by joining the two worlds in the best possible way. Much of the merit lies on the actors, since then. I start my Predictor of the Goya prefiguring that Ivana Baquero will take one (so wonderfully and we know that having only 12 years helps). By the way, it is physically surprisingly similar to Ariadna Gil, his mother in the film. And it would be unfair to forget the interpretations of Sergi López, in the role of Captain Vidal, Maribel Verdú and Álex Angulo. The image is fascinating. The fantastic part obviously owes a lot to some impressive special effects. Here is when you say: "And this is a Spanish production?" "Go, go". The scene of the second test with a monster that could be in the worst nightmares of anyone, is unforgettable. But that's not all. That part so magic can do that not is it valued as it deserves all the atmosphere of the Spain of the 1940s, which is conseguidísima. And a warning: the film is very hard. A lot. That no one comes to mind take a child thinking that it is a cuentecillo, which traumatizará of life. There are very violent images that make you away view of the screen. Is it free? That is what we wondered out of the film. I think that not. The story is telling is tragic. The images accompanying the harshness of the narrated situations. The hardness of the war. To be picky, put two "buts": firstly, I think that the history would have won if the villain had been a character with more nuanced. Someone who showed some humanity sometime and who was not so easy to hate. And, secondly, I think that they could have shown the happy of the labyrinth Kingdom without Federico Luppi gave the feeling of going to throw candy at any time from the float of the Magi. But well, they are just totally subjective details.In any case, an essential film that you will like to anyone. Who likes the fantasy genre or the lover of dramas. Who likes suspense or who simply want to entertain an afternoon. Do me case, do not miss, is worth.
|
3,151 |
archivos_extraidos/MCE-Corpus-main/Dataset/2161
|
Iñaki Bilbao
|
Half Nelson
| 3 | 5 |
muchocine
|
Improved film, which any experienced director would have certainly taken a greater slice, but considering that it is the first film of its young Director, it must be said that it is very decent, entertaining and exudes credibility.
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Good film, which has its dark visual package as more hangover, giving the feeling, possibly because that is, of trying to thus show that it is a completely independent film. I do not think that you would lack prove it because the divesos elements that compose the tape amply demonstrate it. Some excellent but little-known performers (with the exception of Gosling, who has already demonstrated abundantly good do in his impeccable and very difficult role in "The believer"), a first-time director and a history of clearly social dyes that usually is not the safest genus commercially speaking.The film exudes credibility thanks to a competent script, not accentuating allegedly tear stains, which could well have appeared in one or two scenes. Containment, both formal and gestural of the performers is its best asset, making Ryan Fleck, its young director, that human and hard history being imposed on empty aesthetic issues that improve the visual aspect of the tape, but that it would negatively impact on the realism of the film."A clear, concise, film that may have some fall of rhythm and some point somewhat sparse, but which also contains excellent scenes, such as the two holidays together, the family of the protagonist and"other family"of the young co-star, or the scene in which Drye must take drugs a home, encountering his teacher in it.""Half Nelson" is a better film than any experienced director should have taken certainly a greater slice but considering that it is the first film of its young Director, it must be said that it is very decent, entertaining and exudes credibility.
|
3,152 |
archivos_extraidos/MCE-Corpus-main/Dataset/3717
|
Bruji
|
1408
| 3 | 5 |
muchocine
|
Do do Mikael Hafström demonstrates with facts that? make movies is to know the camera?.
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Dignísima adaptation of a Stephen King, of remarkable invoice and impeccable direction short story. Mikael Hafström demonstrates with facts that "filmmaking is know the camera", the wise conclusion reached by Martin Scorsese and an essential aspect to bring to fruition the present script. 1408 Always promising are the stories that start in the middle of a rainy night. A study in this regard, trying to figure out fascination engaged in this type of planes of opening should undertake. Of course, find the face of John Cusack in the following, with their notches shirts and his eternal cigarette in the shelter of the ear may presage one of these adventures, which winner horse boot, often lead to stop ass. Just have to remember the famous identity (2003), some even come to understand after the twenty-fourth viewing. On this occasion, the room 1408 (which, if they have not set, sum 13) of a Kafkaesque New York hotel, the Dolphin, located in the 45 with Lexington, proposes a macabre game to the Jumanji where paintings come to life, extreme weather events occur and the different dimensions temporary space are interrelated, without the possibility of finding the dice to try and control the situation. A repeated argument, with vices of Haunted House, which is synthesized in an episode of fourth Millenium in which the mystery ship team performed a recount of our country happy and charming hotels. From the famous room 510 of true Zaragoza hotel to newspapers of the fear experienced by Madrid journalists in an alleged pension of Sabadell. So, obviously it did not mentioned and faithful report, was with the visual aesthetic in which supports tape Hafström, nor with the photograph in pastel shades responsible for Show friendly spaces even in the midst of the most absolute chaos, incorporating the unmistakable red Scorsese in open spaces. And that, above all, 1408, that - either by the ineffectiveness of his award-winning writers, either by own limitations of the story of King-holds an uncertain message, yes that gives an invaluable cinematographic exercise of excellent leadership. Among many other factors, in a film that makes passing most of its footage between four walls, being subject to the incentives and clichés of the genre, it is essential the timely location of the camera. In this sense, very few references that are in the path of the unknown Swedish director. He himself admits that the use of special effects meant you "a learning experience", very well exploited judging by the results that it offers the demonic stay. Nominated for the Oscar for Evil in the best foreign film section, his first American film, without Control, starring by attractive Clive Owen and Jennifer Aniston sosa, transformed the brief meeting, David Lane in a thriller as unexpected as interesting. In 1408, his virtuosity with the camera, brings us to the good movie fan memory make two great directors that always made their presence felt after them. Contra-planos flat troop established between the two main characters: the search of ghosts and the own room, and the travelling of round-trip it runs along the corridor of the 1400 to the 1430, reminiscent of the legendary and extraordinary way of directing that raised Max Ophüls at many of his dramas. The German filmmaker used this technique to accentuate the impeccable structure of his screenplays; While Hafström, in the absence of a solid narrative, used to wisely, achieve the introduction of the plot. On the other hand, the extensive level sequence that it flies by the hall and its tendency toward the creation of flat impossible, bring us closer to the film style of another of the large, Brian de Palma. In both cases, this attitude intelligent, after a careful mimo to recreate the most insignificant details that put to the test the photographic memory, ensures widespread cold sensation when the thermostat marks five degrees below zero, "taponados ears" at the time in which decides to dispense with the sound of anguish to be bound to mentally tell the eighteen steps that occur by the cornice. Or what is the same, manage to envelop the viewer in an intriguing approach that brings depth to such brief story; shuffling, at all times, the double possibility of reaching different alternative outcomes that will be offered in the DVD version. Therefore, and for all tastes, hallucinations may - or may not - be true paranormal effects, with the belief that personal ghosts that attack to each of us are as dangerous as the esperpénticos beings of the most there. Thus, it is not true that the great mistake of the film may be at the chosen end. The best novels of King of hundreds of pages, are settled in way rarely satisfying and always surprising, in the last five. 1408, In its final stretch, satisfies and is not surprising. That Yes, leaves a good sentences for collectors, and makes the genre lovers sing that old song of Mecano: "during an hour and a half I could be happy, eating chocolate and popcorn". In the end, what is if not the film?
|
3,153 |
archivos_extraidos/MCE-Corpus-main/Dataset/1556
|
Emilio Calvo de Mora
|
La ciencia del sueño
| 4 | 5 |
muchocine
|
Splendid exercise of visual juggling, surrealism to GLUGs, film made to the delight of who is already tired of seeing movies made to be understood, streamlined, compartmentalized, hierarchical, stalling...
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Tosk script that Hollywood cinema is born from a model necessarily dependent on proven formulas of success and popular support and commercial encounters proposals like this. The science of sleep is the mental turmoil by Michael Gondry, its overwhelming importance as modern surrealist author. It can not be understood otherwise lacks completely of interest use the traditional narrative machinery when what is intended (and in my view gets) is explicit mechanisms of sleep, the capacity of the fantasy to drive the destiny of the world.Not needed by both Gondry a stanchion script, a fictionalized script. A team in tune will simply with his hallucination and a roster of actors, without overact, resized the usual records to deliver a dramaturgy sober in their schizophrenia, clean in dismay.In this sense, Gael García Bernal creates a credible, sharp character (and is already difficult), accessible in the Vertigo of this society entrenched in a continuous feeling of shock, imbalance of unforeseen hostility. Stephane not discerning the real of the fabulado: how one assembles in the other without visible fracture. Its creative richness is the overwhelming iconography of the film: released weight Kauffman Gondry (being John Malkovich, forget about me, which was stubbornly screenwriter), is allowed to check a disconcerting, unique, film deshilachada by sections, convincing always in the sense that meets the expectations that contracts.It was one the impression (I I had during most of the footage) that the film is definitely this: a consensual sham, a stop polluting, a continuous weakening of resistance that we build the fantasy dream (illusion) not do shake the solid architecture of the real world, the only one we have objectively.The science of sleep contains beautiful images, inventory impossible objects that populate the feverish imagination of a subject whose pleasures dispensary provisions of an infinite and disturbed world of lies. It is the lie, its pre-eminence in tautologously perverse universe, which lifts the film, which structure and desestructura a script capricious (if any), go and great, enduring work of a director who has a unique smell to it politically not already incorrect, but monstrous.When one comes out of the cinema and see cars or shop Windows full of garments real and tangible, useful, valid, is amazed to not go by their eyelets ants hulled or that the display of the desktop of our loft does not break down in elementary beams of light containing winged horses and arrows of blue cellophane paper. Breeding ground suitable for fans of Freud, the film blinded (jubilosamente) to not provide handles valid for separating the precarious reality (the Office, the boredom, the routine) and the colourful cartoon of dreams, the oneiric fundamental component that builds this gem of creativity that will endure, not I put in doubt, to become a small classic. It cloying and it hastía, it is accepted: is inevitable. The protein argument cannot be sustained without there decays, lagoons, parentheses in interest. Our own attention ability falters when it is overexposed to a tralla so eye-catching and forceful portentous visual gags, everyday objects transformed into Visual poems, in the psyche of a haunted metaphors.An addition or a recommendation: we must find the original version and flee from the plague of any folded Edition, even though our dubbers are, incidentally of forced step, always professional and compelling. The protagonist speaks French, English and uses the Spanish, their mother tongue (Mexican is) to verbalize their dreams.No wait a waste of humor: this is not what he wants French Gondry. The science of sleep is a very adult reflection in child, playful tone at times, on human communication. Just what not to forget about me, his previous film (in English Eternal sunshine of the spotless mind) what espoleaba where the reflection was not the imagination (the dream, more properly) but the memory, his catharsis, its revered good repute as a primary resource to sustain the balance of our rationality.Have you, gentle reader, his horse from cardboard, your time machine, her reality show inserted into vein. All that: amplified, made major exercise of deliberate creation.Never before, never before in a long time, a film I has raised so much joy. Or in other words has long experience of cultural style (say a book, an album, a film) not let me so transposed, so listing the happiness and, at the time, so sheltered in sadness that the argument given, cryptic, smooth, leisurely: that is very difficult to talk about feelings, that our bodies communicate very well in the sensual, in bed, physically, but that every day, in leaps terrifyingly, us will hiding in the individualdad recelando of the other, opening gaps then complicated close to separate ours from alien, lived in fantaseado, accessible from the metaforizado.Stephane obrero, the sad composer of calendars, is the perfect image of alienation. The shortage of branchings of the circumstances surrounding the character are not free: in dreams have its most ferocious defence. Go to the movies, have fun in the armchair, although they come out (like me) absurd intoxicated. I wonder (is a question which I leave open) what shall this man, so promising, so cool in theirs, with a conventional plot, with a wearable history, with a sobreentendible thread, without jumps in time, without comeduras of coconut without cardboard horses.
|
3,154 |
archivos_extraidos/MCE-Corpus-main/Dataset/3218
|
Jeremy Fox
|
Secretos cantados
| 3 | 5 |
muchocine
|
A film of characters in those that the French do frequently and which have reached a skill that makes them quite reliable.
|
This summer came to our screens a new recent success of French cinema. It's "Secrets Sung" (Les Héros de la famille) Thierry Klifa. I can not avoid mentioning that the allegedly ingenious translation of the original title of the film does not only give me one more argument, if needed me, in my defense of the original version.Leaving aside that detail, we are dealing with a film of characters in those that the French do frequently and which have reached a skill that makes them quite reliable when deciding to go to the cinema.The story revolves around a heritage whose most prized asset is a place called "The Blue Parrot". To its around it will link the characters in the film.The truth is that the initial situation could have given more, although the characters are interesting and well interpreted by a set of actors and actresses good of presence and charisma. They walk across the screen, and it is a pleasure to see them, Catherine Deneuve, Emmanuelle Béart, Gérard Lanvin and Miou-Miou, to mention the most important.By the way, say that I find it difficult to see Emmanuelle Béart as a successful singer with future ahead as he whispers rather than sings. A detail that was intended to blur with the fascination that follows the actress and achieved, although partially.The screenplay, written by Christopher Thompson is and quite right, you want to build a intrigue non-existent and meaningless, thus creating a confusion in the relationships of the characters.Still, glad see a film based on an interesting script despite their defectillos, with attractive characters and performed with correction. If the average film which premieres (or becomes) in Spain so, could give us with a song in the teeth.Final assessment of moonfleet: 6 out of 10.
|
3,155 |
archivos_extraidos/MCE-Corpus-main/Dataset/3866
|
José Antonio Bermúdez
|
El custodio
| 3 | 5 |
muchocine
|
The director proposes the viewer live the life of Ruben. Be present in their times of waiting in their silences. Witness a process that wakes up in its interior: from silence to the sound of the waves.
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Today, Julio Chávez is the best Argentine actor. His last starring him elevated to that post. He received the Berlin bear for Best Actor with his last performance in the other. Earlier films such as A bear red, the stranger and the CUSTODIAN. All of them are essential for any understand the latest (new) Argentine cinema. A film full of silences, of dead, waiting times. Unbearable for some experience for others. The formula is being repeated endlessly, possibly symptom of creative crisis, but continues to operate in the European market "Festival", where receives recognition and prestige. In any case, the participation of Chávez in some of these films is the differential value. Interpretations of high caliber, which dominate the interest of these productions.THE CUSTODIAN of Rodrigo Moreno, production of 2005 and winner of the Alfred Bauer award at the Berlin Film Festival, and best screenplay at Sundance. After the break, a film with certain international repercussion that allows release in different countries.The story told is that of Rubén (Chávez), the bodyguards of a Minister. The film tells the life, work, of the custodian. In a thorough way, moved to the screen the transfer from one place to another and the silences, synonymous with Ruben (tense) pending. The pressure that accompanies your task the always be present in the life of another, as his shadow. The silence of Ruben is filled with loneliness. Rubén has no one to accompany him. The silence that accompanies Ruben transmits the pressure of knowing that you always have to be present, to espensas of the other. Living the life of the other. Invisible to the other. The line of duty is the main objective in his life, until it reaches a day when that changes, the only thing that matters now is to know the sea freedom.Beyond the slow camera movements, flat distant and musical deficiency, Moreno proposed the viewer live the life of Ruben. Be present in their times of waiting in their silences. The Viewer as the custodian of Rubén. Witness a process that wakes up in its interior: from silence to the sound of the waves.
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3,156 |
archivos_extraidos/MCE-Corpus-main/Dataset/174
|
Verolindapechocha
|
Misión imposible 3
| 2 | 5 |
muchocine
|
A production made to make Tom Cruise look from start to finish
|
Yes already saw the first two parts of this (now) mission impossible trilogy, because you can tell that you saw the third and final (for now). More of the same, which is not to say that it is bad.Of course is not a film to think much, but made production to make Tom Cruise look from start to finish, as the almost famous agent of the IMF (International Monetary Fund, not force mission impossible), Ethan Hunt.Cabe say that in the first mission impossible (1996, just a decade ago) pataleé crazy because they destroyed the sense of the television seriesone of my favorites, making that the leader of the group, Jim Phelps turned out to be a traitor. The grace of the series was the teamwork and loyalty to bulletproof between this "family" of agents. But in the film version, this has just been and Tom remains same James Bond, ready for several sequels and several million.Do you like full adrenaline productions, where burst bombs and luxurious cars like pop corn, as well as see exotic locations, this is your movie. Of course the protagonist can fall twenty times a 50 story building and never suffer nor half arañón, but just one as a spectator continues the game and eaten nails. Total for that it paid entry.Interesting the participation of the now acclaimed Philip Seymour Hoffman (who won an Oscar for best actor in Capote, 2005) as the villain. For more viewers, another plus of the film may be the participation of Keri Russell (Felicity), as another agent of the IMF.
|
3,157 |
archivos_extraidos/MCE-Corpus-main/Dataset/19
|
Ed
|
Las cronicas de Narnia
| 3 | 5 |
muchocine
|
Good, but lacks something to be a family classic
|
Some youngsters come to a fantasy world called Narnia, full of animals that talk and discover that this great land this from ago many years under the reign of a wicked witch that is under a winter that never ends and therefore can not get Christmas, also discover that they are the protagonists of a prophecy that says that they will be the saviours of Narnia and all its inhabitants and that they must lead a battle together Aslan, a powerful lion, the Witch and his followers.Fantasy came to this Christmas, first it was Harry Potter, now Disney brings us to Narnia and there is king Kong. I went to see this movie yesterday and I liked enough, although I sometimes thought it was a little slow and the other a little child has some scenes that are spectacular as the battle but in general her can enjoy both large and small.This film directly competes against Harry Potter, I think that it is aimed at the same kind of public, but between the two I think that Harry Potter is the most fun and entertaining.The Chronicles of Narnia lacked something (don't know what Express) to become a classic family or Christmas. It is an excellent film, I recommend to all, my favorite scene was the battle, it is spectacular, with amazing effects. It is a very good movie to see it in family and in this Christmas, it has that perfect Christmas air for these festivities.
|
3,158 |
archivos_extraidos/MCE-Corpus-main/Dataset/676
|
Jose Contreras
|
Scoop
| 3 | 5 |
muchocine
|
The Woody Allen film can be seen as an invention or a transcript of his own private life. The two options are equally entertaining.
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The couple of amateur detectives is taken from "Manhattan murder mystery", the fantastic appearance of the sparing is equal the coryphaeus of "Powerful Aphrodite", the somewhat reckless character of Scarlett Johansson is the same reckless role that made before the Mia Farrow or Diane Keaton or so many others. The character of Allen is the same anti-hero who has always played. The heroines of Allen have to fight against the bad guys and above all, the timidity of a hipocondríaco player that never steal them a medal. Allen has a drawer of endless tailor you can get thousands of things. His films can be seen as an invention or a transcript of his own private life. The two options are equally entertaining. Seeing the way they got with the girl I came to the conclusion that Johansson is less self-worshiping that some of his other muses.Scoop is an apprentice journalist which has the scoop of the century in his hands if it can demonstrate that an English nobleman is also a notorious serial killer. "To investigate what strain in his life and in his bed, so just falling for him.""Scoop", like "Match Point" works as a watch mechanism. The same applies to a history of Billy Wilder, in these works, no sentence is casual, a nail in the first act serves to discover the murderer in the third. It is a way of writing that work makes it easier to. One has to fill straw many minutes of film, information, ICTs, pasts of the characters, weaknesses, repetitions. If he picks up randomly, can do something very nice, but free, or worse still, autobiographical. If every detail is used to tie knots at the end, one passes very well sow the dialogues of tracks. And the viewer doesn't get tired of thank you.
|
3,159 |
archivos_extraidos/MCE-Corpus-main/Dataset/2018
|
JLO
|
Spiderman 3
| 2 | 5 |
muchocine
|
The only thing positive is that with infinite immediate projects, the comic in the film remains more alive than ever.
|
Read Spider-Man 3 comments clarify that it is slow, which is the weaker of the three, which lasts more than suitable. And they are right. Sam Raimi is perhaps Peter Jackson, managers who matured more cinematically speaking (or discuss their developments with the technique itself). From Caterpillar to Butterfly in a few years, bad taste the Lord of the rings, to these Spiderman for Raimi Darkman, in a remarkable breakthrough. Spider-Man 3 is not a step backwards but yes a faux pas, a film that is unnecessary if you want to. Half way in all their intentions. Mounting hyper accelerated the action scenes, that pale but were never the center of any of these Spider-man. From its middle part is as Raimi returns to auto parody scenes almost B class, and playing with his previous style with this silly humor and naif (dancing on the bar, the transformation of the black suit).Actors continue its role of taquito, the inclusion of the new villains only serve to some incredible moments in effects (fantastic scene of the creation of the man of sand) and very little else.Phrases related with the human goodness, too much dialogue towards nowhere that they lengthen and take away pace, memories of the murder of Uncle Ben, repeated infinitely, a script that deletes all the past events with the elbow (the 4 will do the same with this?), anyway, only understandable its realization by all the machinery of money which promotes and collects.The second Spiderman film was a challenge not only for Raimi, if not for all who wants to do a superhero movie. Here he could not keep their own steps. The only thing positive is that with infinite immediate projects, the comic in the film remains more alive than ever.
|
3,160 |
archivos_extraidos/MCE-Corpus-main/Dataset/3282
|
Silvia Giner
|
La Luna en Botella
| 4 | 5 |
muchocine
|
The Moon in the bottle is the story of one of them, people who dreams of change lives with everyday utopias, those that are not intended to necessarily change the world, but the way it treats us.
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Today I had a wonderful experience to see this movie, I have finally seen the possibility of doing something different in Spain come true. Thank God, the universe has conspired with Grojo (Director of the film) to make us the greatest gift this year. A film full of that magical surrealist makes you vibrate and believe that No, it can be a Yes and that simply believe to be.The Moon in the bottle for me as an actress is the light of hope for the film Spanish, is the hope to work with a genius, full of Bohemian románticismo. Grojo means an incentive to continue with a profession in Spain is completely undermined.The aesthetics of the film reminded me much Mouling Rouge (bridging the gap Hispanic), the soundtrack is talented, catchy and there are moments where ries of happiness and excitement, mythical times for a script with a clearer message as utopian, but that is precisely, have our own utopia cosmic (in my case would be working in a movie like this) to become brave, but tell us how mad we done things outside the norm, somo brave because we not only want to be, also want to be (Carmen Rico mythical phrase). It was time that someone look details, millimeter, whereas vital even to the cat that passes through the streets. And make no mistake, the donkey is the true protagonist.There are minor characters from life, that we are used to see and continue to be secondary but with more importance, but the interpretation of these is so brutal that they arrive to become real animals in the House, leaving the novice players (Barbara Goenaga and Edu Soto) light years. In fact the only downside that I am going to make the movie is this, Barbara and Edu are absolutely insignificant, minimal and overshadowed by so much talent: Dominique Pinon, Pep Jové, Star Zimmerman (fabulously regia and immense and for samples, the sequence with the piano to arrive at the café: spectacular), Michael Jenn, Joan Dalmau, Federico Luppi, Francisco Algora and Richard Collins-Moore. That piece of actors is that not is which is best of them.It is a shame that people with so much talent has to do the misfortune that his film has no distribution, is not fair. Sometimes I have said that there are films so wonderful that they are not suitable for all tastes, this is one of them. The average viewer is not ready for this avalanche of talent.Note by the directorHay people who loves to say no. People tired of hearing it. And there are people whose life is broken then of a not.The Moon in the bottle is the story of one of them, people who dreams of change lives with everyday utopias, those that are not intended to necessarily change the world, but the way it treats us. As the story progresses, the characters discover that not everything is impossible and that there is always a second chance; It is enough to really believe in it.Music, circus and cabaret in a choral story with Spanish actors, French, Argentines, English, Americans, Koreans, Swedes or Chilean, assembled or mixed in coffee Rossignol, a place with very special charm and personality, where the music of René Dupéré played the role of universal language. You can be in any Western capital of our days. Coffee Rossignol, everyone together around the piano, to laugh, to cry, to love. must be a party!If manage to spread the hope, the illusion. If do, forget what they think or tell others. If add a point of insanity, rebellion and transgression.We will end up putting the Moon in that bottle.GROJO
|
3,161 |
archivos_extraidos/MCE-Corpus-main/Dataset/2505
|
JLO
|
La Novia Cadaver
| 4 | 5 |
muchocine
|
A too complacent final - one always waiting a little more than madness in Tim Burton - or risk not ruin 76 minutes of total enjoyment. If true is the saying of a that a great director are always shooting the same film; We cannot be completely satisfied...
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The imagination of Tim Burton is so amazing with both the animation and human beings. As Beetlejuice you deployed all his imagery touted as charming continuing in that masterpiece darkie/romantic called the young scissor hands.Creator of classics, theirs passes through the pure fantasy without fall - generally - in the false message moralist, so present in the genre that he passes. Corpse bride is another example of his touch and good taste, its pace for the comedy, the pleasure of simple stories and an amazing animation (almost two hs. for a second movie!). With each gragea TB, one returns to being a child, entranced by his stories as did the character of the big fish with his father. Fables not exempted from that grim, characteristic touch as necessary and harmless.Its genus is fun and pleasure in its purest form, almost childlike, with that dark and melancholic touch which is so obvious even in his failed works, which has, and lately are becoming increasingly less spaced. When it was a little bit seriously - the great fish, the planet of the apes - his gaze was diluted by lack of depth or too seriously. With this the comparisons with the world of Jack Skeleton(de_la_que_fue_coguionista_y_productor,_no_director) are inevitable. The similarities now depart from the characteristics of the characters, as if TB had been wanting to go that already turned classic total. The music is still a valid vehicle to quickly present the story. I.e. where Disney bored TB is teaching. THE pleasure of death all of his films are full of life but his vital reason is admire the death. Already at the beginning of the young. with the death of his father, with Jack and his MicroWorld, Beetlejuice returning from it; death flies over triumphant and without fear all the great moments of his filmography. With great presence also in the Headless Horseman and in it, the death - even more than the love that also stands out course in his films - is the true engine of his vision. Not for nothing the world of the dead is painted with joy and color while the real world is in grey tones, almost grim, and even the more amoral characters of this story. As the shy and clumsy Vincent deficit not awakening empathy that instantly woke Jack, as well as songs from Danny Elfman - another fetish of the director - of that film (which was also the voice of Jack) are insurmountable. (With the voice of the repeated Johnny Deep - stand-in for 80% of the films of TB!) This Vincent seems the antithesis of the explosive Jack. On the other hand his corpse bride is a mirror - perhaps more sexy - of the also detachable Sally.Esta repetition or similarity leads us to think that TB this comes from taquito, automatic pilot type. Then we wonder: do there would be to ask a little more than risk? It did in any of his films and why they are the most unsuccessful of his work? It is necessary or with these clones is enough just for the happy outcome? Perhaps the degree of admiration/enjoyment of his work of the response. The imagination of TB is one of their strengths more praised mentioned above, but there are those also wary of it as commented Renoir quoting her father and that is beside the point: "Paint a leaf of tree without starting from a model and run the risk of monotony, because the imagination does you nothing more than some models of tree leaves." Nature provides million on the same tree. There are not two equal sheets. "The artist who paints himself soon arrives to be repeated."A too complacent final - one always waiting a little more than madness in TB - or risk not ruin 76 minutes of total enjoyment. If true is the saying of a that a great director are always shooting the same film; We cannot be completely satisfied.
|
3,162 |
archivos_extraidos/MCE-Corpus-main/Dataset/3359
|
Iñaki Bilbao
|
Adiós pequeña, adiós
| 4 | 5 |
muchocine
|
Excellent debut of Ben Affleck after cameras.
|
xcelente debut after the screens of the actor Ben Affleck, who has adapted with intelligence and restraint the good novel by Dennis Lehane. According to her was reading him was enjoying it more and more, taking from the outset the idea of starring in her. But it hooked le and came to the depths, so decided to do it himself.And check that it has been a great success because it manages to perfectly convey the spirit, the essence of a story with multiple recesses where the ethics of duty well fulfilled struggles to prevail over distant interest perhaps, certainly more clear and safe, but less fair.The characters are not of a piece, but are simply human beings with many virtues but also countless defects. They have lights and shadows and both are interspersed depending on their circumstances.Thus, the protagonist, an atypical private investigator, has a code of ethics of professional conduct not always sees the good way that, at times, still the most obscure way, even choose crime if you think this will end with evil.And the other characters, same thing.The address of Affleck is quiet but crucial. Not just helps in good dialogues and the attractive and enveloping story that was already in the original novel, but convinces the trap, azorar and move the viewer through a clear narrative where the austerity and technical sobriety are at the service of the argument. No because artistic pretensions, unnecessary movements of camera or any flat surplus. Everything is very important and not only interest not lapses at any time but it is expressing despite its long (almost two hours, totally necessary), reaching an impressive final part for its dramatic force and his profound humanity, tinged of sadness and bitterness. The flat end is open but nothing ambigüo. We don't know yet if it is heartbreaking and hopeful, but we fear that, in a neighborhood "where the sheep live among wolves", as says the voiceover of the protagonist at the beginning, the future will not reassuring and exciting.Excellent interpretations. Ah! And that that the case which is narrated in this film and the real Madeleine are like two drops of water, nothing at all. It seem like an egg to a chestnut. Or is
|
3,163 |
archivos_extraidos/MCE-Corpus-main/Dataset/103
|
Jose Luis
|
Truman Capote
| 5 | 5 |
muchocine
|
Commissioning scene with a clinical accuracy that helps cause chills
|
The prestigious magazine Premiere of the United States, is by publishing the April issue, which will include a list with the 100 best performances in the history of cinema and specialists and critics conducted exhaustive research, decided to give him the number 35 post to Philip Seymour Hoffman, for his portrayal of Capote in the film of the same name. This list left out performances as Marlon Brando for the Godfather, Ingrid Bergman for Casablanca and Clark Gable for what the wind took, however Phil peaked at # 35, even over Anthony Hopkins for the silence of the lambs. Simple and cool appearance film is the work of this actor in Capote.Un of this size, but is only the necessary environment to narrate the obsession that slowly erodes the character, to take it to the limit, until that, both approaching the fire burned in the background.The action takes place in a small and quiet village of Kansas, where occurs the murder of an entire family, Truman Capote, author and journalist, read the news in a newspaper and immediately moved to the scene to make an article for the journal The New Yorker, little by little, will get to know its inhabitants, the people involved and witnesses, even to the murderers that starts a dangerous relationship of friendship.Truman never imagined that his stay would continue and that the article would become book, a book which cost him 5 years of work, a book that changed forever the way of telling stories and that today is a book bound for any library that you want to give to respect. So we disagree to biopic ordinary, not tells the life of Truman Capote, from his birth until his death, only tells this period of his life, in which this immersed in the creation of what would become his masterpiece, is the story of the creative process of his novel, in cold blood, a painful process that stretched for more than 5 years. And although several dialogues through give us a perspective of childhood and life of the eccentric writer, in reality the central theme remains her obsession and passion for the events and his book, passion that can be clearly behind the eyes of Hoffman, from the discovery of the facts, until suffering who lives to put an end to the book.Everything else that is to the rededor of the protagonist, seems only essential items so that Phil do his job, the Mise en scène with clinical accuracy helps to cause chills and follow almost the same Methodism to Capote scene by scene. Without doubt, a great job, that will be long remembered. Today I begin to read in cold blood by Truman Capote.
|
3,164 |
archivos_extraidos/MCE-Corpus-main/Dataset/1332
|
Silvia
|
Monster house
| 4 | 5 |
muchocine
|
Entertaining, without losing the pace at any time, it is a good proposal both for children and for adults.
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Monster House tells the simple story of a haunted house, attacking anyone who he gets forward and especially children. But the simplicity and topical history behind is a comic script that will ring to never seen and keeps the suspense during almost all of the film.DJ Walters is a child who becomes obsessed with the neighbor of the home front, the old grumpy Nebbercracker. The elder awakens fears of the children of the neighborhood that it takes over all that object that falls on your lawn. Halloween day disappears ball basketball of his friend Chowder and they realize that the House have life of its own and an aggressiveness out of limits. With the help of his clever friend, the three decide to investigate what happens with the mysterious House, and there begins an adventure in which the horror and humor intermingle in equal parts. Flat comic highlights especially the secondary characters: the chubby graciosillo Chowder and the Assistant of polícia that investigates what happens with the House pull us more than one laugh. There is even room for love, two children will vie for the attention of the small that accompany them in their adventure and at the end of the film we discover that love can reach unexpected limits in the case of Nebbercracker.Filmada through the animation technique used in the movie The Polar Express (a mixture of real action and digital animation)the characters seem to be of flesh and blood, so despite being an animated film they seem much more credible to win in expressiveness. Entertaining, without losing the pace at any time, it is a good proposal both for children and for adults. A great candidate to win the award as best animated film at the 2007 Academy Awards.
|
3,165 |
archivos_extraidos/MCE-Corpus-main/Dataset/3074
|
Taliesin
|
La Jungla 4.0
| 2 | 5 |
muchocine
|
In the jungle 4.0 we again see Willis in shirt and covered with blood, but does not transmit the sensation of can lose the game with bad turn, something that turns into a classic the first film in the series.
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The 4.0 that have added you to the title of this fourth installment of the Crystal jungle (a very curious "translation" of Die Hard, by the way) says openly that this time the bad guys who will have to face el bueno de John McClane are most dangerous hackers. Or, worse still, most dangerous terrorist hackers. Scares, truth? Because the truth is that in the end are not, be a most dangerous terrorist hackers morons. And of course, if the bad guys are idiots, because we will have to put the batteries if we want to see Bruce Willis staining blood shirt. Thus have McClane against the bad guys in car, McClane against the bad guys in a helicopter and the classic (thanks to Cameron and their risky lies) against the bad guys in hunting McClane. Excess is such that the half an hour easy feel saturated of action and disconnect the ability to surprise, with what the movie passes through the screen without too convey to the Viewer. The first time that McClane tells her asshole to the super maloso is tronchante. The second, esbozas a half smile. From the third you start thinking that the bad is called second name asshole and why is mosquea or anything. That happens for choosing Timothy Olyphant for the role of villain of the piece, making it clear that the absolute protagonist is Willis and that neither his alter ego do you shade in the film.I already imagine the writers at the time in which thought that a fight to cakes in a car that hangs dangerously in an elevator shaft would be the bomb (although we have seen Jurassic Park. in the first two deliveries, in fact). The only problem is explained as demons just a car into an elevator shaft that is next to a gas station control room. At that time was called the writers of lost, which explained them that they simply don't explain anything and it works. And this has been the thing.Ultimately, this fourth installment of the saga is completely dispensable and there is very little that can be saved. If anything, it must be acknowledged that the question of the hackers not led wrong at all and though they do must be entirely impossible, it seems feasible and that if that scares a little. Moreover, the film is tedious, with little pace and excessive in all aspects. That it return me the money.
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3,166 |
archivos_extraidos/MCE-Corpus-main/Dataset/2205
|
Hombre Lobo
|
La marca del lobo
| 2 | 5 |
muchocine
|
Those to be expected werewolves film will do better staying at home that swallowing this sweetened love story interspecific.
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Vivian lives in Bucharest, works at a chocolate shop and among her hobbies is occasionally practice "parkour". It also has a large extended family that likes to constantly tell you what to do and what not to do. A night after fighting with them for the umpteenth time, meets a young American cartoonist of comics (sorry, "graphic novel") and little it takes to fall in love with him. The problem is that the boy in question, Aiden, is human, and Vivian is a "Loup-Garou", a mujer-lobo in a race that has been around the world the past five thousand years. As it is expected, the thing brings problems when the congeners of Vivian decide to put an end to this romance as sui generis, because the girl does not seem to lay head (as if the fact of prendar of a cartoonist not ensure itself only a family conflict on a large scale).This, to large strokes, is the plot of Blood and Chocolate (2007), a film which has been titled in Spain with the dubious title of the mark of the Wolf, adding more confusion given gender, that we are not talking about really a film horror, as much that it appear werewolves eager to sink their teeth in human flesh. Like the novel on which it is based, we are faced here with a directed fantasy film explicitly female teenage sector and that it will tend to alienate any beholder. And if we add above that after this movie are the same producers responsible for Underworld (2003), is more than clear that no paints here nothing who does not belong to the EMO community. As for the similarities with the novel (have not read), these are apparently void, which is not the case at the moment.However, the mark of the Wolf is a film difficult to outline, it is completely dispensable. Everything it promises an endless series of clichés, from that picture of the most emblematic buildings of Bucharest (which could happen by a tourist brochure of the Romanian capital) until the amorous adventures of a Romeo and Juliet with Werewolves of medium. The Werewolves, incidentally, are not shown as bipedal monsters, but as human beings who are literally transformed into wolves in the middle of a Flash of mystical light. At first, the history not paints them not bad, even as beings that offer a true social justice in the underworld of the city, all ruled by their leader Gabriel (an Olivier Martinez putting more crappy accent it that far this year). The parejita protagonist does not stop ever, curdling while Agnes Bruckner comes here much more beautiful as the schoolgirl in the cursed forest (2006). Teammate cast, Hugh Dancy, on the other hand, is bland to the point that could be described as Orlando Bloom of the poor. The wolves never feel as threatening beings, and during the final stretch the male protagonist acquires an inexplicabes skills of action hero who certainly do not favor him.Among the few virtues we can find is that, all in all, the film becomes more bearable than be expected and passable. It will so far and never tries to pass through what is not (except, of course, advertising that it made the study). Those that go with low expectations might even enjoy it and let those shameful moments of video-clip in which history mounted us a musical transition for the sole purpose of advancing the plot. Everything about this film is so light and so forgettable that is difficult to Prime with her, and much less after returning from vacation. Those to be expected werewolves film will do better staying at home that swallowing this sweetened love story interspecific. As final note I can only add one thing: be a member of an ancient race of powerful creatures antropófagas and still receive a beating from a cartoonist metrosexual must be one of the saddest experiences in the life of any licántropo that should be respected.
|
3,167 |
archivos_extraidos/MCE-Corpus-main/Dataset/3373
|
Emilio Calvo de Mora
|
En bandeja de plata
| 5 | 5 |
muchocine
|
Without prejudice to the rest of masterpieces of Wilder, this is one of my favorite. It is the quintessence of the genius, his nasty, his cynicism, his stark vision of a society inevitably maleada by selfishness and pettiness of humans.
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All Wilder is in on a silver platter. The Wilder manners, shrewd observer of the depictions of the human being and fine stylist of the writing of their vices. It is the Wilder love of rogues and the tahúres, cheats and of the crápulas, people of good living they sacrifice a life routine routine in suburbs apartments for hocicar noses, even if it is mild and wile, in another happiness unlike the written in the manuals of urbanity and the Catechisms of any religion. A corrosive type, a delicacy in the stylistics of their phobias, but a great activist in the cause of their disenchantment by the society and its most sordid handlings.Fauna rogue that atiborra the best moments of the Wilder films spared no efforts to make silver platter a delicate dish, a succulent candy that will lose viewers accomplices, already made to facilities in this manner, and which will give an excellent starter, to the neophytes a say mild bite that devendrá binge when the Wilder effecthis cynicism, his irony, his skepticism, strain into the bloodstream, flood corpus cavernosum, walls of consciousness and these gaps of the brain where the capacity of amazement is short as asleep, beating without effort, waiting for one subject than an intelligent provocation. This is: black humor, lecherous very black humor that deforms and assesses nothing more and nothing less than a fundamental mercantilist society capital, that which Wilder puts so much effort to bother: insurance companies.The skillful Wilder dissects the moral misery, but without overwhelms staff with speculation and grey formulas of deadening sociologist. His scalpel cose and descose the subtle network of human relationships. Hinkle (Jack Lemmon) him you saw of good-natured, but nor does disgusted to an extra money. To the doctor of laws embadurna it peguntosa molasses of all odious characters that have populated its meritorious in this field filmography. The actor chosen could not be truer. The picapleitos without scruples who plays an enlightened Walter Matthau, brother-in-law of the prudish Lemmon, marked by grace, is the couple film absolute. The film is worth only to see them on stage. And this was the first of nine collaborations.Walter Matthau was a fondón actor and down-to-Earth, capable expression frown creasing and resemble a bulldozer about to chew the ear of a candid pablum, allow me this fierce image. The actor spent the straws in the filming: tobacco, one of their vices, along with women and the game (!) took toll on the heart and a severe stroke deviated you from the recording. Recovered, having lost almost twenty pounds, forced to do sport and care for his health if he didn't see the obituaries of glamour magazines and holders of the press in the industry and, above all, to abandon entirely the tobacco and the stress of the LAN and the skirts, Walter Matthau avinagró his gesture, empozoñó their dramatic arts and addressed the character of the lawyer rogue with a kind of internal aggression than perhaps It had not existed if the circumstances were others. For the benefit of the public, his performance was damning. You just have to see the original version and advetir Fudd tone and inflections elocuenes of an actor in State of grace and a unique script. However, Spanish dubbing is formidable, as often.Who has not had the pleasure of seeing her perhaps consents the Pilgrim idea that there is no humor in this Opera buffa the hypocrisy and duplicity of humankind: leave it, configure your brain to attend a major parade of hilarious situations (the visit of the doctor, the watchman of the window.)Sentimental cynicism: here is the mark of the House. Billy Wilder always redeems his characters of excessive tragedies, the excuse with elegance for all the bad milk that they have been inoculando and that suddenly, almost without coming to tale, release in droves, these semantic Cascades also house brand. In this film, abound: there are tons of enmarcables lines of text, situations worthy of the talent compositional Lubitsch and, of course, easily attributable to the genius of I.A.L. Diamond, a type of corrosive semantics and mental agility to the comparable to Lope de Vega and Calderón de la Barca theatrical. Yes, I know, some purists of our sacrosanct literature are going to write a post condemning my boldness. Do-it: I have godparents.If something exciting is this show of mass which is the film, it is astonishment, confusion, the intimate wonder of dislocation: one is sitting in his armchair, perhaps eaten by the fever Ethereal of not having a good day or the suspect that tomorrow is going to be like, and suddenly images, these 24 frames per secondthey are the absolute miracle of faith in art. Dislocation makes you keep sitting in the armchair, but the soul - this invention of the faith but that exists for these cases, rises in a cathartic, liberating flight and is the best place in the world, the joy, the momentary happiness. Yes, then the soul returns to the armchair and The End warns that we turn off the DVD or that we leave the pure and wonderful darkness of the room to confront chaos and disorder, that unruly avatar which is live. No I get pessimistic, although it is Monday and I cost spinning ideas and express them as it should be for the purpose of writing something above fortune cookie, the tape of Wilder. Alex, in his Antarctic, also destripado his love for the master on the far side of this post. Complete this reading with it, and be happy, for God's sake, don't let life procures les more havoc than its course and pressing certain of his sad settlement
|
3,168 |
archivos_extraidos/MCE-Corpus-main/Dataset/3860
|
Ivan Villamel
|
Promesas del Este
| 5 | 5 |
muchocine
|
An excellent film, that despite to be intimate and conventional in certain passages, does not preclude that subtle and brilliant ability to Cronenberg to show us light notes that foreshadow more show, situen the film on Olympus.
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Throughout the history of cinema has constantly resorted to describe, with greater or lesser fortune, the various ramifications of criminal groups organized throughout our planet. The fact to describe the dark and part free of moral and social bonds of these groups organized by elements that even up certain principles among the members of such groups, has created in the viewer a certain attraction and empathy with these immoral characters. From the so exploited option of the Italian mafia in any of its branches (with the work Summit "The godfather" of Coppola as obvious reference), passing by the Irish mafia, including the Chinese triads (which are recurrent hotbed in the cinema of Hong Kong until exhaustion, with results in the majority of notable cases). But other groups were never motive of an accurate analysis or, failing, noteworthy beyond specific cases, as in this case the Russian mafia (perhaps due to the secrecy that the extinct U.S.S.R. always instilled in its members and misinformation given beyond its borders). So realistic and close to so unknown organization treatment seemed appropriate, but the truth is to assign the project to a filmmaker tanning in the realm of fantasy as David Cronenberg, seemed a risky decision in principle. Nothing is further from reality, that the Canadian director had already shown in his latest project, "A history of violence", which unfolds with great ease in the nearby stories, with secrets that lurk just around the corner, waiting for resurgence with vigorous force.The work of Cronenberg as director, as known for any lover of the seventh art, greatly stresses in its early days by what he called the theory of the new flesh, in which unfolded an indissoluble relationship between physical deformation and its moral consequences, resulting even applicable to a tendency to merge the human body with the technologies in a stretch of his career. Both in its inception with films such as "Rage", "chromosome 3", "Scanners" or "Videodrome" (his more disturbing perhaps in their intense early film), as once reached a status of author which was probably the best moment of his career as director, films are essential as "La Mosca", "Inseparable" or "Naked lunch", Cronenberg gradually became the champion of the transgressive fantasy film and with a point of dissection both physical and moral being human. The final stretch of his career seems, in the view of a server, highly unsatisfactory, with three films as "Crash" (with a legion of fans, but nevertheless extremely irregular), "Spider", and above all the mediocre "ExistenZ", in which Cronenberg seeks to take beyond even his obsessions, too obvious and predictable in their approach, and thereforeslowly away from the constants that made him a vital creator of recent fantasy film. But Interestingly, when one least expects it, Canadian filmmaker gives us another turn in his career, in which aspires to seek more an amorality in characters nearby common and, as demonstrated in the splendid "A history of violence", and even more pronounced and satisfactory in the film that concerns us, the no less bright "Eastern promises".History shows us as Anna, a descendant of Russian emigrants and who works in a clinic attending births, it is the night the morning taking care of a baby born to another emigrant from the countries of the East, already deceased. Through his diary, written in Russian, and that little by little it will be sorting out, Anna goes deep in a dangerous world, one of the mafia more important of all Russia, in this case, based as immigrants in a current London, the same in which Anna malvive with her parents after a breakup.The appearance of a driver who knows more about what appears, and the threats it suffers for his life to have in his possession the diary of the deceased girl and that he had suffered a terrible event in their own flesh, are the bases to create a story full of nuances and in which no one is as it seems.From a good start, with the murder which opens the film, Cronenberg makes it clear that despite being an intimate story, anytime can bloom from it the lowest instincts of the human being, through a careful staging and hyperrealist formal perfection, shows us the everyday facts of this faction of one of the most ruthless mafias that exist, with an impeccable characterization through thin details in appearance, but extremely effective as a description of an unknown world to Anna, cited as an example the localist humor used by Viggo Mortensen in his role as driver Nikolai (splendid in the role, with a full of gestures and looks sublime characterization) in the scene which exerts such with Anna, when your bike is thrown in the middle of the street. Details coming to reach each and every one of the characters in that family of criminals, described as discussed above through a subtlety uncommon, with small scraps of cotideanidad (scenes like the brothel with Nikolai and Kirill, a no less splendid Vincent Cassel, or the extremely effective and distant threat made by the head of such an organization on maternity hospital to Anna)(, they are revealing in this regard), intending to describe perfection of Cronenberg intentions in this small story in time but powerfully loaded with nuances.Narrativamente not far behind the film, with a perfect narrative parallel mode of revelation constant in the footage, which is the dual development of events through the eyes of Anna and storytelling through the words of the deceased immigrant through his diary.Tremendously powerful in its underground and rich intention to transcend, "Eastern promises" shows that not always a minimalist film with a nearby history must be flat and connotative, eternal confrontation of Nikolai of duty against his own conscience, the violence contained after a disturbing scene through family reunions of the Russian (as a brilliant and effective strain relief) mafiaall this contributes to make credible the story, working a scene in particular as a catalyst for such violence to be sensed but just not displayed in its fullness, perhaps the climax of descriptive of this history of violence as it was their previous work. This scene, which takes place in the sauna, is the highlight of the intentions of Cronenberg with the story, every human being carries within itself the duality that leads us to be unpredictable beings to let us carried away by emotions (whether part of a charming appearance as the mafia boss to become the demon that has inside)(, as on the basis of the surface caused by the frightening aspect of Nikolai, but it carries a man of pure heart), and in which the filmmaker in Ontario gives vent to the town and vengeful most violent scene in the film, with a woman struggling to survive bare of all armour (literally Nikolai found in that position, in a scene metaphorically poderosoa to be devoid of any defence) in this aseptic sauna baths.Both the work after Cronenberg cameras and the exceptional performance of part of the cast, especially those who play the members of such charismatic organization, contribute to create a film perfect quasi in which only minor details could be seen wrong, as the little deep description of a persons foot which form the family of Annadevoid of all kinds of hue and interest by the Viewer, beyond the purely anecdotal. The character of Anna is perhaps too old for the role, becoming perhaps more accurate the decision of having chosen a younger actress, which would give much more sense that rebel and nonconformist, not to say demencialmente risky attitude of facing one of the most powerful of the world mafias. The innocence of youth had more justified this attitude and it would have given even more sense the feeling of overprotection Nikolai exercised over it. Even so, Naomi Watts unfolds with ease in the role of Anna, being something limited his performance, that if.Ultimately, an excellent film, that despite to be intimate and conventional in certain passages, with a London grey by way of history hopeless as the future of those illegal immigrants who exposed guided by trafficking in human beings, does not prevent that subtle and brilliant ability to Cronenberg to show us light notes that foreshadow more to show, situen the film on the Olympus of the best films of the year. Essential, no doubt.
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3,169 |
archivos_extraidos/MCE-Corpus-main/Dataset/3378
|
Jack Torrance
|
Resident Evil Extincion
| 2 | 5 |
muchocine
|
Everything in this Resident Evil seems written by a 12 year old boy hooked to the playstation, and is therefore presumably this, its potential audience, enjoy much more than the occasional gracietas without grace and imaginative little of his screenplay.
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Extinction is the third installment of the series that adapts the eponymous video game company campcom. On this occasion, the argument of the series of games is ignored and proposes a situation in which the infamous virus T has done havoc around the world, ending with the civilization and turning everyone into the usual zombies hungry for human flesh.(Can someone explain how a virus can desertifying a planet in its entirety?). A group of survivors search for food and supplies in a convoy with several vehicles while vague Alice through the desert from the Umbrella Corporation. An approach to the sea of interesting that gives rise to create a post-apocalyptic movie in the style of Mad Max, mixed with the Romeriano universe. In fact, the tape begins Interestingly, showing some zombie by beyond wandering through the desert. Without doubt, the best scenes from a movie that is entangled in an absurd narrative drift that sometimes creates occasional boredom.The problem of this third part is like their two previous deliveries, is the grim script for Anderson, whose obsession by show bad evil of the Umbrella Corporation and focus the argument on them instead of the motivations and problems of his characters, make that we feel no curiosity to know what will happen next, and that we only observe events and action by the mere fact that it exists. A model that is becoming dangerously common in American blockbusters, and they get that you one can bore a tape of these characteristics, as it is the case. The character are not explored or being authentic mannequins that we see Act and whose actions do not help to know his motivations, therefore more minimally, are absurd vague attempts to get closer to them, even presenting them by their names, telling us something of his past, when at any time becomes to know, even in the action scenes. The address is moderately functional, with the almost always successful visual sense of Russell Mucalthy flying over each level of the film. The production design and photography are the ingredients of this production, reminiscent of the Mad Max series tapes and pose a promising visual treatment that make think of a film more solid, so that finally the feeling was diluted as the film progresses, without really advance the story, and suddenly ends with a fight between monster and charisma more heroinpredictable and disappointing. Everything in this Resident Evil seems written by a 12 year old boy hooked to the playstation, and is therefore presumably this, its potential audience, enjoy much more than the occasional gracietas without grace and imaginative little of his screenplay. The spectator fan of the zombie sub-genre will enjoy no doubt with a couple of scenes that, although they do not say anything new, leave them satisfied at the end of the projection. Several plagiarism/tribute? The day of the dead (underground laboratory with scientists who trained dead), dawn of the dead (zombies super fast) and Land of the dead(ese_convoy_acorazado_rumbo_a_.) (Alaska) there is more action, better shot and with more violence than previous tapes of the saga, which make it a most enjoyable show, despite the fact that his story is child and acutely Decompensated than the original.Music dispenses with the terrible techno cheap typical of Anderson to leave a result more decent, although equally poor, than other products that bear his name. Extinction is the most entertaining chapter of the saga Resident Evil, which will be remembered in his triptych as the worst of the possible of a terrifying video game adaptations. Perhaps its Z series air some enjoy Italian post-apocalítica to the Bruno Mattei and Enzo Castellari, that in his 90-minute there is a bit of everything: mad scientists, mutant monsters, telekinetic powers to the storm, cantosísimos touches of Photoshop to Jovovich in close-up, costumes postapocalyptic with CSKA and sunglasses fashion, dogs and zombie crows, wicked chops and holographicHi-Tech technology, Clones of mile in balls and a beautiful map of the mouth of zombies for only 6 euros Tokyo subway who gives more?
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3,170 |
archivos_extraidos/MCE-Corpus-main/Dataset/196
|
Javier Moreno
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Hard candy
| 5 | 5 |
muchocine
|
David Slade has composed one of the best thrillers of all time, able to provoke tachycardia to sensitive people or with heart problems
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That complicated speak from Hard Candy!, after seeing the film, I do not know if the Spanish title is a subtle irony about what awaits us in the next 100 minutes of footage, because Hard Candy is a caramel very difficult to digest, very difficult and distressing.Pederasty is a very complicated issue deal with film, very complicated because the simple act is already scary thinking.The film begins with a conversation in a chat between Hayley, a teenager of 14 years and Jeff, a 32 man who hides a dark secret. A conversation laden with a tremendous sexual chemistry who never had to have doubled as well indicates my good friend Alazne cinefila. They decide to stay and from the first moment laying down a few roles, Jeff is a Wolf, a sexual predator, a pederast in power, and Hayley a innocent girl, a kind of little Red Riding Hood to the mouth of the Wolf. Jeff her engatusa and her takes her home, Hayley is left to do, and even begins to prepare a few cocktails and alcohol to pave the way for the leon. What you do not know the lion, is that under the small lamb hides a real Wolf. Hayley drug to Jeff, and in a tense plot twist, the roles are exchanged, the pederast is the victim, and she is the executioner who seeks vengeance.And it is here where begins the real film. A tense thriller, psychological, that without blood, without sex, without Visual effects, only with the interpretation of the two actors, make Hard Candy in a movie perverse, oppressive, uncomfortable and difficult digestion. We're talking probably about one of the movies most unhealthy arrived from Hollywood. The game that the young Ellen Page submits to the child molester is distressing, as says Alazne new online film from Haneke, impossible to keep quiet five minutes in the armchair.What most stands out of the film, in addition to a solid script seamless and that time of bucólicamente disturbing environment, is without a doubt the lead actress: Ellen Page. Her performance as sweet girl turned into a psychopath is not great, it is ANTOLOGICA. She alone is capable of making the film, she alone in each of levels overshadows the rest of the footage, literally eats actor, mixing malevolence and macabre humour that causes nervous laughter in the cinema. Ellen Page is the movie Hard Candy, she is in a superb debut actress presents his letters to be called to become a major film, and is only 19 years old, it is the best debut that server has been in a movie in years.I do not follow destripandola, the end is simply shocking. David Slade has composed one of the best thrillers of all time, able to provoke tachycardia to sensitive people or with heart problems. Refrain squeamish, Hard Candy is not poisoned, but sweet candy that you eat the entrails to such an extent that halfway through movie do not know where put in the film. An authentic jewel.
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3,171 |
archivos_extraidos/MCE-Corpus-main/Dataset/1419
|
Emilio Calvo de Mora
|
Tetsuo, the iron man
| 3 | 5 |
muchocine
|
Mescolanza of biological with the metal, a metallurgical poem anti-nature hybridization, the first in the history of cinema. Cyberpunk to complete a century. Screws, mutilations, drills Symphony limited partnership for revolver innocent stomach.
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There are things that one understands, but that fascinate him. Religion is the reasoned inaprehensible. Bertrand Russell said that faith was chantajeada intelligence or the abducted common sense. Under this strict context, Tetsuo is a rare bird in the film one can see and does not resemble anything none another film, although share identical patterns and a pretty similar sense of the grotesque spectacle and the fascinating guignol of all radicalism.Tetsuo is radical: love or repels barbarically. I zozobro between repulsion and this strange affinity to the consent to the idea that, not being bad, the proposal is amazing, fantastic, bombastic and dreadful as a roller coaster on the crest of a tsunami.The Japanese go somewhat against the grain of the Western film and it is this latter, more tired of searching and not finding new models of exploitation, seeking in its particular iconography innovative trends that show the European public, or to the American. Hence we have to Scorsese and infiltrators, is a New Yorker reading and nicholsiana of a product of Hong Kong than not we had excessive news if Scorsese had not seen spark in their frames. Hong Kong is not Japan, but Asia is Asia.Tetsuo is delicately abnormal: fragmented, revolutionary in its planteamiento-nudo - outcome and, as David Lynch, unsettling and addictive. I've never used the adjective "pleasant" because Tetsuo is not a tart to the desktop after a fillet with Roquefort cheese with a good rioja. It seems an experimental shake manga, Iron Maiden and psychedelic screws.The fetish of the metal is not degustable dish, although we have seen characters from Scorsese make similar brutalities. Up the tormented brain Lynch, already mentioned, gives us martyrdoms and aberrations that not conspicuous in this artifact uncontrolled and toxic.The first thing that draws attention is that black and dirty white and a very particular way of telling the story: there is no almost dialogue, a loud music us acongoja (literally) and the characters seem to ghosts, accelerated spectra, minimum vital entities moved by the whim of some rudimentary God and bastard which infringe them thousand small pains and some gigantic torment to not get it to banalities. This man who gets metal in the body which savor an apple pie is the icon of the moral depravity of man or not is none of this and only we are witnessing, puzzled, amazed also, to new models to ensure us pleasure already that we have (natural sex, with her spasms and their cramps) are shrinking their ability to satisfy us. Or is that the Japanese multitecnificados, hipermotivados by the noisy machines revolution, have erected metal in their fundamental God and offered these sacrifices to please him like the Mayans of Gibson extracted hearts of the people to give taste to their cosmic deities.Not frivolous with this gratuitous violence: abuse, recent fashion invent new languages to talk about violence, that is old and has aroused the interest of all the generations of human beings on this dog world have been, but Tetsuo, the iron man, applies to who need escape during awhile (lasts an hour) of all narrative and discursive conventions of classic cinema (ranging from evil to Bambi thirst) is detestable and want (and should want of heart because if it is not going to leave the experiment played) go beyond, dive into territories not hollados. I saw in my video store there is a Tetsuo II: body hammer. Won't discover it: can lose me something big. My annual horror ration is covered. Shinya Tsukamoto will not be my favorite director, but will turn into my list of tormented tormented favorite (Lynch, Lynch, Lynch, are no longer only).This mescolanza of biological with metal, this hybridization anti-nature gives a metallurgical poem, the first of the history of cinema. Cyberpunk to complete a century.Screws, mutilations, drills Symphony limited partnership for revolver innocent stomach. It is worth the trouble? Somehow, of course, although after this massive intake of sensory gruesomeness it is possible to remove the Bookshelf home Titanic dvd and let us lead by the melifluo song of sirens of his tragedy.
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3,172 |
archivos_extraidos/MCE-Corpus-main/Dataset/3374
|
Rafa Ferrer
|
Star Wars: La guerra de las galaxias
| 5 | 5 |
muchocine
|
that I most add a tape which is a classic in an entire generation right? Or recommend, or occurs to me, all have seen her a thousand times
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While in the morning took me the coffee contemplating an excellent documentary of the Spanish company of special effects DT (1 Oscar for "El Laberinto de el Fauno" winners) and taking advantage of my media naranja had bought (is supposed to me, although she as this enjoying almost more than I) "Star Wars – the legacy" book this opportunity thanks to the half a kilo of edits that Lucas has been publishing for to revisit the series.It is true that sit in front of the TV to see the Star Wars movies is like to see at Christmas that cousin makes while you don't see, and who, enjoy his presence, is that, with the film that gave home to the phenomenon, it is easy to feel identified, although it is the umpteenth time that you see and know of p a pánot only their dialogues, but also many of the secrets (or additions of the version remastered.) of filming of the same.It is true that at the narrative level, history, (have always said that Lucas is a lousy writer.), is quite loose and even predictable, but good, he wanted to make a kind of tribute to the action film, and novels and succeeds, separate, always liked films that revolve around to visit places and do things, and so forth. And Star Wars is one of those films, as its actors, it is true that both Harrison Ford and Carrie Fisher are great, not so Mark Hammil, which is, quite lost in her role as Luke Skywalker.En anyway, I most add a tape which is a classic in a generation right? Or recommend, or occurs to me, all have seen her a thousand times.
|
3,173 |
archivos_extraidos/MCE-Corpus-main/Dataset/115
|
Tito Chinchan
|
Bloodrayne
| 2 | 5 |
muchocine
|
More vampires, more fine offal for a film that does nothing at all
|
By God, that big eyes that you have put on the poster this girl. But it was because then you have a bad milk which seems that they have inserted a chilli in salva is the part, I would ask an eye donation.The film is a girl who lives in a circus held by his strange abilities. One day, by the vicissitudes of fate, he escapes from the circus killing half shooting (by adjusting the budget). Then appears a group belonging to the Brimstone society, that liquid left and begin to search for the supposed vampire that has bundled all the chicken. At the end it turns out she is a Dhampir (folleteo between human and vampire) and want in your group. His mission, kill the strongest vampire of the moment. And then there is a collection of pieces of vampire which is very funny thing.We face another one of vampires, with the novelty water kills them (should smell to blessed glory). Taken from a comic book, the film does much to the genre. We have a player who wants to kill a supervampiro on logical grounds, a group that you also want to do it and on the other side, the vampire who wants to dominate the world. News? No. So we have a script that we already know, with some characters that do not kill and a surprising however absurd final resolution. The dark aesthetics adjusts quite well to what you expect of a comic, as well as the soundtrack. But to tell the truth, it is pretty bad.In short, more vampires, more fine offal for a film that does nothing at all. If you are a fan of the genre possibly the grills, but let it pass as in the mus.
|
3,174 |
archivos_extraidos/MCE-Corpus-main/Dataset/2974
|
Jeremy Fox
|
El ultimátum de Bourne
| 5 | 5 |
muchocine
|
If a charismatic player very well assisted by a handful of good actors added to a perfectly planned and carried out action scenes, the result cannot be other than the consecration of Greengrass as one of the greats of our day action film.
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As I said on occasion, "The Bourne ultimatum" (The Bourne ultimatum) was with "Ratatouille" one of the last hopes film of the summer, in American cinema.It was not easy Paul Greengrass. After having made "The myth of Bourne", one of the best action movies that they remember, and have shaken the expectations before his new film "United 93", they were high.Finally, as was the case with "Ratatouille", I believe that Greengrass has left happy up to the most demanding.Some will attack it by the script, excuse usual to attack the action film, but it is not the script most importantly a tape. Despite this, it works perfectly and has interesting details. With respect to the history that counts, suffice it to say that we we have the resolution of the identity crisis of the agent Jason Bourne (Matt Damon), known by all those who have seen previous deliveries.Really impressive in the film is his, so frenetic pace that I must consult the IMDB to verify that it lasts 111 minutes which to me seemed a sigh. A rhythm that is supported, not so commented camera movements, in a stunning montage and a perfect planning of the action scenes.An example of the spectacular takes place in Tangier and persecution that deserves a place of honor in the Pantheon of the great persecutions of cinema. By the way, to me the resolution of the scene reminded me what that said Hitchcock how difficult that is killing a human being and that it shaped in stunning images in "Torn curtain".But back to the subject of camera movements for a second. The most insightful will be thinking: is this the same Jeremy Fox who criticizes movements of Chamber of Michael Bay and its excess levels?Yes, I am, and I think that we must differentiate between wildly move the camera and move it frantically. In the first case, you will lose the reference of what you see on screen to the point of that if we intent the image even would say what they are seeing. That is what is happening in much of the film of Michael Bay and the fights of robots of the recent "Transformers", on the other hand of more content of Bay, would be a good example.Instead, with Greengrass happens just the opposite: there is not confusion but binge. We know at all times what is happening. One of the reasons why I think much better director to Greengrass that we add a charismatic player very well assisted by a handful of good actors and a really powerful soundtrack to Bay.Si to a perfectly planned and carried out action scenes, the result can not be other than the consecration of Greengrass as one of the greats of our day action film.I could not have found a better place to demonstrate his talent in this conclusion is, possibly together with the initiate "Jungle of glass", the best action in the history of the cinema trilogy.Final rating: 9 out of 10
|
3,175 |
archivos_extraidos/MCE-Corpus-main/Dataset/1577
|
Yul B.
|
Un puente hacia Terabithia
| 3 | 5 |
muchocine
|
Close your eyes and open mind. Very important phrase you have to keep in mind when watching this movie.
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?Close your eyes and open mind?. Very important phrase you have to keep in mind when watching this movie. Use the protagonists of this story for imagine, with amazing reality, the fantastic world of Terabithia, and truth, seems a Council for the Viewer.It is clear that to enjoy this film should be open fully to what tells us its director Gabor Csupo, by the grace of the author of the inspirational bestseller, Katherine Paterson.Es key will not remain with the easy, not leave you carry only by the visual part of the invention, they go beyond, i.e. that you profundicéis in storytellingthus to be able to capture the messages of friendship, humility, nobility, resignation or fortitude that launches us the tape during the 95 minutes that lasts.Anyway should be clear two things before going to see it: first, that we are talking about a film told by children and for children, in which the adult characters are only present to give realistic and unimaginative, counterpoint to the story. Do do yet the film is both enjoyed by kids of a certain age, I would say that starting from 8 years, for elders with the mind? open channel?. And, second, is not an overflowing film special effects with filler text. It is precisely the opposite: it is a daily story with abundant calling attention, whose small footage of fantastic elements are represented by the righteous and necessary FX. So that fans of special effects that you had intended to go to the cinema to see this film, animated by a few trailers that I consider to be misleading, and a promotion based on the advertising phrase? of the producers of the Chronicles of Narnia?, abstain from doing so because the roll will not out there.Do do with all this into your mental hard drive, the movie you seem entertaining, sometimes charming, although at the end pensaréis that it has lacked a couple of boiling points to be considered as a product Disney with possibilities of becoming in a? classic?, now called this company, in their DVD editions, old successful revenue and its new blockbuster pelotazos.Do I already told you that he had read somewhere that American critics had compared this film with?The Laberinto del Fauno? that both mixed fantasy and reality. As the saying comparisons are odious, and in this case are more patents, because the approach of?A bridge to Terabithia? do is much more white, innocent and sweet than the award-winning story of Bull here are two imaginative children with a beautiful and enigmatic forest by means, and its capacity of invention is much more? light?. It is true that living a mediocre reality and that their fears are reflected in each of the characters and elements from the environment of his fantasy world, which are owners, but the circumstances in which they live Jessie and Leslie are not as harsh as the Ofelia.Vamos than the story is different. It is a film that you will remember your childhood days, and you will feel on many occasions identified with the two protagonists of the story, who are the undisputed stars of the film.Do to Josh Hutcherson had already seen him in?Zathura, an adventure spice?, smaller and pointed out ways with his interpretation of the typical older brother nasty and capricious that many have had. Do here makes a convincing role of child discriminated against by their class, a great timidity behind his successful drawings, and by circumstances of fate is his soul mate, female version called Leslie, who plays Robb.A AnnaSophia Robb AnnaSophia we saw in?Charlie and the chocolate factory? as the screeching masticadora Violet gum, and now more crecidita, even prettier, and with a striking resemblance to Keira Knightley, makes as convincing as the teammate role: a bizarre student whose personality and overflowing imagination drag Jessie to the world of Terabithia. The connection between both actors/characters is ideal.Do there is almost always a? but? in this criticism, and for me there are several. I do count: certain moments of the plot are a tad long, to the point of seem unnecessary. Few others are unconnected, which also makes them seem unnecessary.The same applies to an important fact of the film quite sad, I can not reveal; I personally it felt out of place, justifiable only to cover the dramatic fee of the product, and draw the viewer the easy tear.And finally, one of the persecutions in the forest seems to be made hastily in the FX, which, at the level demanded today the public is a negative point.After all, the balance that is removed is positive. As minimum has been a film that covers the basic need of all film lover Viewer: have a fun time. And this dear friends is lately becoming a virtue which is in short supply.
|
3,176 |
archivos_extraidos/MCE-Corpus-main/Dataset/1605
|
Ramón Balcells
|
Diamante de sangre
| 4 | 5 |
muchocine
|
An expressive film, hard, with a finish that can seem typical, but which is undoubtedly the most appropriate.
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If one wanted to make a film about the diamond trade in Africa, a deep drama about mankind, about ourselves, of our behaviors, and also had numerous good dose of adventure, what Director would you choose? I, of course, departing from my list to Edward Zwick (the last Samurai) and that the horse-trading Feranando Meirelles, who directed a wonderful film also entitled the gardener complaint. But as we all know, people can change, therefore, Edward Zwick has also changed. The director of the most acclaimed legends of the fall gives us with blood diamond, without being pessimistic, to the contrary, a little smoother than Meirelles in city of God, a true sample of film adventures, armed conflicts and above all, of complaint. And is that three stories apparently here nothing related collide as a bullet in the chest of a kid, so spontaneous and unexpected. From a smuggler (superb DiCaprio) apparent unscrupulous to a fisherman who loses his family (magnificent Hounsou) and comes a "stroke of luck" or a journalist (great Connelly) interested not only in his story, but also in the world that surrounds him. These three stories so distinitas and so similar at the same time they come together, initially, by the main case of self-interest, but as the film progresses, the three arises immediately a relationship that goes beyond the interests and policy. Hence arises the friendship, love and hatred, sometimes.Portray a subject so hard and so difficult is that many directors are unwilling or come to play it, since that, for their own reasons, they dare not. But yes there are a series of daring, that not only are fighting, in a manner somewhat commercial trafficking in diamonds, weapons, whatever, but that they also believe that the public, in a way or another, will be interested in the subject. To me, personally, caught me enormously the already mentioned the constant gardener, a personal adaptation to the novel by Le Carré dealing with the illegal action carried out in Africa with pharmaceutical products. In blood diamond medicines become diamonds, but the message is the same.On the other hand, it is important that a story like this is performed so convincing, realistic and dramatic especially. And for this has Zwick to a trio of actors that you already like to have anyone else. They are Leonardo DiCaprio, in a sensational role (especially at the end) and very convincing. Then there is the grandiose Djimon Hounsou in the role of the fisherman, the core of the story and which brings more drama in everyone, on an exceptional basis, no doubt. And finally, to highlight the great presence of ever best actress Jennifer Connelly (recently seen in secret games), in an emotional and made interpretation very talented.Also note no less excellent music by James Newton Howard, with an incredibly emotional main theme, and photography of Eduardo Serra, with some levels of very nice landscapes and others closest that perfectly express the feelings of the protagonists. There Miss how the action scenes, that are not only action, but they contain a considerable dramatic force (pay attention to DiCaprio and the son of Hounsoun trying to escape from one of the guerrillas) are shot.In short, we have a great movie with several genera dominant, as the adventure, the complaint or the pure and simple drama. Blood diamond, is, an expressive film, hard, with an ending that may seem typical, but which is undoubtedly the most appropriate, and some magnificent performances.
|
3,177 |
archivos_extraidos/MCE-Corpus-main/Dataset/111
|
Daniel Galindo
|
Gisaku
| 3 | 5 |
muchocine
|
It would be a prodigy but it just hampered by being a brochure to disseminate the Spain today
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Entertaining product aimed at children, in the case of national consumer and profane aliens in Spanish culture.True to its objectives as a publicity pamphlet of this our Spain, this title from the creators of P3k: Pinocchio 3000 and El Cid the legend was born as contribution of animation industry patria to the Universal Exposition of Aichi nipponese 2005.Los had stay delighted about the adventures of a samurai in State of hibernation for nearly four centuries, lost in time and alien to the changes. Yohei, which is the name the disciplined supporter of the good arts, wakes up in the Seville of the 21st century and you can imagine the shock that suffers to see how the Expo in 1992 marked a turning point in the Andalusian capital. A somewhat forced plot leads to a peculiar group commanded by this character, which in turn pays homage to the manga, travel through the Iberian Peninsula and disembark in the Balearic Islands. This trip includes stops not only tourism, but also moral, to promote the principles of brotherhood and respect for the environment and advocating the eternal struggle between good and evil: enough to see the first actions of the quixotic samurai, which led him to stand in front of an enraged Dragon is not anything other than the AVE train to reach the station of Santa Justa. This curious example of animation to the Japanese, with a rather slow pace and many special effects, would by itself only a prodigy in Spanish animation, although just filling by continuous references "brochure" in an attempt to spread the Spain today. And while "the eighth industrial country in the world no longer believes in legends", its new inhabitants - we refer to the more young people - they should contemplate this educational film which exalts, nothing subtly, the excellence of Mediterranean cuisine, the wine culture and technological progress through their unique characters.
|
3,178 |
archivos_extraidos/MCE-Corpus-main/Dataset/1871
|
Ramón Balcells
|
El buen pastor
| 4 | 5 |
muchocine
|
A brilliant film, deep, long and dense, with an outstanding cast and an incredible technical section. That Yes, to you who like those of espionage, better that not go.
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Robert De Niro is the director, producer and secondary actor of the good Shepherd. So it sounds like a little, but I assure you that her second film as a Director is one of the most elaborate at this beginning of year works. Yes, at first glance seem the typical peñazo of a man who left everything for their homeland, but no gentlemen, no. Do not fool yourself. It seem also aburridísima, but the truth is that a slow film and why not is less magnificent.This was one of the most anticipated films of the year, at least for me, and I am thrilled the outcome has given me, entirely satisfactory. Got me the hope with two criticisms that the left pretty bad, but luckily, then I saw and I was impressed. The truth is that it is not a film of spies and nothing else. The good Shepherd is much more: mainly with the subject of espionage, talks about human decisions and makes a deep analysis (too!) about these people ingénuas, ending without just personality. De Niro does an incredible speech about the human race, a speech which goes beyond the unthinkable until final, absolutely terrifying conclusion, and why not absolutely baffling, since that one is already expected to what is going to happen. So we have, the film of Robert de Niro as a true modern classic, which takes one to another reference of other classics (ancient), such as the godfather. By no means, the film lacks originality. Quite the contrary! It is not only a sample of the good film, but is also a sample of good and original film (many of the levels are really disconcerting, the script, of which I speak now, is simply brilliant and "strange", etc).The screenplay by Eric Roth, as I say, is absolutely incredible. I agree that the film is slow character, but absolutely I would add to those who think that the good Shepherd is a boring film. As I said before, the film is incredibly deep, and not so boring. Only with the beginning, one already is surprised at its complex form of portray the world of espionage, because he starts telling us small fragmented events (that Yes, with the date included). Once you get used to this kind of script, messy, confusing and brilliant, you you wonders again and again before such complexity. It is an experience really satisfactory to witness a script as of this film, and I say this because for some time that he saw no one so prodigious.Another noteworthy aspect is the number of characters that appear, especially side. Niro, or rather Roth, not only focuses on Damon, the protagonist, they explore all the characters that surround him with exceptional skill, without leaving none by the environment without destroying it perfect. That Yes, can some of them fade somewhat, as John Turturro. So, in short, the film features a prodigy of script, graph, retailer and let band topics.The same think with the cast. There is no any actor that is below the outstanding. Everyone, absolutely everyone, and mira which are many, are incredible in their respective roles. Start by Matt Damon, the absolute protagonist of the work. It is yours, the role more deep and detailed of all the solo and human or Humanized, because human hair it doesn't. From the beginning until the end the character suffers psychological transformations and also ends up being worse than it is at first. No doubt, it's one of the most incredible a main character analyses of recent times, coming to be really close to the Viewer. Secondary, should speak calmly. It is not to appear too all of them, some even appear as cameos, but the truth is that they are all magnificent. Start by Angelina Jolie, the fictional wife of Damon. Their role is not to be the best Treaty, moreover, is perhaps the worst, but the truth is that it is portrayed quite naturally and isn't a heavy character. Robert de Niro reserves a small role, although very interesting and with a couple of really great dialogues, like Michael Gambon, amazing English actor that appears more than twice, and three. Perhaps his role is that most interests me, because she has a hidden and intelligent personality that makes him the most outstanding secondary. Although the same can say about John Turturro and William Hurt, both splendid in their respective interpretations, full of charisma and secrets (tuned to the scene of torture, carried out by the first.) (Absolutely heartbreaking and tense). Alec Baldwin proves once again that he is a splendid actor, offering us a masterful performance, probably his best along with the infiltrators, and Billy Cudrup highlight also the small appearances by Timothy Hutton and Joe Pesci, which encourage the role rewarding way for both are always pleasant to witness, especially those of the second. Thus, the film win much, but much, with its incredible cast, perhaps a single defect, be somewhat separate each other, i.e., that many of the characters do not relate well to just.The good Shepherd is, first and foremost, a film dark, full of secrets and lies, hidden in a world full of traps. And therefore, nothing better than having a technical section of first quality. The photography is excellent, even worthy of an Oscar (look at the close-up, especially). Music is also excellent, with some notes which come to touch and mounting, perhaps not the best of the film, but is not nothing wrong. In addition, the setting is astonishing.Excessive all of the film is that it is a bit long (lasting two and a half hours, approximately). To me, personally, not me she became heavy, but who do not enjoy with the films of spies are dull, and much, because the entire film revolves around them. Do not think that I now changed his mind and I am off to the deep movie. I only say that its subject matter is espionage.Thus, we have a bright, deep, long and dense film with an outstanding cast and a technical section incredible. That Yes, to you who like those of espionage, better that not go.
|
3,179 |
archivos_extraidos/MCE-Corpus-main/Dataset/1476
|
Tito Chinchan
|
Toro salvaje
| 5 | 5 |
muchocine
|
Possibly the best film of boxing in the history of film, with a spectacular Robert de Niro in the role of Jake the Motta. It has unleashed in me a deep sense of revulsion, but that is the cinema, to the senses is wake up from either way.
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Not long ago I read in a magazine the classification of the best films of the history, all in line with the últma delivery of Rocky (which by the way the original did not appear in the list). In the first place was Toro Salvaje, a classic of those that every human being must see, and as I am a more humane, being in an outburst of spending, a pack of Scorsese my medium Zucchini wants to return for any movie you liked I bought at the Fnac.The film tells the life of Boxer Jake La Motta, from its beginnings until his retirement and later life. Shows a violent character, excessively violent, misógeno, blunt and Díez. His boxing is the best, and quickly rises in rank until it reaches a moment that no Boxer wants to deal with it, but not get the championship belt that never accepted aid from anyone. This joins its worsening relationship with his brother and his wife.I have to admit that the film I did not like, given that these so violent films, palpable and real violence, get me bad body. The treatment that gives Jake women me crispa and the boxing scenes are too explicit. Someone will say, and you see why a boxing movie? Man, that a classic is a classic and the boxing movies I usually like, but in this there is cruelty. Moreover, it is an impressive peliculón, with a great De Niro (who had to clog up many kilos during the filming to adapt to his character). The atmosphere is great, and secondary actors I like, given that they are very expressive quality that has been lost in modern cinema. By the way, there a nod (or as the viewer wants to see) with the law of silence, in the time that is talking to the mirror as if was his brother. This is modelled to the scene of the car from the movie Marlon Brando.Resumiendo, possibly the best film of boxing in the history of the cinema, with a spectacular Robert de Niro in the role of Jake the Motta. It has unleashed in me a deep sense of revulsion, but that is the cinema, to the senses is wake up from either way.I'm with Rocky.Besitos.P.D: the key scene of the combat against Janiro is brutal.
|
3,180 |
archivos_extraidos/MCE-Corpus-main/Dataset/465
|
Tito Chinchan
|
Super Nacho
| 2 | 5 |
muchocine
|
It has nice moments, but little thing more. The script is quite linear, turns sharp, telling us a story that does not end to grace. Perhaps you have to go to see her with another mentality.
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I'm back to bite! I'm back to bite! A hilarious comedy, and a milestone of a kilo!. And that happens to me for failure to inform me before. It is that they are tucked into the garlic of Napoleon Dynamite nothing more and nothing less, one of the films of cult (which has nothing to do with culture) of those that I do not hear that it will. Well, nothing, ale, to me this monster, with the endorsement of the critics and the public.The film tells the story of Ignacio, which becomes Super Nacho to devote to wrestling. He is a man of faith and should not combat, but discovers that by doing this it can help a lot to the children of the orphanage where he resides (is a species of religious). Between cross you a hungry fighter with more bones than meat and a lustrous nun that causes you to lose the oremus.NA, that neither liked nor I like. It has nice moments, but little thing more. The script is quite linear, turns sharp, telling us a story with their introduction, his knot and its outcome. The actors are not bad, but the thing does not end to grace, perhaps there is to go to see her with another mentality.In short, comedy drama, without any moment of genuine delusion and quite childish situations (for a movie for adults).
|
3,181 |
archivos_extraidos/MCE-Corpus-main/Dataset/2975
|
Bloody Will
|
Hairspray
| 4 | 5 |
muchocine
|
I openly admit that I was about to plunge into the corridor of the room to hit me four meneos. For some time he enjoyed not so much in the film music within, with a film.
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Music pure and hard. Rhythm, rhythm and more pace. Do with these two sentences could be summed up basically what you'll find yourself in?Hairspray?.I begin this criticism synthesizing my impressions about the movie because I warn you previously that this is a tape completely different to which they are accustomed to seeing in the film.Do is not an action film with stratospheric explosions and gunfire to navigate, ni nor a drama desquiciantes dialogues, not even a light comedy of topical or clever, jokes according to the tastes.?Hairspray? It is 100% a film musical adrenalíticamente, which in the profane or not supporters of the genus them may be weary to such succession of vocal temazos and electrifying, chained dances with minimal linked phrases from script, but that the megalomaniacal hardened will probably seem a best gift for your eyes and your ears. I openly admit that I was about to plunge into the corridor of the room to hit me four meneos banned at the frenetic pace of the songs performed by Nikky Blonsky, Elijah Kelley or Queen Latifah, the best cast for my taste.But we must also recognise the outstanding contribution of the rest of the actors (special mention do also guaperas Zac Efron, medio-reconocible John Travolta, James Marsden surprising and even the elusive incredibly Christopher Walken), which makes one have the desire to get out of a jump seat. The continuous movement of the feet under the seat from the second song (?)(Do The Nicest Kids in Town?) does you it no one.And it is that one cannot help getting as much positivity and divertimento transmitting the film. There is no rest for the melodic neurons in our head. Only a story a tad child that it takes place in a world of pink (including the racial issue), whose importance lies only in that serves as a link to the next item, interrupts the evocative magic of?Grease?.Does no one can deny that the soundtrack of?Does Hairspray?, slightly reminiscent of that mythical tape of 78. This is due to the clear setting at the beginning of the years 60 Americans from the film of Adam Shankman, with dresses Princess carded impossible filled with lacquer and engominados Cambiar. What did however, Randal Kleiser with?Grease? It was a work of art on all four sides, and its classic shade is very long; In short, an insurmountable barrier.Pity that?Hairspray? not going to have the same impact. Is the music scene now very different from what known?Do Grease?, but it is commendable that Shankman has wanted to get with his film to new generations; Besides the fact that many many teenagers go to see her only to stun with Efron phenomenon (I had a few back whose drooling felt in the neck), the rest will enjoy a few topics with very cane arrangements, by the work of producer Marc Shaiman, despite his sixties style.Really, for some time I enjoyed not so much in the film music within, with a film. Most of the soundtracks of the films today are simple instrumental accompaniments of suspicious similarity who come rarely to become real actors in his career in the market of the CD; However, the soundtrack of?Hairspray? It is the true engine of the film, with the added value that its interpreters are those that reveal face and body (and go bodies, in all sizes) to the peculiar characters of this film adaptation.On none of them are there noticeable objections despite the ensemble cast of the time on camera. The choice of Nikki Blonsky has been perfect; This aunt is a pure nerve and it seems incredible that with his physique can move that way. His voice I put no buts.Amanda Bynes makes wonder that dangerously suggestive rebellious schoolgirl. Attention to her extremely tight dress in the final dance. Michelle Pfeiffer I said I was amazing at his age. And bad or I tell you.Christopher Walken breaks radically with its gloomy and serious image and draws smiles often. Dancing with John Travolta, priceless. Latter it goes without say that it has an incredible merit; getting around so well in that bag of rubber is commendable, and make credible his role as troubled mother of Tracy is quite an achievement.James Marsden is unrecognizable in his musical facet. I was pleasantly surprised by its versatility. Zac Efron makes no tiresome chulito, just what you need to thread the tape. Elijah Kelley is a machine; you only need to see him in action. And Queen Latifah plays a great matriarch of color luxury. Your interpretation of?I know where I? ve been? It puts the willies.Do ultimately, it did lack the usher put us a dropper to put us in vein mesmerizing rhythm of?Hairspray?. Suffice to say that since I left the cinema yesterday not I could take I head the catchy dance song of the great apotheosis end of the film titled?Do You can? t beat stop?. Tátan, so, so, so, so, so, so?. biiiiiiiiiiiit. Here me I am rehearsing a few steps.
|
3,182 |
archivos_extraidos/MCE-Corpus-main/Dataset/655
|
Jose Luis
|
El laberinto del fauno
| 4 | 5 |
muchocine
|
Do a maze with two outputs, in which I personally neither left me satisfied? None of the two, is totally beautiful and hopeful.
|
Initially fantasy and reality were the same, the fantasy was an excellent ally to explain the world, when the science still did not exist. Then when reality became cruel and intolerable, fantasy helped as a hideout. As that secret and magical place where one is can shelter black days and oneself. But? What happens, when you get to this world and it is just as cruel and violent, or maybe more?The new film by Guillermo del Toro, is torn between these two equally frightening worlds; a civil war Spain, but in which the hunt for Communists was equally cruel and a mythical, fantasy world. And it is Ophelia, the small protagonist, who lies between these two worlds, after arriving in the company of his pregnant mother to a military camp, where his stepfather lives trying to "clean up their Communist homeland".Ofelia discovers, in the middle of the forest, a maze of stone they say to State there since time immemorial, wherein the Faun meets and makes it know that she is the Princess of a Kingdom which is found under the Earth, but again needing tackle three tests and prove that his spirit not been corrupted by mortals.But do not believe that this is a tape in the style of the Chronicles of Narnia, on the contrary, it is not a film for children, which is completely clear in the first scene of the film, where the girl lies on the ground, wounded and bleeding. It is clear that no child would like to be in a place and at a time like that, any adult nor, but the escape the Faun offers does not seem to be the best option, since on the one hand it shows friendly and on the other its mystery creates suspicion. This ambivalence is a success because it is an excellent job of characterization and makeup, there is a human working behind him and is not the result of long hours of design by computer.The production is excellent; the alternate worlds are amazing though dark and scary, nothing here is nice, everything has a flavor somewhat twisted and bloody, including fairies, to which we are accustomed to seeing them as small beings bonachones and friendly, here their flight is fast and erratic rather resembling an insect that there is forced to flee.And that is perhaps the ambivalent and dark spirit that prevails in the tape, the innocence is trying to crush, innocence trying to find its way between good and evil, but in an atmosphere where both are mixed to such degree that it is impossible to distinguish it from the other.Del Toro has matured as well as its cinema, who since its inception has sought to further the various genres, horror, gore, fantastic and today has achieved it, creating an adult film, a dark fairy tale, in which in the end one has to choose, if it stays with the realistic part, with the fantastic part or a combination of both, and perhaps that's perhaps where the public loses a little tread, not knowing that the way the labyrinth to choose.Do a maze with two outputs, in which I personally neither left me satisfied? None of the two, is totally beautiful and hopeful.PS: This tape was selected by Mexico to compete in the Oscars, in the section of foreign tapes, however, I doubt that the Academy feels attracted by a complex Ribbon like this.
|
3,183 |
archivos_extraidos/MCE-Corpus-main/Dataset/3551
|
Jokin García
|
Rec
| 4 | 5 |
muchocine
|
REC turns out to be a good movie on the subject, quite realistic (within realistic which may be a film about undead) well done and with intensity and tension more than successful.
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A Spanish film, zombie, the director of "operation triumph: the movie" and with an aesthetic that is a plagiarism of the Blair Witch Project. The truth is that with this letter many eludirán see this movie thinking that they will find a casposa cutrez and infumablePero nothing further from the truth. REC turns out to be a good movie on the subject, quite realistic (within realistic which may be a film about undead) well done and with intensity and tension more than successful. Proof of this is that the typical "insurance which will now happen such thing" scares get scare although it passes it seems that it will happen. More predictable scares get the start of the Viewer.The film raises a format which, without being original at all, is very bold, as it is shot entirely in the first person, and everything we see is through the House of a journalist. There will be anyone who says, and not without some justification, that it is not very credible journalist don't burn, and that the first zombie that camera just thrown on the floor, but hey, is a concession of realism for storytelling, which in this case is quite necessary. The approach is quite simple: a team of journalists; the reporter and the House, are recording typical agenda style "Mirror public" or "Street" (programmes of various stories) and the story leads them to the place where all the action takes place. And there, little by little, the thing goes from gradually "site where something strange happens" to "total crisis", as in every good movie genre.I dare to say that this film is going to be one of those movies that you love or you hate her, play with things quite experimental and there are details, although I particularly liked, likely to be bored. Not play very much in favour of the film, and that I mean, the beginning of the movie, where the first 10 minutes foreshadows a pain in the ass. But no, pain in the ass anything, the viewer who has a little patience will be with a great movie of great tension and completely claustrophobic.Worth as collateral that 7 people that we went to the cinema to you 7 seemed to us a wonderful film, and if we realize that we were a group of people with very different cinematographic taste, even sometimes conflicting, that should give some clue about REC.And well, curiously, it has the earmarks of those movies that win on the small screen, but nevertheless I commend to readers that non-crappy and see in the film, that the film deserves it.
|
3,184 |
archivos_extraidos/MCE-Corpus-main/Dataset/1259
|
Yojimbo
|
Vida y color
| 1 | 5 |
muchocine
|
It can be seen, but it is not advisable to then. Well, except for those excited to see characters involved in Republican flags.
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The title of the Opera prima by Santiago Tabernero (director of the popular program version Española) and co-screenwriter of the crappy entitled asphalt makes reference to a collection of stickers of the 1970s on animals, exotic places, Anatomy, etc? This narrative device is link directly with Fede (June Valverde), young protagonist who will live in the Spain of the 75 the appearance of TV in color, Franco's death and the consequences of a terrible event in your neighborhood.This film premiered on March 5th and pretends to be (oh surprise) a new film retrospective on a historic stage never treated by our film. The novelty is it is told through the eyes of a preteen.The director seeks to combine several stories without too much success. All are interesting: while one has fun doing ideological propaganda outright in the other reserves the best cartridges to undertake very uncomfortable and unpleasant moments that if, at the expense of a morbid story but little achieved and artificial atmosphere.The best point of the film is undoubtedly the actors, starting with the rookie star, June Valverde. Carmen Machi pleasantly surprises us with a dramatic role; Nadia de Santiago, la niña de Javier no longer lives alone, suggests ways; Silvia Abascal, which is very credible, is accompanied by his sister in real life, Natalia Abascal (pictured lower between the director and his sister), as it has a desiquilibrado daughter Andrés Lima.A technical level the director been covered well the backs and photography instructs the mythic José Luis Alcaine and mounting to the excellent José Salcedo.Un disappointing debut that attempts to recreate a great story and stays in a mere loose situations puzzle, without importance for the viewer and a less insulting ending. It can be seen, but it is not advisable to then. Well, except for those excited to see characters involved in Republican flags.I do not like to be destructive in the criticism, but the film speaks for itself alone.
|
3,185 |
archivos_extraidos/MCE-Corpus-main/Dataset/4084
|
Ana Belén Pacheco
|
Los Crímenes de Oxford
| 3 | 5 |
muchocine
|
Lot of money well invested but little performance and originality. That is, very complacent and therefore somewhat disappointing. It had been a star more if it had not the burden of having an excellent Director somewhat untapped.
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Arthur Seldom is a brilliant and surly British professor specializing in mathematics, Martin is a young American student who travels to Oxford in an attempt to convince him to lead his thesis. When it gives everything for lost a mysterious crime involves them in what looks like a murder in series in the quiet university town. It seems that almost all are suspects so work together to solve the mystery is your only solution.I am a little disappointed. I recognize that while many films of Alex de la Iglesia I don't like too much their own way of making films seems laudable. Why when I saw the crimes of Oxford I found a certain tension to not to see any moment of brilliance in his way of filming, no twist his no guided them to their previous tapes, no recognizable iconography many directors recognize that make stories that aren't theirs makes them behave otherwise directing thing that can clearly apply to this film. I do not mean that the film is not good, it is. The problem, although he hates to tell is that it actually looks more to the DaVinci code than to a good thriller. A couple of attempts to unusual film looming just at the beginning of the footage as the plane sequence that leads to all the characters that ended up being the usual suspects of the tape just before the discovery of the first body, that was something intended to be bright but it is actually more a technical display than a narrative necessity. Something that will define the final result: money well spent but little performance and originality. That is, very complacent and therefore somewhat disappointing.He has good pace, a dash decent (although not to throw rockets) and a few players that work best for separate that altogether. Brilliant John Hurt (very funny point V of Vendetta), a little bland Elijah Wood and a rather unusual partner in Leonor Watling that despite to be correct and sensual fails to create an iota of chemistry with his film partner.It had been a star more if it had not the burden of having an excellent Director somewhat untapped.
|
3,186 |
archivos_extraidos/MCE-Corpus-main/Dataset/3488
|
Iñaki Bilbao
|
El capitan blood
| 3 | 5 |
muchocine
|
Classic adventure that has not aged well.
|
In 1685 an English Surgeon is unjustly arrested and exiled to Jamaica. But one day manages to escape with a ship and becomes a feared pirate known as Captain Blood. "Jarcias up, monkeys!" "Plegad these candles and vedlas filling with the wind that leads towards freedom."!Film of adventures that happened as one of the best in the history of the cinema, not in vain belongs to an unrepeatable era where spectacular, fantasy, action, humor and love intermingled with unique harmony.However, and it is my view, vista nowadays, it is painful to see how has aged badly and without remedy. Yes, in its day it meant a breath of fresh air, but now remains ajada, with the pleasure of seeing acting splendid interpreters, but with the certainty that there is downtime that bedevil the pace, that we didn't see in his day, no doubt because we saw as children or youngsters. Its protagonist, at their physical peak, you gave a vitality as did it not since the days of the silent Douglas Fairbanks. But today view the tedium makes his appearance numerous times, "singing", also decorated pretty (almost all of the action is filmed in studios, something improper in a tape of Adventures).Anyway, not put in doubt who is today considered as one of the films of classical adventures that must be put as an example of good cinema, but if her postulate with considerations of when it was shot and released.
|
3,187 |
archivos_extraidos/MCE-Corpus-main/Dataset/3917
|
Jeremy Fox
|
Soy leyenda
| 2 | 5 |
muchocine
|
They have lost a golden opportunity to make the adaptation final of one of the best fantasy novels of the 20th century. But calm, even her can pifiar more and already announced a possible sequel.
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"I am Legend", the magnificent novel by Richard Matheson, had been brought to the big screen with previously twice: "The last man on Earth" and "the last man live" (The Omega Man). The film directed by Francis Lawrence and this Christmas is the only one that preserves the original title of the novel and, however, represents a betrayal in every rule to the spirit and meaning of the same. In fact rather than an adaptation of the original novel is a remake of the version directed by Boris Sagal and starring Charlton Heston.Todo this wouldn't matter if in return they had given us a great movie or a great entertainment full of pure entertainment and hard but it has not happened. Moreover, without the good performance and charisma onscreen Will Smith movie would be nothing.Without him we are left with a good atmosphere that makes us believe that we are actually seeing a uninhabited Manhattan for three years (in only three years are already there lions, deer and grass everywhere?). In that regard the Visual effects team does a splendid job.Unfortunately as vampires, though I think that never called so in the tape and seem zombies more than anything else, I cannot say the same. They wanted to repeat the scene, compulsory in certain types of movies lately, make a lot of zombies run after the protagonists and rather than resorting to makeup have created them by computer. The conclusion is that they are, to some it ache reading this but is there is, very game and, therefore, very little credible.The film does not begin badly with some scenes to introduce you in the drama lived by the main character, their way of life and some well resolved tension point as the first appearance of vampires.But, attention here than there will be SPOILERS from the death of the protagonist dog the screenplay for Akiva Goldsman and Mark Protosevich makes water at an alarming rate and collapses completely with the arrival of the girl and the child. Here one becomes a number of questions: how have crossed an America full of vampires? If they take all day waiting for Neville (Smith) what the hell they expect to be dying to be displayed? Not would have it been better to tell that there were while he was preparing the trap? How do you know where is the colony of survivors? As they arrived in an isolated Manhattan? How they escape from there?. END OF SPOILERS.Yes, Yes, I know, all these plot absurdities nor should have importance if it were a spectacle of milk and we we pasásemos in great but not. The final minutes of the film are very dull, completely break the pace, wrong sold at auctions and leave the audience with a very rare feeling in the body.A pity, have lost a golden opportunity to make the adaptation final of one of the best fantasy novels of the 20th century. But do not worry that her can still pifiar more: already announced a possible sequel.Final evaluation: 4 over 10.Una curiosity: the 1970s version was much more daring sexually than the 2007 version. Another example of the times of Sanctimony in which we live.
|
3,188 |
archivos_extraidos/MCE-Corpus-main/Dataset/60
|
Ivan Sainz-Pardo
|
La guerra de los mundos
| 3 | 5 |
muchocine
|
Spielberg has become, and I reconnected to enjoy
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They defenestrarán this film for its end. But is that probably many not know the plot of the original novel with the same name by HG WELLS, the radio adaptation of Orson Welles or not saw the original film by Byron Haskin of the 52. The screenplay by Barré Lyndon unfortunately already rushing in the last third and also surprised us with a final for nothing complacent. There later was 88 a television version in format series, 48 chapters in one hour under the title: "The war of the worlds" the second invasion. To reach this new film from extraterrestrial invasions of the hand of Spielberg, we passed by many others before and some of them very notable. There is a film four years later, in 1956, "The invasion of the body snatchers" by Don Siegel, very similar to the original "The war of the worlds", and he narrated an alien invasion also terrifying and virtually unstoppable, very consistent with the background of the war cold in those years. It was a remake in 1978 directed by Philip Kaufman, without happy ending and with the title "The invasion of the ultracuerpos". (A very good remake and for me, without a doubt, the best of the three.) Abel Ferrara finally directed the last remake where everything was at a military base and recovering the happy ending in 1994.In 1985 the series of science fiction "V" also caused furor in half the world. (In our country was a real hit while in other European countries no one remembers her.) There are others, "The Arrival" (have come) 1996 or "The Faculty" in 1998 by Robert Rodriguez, but was 96 when became "Independence day", by Emmerich, which calcó with nerve invasion reported by HG Wells in a new more modern version, not sold as such, which already changed, as in this another remake of Spielberg, the stage of the old England (as a former world power) by the currently powerful nation of the United States. Spielberg, who was made a few years ago with the rights of the original script for the adaptation of Welles, delayed the project by the success of "Independence Day", where even the final outcome spoke also of bacteria and viruses, although in this modern version was a computer virus responsible for ending the malevolent plans of the invaders.Many people still do not know what Spielberg returned to change the date for the filming of his own remake, but this time to advance it. This is due to the beginning of a new official version of the version of HG Wells by an independent production company Pendragon Pictures. This version, much more modest, but even began filming well before, its premiere he already planned for this same spring. A disproportionate career legal and tough competition has existed, however, secretly between the mega project of the colossi Spielberg and Cruise and these independent producers. There is no trace of the release of the version of Pendragon Pictures. Apparently, this time have Goliat defeated David.David Koepp and Josh Friedman, the writers of the version of Spielberg, after so many movies, versions and series similar, they have not wanted or they have failed to evade too much of the original and have not been able to give us an ending that does not precipitate and not disappoint. At the time of meet with huge expectations created during a first master time, history is forgotten gradually give us answers to some basic questions (the reaction of Governments during the crisis, red plants, the sprinkled blood, etc) and the plot has just lost in a complete cloud of confusion during the appearance on the scene of the character played by Tim Robbinsto finish in a forzadísimo and nothing credible happy-end.But none of this matters. The progressive appearance of the storm with some great sound effects and the formidable musical work of John Williams throughout the tape. The sudden and terrifying appearance of machines, destruction, powder, (thought see something resembling a remembrance of September 11), suspense, impotence, tension, a few special effects very realistic and terrifying, thrilling, sober and masterful action. Scenes such as the conversation during the flight in the car, with a disturbing and impossible camera movement. The bodies floating in the River, the American population turned into refugees, in desperate "zombies", chaos in the boat, clothes falling from the sky as an apocalyptic rain and very remarkable and outstanding performances of Cruise, Dakota Fanning and all the rest.Spielberg returns to M. Night. Shyamalan with his "signals" to your site. Shows who is the real King of the suspense, it reminds us that it was, and not anyone else, who already in his day aterrara the world with "The devil on wheels", "Shark" or even some excellent moments in "Jurasic Park". Spielberg is not always in the most recent "The Schlinder list" or "Save the soldier Ryan" and fails to keep the regular expected by so many fans (including myself)
|
3,189 |
archivos_extraidos/MCE-Corpus-main/Dataset/2299
|
Rafa Ferrer
|
Oceans 13
| 2 | 5 |
muchocine
|
After for me one more than brilliant first delivery and a loose, flojísima second, little desire to me were passing through box office for viewing this third part.
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After for me one more than brilliant first delivery and a loose, flojísima second, little desire to me were passing through box office for viewing this third part, it had to be my wife, perhaps motivated by the staff of beautiful faces (Clooney, Pitt, Damon) who almost dragged led me to see this third installment, which tries to combine equal parts and with little master, now already seen in the 2 previous installments, and is that no mistake "Ocean's 13" is nothing more than a rehash of apparently previously.Clooney, Pitt, Damon y CIA. they are as always, nor more nor less, Pacino (although only its presence is already reason to pay without protest the 6.5? input), is restrained (and badly bent), Andy Garcia linear and simpleton and perhaps the only breath of hope is Ellen Barkin and not by his interpretation, but by the well preserved (and sexy which is) with their 50 and many springs.In this third part of Danny Oceans gang returns to las vegas, perhaps and with the permission of NY one of the older (and more realistic) sets of cinema, in the middle of the street, and it is that there are so many series and films set in this small plot of the Nevada desert, that one cannot help but a touch of sweetness, and something like healthy envy to see these celluloid stars pass through places that server only can dream.Can not say that I loved (mentiria), or which will be a tape odie (also would be lacking to the truth), although if I had moments that moved by a copious meal and the fragile freshness that we now live in Madrid, I've been on the verge of bending the spine and let me fall into the arms of Morpheus; that each one understands what they want.
|
3,190 |
archivos_extraidos/MCE-Corpus-main/Dataset/3599
|
Ana Belén Pacheco
|
Bee movie
| 4 | 5 |
muchocine
|
Bee Movie is fun, enjoyable, nice and very smart
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What a nice bees!It seems in the us are very excited because Seindfield has become, albeit Crumhorn insect-shaped. I understand that his sitcom has marked a before and an after American humor but really who appreciate its sordid humor in this film is highly complicated. If the difference key of Bee Movie with the rest of the children's movies of the season it is his humor is funny and intelligent but as it comes signed by Dreamworks isn't highly innovative. And the signing of Seindfield is, is sensed and it tasted but it isn't much less of a return of the great comedian. That it is possibly the best animation film in the last ten years. (I am a fan of Toy Story and I will not get the donkey still)I, abejil crisis, i.e., choose a job, make your life, don't stop or a minute, makes decisions, is helpful,... I think Barry an icon of modernity and intelligence. Just the University and you should choose a job "for life" so before doing so he decides to give a getaway to the real world breaking one of the rules of the bees: not to mention human, his friendship with Vanesa draws two basic conclusions, humans may have good heart and human steal them their honey. The sweat of his brow to go to go to Ray Liotta is undoubtedly something very outrageous for any humans so it must be to commit suicide in a tiny flying bug.So Barry decides to take legal action to restore production and honey to their legitimate owners.Bee Movie is fun, enjoyable, nice and very intelligent. You laugh, seeing the animation of recent years is much longer. So if there is need to get the little ones and you do not want to take a NAP is the best option. And if you're a fan of the animated film will pass to the list of essential.
|
3,191 |
archivos_extraidos/MCE-Corpus-main/Dataset/788
|
Jose Luis
|
El ilusionista
| 3 | 5 |
muchocine
|
Mixture of fantasy and romance you are about to leave speechless even the viewers more skeptical.
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Can a man achieve the impossible through the magic? Can you create in a circus act action that misled our pupils and our reason in order to surprise us? Can man change his destiny with the help of the magic? These questions are that obsessed director Neil Burger, director of the illusionist, who jump to fame in 2002, with its tape interview with the assassin, which could create the illusion of be watching a documentary and not a tape of fiction.And this time, magic also is on their side, to create a tape round, smooth and with a mixture of fantasy and romance that is preparing to leave speechless even the spectators more skeptics...Eisenheim, is a man of magic, a magician, who after crossing the world looking for mysteries, returns to his native Vienna, from where he fled many years ago, escaping a tormented childhood romance with Countess Sophie, who is now the fiance of Prince Leopold. But? They will have forgotten the young lovers? Magic could this time avoid that the destination separate them once more?A script to direct and accurate, based on a story by Steven Millhauser, directly the story, keeping the attentive Viewer, using the narrative in charge of Giamatti and flashbacks, focusing on the points of view of two characters in appearance opposing but in the end are complementary, a script that prevents that romance is the only flavorIf not that garnished it with a fine thriller, framed in an excellent work of photography and the unmistakable musical touch of Philip Glass.Pero perhaps the best magical pass is the pair of action between an ambiguous Edward Norton, which at times becomes fear and Paul Giamatti, stealing the tape with the cynical character of Inspector Uhl, who created a good chemical antagonist. Though Rufus Sewell, also make theirs with the Stoic Prince (bad?) of the story.More arduous detractors of the film discussed that the end may not be the best that you could have, but should be considered that, unfortunately, often only there is place for the magic on the screen.
|
3,192 |
archivos_extraidos/MCE-Corpus-main/Dataset/4198
|
Ana Belén Pacheco
|
Michael Clayton
| 2 | 5 |
muchocine
|
A cocktail between Civil action and Erin Brokovich that doesn't really happen anything during the greater part of the time. A bit disappointing though really correct.
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Michael Clayton is a "Troubleshooter". Nice euphemism to nominate anyone who undertakes to solve all the desaguisados that have to do with lawyers. You can already ask an arms licence or to buy you a Peruvian child, probably the only one who can do it. Michael Clayton is the vehicle for the showcasing of George Clooney. It is not bad given that it is one of the most charming of the screens and leads to mass cinema either to see one action or to witness dialécticas skirmishes of tapes as the before us. He interprets this peculiar character that adds his stressful work a personal and economic crisis worrying dimensions and just the worst time that you can imagine because without knowing it when it comes to helping a friend is gotten up to eyebrows into a multinational intrigue to conceal a crime of poisoning by metals in the hands of UNortha major company whose law firm is more scary than the same demon.A couple of deaths, an explosion in time and a fairly predictable speech complete this thriller legal tint which is in the middle of the genre films but not excels in any aspect. A cocktail between Civil action and Erin Brokovich that really nothing happens during most of the time (is an achievement to keep entertaining nearly two hours of footage if you think well). A bit disappointing though truly Orthodox and correct (and, precisely for this reason, boring).
|
3,193 |
archivos_extraidos/MCE-Corpus-main/Dataset/578
|
Txapulin
|
El laberinto del fauno
| 5 | 5 |
muchocine
|
Wonderful, fabulous, fantastic and impressive. But also violent, cruel, heartbreaking and sad.
|
Wonderful, fabulous, fantastic and impressive. But also violent, cruel, heartbreaking and sad. Since then it is not a tale for children, but a tale for adults as strong as sensitive. Tells the arrival of a girl and her mother to a rural House, occupied by the Pro-Franco army of post-war Spanish in order to hunt and exterminate the maquis of the area. The pregnant mother and girls come to the House to be closer to the stepfather of the girl child (husband of the mother and captain of the troops installed in the House) at the time of the birth of his son. Meanwhile attended a fantasy story that is found in the imagination of the girl, whose purpose is to escape from the horrible outside world where war and death campan at your leisure, but that in certain moments appears even more terrifying than reality itself.Ariadna Gil is the mother and the girl is played by Ivana Baquero. Both are good in the movie, but I would like to highlight the performance of Maribel Verdú as the housekeeper in the House, and Alex Angulo as doctor in the area. Special mention needs Sergi López, whose composition of Captain Vidal creates a monster thousand times more terrifying than any of those who can live in the imagination of the girl, and deserving nominations and awards several in all festivals, Goyas, Oscars and several Ariels who chooses this film.Do not need to say that the film is also flawless technical and artistically speaking: music, photography, design of the fantasy world, the script, the pace? everyone deserves these five stars that Crown a Director, Guillermo del Toro, who already pointed out good ways and who has now earned the mention of master, which does masterpieces.
|
3,194 |
archivos_extraidos/MCE-Corpus-main/Dataset/1204
|
Rafa Ferrer
|
Harry poter y el caliz de fuego
| 3 | 5 |
muchocine
|
The film is pretty good, but fails to translate 100% one of the longer books and more "breadcrumbs" the Potter saga.
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Chris Columbus contributed to the first two deliveries of "Harry Potter" a magical aura, of children's books (could not be for less, as they were the first two books so), then came Alfonso Cuarón and transformed the Potter saga into a dark and littered with tape of chiaroscuro, however Mike Newell transforms series into a mere romantic comedieta (could not be for less)(British director is the "author" of films such as "4 weddings and a funeral" or "Mona Lisa Smile").I can not deny that the film I liked enough, that delude ourselves, and however, I expected something more, a great book that they have failed to capture even half, eat things that will be important and try to put to shoehorn some meat of the fifth book (also fifth film), the interpreters, as always, to the trio protagonist because it shows them comfortable in their respective roles and such timeIt should be focus attention to beginners but do quite well are not at the height of their co-stars.Two of the film, are undoubtedly, Brendan Gleeson ("finding Moody") and Ralph Fiennes ("as Voldemort") although perhaps this last I could you imagine rather more dangerous as they show us on screen.In short; the film is pretty good, but fails to translate 100% one of the longer books and more "breadcrumbs" the saga of Potter, I recommend not going with all hopes for the film or the disappointment could be enormous.
|
3,195 |
archivos_extraidos/MCE-Corpus-main/Dataset/3187
|
Ana Belén Pacheco
|
La gran estafa
| 2 | 5 |
muchocine
|
Themes throughout almost two-hour film endless escape in the great scam. The overall result is very disappointing.
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A film called the price of truth was released in 2003. It chronicled the experiences of a young journalist working for The New Republic that had the ability to get the best stories. Unfortunately none of those brilliant articles were real and he had invented them even to falsify the documentation that had been provided as evidence. Sthephen Glass, which was his real name was fired and somewhat later published a book about the history that led to the scandal.I love movies about writers and journalists. Perhaps because they often have interesting to say things and quite committed reflections on any topical issue self-respecting. If this one to the fascination that awaken characters as Howard Hughes (for those who have a tendency to forget already took a biography film recently in the hands of Scorsese with the Aviator) the truth is that the combination promises to be explosive.In this case is Clifford Irving who deceives in full decade of I 70 to the American publishing industry promising an authorized biography of the most sought-after character of the time. From the moment in which accepts the custom is forced to distort and lie to save face in authentic and grotesque attempts to not be discovered.The film directed by Lasse Hallström and starring Richard Gere. I never liked much this actor from the eighties is weak (in the most literal sense of the word) and that lacks charisma inside and outside of the screen that remains much effectiveness to a character that should be able to deceive with their words to Middle America. Comparison with the previous aforementioned tape is perhaps very negative for the great scam for while one opts for an effective and concise footage in this escape themes throughout almost two hours on end. The overall result is very disappointing.
|
3,196 |
archivos_extraidos/MCE-Corpus-main/Dataset/1773
|
Matías Cobo
|
Diario de un escándalo
| 4 | 5 |
muchocine
|
A remarkable story about the bitterness of enforced solitude, an interesting confrontation? rich in nuances? between two types of morality and a curious point of view on the relations understood as an object coveted by ende and precise, to fill the emotional void.
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The inflexible Professor Barbara Covett (an exceptional Judi Dench) portrays herself when the film opens with one of their terrible dimensions in his diary of summary judgments about all the notes. While adolescents entering classes look with disdain, his severe voiceover, disseminated by the footage, says as customary is now requisition melee weapons or cocaine among students, when a few years ago to the more it came was a cigarette or a few pornographic magazines. "And that call you evolution", remacha the sarcastic voice of the teacher back everything that forecast for the future of their students, a black picture of oscillating between unemployment and terrorism.His solitary life has become a rancor and bitterness to give rein when, pen in hand, lifts Act of the mediocrity of the outside lives. But his chance to get out of its isolation will come with the incorporation of Sheba Hart (great Cate Blanchett) to the Faculty of its conservative Center. She, and the breath of fresh air that seems to represent, will pass through the relentless filter of Barbara. She is described as a bourgeois of easy life, moral led and writes franca about her private life.Nevertheless, the transparent Sheba will come to Captivate Barbara. Little by little, teaching veteran will be in his innocent pupil an opportunity to leave his social seclusion, find a confidant that, with time and his business dealings, can attract up to the fold of a relationship deeper than mere friendship. At this point in the footage, the character of Barbara becomes increasingly more depressingly manipulator to the point of bringing closer to the tape (a slip that of having consummated, would have subtracted credibility to the story) to the lands of the psicothriller.Do do with these mimbres, diary of a scandal, an adaptation of the popular novel by Zoë Heller written by Patrick Marber (Closer), offers an outstanding story on the bitterness of the forced solitude, an interesting confrontation? rich in nuances? between two types of morality and a curious point of view on the relations understood as an object coveted by ende and precise, to fill the emotional void.
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3,197 |
archivos_extraidos/MCE-Corpus-main/Dataset/652
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Matías Cobo
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United 93
| 4 | 5 |
muchocine
|
Tribute to those who lost their lives that day the third suicide flight and demonstration of how the chaos of those desquiciantes hours reduced to useless all military measures autodefensivas.
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The film is a concentrate of emotions of a couple of hours which increases and sublimates everything that happens on your filter. But the reality, may sometimes contain so many ingredients that reduce to superfluous any desire ficcionador. Paul Greengrass, making good the axiom that less is more, has followed this premise for a tape so masterly as honest. With an emparenantado with the documentary style, United 93 is the first of the films with a centered argued exclusively in the tragedy of September 11, 2001. Unlike Oliver Stone, who has filmed a laudatory with jingoistic violet, Greengrass decided to forgo any sensationalism. I wanted to pay tribute to those who lost their lives that day in the third suicide flight, United 93, and demonstrate how the chaos of those desquiciantes hours reduced to useless all the autodefensivas military action.Fidelity to the facts is such that Greengrass and his team interviewed on numerous occasions to the families of deceased passengers on the United to get closer with the greatest possible respect to those people and those who still grieve. Hence, the deliberate absence of familiar faces in the cast or have kept the real names of passengers as terrorists suicide. And in this line of verismo, the story of how we experienced the chaotic situation from the air controls and military commanders was directly based on the recording of communications made that morning from civil aviation. So that these dialogues are truffled of abundant technicalities relating to flight instructions, though incomprehensible to ears of the profane, also beneficial in this camouflage makes the story of the real event.Arguably, the film proposes a classic and without shrill narration. The evolution of the facts, from the routine boarding of passengers on the flight until the nervousness of suicide bombers prior to your action, it will be that print emotion to the tragedy that lies ahead. Here, the identification with the victims of the flight is absolute, because who you is not going through your head that a similar tragedy could happen on any other flight. And terrorists, rather than characterize them with the typical image of psychopaths lanza-discursos, appear as some insecure young though so tightly ideologizados to undertake terrible orders.Do and the magnificent script for Greengrass avoids falling in the tempting bombast or tired political entries, simply focuses on two issues: in how about passengers decide to confront, and rebelling some before the fact to die in a suicide flight, and how the rest of the citizens? including military? He attended the live broadcasting of the attacks with impotence. Thus, on the one hand, we share the agony of United 93 passengers when they realize that the end of their lives could be close, but also we are witnessing with amazement unable to response of the first military power in the world before the largest terrorist attack within its borders. It was clear that, with fierce determination to kill a terrorist, little or nothing they serve all the measures autodefensivas on which is built the idea of internal security.Although used in excess to the camera on his shoulder, this choice of levels is fully justified to portray the turmoil that morning and in tune with the realistic aesthetic of the tape. Those who see United 93 must forget stereotypes already seen in tapes of air hijackings. You will not find the tripulante-héroe capable of getting rid of the captors or to military salvapatrias, will see only ordinary people, as any of us, who did everything possible to save their lives. Because the logical survival instinct is that emerges with more strength in a very extreme situation.
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3,198 |
archivos_extraidos/MCE-Corpus-main/Dataset/1420
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Kiko de España
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Días de cine
| 2 | 5 |
muchocine
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Only works in that first hour quickly and (very) funny (at times), because from ecuador cinema days turns into a failed drama of complaint which is boring to the stones.
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Friday, February 9. 16 hours.Room 1-diamond of blood. Available seats: 2Sala 145-days of cinema. Available seats: todasYo in my thirteen and also Animalario fan, this kind of freakshow (and the quarry of the most complete players in Spain) that were invented on tables already centuries ago Andrés Lima & CIA (I recommend the book beautiful stories of entertainment on the daily exist, edited by Plaza Janés humiliation) and are passed from time to time to the big screen to enjoy his followersmanaging to come out victorious most of the time.But look at you by donde.1977, Federico Solá (a sometimes immense Alberto San Juan) prepares Encerrados at the mine, a project of social denunciation which, according to his friend Manolo (a Luis Bermejo as serious as serious to do another film) needs a star, Silvia Conde, ex-niñaprodigio and folk in hours low, (played by an excessively "felt" Nathalie Poza) it does not convince the director at all and that in addition it would not accommodate in such a project.From there is trying to create an absurd comedy with marxianos dyes on a sloppy shooting with a director of photography (and mother) alcoholic (and mother), an Assistant Director 100% real (desaprovechadísimo Diego Martín) and of course, a producer hijoputa (Miguel Rellán, grande has always been) well, because the film cinema days only works in that first hour quickly and (very) funny (at times), because from the cinema days ecuador becomes a failed drama of complaint which is boring to the stones, because even the stones are ready to move from a horny cartoon to a boring melodrama.Side usual as Javi Gutierrez and a Fernando Tejero pulling to regrettable repeating the same phrases nearly two hours and not help the film dates back the flight, cameos of Coque Malla and Roberto Alamo at least four roles, included.
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3,199 |
archivos_extraidos/MCE-Corpus-main/Dataset/1563
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Rafa Ferrer
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Azuloscurocasinegro
| 5 | 5 |
muchocine
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A tape of breaks, dreams, and everything that is this life that we live, filmed in a sober way, without much artifice.
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Everyone I had spoken of this film, its amazing dialogues, a raw, tough and dramatic, history in which many of which fortunately or unfortunately we spent time taking care of our parents until his last days, we can feel identified.This is the story of the character interpreted Quim Gutiérrez, almost a newcomer, with a career forged in the Catalan television series, a kid who tries to grab as a nail to the Red to any destination, which unfortunately has no live, accompanied by Marta Etura, perhaps the best of the film and is his character comes through our eyesIt stays in the stomach and ends in the brain, sad, concise, making you understand all their motivations.A tape of breaks, dreams, and everything that is this life that we live, filmed in a sober way, without much artifice (pa' that), with a beautiful soundtrack that helps supremely well follow the pulse of history.With one exception, namely, Raúl Arévalo, Antonio de la Torre, Roberto Enríquez, or even the final cameo of the now television Alex O'Dogherty side.In short, a tape that I had recommended and I had to have seen much earlier, given that it is almost perfect.
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