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

archivos_extraidos/MCE-Corpus-main/Dataset/349

Dragon negro

Stay alive

muchocine

Without being anything out of this world, the film comes to entertain, but not to panic, which coming from a tape of terror is a major drawback.

Correct debut and little else of William Brent Bell in this horror film where the protagonist is a video game that gives its name to the tape. A boy dies in the same way that in the video game that was playing, a group of friends and fans to video games in their belongings discovers video game that I was playing and decide to play all networked, they will soon begin to fall one after the other and you will discover that what happens in the game is applicable to the reality, but the game will go a little beyond.A priori the premise itself is nothing original, we change the tape of The ring by a game and we already have. And as every teen horror movie, is foreseeable to the spinal cord, you know who is going to die at any given moment, you know who is going to survive, etc. where is grace in this film then?Because certainly two key points, the first is in the short duration of the film, just 80 minutes, which makes that the scenes of deaths among the protagonists of form rapidly, as soon as you know that someone is going to palmarla makes it fast, not recreates in persecutions, in create tension or resolved to fall in the easy scare, dies and point, which makes the film to earn a point to not bore with more of the same. The other advantage is the last half an hour, when the film looks set to fall from the half of the footage in the pure boredom, manages to lift the flight in an interesting and entertaining half-hour final in which will discover as the game works and which is their source. Without being anything out of this world, the film comes to entertain, but not to panic, which coming from a tape of terror is a major drawback. You can see it if you will the genre, if you have nothing better to do or if your are video games.

archivos_extraidos/MCE-Corpus-main/Dataset/4192

Carlos Giacomelli Puig

American Gangster

muchocine

It is not the masterpiece that is intended to be, but neither is it an interesting proposal which boasts a beautiful setting and a huge cast.

Denzel Wahington gets on the skin of Frank Lucas, one of the most powerful gangsters in the 1970s. On the other side of the coin, Russell Crowe is Richie Roberts, the police who try to stop him at all costs. Ridley Scott leaves the intimate tone of "A good year" and directs the mammoth "American Gangster", stylish production of old Court adapted by Steven Zaillian (Oscar winner for best screenplay adapted by "The Schindler list"), and produced by Brian Grazer. The race for the Oscar gives the starting signal with a film that certainly will have much to say.Because certainly merits to be nominated to several statuettes has. The first and most important is nothing less that it double, since both Washington and Crowe are in State of grace, and conducted some performances superb, making only elect one of the two a capital sin. In fact, almost seems the same Scott wants to recognize merit, because the first time that they face is face to face, in a clear reference to the encounter between Pacino and DeNiro in a bar in Heat, great movie of Michael Mann.Otro distinctive feature of "American Gangster" is his photography. From his sobriety, the film is eye-catching and elegant, while remember again to another of the films Mann (in this case another genius, "The dilemma" with Russell Crowe), get give it some personality to the tape.And luckily, because unfortunately, one of his main problems is precisely an appalling lack of personality which is not achieved find at any moment, doing that what should be a new bet with, Yes, tributes to great films, not differs from a simple medley of them. Therefore, despite being an intense drama about the moral duality of a character that leads to the climax the Machiavellian phrase of "the end justifies the means", "American Gangster" not comes nowhere near to that once offered "The godfather"; and the same applies to others regarding the film, "French Connection", "The price of power" or "Casino", for example. And perhaps the reason is that Scott is not Scorsese or Coppola Mann, and never will be (indeed, even begins to be surpassed by his brother Tony).Another problem that drag the film is its excessive emotional linearity. From the first (and powerful, by the way) until its final climax scene script and Assembly are so meticulously studied to not giving standing to any alteration or lack of control, either for evil or good. When it comes to the truth, this results in the complete absence of times of real tension, pain or emotion in general. And that, is a film of more than two hours and half, just missing it too. "Everything flows with excessive uniformity, and the only thing that reaches the Viewer to alter are painful junkies take explicit close-up scenes.""American Gangster" seems ultimately as the godfather of the year, and is always well have films in this style around by our billboards. It is not the masterpiece that is intended to be, but neither is it an interesting proposal which boasts a beautiful setting and a huge cast (with the exception of Cuba Gooding Jr are all impeccable, and are easily identified a couple of side seen in cutting news series). In addition, play with another major asset in their favor, and is that it demonstrates that even can be (too many) tricks of computer and film without special effects. And that is laudable.

archivos_extraidos/MCE-Corpus-main/Dataset/2648

José A. Peig

Planet Terror

muchocine

It is a film with a very clear aim of mimicry desvergonzado, imitate the garbage without any reformulation but not sustained in a greater imagination or creativity. With which the objective is accomplished: garbage is and should be treated as such.

First segment of a divided into two parts production has been developed with the sole purpose of recovering and remix all the flavor and the aesthetics (?) of the so-called "z series" films, including the imitation of the structure in the typical "continuous session", including trailers of films similar in theme and purpose, both at the beginning and at the end of the narrative basis. Robert Rodriguez opens this díptico-homenaje to the trash cinema, which moves in the field of the evocation of subgenera and clichés "undergrounds", especially in the horror film starring the zombies that appear here a go-go in an "anything goes" that will not leave indifferent any viewer who go to theaters with or without knowledge of the facts. Obviously, a film in which Rodriguez does not intend to otherwise have fun recreating a frantic show of hemoglobin combined with science fiction, sex, black humor and parodic post-apocalípticas allusions, can not ask him to provide intellectual or artistic values beyond this scope, but done not longer a recreation carried out by two filmmakers capricious and master of the revisitación kisch; all pose is a hyperbole of a subgenus forgotten by industry for several decades. At times, such hyperbole reaches the magnitude of a macabre wit and a sadism that nothing they deviate from the conventional model and that we have seen in hundreds of equally bad films.Film for cutre-rocambolesca fun, film subjected to treatment under the legitimate nostalgic inspiration dump, and is reasonable to think that much of the spectators will emerge in the film with a smile of satisfaction. However, for aesthetic purposes, should also be recognized that it is a nice joke that some idiots her sold us as a work of art if it were. Extraordinary claims require impeccable arguments. Some unwary will say that the absence of claims is a trump card in its favour, which is totally wrong. It is a film with a very clear aim of shameless mimicry, imitate the garbage without any reformulation (all it does is multiply the effects and the sensationalism, but not sustained in a greater imagination or creativity - saving some timely point, say, for example, the unforgettable "girl pata palo-ametralladora" - but in a more economic budget). With which the objective is accomplished: garbage is and should be treated as such.

archivos_extraidos/MCE-Corpus-main/Dataset/3242

Jack Torrance

El Orfanato

muchocine

A bet that from the outset it is little genuine, very deliberate and calculated and as an orphan of soul that should be sought in another type of orphanage. The films with absolutely nothing to say.

Enveloped by the now untouchable and immaculate signing of the irregular Guillermo del Toro, the orphanage has been receiving applause and praise for any festival where has been released. The tape is finally available to the public in any Center of the country. Bravo, that money that could go to the twelfth from stupidity of America finishes in national boxes. Nobody any hits to the new film to be the candidate to go to the Oscars by our country. It is assumed that the producers for and creators of the film all is wonderful and unexpected, a surprise. In addition the film was an opera prima. "It seems that we once again have another Laberinto del Fauno" claim critics and exhibitors. Everything seems perfect. But it is not. Orphanage J.A.Bayona is nothing more than the unfortunate product of a cheat and commercial operation, a pre-cooked appetizer which has the insolence to Pat on the back if same as if its creation had been fruit of prodigious creativity of a new genius.Sure, the budget invested in the film is left notice on your impeccable Bill. Photography is wonderful although occasionally, everything becomes too perfect and calculated, all frames have been carefully crafted, but sometimes such composition is so perfect that we just do not believe us that true this object in the House by if. A feeling that could be applied to most aspects of the film. The plans of the House from the outside, the beautiful pictures of the Asturian Coast and some that another little something more here and there are if it doubts the best of this film of "ghost". In the notable it seems irrefutable to include interesting acting of Belén Rueda that while credible makes his character, continues to be the umpteenth representation of strong woman faced with the loss of a child we have seen so many times in the film made in Hollywood. Wheel well composed their interpretation although his constant face of amargamiento (anyone would say that it was the filming of hangover) and their moments of "cool MOM" are in crunch times. The film, a new approach to the theme of Haunted House, this shot with craft and it shows the director handles the camera with conviction, but this full of moments that supposedly has been developed thinking to create moments of emotivividad, terror, breathtaking, magic or drama. Commitment to check a film of commercial significance, is so evident in playing the chord to what Spielberg than most moments of purported enchantment are vaguely successful and only leave in evidence a script without personality and an address inexperienced to not know how to operate that should be unexpected moments that arise from the depths of the characters and not an empty lesson planning in a film class an expensive University. From the first moments of the film, with some another stolen plane of "Save private Ryan", the intimate moments are corny and recargados(esa_secuencia_de_Laura_y_su_marido_tocando_el_piano_a_la_limón) and is a long collection of enforced situations to be "similar." who do nothing more than increase the constant feeling of dejavù which oozes this orphanage. As if it were the new subgenre to cultivate in our country from El laberinto del fauno (2006), the film seems to want to avoid being too fantastic to focus on the drama to at last give a blow to the sixth sense that it justifies (or desjustifique) throughout the film. Certainly surprising, its end reveals some of the many traps that used the movie and at the end one believes to have been attending a selection of great moments of cinema of haunted houses whose purpose is to create a suitable breeding ground for Bayonne explore the big clichés of the genre and without a hair cut, take what most interested in films to which tries to pay tribute. Since then the central argument has more of Polstergeist than of anything else, that the only significant difference is the substitution of the actress that of medium, long ago also of others and not just good, that pompous soundtrack helps increase the constant feeling of having seen and heard before each scene of the screen. There is no shortage other fundamental details seen already many times, dolls that give Juju, bumps, crunch child games in the Park. even deprive the inevitable drawing made by the child to see the ghosts, the inevitable phrases "do want to play with us?" etc.etc.. Worst of all is the solemn tone that carries throughout the film, completely lacking in humour, that gives rise to a handful of situations that border the ridiculous. The character of benign, an elderly woman with glasses ass of glass seems to be written to be performed by the moreno of cruz y raya and his outrage when reminds the most glorious moments of the film by Javier Fesser. The laughter of the staff do not stop when we are shown the history of benign and his son a deformed child to what Jason Voorhes who died (uh, ho! surprise! drowned in the cliffs) in a home video recorded some time ago. But the most glorious time of this festival of involuntary humour is when the police inspector tells Laura with a very solemn tone: "we have asked all attendees of the opening, nobody remembers having seen a child with a sack over his head".Simply glorious. Laughter is separate, even more funny to see this famed Director of video clips of camela applied to his opera prima tactics of many of his pieces for the caló group, were not others that emulate other films. Thus, we find a similar to the right The Dark (2005) whiff, in which one Maria Bello suspiciously reminiscent to this Belén rueda, he lost his daughter in the cliffs, kidnapped by the spirits, and ran along the beach looking for his missing daughter, to the disbelief of everyone, clear. There are levels to confirm ties with John Fawcett film and we can see diving teams tracking the area to find the body women finding the remains of the murdered girl after digging a little bit in the shed. Not missing the level "girl - falls-inside-of-the-shower" of dawn of the muertos(Dawn_of_the_dead,2004) taken from the same angle and all. Ultimately, the orphanage is the horror film to grandmothers of the season. Horror for all ages planned and designed for the enjoyment of the Moms who want to see "one of those scares". A formally impeccable job that of released with American signature would be absolutely slaughtered by the crítica(o_lo_que_es_peor,_completamente_ignorado) and that contains many of the most common hobbies of the big Hollywood Blockbusters. A bet that from the outset it is little genuine, very deliberate and calculated and as an orphan of soul that should be sought in another type of orphanage. The films with absolutely nothing to say.

archivos_extraidos/MCE-Corpus-main/Dataset/3070

Iñaki Bilbao

Mataharis

muchocine

Estimable tape Icíar Bollaín, well received at the recent Festival of Donostia 2007.

Good film of Icíar Bollaín, both from the formal point of view and of substance. Bollaín, which has special eye to show the human qualities of the ordinary mortals, known on this occasion take the story in a very interesting way (impeccable magnificent music of Lucio Godoy), resulting in addition, very entertaining as it did in its superb "Te doy mis ojos".This is less dramatic, or at least it has less violent dyes, but also human feelings come into continuous conflict with ethical and/or moral aspects that can make explode into a thousand pieces harmony, love, respect and trust between the beloved people.Thanks to a splendid script where the three main stories are complemented by other, seemingly more light, but just as substantial, the film tastes as a small delicacy, leaving therefore a very good taste. Interlinked different stories that show attractive form States the love of a couple passes along the years: the budding infatuation, the first glimpses of crisis and the death of love, dam of the tedium and empty coexistence of every day with nothing to say.Great interpretations, where stands once more Antonio de la Torre, this time in a small paper with a different log of what you were seeing it lately, and Nuria González. The scenes between them are the best of a movie with splendid and simple dialogues, exists an endearing humanity in the stories that show the best of humans and also, if not the worst, yes more grey and sad.A very nice movie liked the public present at the recent 2007 Donosita International Film Festival.

archivos_extraidos/MCE-Corpus-main/Dataset/4116

Moebius

Tiburón

muchocine

A stunning film, beautifully shot, and whose recognition was slow to arrive. Spielberg in its purest form.

During the first two weeks of July of the year 1916 the coast of New Jersey, a place where many people chose as a holiday and in which a budding tourist industry was creating was terrorised by a series of shark attacks that resulted in four deaths and one injured person. The wave of panic was such that the summer was in the American collective unconscious. between 1974 and 1975, United States, and soon the world would again feel that atavistic terror, although this time the only victims were pockets of spectators and the true nature of the great white shark. At the beginning of the 1970s the writer Peter Benchley came barruntando a story about shark attacks. Your editor encouraged him to write a novel on the subject, so said and done, Benchley returned with a book without a title. Considered many names, some, slap rimbonbantes other, titles such as "Stillness in the water", "Leviathan rising" or "The jaws of the Leviathan". With time running out, Benchley and his publisher chose the least worst: Jaws. The book was a great success, and the Universal producers, who are interested in history, were made with the film rights for 150. $000. Years later the producer David Brown has stated that if they had read the novel twice never would have bought the story because it was clear that it would be very expensive to shoot. But they loved the idea of a shark terrorizing the quiet beaches of the Atlantic. The agency that tried the Universal demanded that her directed a director member of your company. Producers, eager to obtain the rights to the novel, accepted. Somehow, what happened then is the Universal disbanded as he could that poor type, and began to search for a director to his liking. Producers David Brown and Richard D. Zanuck, who had produced the first film for the cinema by a young and talented director, decided to put in front of the project. The young Jew had a long television where a big truck pursues relentlessly a poor type in your car. It seemed the ideal candidate to carry Jaws screen. His name was Steven Spielberg. Spielberg had read the novel he liked, and seeing parallels between the story of Jaws and the history of the truck in the devil on wheels, and not having any other project view, it seemed that he had nothing better to do. The writer Peter Benchley made a first adaptation of his own novel, which Spielberg added some scenes. For example, I wanted to present the sharks Quint Hunter in a cinema laughing out loud as he contemplated Moby Dick, by John Huston. Can you imagine something like this? It would have been worth seeing. But Gregory Peck, who had the rights to the film, not seemed good idea, so the scene could not shoot. To complete the story for the film the script was revised by Howard Sackler, winner of a Pulitzer Prize and an expert diver. His contribution was that Spielberg had just deciding to shoot the film. Sackler requested specifically not included in the closing credits that it did not have time to be in the shooting. Another problem arose shortly thereafter. At the beginning of 1975 a contract with the Screen Actors Guild about to expire put study in trouble. The bosses of the Universal decided that any film shot if he could finish by June 30. With a hyphen without finishing, Spielberg objected some logic to the issue. A new writer, Carl Gottlieb, was hired as a kind of "boy for everything", which he worked on the script, he would attend trials, it would help in the improvisations. In short, would be there for any problem that could arise with the history. Spielberg wanted actors unknown to the film, but the producers insisted that you would with a great name. Roy Scheider, who had worked in The French Connection and was popular at the time, was chosen to play Chief Brody police. For the role of Hooper oceanographer, and after considering several names, Spielberg, on the advice of George Lucas, offered the role to Richard Dreyfuss. The actor loved the story, but he rejected the film. In his own words, the reason was that "he would prefer seeing her to shoot her, because the shooting will be a pain in the ass". Later Dreyfuss attended the premiere of his latest film, The Apprenticeship of Duddy Kravitz, and, after being horrified by their action, decided to accept the role of Hooper. Finally, for the role of the Hunter Quint, Spielberg attended Lee Marvin, who declined the role. Also is barajon names like Sterling Hayden (the police bastard of the Godfather) or Charlton Heston, although at the end the paper was awarded to Robert Shaw, with whom the producers had just work in the coup. The other important roles were to Lorraine Gary as the wife of Brody and Murray Hamilton as Mayor Larry Vaughn, and it is undeniable that such has Mayor face! For the fishermen on the quayside scene he thought to have Joe Spinell, which would have been great, but in the end it was not possible. The next step was, of course, get a shark. The artistic director, Joe Alves, began to meet with designers of special effects without great success. The people of the Guild could not stop tell you make a mechanical shark from seven meters was virtually impossible. Finally Alves gave Bob Mattey, which had built mechanical animals in the past and was retired. Mattey responded that he could do so, he got the job. To recruit the rest of the effects team special Alves searched which he compares with the magnificent 7, it was gradually finding those needed. A new problem arose when looking for a suitable foreign. The place turned out to be Martha's Vineyard, a picturesque place and tourist whose had a sandy bottom up to 12 miles offshore, with what mechanisms could function properly without that land would be nowhere. That was the main reason for Spielberg to choose that village. However, the people there did not want a crew in the full season. The people in the studies had to convince the larger forces of the people that everything would remain as before that came the people of Hollywood. A villager named Craig Kinsbury played one important role both inside and outside the film. According to Spielberg was the local version of the character of Quint, and the director encouraged him to participate in the film, writing their own phrases. He was also the inspiration for phrases of other characters, such as when Quint said "this is not how to get out fishing perches or COD". The shooting, which began around the beginning of the summer of 1974, was to lengthen the unimaginable, emerging problems everywhere. Many had to be filmed on the high seas, thereby placing cameras, calculate angles, prepare boats and actors was an odyssey that nothing remained in place, and not stopped cross boats and sailboats on the horizon. Another problem was the mechanical shark. A great full shark (which Spielberg called "Great white zurullo") and two biased sharks had built to shoot planes from the left or from the right. Although the sequence initial Spielberg had decided to hide the shark so that only see the shocks of the victim in what was a great success, the pure truth turned out to be the shark didn't. In the first test of the mechanical doll in water the piece went to the bottom of the water and had to be rescued by a few frogmen. Remember Richard Dreyfuss in the documentary inside the shark, by radio of the crew not Macaw of heard the phrase "the shark is not working". In what is already a legendary history of Hollywood, the bug with the shark ended up benefiting the film, that have the monster on screen all the time would have made shark in a horror film with Monster to use. Following the old axiom of the character of Kirk Douglas in captives of evil, people feared that that does not see. And shark is a good proof of that. It was decided that it would be amazing to have screenshots of real sharks in the film. Contacted a couple who had worked with white sharks to shoot underwater scenes. The problem was that normal sharks measured 3 or 4 metres and were not so huge as in the film. In a decision quite Spinal Tap was built a small cage and the Universal commanded a fairly quietly type that didn't even know dive so to mess inside the cage. The best scenes were shot when a shark became hooked with the cage and made pieces. As the shots were so good, and there be no one in the cage, changed the script to take advantage of those scenes. In another moment of filming the ship of Quint, "Orca", nearly was scuttled, and while all concerned save actors nobody seemed to remember the sound technician. It is the system of classes Hollywood!While filming was lengthened and the shark just does not work, the relationship between some members of the team wasn't too good. Robert Shaw and Richard Dreyfuss not were supported, which resulted in their respective performances in the film. The tension between Quint and Hooper was more real than it could seem at first glance. Robert Shaw was a guy with charisma, not always easy to treat, and his character was a nasty type. Hooper, Quint and Brody loaded things in the "Orca", Spielberg asked Shaw to try to harass Lorraine Gary, who played the wife of Brody as far as possible. For fifteen years she kept her virginity; not a bad record for this vicinity. When Spielberg, concerned about the rights of author, asked where had taken it, Shaw replied that he had seen on a tombstone in Ireland. It was not only happy improvisation. One of the most popular phrases from the film, "We're gonna need a bigger boat", was improvised by Roy Scheider to shoot the scene. Practically already is a phrase made in the U.S., which demonstrates the great impact of the film. One of the most famous scenes of shark was a mere product of the script. Special effects nor shark through. It is the famous story of the sinking of the USS Indianapolis Quint. The scene had its origin in a small paragraph written by Howard Sackler. Spielberg wanted to extend the discourse, so contacted John Milius to adding more phrases. Milius Spielberg sent him a lot of pages that gave a summary. Then that part of the script was given to Robert Shaw. The actor was also a writer, and his work included novels and a play. Shaw rewrote part of the script, with what the fabulous story of the USS Indianapolis was the result of the work of three great writers. It is not surprising that for many this is the favorite scene of shark. According to lengthened the filming, the "Department of special defects" (as so dubbed Spielberg) wanted to stop filming to refine the shark and other effects, but the producers feared that you scrapped the entire project. With all the team up the walls, at a charity gala dinner Roy Scheider began a war of food which ended with food thrown through the air in a pitched battle of food among the team. Luckily at the time of filming the final scenes the shark began operating, which attacks the shark from the ship in two and up above, and the final scene where flies through the air could complete. For the death of Quint had designed in a similar to the of the captain Ahab of Moby Dick destinations, with Quint speared the big shark and being dragged by him to the depths of the sea, perishing drowned. Spielberg did not like him and changed it to the end that we all know. The shark flies through the air and as it sinks we heard a strange roar is nothing but a roar of dinosaur of an old film that the director had already used by the end of the devil on wheels. Many scenes on the high seas were filmed camera in hand, but as says the director of photography, the camera often relied on the legs, arms or other parts of the body. Spielberg said of trying to always shoot at the same height of water, to give the impression to the Viewer to be bathing in those bloody waters. On the other hand, before you start shooting it ensured that the artistic director will not use the color red in any design. The only red that Spielberg wanted was blood. They are small details, which may seem stupid, which can reach the viewer in a subconscious manner. In another great scene, while Chief Brody monitors the beach seated, Spielberg wanted to have the shot in one take continuous. Finally developed the scene from the point of view of Brody, following an observación-reacción approach: as bodies of swimmers cross ahead of the camera, the level is changing and we see what he sees Brody then see their reaction. A really brilliant execution. When the sheriff finally realizes what is happening, Spielberg gave back to an innovative trick of camera by Hitchcock in Vertigo, moving the camera while expands the zoom level. Along with the Assembly of veteran Verna Fields, who the director called "mother Assembly", and of who probably learned some other trick, it is no doubt that much of the success of the film comes from the soundtrack. The acclaimed composer John Williams, which seems that you long it resting on its laurels, shot to fame for his work in this film, winning a well-deserved Academy Award. Although when taught him at the piano for the first time Spielberg who had composed the director thought he joked. The score of Williams has two functions: join the shark, as if somehow he would show his State of mind in every scene, if you move fast or slow, or if it rises to the surface or moves away, and, on the other hand, announce their presence to the Viewer. With it last had a dual effect, that if we see the movie soon we associate the presence of that disturbing music to the appearance of the creature, with what when it emerges without prior music the shock is even greater. The composition of Williams has been on the popular imagery associated with horror film, as it was in its day the music of psychosis. And is that if this tape Hitchcock revolutionized the genre of horror in his day becoming fashionable to the figure of the psycho, with Spielberg shark marked a before and a later in the films with creatures terrifying, being copied endlessly. All the films that have followed are daughters of shark. The film, released in the summer of 1975, swept the box office around the world, and became the film highest grossing of all time until the arrival of Star Wars. And not only that, is also an impressive film, beautifully shot, and whose recognition was slow to arrive. Just that happened you to Hitchcock in his day, the success of the work of Spielberg among the public has subtracted credibility, but for me his best films resist the onslaught before almost any Classic you can remember.

archivos_extraidos/MCE-Corpus-main/Dataset/894

Radon

Ratónpolis

muchocine

Personally I recommend it if the aim is to have a fun time with kids of not less than about 6 or 7 years, I estimate. Although the biggest laughter heard them from an adult who sat to my left.

It was definitely not expected for my small critical. Perhaps the argument and the talks were not especielamente understandable for a young man to intellect penalties 4 years old.The case is that it is a story that does not leave the usual adventure film from my time, carried the field of cartoons in 3D, made by computer. A succession of events too frantic so that children are able to follow the thread of the film, that in my view. We are that the film had a pace too fast.However a little more adult perspective, recognize that seeing this film, perhaps, a couple of years later, had a best score for my young critical. The twists of "Buscando a Nemo", slugs that fantasy the ambient sounds of many of the scenes, even its soundtrack was starring them, are situations rather than funny adults collect quickly, but children do not have the slightest effect.If outside little, were not the evil plans of the "Toad" who terrorized my young critic, but the fact that the poor girl, owner of the mouse, was run out of your pet. -To understand this part of the criticism it is necessary to see the movie and interpret from the mind of the critic who speaks through my lyrics-.So therefore on this occasion I puntuaré just with a regular, because, for him, is behind this film "Colleagues in the forest", "Ant Bully" and "The Corral". Anyway, personally I recommend it if the aim is to have a fun time with kids of not less than about 6 or 7 years, calculus I. Although the biggest laughter heard them from an adult who sat to my left.

archivos_extraidos/MCE-Corpus-main/Dataset/4329

Cecil B. Demente

La llamada de Cthulhu

muchocine

Film made by the historical society of h. p. Lovecraft based the famous eponymous tale of this man and designed in the style of the silent movies of the 1920s.

The death of a prominent professor of the University of Miskatonik will lead to his grandson to investigate mysterious events that seem to be associated with the Satanic Cult to a millennial alien entity: Cthulhu, a bug huge Octopus-headed and more ugly than Picio, who came from the stars millions of years before the appearance of man and thatAlthough it now rests in a deep sleep under the Pacific Ocean, one of these days will wake up and armará a fat looking for a cup of coffee.Film made by the historical society of h. p. Lovecraft based the famous eponymous tale of this man and that, in part by staying with you and in part by lack of guita, is designed in the style of the silent movies of the 1920s (as you know, in black and white and with little signs), as if had been released just after writing the story.The influences of Lovecraft in the film are many and varied, both abound direct adaptations of his stories (Terror Dunwitch and Re-animator, for example) as the movies that only take their peculiar universe (the thing, Infernal possession, or any of Lucio Fulci) provided. Curious is that something so similar on paper gives disparate on-screen results, that can be summarized the work of the Lord in a single sentence: "people which becomes majareta after having tripped up with some foul being unpronounceable name". Not hesitate even for a second that the movie here we will follow this premise to foot juntillas.See call of Cthulhu have had a feeling similar to when you go to a karaoke and upload someone to sing to the scenario that puts eager and believes mogollon, either because the item arrives much or by an excess of alcohol in vein. It may be the film full of economic, artistic shortcomings and techniques (such as the drunk friend of karaoke), but surely not missing attitude and tenacity. Things like this film are what happens when the stoked worldwide come together with a common goal.The make-up of white complexion and eyes and lips painted is quite successful, but the characters are not as well characterized than should. I do not know if it is because I this type of film have seen mainly comedies (I refer in particular to the factory Chaplin and Keaton,) but I think that the actors should be more theatrical and more overact. Besides these movies were pure visual ingenuity, and here lack a little magic and expertise.Be the most faithful adaptation made to date of a Lovecraft tale plays in his favor, clear. Like the little footage (only three quarters of an hour) and the fact that is filmed in Mythoscope (technique to get the look 20 years). The quality of the image on the other hand, is far from what might be and the thing stays in an I want to and I can not only recommended for the most versed in the works of h. p. Lovecraft, the stalwarts of the cinematographic rarities, geeks, Goth, and other evil people live.The phrase: "'nglui mglw' Ph nafh Cthulhu 'r'lyeh wgah' R nagl fhtagn."

archivos_extraidos/MCE-Corpus-main/Dataset/2449

Tito Chinchan

La tía de Carlos

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Last film of Paco Martínez Soria, where their dress women Arts offers. Fun comedieta, perhaps old-fashioned, surely that satisfies his staunchest admirers. He personally amused me.

For a good caspista, as it is a server, there are chains and concrete programmes which are essential in your life. We cannot have a complete caspoteca, since alicatariamos the Hall only deuvedeses and more deuvedeses. In addition, a DVD is one thing cold and lifeless, which often requires breaks for commercials or even gatherings of brainy fellow members as Carmen Sevilla. For this nothing better than our neighborhood film (what the pianist of stop?). I recently discovered that in Castilla-la Mancha TV, all the weekends we enliven with the best of the best of Iberian film dandruff. Long life to both.The film is about a greater Lord called Fermín (Paco Martínez Soria) who has to impersonate a acaudala and Brazilian lady, to do a favor to a friend (Charles). The thing is is entangled, Fermín trying to escape, Carlos avoiding him with these a zagalas good to see, a suitor of evil, a director of Bank, the true acaudala and other ingredients needed for a comedy of entanglement.It goes without saying that this was the last film of the great Paco Martínez Soria and is an adaptation of a play. I was very surprised to see don Paco not dressed as a woman, if not with more hands than an Octopus trying to sobetear to the grannies mocicas accompanying him to thinking that it is women. The plot is interesting, typical comedieta where things will enrevesando more and more and more until you reach a point where everything explodes or someone puts things in place.In short, last film of Paco Martínez Soria, where their dress women Arts offers. Fun comedieta, perhaps old-fashioned, surely that satisfies his staunchest admirers. He personally amused me.

archivos_extraidos/MCE-Corpus-main/Dataset/2087

Emilio Calvo de Mora

Calvaire

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Sickening, suffocating, timidly attached to the horror film, but it could also be an unhealthy love story. Isn't love insane?

Bordering topical, indisimuladamente fagocitando patterns exploited until the tedium, made wonderful films. Some, even accepting that dubious origin, agreeing in that they are the product of a little creative time and continuously going to sources rigorously classics drawn from where his artistic breath, achieve more than acceptable levels of quality and the spectator, foreign perhaps to these reflections of goer idle, enjoy with new readings of ancient books. We have the latest and most fabulous example of the hills have eyes in the version of Aja, which far exceeds the ajado and already passed of the multifaceted Craven model. Cult directors as Tobe Hopper again by suit, retake his works and rewrite them in the musculuso tone and modern that they mark these times of high technologies. There will also be who see echoes of Misery, the wonderful Stephen King novel and notable version filmed by Rob Reiner in 1990. Calvary is one lesser film, a new sunset Boorman film length (inevitable the memory of the great Deliverance) or the best Peckinpah and his straw dogs. In any case, Fabrice du Welz dominates the cinematographic language and makes it a very original and self-sufficient way that we overlooked that the film is literally modeled four or five masterpieces of horror movies. We have already mentioned two. We could add the dam and perhaps up to psychosis, much racing movie fan look. Unlike these, Calvary not rummages in the visual sensationalism. There is, with few exceptions, really shocking images of those who create a tension that already then it is not possible to break off. Du Welz adopts a limp, introspective ways. There are few dialogs and the plot is gaining the Gothic, terrifying and estimable suspense tone already very at the end of the footage. In its initial stretch we have no accurate record of the genus to which admits the film. I've read that influences from Haneke had. So very well. If one wants to see influences of someone, just wanting to see them. I have no doubt. The universe of taradas creatures that populate the geography of Calvary has nothing to envy to the atrocious amorales beings and mentally crippled inventory that make up the view that Haneke has of the world.We are in the deep France: is not Ohio and Minnesota. If it is the same. Fear and anxiety are universal. A crappy singer (Marc Stevens) leaves a home of the pensioner after having entertained female staff with his French song and her Gigolo to grandmothers yeyés winks. The van leaves lying in the middle of nowhere. Trees, fog, rain, a man stubbornly looking for her lost dog, a hostel in the forest run by a retired comedian. From here open the gates of hell, being here smell cow and mud. Nor Dante could have written better. This sickly, conventionally rural and folk, hell is brilliantly filmed.Shy in the management of fear, Du Welz leaves the resource of music ad hoc, pranced in house following the victim for these paths of God. Prefer a more quiet speech: you just go dropping strokes of terror. The entry in the Bartel bar, the owner of the hostel and the zombies dance to the syncopated rhythm of a worthy of the more Tom Waits drunk piano seems outstanding. Or the scene where four porters of the place benefit from a heifer in rigorous shifts. Or overhead making the room where intruders (not desvelemos nothing relevant) are trying to mount the party in their own way. Calvary not excited as it should because perhaps its tone is too gray. Confined to draw an atmosphere, to put on the table the existential void of beings absolutely grillados, oblivious to the world. There is not a single scene in which a character, except the protagonist, the injured Marc, display sanity. Even in the horrifying by kitsch, corner where he sings in the opening scenes. Perhaps the best of this film is its grandiose drawing of solitude. Or how an experience like that relates can completely change the personality who suffers from. Thus confirm the abrupt end, that formidable scene in which a few words solve hour and a half of atrocities.

archivos_extraidos/MCE-Corpus-main/Dataset/4313

Tito Chinchan

John Rambo

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Fourth film in the saga of Rambo, where this has to liberate a few doctors from the Burmese clutches. Extremely violent, with special recreation in the viscera and amputated limbs, it is entertaining to see and hard thinking about it.

Director: Sylvester StalloneDuración: If die X bad Burmese each and second (where and tends to 0), the duration will be an hour and a half bloody.Release date: 1 February 2008Tengo a couple of teenage girls who I train that the other day they confessed me that they were loving (and do not think that simply Platonic way) of Sylvester Stallone. It may well be his grandpa this gentleman, but it sure that if he learns of this anecdote, takes a plane to meet so young and Idol enthusiasts. By the way, this man you not already worth or use Botox, liquid for embalming mummies? That left the question.The film is about Rambo which is dedicated to the collection of cobras in the asia of the charlies. One day reach his humble abode a mixture of preachers and doctors seeking to enter Burma rio arriba to bring relief to people suffering from a bloody civil war. That they were a moza blonde, if they didn't have to go by metro. Total van, they pick up doctors, and you have Rambo with some mercenaries to release them. Classic pattern.What most impresses the film isn't seeing a man of 60 years dale you hit to the bow and fine cutlery. It impresses the harshness with which conveys a horrible situation that makes us doubt much of the human being. It is clearly the most violent film of the saga, with moments in raw excesses, but that can be taken more as a vehicle to convey a story that as a curiosity by the thick guts. The plot is very simple, letting the developing flow in a very logical way (to be a Rambo, clear). I liked enough, despite a slow start, but it is a tremendously harsh film. I will not return it to see.In short, film fourth in the series of Rambo, where this has to liberate a few doctors from the Burmese clutches. Extremely violent, with special recreation in the viscera and amputated limbs, it is entertaining to see and hard thinking about it. I consider her a plea against violence and wars. I liked it.Besitos.P.D: The joke of embalming is not mine, I heard it on TV. My mother says that this man used growth hormone to keep young. That I estimate that when you have 100 years measured 7 meters, more or less.Pd2: And what looks like this gentleman to my ex-vecino Ricardo.

archivos_extraidos/MCE-Corpus-main/Dataset/1057

Rafa Ferrer

Casino Royale

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Finally, a new way to start the Bond saga, with better presence on screen. Again the man...

All those that are rasgaron vestments before the election of Daniel Craig as new Bond, now must go biting the tongue (and poisoning at the same time), a Bond was never so brutal as it is Craig, nobody has ever transmitted both in so little, as it has done it this, and never a film in the bond series has seemed so interestingwell shot and fun at the same time.This Bond recalls to the old, but not Timothy Dalton nor Pierce Brosna, bond's metrosexual, but an ironic bond, bastard and evil facing, that brings in check up to the very Q, a debtor of Sean Connery and Roger Moore bond; the tape also has a bad entity, as it is Le Chifre, one that, like darth Maul in Star Wars, with their very presence already produced dread.At this point, you notice that the movie I loved, from the opening credits, with great openness in black and white and the topic of Chris Cornell man that was behind grupillos such as Soundgarden, Temple of the Dog, or now Audioslave.Tal time, 2 negative notes that I give the film are, which could happen by any other tape actionIf were it not for the endless 007 franchise, (where is the main theme?), and that the presence of Eva Green, much to be promoted as the best girl bond, sincerely seems to me or that their presence, nor its appeal is incompatible with the rest of ladies who populated the screen.Finally, a new way to start the Bond saga, with better presence on screen.

archivos_extraidos/MCE-Corpus-main/Dataset/775

Alvaro Oliva

Gal

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Presented as an interesting proposal, but unfortunately we found a completely different product that film leaves much to be desired. .

Well could replace G by a M, the new proposal by Miguel Courtois leaves much to be desired, and has no point of comparison with its previous proposal. "The Wolf" was presented as a very successful, well interpreted thriller and a very interesting topic, as opposed to this, "GAL" is presented as a film rather boring, poorly performed and with a theme that is could have gotten much more party. Home hits the protagonist Carlos García, though French, in Bend could have been careful over in interpretation, intonation, and other vocal features, insofar as it seems badly bent on purpose, so start not we can believe this character. The same applies to Jordi Mollá, tried to imitate to Amedo, made him put the most serious voice, which has become a mixture of torrent and Carmen de Mairena, subtracting all the credibility to the character. I do not understand this decision, already that if what they characterize us as well that have done so and put us his natural voice, or if you want a little more "masculine", you would us the character in every way, without having to resort to something as false as it is that voice. Total than with the pearls released and this way of saying them, just doing you enough grace the character.Natalia Verbeke cannot pass. Unlike other films as "The method", here is not with the character but part of the blame also has the script, which has stuck with shoehorn phrases and I don't know very well to come. A clear example is when the duo of journalists go in search of a hideout of the GAL, and in the middle of the road type pearls are heard? We should already be close, that should be the tree with the brand. ? It may here not sound bad, but on screen is really regrettable, and more when they take place on a general level that could well have been left with the sound environment, in addition to dubbing and deepening more in this example, seems to read without the minimum interpretative intention.Once touched upon these points, we continue to find us some "jewels" continued to make incredible history. The best side as Merçè Llorens, Mar Regueras and Miguel Hermoso. In the case of Ana Álvarez should say it is irregular, as in some sequences is very well and others fail to believe us. Final "GAL" presented as an interesting proposal, and even more so on the basis of the experience of the previous film proposal of responsible for this, but unfortunately we found a completely different product that film leaves much to be desired.

archivos_extraidos/MCE-Corpus-main/Dataset/2972

Yojimbo

En la ciudad de Sylvia

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Stay in one of these so-called exercises "of copyright" that will delight the unconditional gafapastas and will twist in his armchair and rebufar several times to the viewer who wants to give him a chance to another type of cinema.

Those who had the opportunity to see the film the day of the premiere in the CGAI (La Coruña), presented by its director and accompanied by a "Press Conference" by way of presentation of Cahiers du Cinema in Spanish, have seen several things. While the director says that "no longer have film critics in the mainstream media", I understand that I can be here and now, one of those who perhaps heed or some consideration. Ironies aside (and in my other blog), the film is an authentic boredom. What the director considered "simple" is simply simple. His previous film, "under construction", with an enviable collection of about 700,000 euros, was a documentary that smelled of fiction. This last film seeks to be upside down.However it does not manage naturalness. Its reality is cardboard, they are actors who can't interpret, which has not been able to or wanted to shoot in a natural way. Extras seeking to be a fictional town are horrifyingly aimed, so the city seems rather taken by geeks and people that circulate with astonishing regularity and above all, disturbing.But despite the boredom of an hour and a half, I have to praise the good taste of the director has chosen to be an actress as a pillar. Although its presence in the "plot" is entirely accidental and therefore short, is the only one that can respond to the intention of the director to the viewer find the beauty supposed search the protagonist.However, and for those positions as "reflective" which presumed perpetrators of this type of films, the beauty of Pilar is obvious. And many enjoy it on screen. But one could say that it is a contribution to the culture of the idealized beauty that many criticize posters with "unrealistic women". An effort of the director for having achieved an anonymous actress would have appreciated (can perhaps the waitress?), with a particular beauty and have portrayed its attractiveness to the protagonist (well handsome too, what a coincidence) and we, the viewers, we sorprendiéramos with reality. What has happened to the era of the wonderful "brief encounter", in which we thought the relationship of the characters and they were, as banal, physically very corrientuchos?In any case, although the story that moves this film seems the portrait of a stalker, stays in one of these so-called exercises "of copyright" that will delight the gafapasta unconditional and will twist in his armchair and rebufar several times to the viewer who wants to give him a chance to another type of cinema. And not only me retorcí I recorded. I had more people to the side.I do not recommend this film even for those who want to see a great actress as the pillar on screen again. Wait to the dvd or any pass in the Doré cinema.

archivos_extraidos/MCE-Corpus-main/Dataset/725

Emilio Calvo de Mora

Yo soy la juani

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Perhaps his anticipated absence of solemnity render it more dignified: perhaps. Rayana in the tacky, I am the Juani will like (and much) to teenage audience that identifies with the Rosary of relating kitsch.

Long Spanish Cinema left the brush and dandruff, brutal uncover and extruding of disco to win international recognition. That the post-war film was a tiny amusement that played the hunger and forgot the rigors of the Franco regime. As always generalize it is counterproductive, not him we stole some masterpiece (Bardem, Berlanga, Neville) or we take at face nothing. Our glorious transition brought other sketches and produced tapes where most happily campaban the epidermis that we never saw. And little else. Bigas Luna, which fits in the verismo Italian style of a Ferrari or customs of the early tapes of Tinto Brass box, although a little less accelerated provocative born in that section of our cinematography.Moon cinema contains the seed of the stale neo heritage and, at the time, a dramatic content more thick, deeper: his characters are always clearly identifiable, they have their house label. From the thuggish Javier Bardem gold eggs or ham, ham to this decisive and meteoric Juani to his particular stardom, Verónica Echegui recreates with impressive naturalness. Everything for a dream, might say. The Juani leave their neighborhood, their marginality and choked in Madrid. Here is the best part of the film: that dive in the malls in the easy life to the Pretty woman in the Archetypes of the city and the Juani lumpen stumbles, of face to face, dramatically, with the ilk more meanest. Bigas Luna is able to photograph this world of the outskirts; He always did and always did so with passion. Cod (excessive, in my opinion) is missing and the new icons of modernity: tuning, mobile phones. This salad of vicissitudes of urban clans are puts an aesthetic of MTV music video and we guarantee a more ample box-office because Bigas Luna did, reluctantly, his best impersonal film: which is more hence its plastic universe. And in the background one sees Bigas Luna as a plastic artist, rather than as a storyteller. Images shape the text: rather than the reverse. The absolute evidence of this artistic consciousness makes that, occasionally, not worry of what tells runs out (huge) opportunities that expand to each frame. A director of long length, usually stay in a shorter distance, but distance from others that less amazed with the colorful and icons of the Mediterranean and castiza-total Spain, give the size in a thing nor give in the other.We can not expect Bigas Luna of the total film: never has been given, except for the ages of Lulu. Does with dedication and with impeccable style their trade, which is to make us see their dreams, their rarities, their vices. Once complete male Hammerer (Bardem is his alter ego), has now agreed to dump its imagery in the female domestic, painting a perfect, priceless Juani. Out of this portrait, which borda, the film is short, easily forgettable.Perhaps his anticipated absence of solemnity render it more dignified: perhaps. Rayana in the tacky, I am the Juani will like (and much) to teenage audience that identifies with the Rosary of relating kitsch that decorated luxuriously footage. As to the tenor of the producer, if the thing goes well second party (Juani Hollywood), we will have to go making us the idea that for summer we will have a Juani New Yorker, hocicando its provincialism in the Windows of Tiffany's or looking for gigs in a pizzeria in the Bronx. Everything for a dream.The best, their amounts receivable graffiti and this complete, anonymous, Juani emerging new discovery of this polisher promises amateurs. Oh, and the surreptitious idea that creativity is born in the outskirts and is then transported to the Center, that copy their models and sells them as theirs. This idea is not new: you only have to see current advertising or how the language we use comes from Street, the suburbs, they are imposing to acquire status of habitual use, blessed by the SAR, but that's another story and this is a page of film, and not of semiotics.

archivos_extraidos/MCE-Corpus-main/Dataset/3310

Alvaro Oliva

Supersalidos

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Supersalidos offers more than a priori one can expect before a product of this kind, but this confirms that she is should not stick all films and genres in the same pot, that from time to time, one can be found small gems like this.

The Disney proposal for the season, is presented as a comedy that goes far beyond the typical teen movies wanting to link. The main success of "Superbad" are a few credible characters (and with which we identify easily) perfectly embodied by three very peculiar actors.Writers (Seth Rogen and Evan Goldberg) were based on their own experiences to give realism this story of friendship, in which the University is presented as a challenge and obstacle for friends of any American Institute, that they will be separated to study many miles away. This is one of the sub-plots of the film, the main is that thanks to the false passport Fogell, aka Mclovin (a God), the guys will buy alcoholic beverages of the party which gives Jules, and which will attend Becca, the girls that are in love.As I said, Jonah Hill, Michael Cera, Christopher Mintz-Plasse, Martha McIsaac and the own Seth Rogen (the main cast of the film) make us delight us with a few gamberras interpretations, while deep, where we climbed on a roller coaster of adventures, which occurs in all, becoming an ordeal to get alcohol and later the girls.One of the best parts is that it is starring "Mclovin" and police officers. Intelligent, well built and dynamic, dialogues that make laughter are insured.To put a snag, he hoped that is somehow closed the subplot (or that they completed us) of Mclovin at the end of the film, but after the Seth and Evan, did not again appear that such mythical character, and that reminds me the starring Charlie Korsmo in "Because I can't wait," another interesting movie that many people are unaware of.In short, "Supersalidos" offers more than what a priori one can wait (or think) before a product of this kind, but this confirms that she is should not stick all films and genres in the same pot, that from time to time, one can be found small gems like this.

archivos_extraidos/MCE-Corpus-main/Dataset/2984

José Córdoba

La Jungla 4.0

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A pleasant surprise, a spectacular, short film entretenidísima. Recommended, although far from the level of the first three.

The success of films such as the star wars or in search of the Lost Ark changed the world of cinema at the end of the 1970s. Its influence not only was circumscribed in the genres of science fiction and the adventures, but it is also noticed in the 1980s action genre. Gone are realistic films, distressed characters of the police genre of the 1970s. It was the time for normal men transformed into heroes reluctantly of solitary police able to wipe more bizarre and lofty plans of the bad turn. In the mid-1980s until the mid-1990s, the new genre of most spectacular action, more violent enjoyed its golden age. These were the years of jungles of Crystal, lethal weapons of predators. Its main feature was the spectacular nature, his incredible ability to destroy the most diverse scenarios.Directors such as Richard Donner, John McTiernam, James Cameron and Renny Harlin reached its greatest appreciation during those years. During these years were all very poor but also great movies achievements, almost always coming out of the hands of these directors. In the field of interpreting its protagonists were, without doubt, Bruce Willis, Arnold Schwarzenegger, Mel Gibson and, to a lesser extent, Sylvester Stallone. Unfortunately with the passing of the years the genus deteriorated giving entrance to by-products starring Steven Seagal and Jean Claude Van Damme. Two failures, one absolute and another relative, gave end to that stage, in what also influenced the entry of another style of directors like Michael Bay. The two failures are the last great hero (Last Action Hero, John McTiernam, 1993) and lies risky (True Lies, James Cameron, 1994). The first was the great hope of the year 1993 Columbia, one of the most expensive films of the Decade, with a promotion that came to place the logo of the film on the ship Columbia; everything in order to stand up to the great enemy of that year, Jurassic Park (Steven Spielberg Jurassic Park). At this point everyone knows who won the race. The film of McTiernam, an autoparodia tribute to cinema and the own genre of action, did not end to find an audience that did not expect to find with a film, a pity, as it is a film very estimable, full of action and with a great rhythm and sense of humor, knowing always laugh at himself. Lies risky, the failure is relative, the film ended up being profitable although it did too much money, not taking into account that it was the most expensive film of the story (something common to Cameron, a good director unable to control the shooting). After these two films major studios threw the brake elefantiásicos for this type of film budgets, and were gradually disappearing from the box office. Managers, their careers were disparate, McTiernam would not have full confidence of a large study, still later shot glass jungle: the revenge, by request of Willis; Donner has continued rolling with some success, although increasingly less ambitious films; Harlin, on the other hand, after the failure of the island the heads cut, was relegated to serie B by-products; James Cameron after Titanic disappeared, although it is currently working on his new project, Avatar.Todo this stuff is beside the point of the premiere of the jungle 4.0, which is an attempt to return to the roots of the genre that has been invaded by managers unable to provide rate or personality to his films, that fold under the orders of the studies without complaintpeople like Rob Cohen or Bret Rattner. Michael Bay on the other hand, seems increasingly of the genre, in search of other areas go rebelion.Because as I said, again John McClane, who we saw from the last jungle, not more than ten years ago. At this time, the character has changed city, has divorced, while his rank or his socarronería are still intact. His new mission is to escort a hacker to the headquarters of the FBI in Washintong, which is suspected of having carried out an attack on the intelligence services. What was to be a routine mission, soon turns into something much bigger and more dangerous.Jungle 4.0 is the return of the spectacular and improbability to gender by the front door. In that sense not disappointed, everything is the norm of the more difficult still, however impossible and, believe me, there are many scenes that are beyond possible. On the other hand, the physical violence has been reduced, barely there is blood on the screen, the bad guys die off screen or in an immaculate manner (with the resultant saving in dry cleaning) and also the level of swearing McClane dropped ostensibly, especially when compared with the last film.On the other hand the direction of Wiseman is a pleasant surprise with regard to planning of action scenes, followed in an impeccable way, leaving breathing levels and with some very successful time. On the other hand the director fails to provide emergency, tension to the story. Everything is very spectacular, very big, but the viewer not reached the tension, it overwhelms you, you have fun, but it does not involve. Also not shown very successful with comic points, being these scenes and, in general, all those who do not have action (few Fortunately, loose most of the film).As for the actors, we have a bit of everything. Willis is perfect as McClane, noticing that enjoy playing it. Timothy Olyphant is very weak as a villain, certainly the worst in the series. Justin Long as fellow sufferers of McClane is also very weak and somewhat heavy. On the other hand Maggie Q is stunning as evil, but give little Court.In the technical sections the film is more than correct, highlighting a few very successful Visual effects. On the other hand the music by Marco Beltrami is the worst of the tetralogy, functional, but far from what has been achieved by the late Michael Kamen in the previous.In short, the jungle 4.0 is a pleasant surprise, a spectacular film, short, entretenidísima. Recommended, although far from the level of the first three. In spirit would be closer to the third, although therein the hectic pace and how it was shot compensated outweigh its flaws. And it is that McTiernam is very McTiernam. Even so, Wiseman has gone well project.(hehe, it shows how long ago I do not write, go longer post has left me)

archivos_extraidos/MCE-Corpus-main/Dataset/217

Pablo

El código Da Vinci

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Frankly not felt me so horrific, the truth is that you could have done much better

These past few weeks I have read many reviews of this film negative. Her I went to see this weekend and frankly not felt me so horrific, the truth is that is could have done much better with both human and intellectual material that was available. But that matters little, the film will fulfil its objective outweigh.Today is already much the Duster to the American industry, there are just good stories but ultimately in the frontline film dominated the industry on the artist. And honestly it seems that producers have tattooed that saying of "more bad vale known good to know" killing in this way the risk and tension classical breathed once when descubrias for the first time films in which you were blind during the dialogues of the characters, excited and enfrentandote gladly to the unknown.Professor and famed simbologista Robert Langdon (Tom Hanks) is forced to attend a night the Louvre Museum, when the assassination of a conservative stops after about a mysterious trail of symbols and clues. With his own life at stake, Langdon, aided by cryptographer Sophie Neveu (Audrey Tautou) police, discovered a series of amazing hidden secrets in the works of Leonardo da Vinci, secrets that point everyone to a secret society responsible for guarding an ancient secret that has been hidden for two thousand years. Together they embark on a thrilling quest that takes them to Paris, London and Scotland, as they gather clues in a desperate attempt to decipher the code and reveal secrets that would shake the foundation of humanity.It is a classic adventure film, perhaps covered controversy, but in the end should not be forgotten that it is fiction. Special mention to the soundtrack that stands out significantly. It is the product that stands out above the lousy game.Perhaps the feeling that I've escaqueado a little comment on the film or to give depth to the analysis. It is true, I do not like to talk about films that I love. Even so I think this will be the last that you people cinefixia. By the way, have already bought the rights to Angels and demons...

archivos_extraidos/MCE-Corpus-main/Dataset/802

Radon

Colegas en el bosque

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It is which I liked most of all that I've seen so far, so we will give an excellent, because I believe that we have superseded the mythical Madagascar.

This Sony Pictures film brings us the intimate story about the misadventures of a large Grizzly raised among humans, and a cooler deer rejected by all.The film tells of how very funny how important it is to take care of the friendship above all things. During the footage, we are finding a lot of funny scenes that made louder laughter from the mouths of our pequeños.The pace of the movie is perfect, nor too overwhelming for the young minds of the public that is directed at, nor slow enough to make them lose interest in history. As for the bad, bad enough to know that it is, and ugly enough to identify it with the bad, without that scared too.The best carcajdas for adults will find them in discover until that point our small are able to react to the jokes that presents us with the history, the simple and comic suficientmente as so that they emerge having had a good laugh-filled time in the company of their parents.As it could not be otherwise he describes as: "It is which I liked most of all that I've seen so far", so we will give an excellent, because I believe that we have ousted the mythical "Madagascar".

archivos_extraidos/MCE-Corpus-main/Dataset/921

Emilio Calvo de Mora

Ellos

muchocine

Principals have made a rapid inventory of gender clichés and have gotten them into a tourmix: the resulting milkshake is them and has significant flavors, although the final aftertaste is harsh, bland, poor.

From the outset, this is a film of fear: everything is designed to produce fear. The trump card is to hide the nature of evil during almost the complete footage: do not know until the last minutes what threat pursues the protagonist couple. Would have been better not to know never – or know it from the outset not to have saved the eighty minutes of tape but to not bore us both. They get bored. The film enfanga in a few artistic pretensions that do not deserve to unfavourable criticism any. Everything is well written: images, the crescendo in fear, the final climax. History convinced visually, but this remarkable film writing isn't supported by a script that really appeals. Looks forward to the thing to conclude: know what is behind the noise of the silences. And at the end, when we know, we condone the idea that has not been worth riding both firework for a final Fireworks so mild.Non-profit-making gutting that Fireworks, mild, as say, the gentle reader should, however, spend those 80 minutes. It bored sovereignty, feel that maybe in the end everything is a huge joke, believe that you outside, on the street, rain or Sun or cars make a symphony with the cláxons or that a blonde calón mounts a chicken because her boyfriend just you confess he is with another, more blonde and more cannon. All that you can go you through the head, but should be given a chance, albeit to accelerate with the sprint are the protagonists, the couple suddenly woken up at his home, a huge, incredible, unusual House, i.e., not credible, by some noises that just taking them literally to the absolute horror. It would seem that principals have made a rapid inventory of gender clichés and have gotten them into a tourmix: the resulting milkshake is them and has significant flavors, although the final aftertaste is harsh, bland, poor. They have not gone ten minutes and we no longer have sweet tannins, the mouth perfumed by so many ill-fated emotion.

archivos_extraidos/MCE-Corpus-main/Dataset/3762

Carlos Giacomelli Puig

Beowulf

muchocine

"Beowulf" is a beautiful and striking, film with a simple and entertaining story loaded with the slab of a script that seems to take too seriously the proposal

Robert Zemeckis is increasingly closer to his goal. I.e. make the animated film with actors perfect, arduous task that unless it fails can bring more than one disappointment.Since it began to implement the use of new technologies in the film, many have been attempts to innovate in an industry not for anything defined as a factory of dreams. One of the busiest directors in this regard has been precisely Zemeckis, who with "Back to the future" composed one of the best films of science fiction of all time (surprising even today, both at the plot level as visual and technical), which followed experiments like "Who framed Roger Rabbit?", or "Death I feel so fine". Squarely in the technique of scanning of actors, something which has tried with little success some case "Final Fantasy" was released with "Polar Express". Zemeckis is a film Christmas, positive and tender, that while it pales before any of the Pixar productions, is undeniable as both visually (unforgivable not to see it in 3-D, is worth as an example this unbridled race to the train by a real roller coaster which empties into a frozen pond) as to any other. As much as impress in destroy her. And it is one of the problems with those who depart the films who drink of new technologies is contempt for the criticism. Committed to making to prevail the classic cinema, that of always, the "good", baited against any innovative proposal. "Polar Express" is a bullshit just for children (then go and "Shrek 3" leave it in the clouds), or "Sky Captain and the world of tomorrow" is so silly and soda, or "300" is so bad to dry. Stay with the film Garci and Redford, and already you can see how well will go you to the sector. A little bit of please, man.Downloads and claims to part, the problem that did "Polar Express" was the excessive coldness of the facial expressions of the characters (most of them played by Tom Hanks). Looked like dolls, without a soul, and that is something that the director wanted to avoid for its new immersion in the genre. To avoid repeating the same mistakes with "Beowulf", Zemeckis was surrounded by a large number of professionals and technical resources, tripling the efforts invested in his previous film. The result is undeniably better in general. Now, the faces of the actors do seem to more alive, with all luxury of details (wrinkles, freckles, passage of time, beard.), and the quality of the scenarios is overwhelming, as well as the details of various blood spills, a constant in the action scenes. But still failing in others, being its main ballast true acartonamiento in the movements of the characters, which sometimes are unrealistic and robotic gestures. In reality, little imported these defects if you see the movie in three dimensions (1) spectacular is guaranteed, and if not attentive to the final stretch, the fight against the Golden Dragon. In fact, many of the levels are designed only for this format, taken from too much up, or down, so what you seeing in 2-D can lead to think that it's a garrafal bug, 3-d is one of the fundamental pillars to achieve a superb impact on the Viewer.Curiously, the qualitative decompensation technically serves as a ring to the finger to describe the film itself, because its second problem is surprisingly in the script, which seems fun and spectacular at times, but tedious and pretentious in others.The response of all ills is surely Neil Gaiman, screenwriter of the boring series of comics "The Sandman", which together with the fearsome Roger Avary (capable of adapting brilliantly Ellis as well as load - and see that was easy - the mythical video game "Silent Hill" series) is responsible for writing this new adaptation of the epic Anglo-Saxon history. As it could not be less, the screenplay is a too relamida and pretentious, composition with infinite dialogues that cause too many slippages of pace. Nor is it a boredom on the order of "Matrix: Reloaded" (that same leg limp). The overall taste is sweeter than anything else, because the movie is quite funny. The problem therefore it is that basically He entertains, but not everything that it should. And that is a pity, because the action scenes are absolutely exquisite, and no doubt we would be talking about a masterpiece in all its senses for an excessive duration consisting of empty and awkward dialogue, failed attempts to give the characters of a moral duality that was clear from the beginning and does not need so many explanations."Beowulf" is thus a striking, beautiful film with a simple and entertaining story loaded with the slab of a script that seems to take too seriously the proposal. But despite everything, Robert Zemeckis (or co-workers) moves with ever more ease in this new format, and the evolutionary leap of "Polar Express" this is more than notable. Spectacular on all four sides, a wide distribution and attractive (highlight to Crispin Glover making an even more disgusting than Tolkien's Gollum), and an impressive display of technical resources. (Almost) all a gozada.7/10 (1) in Barcelona there are to go to the driver to do so. A pity that they do not also in the Imax.

archivos_extraidos/MCE-Corpus-main/Dataset/2451

El mágico

Ratatouille

muchocine

Pixar returns to position itself as a large factory which achieved a great victory over Dreamworks. As regards film quality, your product exceeds the Shrek himself, flagship of his rival.

Brad Bird has directed "The incredibles" in 1984, and his work had been very good. In general, we know that Pixar has better ideas than Dreamworks terms how working scripts for animation. "Ratatouille" comes to screens mounted in a hellish advertising display which made me much doubt its apriori values.Not be one distrusted, but you know that the big studios invest more money on advertising when you know that your product is mediocre? As Word of mouth will not work, they inject money media so that everyone is tienten and go to see your movie. Well, fortunately "Ratatouille" is not of this type. Now, the cast have to say that I was pleasantly surprised (rather than anything, I want to say that you as almost always, I saw the English version, so I will refer to the characters according to its original dub), is a film where the voices are accurate and good humor depends on the chemistry that occurs between images and those that provide their voices, in that aspect, the film is notable. But we move on to the story itself, Remy (featuring Patton Oswalt, precise tone and acting) lives in Paris, loves cooking and her dream is to work in the best restaurant in the world, has exceptional conditions to combine spices, ingredients and learn about the best product for their work. Of course, there is a problem, Remy, is a rat! Here is the first nod of the script.Our friend rodent seems to represent a case of strange, as if it were a "lower", subject who belongs to a social segment and for those things of fate stands in skills that characterize a layer higher than the suyo.y that seems inaccessible to their possibilities. Well, Remy is a rat that accidentally goes to such a Linguini (Lou Romano, sensitive and very funny), a young human who also wants to be a chef, but don't know anything about cuisine and above all, he is sent to work in a restaurant that had been owned by the legendary Gusteau (Brad Garret, ghostly!), Chef of prestige that was loved by all France until his death. There, his assistant is still directing the place and will accept to Linguini among its ranks, good.Remy and Linguini! There is a secret that could change the fate of all (which will not disclose here), and the plot is complejizando as it progresses in natural and well organised. Linguini gives with Remy and although there is no verbal dialogue between them, the symbiotic communication show is very well achieved. Between the two they will be complemented, any is fall in love (Colette in the sweetest Janeane Garofalo) and surprise you with excellent dishes to the amazement of his employer, Skinner (I said that it was the sober Ian Holm) who feels that Linguini is hiding something dark that could put an end to your business. "Ratatouille", did me not a film for kids. I mean, not for small kids. Your script is showing signs of sophistication ranging from the chosen place to unleash the conflict (a Parisian restaurant) until a clear problem of racism and intolerance (the subject of the clashes between humans and rodents). I think that there is much work in the history and adults really enjoy this addition to the history that is what gives the film flight extends its spectrum. In that sense, Pixar returns to position itself as a large factory which achieved a great victory over Dreamworks film quality, your product beats the Shrek himself, flagship of his rival. "Ratatouille" appeals to us with such candor with films where the search to find a place in the world is the primary subject. The best for the whole family, while not the laughter and extreme situations (although there are), abound this this is a very friendly tape for the casual viewer and a delight for the predisposed to sit at this table to taste this exquisite delicacy.

archivos_extraidos/MCE-Corpus-main/Dataset/1055

Emilio Calvo de Mora

The holiday

muchocine

Clumsy, GLib, long, predictable, depressive, anything hilarious, monotonous, tiresome, long, cheesy, telar, cazurra, boba, deadpan, dull, long, mealy, boring, The holiday does not leave afloat either by the roster of actors.

The romantic comedy has given huge titles in the past (Philadelphia stories) or in the present (the wedding of my best friend) and is reventada of topics. Nancy Meyers is not Howard Hawks or Billy Wilder or George Cukor.Cameron Díaz, even monísima is not Katherine Hepburn. Jack Black is not Cary Grant.Y now the movie (today I jump to the Bullfighter the usual tone of my prose and descarnadamente go to the jugular of the matter so that the blood shoot soon, it spread down the carpet and, before the noise and the Vertigo of the tremebundo red, possible tail that will attend the function gives up and moves to another)(, growing her).Clumsy, GLib, long, predictable, depressive, anything hilarious, monotonous, tiresome, long, cheesy, telar, cazurra, boba, deadpan, dull, long, mealy, boring, The holiday does not leave afloat by the roster of actors with pull (Jude Law, Kate Winslet, Cameron Diaz, Jack Black) nor by the apparent management of its Director in the lides of the genus (already addressed with something better fortune when least expect you him or what women think). Read more: the emotional ravings of the girls and girls of the nuisance leave interest soon. There is a character of interest, well written, that immediately connects with the movie buff demanding that looks beyond an elegant production, that is. I refer to the character of Hong Kong the ineffable and already talludito Eli Wallach, which makes Councillor of the character of the Winslet as writer already retired of the Golden Hollywood.Finally, a lost time. I promise to compensate me with my sombremesa dvd and losing me two hours in Rio Bravo, John Ford. I love the role of Dean Martin drunkard. And even singing, I think. Ah, I said that it is very long?

archivos_extraidos/MCE-Corpus-main/Dataset/2378

Oscar Cantero

Cayo Largo

muchocine

Anxiety, claustrophobia, tenderness and talent assembled under the outstanding leadership of John Houston. Something like the Philharmonic of Vienna directed by Karajan.

Those who today classified psychological horror any film which occur in two silences, they should take a look at many productions over the years 40 and 50 that, like this, show how to maintain tension and provoke a sense of anguish only playing with the silences, the close-ups and body language.Cayo Largo, directed by John Houston, tells the story of a veteran of the second world war, that comes in a small hotel of Los Cayos, in Florida, to see the father and the widow of a fellow of trenches. Unexpectedly, he meets a gang of mobsters who stay at the establishment, and there begins the real film.Humphrey Bogart, little can be said to not know, although in my view, the interpretive weight and the brightest of the proceedings, is that rests with Edward g. Robinson, one of those actors who by whims of fate, does not enjoy the recognition and fame deserved by his enormous talent. Lauren Bacall, we will not discover anything, while Claire Trevor received even an Oscar for her performance.As I said before, this film causes a wide range of sensations, that pass through the tenderness, intrigue, claustrophobia, anxiety and concern; This is due to a great script and exemplary leadership.On the negative side of the scale, it could be a somewhat hasty conclusion and certain ups and downs in the pace of development; but without greater significance or importance. Without doubt, a classic film, to which only the fact of being contemporary of epic titles have been deprived of occupy a high place in the Olympus of the film.

archivos_extraidos/MCE-Corpus-main/Dataset/2824

Dragon negro

Desmembrados

muchocine

This mix of genres not just marry at all and does that at times you you wonder if you are really suffering with the characters or you you are laughing with them.

Director Christopher Smith arrives to us is mixing surreal comedy and horror where a group of an arms company executives are invited to spend a weekend in what they hope is a luxurious Mansion at Romania. After being abandoned by the driver of the bus moving where they internaran in the forest with the idea of finding themselves the House, but they toparan with a group of paramilitary assassins.The film is intended to be a serious horror film, but at times it is interrupted by idiots more gags, that they do have his grace, but that break the rhythm and created tension. To my taste, this mix of genres not just marry at all and does that at times you you wonder if you are really suffering with the characters or you you are laughing with them. Some of the gags are actually achieved, especially when standing in the fridge, one of the most successful.

archivos_extraidos/MCE-Corpus-main/Dataset/3894

Ana Belén Pacheco

30 días de oscuridad

muchocine

The hurt is that such educational film (I at least learned to cut the head to someone is necessary to give three battering in the neck) to stay in an irrepressible succession of absurd topics.

The truth is that the idea was slightly interesting. If we saw night creatures terrorize Riddick by end up landing on the planet wrong, i.e., in one of those when the turn is remaining in the dark at all and leave the bugs antropófagos to eat, was only a matter of time before someone gave our Nordic countries also can be great for these situations of invasions of various monsters, in this case chupópteros of the worst kind, of those that when you bite or you pull half neck or you become one of them with a few teeth calling loudly to go to the dentist.The hurt is that such educational film (I at least learned to cut the head to someone is necessary to give three battering in the neck) to stay in an irrepressible succession of absurd topics. Don't know the comic on which is based the tape, I have not read and not be if it is as incoherent as the movie itself but if they dare to plan an end so cheesy and on par so implausible nor is it among my absolute priorities. Not to mention that for narrative questions the vampire can attack in a nanosecond or advance to slow down the street (only will be the case if the type you want to attack the prota and takes the axe ready).Not only is flagging the little credible end if not the rest of the pieces of the puzzle starting with Josh Harnett, former teen idol and stale actor ever there, which possibly has decided to remove the title of worst actor in history to Ben Affleck imitating all their bad movements; the rest of the cast and in some cases dialogs more own a comedy to a horror film pseudo gore as the before us.Certainly not advisable for nothing.

archivos_extraidos/MCE-Corpus-main/Dataset/2296

Oscar Cantero

Oceans 13

muchocine

A worthy finale to a trilogy that shows clear signs of exhaustion in their plots and dialogue. Soderberg, c´est fini

After the third part of Pirates of the Caribbean, it is the turn to the most famous band of robbers in recent years: that of Ocean. If the first delivery were the Ocean 11 (eleven Ocean´s), the second added one more to his band (Ocean´s twelve) and in the third and it seems that ultimately add to the tenth third (Ocean´s thirteen). Following the line of the previous two, above all from the first, this time the target returns to be a casino, directed by a ruthless director who embodies the always brilliant Al Pacino; as remarkable novelty, the addition of Andy Garcia as member number 13 of the friendly group. While still being entertaining, the truth is that clear signs of exhaustion of ideas, still significantly lower than its predecessors in wit, sarcasm and originality can be seen in this film. Similarly, the removal of the female component which in previous deliveries embodied Julia Roberts and Catherine Zeta Jones, also means a significant decline of the ramifications of the main plot, that the appearance of Ellen Barkin is far from achieving the transcendence of the two divas. With the lack of dynamism, the excessive length can be a drawback for a film which ultimately is aimed to an eminently juvenile public, or at least, carefree. The reality is that everything has an expiration date, and of these thieves has already come (perhaps did so with 12 Ocean´s), but the truth is that its own creator and director of three deliveries, has decided to put the point and end of rightly, I believe, to the vicissitudes of the most stylish robbers of the big screen. Acceptable, and point.

archivos_extraidos/MCE-Corpus-main/Dataset/2936

José A. Peig

La jungla 2

muchocine

A film that offers a banal spectacle, but entertains from beginning to end. Indeed, John McClane fans don't need much more than that, but the script lacks wit and the characters are pure stereotype without personality.

The sound of the landing of a plane returns to open the story, John McClane waits for Holly at the airport in Washington, again we are at Christmas, and without time or respite, appear the same elements as in die hard (Die Hard). Engabardinados men and armed with a flawless plan that will not leave nothing to chance. The passageways, smoke, electrodes and devices of the Nakatomi building are replaced by an airport that at times becomes the interiors of the ship Nostromo (aesthetics of Alien) (again).And finally, McClane is the smartest of the courtyard and is the only one that seems to realize what is approaching at a policeman spent the entire film pasting screams until the adaptor metrallazo you turn on the Tinker Bell. The bad, in this case, not intended to emulate the polyhedral wickedness of Hans Grubber, intentionally becomes a musculitos with skull face, bland and predictable.In principle, the sequel directed the very mediocre Renny Harlin, has all the evils that may have a sequel: repetition of the schema and the elements of its precedent, but treated to a banal, is reduces to the cliché, to predictable and self-satisfied, just opposite to what should offer the second parts; a progression towards some field of meaning, explore the possibilities of a specific genre that had founded the new idea of action hero.McCtiernan, through a superb script and a carrying out meticulous and evocative, created an action cinema epic (perhaps Crystal jungle can be defined as the first - and only so far - epic action film) in which the different characters and elements harmonize in a fun and overwhelming "action-Opera". Renny Harlin is almost limited to filming a vulgar film shot and call, which could not differentiate themselves and any movie cheap if not for the reference (John McClane) used by some moments that reached a laudable dramatic tension, or revisitan the profile of the hero with dignity; Perhaps no other scene better defines the profile of McClane to the time of the landing of general hope, when it opens the door of the plane and said: "freedom", then intervenes McClane before the stunned eyes of the fugitive, "but who are you?".The man who comes to the site and less timely, but which, unfortunately for some and fortune of others, is the element that breaks the course of stipulations. And that is the kind of hero defined in the saga of Die Hard, someone that works wonders from his humanity. In the same vein, it must be said that at least respect the essential McClane personality and images of hysteria at the airport to recover part of the tragic sense.In short, film offers a banal spectacle, but it entertains from beginning to end. Indeed, John McClane fans don't need much more than that, but the script lacks wit and the characters are pure stereotype without personality.

archivos_extraidos/MCE-Corpus-main/Dataset/3572

Hombre Lobo

Habitación sin salida

muchocine

A clean example of dark which are of own hotel rooms, especially those dens abandoned in space and time.

When they begin the opening credits to room no exit (2007), one believes that he is about to meet another bastardization of psycho (1960) of Alfred Hitchock (the most plagiarized the film director), but these impressions are passing. The movie ends by progressively away from the famous thriller of Norman Bates and family to look back on work much more explicit as in his time were Toolbox Murders (1978) and trap for tourists (1979), dressed with a touch of initial mystery which, personally, I think very well resolved. It is only when it leaves on its conventional side when it loses air, which does not prevent that he is highly recommended at the end.And that room without output is fairly simple, not only in its approach to horror, but even in its duration: the whole footage lasts only 81 minutes, and that including a few long closing credits initials and finals which are obviously inspired by the aforementioned Hitchcock film. The plot of the starting also is similar: couple suffers from an "accidental" mishap on the road and are forced to spend the night in a mysterious motel only to be haunted by someone or something which threatens their lives. Throughout the first half hour is in the creation of the environment and the discovery by the couple of things that puts them in danger in this sinister motel rooms. It is precisely this piece, in which the mystery is dosed, the best of the film, which reaches its peak at the time in which the couple finally discovers the exact nature of the danger that lies ahead. Not count it here because I think it works much better if you do not know what is waiting for you. Only say that it is that the time in which all previous indications converge in a single revelation that makes this film to abandon their connections with psychosis in search of the intensity of a game of cat and mouse.Unfortunately, this is also the time in which tape takes a much more conventional air and it stagnates in it for the rest of their short duration, becoming a Chase uninterrupted it hides little that we have not seen before, except the inclusion in two main roles of Luke Wilson and Frank Whaley, actors that normally we associate with comedies and here showing a dramatic change of registration. Even Kate Beckinsale appears to leave her role as tough woman seen in Underworld (2003) to embrace a more vulnerable character (without abandoning their status as women's claim of history). This second half is that ultimately a bit disappointed not to offer anything new and, on the other hand, delve into the long history of clichés of characters making decisions estúpicas for the convenience of the writers. All this prevents getting locked room to be something more than it is: a clean example of dark which are of own hotel rooms, especially those dens abandoned in space and time. Attention, that Yes, the level final, much more forceful and realistic of what we are accustomed in this kind of stories.

archivos_extraidos/MCE-Corpus-main/Dataset/4038

Ivan Villamel

El Cebo

muchocine

Film with many notable influences, with a multitude of layers to analyze that would give for a great movie buff debate and that is, by its own merit, one of the best films in the history of our cinema.

Throughout the history of the Spanish film, there have been cases of works that go unnoticed in completely unfair way, and the case we are discussing today is one of those cases, a film that despite being claimed with the passing of the years, remains a big unknown for much of the Spanish public. It's the special criminal thriller "The bait", a portrait on the evil and the shabbiness that can reach the human being, seen from the perspective of several characters, the adult gaze opposition to an idyllic vision of the child world, and as the encroachment of the first in the second creates absolute aberrations.The plot of the film we placed on the skin of a Swiss police of provinces called Matthai, who is advised by a peddler, which by the way has previous convictions for petty offences, of the appearance of the corpse of a girl in a forest near a small village. What follows below is the testimony of the seller, and as certain evidence seem to implicate him in the murder of the girl, despite being he who denounced him to the police. After some event, throughout the body of Police believed to have closed the case, except Matthai, who still believes that the murderer of children, had already acted a few years earlier, is still free.In the direction of the film we have to Ladislaus Vajda, a Hungarian filmmaker settled in the Spanish film and even ended his life in our country. Author of several popular films in the late 1940s and early 1950s, directing to one child prodigy of Spanish film as it was Pablito Calvo films like "My uncle Jacinto" or "an angel passed over Brooklyn", or with the seminal "Marcelino pan y vino". But his creative Summit reached her with this excellent work of suspense which saw "The bait", in co-production with Germany and Suiza.Mucho will be spoken of this work, but is never more remember the master points of this piece of jewelry with a multitude of subtle layers in their development. That most stands out in it, as well as the excellent and thorough research to find the real killer, is probably the main two constants that run throughout the film from beginning to end, in the form of intrusion in an idyllic world and that assumes as spotless and devoid of evil threatening elements for these worlds, mainly the issue of the murderer in a place as the small Swiss villages, which one you already imagine if as ideal for a placid and simple life, and the cruel, corrupt and manipulative world of adults in the clean look and without evil from childhood.Constantly resorts to this confrontation, being in the case of adult vs child world, the more marked. Bright scenes such as the cops in school, where they they lecture children about bad people and which in turn becomes a struggle to find out more about the murderer in the eyes of children, become frustrating to the police to see how the best friend of the murdered girl recounts the story told her best friend in the form of fairy talewhereas the murderer as a "giant" which gave him some small sea urchins, which we will then check as it is discovered that these were chocolate truffles, and as the "giant" was more than a burly man. Not just in that scene, nor much less, the vision of a story so macabre as a perverse fairy tale (which Harry Powell in the absolute masterpiece "The night of the Hunter"), giving rise significantly to the crusade of Matthai to find the real murderer with a drawing created by the murdered girl and her visit to a psychiatrist to get into the psyche of the killer by this simple drawing full of imaginationa sketch of kid humor which becomes the key to continue to give with the resolution of the case. From that moment every insignificant detail that drawing, become a runway to come up with, of course, real killer in a titanic struggle in which even Matthai leave aside their obligations of police to act incognito owned a petrol station on the road, through which the killer chose his small victims.The adult world unfolds in a corrupt manner and with little morality, beginning by the adversarial interrogation to the Peddler, which ends tragically, giving rise to a vision of life very provincial, devoid of any logical sense and guided more by that ignorance by the true meaning of Justice, without being safe from this locals (the scene of the tavern or the commentary about the single mother are especially significant). Even without get rid of that vision the main character, risking the life of the girl that welcomes in the petrol station along with his mother, as a bait for the possible killer that runs along this road often somehow. Another boot of macabre and very black humor involving for example the scene of the construction of the cottage to play girls, a few meters from the road.This narrated with effective and commendable pulse by Vajda, with a narrative pace in its simply fantastic development, in which it introduced these details phased giving rise to a final climax excellent and revealing, when finally Matthai understood, in a scene of precious lyricism, which the child world must remain incorrupt and clean dark glancespreserving the innocence, without to say if he himself or the conversation as a mild rebuke from the previous day with the girl's mother when he discovers the affair. In any case a final again that Board the macabre with the beautiful in an extraordinary scene.The acting part is shown in State of grace, one success of the film, starting with Heinz Rühman in his role as Matthai, showing a few extraordinary nuances, from tenderness to the dryness of prodigious, a scene of tender child conversation way, to really dark in his eyes moments (cited that revealing scene when discovers possible clues to discover the alleged murderer in the drawing)(, with a look at the empty denoting satisfaction without resulting in no time sobreactuado). The rest of the cast is shown no less excellent, both the dysfunctional family consisting of mother and her young daughter who share these days with Matthai (excellent scene, again, which implies the attempt to find out the girl who is the "Wizard" that gives chocolate in the forest), as the salesman in his eternal despair, which is heartbreaking, or, ultimately, true protagonist of the story, the true mcguffin of this excellent work, the murderer, played by Gert Frobe, which saw pigeonholed in that role during much of his career.All this contributes a great staging in each and every one of the scenes, citing for example, one in which the girl plays with his boat on the River in the forest, and then appears the mysterious serial killer posing as a magician in a scene replete with readings in the form of influences, from Frankenstein to the pied, luring the girl into the Woods not with the music of his flute, but if with the magic that, in the eyes of the girl, is capable of doing our ruthless murderer. Also add everything is debtor on occasions of the Fritz Lang film, or at least one server has seen the shadow elongated master lang in this from the close-up of the characters, reminiscent in form and content that falsely accusatory film also that he was "Fury", up to "M", with that extraordinary rendition of Peter Lorre as a disturbed even greater than this film of final Vadja.En, film with many notable influences, with a multitude of layers to analyze that would give for a great movie buff debate and that supposed by own méritor, one of the best films in the history of our cinema. Essential.

archivos_extraidos/MCE-Corpus-main/Dataset/4079

Ivan Villamel

Los Crímenes de Oxford

muchocine

A great movie, a story that choose to play in the field of intellectual, finally same if laughing in a macabre way, with some solvents actors (which is not little) and above all a strong and effective staging.

Sensed in the promising career, and already consecrated bilbaino director Alex de la Iglesia, a capacity to tackle greater challenges which they had enjoyed so far. His previous films, from that first-time "mutant action", through work at the service of the popular Santiago Segura or El Gran Wyoming as "The day of the beast" and "Dead of laughter", were productions where already showed an innate talent to create his own world full of lovable losers, without the slightest interest in being drawn by prevailing fashions and so able to arouse in the viewer a sympathetic emotional affiliation. Then changed maybe a little third, resulting in their most elaborate film with more class in the implementation stage and films as "Community", "800 bullets" (endearing tribute to the spaghetti western, defined by himself as marmitako western) or "crime ferpecto"(este_último_quizás_uno_de_sus_peores_films_en_mi_opinión) represented a step forward with regard to earlier work (ignoring the failed RAID by the back door of American cinema which meant "Perdita Durango"), while retaining that special touch that shows his film. Perhaps the biggest problem of all those tapes was precisely the own demarcation imposed by the filmmaker, almost always resulting in too parochial, with a humorous little given to cross borders and deliberately geek (in the loving sense of the term). For a server, always entrusted in the capacity of this filmmaker to be eligible to larger companies, to his latest work, "The crimes of Oxford", is the definitive consecration, and let us hope that a road to travel regularly in their future projects (whose capacity already showed in his excellent episode for "movies to not sleep").Church leaves its limited common areas on one side and he embarked full in international cinema, showing signs of being a skilled craftsman (remember that this term has been forgotten by the terrible work of filmmakers without talent), a creator can be passionate in their work and create intelligent entertainment products.The plot of the film shows how Martin (Elijah Wood) is preparing to create his final mathematics thesis with the help of Professor Arthur Seldom (John Hurt), being too optimistic hope, given that the Professor, is a taciturn, apathetic and lacking the minimal sense of emotional empathy with fellow human beings. Martin, whose only visit to Oxford from his native United States, is due to this purpose, looks like the death of the elderly that inhabits the House which houses himself, makes the intellectual Union with the Professor Seldom a fact, with the intention of resolving a series of crimes that occurred after the death together.Remarkable work in the direction of Alex de la Iglesia, always framing the view at the time and the exact location, some visual, clearly identifiable with the large capacity of the Basque filmmaker to create scenes close to the Viewer, and to help advance the story. Even allows some luxuries where da sample of the technical mastery to which we are accustomed, as that plane sequence in the streets of the small town, where is presenting the daily routines of the series of main characters that populate so dismal town.Helped, if, by an intelligent screenplay (in collaboration with its usual writer Jorge Guerricaechevarría, based on the novel by Guillermo Martinez), a meticulous and progressive penetration into the mathematical foundations, theorems, and above all, on how all this affects the relationship of the possibly and its alienation from the world outside them two. It is precisely in the elaboration of such a relationship where the libretto becomes his best trasladación to the screen, that helped if, for effective work of actors, especially the incombustible John Hurt, no doubt, and despite the intended coldness of interpretation, the best of the cast, leaving perhaps only in correct the work of Elijah Wood as Martin, something that on the other hand, expected before such unfair confrontation of talents. The female roles pass to a second level, being mere comparsas of the investigations carried out by the master and his apt and inteligentísimo student, as both Leoner Watling (more pending offer carnality than anything else) and Julie Cox, should lift underdeveloped roles (although still Cox quite better than Watling as to credibility of the role).There is precisely one word that describes perfectly the tone of the history, the coldness which referred above. Will surely be the sensation causing many viewers this story, most outstanding of the mathematical technical aspect that do pass the story of fluently through the advancement of tangible action and not so much of the own discovery of the intellect. Of the Church, it seems to care little gloat was in duels on knowledge, if same and insurance of the mental depth with its fascinating history. There lies the real conflict of the film, to enter or not as a spectator to the interest which could lead to the supposedly intellectual aspect (some call it pretentious, I do not), which, truth be told, caused me an unusual interest, taking into account the banality and look flat and predictable most recent film productions. The choice between passion or brain of the Church has opted for the second, with highly satisfactory results.There is no doubt that in addition, this great movie very much reminds others developed in similar areas, with influences which reach to remember works of discovery criminal as the films at the service of the charismatic Hercules Poirot, the adorable Miss Marple or even the giallo more cold and brain, in contrast of the other so dramatic. With certain notes of the renowned British producer film Ealing (as bright in that kid humor presiding works such as "The ladykillers" or "Eight statements of death"), from which it takes borrowed certain bright touches of ironic humor, as the resolution itself in the history it without gutting the end, offers the largest joke macabre history. After such a demonstration of privileged intelligence by both characters, where reason and mathematics were imposed in all their decisions, just as uncontrollable passion paths that give with the key in the history, in a brilliant final sketch of this great director.And while it is true that the end of the story closes with some light theatrical, a twist of script that leaves some loose ends that probably would have no place in a completely logical analysis, let us not forget that this is precisely the final moral of the story, the loose, as decisions motivas by heart, they are always randomly.In short, a great movie, a story that choose to play in the field of intellectual, finally same if laughing in a macabre way, with some solvents actors (which is not little) and above all a strong and effective, staging a remarkable thriller which proves that a talent Manager, custom products become intelligent entertainment.

archivos_extraidos/MCE-Corpus-main/Dataset/4290

Jaime Martínez

Soy leyenda

muchocine

In short, an unfortunate adaptation of a classic, irregular, simple and with a 100% palomitero use because of all the employed pyrotechnics. Only saves the decent performance from a credible Will Smith; except that, embarrassing.

Third film adaptation of the novel by Richard Matheson. Simple and hackneyed version with a pace of more irregular in terms of narrative and action, use the totally failed flashback that seeks only to the involvement of the Viewer without get it. This time, we change to Charlton Heston by Will Smith, place you a dog that penalty when he dies - so we win to the public easy tear - some quite poor and very bad vampires achieved, and the rest to do so with phrases marketing team: the last living man on Earth, or with the more expensive sequencing of the story. Best remake of infectious virus (28 days later, Resident Evil, dawn of the dead.) where no doubt passes when it Will Smith is only found in a deserted New York City. Impressive levels and recreation of an apocalyptic ravaged Manhattan, where the protagonist has fun day hunting deer (excellent scene) or going shopping, and hiding at night. Acceptable - not by its originality - so far they appear vampires, where the director happens to opt for the show 100% American in the form of budget, and forgets all the above so far. Finally, a whiff semicatólico caught with clamps that abounds everywhere in the final 15 minutes, which compels us to believe in order to be saved. Attention to the 30 seconds from the end, the phrase, the sound of the bells, the Church, the doors of the salvation by opening pair in pair and the entire community of blessed to receive us. In short, an unfortunate adaptation of a classic, irregular, simple and with a 100% palomitero use because of all the employed pyrotechnics. Only saves the decent performance from a credible Will Smith; except that, embarrassing.

archivos_extraidos/MCE-Corpus-main/Dataset/3636

Iñaki Bilbao

14 Kilómetros

muchocine

Very interesting social drama, reflect and realise what we have to assess it as it deserves. An emotional, fun, hard, tape with great music and very dramatic moments.

Good film from Gerardo Olivares, who does well little won the Golden Spike for best film at the prestigious international film of Valladolid (Seminci) festival. A contest where films of social issues are vitally important, fact that is perfectly exemplified in this film.He is a positive social film, where tells the path taken, this time by three people, reaches the dream of reaching Europe, where awaits a mejor.o life that believe them.The road will be hard, cruel, tragic. There are many hazards that threaten them, determined by human selfishness and intolerance, as well as the fact that money is a very important asset to achieve the dreams. but not the only, therefore hope, struggle, perseverance and tenacity and solidarity of human beings good are also crucial.Olivares achieves a truthful, credible, film with a sober, effective, direction with few but rich characters, that we are close because, basically, are equal to us, with the same yearnings vital, although his work vital to achieve them may not be more unequal.Emotional, enjoyable, tape lasts, with great music and very dramatic moments like the journey through the long desert, that does not leave anyone indifferent. And scenes, many, most, where we can see the newborns in the first or second world, enormous luck we have, not knowing appreciate what they have.Olivares makes us clear his position, which is the opinion of the majority of the people, and, instead of trying to flee Africa to get to Europe, it best to invest in Africa, to make it more rica, given the enormous potential. But of course, is you has exquilmado, has been exploited first world of it, that its people are doomed to find life beyond its borders, which are bleeding even more death the huge continent.A film for reflection, well narrated, that is worth to see. And to some but, and should not acharcarse the film, saying that it would have been better that the subtitles (I saw in original version, which is how you should see this film), should have been changed color. Instead of white color should have been blue or another color, because some very important dialogues take place in the desert. And of course, with the sand so white there and the subtitles in the same color.no read well.

archivos_extraidos/MCE-Corpus-main/Dataset/3052

Andrés Pons

¿Y tú Quién Eres?

muchocine

This type of product can be addressed in two ways. Looking for the truth or simply offering a dramón of volume and lomo type movie.

Antonio Mercero had a major success with plant 4 reflecting the theme of cancer alluding to the easy tear in pursuit of a caramel commercialism. In this type of product can be addressed in two ways.Looking for the truth or simply offering a dramon of volume and lomo type movie with famous actors to engage in the box office.Unfortunately mercero again relapse in the subject in the same way, brilliant interpretations of López Vázquez and Manuel Alexandre is expected from interpreters with quality proven over the years getting roles for the personal showcasing slice.We are faced with a cheater film where everything is surface without lower interest dramatic nor contributing anything positive to a serious case.Then they will tell you that it is a film with good intentions, but that's not enough to make good movies.

archivos_extraidos/MCE-Corpus-main/Dataset/3189

Ramón Besonias

Shootem up

muchocine

Everything happens in frenetic way, out of breath from which swallow his grateful footage. It happens fast and forget even better. Again the man.

Ago because while political correctness are inoculated in the bowels of the contemporary cinema, strengthening the enthronement of standardised characters which, without calling into question any social prototype, our evenings of film make more enjoyable. But authors like Tarantino and Rodriguez managed to attract the attention of the specialized public and producing skeptics, making it possible to unite political incorrectness and artistic quality (of course, ensuring success in box office without pools or sibyls). Thus the naïve macarrismo, announcement of colony macho-ismo and wild virtual hemoglobin choreography sold with relative ease in products like this that touches us.The figure of the hero honored in the films of yesteryear, the eighties sensitive cynic, the elegant and ligón 007 (with pardon of the Campbell Bond) that runs without disheveled, all leave step Clive Owen, the male that like all (and all). Lancôme has seen Reef that supposed to put this face (carved with mud) on his signature. You know that times ahead duplicated his wise cynicism, leaving everything as it is, but allowing aesthetic macho-ismo and defense of the trigger helpings licenses. How take one Miss Harry, although it does not wash! How much!Shoot ' Em Up is an effective metallic cosmetic product, around the figure of Mr Smith (all can be Smith, in a first-person game), an impersonal intelligent and hyperactive assassin to kill dozens of undesirable thugs under the command of his antagonist, a Paul Giamatti funny (which not graceful) in his role as bad, overwhelmed family guy, and custom pistolón. Everything happens in frenetic way, out of breath from which swallow his grateful footage (86 minutes). Characters, cartoons in the service of such action: the hard lanky (to the McClane), sensitive devorahombres (a pneumatic Bellucci, which puts to the service of who wants her breasts of Circe), the sympathetic villain, the props of corpses sown shamelessly beyond where treads do hero?, omnipresent, loud music in the moments of orgy testosterónica, choreographed to the John Woo.En endgo and see. It happens fast and forget even better.

archivos_extraidos/MCE-Corpus-main/Dataset/2179

Bruji

Entre mujeres

muchocine

Effective direction of actors, perfect frames, elegant use of the planos-contraplanos, a great scene in the rain. Rather what can be said in the current film, other many directors.

Film of good intentions and uncertain outcome, in the absence of a plausible script, seeking support in so stereotyped as predictable characters. A history lost between clumsy dialogues that, without effort, manages to cause the easy tear. Recommended for those who confuse the meaning of the word melancholy.To our dear Meg him begins to pass as well as the boys of the announcement of Coca-Cola. It has already convinced that it belongs to another generation. It's glorious past, who survived the French kisses, to the orgasms fingidos in a café, at the steamy conversations in meat Viva, tedious messages of Tom Hanks; becomes, in this Ribbon, MOM, for the purpose of seducing grandson all would like to have. in sixty years. More, as it was to be expected, you will find a fierce rival his own teenage daughter... or not. And it is that reveal the arguments, with all luxury of details, exclusive of a sector of the criticism that, in this way, manages to fill their articles. It gives the impression that he did not have anything more than. sometimes.To talk about this film, it is mandatory to mention, first of all, the successful work of casting; by precisely be the actors, the principal? if not the only - the first work of kasdan attractions. Even so, no escapes us in not a few moments, the interpretations of all of them are missed, in a story without consistency, supported by a few flat characters that corroborate each and every existing topics generational. In this regard, the screenwriter of the invention would have to reflect on upcoming projects, about the kind of genre you want to address, and not let this important aspect in the hands of Divine Providence, as? it seems - has made on the present occasion. If you ultimately decide by the romantic comedy (this film is not), you will find magnificent referents in the Filmography of his father. If attract you the stories of intimate Court, - those that are written by putting the heart by Inkwell - they should contact their gaze towards the slow, but sure, walking from Eastwood teacher; undisputed leader in the difficult task of transmitting the world of feelings. If you are interested in the female universe applied to the American comedy of manners, you will have to adopt the touch of irony, elegance, subtlety and delicacy which critics found in the work of Lubitsch. If you also intend to incorporate autobiographical, it is essential to learn a famous phrase by Joseph Mankiewicz, woman who said: "the difference between real life and the movies is that a script has to make sense." "Life, no". Attempting to carry out, in a first job, this mixture between drama, romance and comedy-tinged autobiographical, without reaching further none of them, to create an unnecessary amalgam; It's not pretentious, but extremely risky. A risk is not exceeded, does not convince the critics and ending pay at the box office. They say that with the talent, is born, and we do not doubt the rookie filmmaker's. His first film is a declaration of good intentions. But it is also true that any technique is learned, and the story of the film is filled with indispensable references to follow, that, in this case, it helps understand the mistakes of this opera prima. The most resounding comes the warning made John Huston, "There can be a good film if there is not a good script". In the absence of that good script, - of Kasdan condemns their characters to the reproduction of typical, topical and awkward dialogue, to consolidate a misleading story that even the kisses are predictable-, we are left with the effective direction of actors, the perfect frames, elegant use of the planos-contraplanos, a great scene in the rain, and that another in which grandson and grandmother remember the tender relationship between Ginger Rogers and his father, by San Judas Tadeo!. We are also left with the good work of Meg Ryan, who joined Olimpia Kukakis, Kristen Stewart and Adam Brody. We were, of course, the flawless performance of the Spanish Van Helsing vampire. And, why not?, we are left with the tricks of a filmmaker who, in a gruesome manner, manages to make us laugh and cry. Rather what can be said in the current film, other many directors.

archivos_extraidos/MCE-Corpus-main/Dataset/1116

Jesus Lens

El ilusionista

muchocine

Personally I liked. In large part, I guess, because I try to go to the prejudice-free movies, immersing me in the movie and enjoy the story without trying to anticipate the same, without searching five feet to the cat.

"Film with trick". At this point in the season, when according to the advertising has already been viewed by I do not know how many millions of viewers, I do not believe that pass anything because we talk about movie with trick. However, the fact that before release are references in all the reviews to his relationship with "The coup" and other films for the style, condition viewing.Personally I liked. In large part, I guess, because I try to go to the prejudice-free movies, immersing me in the movie and enjoy the story without trying to anticipate the same, without seeking five feet to the cat, leaving me entice by director and screenwriter. If the movie is good, we will enjoy with surprises and the twists of the script, with the evolution of the events and characters, etc. If not, we effectively anticiparemos what will happen. and we aburriremos mortally.In this case, even knowing that it was a movie of tricks with magic and illusionism. I enjoyed the surprising end. I liked the way of telling the story and I identified with that tortured in love with illusionist that her magic fails to provide what they most need, want and yearns for: the true love of his life. Since those roles in "The fight club" and "American History X", Edward Norton seems to me one of the actors with the greatest power of seduction of the moment. With his face of good, but mischievous child; of healthy tortured muchachote; hard sportsman with artistic concerns and much inner world; in "The illusionist" is sensational. As colossal are secondary, that detective with pretensions and, above all, that Prince conspirator, illustrated and sadistic. Perhaps it would have made him need to another edge to the latter, but to be an unusual 90-minute film, is much what it tells us.And Vienna, one of the most seductive capitals of Europe was booming in times that runs one movie more interesting and that has been a bestial box-office success. without the usual attributes for this: either sex or violence. Now premiered another magical film, from the hand of the team revived the moribund Batman? what has merit and is welcome - Christopher Nolan and Christian Bale. Although you will have difficulty to put so many spectators in the Pocket as "The illusionist", this challenge of the film magicians is the most interesting and stimulating.We look forward to the screens.

archivos_extraidos/MCE-Corpus-main/Dataset/2766

Francisco Bellón

Death Proof

muchocine

Death Proof is the new film that emerged from the imagination of one of the most delusional of contemporary cinema minds, and is a real pity that his vision and Robert Rodriguez have been distorted in order to get more revenue.

Less than a month ago he came to our Planet Terror, the first screens of the two films that made up the Grindhouse project. Project that in Europe we have seen eaten into by the poor results of box office in United States. If the intention was to duplicate the benefits, shooting went them backfired, as in Spain Planet Terror has achieved a fairly discreet result.If the Robert Rodriguez film was a visual orgy of blood and entrails seasoned by a very black sense of humor, Death Proof is a film more contained. Well, contained if it is that this word can apply to a work of Quentin Tarantino. On this occasion, the story is also about less, a piscópata that uses his car as a weapon of destruction against a group of attractive girls. Death Proof has an atypical beginning to what is usual in Tarantino, is featuring the character gradually and leaves uncertainty grows in the Viewer. Master but hilarious dialogues of the filmmaker, being protagonist himself from several of them are present from the first minute. Since the entry into the Kurt Russell character scene tape is gaining in intensity and tension, for finally erupt into an explosion of really frenzied violence. Only a genius is capable of performing an auto-homenaje brazen as the character of Rosario Dawson mobile and that encime is well. The last half hour of the film is simply stunning, with the best car chase seen on film in many years.Death Proof is the new film that emerged from the imagination of one of the most delusional of contemporary cinema minds, and is a real pity that his vision and Robert Rodriguez have been distorted in order to get more revenue.

archivos_extraidos/MCE-Corpus-main/Dataset/4359

Carlos Giacomelli Puig

Across The universe

muchocine

A disappointment that despite having a nearly infallible chips, sinks due to a Director committed to Excel above his film. The orgasm that could have meant stays in a coitus interruptus.

Julie Taymor is known for its numerous clashes in directing, either with actors (Anthony Hopkins was getting ready to leave in full shooting), or producers. Considered (by itself) as "the Spielberg Theatre", the truth is that so far his only real success in the stage adaptation of "The Lion King", because his three films, "Titus", "Frida", and which concerns us, have not managed to never count the total satisfaction of critical and/or public.The problem is that the Director seems committed to wanting to navigate upstream, creating Visual experiments that may be more or less achieved (to a server seem enough infumables) but setting completely aside fundamental aspects such as the rhythm and the script of his films. Thus, while end see "Titus" awake became a feat for the Viewer, "Frida" rewrote the life of the legendary artist transforming it into a kind of soap opera of three to the fourth.As well, in "Across the Universe", history repeats itself. On the basis of a romantic comedy as predictable as, why not guarantee (and it is a musical love stories always work), towards the half an hour of footage the thing distorts becoming a revolutionary pamphlet that ignores almost altogether by the relationship of the characters and is immersed in an authentic journey nowhere nearly a hour that is pretentious in its form as simple as vacuum in its Fund.Thus, what had to be a fabulous journey to another time to the beat of mythical songs happens to be a film old-fashioned, predictable and identical to many other (if not for the soundtrack), only returning to resume the flight in its final stretch, where away finally from subversive extravagances to resume what really matters to the publicIt remains the initial love affair.If outside little, at all times gives the impression that "Across the Unievrse" is no more than a succession of video clips, placed one after the other rather abruptly at times, surely fruit of numerous cuts and montages that suffered the original film (which lasted more than two and a half hours!). In this way, the jump from England to America seems brusque, and merges with a presentation of characters made without too much sense, without destroying too much nor understand who they are or where they are. Worth as an example the first appearance of Prudence (sung a wonderful version of "I Wanna Hold Your Hand"), which no one knows anything either before or since (and is the character returns to make Act of presence many minutes later).The visual section runs the same fate as the plot. Starting with a handful decoreografías simplistic but effective, even exciting (versions of "A Little Help from My Friends" and "Come Together" are impressive), everything collapses as soon as the protagonists know Dr. Robert (played by Bono), who embark on a journey amazing and amazed that not is if not the kick-off for the part more jamaipanese, complacent and, unfortunately, longer. It matters little that the version which composed "I am the Walrus" bonus is one of the best of the film, when its Director strives to overload each frame with rocambolescos effects of celluloid, in the purest style Aronofsky. And as the film progresses, the thing gets worse, saving only one other image of merit (soldiers carrying the statue of liberty by the battlefields, bleeding strawberries, or naked bodies singing Darin. until they deform casposos Visual effects giant).Equal to that with the script, the film takes the right path again for the last part, when (finally) terminating the pamphlet and resolves the part sentimental with the best songs of the Beatles (or at least, the most important and tarareables) and a few choreographies again simple, elegant, and emotive.Thus, "Across the Universe" it is a disappointment that despite having a nearly infallible chips (good actors, best actors, romantic history), sinks due to a Director committed to Excel above his film. Orgasm that could have meant a "Moulin Rouge" with songs of the Beatles, becomes a coitus interruptus that pleased only to his half-hour initial and final. Correct, nothing more. (3 stars that would be 2.5 justitas.)

archivos_extraidos/MCE-Corpus-main/Dataset/2386

Alex Largo

Infiltrados

muchocine

I am among those who praise and those who say that it is nothing out of this world. And it is that, as a film, I expect more. I don't know, I imagined it different. But this has nothing to do with the film to be a product of high quality.

When premiered during the month of October "Infiltrators", followed very closely the views of the people on it. Some praised, others said that there was nothing out of this world and others said that it was badly bad. So I decided to wait for to come out on DVD to view it quietly. Everything changed when took 4 Oscars. Best film editing, best adapted screenplay, Best Director and best film. then my curiosity for it grew and grew. Until I saw (ago, already more than one month), and now I speak of it.Cover me in one of the three groups I would say that I am among those who praise and those who say that it is nothing out of this world. And it is that, as a film, I expect more. I don't know, I imagined it different. But this has nothing to do with the film to be a product of high quality.Speaking of his Oscars Best Director is more than deserved. The adapted screenplay, so little can speak, that I have not seen the original film. In Assembly. Yes, it has a good montage, but. I've seen better.And speaking of the Oscar for best film. Since then, no one in their right mind could give it to "The Queen" (7/10). "Babel" (9/10) was not a great bet at the Oscars (look at what happened to "BrokeBack Mountain"). "Little Miss Sunshine" (9/10) was too "ñoña" for some. "Letters from Iwo Jima" (that Parallels have not seen, it was my favorite) did not win by causes unknown (that everyone said she wonders). E "Infiltrators". I do not know. It was a remake, it was highly unlikely that win in this category. But there he was, with 4 of the top Oscars under his arm including the of best film. Although there are some who say that it should not have won why be a remake, to my seems a good choice (but not the best).Let's talk about the film, so, in general. In addition to being full of swearing (feel being so repipi), has some (again, some) actors that make an enviable job.Which looks worse is Matt Damon, and I say that not to say that it would have been better a puppet without joints. The most. "weird" is DiCaprio (which was nominated for the Golden Globe for this role). It is a strange mix between hard, whiner, clown and llorica. The result? A character that there is anything wrong in the movie, but does with the public.Another matter is Mark Wahlberg (nominated for an Oscar), Martin Sheen and Jack Nicholson yVera Farmiga.El first, just nominated. Although the truth, would have nominated (and winning) to Jack Nicholson for his PAPELÓN (Yes, with capital letters), unjustly forgotten role in nominations to the Oscars. Martin Sheen makes a very decent and charismatic role. But that most surprised me to been Vera Farmiga, who composed a very difficult character who eats the screen when it shared with the dull Damon or the "stranger" DiCaprio.Otro noteworthy aspect is the soundtrack work of Howard Shore. But, unfortunately, for the painful montage of sound is drowned at all times.With regard to the work of Scorsese. I would say that. own a genius.

archivos_extraidos/MCE-Corpus-main/Dataset/1357

Yojimbo

Una vida por delante

muchocine

It is a minimal but exploited story in a wonderful way. Great sense of humor and humanity van spread in one of the most recommended films of the time.

From time to time Miramax's surprise us with good movies, and other rarely with a poster as interesting as this: Robert Redford, Morgan Freeman, and Jennifer Lopez to start, touch of attention to distributors. I understand you have to translate the titles of the films by the widespread custom in this country of adulterating a product doubling to our language, but I do not know what dog mania have taken to choose as opposed to the original titles: even runs counter to the movie itself.Do we have seen as one "Into the blue" is entitled "Lethal immersion"? come on, desktop movie title.In this case, "An unfinished life" by "An unfinished life".Any game or intention that the scriptwriter, producers or whoever he gave him the title are going down the toilet.Why I have titled the post as his "truest" although crude translation.The actors serve to give a simple story, that no simple charm: a loss pain accidental but the search for culprits is history which leads a Jennifer Lopez who flees with her daughter from an abusive boyfriend. Why it takes refuge in the ranch of Redford, his father-in-law. It coexists with the pain of having lost his son and his friend's life, the character of Freeman. He and Redford are cowboys who try to continue with their lives and overcome an incident with a bear who returns to appear in the area.A subplot pseudo-ecologista but with a more philosophical background: the search for forgiveness.The film is a minimal but exploited story of wonderful by a few business writers and directed way with good taste by Lasse Halström. Sentences lapidary, full of philosophy, great sense of humor and humanity are distributed in one of the most recommended films of the time.

archivos_extraidos/MCE-Corpus-main/Dataset/1287

José A. Peig

Dogville

muchocine

Do not know if Lars Von Trier is a genius, but in?Dogville? did a flawless job of creation and conceptual and technical realization, and also showed that his art is a strong catalyst for their deep spiritual concerns.

Once upon a town with their false Messiah and a girl that came from nowhere, fleeing from a darkness. A wolves averno getaway was to fall into a pit of wolves disguised. Came the time to prove the worth and the resistance of a caged collective itself by pretending, for wanting to be without being, out of fear. Everything ends with a decision whose origin lies in the deep of human consciousness, the look of a compassionate God. Consciousness can be dangerous, the flames of hell are which are hidden on the other side. It may sometimes be better not look, do not think, do not wish the good of humanity. We are too fragile to assume such responsibility.Lars Von Trier believe an allegory raw and naked from its external form to its depths. What says is too serious to be said: tell politicians, thinkers, nor any non-conformist pop singer. The truth is disguised as absorbent and devastating parable, disturbing to the receptive souls that arrive to apprehend the ultimate narrative meaning: are prisoners of a fragility that overcomes our moral and ethical codes noosphere, and can reach a point of despair so destabilizing than that same sphere of human culture ends up give way to the horror of the violenceaware and reasonably justified.The naked scenery this at the service of the naked and direct gaze with which Trier introduces us to the town that represents the whole of society, according to the proposed allegorical game. It is not any pedantry since that provision of the scenic elements allows to encompass the totality of beings and events that encourage both inside and outside the homes with a simple Assembly of frames, camera in hand, placing the viewer in a point of view (the eye of the camera) that allows you to know the life of the people without the conventional limit imposed by physical boundaries (doors)(, walls, etc). This, also, has an elementary function in the construction of history: emphasize human above a minimalist environment profiles and content, and to create a collective body that flows and interacts as a whole facing the two central characters. Great example of how to run an abstract concept (in his allegorical configuration) that gives rise to the recreation of the life of a people under a certain look omniscient, not restricted to dive, but any angle and lathe levels to any of the characters entered in the collective body. In sum, a superb orchestration and drawing of each of the elements of allegory, interconnected with dynamism to reach a powerful realistic dimension (reinforced by the movements of the hand to guide the camera).Despite its allegorical abstraction, history tells us about events that might occur anywhere in the world, in our immediate reality. The translation of an immediate allegorical space reality facilitates the game and the speech articulated in different profiles, and at the same time, gives a local significance to universal problems: hypocrisy, dissatisfaction, existential vacuum, faith or distrust in the other, the weak line that separates the purity of perversion, the shadows that cloud the distinction between victim and executionerthe danger of feel morally superior to a specific stratum of society and the danger of being too aware of this. There are certain nihilistic overtones in his conclusion: there are no more laws to which each one forges for himself, and they can justify genocide, without remorse that worth. I read somewhere that to Von Trier should be put in jail. Certainly his parable has a destructor, stabbing and openly power.Thus, if in the translation from the conceptual to the represented filmicamente is a real achievement, also triumphs in the development of the relationship between the locals and the mysterious fugitive: interactions have that point of ambiguity that requires the correct representation of a social conflict. Initial uncertainty to further harmony and coexistence, and return to the imbalance by the unknown, paranoia, malice, violence, suspicion and mistrust in a progression that is degenerating into the bitterness of treachery. The fire that destroys that micro world, which for about three hours has shown us a flow of human acts, justifies and means transparency and austerity of the stage. As a burst of pain and ignorance, it leaves you speechless. I don't know if Lars Von Trier is a genius, but in "Dogville" did a flawless job of creation and conceptual and technical realization, and also showed that his art is a strong catalyst for their deep spiritual concerns.

archivos_extraidos/MCE-Corpus-main/Dataset/4309

Ramón Besonias

Monstruoso

muchocine

With such that talk of a product, what does that roses to tomatoes throw you! The essence of what cool is not the beauty, but advertising. Congratulations, Abrams, and fun while it lasts.

Cloverfield (his title in Spanish is so monstrous that better ignore) is born more of the reins of an effective and and intelligent marketing of production - at the hands of the geniecillo of the world television (yours are the lost series or Alias) called the j. j. Abrams - that of the artistic idea of its almost inexperienced director, Matt Reeves, Director of that other television success of name Felicity.Y Abrams is that the letters notice you to Cloverfield, which shows the Viewer without modesty but not without moving with carefully orchestrated steps. Little was known of this production, and that leaking out made with willingness to rouse the curiosity and passion of thousands of souls geeks that populate the universe of our network in search of fresh meat to feed his cinephiles before even still in Turkey have been slaughtered.Cloverfield is a precast product to win, though not without certain risks that come in its vast majority of aesthetics still Virgin in the large format (although make the delicacies of the youtubeadictos), that easily misleads even to the palomitero public that is delivered without any more words to nothing prophylactic love of the cine-espectáculo. It uses two attractive premises from outside indirectly to the seventh art media. One, the cathartic need the American people anesthetized or purge the ghosts of 11-S, and two, take advantage of the pull that provides fashion of new audiovisual formats born without c-section in the digital world.On the first point, Abrams plays with the spectator, marking a script austere, more like soap opera than a blockbuster (without appearance of being), focused on the need of the young protagonist through the barriers that are precise in order to tell his beloved i love you. Of course this rescue romantic plan medieval folletín with Dragon somewhat orientalizado through, although without much sword that mediate conflicts (that are already the marines), garnished with the pageantry Hollywood special effects that are intended to cover the Schematic of the proposal. But let us not deceive ourselves, the result convinces, fun, even in some another scene up restless. That Yes, provided support Parkinson's hyperactive camera that follows the Odyssey without Ítacas of its protagonists. In its favour joins a fair (sixty-five more or less) minutaje makes perdonables these excesses.The metaphorical iconicidad of the head of the statue of liberty on the asphalt of the streets of Manhattan; These lacquered bodies of dust, walking as zombies, disoriented in a whitish penumbra; skyscrapers set ablaze overnight; the collective paranoia of hundreds of citizens fleeing from a threat whose identity unknown. Cloverfield too reminiscent of the feeling of a population who still tries to put the pieces of the chaotic emotional puzzle of that fateful day. Only that Cloverfield not it will provide them more medicine that one hour of audiovisual catharsis, touring with the protagonist the horror and the nonsense of a phantom menace that is still there, enthroned in the psyche of New York.This therapeutic end, without redeeming will plays into Cloverfield, repositioned within the virtues of the genre, beyond the usual ideologizantes Caprices to which we are accustomed. (Even I am legend falls without remission in this weakness made in Hollywood).On the other hand we have the aesthetic issue of mad and subjective camera, vaunted as maligned by critics. Opportunism? Course, and will die (envy, of course) the Puritans that exorcizan (the bishops as sex without love) the film dedicated to the pleasure of the banal. Right opportunism? Well if look at the box office, certainly very successful. If on the contrary we circunscribimos to the flat aesthetic and their suitability with the Mise en scene and the script, the views may vary according to taste. About (and not only will the talluditos) it mareará them both to Penina, and they may expect that the monster comes out more between plane and plane of people screaming and Fireworks. Others interpreted this as a virtue that ennobles the whole, either because it predicts a film if not new (already there past examples), less foreboding of the absorption of this art by other hitherto debtor audiovisual industries endorsed, either to raise the altars of the geek sanctuary a product that refuses to be taxonomizado.There are even in a hermeneutic effort (it must be said, very conventional) deconstruirán Cloverfield as a clear symptom of the virtual nature of the conception of the world in Western culture. Everything is seen through the eyes of a lens that replaces the emerging physical reality in everyday acts shamelessly. This lens moves, breathes, simulating reality; why you need movement, these frames and cut dialogues. The very fact of the attack of 11-S is drawn under the perplexed gaze of a spectator watching TV without believing that beyond the screen nothing may be real. But it is.Finally, in order to speak of a product, what does that roses to tomatoes throw you! The essence of what cool is not the beauty, but advertising. Congratulations, Abrams, and fun while it lasts.

archivos_extraidos/MCE-Corpus-main/Dataset/3108

Daniel Galindo

La Señal

muchocine

A title of film noir, made in Argentina and sifted for the pleasure of the audience of the 21st century: Honorable is this experience even though it can to end not convince as round film.

The truth is that sometimes we are too demanding and allow ourselves to take hubristic and overloaded analysis. These adjectives we cannot apply them to the work of Ricardo Darín and Martín Hodara directors, so we huiremos of critical pedants quibble that praises the film genre after destroy any attempt to show something new. Different and new. That is this film could not see completed its promoter, Eduardo Mignogna. It is a story written by him with great skill and moved to images after be underpinned by more classic patterns while taking advantage of all the technical and artistic resources that provides the film today. The whiff to cinema of time is present at all times, although Diego Peretti and Julieta Díaz - without being the 'femme fatale' which aims to-, and Darín in his facet as an actor, get print a slight breath of fresh air to his interpretations.As experiment okay, especially knowing the factors that have determined the outcome, but perhaps as a film, and taking our most severe side, Miss you something: can to lighten a somewhat convoluted story, avoid certain rate decreases. The best, no doubt, interpretation, also photography and the atmosphere in general: return to Buenos Aires in 1952 had not to be an easy task for those responsible for this unusual directorial debut. It is worthwhile to accompany them.

archivos_extraidos/MCE-Corpus-main/Dataset/2557

Pruden Rodríguez

La heredera

muchocine

Intense drama that avoids the conventions and that offers a different view on romanticism. Great duel worlds confronted, openly opposing interests and values.

Set in New York in the mid-18th century, heiress puts us squarely in the bowels of American high society of the time. Catherine Sloper (played by Olivia de Havilland, which would receive an Oscar for this role) is the daughter of a wealthy doctor secretly tormented by the lack of sympathy, grace, and beauty of his sole heir, who constantly reminds the virtues of his deceased mother. However, the ingenuity and candor of Catherine her remain in an aura of happiness that was only threatened by the demands of a fully straitened social class. His life flows without large insides until in one of the many festivals that are forced to attend meet Morris, a young gallant followed shown crazy for her. After a brief courtship, Catherine falls definitely exhausted at his feet and the two decide to marry. However, the humble origin of Morris and the suspicions of his father, who from the beginning sees therein a Hunter of inheritance, make that everything is complicated and that the life of Catherine change forever.The heiress, based on the novel by Henry James, is without a doubt one of the summits of William Wyler and 1940s cinema works. Awarded 4 Oscar (actress, art direction, costume and soundtrack) and other 3 nominations (director, film and supporting actor) is in my opinion one of the films that has portrayed the evolution of a character (in this case the Catherine) with greater brilliance. Naïve, Candida and insecure creature, the heiress turns into a cruel, cold and strong without that no one or nothing can prevent it. The loving failure, disappointment, have felt despised by his own father and another set of circumstances end up becoming gradually a person has nothing to do with what was to be. Rarely a character suffers this evolution, from sweet to sour, from the best of the human being to his darker side. And rarely a spectator can feel so many different emotions to observe him: pity, sympathy, hate. But not only the character of Catherine shines. Although more planes, the characters of Dr. Austin (his father) and Morris are other two great bastions for this drama. On the one hand, the hatred restrained showing Dr. Austin by his daughter, always uncomfortable in his presence, ashamed of his way of being and anchored to the memory of his wife, and on the other the mysterious behavior of the young Morris, as soon it seems Romeo as a white-collar thief, do that tension is maintained at all times and that one suffers by the possible outcome of each meeting two or three bands.In short, intense drama that avoids the conventions and that offers a different view on romanticism. Great duel worlds confronted, openly opposing interests and values.

archivos_extraidos/MCE-Corpus-main/Dataset/1964

Alvaro Oliva

La maldición de la flor dorada

muchocine

It occurs as an option for lovers of Zhang Yimou, Gong Li and the visual spectacle. The best rest abstaining.

Disillusioned and bored. So could define me after seeing the new film by the great Zhang Yimou. The truth is that I was eager to see this new work, and virtues that has "The curse of the Golden Flower", continues to be an excessively long and heavy work.The virtues jump at the sight, and never better: photography, the art direction, design production and Gong Li, stand out and show the talent in this production. I can not forget me also of Chow Yun Fat, although not noted especially.Anyone who sees this film at a cinema, will be amazed by the images so spectacular and ornate so distant and ancestral, culture that combines the different chromatic values, in an exceptionally beautiful manner.See these flat General of the exterior of the Palace, the different suits are the characters, the official dwelling in which the Emperor stays before reaching the Palace, these rocky landscapes where there is a battle. In short, a visual spectacle that almost worth going to cinema, and I say almost, because the biggest mistake or problem of this film, is that it is eternal.With a home in which they give us information, but not just happened "nothing", history is becoming increasingly denser, while introduce us new mysteries and family dramas, attempting to alleviate with small too choreographed action sequences, and that long lost his grace. I think that in the first half hour of the film, many people wondered what the hell was in the room, and if it would be better to try to sneak in another or failing spend the time on something more productive. Yes, this assessment is very strong, but the picture did.I could elaborate more, but even the final part, which begin to great things happen does not leave us with good taste. Battles reminiscent at times to the of "the Lord of the rings", but without the magic of these, to finish with a slightly bitter finish (which isn't bad) but does not cause any feeling in the viewer away already for many minutes, the spirit and the feeling of this peculiar Royal family. In short, "The curse of the Golden Flower" is presented as an option for lovers of Zhang Yimou, Gong Li and the visual spectacle. The best rest abstaining.

archivos_extraidos/MCE-Corpus-main/Dataset/1016

Oscar Cantero

El Polaquito

muchocine

A vision full of strength of the current Argentina, which invites reflection on the situation of a world in which half of the people died of hunger and the other half of obesity and heartbreaking.

I guess many of you will know that proverbial maxim which says that on many occasions, the lack of media sharpens the wits. Clear proof of this is the large number of titles that became leaders of box office and critical without having counted for its rather than strictly basic realization. And sometimes not even that. The Blair Witch Project and a long list are clear examples of this.Well something is what is happening from a few years ago in Argentine cinema. The deep economic crisis in the country has led to the appearance of films shot near "real-time", with little budget, but beautifully offset this section with scripts that exude pointedness, ingenuity and dynamism in some cases; either with distressing harshness portray the current reality of a country once rico who now suffers from years of pillaging continued by a corrupt political class like no other. The Polaquito belongs to this last class. The Polish is a child who lives in the surrounding suburbs to the central station of Buenos Aires, and earn the living singing tangos in wagons, while it suffers the oppression of a mafioso of neighborhood dedicated to exploit young people for their own benefit. His deep love for a prostitute with whom engaged in a relationship takes you to stand up to everything and decide that its future is not about doomed begging and exploitation. The film, based on real events, perfectly recreates the atmosphere of disillusionment and pessimism prevailing in some part of the current Argentine society, but simultaneously launches a message of hope for the country, a hope that necessarily passes by young people. Dantescas conditions in which they live and the lack of vital expectations of youth, before the impassivity of all is the leitmotif of the tape, made with mimbres scarce but full of strength, drive, and talent.The Polaquito is a heartbreaking cry, a call to an untenable situation that nobody does anything and condemned to ostracism and death to thousands of human beings. Now that the Argentina economy is growing at a frantic pace for three or four years, once past the doldrums, this film claimed that before the optimism of the ruling class, should bear in mind this part of society for which the only feasible objective when they get up every day, is to reach the night live.

archivos_extraidos/MCE-Corpus-main/Dataset/1247

Yojimbo

Flores rotas

muchocine

Do a good film with a good dose of humour which you then plants? what pussy I laugh, if it is well sad?.

I had read great and malísimas criticism of Broken Flowers. Well, let's go by parts.No one will be surprised to write makes Jim Jarmusch film independent. Therefore, many who know that already know what they face. Especially those that are left blind by labels. For better or worse. To be considered a crappy or a masterpiece. Because I am glad to say that I am in a middle ground? pulling to good.Don Johnston is a wealthy donjuan low hours who receives a mysterious anonymous letter in which communicate you what father for 19 years and that possibly the child you are looking for. He, so apathetic as it can be interpreted a very well used Bill Murray, decides to move from the topic until his friend and neighbor, Winston (Jeffrey Wright) investigates him and gives him the idea that going to visit five women who have possibly written that letter. Five women with whom he had a relationship in the past.To begin with, the character of Murray is so bubbler that gets you. It is so useless that you do not know how to react. It seems difficult to see a donjuan during moza. His life is nonsense. Nonsense focused on a sofa in front of a stunning plasma TV where seen movies and cartoons. But when his friend Winston organized you around a scheduled journey, Don wants to resist? to 20%. In the end he made the trip. At the end you visit to Sharon Stone, Frances Conroy, an almost unrecognizable Jessica Lange and wonderful Tilda Swinton? and a fifth that makes the culmination of a cruel but fun trip and acid, as life itself.The film has its moments "BMW" to the rhythm of the wonderful music of Mulatu Astakte (as used it Woody Allen in "The curse of the Jade Scorpion"), but is certainly a trip very interesting, full of sarcasm and so varied characters, not to say freakis, that the character of Murray seems the most normal. Notably, the character of Jeffrey Wright, a wonderful secondary that deserves all the awards acquired and for having. A masterly counterpoint to the character of Murray: it is a generous, hard-working man, has 5 kids and in his spare time he plays to investigate on the internet.A good movie with a good dose of humour which you then considering "what pussy I laugh, if it is well sad". A curious anecdote is, in the final part of the film, in which it seems that everything will be resolved, there is a cameo appearance of the real son of Bill Murray, Homer Murray. The name is a good joke, huh?A film not indicated for those who didn't like hidden (cache)

archivos_extraidos/MCE-Corpus-main/Dataset/1879

Oscar Cantero

El número 23

muchocine

The main problem is a bad direction of actors, a very poor development of the script and an exaggerated search for timely shock rather than terror.

Joel Schumacher is passed to the psychological and supernatural thriller the number 23, a film of promising and interesting argument that the limitations of its director and cast have become a vulgar movie. Starting with a bright and dazzling start to generate illusions, the weary and slow pace are going imposed as it progresses the footage, which coupled with the attempt to cover too many areas without focusing on any of them, end up causing some boredom and boredom.In the end, one has the feeling of being before a comic with several different morals and philosophical pretensions, instead of before a good tape of terror, which is what really expected of it. The fact that its main protagonist is one of the largest histriones of history, which has never had very clear the difference between Act and do the jerk, does not help. And it is that the face of Jim Carrey is associated with strange gestures and grimaces, but hardly with dread or fear, despite their repeated attempts to seem a dramatic actor of truth and thus achieve two of its main goals, that long since they are earning the respect of the Academy that they reward him with an Oscar and be considered a true actor. Possibly the first of the two you get one day. However, in this film is noted with clarity that the main problem is a bad direction of actors, a very poor development of the script and an exaggerated search for timely shock rather than terror. To take a NAP in the film, or have an original coasters when it is released on DVD, it could serve. On the other hand, if what you want is to spend a good afternoon or night of suspense, in any case arise throw money at the entrance.

archivos_extraidos/MCE-Corpus-main/Dataset/68

Ivan Sainz-Pardo

Cache Escondido

muchocine

Exercise voyeuristic with plenty of prospects and amazing details

I understand those who think that this film is pedantic, slow, boring and dense as a potato puree. I recognize that the dialogues are irritating for what little they have, by supposedly banal. The picture is also completely naturalistic, touching the video look domestically, although without the temblequeo typical of the camera in hand. The pace is heavy, lethargic, without concessions, in a long, very outstretched footage and with surplus scenes. In addition, is not this a story previously chewed and not warns the least effort to accompany the spectator towards a message clear, towards a particular end.I also share the views that they accuse Haneke take as the starting point of his film the intriguing principle of "Lost Highway" of David Lynch. It is really so. In both, the protagonist couple receives strange tapes where they and their home, are recorded by a stranger. But it is also true that cache away immediately and takes a very different direction. Cache is an exercise voyeuristic with plenty of prospects and amazing details, which also has under his belt with enough virtues, so at least, so has other many spectators, including I myself, they have experienced a feeling different and interesting, a very rewarding and intelligent cinema session.Cache not invited or camela for free to the Viewer. It is not a story portrayed from the best camera angles, it is not a neon advertisement, or a plate of hot food. It is a peephole which can spy on. A peephole in the cold Street, which can look through from a little comfortable posture. The actions are not going to the grain. Looking at, for example, as the protagonist enters the picture, drop you a coin, is served a coffee from machine, awaits you, him slurp, goes towards the window, left again and reflects. But who spy through the window, nor receive a summary of the best actions of its neighbour opposite. Who spy shares silences, complete action, dead moments, moments of apathy, images that usually we did not observe the usual film language. The same applies here to the talks. We never find specific dialogues, information necessary or concise.Also the moments that one does not select or that you can not choose, never tend to answer all our questions. They may not explain everything, nor necessarily provide a response to each of our issues. And in this case, and only at the end of the tape, we can come to understand about what they have actually tried the two hours of film. I think that cache is on the naïve child cruelty. On the, often terrible and inevitable consequences of our actions throughout life. How you load with our faults, mistakes and sins and, how all these then passed on even to later generations. Cache talks about morality, fear, guilt and selfishness. It is a totally neutral social criticism. Exhibited items without position at all.I could also sense a kind of parallel message on that, so far, I have not found reflection in any other website. Perhaps because this is only a personal perception: (refrain from reading here who has not seen the movie yet) while the couple discovers the disappearance of his son, there are background images on television about the current disaster in Iraq. Perhaps there is also no fluke that co-stars are also of Muslim origin. But everything could be understood also as a metaphor, where the rich and intellectual Western star, punishes, betrays and truncated in the past the life of the poor, and at the same time, the future of his descendants, for later, endeavour ignore and underestimate the possible caused pain and claim a victimizing feeling. The protagonist feels terrified, bewildered, aggressive, when the consequences of his acts dot somehow safe and wealthy lifestyle.Michael Haneke ask us: who is the real victim? Perhaps the terrorists are part of our family. Perhaps we are the terrorists. Our precious lifestyle perhaps not the most appropriate, just not perfect. The protagonist is insensitive to acknowledge his guilt and not hesitate to mislead his own wife, lying without delay to their own people, to hide the information that could be blamed. Our society, our news, our television, nor doubt on lying, in not telling whole truth, to invite us to consume, lazy, and continue all the time that possible with this our "American dream" of selfishness and evasion. At the same time, addition, observe images of attacks suicide in Iraq, while for co-star, the only possible way to carry out his justified revenge is implying and making a direct witness to the protagonist of his suicide.Cache are invited to reflect, to think, and to change does not yield one iota to the Viewer. I understand those who only seems to them a superb ass. And above all understand to speak here of a masterful film. I can only say that I went to the game, staked and enjoyed very pleasantly.

archivos_extraidos/MCE-Corpus-main/Dataset/337

Torbe

Superman returns

muchocine

I believe that you do not need a Superman today in day, missing a little order in the world and less sons of bitches. The selfishness is what moves the world, and that doubt that Superman can be eradicated it never.

Had I about 10 years when my Daddy took me to the movies to see Superman. Hear that music has made in my relive those moments and a chill has taken all my being. That moment! He has been back in the tiempoPero something fails, this movie is not just a reflection of what was the first. Superman for my will always be Christopher Reeve and Lois Lane that delgadurria with angelic face. Times change, Yes, and is now a gay with quiff and Lois Lane Superman a histerica with a huge ego that is half idiot. If we observe well, have protagonist, besides Superman, a family with two parents with a child. Somewhat typical in the American society where the majority of divorced are families and children have several parents.But let's go by parts, analyzing such Allen.Superman: In this movie there are unintentionally the history of Jesus Christ. In fact there is a picture of Superman in heaven with the arms outstretched and head down as if he was on the cross. Your mission on Earth is to save the man, then, as in the Bible, is vapuleado by the bad guys (the Calvary) and when it is believed dead, resurrects as final Lazaro.El of the movie is already in Fireworks, when speaking with his son and you loose modelled words of the Bible, the roll of father and son (God?) (Jesus Christ).I, as I've been so long in OPUS DEI, see right away when there are things like that. By the way, by what Superman flies with two fists forward? Should I go as a plane, with your arms fully extended? If not empezaria to spin as a missile? Hala, shit physics.Clark Kent: Is the descojono than anyone else is of note that Superman is the. Only a pair of glasses and hair differently and nobody asks if it may be the. Today more than ever the appearances are deceptive more than we think.Lois Lane: One of those "pitted" with a House with seaplane in the portico of his house, in the middle of New York. Old Cagate.la Lois Lane was quieter, this is a histeriquilla listen to it just makes me the willies. By the way, the Gee gets on the plane are ordago, and then it comes out unscathed, already is the descojono.Lex Luthor: Not bad but have been given very little Court. You could have been much more game the crack of Spacey. They have focused on the boring and soporifera relationship of Lois Lane and Superman and he has not been much to the Superman using her powers. Stop link and target more cane by ahíEl son: but that paranoia is this that has a son Superman? Do you want to do then the movie Superman and son? What a presentation of the son, killing a villain in a pianazo. Superman kills? UY uy as changing times, a child killing an adult in a movie for niñosOtras things: the movie has not taken into account numerous laws of physics, it is absolutely impossible to lift a plane or a huge mass of Earth from a point so minuscule. What that said of "give me a point of support and movere Earth" passes by lining the Superman, because not only does not have support, but that everything is you bring the sides, to not find consistency at the point where exerts the force.The scene of violence where the bad guys are out with Superman is disgusting and any child may have nightmares with it.The Kryptonite, that someone explain it to me, was not something that away powers to Superman to a long distance? If this tocandola all the time when it takes the rock outside the Earth because does not fall it over? Ah, that is left in a coma, note that things. Superman seems to be immortal and when it is, no one kills him.What a peliculaMas potato things: initially only saves Superman to the Peel, for example a bank people or people of the city of New York, as well as French and Germans. It is that the rest of the world doesn't matter, that fuck you to Africa, and that people continue starving.I believe that you do not need a Superman today in day, missing a little order in the world and less sons of bitches. The selfishness is what moves the world, and that doubt that Superman can be eradicated it never.

archivos_extraidos/MCE-Corpus-main/Dataset/2958

Rafa Delgado

El Motorista Fantasma (Ghost Rider)

muchocine

When conjugation all of a film are its special effects, tits and ass of an actress and one (just one) of his characters, is that something is truly wrong.

So damaged a license cojonuda to shooting a brick brick Man-Starring: Nicolas Cage.Porque 'Ghost Rider' is a real brick of considerable dimensions. And it is that when only conjugation of a film are its special effects, tits and ass of an actress and one (only one) of his characters, something goes really wrong.The script seems has written it a niñato pajillero of thirteen: the argument has no feet or head, is so tontorrón and predictable that only to see the poster already you can imagine throughout the film. The characters and, above all, LOS VILLANOS (if they can be called thus because they seem to be taken from 'Mystery Men'), are authentic jokes talking and walking; the actors do not help because they all seem to be there reluctantly, trying to put any face to convince that the character trying to interpret are taking seriously.And those crappy flashes salchicheros when do appearance the bad very bad, pffff.Because, it is even boring. And the absolute prota also is Nicolas Cage, guarantee of sudden attacks of embarrassment, at least on my part.As I said before, the only thing salvageable from this mediocridad-más - mediocre-to-'DareDevil' are its special effects, Eva Mendes cuerrrrrrrpazo, and the same Ghost Rider, that is the lironda Peel, but leaves little, becoming so sad one of the characters and clumsily unused long in the history of the film adaptations of the comic.And those yet to come.

archivos_extraidos/MCE-Corpus-main/Dataset/1071

Dario Lavia

Mad love

muchocine

The film opts in an outcome with forced logic, despite the incredible attempt of Lorre and always correct Frances Drake give credibility to the action. This ballast obviously fails to overshadow previous accomplishments.

A brilliant surgeon, Dr. Gogol (Peter Lorre), is enfermamente in love with an actress (Frances Drake) who is the star of the theatre of Horror Parisian (whose Grand guignol also pervades the entire film). The actress rejects the romantic suggestion of the doctor, but when her husband, a virtuoso pianist named Orlac (Colin Clive) suffers a terrible rail accident, he pleads to save the hands of the rugged husband. To achieve this, Gogol decides to transplant the healthy hands of a recently executed serial killer (Edward Brophy), while hiding the details of the operation, even to the patient. The result is beneficial, and not only Orlac has hands but can also return to dream of playing the piano. However, soon there are more tragedies, as Gogol tries to sow into Orlac ideas sickly on their hands, it becomes crazy and release him the road to the woman he loves. So when the stepfather of Orlac (Ian Wolfe) is stabbed, the former pianist is blamed and arrested.The film picks up in its subject matter the interesting world of Grand Guignol, and adapts it to your needs. Based on a novel by Maurice Renard, which had already been adapted for the screen as ORLACS HANDE (the hands of Orlac-1924) with Conrad Veidt in the lead role here Orlac passes to a secondary plane (to Clive also looks it great), and is the Gogol of Peter Lorre (anthological) which takes a key preponderance. Traditional rule of horror at that time, including a character half comedian to lighten tensions, we have Ted Healy (here without their Stooges), as an American journalist that investigates the case, although fortunately the camera not stops long in their occurrences. The emergence of Gogol disguised as the executed murderer (for traumar Orlac) is more gloomy that you can imagine and is perhaps a valid precedent for subsequent surgical film by David Cronenberg. After this "pre-climax", the film opts in an outcome with forced logic, despite the incredible attempt of Lorre and always correct Frances Drake give credibility to the action. This ballast obviously fails to overshadow previous accomplishments.

archivos_extraidos/MCE-Corpus-main/Dataset/1561

Noa

The host

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We have an entretenidísima movie that works as a great drama freak or a revision of the genus of science fiction with new and attractive ingredients. Highly recommended and enjoyable. Not you the Miss.

This is a great movie with family dysfunctional, clumsy and losing dearly, and above, Monster and Monster!. I went to the cinema completely clean of synopsis, trailers, reviews and comments (was only aware of the good reception in Sitges and boom box office in Korea) so I did not expect anything, except for a few comparisons suspiciously wrong by the Distributor on the poster: after?Shark? and?Alien? does it arrive?The Host?. Nothing further from the truth. The film of Bong Joon-Ho (Chronicle of a serial killer) is another story, it is a very interesting genres milkshake: action, science fiction, with giant monster, drama, HUMOR, political satire, and even autoparodia also. The same director has stated that he has also tributes to Godzilla or the Loch Ness monster, and has sought inspiration in the running of the bulls of San Fermin. Oh, Yes, as you read.The film starts with an introduction totally expendable, but already makes us suspect the black (or yellow) humor to distil 'The Host' (beyond 'Gwoemul') "." We are on offer, we can only sit comfortably and enjoy. Below and without further delay, we see the rush initial, located in Seoul, the presentation in society of "the thing" and its consequences, focusing on a very peculiar family. From there the tragedy, the horny tone and tension occur hand in hand in this South Korean film.I would like to tell you of the mutant monster, a cross between crocodile, dinosaur and giant squid. An authentic enjoyed special effects and sound effects (essential to see her in a movie theater, dear friends of the animals of burden.) a joy of creature that moves with speed, elegance and jumping of hangovers. Thank you see most of the time in full light of day and why not let be integrated. It's a bug of luxury!As I said before, the film plays almost all the time with humor and drama, and is that the laughter of the four people that we were in the cinema rumbled in the room of beside, bizarre humor called. With the exception of a sequence which made me frown a good bit of embarrassment (time ground and weeping). Anyway it is not diverted from the tone of the film, and we have in mind is an East movie, with all that that entails.The flat acting is impeccable, the protagonists are sensationally well defined, well advanced and well interpreted, especially a memorable Song Kang-Ho that is my idol now. In short, an entretenidísima film, which works as a great drama freak or a review of the science fiction genre with new (why not original) and attractive ingredients. Highly recommended and enjoyable. Not you the Miss.

archivos_extraidos/MCE-Corpus-main/Dataset/952

Alberto Concepción

Crash

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Superb film. The only downside that I could put is that in some cases it can be pretentious.

Superb film of Paul Haggis. Excellent script (well-deserved Oscar for best original screenplay), which deals with racism in a direct way, real, openly. and from all points of view: are not the targets the buds always, also black is automarginan (I mean the dialogues of young black, or the "purchase" of the inspector, when he himself said before that "you would not buy as a boldface".)Mount perfect, with a combination of stories, to each of which better, with some fantastic performances (Sandra Bullock and Brendan Fraser acted really!), and an end to the height, with which no doubt viewers will reflect on the total of the film.Memorable scenes (for those that have seen: that of the girl when he comes out of his house.) and the aforementioned script and interpretations, make this movie one of the best in recent years.That Yes, the only downside that I could put is that in some cases it can be pretentious, I mean, as if really the director knew that he is making a good movie and would like to prove it. Why, my score is 9.Sin doubt, I left the cinema really contento.y look lately is difficult.

archivos_extraidos/MCE-Corpus-main/Dataset/3150

Plissken

El Orfanato

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Juan Antonio Bayona, aided by a godfather of exception, Guillermo del Toro, has conducted a very effective horror film, based on an exquisite production and a bit overused, but solid, script by Sergio G. Sánchez.

It is the "hype" Spanish of the year. Before opening in our country already has achieved the favor of the criticism and American industry (guaranteed distribution and remake), and also will be in the fight for the Oscars. And we are also talking about a film of terror, which, moreover, is an opera prima. Is it really for both 'the orphanage'?Therefore, in my view, Yes. Juan Antonio Bayona, aided by a godfather of exception, Guillermo del Toro, has conducted a very effective horror film, based on an exquisite production and a bit overused, but solid, dash of Sergio g. Sánchez. What account refers to stories already told, of course: Laura (very convincing Belén Rueda) returns to the orphanage where he spent his childhood along with Carlos (Fernando Cayo sober) and his son Simon (touching Roger Prince), with the intention of opening a residence for disabled. Laura will very soon discover the past of the orphanage stalks, and even threatens her own family.As the film progresses, it is not difficult to remember 'the changeling', 'Thriller', 'The others', 'Poltergeist' or 'Amityville', and even some other variant of the subgenre "haunted house". The great merit of Bayonne and Sánchez is that they do not deny the common places of all these titles, but they used to enhance an atmosphere which gradually becomes dark and terrible. Laura fight for his family is told with taste, and a brilliant technical Bill in every way. If little, outside Bayonne manages to succeed in the difficult task of frighten the Viewer without resorting to the viscera or the girls-in-Nightgown-with-hair-rowdy-matted. In 'The orphanage' ghosts are shocking for what they do and what they have done to them, and a success is the way in which we introduced in his little world.The rest of the ingredients is to rise to the occasion: magnificent picture of Óscar Faura (a veteran in this terror), excellent music Fernando Velázquez and spectacular art direction and the sound carried out by Iñigo Navarro and Xavier Mas. And it is sometimes pleasing to the viewer about money, Yes, but also attention to detail. 'The orphanage' occurs as one of the best Spanish proposals (and horror) of the season. Genre cinema, Yes, but why not bad film. Or much less. 8.

archivos_extraidos/MCE-Corpus-main/Dataset/2658

Antoni Messa

La noche de los muertos vivientes

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The night of the living dead, revolutionized fantasy films and, in particular, opened guidelines for a subgenre as popular as the zombies.

George a. Romero, in his film debut with night of the living dead, revolutionized fantasy films and, in particular, opened guidelines for a subgenre as popular as the zombies. Many have been the debtors of the Opera prima New York filmmaker titles. Currently, Billboard, you can find a good example of this in 28 weeks later. 1968 was the year of the premiere of night of the living dead, but to Spain did quite later. Censorship did not see with good eyes the proposal of Rosemary but finally and disguised with the false label of arthouse, ended up showing in some rooms of our country. Very few were theaters that screened, because the so-called art and essay was considered as a rarity and very minority. So only a few españolitos chosen (most of them bearded, gafapastas and a macutito to the shoulder) enjoyed in his day, the zombie cannibalism who both upset the guards of morality and good national practices.For a long time not it reviewed the work of Romero, until that yesterday (at the request of any of you) I was forced to do so. They have to ensure that, in its first viewing (when I was a brat barely afeitaba), struck me in a brutal way. View now, I must admit that, for me, has lost all power and force that had almost 40 years ago. Continue to ensure that night of the living death is a masterpiece, I think it is an incredible misrepresentation. It is true that this is an original film, whose treatment, in his time, mold-breaking and opened new frontiers for other filmmakers and own Rosemary. Nowadays look carefully - due to his pathetic conduct, his chaotic (full of numerous failures of racord) Assembly and their abysmal performances-more than a masterpiece has become a film of destined lovers worship more garbage. It frightens or distracted. Or, at least, who writes this, reviewing it again, supremely bored. There are titles fatal aging, and this (although many them hard to accept it) is one of them.It is indisputable that their home, in which two brothers visit the grave of his father in a solo cemetery, has its charms. A home that, by the way, and through different visions, has been honored on more than one occasion by other filmmakers. The appearance of the first (and disastrous) zombie is successful, while with the happy over the years, it is now laughable rather than terrifying.The idea of enclosing a few types, in a House besieged by zombies (which more picturesque), and in the midst of a solitary forest - a nice nod to the Rio Grande of Howard Hawks-, is your Coif; and more when this closure is hidden inside a small sample of the different social classes who populated North America in those years, without disregarding the sex and race, and at the same time, becoming the only man of color in a hero of strong convictions and a girl heartfelt in a clear precedent for the Linda Blair of the Exorcist (although cutting version and canibal).The accumulated tension with the situation that has created the film from its outset, falls apart completely due to the dialogues that are beginning to keep the accidental inhabitants of the House. True dialogues for sea bream, repetitive, ridiculous and supported, at all times, by actions that always promise (but never initiate) their poorly shaped characters. The weary stubbornness, one of the protagonists, by hiding in the basement rather than attempting a flight to safer places, or exaggerated portrait of a woman played by a strong psychological shock, they point towards scurfy film.I should never return it to see and stay with the good memories that kept her. Certainly a cause of that aforementioned premature ageing of the tape and aware of, at least, keep your film cult, Romero and the co-screenwriter of the same tag, John a. Russo, now 10 years under the guise of celebrating the thirtieth anniversary of its premiere, decided to get down to work and restore a bit of the work. They honed their image and the such Russo, crediting for the occasion as a director, was pulled out of the manga additional a prologue and an epilogue, in which the figure of a priest takes a special role. A few additions that, by the way, still damage more wear on night of the living dead. This, and a few inserts with new zombies, is everything that meant that rather than unnecessary revisitación who passed through screens with more penalty than glory.A special mention is the it deserves one of the multiple editions in DVD run on the original film (which opposed its useless upgrade). Specifically is that released Suevia Films before editing, themselves, a version for collectors (little well, DVD, expect of these people). The used copy is without remaster that brilliantly!, they used a saccade of a spent and battered VHS, full of shredded and grainy image. Dubbing is virtually inaudible (inclasifcables noises and voices off is your brand), while his band is unfortunate by some subtitles, apart from huge and badly translated, are completely outdated audio original anticipation dialogues in a few seconds; developed enough to let the viewer out of orbit. would I have been too bad with night of the living dead? It must be losing respect for the untouchables and the classics without blush is. Bread, bread, and wine, wine. This innovation and the surprise not spent initial (what already is much!). For getting my mouth taste bad, now I will to reconcile with the genre and review dawn of the dead. There is ná!

archivos_extraidos/MCE-Corpus-main/Dataset/2823

Hombre Lobo

Death Proof

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Most ironic of this matter is that probably we would have failed if the producer of the Weinstein brothers had not decided to separate the two films, forcing each of them to measure solo against the public to appreciate the unique character of this segment of Grindhouse.

As second part of Grindhouse, Death Proof (2007) is when less disconcerting; While Planet Terror (2007) Robert Rodriguez starts as an evasive entertainment of a nostalgic nature com, becomes very soon something else entirely, freeing its referential function as well as the supposed formal precepts of the dual experiment which served as the initial reason for its existence. Most ironic of this matter is that probably we would have failed to appreciate its unique character the producer of the Weinstein brothers had not decided to separate the two films, forcing each of them to measure solo against the public. As well as the whole of Grindhouse, Tarantino divides its segment into two distinct interconnected parts: in the first, Stuntman Mike (all praise to Kurt Russell) appears from the shadows as an assassin in series in the classical manner, a psychopath of road that kills young damsels using as a weapon not an axe or a dagger, but his car "death proof"which allows him crashing his victims while he leaves unharmed. This first half is fairly typical, and even is framed within the original aesthetic proposal: intentional scratches in the tape, abrupt cuts and typical grainy image of the 1970s. In the second half, however, the director turns the omelette of the slasher genre and becomes his film the other side of the coin "sexplotativa": that of feminism understood as greater male fetish, that sub-genre popularized by Russ Meyer and in which solid aunts shared his just punishment to men without for that reason cease to be beautiful. And punishment is precisely what he comes up to Stuntman Mike, who finally found her shoe in its not as incautas three victims horna. By this time, Tarantino has already forgotten altogether of the formal corset of his particular experiment: cinematography is now perfect, without alterations or intentional fault, and has place among best persecutions by car we have seen in recent times, the duel between Stuntman Mike and his new victims, three tough girls among genuine specialists of cinema (all praise to Zoe Bell). And beyond the references to this film that is no longer, find here a Tarantino film fledged: contrasting somewhat with the blatant action of Planet Terror, this segment follows the typical general verbiage of its director. Approximately one hour from the little more than an hour and a half of footage is going in the dialogues of the protagonists, which (admit) found me a little disproportionate. Luckily, however, that Tarantino has managed to offset this incontinence verbal with two of the scenes spectacular and intense he has shot so far, both marking the climax of the respective mini-segmentos in which has divided his film: terrible "accident" that sega the lives of the first victims of "Stuntman Mike" (and that in a brimming with detail of morbid reproduces six times before our noses) and the aforementioned persecution in which the monster Kurt Russell gives hunting new heroines. Also, both halves are so different and reach very different conclusions, that we realize soon that Death Proof is itself a formal proposal so ambitious (or more) than all of Grindhouse. It may not be so enjoyable at a basic level as Planet Terror, but the superiority of Director Tarantino has managed to create a film that goes beyond in their eagerness to take the Viewer to the site where he simply has given the win for him, even at the expense of throwing overboard all the estético-nostálgico precept of which started. The only downside that I put to Death Proof is nothing short of paradoxical: does makes sense to use forms of the Grindhouse project only to finally get rid of them and revert them? Not it would have better to launch a proposal so solo instead of attacking the concept of this tribute (while his predecessor segment) been much? It is not in itself an action which, although great, may be somewhat self-centered? It is clear that I do not have the answer yet, but a very radical Act can only leave the mind of a privileged filmmaker or a tocapelotas. And now that I think, why not it can become two things?

archivos_extraidos/MCE-Corpus-main/Dataset/4022

Plissken

Kiss kiss bang bang

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Shane Black Fox kept for himself his best screenplay: one that, once exposed and assimilated by all the clichés of the genre, the dynamite after Yes, to make impossible any revision or Variant.

As many people had put by the clouds the premiere in the direction of Shane Black, the kind that led to the action to the top film in the 1990s ('Lethal weapon', 'The last Boy Scout', 'The last action hero') and then it disappeared almost without trace (at least in the IMDB), I decided to see the work in question. And despite expectations, came to surprise me. And how. 'Kiss Kiss Bang Bang' (2005) boasts the classic elements of the film Shane Black helped make the past decade: an unlikely pair of researchers, a complicated plot with kidnapping and bulk dead, an anti-hero seeking her redemption, caustic dialogues, a high end of about $ 15 million, minimum.But Shane Black Fox kept for himself his best screenplay: one that, once exposed and assimilated by all the clichés of the genre, the dynamite after Yes, to make impossible any revision or Variant. He created the monster, he destroys it.Shane Black strives to be contrary to itself, with surprising results: the protagonist, Harry Lockhart (great Robert Downey, Jr.) is a species of apprentice of Martin Riggs or Joe Hallenbeck, with the proviso that no paste or stamps, and kill or talk. Gay Perry (finally another great role for Val Kilmer) is its companion of adventures, nothing less than a white detective, gay, pedantic and disgruntled (the Antipodes of the characters played by Danny Glover and Damon Wayans in 'Lethal weapon' and 'The last Boy Scout'). Harmony (impressive and fun Michelle Monaghan) is the sexy girl, young and which always kidnap on the successful previous screenplays of Black, but here is less sexy, young and less good, say that more difficult to hunt. The criminal plot is a matter of small fry compared to the drug trafficking in the U.S. Army or the corruption of the football idem. Instead of flying buildings into the air, flying a paltry coffin.And what is surprising, as I say, is that it works. Probably because Black known as nobody to the public who is directed this film: same fans of his films of the 90s, but ten years later, saturated, impressionable but hardly nostalgic of the genre, to the end and Cape. The key elements are there (impeccable chemistry between the actors, a clearly autoparódica torture escenita, evil pasts of thread, a car sinking in water.). And on this occasion reinforces the product with warping direct nod to the Viewer, which has only two options: leave the shocked film with this scam, shouting "this is not going with me"; or well forget about depth of argument of consistency of frames, etc., and enjoy each autohomenaje, of each gag, each broken unwritten rule, muttering to himself: "it's about time that back, Shane".9, While the plot it police is not sustained. That's great.

archivos_extraidos/MCE-Corpus-main/Dataset/1862

Pruden Rodríguez

La maldición de la flor dorada

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Yimou returns to give us a spectacular shower of colors. Costumes, the visual beauty of the planes, the incredible fight choreography, photography and, ultimately, the part aesthetic, turns once again in its major asset.

It should take the medication every day. Without complaint and grateful. That is what we always say to Grandma. Who takes the syrup on time and that does not complain, but then come the ailments. She and stubborn. that no, that to him swallow the matasanos. Zhang Yimou should be living a similar situation at home, because everything revolves around a happy medicine during the first half hour. That if I take the, that if not I the take, if it do not looks good, be if taken you all and I learned not I that you leave something. Finally, the first bars are somewhat slow, but everything is going "in crescendo".Set in China at the end of the SX, the curse of the doradada flower tells the decline of the Tang dynasty on the eve of the feast of Chong Yang. Illicit lovers, family secrets and the envy, destroy in a few days to a family which should be exemplary.Yimou, far away from the intimacy of the "Red Lantern" or "The way home", to name a few, here follows the pattern of "The House of flying daggers" and returns to give us a spectacular shower of colors. The costumes, the visual beauty of the planes, the incredible choreography (though this time they are not excessive), the photography and, ultimately, the part aesthetic, turns once again in its major asset. From the first seconds, Chinese director us closer to the magic of the imperial palace with a great display of images and heady sounds. The pace slows down for almost half an hour, without fighting or other elements that enrich the visual orgy, and the real feast comes towards the end. The battles of "The Lord of the rings" fans here will have a new cause for rejoicing. Spears everywhere, rain of arrows, soldiers loading. In short, a bomb for the senses.The delicate criticize is the script. I read everything: Greek tragedy, Shakespearean, cheap melodrama, crappy soap opera drama. It is true that there is a large cluster of, say, dramatic events. If this is your true mother, that if that is really your sister, if I am the father of the son of my granddaughter and my grandmother's father. If one conspires, the other kills, the other is killed by the other, the other by the one. come on, I understand the negative criticism in that regard. The issue is that this must be seen as a Chinese tale, and never better. Asian narrative follows other parameters and certain licenses, must accept more when it comes to an epic story. Now, this does not justify the desmadre and one can be entitled to say "this will like in your town". In short, to attract or not the story and its characters will be question of sensitivities, audiovisual culture and tastes. I say.

archivos_extraidos/MCE-Corpus-main/Dataset/3663

Heitor Pan

Mi Hermano Es Hijo Único

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Italian director Daniele Luchetti builds with hand strong, helped by strong performances, both a critique of ideological fanaticism as the vital adventure of a few teens lost in a tide of imperfect ideas.

What are the motivations that lead to a teenage kid when his vision of the world is not yet fully formed (perhaps never reach form it entirely) to take some political awareness and choose a few ideals? Family, environment, friends, their experiences, the very nature of the kid all these factors together can give us the seeds of radicalism toward any of the possible sides, a moderate or even an ideology of apolitical position. This is what is put on the table the Italian director Daniele Luchetti in "my brother is only son," building with hand strong, helped by strong performances, both a critique of ideological fanaticism as the vital adventure of a few teens lost in a tide of imperfect ideas.In the Italy of the 1960s, in a proletarian and humble family, Accio, the youngest of three brothers, tries to find your site. When he entered the seminary seems to have responded to their questions but the inconsistencies of teachers and priests and the ideas of his brother, convinced Communist, will reconsider the path and to take new directions.The bad relationship with his parents and siblings will make friendship with a neighborhood merchant starts to influence their way of thinking, because this be alien to their day to day is just the opposite of what sees in your family. This evolution will take you to join the Italian fascist party, becoming much more you tense family relations, in where activism and the ideas of his brother make a sort of hero. "my brother is only son" leads us by the life of this kid, showing us his first love, his love-hate relationship with his older brotherits you disappoint and, ultimately, a good part of his life experience and like this influences their political and social ideology.Luchetti is not position itself at any time, without demonizing followers of any of the parties or lionize to others, but by trying to show the inconsistency of the human being, the virtues and defects of each of the groups in which Accius is. This distancing from what surrounds the protagonist and neutrality which tries to shoot is one of the aspects that I liked from a movie that tries to make the public which take party (or not). Luchetti becomes the antithesis of the documentary film by Michael Moore, that take from the beginning and tries to convey their ideas across the screen.The proposal is largely powered by close and totally unfounded interpretations of excesses, approaching the film documentary, as if we were filming with a hidden camera to a family of our own neighborhood, their miseries and their dreams. The actor protagonist, Elio Germano, carries the weight of a large part of the film almost seamlessly, with a naturalness incredible making his character in someone close, a neighbor of life almost from the beginning.The only downside I can find is the excessive ambition of the script, trying to place Accio at all possible situations to raise a full discussion. This causes that towards the end of the footage all are atropelle a little sliding towards a hopeful and almost oneiric, but slightly premature end.It is not bad something social film from time to time between Golden compasses, epic warriors and teenage wizards to deoxidize neurons which, in much of the films, we have been on autopilot.

archivos_extraidos/MCE-Corpus-main/Dataset/1725

Radon

Descubriendo a los Robinsons

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The crazy family Robinson kept him close to the screen. So therefore we will give a remarkable film, mainly because it did not move from his seat.

The past Saturday 24 March, thanks to carrefouronline, could attend a special pass to customers of your store, where we enjoy with the new film of Walt Disney.La endearing story of Disney's onion once again with the family misfortunes, and this time tells us the story of a young orphan genius. Apart from the sentimentalism of the film, that touch the hearts of large and small, the plot was to me something complex.Follow the story through the implications of intervention in the past for the effects in the future, seems to me that it is too complicated for our critical young that this part of the film did not understand anything.In any case, the kooky family Robinson kept him attentive to the screen, in moments, even excited, but not finished liking both as "Colleagues in the forest", which still classifying their favorite movie. So therefore we will give a remarkable film, mainly because it did not move from his seat. something tells me that our young critic of 4 years begins to make more, and already holds complex films for his head without moving from the armchair.

archivos_extraidos/MCE-Corpus-main/Dataset/529

Vsancha

Clerks 2

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Mr Kevin Smith seems he returns with his best film, at the height of his best film. Maintains the best of Clerks and also adds a plot dramatic that it gives more depth and meaning everything around to Clerks.

Already more than ten years of the premiere of Clerks, the principle of an irregular career of Kevin Smith. Clerks was surprised by its freshness, for some brilliant dialogues and being shot with four hard. Now comes to our Clerks II screens a priori unnecessary sequel to Kevin Smith wants to return to its origins, after seeing her, not only does not seem unnecessary, if not beat the first and even makes it better. Clerks II begins in front of the Quick Stop where Dante and Randall have been working more than ten years, then see how Quick Stop has suffered a fire. This forces them to seek new employment horizons. Your new place of work found at Mooby's, a burger bar where meets a new bunch of freaks while Dante plans to leave New Jersey with his fiancée and rebuild their lives. And Mr Kevin Smith seems he returns with his best film, at the height of his best movie (Chasing Amy), because in Clerks II, maintains the best of Clerks and also adds a plot dramatic that it gives more depth and meaning everything around to Clerks. IE is still grandisimas dose of fun, unpayable gags on the Lord of the rings and the show with the donkey. Do but also the dramatic load gives a greater depth to the characters and what surrounds them, magnificent reflections, on the passage of time, the friendship and etc? Because Clerks II is a story about some misfit losers, but they conform to be what they are because that's enough them to be happy. A waste of love and sincerity by Kevin Smith for a few characters that is impossible not to want to. By true, impressive Rosario Dawson.

archivos_extraidos/MCE-Corpus-main/Dataset/3504

Andrés Pons

Los ojos de un extraño

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The recent re-release on DVD just discover one of so many films hidden in his time, that although it has a very linear development, that script thousand times seen, if that can be given the good use of space.

One of so many PSYCHO TRHILLERS of the eighties which stands out for its two actors actresses. JENNIFER JASON LEIGH all one star of the genre of the era after appearing in films of cult "Road to hell, SISTER SISTER heart midnight among others" and LAUREN TEWES enjoyed great popularity for his role in the successful series holiday at sea.In the direction a director who later achieved his biggest success by the comedy of undead fun night of ZOMBIES. The recent re-release on DVD just discover one of so many films hidden in his time, that although it has a very linear development, that script thousand times seen, if that can be given the good use of space. A single decoration of a block of apartments is well used to raise the intrigue, another point in its favour is the really unpleasant treatment of the rapist. A character taken to the extreme that hits you immediately falling into the antipathy that the viewer feels towards the, no doubt a merit of the author of the film that helps create the climate of tension.THE picture and music are excellent as well as all interpretations making of the film so many but really enjoyable.

archivos_extraidos/MCE-Corpus-main/Dataset/1568

Ramón Balcells

Cartas desde Iwo Jima

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This is one of the most profound and poetic about the never seen war analyses. Although more than a war film is a film of heart, with deep wounds and a very wise moral background.

As well as letters from Iwo Jima Japanese speak Japanese and not in English, although it is an American film director Clint Eastwood also speak another language: your own. We all know that the director has a classic, perfectionist, rather minimalist style. It is the Eastwood style, which is little like with many other directors. Her last and acclaimed film, responsible for colcuir the diptych on the battle of Iwo Jima during World War II, is called letters from Iwo Jima, and we could say that her best film is after that another masterpiece titled Million Dollar Baby. I have not seen the first part of aforementioned Diptych, the more irregular, according to critics, flags of our fathers, but I assure you that I do not think it takes to having seen to see the second. Moreover, I think that it is better to start with the good and continue with what it is not so much, but perhaps I'm wrong, and the penultimate film of Eastwood is a wonder, as some say. Well, better stop compare and go to the grain.Paul Haggis and IRIS Yamahsita are responsible for the screenplay for the film in question. One could expect less Crash director and screenwriter of Million Dollar Baby, but if only her had written it, I guess that letters from Iwo Jima had not so many references to Japanese cinema. And here is when you notice the presence of Yamahsita in the more intimate scenes (can not lose you the sequence of collective suicide) or more characteristic of Japanese culture. Thus, the combination of each of the writers makes this a film with one of the scripts more solid seen in years, absolutely credible, well coordinated, tailored.But as you know, a good screenplay must be very well directed so that the result is a masterpiece, leaving band performances. And there is our Clint, able to get better at the same time that get older (great, by the way). It is incredible to think that a man starts acting in spaghetti-westerns of more mediocre and end up winning more than one Oscar and performing several masterpieces. Therefore more credible is this fact, which happens to Mr Clint Eastwood, which adapted the script from Yamahsita and Haggis with extreme sensitivity and makes him a real prodigy named letters from Iwo Jima. With the solid script, the address is one of the strengths of the film, carried out with absolute mastery and genuine respect. It is, the film of Eastwood, the closest thing to the intimacy itself, to the personality of the victim and the winner (I am not referring to the Japanese and American, respectively, but all the soldiers in general), and not of the good and the bad. In short, say that the director has made his second more intimate, personal, poetic, human work and above all with respect, even if do not stop you filming on the island of Iwo Jima, which I find reasonable, as much as one come with good intentions. There are many scenes for these 141 minutes that are hopelessly recordables. Will to not seem heavy, only name a couple or three, perhaps, which found me most brilliant. The first could be when the Japanese pick up an American soldier named Sam to kill him. But as they see that it is too wrong, they decide, instead of ending his life, trying to save him. Like this, predictably, it does not happen, one of the Japanese soldiers found in the uniform of Sam a letter from his mother. It read aloud, so that his companions hear, inevitably, feel weak and strong and take courage and fear at the same time. And, precisely, the sentence that concludes the letter is repeated later by one of the Japanese to encourage loved ones. The second best scene would be, for me, of the flash-back the general (played by a wonderful Ken Watanabe) recalls during a part of the film, showing with a few American politicians that give away you a weapon for his entire career. When he returns home by car, feels an enormous loneliness, however much that awards have conceived you by his honor. This is, probably, one of the scenes with the best phrase that had been in a movie. And Lastly, noting the courage and solitude, remains highlight the honour, which Eastwood chooses to use it, main and not only, in the last scene of the film, the most tremendous, the most terrible thing that has seen for the footage. Once general Tadamichi Kuribayashi (Watanabe) is about to die facing some American soldiers, which just beat the Japanese in the island, it looks like Saigo (a splendid Kazunari Ninomiya, in the photo below) comes with the blade that just bury all cards belonging to your Triathlon by one of the mountains. When he arrives next to the general, it tells you bury. And once you do, more norte-americanos soldiers arrive in order to snatch Saigo, which terrifies to see that one of them takes the weapon was the general wearing always (from the scene mentioned above). Here is when it shows absolute mastery with which Eastwood has approached the film, leaving, as the flat end, one of the beaches of the beautiful island of Iwo Jima. Ladies and gentlemen, we are once and for all, before an absolute masterpiece, made to measure, made with honour and courage, made with innate sensitivity and talent. Clint Eastwood wheel her second best film, after Million Dollar Baby, with a poetic, slow, beautiful and sometimes noisy rhythm. And, in conclusion, it would say that letters from Iwo Jima is such wonder since it is imperfect-which makes it even more personal. This is one of the most profound and poetic about the never seen war analyses. Although more than a war film is a film of heart, with deep wounds and a very wise moral background.

archivos_extraidos/MCE-Corpus-main/Dataset/2498

José A. Peig

Harry Potter y la orden del Fénix

muchocine

Like episode? hard? and murky saga, works pretty well, the direction of David Yates is vulgar, but very effective for the achievement of the purpose.

"While the characters have grown up, the stories also, leaving behind innocence and confusing us with arguments so labyrinthine that required a PhD at Hogwarts to follow him." (.)" Roger Ebert, Chicago Sun Times.Nos striking this comment of Robert Ebert. Harry Potter not only is a series of fantasy, also is a story about childhood and the transition to adulthood housed in a space metaphorical to call Hogwarts, continent of the threats that can affect the lifestyle of a teenager. "The order of the Phoenix" features a key character in this sense, the inquisitive teacher - with estimable versatility - starring the actress Imelda Staunton. She symbolizes the traditional authoritarianism against the air of freedom of the boys better than anyone, and his energetic pose while the false condescension that hides his true evil, become the best of the function, a histrionic character it brings new things to a series that was in danger of stalling because of a scheme so repetitive.All the Harry Potter films to follow a same and iterative scheme and that in five installments barely there is much more that more of the same (forgive the redundancy) is a fact. But if we are careful, we discover that what is of the story progresses in a dramatic progression structured in concentric circles: is not adding information, but increase the emotional intensity and nuances relating to Harry and his disturbing resemblance to Voldemort, at the same time that Hogwarts - as a metaphor for the púberes fears - becomes a more sinister place. What, in short, is to have always the same but under different perspectives and different shades dramáticosY thus arrived at "The order of the Phoenix", the muddier episode filmed to date, with clear references to the Galactic saga of George Lucas, because history could be summed up with something like "Harry Potter against its reverse scary", and in the final scenes, some may think. that was just missing that Voldemort was the father, uncle or brother of Harry, which would explain the similarities between the two (there is a very clear analogy: Voldemort is Harry Potter that Darth Vader is Luke Skywalker, at least at the symbolic level). That is something which, in any case, will decide the pen of j. k. Rowling, still remain you two deliveries to invent anything.How "hard" and murky episode of the series, works pretty well, the direction of David Yates is therefore vulgar, but very effective for the achievement of the purpose. I.e. modest claims are adjusted with the final result, which in addition has the proper structure, focused on the essentials, an interesting portrait of Harry Potter in solitude, misunderstood and victim of his own findings, facing the responsibility – and the duty - to become the leader of new quarry of wizards willing to fight against the forces of evil. On the contrary that in "Goblet of fire", here there is a dramatic meaning that encompasses all the history. It has several flaws: the first fifty minutes are a repetition of the same, the same theme in mouths of different characters, but the narration is reduced to a static address. It shows, too often it is an adaptation of a novel and there are parts badly explained, as if it were assured that the viewer has read the book, although it is true that they are secondary details and the attentive spectator can follow the plot without any problems. Separate chapter deserves the final stretch, the scenes in the "Department of mysteries" are magnificent, imaginative and sinister, handles very well, the tempo, rhythms and the presentation of sinister masked characters. The duel between Voldemort and Dumbeldorf or the death of Sirius Black help raise the dramatic tone in a very fitting end for his climax. So worthy that it seems it is worth support more than one hundred minutes of a more or less regular narrative to see resolution. and begin to guess where goes the saga of the Magi. A saga that, in this new episode, and in General, us is not offering any wonder, but have to see how holds the type.

archivos_extraidos/MCE-Corpus-main/Dataset/4135

José Córdoba

Los Crímenes de Oxford

muchocine

Having interesting notes in his mathematical dialogues, a good interpretation of John Hurt and a good Bill, cannot cover the expectations by the unrecognizable direction of Alex de la Iglesia and his screenplay that promises much more than what he gives.

The Oxford crimes involves the return of Alex de la Iglesia to the address after disappointing at the box office of their last two films 800 bullets and crime Ferpecto. His new film, clearly commissioned, shows that the director is able to renounce their identity signs and make a film away from his personal universe for good and for evil. The film tells us how after the arrival of a young mathematician at Oxford, a prestigious Professor to make his thesis director, death begins to make Act of presence to her around. A serial killer begins to pose a series of logical puzzles only student (Elijah Wood) and the Professor (John Hurt) seem to be able to resolve. The film clearly has a target commercial, no objection in this regard, is in fact a very decent film in that sense. Its duration (about 100 minutes) not weighs in the viewer and the mathematical burden of history is interesting, even though the director not it tries too hard to make it more attractive. Álex de la Iglesia, so committed work is surprising in this sense seems to evade his style the result is a film so impersonal that you could have led anyone. The address is so sterile that seems worthy of a movie of desktop, with the exception of a flat sequence well resolved, but out of place by its inconsistency with the rest of the film. Essentially dialogue film, Church solves almost all of the dialogues with the classic plano-contraplano, arriving tired by his insistence on the resource and the large number of scenes dialogadas between the character of the teacher portrayed by John Hurt and the student played by Elijah Wood. In this aspect the film was disappointing, while the Basque director leaves his mark on the character of a mathematical genius obsessed and prostrate forever in a hospital bed, only in this tortured personaje(interpretado_por_Alex_Cox) and, perhaps the daughter of the first victim of the serial killer (Julie Cox), seems to have left their record label director. The screenplay adaptation of the novel, the first thing that must be indicated is that it sins of literary. With a start too forced and incredible (what it says, by both the situation and characters), then begins to take flight despite the stereotypical characters, but is discursive, too many "intelligent" dialogues between mathematicians for a resolution so poor and force relations, here is unbelievable the relationship that arises between the characters of Leonor Watling and Elijah Wood. As regards interpretations, the result is irregular John Hurt is great as a teacher, in a role very grateful, everything must be said. Elijah Wood well hold the weight of the film, but unfortunately his chemistry with Leonor Watling is null. The latter in fact, because of its role whose unique sense seems the equip cargo sexual narrative based show Anatomy (especially her generous breasts), it is the weaker. Special mention to Julie Cox, a genuine robaescenas of first category. Elsewhere in sections the film is very correct from its cold photography to his artistic direction, passing by herrmanniana music by Roque Baños, with cameo included as conductor (how not!). In this sense the film proves its amplico budget with a very good invoice technique. In summary, the crimes of Oxford despite having interesting notes in his mathematical dialogues, a good interpretation of John Hurt and a good invoice, fails to meet expectations by the unrecognizable direction of Alex de la Iglesia and his screenplay that promises much more of what's on offer. A pity.

archivos_extraidos/MCE-Corpus-main/Dataset/498

Dragon negro

Mi super ex novia

muchocine

Removing a few topics the film can be seen and it is fun and is also the most geek, provides also the terms little Treaty of the superheroinas.

Matt Saunders is a normal boy who one day meets the scruffy and shy Jenny Johnson. They will begin to leave and she is madly fall of he in love, but what Saunders unknown is that Jenny is actually G-Girl, a famous superheroine with superpowers as strength, speed, etc. When Jenny becomes possessive and jealous he decides to leave the relationship, is when to start their problems.We have here a typical comedieta romance cake and such, but clear, the head is Ivan Reitman, a specialist in fantastic comedies, and the protagonist is a superheroine, so if we together in the cocktail shaker all that the result is a comedy quite geek and fun that it will make us have fun.Uma Thurman in her role as G-Girl serves as a female Superman, that his powers are virtually identical, and the supervillain is a wealthy entrepreneur, which directly leads us to think in a Lex Luthor.La film has points really hilarious and past thread, such as the scene of the shark, a very witty dialogues especially by the friend of the protagonista kind of geek that the waitress at the bar gives pumpkins throughout the day and that is the most sympathetic of the film.There is something I do not understand the majority of American comedies and this stupid habit of finishing in the last scene solving the problems in front of a bunch of strangers, who have always just admired and applauding. But good by removing a few topics the film can be seen and it is fun and is also the most geek, provides also the terms little Treaty of superheroinas, when you are going to save the world and man stays waiting.

archivos_extraidos/MCE-Corpus-main/Dataset/549

Taliesin

Vete de mi

muchocine

Juan Diego acts so naturally that it seems at times that you're continuously improvising. A simple and nearby, story based on a script with good pace and some magnificent performances.

On the one hand we have a son, portrayed by Juan Diego Botto, than to his thirty and few years all that has been done is paste living the high life at the expense of the money from his mother. On the other we have to his father, who gives life Juan Diego, a stage actor in the twilight of his career that his sixty long years living a quiet life with her partner. A morning son is encaloma in the father's House after many years in which just have been. From there is renewed a relationship that never really existed. This is what counts Vete de MI. No more, no less. There are other actors in this movie and do very well, but the two Juan Diegos are those that send on screen. No matter that they are in the father's House, in a bar or in a brothel, this Opera is written for two characters and they could be talking about the weather, keeping the interest of the Viewer. But it is that, in addition, they say things. Not trying to big issues, limited to talk about themselves, but with an interpretative force that makes that not matter. Without diminishing the work of Botto, you notice the tables of Juan Diego, who acts so naturally that it seems at times that you're continuously improvising. When this happens it is because the work of actor and director close to perfection and so is in Vete de MI. Among the secondary luxury, apart from José Sazatornil Saza, is Rosa María Sardá. With a discreet role that it has only three or four sentences, Catalan actress shows that follows in the form and we have wanted to see it in a role protagonist in their category. Ultimately, Vete de MI is a story simple and nearby, based on a script with good pace and some magnificent performances. Combines with much success humor with more dramatic moments, that reach the pathos. Without doubt, a great job for the first feature film directed by Victor García León (son of Rosa León, of the mouse found Martin). And above all, it's further proof that Spanish cinema has nothing to envy and that there is life beyond Alatristes and torrents. Curiosities: The work of Juan Diego has received the Concha de Plata in the latest edition of the San Sebastian Film Festival. Recommended audience: it's a film based on the interpretation and the screenplay, with zero percent of action. You know where you get, but it is worthwhile to go with something different.

archivos_extraidos/MCE-Corpus-main/Dataset/593

Taliesin

El laberinto del fauno

muchocine

A fairy tale during one of the toughest moments of the Spanish post-war.

There is no denying that Guillermo del Toro is interested in fantasy and science fiction. In all of his films (Blade II, backbone of the devil, Mimic, Hellboy), fantasy has a very important role. The difference from other creators is the concern to establish a link with reality. In his films, Guillermo has things that we know are not certain, but the account in a way that they could be certain. This magic is causing the desired effect on the Viewer, either fear or the illusion that what you see on screen is something that can happen.El Laberinto del Fauno, the Mexican director takes the Spanish civil war as canvas to paint your fantasy, as it did with the civil war in the Devil's backbone. But if it was then a ghost story, now we have a story that could well have signed Tim Burton himself. Ophelia and her pregnant mother arrive at a mill taken over by franco's troops from where you fight to the maquis that hidden in the mount still offer resistance to the fascist army. The reason that a woman about to give birth trip to this place of nightmare is that her husband, Captain Vidal, is responsible for the troops of the mill and wish that his son is born where is his father. Between your little baggage Ophelia brings a few stories bound with a leather strap. She soon become protagonist of a short story by Princesses and kingdoms delighted, those starting with a "once upon a time.".The main virtue of El Laberinto del Fauno is mixed with skill the cruelty that exists in a scenario in which there are two sides that each other ruthlessly with the fantasy lives Ophelia. In this case it's more scary the real part the part fantastic. Much of the credit is about actors whose work is outstanding. From the Mercedes played by Maribel Verdú, continually on the cutting edge of the knife to be Assistant Captain Vidal and collaborator with the maquis at the same time, until the own Captain Vidal, masterfully played by Sergi López. This clear that this man is given well the roles of redomado bastard and on this occasion borda it. Thinner than usual, it has a bearing on screen that creates a ruthless character, but without falling into the caricature of the bad malísimo. The rest of the actors accompany perfectly and each with his work gives weight to the plot, what glimpse of a magnificent work of direction.For the fantastic part of the plot, it is technically correct, though some aspects may be improved. In any case, it's a story and realism is sacrificable to provide even more contrast. Curiously, this part of the film must not reach the half of the footage, but in the trailers seems he addressed almost all of the tape. Note that Guillermo del Toro has drunk from sources as disparate as the work of Tim Burton, the black paintings of Goya or Alice in the country of the wonders of Carroll, but creating a style in which reality and fantasy are mixed with harmony.In short, El Laberinto del Fauno is a story that takes place in a site and a historic moment in which the harsh reality left little room for fantasy. And, as in all story, in this there are adventures, happy moments, sad moments, and a heroine named Ophelia he shares with the viewer the illusion that beyond our senses there is a different world, one in which the acts of individuals have their fair reward or punishment. It is just a fairy tale.

archivos_extraidos/MCE-Corpus-main/Dataset/1520

Yojimbo

María Antonieta

muchocine

Sofia Coppola has been with the mantra that the minimum stories can be great stories, but theirs has become a minimum account of a potential great story.

Trying to live a successful, that not a great film, lost in translation, can create the false hope that whatever comes afterwards is just as good. The pompous world of Marie Antoinette is the Titanic of Sofia Coppola, only that this time, the film if it capsizes.This new experiment, supposedly irreverent to use totally outdated songs in the film, portraying Marie Antoinette from your link for convenience until his last days.One of the virtues of the great directors and screenwriters is that they can become a story allegedly boring something slightly entertaining and passable, but in this case it has turned upside down.This vehicle for showcasing of the Director and the lead actress who becomes one of the most boring films of the current panorama. An outstanding art direction that is left as a protagonist of a vacuous speech. As the protagonist. It's amazing how with little effort (in direct and write) a character can turn someone totally heinous, superficial and without interest.It gives the impression that Sofia Coppola has been with the mantra that the minimum stories can be great stories, but theirs has become a minimum account of a potential great story.A penalty.

archivos_extraidos/MCE-Corpus-main/Dataset/1562

Emilio Calvo de Mora

Magnolia

muchocine

Risky and sensible, slightly hackneyed, although outstanding in its resolution, Magnolia is a runaway Colt who knows where it is going, a spectacular punch in the nose of the American accommodated, urban, gentrified (unknowingly) and afflicted, like many, of loneliness, boredom, of pure incommunicado.

Magnolia is a dazzling alembic of stories that referred to Short Cuts even though it does not coincide with this acid vision, although happy with which van knotting all levels. The Paul Thomas Anderson film escarba in narrative constructions of greater complexity. It is a film of a huge brazenness, which gives a forcefulness unmitigated conclusions. The viewer who attends this controlled blasting of the foundations of the society does not leave the film reeling, but costs then return to everyday life. The short stories, the arrogant plans and the vital adventures of fundamentally tormented characters of the degree of torment that crushes them in a grey, morally reprehensible when not perverse life we only know they bullen head.Continuing Biblical references (not only literature but iconography as the testimonial rain of frogs) report that Anderson thinks out loud about the faith and how the shadows of Utopia celan a sediment of ideological dandruff. Chance determines the life that we know, but what has this director overfunded is that random has also its epic, his field of battle and his absurd map of shadows. This is how we see all the characters of the celebrity that portrays the great script of Anderson's own: desasidos of hope, wrecked, sadly doomed to not encourage any hope, but even in this negative position, in that firm and severe deconstruction, Anderson sought to humanize his creatures.The wonderful end, which must not be gutting in these lines, weapon of a disconcerting naturalism, which knocks down all the ideas that we had been aprovisionando for three hours before at a stroke. In them, unmistakably, they told us specific events, tiny stories (nine, actually) that happen at the same time in a valley of California. Coral in the mode in which filming Robert Altman (is no longer among the living), Magnolia slightly decomposes the drama too hence towards insanity. Julianne Moore as a young wife of an old dying man (Jason Robards, brilliant) is passed part of his performance screaming, longer, obcecada in feeding his spiritual blunder with pills. There Anderson loses the North, but is an excuse because the narrative material is enormous and is not easy (not me so imagine) fill the gaps that the stories are abandoning (and there are certainly some and of them one search in particular, the reader, visible and uncomfortable).Tom Cruise does not leave much, but fills more than in many films where it occupies the entire screen for all the minutes. Earned him a Golden globe this meritorious performance as well as the nomination for best supporting actor in the Oscars. And it is one of my recent favorite actors, Philip Seymour Hoffman, that makes an absolutely nuclear role in the film, the host of a television program into a crisis of identity and values.Not be amedren by its excessive footage: consumed with greed, he chews on occasions. Film served with cleanliness. Far-fetched, spoiled in their excesses, but useful film to bear the weight of so much film adocenada, impregnated of predictability which usually occupy the billboards of our vices.

archivos_extraidos/MCE-Corpus-main/Dataset/903

Caruco

Brick

muchocine

The look is respectful to one of the genres most moviegoers and more strongly encrypted. And also dignifies, and that way!, the subgenre of cinema for teenagers.

There are bad, very bad guys. But the girls still appearing are the worst, the worst. How should it be! Why this brick called "Brick", not by the peñazo but also by its? macguffin? in the form of ingot of coca, has the flavor of the purest? film noir?. The "Eternal sleep", "The Maltese hacón", "the postman always twice" or "Death among the flowers". The difference is that all the codes and recognized characters of the genus moved to an American Institute, and the Bogart, Lara Turner, Gloria Grahame, Peter Lorre, Sydney Greenstret or Gabriel Byrne on duty have teen face and dress worn jeans.The thugs of middling, drogatas, fatal women and dedectives disgusted and cynical move between the corridors, offices and plots of an Institute, between the streets taken by young people without cause, and even humble maternal homes. But that never appear on screen are classrooms. Subjects learn outside.To this we should add the commitment and the will of a rookie, Rian Johnson, of 33 years, with only $450,000 (about 360,000 euros), make that one wondering whether a film professional invoice can be done with so much.Dangerous subject.The answers ranged that he had to assemble the material in their home (which will of course be much better than mine) computer, or that we have one of the most pleasant and stimulating of the season proposals.And the operation has its risk. "It must be underpinned in some credible performances, are, and above all about working díalogos and test of pump, that is."My boys will investigate your story. Do "then you kill or hire", is the response that receives a protagonist smarter than hunger, Brendan (Joseph Gordon-Levitt), with the mission to avenge the death of his ex-girlfriend, Emily (Emilie de Ravin), when you try to win the confidence of The Pin (Lukas Haas), a cripple with an air of? dandy? do to what Truman Capote but candidate not to Pulitzer sinó to? capo? of playground.An autobiographical that will not cease to be shock, physical and emotional, in a journey marked by feminists; angelical face and devilish mind; the vipers who hide behind their malleability in the makeup and the arropajes of the theatre; or the handlers of disturbing beauty that same dress in Eastern plan or fashion more pijera while smoke their good ration of cigarettes, the case of Laura (Nora Zehetner). Find out who lunch one is indispensable to know the ground that step!With the teachers on the heels.Do to your around, caught by a luminous and naturalistic photography, moves a society where the agents of law and order have been indoles by steering some of this? high school?.Where the boys speak of having read Tolkien, while also the spirit of writers as Dashiell Hammett, Raymond Chandler, James Elroy or the Coen brothers. Even the ghost of Laura Palmer, or enigmatic notes of paper, to the David Lynch slip by one of its frames. Meanwhile, the mother of the villain serves your guests instead of a whisky or bourbon Apple juice.Do do do do there is no mental empanada, but it is a plot, as befits to a? noir?, twisted and full of surprises that make us focus our gaze towards these rebel classrooms, bad streets and fauna of? teenagers? you populate them.The look is respectful to one of the genres most moviegoers and more strongly encrypted. And also dignifies, and that way!, the subgenre of cinema for teenagers. If in addition helps to awaken the interest in one of the classics of film noir, then, better than best.

archivos_extraidos/MCE-Corpus-main/Dataset/4003

Emilio Calvo de Mora

Planet Terror

muchocine

Visual revelry, absolute binge, but need a nod complicit, some need to communicate with this blatant, shameless, offer pure dynamite for the more hooligan eyes.

I have no hope of that thug cinema report me greater pleasure than the more vulgar escapism. The truculence, the chabacanería and irreverence have the charm of the transcultural, this kind of aura of decadence that is granted all benefit of the extravagance, hubris and film vandalism as patterns of some form of filmmaking that hence (to post, happy) of the Canon of orthodoxy. Me is perhaps becoming a spectator gentrified, little flexible in accepting the discomfort of being being cheated or less specifically, of not to be enjoying the gender. I can fascinate music and deny me in round to listen to an album of hip hop or folk music from the Balkans. I can enjoy with the poetry of José Angel Valente and feel guest of beauty and intelligence and feel boredom if you give me a collection of poems by Rafael Alberti, that it is not of any of my abundant lyrical devotions. In film, there is no excessive change in speech. Films made Ford and movies does Michael Bay, to which you have taken an inargumentable tirri since a few months ago. Then Planet Terror, under the previously poured verbal cement layer, should be considered a waste, a simple slip of the film, a roll, and isn't it. At all. Planet Terror, part however separated from the combo with the splendid Death Proof Grindhouse by strictly mercantilist reasons and indissoluble, is cinema thug, autoparódico, unquestionably attractive case that one accepts the rules of the game. Once we have taken the flanges of the divertimento, must be left to carry ninety minutes for the pranced of the plot, its air to the mad doctor movie, its wildness and self-assurance. What the second part open until dawn, another work by Rodriguez, felt me disconnected from the first, facilonamente resolved with the wink gore or giallo, here Planet Terror seems a necessary demonstration of which gender lives and pays its intentional faults, their volunteerism when enfangar a perfect Bill taking into account the budget handles. So Rodriguez, a movie buff of video store to the way in which it is Tarantino, but less tight by success media corsets, recreates his particular vision of the Apocalypse zombie version with Audacity, with artisanal blurs with the fake trailers and with the stench of capricious orgy of someone who has received carte blanche to desmadrar badass plan fond of collecting geeks in their films: collecting emasculados testicles, go-gos with submachine guns to thirsty of blood draining leg or zombie mode. Not we can under the mantle of this visual terrorism conceived rigorous criticism. There are times in which one enjoys without powering the lever of sanity. Case of trigger her, wasn't yesterday the case when alguilé in the DVD video store, Planet Terror is perhaps one of the biggest mistakes that movie buff one can lie between eye and memory, the most fabulous waste of time, but he sticks with scrupulous devotion to the mythical inventory of a format and a way of making films in crisis or already out of print (programs doubles)(, barbarian session of violence, sex and much blood, amateurism in State of grace).Viewing at home, pass by the domestic system, by sophisticated and chulito, should not be for the show. For this or almost none, but Rodriguez requests shouts his film (and Tarantino) are seen in cinema, in a pantallón as manda Cecil B. de Mille and the cohort of emperors of the film as mass entertainment, bombastic and extraordinary. The cinema screen provides the extra winks a TV screen does not provide: those cuts, these mutilated levels, dust, spent color. Up the trailer that principia function, the immeasurable Machete, the Introit, which advises on nature rogue what us remains to be seen, only requires tricks and the complicity that reports a cinema of truth with their chairs and their darkness twinned with our infinite (always) capacity of astonishment. Because astonishment there in Planet Terror until bursting the púpila and ask for enough with tears as oranges of Gandía. Cumbersome to nausea, lit by the twisted genius of a teenager with ways to director of prestige, this joke made film can be considered the outburst of the season, a dangerous precedent in the commercial circuit made in USA. If it has succeeded the sequel, the absolute remake and unworthy (on occasions) inventions of prequels and several parallel montages only lack that the luminaries of the film business to discover that the staff refused this game of descartes and frivolities to uncovered breast, leg high, killing zombies as that takes coffee on a terrace in Paris. in the absence of more delicious food and most demanding palatesPlanet Terror is freshness, hilarious freshness. Without more.

archivos_extraidos/MCE-Corpus-main/Dataset/4196

Patri

Los Crímenes de Oxford

muchocine

The film by Alex de la Iglesia, despite its flaws, is entertaining until the end and is the best that has been in theaters lately, especially for those who like this type of movies and the homages to Hitchcock.

Alex de La Iglesia is one of the best filmmakers we have in Spain, since mutant action or the day of the beast bashed by critics, to the community or even 800 bullets, but that it was not so bad, has been the only Spanish director who has made movies full of black humour, unconventional in the cinema in our country. The crimes of Oxford tells us how an American student (Elijah Wood) arrives in Oxford to ask for help with the doctor to a Professor of Mathematics (John Hurt) who admires, a series of strange deaths and a nurse (Leonor Watling) it pues everything. The beginning of the film is rather disappointing, with a few dialogues really topical and boring, however, the thing is encouraged when we find a flat sequence in the purest style of the rope of Hitchcock, serving to lead us towards the first death, where begins the true history and will lead to begin the relationship between the teacher and the studentto embark on a full of puzzles and mathematical philosophy research. Everything is resolved at the end of a rather twisted and manner difficult to understand for who has not been very attentive throughout the film, the typical end makes you to be thinking for a time in the film to see if all the pieces fit and here it seems that they do, although slightly adjusted. Elijah Wood and John Hurt are perfect in their roles, to Leonor Watling saw something out of place, though it may that outside by dubbing, their presence serves to provide the female point and the love story that seems that his character need entire film aimed at the general public, in fact does not appear to provide nothing more, unless a conflict between the two main characters and either interprets enthusiastically, something that can not hide or with its charismatic beauty.The other woman in the cast, Julie Cox plays the character perfectly more hitchcockiano that has seen in recent years. But the film by Alex de la Iglesia, despite its flaws, is entertaining until the end and is the best that has been in theaters lately, especially for those who like this type of movies and the homages to Hitchcock.

archivos_extraidos/MCE-Corpus-main/Dataset/1763

Florinda Chic

La flauta mágica

muchocine

Although I admire the audacity of Branagh, able to dare shamelessly none with any classic put him ahead, the marriage between Opera and film is complicated and this movie is tedious.

Does it goes without saying that although I have seen several operas, I am not the fan number one of Teresa Berganza, that I know all the lyrics from?A Penguin in my elevator? and none of the arias of Cosí fan tutte. Although I'm not profane in the subject, I knew a girl who spent years thinking that Pavarotti was called Tutto.Hecha this confession, I can say that the magic flute, the Mozart's most celebrated opera film adaptation, I bored nauseam. The marriage between Opera and film is complicated and this movie is tedious. Although the precedent of the director is the very upper Hamlet, which lasted almost four hours in this film they are almost reached the three-hour and trance, is far from smoothly.The main problem that you saw was the cast. Not all performers of Opera are great actors, with honorable exceptions like the Othello of Plácido Domingo. This fact, happens perhaps unnoticed in the stalls of a theatre - if seat is of the cheap, of low visibility--but in the foreground there who resist. The singers made a series of gestures and grimaces that seem more merluzos soldiers of the Mundial.Otro war first failure is that the original story - rather tontorrona in my humble opinion, although God free me criticizing Mozart - is not carried with no pace and only wakes up from the torpor at specific moments such as the duo of Papageno and Papagena and the aria of the Queen of the night. Scenarios that place the action in the first world war are theatrical and more relamido what does not help to maintain interest and visually appalling on screen.Although I admire the audacity of Branagh, able to dare shamelessly none with any classic put him ahead, knowing that fans of the original will stoned. They are his adaptations of Shakespeare, Shelley's Frankenstein or in this case, the sobrepedante, sleeping and megalomaniacal flute.

archivos_extraidos/MCE-Corpus-main/Dataset/4182

Monica Jordán

Alemania año cero

muchocine

A snapshot in movement of the time which represents the end of an era and the beginning of another. The zero fact history.

Adolescence: age happens to children and which runs from puberty until the full development of the organism. RAEEstamos in Germany in what is known as the zero year, understanding the concept of zero not as a synonym for vacuum or nullity but silence after the bombs of peace after the war, pause after the waste of movement. The zero as a synonym for turning to a country that takes time to think, stop and breathe. To create, in short, an identity resurgence which Phoenix from the ashes. Germany has to reinvent, taking from the past that will serve but looking to the future. Looking askance at what was at other times with the intention of not forget that their actions had consequences, and making use of the value to face the natural evolution which hangs above him.Placing already from the title the place and time of the movie, Rossellini makes clear his intention with a double semi-documentary home through a text and a voice in the form of Declaration of intent. Germany year zero takes the hand the young Edmund to continue their passage from childhood to adolescence with him in a constant metaphor about the zero point in which the country is undergoing. This maturation process that is adolescence is the time in which Edmund must begin to create their own personality leaving (or being left behind by) everything that was part of the child that was before, whether they were innocent games with girls or ball games. That moment in which Edmund begins to cease to be a child (something that visually is accompanied during the film with a change of costume and some darkness at the levels of the second half of the film) is reinforced not only by his actions (such as killing his father in one shows teenage confusion Oedipal or denying a caress their families) but by the treatment by others. The girls see you as a child as well as his family, but some and others are calling to do adult things. This intermediate world where Edmund is subject is the world of doubts he lived Germany during the period of confusion, when nazis and allies should live in a State in which no one knew already what was the North and what the South. "before we were National Socialists, are now only Nazi"the Professor tells a character at one point in the film. Before and now. Take what was to assume that no are longer. Reinvent itself, ultimately. Edmund does it, or at least try. Germany should do so, or that is what thinks Rossellini. In this constant it immerses US Germany year zero. Life re-emerging among the ruins, the evolution not expected and there are these trains, constant throughout the film, which appear to remind you to an entire country that time passes and not expected. A snapshot in movement of the time which represents the end of an era and the beginning of another. The zero fact history.

archivos_extraidos/MCE-Corpus-main/Dataset/4072

Iñaki Bilbao

En el valle de Elah

muchocine

Interesting film of Paul Haggis, that after the successful and award-winning "Crash" was expected as rain in May.

Interesting film of Paul Haggis, that after the successful and award-winning "Crash" was expected as rain in May.In my opinion not enough in quality to that, but is that not what intended, that it's a history intimate even though it escore squarely in the film of intrigue, more or less police.Most importantly, reflect what a war can do in the minds of young soldiers that fight in it, actually being rather large children.Tommy Lee Jones is splendid and gives a recital of dramatic intensity, often being not necessary nor to talk, because with the look says it all. He accompanies him, well, Charlize Theron, excellent.Good dialogues, mixture of spectacular with intimacy and a wise leadership which focuses on the clear narrative, without any delicacies, simply because no argument (based on real events) does not require. Good film, quite sober and entertaining.

archivos_extraidos/MCE-Corpus-main/Dataset/637

Rafa Ferrer

Alatriste

muchocine

2 Hours long and heavy in my life. During much of the footage I mattered 3 hell was going to move on to "our hero", the film becomes dull, tedious, boring, simple, with dialogues that provoke laughter.

The Imperial Spain of the 17TH century, Diego Alatriste, courageous soldier in the service of his Majesty, combat in a war in the cold lands of Flanders. During an ambush by the Dutch, Balboa, friend and companion in arms, wounded death. Alatriste heard from the lips of his friend a last request and promises to comply with it: will take care of his son Iñigo and turn away you from the craft of soldier.Presented under the stupid sanbenito of being the most expensive film of the Spanish film, starring an excellent enlenco production continues to be 2 hours long and heavy in my life, moreover, during much of the footage I mattered 3 hell was going to move on to "our hero", the film becomes dull, tedious, boringsimple, with dialogues that provoke laughter (the question of Pilar López de Ayala to Malatesta.), and some things that did not believe them anyone, I'm glad I no longer carried away by my cinephilia and have I done with the books of Arturo Pérez Reverte before, but now, and after having seen the movie, honestly I have no desire; true it is that the locker room, photography and even the sound and the characterization of the characters is excellent, but this stupid idea of wanting to Peck of all the novels (as I understand), has been a disservice to the tape.In short, who had wanted to but I was disappointed about the way.

archivos_extraidos/MCE-Corpus-main/Dataset/1537

Rafa Ferrer

El corral

muchocine

All this what do they do the bulls without horns and tits? It is not that I am very place in animals, but come on, I have not seen tits to a bull in life, this is very male and the horns?

Steve Oedekerk (famous for films of Jim Carrey) and member of Nickelodeon (where already premiered "Jimmy Neutron", it brings this tape of animation where the cows appear to these friendly stuffed animals anti-Stress.Con a predictable argument, seen on numerous occasions (from "the Lion King" to "Bambi"), and that captures the transition from youth to adulthood).On the other hand, dubbing this care and can listen to cows with Galician accent, mice with Mexican voice, even chicks with whistle voice.All this what do they do the bulls without horns and tits? It is not that I am very place in animals, but come on, I have not seen tits to a bull in life, this is very male and the horns? Finally noted the resemblance of "Mad Mike" with "Captain Caveman" (and son) and the time of the rat singing Shagyy Bombastick, a theme that is famous for being the song that accompanies a spot of Levi's.

archivos_extraidos/MCE-Corpus-main/Dataset/4296

Daniel Galindo

Hula Girls

muchocine

Nice is this foray in the world of the Japanese mining converted into Hawaiian amusement park? Unusual? Let her curious initiative that reminds the club of dead poets.

The friendly description can lead, in its relationship with cinema, different meanings: a friendly film can be obviable, heap or simply bland. Rereading what was written, it seems that in the 'friendly' term we find only negative connotations. Anyway, this movie is - and sorry to repeat me-friendly. What you will see if it is of those who decide to go to cinema.The proposal, a priori, is entertaining: imagine what is to see a lot of daughters of miners with the appropriate attire to lend a Hawaiian bailecito in the cold north of Japan. That is all, they now have to say if the argument raised is credible or not, although I have to say that there is a real story behind the Joban Hawaiian Park.Before mentioned the club of dead poets, do not want that we left behind other titles with the 'all in one' by flag, white storm case, and with that example - prepare for certain empachos - surely imagine where the shots go: honour, power of dreams, the figure of a 'alma mater', the desire to carve out a path other than the marking this mining trip to hula goes on tiptoe through all these aspects, although there is one approach more on the weight of tradition from the thin air of the immediate future. Film is something that looks good and this film is, above all, very attractive in Visual terms, and why not say, also in commercial terms.

archivos_extraidos/MCE-Corpus-main/Dataset/2547

JLO

The bank

muchocine

A script in any obvious moment, with one interesting twist towards the end, well led by Robert Connolly in her first film, demonstrating good use of lighting and shadows in a cold environment, with a predominance of steel and computers everywhere.

Film by other timely for brand new in our country, to try an expensive item in these times of financial crisis and playpen, bringing a bit of justice - even film-, against the feared banks and their shady dealings (apparently by the film, universal).Tells the story of Jim Doyle (David Wenham, correct) a mathematical genius that along with its Japanese partner, they succeed in creating an attractive software for the Centabank Bank. Led it by an ambitious and unscrupulous, Manager wanting to use the system not only for the benefit of the Bank, but to have the pleasure of ruining all the competition and satisfy their enormous greed.Everything is intertwined with another subplot, that of the marriage of Wayne and Diane Davis, affected by the troubled bank and adversely affected handling with a credit; being the emotional - and tragic at the same time - part of the film (with some coup also bass) everything to get more in tune with the desire for vengeance upon the Bank in question.A script in any obvious moment, with one interesting twist towards the end, well led by Robert Connolly in her first film, demonstrating good use of lighting and shadows in a cold environment, with a predominance of steel and computers everywhere.An interesting thriller, with all the condiments and couples performances, highlighting "the bad": Anthony LaPaglia (sweet and melancholy), without excesses but with the appropriate charisma and also best parliaments: "People to look after herself", "I am as God, but with a better suit". The girlfriend of the protagonist (Sybilla Budd) brings naturalness and self-assurance being the richest of all character. Released in Argentina in the month of April at the independent film festival, another curious fact is that the climax (the banking collapse) occurs in the film an on October 25, the day after its premiere here. To exit and quickly make the endless queue of the Bank.

archivos_extraidos/MCE-Corpus-main/Dataset/1770

Alex Largo

The river king

muchocine

The River King is not a horror film, is a film that could perfectly lend an afternoon of Saturday in summer in Antena3, but is entertaining.

The River King is not a horror film. The River King is a film that perfectly could throw a summer in Antena3 Saturday afternoon. The River King is entertaining. The River King should be a television series. The River King reminds me Maleficio.Con these 5 statements define what is and what has seemed The River King.No is a horror film, but you try to pretend this whole issue of stains of the photographs with the appearances of the child in the snow. It is not a bad film (hence the 5), but is not simply in the adopted (hence 0.5 added).It is entertaining (though sometimes end with the patience of the Viewer).As for my statement that should be a television series. the truth would be a highly entertaining series. It reminds me of an American haunting. Although The River King I liked more than spell, or at least have found me more enjoyable, longer than the other it sank in a myriad of paranoia that ended with my patience. But I have to say that the issue of mixing the paranoia of the protagonists with the main plot of the film led him better spell to The River King, which seems to solve everything at the last minute because he has gone over time and not know how to get rid of all the issue of visions of the protagonist.Everything in the film is correct, except for the script. Those gaps that leave the visions of the protagonist, the subject of the photographs. everything that makes you think the movie is something "supernatural" annoys the function (and sometimes much). The funny thing is that it is based on a novel (do?), is that the explanation for the bad cohesion of the elements? Not what is.It is an entertaining film. But not worth spending the money on it.

archivos_extraidos/MCE-Corpus-main/Dataset/878

Emilio Calvo de Mora

Lolita

muchocine

Lolita, light of my life, fire of my bowels. My SIN, my soul, Lo-li-ta, the tip of the tongue embarks on a journey of three steps from the edge of the palate to support, in the third, on the edge of the teeth. Lo-li-ta.

1. The book of NabokovEran restraint and censorship times condimentaba art: law was hard and the artist, except some eccentric wanting to annoy lifting skirts to morality and to girls of good family, avenía to not bother too much: was left to pollute the modesty, by the previous sieve. He was the author sacrificed his freedom that their objet saw the light and show your creativity or, at least, a substantial part of it. Henry Miller, in literature, was the guru of sex, the eccentric with obstacles, with rod of command in the lyrics and in the scandal. Very smart and openly bitter readers with official power reveled with twisted, lewd and prose vaguely disturbed many authors whose name often appeared in the list of the damned. Nabokov, Lolita, deserved place of honor. Vladimir Nabokov creates the forties Professor Humbert Humbert, hereinafter HH or H, platonically in an "voluptuousness Supreme, always turned on", in his words, fancy to pathological extremes of Dolores Haze, Lolita, onwards, always use the terminology which the author marks in his book. Lolita is Sin adolescents, the prepubescent nínfula of the exalted loving imagination of HH for its passionate deviation not repressed, but encouraged, conducted ex officio. In those days timorous, a novel about a pedophile, and above one distinguished, cultured and refined until the unspeakable and correct treatment as a gentleman of Oxford Street was a bomb. And it exploded. The obscenity of the plot was as high as the quality of the writing. And Nabokov, aware of the risk, but knowing the deep subplot of his work, requested cries that read his book: there was no therein other pornography that the Suppression of who saw their page more run-away own desbocamiento, the anguish of suppressed and panic to the repressed material demonstrate, in the background, mental and sentimental poverty in their lives. That the aggrieved party, if you want to limentar his natural inclination to the offense, only needs a slight flight of a skirt, a warning of itching in the crotch of a teenager or a principle of hair in the armpit of a girl. And there it is, morbid, Plenipotentiary, imposing and massive, immortal, sin. However, Lolita is a perfect novel, a decadent novel, a complex novel like few in the twentieth century, hypnotic, difficult, but equally attractive reading because the events narrated are (and here opens the film motive for this page) filmable material, i.e. cinema in its purest form. Lolita appeared only seven years before the film and its social ROAR was infinitely less. We all know that the eye is faster than the brain shocked: that the image is worth a thousand words, a teenage girl sucking a lollipop in a garden is a representation of sin more powerful than a Homily of a parish Minister angry by the excesses of today's society. Aureolada damn novel, Kubrick resigned to encourage one greater cursed and delivered by the own script Nabokov erased the subversive elements, throwing a HH for younger and more Lolita. This concession allowed the film to be shot. This concession and another added: record in England, away from the disciplined, sober, severe film policy of the U.S. in the early 1960s. 2. The movie Stanley KubrickLa history of HH is a masterful lesson of guilt and Sin, the troubled beauty and unhealthy love. The own Nabokov splendidly illustrated his stylistic vocation to ensure that he did not write in Russian or in English, their languages of expression, but that thought in images. The instinct of the perverted teacher is making its way to elegant and sutilísimos, shoving on the confused and troubled society of Puritans and neighbors with pretensions of modern, represented by the mother of Lolita, Charlotte Haze, which is who rents a room teacher who only accesses to use when he sees (and we have here a fundamental part of the iconographic history of cinema with Lolita in the garden)(, disturbingly lying, wasting time in a two-piece tiny and chupeteando a pirituleta on the Freud have no doubt that it would draw material for two well FAT volumes) to his love to his sad thing and frivolona, to the thing whose greatest exponent of sensual pleasure is to eat a bag of popcorn and throw straw to finish one Coca light. Kubrick asked Nabokov that lowering the dose of eroticism of the girl: have that already in the post-production of Spartacus (196o) the director walked hooked to the screenplay of Lolita and obsession distracted you from his work in the film so that the production company called to order. Nabokov, for its part, warning the Pharaonic scale of the project of Kubrick, taking into consideration the advertising potential of his novel and making the scope of hearings of the film accounts, decided to publish under his own name and in his usual editorial line the script origin of the screenplay. Without ncaer in the searches that the book had, let us not forget that it was published in Paris by a publishing house devoted to pornographic hustling, Nabokov wanted more meat: more evidence of the sensuality of the niña-mujer and more explanatory elements of the love affair of HH and the motels who occupy very greedy part of the film by, as we will see later. Kubrick obvious this bait and focuses on more orthodox aspects. Cinema, after all, is a company that gives money and is not going to allow that him out of control project. Without going any further, Kubrick removed putting in scene the reasons that the book does well left clear and based the behavior deviant of HH. We do not see in the film no image that tell us that HH was fell in love with a young Switzerland and that this precocious love of adolescent, tragically, truncated permeated his libido, his aura as a sentimental and delicate, pathologically zaherido man spurred aimlessly to the tragedy and the failure, as we shall see. One of the levels of tension of the film is that the Viewer is never clear if HH wants to make love to Lolita or excites only with attenuated caresses and damped and mild warnings of very fleeting eroticism in a poorly placed garment or a distracted from her burning nínfula mohín. The novel is more explicit: HH will lie with the and toured the States of the Union as lovers, although they occur as stepfather and daughter. Admirable in Kubrick is the way that it disassembles the reality and raises a parallel reality, which overrides this to suit, and arroba the first substance, the basis for the narrative that we are witnessing. Example: it is HH already unhappily married to Charlotte and they rest, without touching on the conjugal bed. It seems that they are a normal couple and the scene is normal in its entirety, but Hh is extraviando his eyes in a photo of Lolita who chairs the bedside table. Here is the bottom of the narration: give light on what is hidden, but let us see what must not be considered significant. Kubrick was a master of divination, of concealed truth so that the spectator endeavour to come up with seem keys and thus reveals the always Crouching transcript of the story. Humbert Humbert lover is excessive, pathetic. And now let's talk about the capital letter interpretation of James Mason in State of grace incomensurable: a Mason abandons his tics of formidable Butler English, neat and tidy, Knight, and befriending catches with a profound character, allowing you to be a psychopath with white glove, a cabronazo illustrated with an indispensable point of madness and a few blades of social intelligence that enable escalafonar in crime, in its unquenchable vital purpose: love Lolitas, possess them, being spread by their gracejos, unpolished beauty. Quilty, the despicable Hunmbert antagonist, his shadow, his pursuer and his relentless impersonator, is Peter Sellers in its sauce: seizure, hilarious, almost demonic. Peter Sellers is Jim Carrey with twenty more years of tables. Sue Lyon was a personal stake of Kubrick and not disappointed, though his film career did not have similar heights. He wanted a girl and young not a woman already well turning by unpredictable random teenage hormones, but neither the producer nor the circumstances allowed him to go for one and had to go to this excessive, but convincing, moza before timidly his light, his churlish seriously and, in the end, with his nasty, full screen. Shelley Winters ago Charlotte, and moderately shines: living portrait of the homemaker pleased with his role in life, vecindona and plump, settled each night with his memories of the marriage which was extinguished too soon and of love was not continued in its outvoted nights under the stars of the city. Another aspect that all film lover pro recalls is the road-movie thrilling that Kubrick is marked in the third section of the film. Some who have read the novel knows that the film version is very simple and not recreates with the sordid world of curtains road motels with smell of stale nicotine and its empozoñado of cheap Gin and lotion shaving hedionda air. The love of HH and Lo, however, these motels is the part which I reviewed the film on at least four occasions, is the part that I like. The splendor of HH is his own perversion: laminated in his obsession with raise your spirit to the perfect paradise of their pre-pubescent muses. In fact at Humbert see you no forcing Lolita in no time: there is no evidence of a dominant virility. Already in the first scene of the film is very clearly warns the philosophy of all its poignant footage: see HH painting the nails of the feet of a young man. What press is a very fine eroticism, deliberademente never pornographic. The risk of Lolita as a film, has been compensated more than. Sexual fixation of the protagonist has placed a Word, Lolita, in our dictionary and in popular speech, which is the dictionary for immediate use and more robust reliability. We say that a lolita is girl newly marked pubescence which outlines in his gestures, in their ways, style, an erotic, not without provocation sensuality. That got Nabokov. Circumvent the sensura with this Sue Lyon already a little crecidita first was the purpose of the film. The code of the Catholic Legion of decency, a holy inquisition yankee of the era, ended up swallowing the moral of the film violence because Kubrick lowered still burden of carnality, and consented to give the character of Humbert Humbert a role of love, adult, deviant, but in love, finally and after. In the novel, because it is essential to see her after having seen the film or vice versa, Nabokov emphasises starkly insistently again the nature of the passion of the teacher, which is the girls, said crudely, and not love a specific girl, to a discovered in a house in Middle District Garden, innocently sucking a lollipop. Nabokov lie to HH with the: Kubrick does not dare. The decay of the novel and also, in part, of the film comes from this revelation clarified before time. Nabokov reveals a secret that promised greedy and long. Kubrick hides it longer and the game eventually lead us to feel that the secret lacks the importance we gave him truly. Lolita is stratified into five parts very well compartimentadas, although hiladas with brightness. Segment one: presentation of HH, the patient. Segment two: knowledge of Lolita and stay at home in the Haze. Segment three: HH marries the mother of it. He soon widowed. HH runs with the country. Segment four: will drain it and just pregnant, not of HH, and married a man gross and insensitive, just the opposite to his hero Humbert. Segment five: murder of Quilty, who chases him, obsessed by it. "Lolita, light of my life, fire of my bowels." My SIN, my soul, Lo-li-ta, the tip of the tongue embarks on a journey of three steps from the edge of the palate to support, in the third, on the edge of the teeth. Lo-li-ta. ", reads the famous first line of the novel." HH narrates in the first person his surrender to justice. The entire film seems to this: the confession of a defendant, guilty of lust, suspected of murdering another lush. Life, what bad is.

archivos_extraidos/MCE-Corpus-main/Dataset/2059

Rafa Ferrer

88 Minutos

muchocine

Sins of predictability and is that little that one is moderately attentive he realizes perfectly of the mystery that very on tiptoe, hides the tape, and is easy to know who is the endangered and the menacing.

Funny police thriller, written by one of the writers of one of my favorite series (the series of TV "Las vegas"), where we see to an Al Pacino, already entered in years (notice his heavy face when it is running), Alicia Witt, Deborah Kara Unger and Leelee Sobieski, the latter in a very fleeting role that one almost realizes little of their presence.Theoretically the action happens in real time (apasionaría to fans of the series "24") but. the real time is not always coordinated perfectly and while at times 37 min. It appears that they fly in other 10 min. dan for almost half an hour of footage, on the other hand, rapid levels disservice do them to the vision of the same, and impossible to look clearly at some details.Note that Pacino came to cast almost rebound, as is little understood, but that the vast majority of female protagonists, the fall the baba with to, when they are only around twenty and Pacino already is all a Grandpa, by very sexy that might be to some (not deny it) females.The movie sins of predictability is that little to one this fairly attentive (no need be with the eyes as dishes) he realizes perfectly of the mystery that very on tiptoe, hides the tape, and is easy to know who is the endangered and the menacing.Finally, a co-production USA-Germany, that without having triumphed at the North American box office, will not make it in the Spanish (when it is release) and but time to time.

archivos_extraidos/MCE-Corpus-main/Dataset/2314

Albert Puyuelo

Corazones solitarios (Lonely Hearts)

muchocine

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

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

archivos_extraidos/MCE-Corpus-main/Dataset/331

Tito Chinchan

Cateto a babor

muchocine

We have a comedieta, a beautiful love story, a story of overcoming human and a small final féliz drama for the same price. That more you can request?

Alfredo Landa is one of the best actors that has borne him the skin of a bull in the centuries of existence of the same. You can say that he has done films of Swedish topless and everything as you please, but in this life there is to eat. And be confronted with such mastery infamous scripts sobeteos and toqueteos, replete with topicazos, does anyone. Now I would like to see me modern actors strive in these places.The film is about Miguel Cañete, noble labrador of the deep Spain that is required call-up for military service, none other than the Navy. In his naval career he should bear a younger brother who is in his charge. To complete the misfortunes, he falls into the hands of Sergeant channels, the most ruthless of all commanders of the barracks of San Fernando. Can our hero overcome difficult tests that puts the destination on its way? Veanla and will know.Forerunner of the great war films, in which sergeants are bad with the soldiers, but hide a heart more tender than the mother's day. Viva Sergeant channels. We have great actors, such as Rafaela Aparicio in the role of maid, Florinda Chico as mother of the cieguita and wife of Sergeant Canales scathing as always, Jose Sacristán recruit or the greatest of all time, don Alfredo Landa in the role of cathetus. And the rest of the cast of actors, the cream of our cinema. When the actors were great quality each and every one of them. The film begins with a small history lesson, which does not but highlight the patriotic caspismo much-needed at all times. And the tremendous finalón, with the real hero Spanish Cañete sailor.In short, an essential film in any caspoteca self-respecting. We have a comedieta, a beautiful love story, a story of overcoming human and a small final féliz drama for the same price. That more you can request? Want to up of enlisted in the Navy as a volunteer!PS: "where must draw so much water?" This is not one phrase either, but a declaration of principles.Pd2: "Oh, the Navy!" by Rafaela Aparicio, giant sentence.P.D.3: Not to miss the face of Alfredo Landa after the phrase "where see you, with that face, us has been a seductive" Academy Award for the best performance, jua jua.P.D.4: "Quietly, round and pelon", you can define better to Alfredo Landa?

archivos_extraidos/MCE-Corpus-main/Dataset/2141

Rafa Delgado

Zodiac

muchocine

Fincher builds a solid film in general, although the length of the tape and the rain of information, just weighing on the shoulders of the Viewer.

Although I liked, 'Zodiac' has not seemed to both, nor a work master or a memorable peliculón, but the work of the director of 'Fight club' with this film is commendable.Fincher builds a solid film in general, with a very interesting script and that is portrayed almost to perfection by the totality of its cast (large Mark Ruffalo). The address is outstanding; the Mise en scène, excellent. Attentive to the murder sequences: very realistic and well portrayed with an enviable command of the situation by the director, which in turn looks sometimes offering the flat viewer of all classes to frame.However, despite their virtues, Zodiac sins for my taste to rather long; his pace is quite irregular. That the movie is long, okay, but isn't so long that it becomes long, heavy plumbate and sometimes a, charisma.At the very moment in which the narrative hits a considerable downturn in pace, comes this saturation of information (understandable: is a detective film research.) just overflowing a tad, only digestible for people loving the genre.

archivos_extraidos/MCE-Corpus-main/Dataset/3048

Rafa Ferrer

Shootem up

muchocine

A spectacle of action in the total service of Clive Owen where the script and others is absent, but that time and peak of footage that lasts goes flying and noses, can be enjoyed from beginning to end.

One of those weird movies of action that one can contemplate without having to think too much, and is, no mistake, "Shoot'em Up" is nothing more than a well built and quite well shot (and achieved) entertainment serving the masses, one of those shows that you will like the chavalería and where one of principle to end the only thing you see is Clive Owen doing the cafre (in a sort of like character which already played) (in "Sin City"), the always great Monica Bellucci, everytime he spoke Italian with her sensual voice interspersed something in my interior and my exterior enjoyed as the dwarf that makes them company during the footage and a Paul Giamatti total off-road, given the same do Santo (in "The girl in the water" for example your character hovered Holiness) and here is the villainsomething tontorrón on duty.Note the construction of characters, extremely sharp, where the bad guys are very bad and the good. !VERY CAFRE! Since then, and trying to change the third, the tape makes no sense in much of the lances of the same, but who is going to ask you sense something of these features? Besides, bothers me especially that extrañaa prevailing fashion why loud music (starts the tape with a theme of Offspring) action tapes, it is true, as I have already said, is for enjoyment of the chavalería, but! tired! (to noses) and is that already, at certain ages, one does not have the ears (and the ears, which are about outside) to withstand both burned-strident burned to but not power.Anyway, I am not going to extend much more a show of acciónn in the total service of Clive Owen where the script and others is absent, but that time and peak of footage that lasts goes flying and that nose, can be enjoyed from beginning to end.

archivos_extraidos/MCE-Corpus-main/Dataset/362

Berto

La joven del agua

muchocine

Entertaining movie, very style Shyamalan, but which has details that do not become the great movie that could have been, is only a tale for children already creciditos.

M Night Shyamalan has done again it. Already with his sixth sense sold us a film incredibly boring, Yes, with an end of the very best that to raise the entire film again. Later he followed this with the protégé, parody/tale of superheroes that surround us and that although not bad at all was not what promised. With signs, falls into the easy packaging of Hollywood and alien fashion, that if, with a history a bit higher than the average, and finally in the forest he served a thriller also correct, with far-fetched end and that only highlights the performances of its protagonists. Sack this summary in the wake of the premiere of his latest film, the girl of water, and on this occasion we sold as a fairy story, typical to tell to children before going to sleep. In this story it tells us as a nymph of the blue world, find a special man that can guide men towards a universal change, away from this wave of self-destruction toward which we inevitably. In the swimming pool of a community of neighbours in Philadelphia you'll find with the goalkeeper, which help him escape from a creature that attempted to put an end to it, at the time that she has q find that special person and get return back to his world.Told the argument, placing it in a magical country or plan middle ages, well it could be the plot of the upcoming Disney movie for Christmas, but no, it is a fairy tale located next to our House, and as every fairy tale that boasts the most important is to believe on foot juntillas everything what is happening throughout the storybecause fate? but the 10 minute film we will have to abandon the film to find some meaning, metaphor, or rare thought is a full chimera. Fantastic things are assumed by all the protagonists in a blind manner and without evidence, and that's what we have to do us, launch into the void of seeing is believing. The story has its details, good in some cases, as for example the way to locate the creature, and bad in some other cases again, as for example the way the interpreter read what they have to do, totally misguided for my taste.The main characters, the best by far of the film. Paul Giamatti making goalkeeper of the apartments is simply great, and their interpretation is the best of the film, followed by Bryce Dallas Howard, which this quite well in his role as narf, although on many occasions simply is to put Princess Elf of Lothlorien forests face. By the way, is the daughter of Ron Howard, not as I read out there somewhere that another criticism that she is the daughter of James Newton Howard, author of the soundtrack for the film, also the best of the film, accompanying history wisely.The other characters of the building are quite archetypal, that if the tiny group of colleagues smoked, the old that loves animals, foreign student, the Platypus, the grips chulito, although on this occasion with a rather special training? and what disturbs totally is the critical film that moves to nothing more start the film. Is clear that some criticize something he did to Shyamalan, because but do not understand like this got this character so to shoehorn and with so much bad baba, leaving it to the height of bitumen and launching a veiled poisoned dagger so many critics have criticized up but not being able to his earlier work. Shyamalan also plays a role in the film, which does not like me, were very well their previous fleeting cameos to the Hitchcock, but given a role in the film I think it adds nothing, having professional actors that I fixed, fixed, can do as well as or even better.His work as a director there the movie is impeccable. All his plans have a mission in the film, show what the want to show and none this post there randomly. As only downside to his work with the camera, would be the excessive use of the blur to guide the viewer view where the want to look, but looking for a parallel with the same story you could say that it is something like go to guide us while we read the lines of the story film.In short, an entertaining film, very style Shyamalan, but which has details that do not become the great movie that could have been, leaving only a tale to already creciditos children who still believe that there are fairies.

archivos_extraidos/MCE-Corpus-main/Dataset/1925

JLO

El resplandor

muchocine

The shining does not become one of its summits works, up us seems one of the least successful. It is the only film in which he and his camera are not the true and only protagonists.

Five years after his first major commercial failure (Barry Lyndon), Kubrick would not stop thinking about his next project should be a resounding box-office success. And with the shining it, and more. Despite the excesses of budget (spent ten million more) and filming time, show us a more eclectic, and old Kubrick not having nothing to do this with efficiency and aesthetics used in the filmmaker. We could say that it is the only film in which he and his camera are not the true and only protagonists. His strong style leaves no note at all times and in several passages - visions, the use of the stedycam, follow-up of the axe - show us the same Director obsessive and cynical that we know. As the scene of children playing only in the shield and the rapprochement between fleeting and slow of a tennis ball all taken of course, in his usual plain fixed upward. Or the sea of blood in the elevator from Hall. (The same scene is the trailer of the film, one of the most beautiful that I saw by the simple and direct).The pomp of the ballroom and the ghostly characters entrecruzando, would be an exact sample of Kubrick and his film obsessions. But in this case the film is imbued with, by and for the showcasing of a Lord named Jack Nicholson. It is said that all the films by Kubrick in need of a hero albeit atypical: Alex, Barry Lyndon, the Joker soldier, etc. Perhaps each one of them is analogous with personality the director. This Jack Torrance seems to be the best example of this.All are converted into a version in acid of the filmmaker, a mirror of his more macabre side and that the figure and the representation of Jack Nicholson, finds its best exponent. The character, his overacting, unleashed fury, his slow, progressive madness, is "devouring" the film. A psychopath always on the edge of the explosion and dementia, express and from the first scene in the interview (is said that own actor was going through its worst mood and personal time with drugs). We see after detention in a hotel isolated with his family, he shows us its true face and personality - aided by the own ghosts of the hotel - and this whole process itself, is the most successful by Kubrick in the film.Do not explode, if that is not a slow crowned tour when his wife discovers among his things, five hundred pages with the same text: "both work and little play, makes Jack a very bitter type".The error of Kubrick is wanting to "re - define" an atypical genre, succeeding only partially. The idea of do it is both for having found a potential good script in the book by Stephen King (other than economic), as well as defiance of not accepting a few years earlier make the sequel to the super successful El Exorcist of William Friedkin (eventually turned into classic), catalogued with justice as one of the best films of terror in the history.The successful dreamy scenes of the Hall of dance and the bathroom with the spectra, or the same final scene with the approach to the old photo (demonstrating that evil existed always) become their best moments. Not let the film be stunning visually, losing thickness at a time that would have to be of the most terrifying, precisely by a too meticulous aesthetics devoid of tension and impact, or the slowness of its footage, as in the final persecution the child protagonist solving it with a fixed frame of the petrified and frozen Nicholson's face. Rarely successful and efficient, considered one of the best horror films in history, in a global assessment of the work of Kubrick the shining does not become one of his works summits, us up seems one of the least successful of the second part of his career, but keeps the pulse and intact quality of an original Kubrick", that it is never short."I think the best argument is that seems not to exist. I like the slow principles, calan in the public and involve it in the film, allowing you to appreciate the Gracile notes and delicate tones. "In this way no I have to complicate me life with plot resources and tips to keep the suspense." Stanley Kubrick

archivos_extraidos/MCE-Corpus-main/Dataset/3601

Emilio Calvo de Mora

La brújula dorada

muchocine

Film of epic fantasy and adventurous breath you are Taming in excess. They are doing with him have done before with the adventure or the terror: check mediocrity. That Yes, this is a commendable invoice. Lacks it soul...

So much fantastic saga overwhelms, at least; It feels cornered by Golden compasses, power rings, cosmopolitan cabinets and Dragons more ready than a primary. The weight of the responsibility in the Affairs of the imagination infatil and teenager has gone to the major producers of the movie business. Where before flying Gianni Rodari, Perrault, the Brothers Grimm, Michael Ende or now seems forgotten Roald Dahl now plans to the Disney and their greed to make box and on the way, train customers to make box: from father to son. Seeing the film Golden Compass, saw families (mine included) complete showing boredom, excitement, drowsiness or even misunderstanding to what the screen ametraballaba rhythm of zeppelins art-deco, lavish colleges and bears with shell resembling gods of Olympus. Myself, believer in the religion of the fantasy, I was trapped in a cascade of impeccable images, made no doubt that with passion and budget holgadísimo, but devoid of soul. And this is already standard in all these franchises of bonancible inclination, although talented orphan, too outstanding to the box office and the previews of the characters. In fact, before entering the room I already had the opportunity to see how the outrage of lusty infographics Marines loaded in a burger bar by the side of the puppets in the film room. All added formidably orchestrated so that the experience would be multidisciplinary and beatific. The room that we enter what we call context, was packed mixed gender: gangs of teenagers with acne and mobile generation, large families, couples also varied spectrum of sexual e even spotted - distance, as wanting to be unseen - a pair of grandparents, I do not know if lost or well versed in the field, expected with satisfaction face turn off the lights and the thunderous symphonism of dolby surround. Then comes the visual feast tromba: impeccable architecture Victorian, impeccable design costume, impeccable choice of cast. What hurts us, then, in the soul? It hurts that the epic fantasy or, in this case, fantástico-filosófico (and up anti-Catholic) to read is in the film a milkshake though shaken and conveniently administered in collectible fascicles (today the first) of elements already known, already assumed, already tasted by teenage or pre-teen gourmet (the child is not going to catch that a metaphysical powder and a kindergarten boarding school to a retro machine steals one half and makes them adults)(, as if that does not happen only a few years later).The Golden Compass us reconciles with the (endearing) Family Act of going to the cinema if a religious act concerned. Well supplied advertising, tired of see on the shelves of stores and libraries always the Tower of volumes of Philip Pullman (dark matter, three thick deliveries), went to see what we are going to give now, what pastillitas of colors to liven up the leisure of a holiday. The amazement lasts just enough: the titles of credits and a voice that tells the bleak and cuasimístico argument in a plis plas delivered a trip not always understood, cumbersome at times, in which a girl marked by some sortilegio or divine whim or ancestral legend must save the world. The conglomerate of elements of success contrasted in companies such (animal that they speak, until one baby to morro; lavish landscapes; witches that fly and colossal battles; bad very bad and armies blessed.) not given here with the key lighting.Fantasy has its empire, its codes, its polar travel and up his Golden Compass oblivious to this: all the formidable matter herein is to encourage imagination. I have clear to better this gazpacho report (I am Andalusian, want) Magic domesticated than punches to navigate in the lower depths of any finely digitized urban environment. The saga sinks already in his first voyage. It is slap to the clever producer and his entourage of bienintecionados (no doubt) workers how it is possible to leave to the public resptable always so in albis, as sharply raised seat. More parties are clear. I do not know if the second installment opens new illusions. Mine, except imponderables, will as you say, do not go. It will be at home watching something on DVD. Or reading. Long that does not recommend, in the abstract, reading. The reading without commitment. Happy reading. Reading in the light of a flexo while outside the world is delivered to their vices. Some, as we know, ancestral. Today I have at hand the invisible cities by Italo Calvino. I I read some time ago and has returned today. Perhaps some of the movie I saw last night (and now I'm explaining) has guilt. Mysteries of the film.

archivos_extraidos/MCE-Corpus-main/Dataset/1059

Silvia

15 días contigo

muchocine

Shows the contradiction that prevails in the labour market based on the idea of how up to find work we lack money.

"There is no more unhappy person that can't see what has" Isabelita (Isabel Ampudia), a middle-aged woman who comes out of prison and is in the difficult position of having to find the life as you can think. Through the character of Isabelita, the director of 15 days with you reflects on the affluent life who enjoys the majority of society and how little we value what we have.Jesus Ponce filmmaker made his debut on the big screen with the address and the script for a movie that came out of a photo essay that the director made in 1992 to people who lived in the street. The idea was developed up to the current script, where Isabel and Rufus embody "to these beggars that we see every day in the street".The film teaches us to relativize the problems, that difficult our situation it is always there will be someone who is in worse circumstances. But the fundamental issue of 15 days with you is the reintegration of prisoners: these invisible people for society. The story shows how despises people who have not had the luck or the opportunity to integrate into society and become marginalized. Unfortunately, there are three common against persons such behaviors: indifference, fear (of the unknown) or contempt and abuse.It's time that we stopped the hypocrisy aside because: who not been changed pavement on the street once to see a person with aspect of drug addict? This film helps us put aside prejudices and bring us closer to those who for reasons several living on the margins of society, the outsiders. History discover us that they are people as others, with feelings and dreams, are not so different to us, "normal" people. Like everyone, they suffer from loneliness, have illusions, dreams (more modest? dream dining - of) the film shows the contradiction that prevails in the labour market based on the idea of how up to find work we lack money. Isabelita, after trying to find a job without success, decided to stay out of the system: lives in the street and manages as he can to survive: clean the crystals of the showcases for the will. A will that does not tend to be very generous in a matter of money. But Isabelita is not alone but has a partner that shares your life. Rufus (Sebastián Haro) is drug addict and earn some money to survive helping to park cars. This peculiar couple's life also has comic moments but of those that leave a bitter regustillo in the palate of the Viewer.It is tender and at the same time hard history of fifteen days with a couple of friends, Isabelita and Rufus. The story of their everyday experiences, problems and joys. "The bad out of prison is to see how everything changes and you stay behind." "And when you get back is forever", reflects Isabelita. But at the end of the story it is always a room for hope, so that softens bitterness and some dreams come true. They will be able to Isabelita and Rufus rebuild their lives?

archivos_extraidos/MCE-Corpus-main/Dataset/2542

Iñaki Bilbao

Next

muchocine

It is mild for vain attempts to Tamahori by astounding the Viewer to pretend you do enter a game where really current and possible future alternate, in my opinion, in a repetitive way.

Entertaining and enjoyable action movie and much imagination, not in vain main history is the innate power of the protagonist to find out what will happen in the next two minutes. It's an adaptation of the novel "The Golden Man", in Philip k. Dick.Tamahori moves skillfully during the first third and in scenes of great spectacle, as the attempt of escape from the protagonist of the House of the mountain. A long scene shocking, done with computers, which is noticeable in excess, but that is nonetheless true that it enjoys power and intensity.The rest of the footage, especially once it is coming to the end of the tape, is pure action with shots, explosions, beatings, adventurous movie not too well achieved. It is not that it is wrong, but it is more or less apparently thousand and one times, although it is true that "skills" of the protagonist are added to make them more surprising (multiplication by six or seven of the protagonist), thing that, at this point in the film, they have lost luster.In my opinion it's a film that is not very convincing when viewed in its entirety, for, it is undoubtedly clear that it could have been better. It contains ideas and situations requiring a greater narrative skill as well as a greater emotional intensity. Thus, the love story between the protagonist and the girl (a beautiful Jessica Biel) lacks credibility, especially if we take into account the decision of the girl once visit of the FBI and comment you something of the boy. The truth is that not be believe anyone, as they tell us and the data we have.Instead, the moment in which, at last, both are known is really funny, thanks to a successful Assembly where show us quickly different and alleged attempts to approach.Ultimately, that "Next" okay as mere entertainment, but it is mild for vain attempts to Tamahori by astounding the Viewer to pretend you do enter a game where really current and possible future alternate, in my opinion, in a repetitive way. Therefore, this formula to manida over the footage, can finish by tire. That he is great in the end, including the final credit titles, which is however totally in tune with the spirit of the film.

archivos_extraidos/MCE-Corpus-main/Dataset/1901

Pruden Rodríguez

¿Quién dice que es fácil?

muchocine

Taratuto and Solarz opted for the comedy, and one can find more or less clichés, more or less commonplace, but for my taste, the formula returns to work.

It goes without saying that I am a "fan" of Argentine cinema. Yes, I know that saying "Argentine cinema" can be as abstract as say "Spanish film", where we find with films as diverse as "Torrente III", "The others" or "Return". May I refer to the Argentine cinema that comes to Spain, or to the Argentine movies most popular, to the intimate, concerned about relationships and the human characters, to films like "The son of the bride", "Conversations with MOM", "A place in the world", etc. The domain of the dialogues and the silences of the characters in the comic touch even in the drama of the dramatic touch even in the comedy, are some of the features of this "Argentine cinema" to which I refer. And "Who says that it is easy" is in this pattern, for better and for worse.Taratuto, following the success of "No sos vos, soy yo", returns to the fray with a similar approach to comedy, led by Diego Peretti in the role of Aldo. Owner of a small car washing business, his life changes when, in one of the floors that you rent, next to yours, come to live a young and beautiful photographer. Aldo of traditional values, conformist and cowardly in general, soon is captivated by the magic of Andrea (Carolina Peleretti, which live, incidentally, is both or more attractive). His new neighbor is bold, restless and a very active sexuality. Do love that comes between the two will be a head-on collision of values with a handicap added: she has an infant whose father not conoce.¿Y why, "for better and for worse"? If one liked "No sos vos, soy yo", you'll like this new film. If one hates the Argentine cinema, you will not find here anything new. I am that there is always mesmerized by these humble environments by such simple stories, from the drama or comedy, or both, always seeking universal themes as speaking time. The sexuality of women, machismo, the love between opposites, etc. are some of the themes coming out here to the fore. And, as always, characters somewhat chaotic, very human, without great adventures to tell, antiheros most, but always endearing.Taratuto and Solarz opted for the comedy, and one can find more or less clichés, more or less commonplace, but for my taste, the formula returns to work. They get most of the time dibujes a smile and, on many occasions, that laugh well to taste. I may be a step below his previous film, but it is an entertaining, profound work in many moments, and which one will have the possibility of finding himself.

archivos_extraidos/MCE-Corpus-main/Dataset/853

Tito Chinchan

El perfume

muchocine

Intriguing, dramatic, evil, raw and essential history of a type without smell which extracts his fine young for "El Perfume"

Notice to Mariners, this is a film not literary criticism. I have read the book, nor was I would make references to the same. Only say that my medium peach, that if is what has been read, also liked the movie. Certainly not I forget, if you arrive ten minutes later to the film does not pass anything, unless they mentarán you to the mother craft some Viewer. It seems to me that a start did not take as well.The film is about a type who was born in Paris of a few centuries ago, with an incredible gift, their sense of smell. More amazing is, taking into account the pestulencia were in the streets of the world at that time. As you have a rough birth, ends up in an orphanage, where he sold to a Tanner (not encurtidor as they say in the movie, these sell pickled Eggplant) fur. And thus, malviviendo reaches a master decorative which takes him as an Assistant. Our protagonist has a single obsession, which is the capture the essence of things, that smell that we all have. Well, and a roll of 13 essences is very poetic. Total, pim pam, pim pam, the thing is complicated as it says the joke "if I came for bread, which I do with shorts for knees?". But he killing fine muchachas.¿Que if I liked the movie? Me ha encantado, with the exception of the first 10 minutes were not necessary nor much less. The setting I think is exceptional, and the pretty good cast, with the exception of the protagonist (not transmits me anything). The argument is conspicuous by its originality, and I have to say that the resolution found me of the strangest I've ever seen (there will be more than one to say that it was foreseeable, that oracles are not missing). Development hooks and you get caught, although he fails to get you into the mind of the murderer. And it is that it is very difficult to describe odours. Nothing more to say, that you should go to the cinema to see it.In short, intriguing, dramatic, evil, raw and essential history of a type without smell which extracts his fine young for "perfume". I dare not recommend, given that my opinion in this case is very personal, but I was delighted.

archivos_extraidos/MCE-Corpus-main/Dataset/2764

Kiko de España

El laberinto del fauno

muchocine

Host who grilled me just the laberinto del fauno, unbearable tale of series b that will give you all the critical prestige worldwide to its director, my dear Guillermo del Toro, but found it me sleeping.

Host who grilled me just the laberinto del fauno, unbearable tale of series b that will give you all the critical prestige worldwide to its director, my dear Guillermo del Toro, but found it me sleeping.I'm fan of Cronos and Blade II, Hellboy, even Mimic, but this version of the story the shot of truth and with a pair of cojones Terry Gilliam shortly before.Aburridísima. It seems one of those games disappointing Psone, those who a decade ago you expect with desire and then is that in the background are vulgar, boring and notable.The photo, or music, or anything except the Verdú despite the accent, because Sergi is cliché.And I do short, that already has talked many people of this movie so embers. Ending Hellboy 2 one time that surely is more fun. ZZ Top is by the classical lyrics of sleep.

archivos_extraidos/MCE-Corpus-main/Dataset/1276

Alvaro Oliva

Rocky Balboa

muchocine

It is a worthy product, to finish a saga that has fallen in love with millions of viewers, and thus is rewarded. At no time is us to trick, because we all know what we will find, and the truth is that this gesture is appreciated.

Sylvester Stallone returns to put behind the cameras, to offer us a new vision of the Italian colt, once have already passed their time of glory, to show us to the person, the former boxer that recalls with nostalgia his days as champion.Of course Sly again encased the gloves, and despite his years, it is housed in the full form. In this sixth and final part of the adventures of Rocky Balboa, Stallone shows us the life which was the heavyweight champion. Widower and directing his Italian restaurant "Adrian´s", also show us a Rocky as a concerned parent who has a serious isolation with his son, that he is ashamed of the successes of his father, to have to endure a hard slab, which supposed to be the son of a celebrity. As no, problems including solventarán as well as the film comes to the point that interests us, when Rocky by chance, eventually accepted to fight with heavyweight champion is Mason Dixon.Todo this preceded of Balboa get you the itch to return to fighting, little to be living things, and as he himself says? I think that I still have some things in the basement? so after that starting point, and thanks to a virtual match dan television facing Rocky and Mason Dixon, the promoters decide to do real. All a tuning for both boxers.At this time, it is when the nostalgia become more evident, and when tenders us the heart, observing the Colt Italian exit along the tunnel from locker rooms and hear and see the crowd having shouting the name of the champion. A very interesting point is that the image changes to high definition, so that it appears as the typical sports broadcasting, thus giving a more truthful touch. The first round is the best of the film, and is where are all our feelings about this character that we have been seeing in so many films. Below, shows the rest of the match as a video clip with a devilish pace that takes us to the last assault. In short "Rocky Balboa" is a worthy product, to finish a saga that has fallen in love with millions of viewers, and thus is rewarded. At no time is us to trick, because we all know what we're going to find in this film, and the truth is that this gesture is appreciated.Up always Rocky.

archivos_extraidos/MCE-Corpus-main/Dataset/2681

Tony Astonish

Wolf Creek

muchocine

It is a small and delicate piece that details melt in an only objective: pass genuine fear with the horror live their protagonists.

While billboards are dotted all the years of abundant films that promise to fear, increasingly is more difficult to find any that really gives genuine terror. And that is precisely what get Greg Mclean with his film "Wolf Creek".It is difficult to talk about it without disclosing nothing of his argument and, on the other hand, it is better to do so to assist the surprises that we have reserved Mr. Mclean. In essence it's a journey carried out by three young people during their stay in Australia will be interrupted by something unexpected. While many see this film as an imitation to others that were already successful in his time, I think that "Wolf Creek" is very clever and that Mclean goes precisely of those references so that the viewer trust in his armchair thinking that he knows what is going to move to surprise you and terrify you.During the first part of the film, attended a quick but effective presentation of the three young actors starting their adventure through the wonderful and grandiose landscapes of Australia. While all seems calm and controlled, there is something that bothers us: as the actors, something we are disturbed, but we don't know why. To pass the facts, and when everything is quiet, we feel that anytime something bad can happen. And such is the case in a second part very well linked and finished in which all the elements fit perfectly, and where, we shall undoubtedly distressing and terrifying moments.The consistency of the script and the extraordinary interpretation of actors save some common mistakes in movies of this type. Excellent levels of the vast Australian desert and a soundtrack which conforms very well to the film are other details to keep in mind.IMHO, it is a small and delicate piece in which all details melt in an only objective: pass genuine fear with the horror live their protagonists.

archivos_extraidos/MCE-Corpus-main/Dataset/1466

Daniel Galindo

Bosque de sombras

muchocine

Despite being an explicit homage to classics of the genre, it's sometimes interesting to a filmmaker to cook a dish with the same ingredients and using the same recipe.

Newcomer Koldo Serra always made it clear that he wanted to make a film about solitary confinement which just fueling confrontation: the couple, between different social classes and cultures. The starting point, although recurrent, can be attractive. In fact during the footage we cannot remain immobile, expectantly to what is going to happen, deceptively abstraídos.A pity so much tension go to hell with a poorly resolved story that we of course not desvelaremos. Moreover, not the pen we esgrimiremos to unmount the work. We could do because flanks that attack has this directorial debut, although in view of the wide sleeve that gives so many stupid, stereotypical and absurd productions, here go to defense of the indefensible for a reason: is a modeling of film that is likely to improve.It tries to innovate, turning the established patterns. There is the fact that will fall good as flies, the main actors are those that look less at the end and be enabled psychological substrate to certain characters to be analyzed by a therapist specializing in family. Despite all the efforts it doesn't work as a product, perhaps to mix so many aspects and then not dissect well along a linear storyline, with few unexpected excitement peaks.Supernatural stories, with mysteries or by more fearless killers found in the forests of North Spain the best setting. But the scenario does not help much when there is more action than content and maintain many open doors, is why we feel a bit cheated. Does not the roster of stars, which also makes up a substantial interpretive material wasted in a journey to us seems irregular and poor.Even so we ensure that we must follow suit to Serra. Anyone have bought him the opinion nor nor the undersigned has gone mad: this creator in the making promises though his debut is not at all bright; It does so by risk, although it is wrong. It is not comparable but at times his creature reminded me to the luxurious who can kill a child?, Narciso Ibáñez Serrador, where the harassed became executioners and us was not strange.