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The Great Gatsby: feathers, kitschy, pearls and overdose of shit wrapped in silk

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Thursday, 16 May 2013 19:02

Most of the time, if you have nothing new to contribute it is best to say nothing. But Baz Luhrmann is seen can not keep his mouth shut. First we tortured with William Shakespeare, "renewing" Romeo and Juliet, then insisted destroy a work of Alexandre Dumas, The Lady of the Camellias, and after a insipidus (always excessive) claim from their homeland with Australia, decides mistreating another classic of literature, such as The Great Gatsby. And it's not a server that the novel seems to F. Scott Fitzgerald is the quintessence of American literature, but look how bad suerta has had most of its adaptations.

Poster for The Greta Gatsby critical

The fact is that, for a moment, it seems that yes, that Baz Luhrmann would recover both Truman Capote contributions apropiadísimas preparing for adaptation directed by Jack Clayton, who were ultimately rejected, as it was also going to take advantage the sociopolitical context in which we are now as a result of a society as wasteful as the one shown in the original novel, which would result in the Great Depression. But no. Although it would have been right and proper, not shown Nick Carraway as a homosexual platonic love Gatsby, and Jordan Baker as a lesbian captivated by the charms of Daisy Buchanan. Even worse, the sweetened version Luhrmann away even other issues reflected in earlier versions, such as domestic violence, motherhood doubtful or ambiguous sexuality. It is clear that an original and transgressive was asking too much, we're not talking about a filmmaker who has the need to express themselves artistically, but a craftsman eager to fill their pockets as much as Gatsby.

Baz Luhrman's film has exactly the same sense as the crazy parties organized by Jay Gatsby. None. Actually the mythical character parties if they do, no sense, but a purpose but just Luhrmann film lost between what is intended and what questions. Because Australian filmmaker shows no ostentation and superficiality of the guests at the holidays as a symptom of a decadent society, which is what I wanted Fitzgerald, but as the holidays that he would love to organize, the world would love belong. Contradictions that are present in the story when Gatsby evidence sometimes not interested in anything the people who come to his house every weekend while then vanagloriará of a mansion full of "interesting people".

Holidays in criticism of The Great Gatsby

The only thing that really seems interested in Baz Luhrmann is the love story between Jay and Daisy. A story that we see, but we have. Because The Great Gatsby is a film perfectly designed for an audience that has not seen previous versions, nor read the book. And look at that in the United States is required reading in schools. So much so that no one can misinterpret any ambiguity as to have the possibility of getting lost in a story as clear and obvious as this, the voice of Nick Carraway, not only serves to introduce us to the story, but to explain it in great detail . Too bad that even he understands well, because what he says is not far from what is shown.

Carey Mulligan and Leonardo DiCaprio

Personified in Carey Mulligan, Daisy Buchanan is not as overwhelming as it was in the form of Mia Farrow, but much more clearly transcends the superficiality of its fickle nature. While getting Robert Redford itself be fascinating as Jay Gatsby, Leonardo DiCaprio is determined to jump off a dramatic record in true slapstick sequence-tea at Nick's to leave the room-and sometimes touching melodrama desktop or to pathos when the character says is 32, when it turns out that although DiCaprio has 39, representing a 45 (or more). To say that the contribution of Tobey Maguire is just, it's almost too much. I can not say it's mediocre, but it also tells me that much. I do not understand how it makes for a physicist actor Joel Edgerton out so ugly and unpleasant, but in that sense is very much in line with Fisher Island, which offers a Myrtle Wilson as an ordinary unbearable whose best time is definitely when lands on the pavement. Another character is totally wasted Jordan Baker, played by a bland Elizabeth Debicki transmits only slap a uncontrollable desire constantly.

Isla Fisher, Joel Edgerton and Tobey Maguire

From my point of view, the error is precisely follow exactly the book (or the previous script by Francis Ford Coppola). Reading is an individual experience, one establishes the link with Gatsby through Nick, which we fully understand your fascination. But in the movie, in this and in previous, although begin and end with Nick, it only serves as a conductor, revealing Gatsby himself as the true protagonist of the film. Above, not match that counts Nick, what one is seeing on the screen, the confusion is total. Add to that the repetition of sequences copied from the version of Clayton, from that poster oculist to the curtains in perpetual motion or sequence of shirts, boredom intensifies. This attempt to provide more depth to the story, trying to identify Nick Carraway with the writer himself, not only does nothing, but lack evidence of originality and interest of Baz Luhrmann, finally unmasked as a true modern cheesy with some slight ability to create harmony between the rhythm of the music and their pathetic empty images, full of kitschy recalcitrant in high heels, full of feathers, beads and all kinds of shiny ornaments that surely will serve influence to drag queens the world, to be the best out more and take out of the film, as it did with Moulin Rouge.

Elizabeth Debicki

Not power, not even that I can say that photography is very nice. Because no big deal, and the production design either. Only the lucky excessive costumes and musical selection , make projection more enjoyable, resulting partly disappointing that they have decided to turn the film into a musical à la Moulin Rouge. That if I can not but regret the use of the wonderful theme of John Adams, Luca Guadagnino used dramatically in Io sono l'amore . To say that use is a anachronism is a little out of place, because it is the only issue and contemporary sound that is used, but it is an absolute waste resulting emotional like quite the whole movie. And if it is a waste of time in its standard version, 3D viewing and long story.

2 star

The entrance The Great Gatsby: feathers, kitschy, pearls and shit overdose wrapped in silk appears first in Extracine .




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Ali: the not so fabulous destiny of Alicia

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Thursday, 16 May 2013 15:37

The first works have a great virtue and equally great danger: the virtue of making its director (and, hopefully, also his cast) film on big promises and open the doors to success, but at the same time The danger of going unnoticed or, in the worst case, to cause indifference, staining and race who recorded his name on it. Now, let us in the worst case, because it is invisible Ali footprint. Or at least pointless, in spite of their presence at festivals and have been praised by critics and a jury will have to forgive me, have fallen into the trap of small stories that want (or have to) be simple, fall in the simplicity.

Ali (2011), Paco R. Toilets

Ali is Amélie, although Paco R. Bathrooms have fancied you want to attach to this, his first film, the charm of the French film mixing, however, with a much more raw reality of Amélie Poulain. This film is not the first to use the narrative structure of Amélie in an attempt to relive their success (and it will not be the last). The only problem with this tribute is that in the case of Ali remains in the structure, the intentions (better or worse) in the fact that, as Ali the debut of its director, automatically acquires promising adjective. And then, at this time, when they get disappointments.

By supporting (certainly not enjoy) poor 90 minutes of footage, make an attempt to delve beyond the surface for what its advocates see that the director wanted to express. But as much as I insist, I can not enter that Ali wonderful world that I speak, nor see in this film a novelty. Ali I do not see but a constant love and I can not but ascribe to Spanish cinema, in particular, the filmmaker and his terrible taste in choosing its characters (do not understand the criticism you want to convert to Nadia de Santiago in the new actress Spanish cinema revelation nor as Veronica invaded, which I adored in my childhood, it may turn out to be in this film so very tiresome).

Paco R. Bathrooms talks about his characters through the details. Try to define your personality using small features, plans to bring us closer to its daily but which, however, fail to enter their essence, their motivations, their fears, their challenges. As viewers, we were in the waiting room without being able to ever happen to the query in which the characters are dissected through it to be understood. The characters are, well, very flat and connecting with them becomes impossible. And as a spectator, one film that fails to build the characters, coupled with the poor quality of his dialogues, good intentions lose value and thus the film as a whole.

Ali (2011), Paco R. Toilets

At the end of this film, a new cliché for cliché is called Ali: Ali lost the fear of driving and falls. Or falls and loses the fear of driving, not good in what order happens (not even matter). Anyway I must have fallen asleep at the part where there is a real change in the protagonist, or that, or is it simply that there is no transition time and the director leads directly to the result without having shown the details of a much improved play. Forgive me too, Mr. Bathrooms, not see the poetry in that walk down the aisle of the supermarket frozen, not to believe what he tells me, to think that a CD is not enough for your character suddenly lose the fear love or a movie like this reason enough to go to the movies.

The message of this film is so fuzzy that I can not decide if I hate or really all I wake up is the greatest (and worst) of indifference. Anyway, Ali is a mediocre film, with a screenplay indefinite ominous dialogue and a cast that does not contribute to highlight those moments of lucidity due solely to photograph some of their planes.

Ali (2011), Paco R. Toilets

All that music and some images do to turn this film into a film interesting, their dialogues typical of a low-budget series are removed. Those parties that claim to be comic dialogues, I find pathetic. Either that, or I can no longer find (if they ever did) the charm to bland dialogues. Ali is just one of the myriad of potential films which do not reach their aesthetic aspirations or get excel because of a series of unfortunate disasters Unfortunate ending in more for the viewer who had deposited a minimum interest in this film than for a new director who has not received all the (bad) meal even.

1 Star

The entrance Ali: the not so fabulous destination Alice first appears in Extracine .




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Cannes 2013: Simple Guide for the official (and 2)

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Wednesday, 15 May 2013 20:29

We completed the tour of the official selection at Cannes 2013, it will be shut out of competition by Zulu, starring Orlando Bloom and Forest Whitaker and directed by Jérôme Salle, set in Cape Town, showing the hardness of apartheid and its effects on some townships called villages. Twenty films are competing this year for the Palme d'Or, if we showed you ten of them , here are the other ten.

Official Selection Cannes 2013

The Vénus à la fourrure

Winner of the Palme d'Or in 2002 for The Pianist, is only the third time that Roman Polanski film competes in the Cannes official section. Member of the jury in 1968 that he would resign in favor of the protests of May '68, and president in 1991, is the first time that competes with a film shot in French and starring his muse and wife, Emmanuelle Seigner, next to actor and filmmaker Mathieu Amalric, who won a couple of years ago the award for best director for Tournee. it is an adaptation of a famous play by David Ives, which revolves around a theater director after searching for a long time the protagonist of his work, complete obsessed with a candidate who seems to understand first-hand the needs of his character, establishing a dangerous sadomasochistic relationship with their manager.

The Venus à la fourrure in Cannes 2013 official secciñon

Borgman

First time the Dutch filmmaker Alex Van Warmerdam competes in the official section, although it was present earlier in Cannes with ten Kleine (Little ony) in * Un Certain Regard section. The story centers on a mysterious character, Camiel Borgman, which arises in the quiet streets of the affluent suburbs home to hit a bourgeois family. And with what strength.

Ware no tate (Shield of straw)

A priori we would not say a filmmaker Takashi Miike is typical of Cannes, but the truth is that Wara no tate (Shield of straw) is the second of his films which competes, which seems to unify the two aspects of his recent films, the more violent with more reflective, through calling a billionaire bent on revenge for the death of his granddaughter spear through the press: "Kill this man and you will receive 1 million yen as a reward." The man is question is only a suspect, but what would be the journey of two policemen escorting the suspect to Tokyo will become an urban western uncertain end. Surely you remember the protagonists: Tatsuya Fujiwara * Battle Royale and Matsushima Nanako Ringu (The Ring: The Ciruclo).

Zhu Tian Ding (A touch of sin)

Third film from Chinese director Jia Zhangke in the official section of the Cannes festival that offers a look at contemporary China through four characters. Dahai is a miner exasperated by the corruption of the leaders of his people, San'er is a migrant worker who discovers the endless possibilities offered by your weapon, Xiaoyu is a receptionist in a sauna and harassment no longer supports a rich client, and Xiaohui goes from one job to another in increasingly degrading conditions. Four characters, four accounts that reflect a society with a colossal economic development is gradually being eroded by violence.

Only God Forgives

Recent winner of the award for best director two years ago with Drive, the Danish filmmaker Nicolas Winding Refn returns to Cannes to present Only God forgives, again with Ryan Gosling, supported now by Kristin Scott Thomas. And back again resorting to clichés of genre cinema to articulate a story that revolves around a revenge in Bangkok in which a policeman involved Thai and British gangster.

Jeune et Jolie

It seems that François Ozon has been a prophet in his land. After submitting Swimming pool in the official section for a decade, is the second time the festival accepts another film of his, but was present in other sections on four occasions. Marine Starring Vacth, his film is defined as a portrait of a 17 years through four seasons and four songs.

Soshite chichi ni naru (Like father, like son)

Third film from Japanese director Kore-eda Hiralu in the official section, again, again revolve around the family. In this case the Ryoata forming one of those architects obsessed with professional success, and his wife, along with his son of six years. All reerencias crumble when he is informed of who the servant as his son is not, and has grown his more modest means.

Soshite chichi ni naru (Like father, like son)

Nebraska

In addition to jury duty last year, Alexander Payne had been in competition featuring About Schmidt. With a cast headed by Bruce Dern, is now back to present the journey that make a demented alcoholic father, with his distant and patient son, from Montana to Nebraska with the excuse to pick up a prize of one million dollars, which is supposed livestock. Filmed in black and white, the trip will help the father reunited with his past and himself.

The great beauty (The great beauty)

You may Paolo Sorrentino got the Jury Prize with Il Divo, exactly five years ago, and that this is the fifth of his films competing for the Palme d'Or, but after the fiasco that turned out to be the place This muse be a server no longer expect much from this film his new aristocrats full of boring, greedy careerists, corrupt politicians, criminals of high standing, journalists insatiable egocentric players, decadent nobles, artists three fourth, shoddy intellectuals and endless characters who weave a postmodern Babylon contemporary living la dolce vita.

Behind the candelabra

In Cannes was precisely where the journey began when Steven Soderbergh, a little over two decades, received the Palme d'Or for his debut, Sex, Lies and Videotape. Only twice casting a film get the official, to end his career with the unusual biopic of Liberace on the fourth occasion. Ironically finally will not be released in theaters, but still has been accepted into the festival. Michael Douglas and Matt Damon star in all this eccentricity.

Admission Cannes 2013: Simple Guide for the official (and 2) appears first in Extracine .




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The Butler: ¿cine history with the telefilm large Aspiraciones?

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Wednesday, 15 May 2013 14:14

The stories based on real events always run the risk of spending caps. But if a filmmaker like Lee Daniels managed to do with taste and forcefully a film like Precious, without at any time to cross the border even melodrama, nothing suggests that The butler is not to repeat the same feat, unless you we look at its trailer, because I'm not sure how to tell if a flat is closer luxury-Movie desktop or a purely entertaining film. After the failure of The paperboy, festivals and passing by unnoticed billboard, recalls the spirit of his previous film to tell the American recent history from the point of view of Eugene Allen, a White House butler who served during the mandates of eight presidents over three decades.

Forest Whitaker is Eugene Allen at the trailer for The butler

What we enjoy is safe with a cast led by Forest Whitaker, who stars in a film that is surrounded by a magnificent cast including Oprah Winfrey, Liev Schreiber, Terrence Howard, Vanessa Redgrave, Cuba Gooding Jr, Alex Pettyfer and David Oyelowo. And all this without counting what will undoubtedly be the highlight, to see how they operate John Cusack as Richard Nixon, James Marsden and Minka Kelly as John Fitzgerald Kennedy and his wife, Alan Rickman and Jane Fonda (I worried about its appearance in the trailer ) as Ronald and Nancy Reagan, or Melissa Leo and Robin Williams as President Eisenhower and his wife.

Oprah Winfrey at the trailer for The Butler

If you add that Lee Daniels repeated with two of the most exciting presences were Precious cast as Lenny Kravitz, who then has lavished on The Hunger Games, and Mariah Carey, who surprised more than one interpretation of working social, it is clear that in terms of the cast of The butler, the project is seen as highly interesting. I wonder if there will finally be fired Forest Whitaker agent involved in projects you insane as Repo Men or The experiment. It is true that perhaps have been too caught up in the small screen with a show like Criminal min: Suspect Behavior, but the truth is that we have to go back seven years ago to recall one of its most interesting interpretations, such as that offered in The last king of Scotland. Is the interpretation of this Butler recover an extraordinary actor? Hopefully will be the case.

The entrance The Butler: historical film or TV movie with great aspirations? appears first in Extracine .




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