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ACCION: Reviews

ACCION: Reviews (78)

About Time ****

14 Oct 2013 Escrito por
About time, endearing romantic comedy from the director of Love Actually.
Both in his role as a writer of films like Notting Hill, and in his role as director of Love Actually and The Boat That Rocked, Richard Curtis has always been reliable for treating type romantic comedy, because their romantic entanglement frames always have something more behind. That's exactly what happens with About Time, a film which presents the characteristics of a comedy family group, then introduced the key fantastic journey through time, develops into romantic comedy and finally ends its route, with consistency, where it began: in the family.
Thus, what might have been the typical story of boy meets girl, boy loses girl, boy gets girl, actually becomes a story of parents and children, husbands and wive, brothers and sisters. All this in a key characters and situations that are especially more or less close, despite the narrative device of time travel, which serves only as a tool to start the tradition is far from being the artifice to which we are accustomed to the science fiction movies.
As it did in the case of Love Actually, the engine of the cast is the director in that overflowing personality on camera that is the great Bill Nighy, an actor capable of lifting an entire plot, as impossible as it is, simply winking an eye or raising an eyebrow. Incidentally, seeing him explaining the process of time travel fiction his son, Domhall Gleeson (son of Brendan Gleeson, another great actor of our day), I found it impossible not to think that Nighy would be an excellent Doctor Who because in this film is the perfect bridge between the manners and getting fantastic fable accept this approach as spectators travel all the time that the writer-director seems to want to forget as soon as possible to get into what really interests of its history, that is human relationships, how we live, how we spend our time, and especially how we burn our lives without realizing it, living different times and days of the same with too rushed to enjoy them. And sometimes even are doing several things at once. Lack of time is thus the real engine of this love story which concerns not only the couple but also the affection between parents, children and siblings. And finally one of the film out before heading remembering table tennis with father tangles with blond sentimental turn.
About time also has a very defining scene of all the key films of this writer and director, who once so cynical as ours has the guts to raise a cinema that speaks of the family as the center of their stories.
I mean the way they solve the second meeting of the protagonist with Charlotte, the impossibly beautiful Margot Robbie (her appear on the screen automatically shot me in the head Shoot Thrill, AC/DC ). The interesting thing is not so much as the protagonist reacts to the temptation of Charlotte (you know, AC / DC: i got my gun at the ready, gonna fire at will), but the decision taken as a screenwriter Richard Curtis to the possibility of carrying his comedy by one way or another: give in to the temptation to assemble a triangle romantic entanglement in plan ? You have to see the movie to know because I will not do a spoiler, but notice that construction is a time in history that defines the entire film and its protagonist. And by the way, when you see it, ask yourself what would you have done, which is something I always liked Curtis plant in their scripts: putting traps the viewer. It's another way of getting involved in their stories even more .
Facing Margot Robbie have the other engine sentimental plot, Mary, played by Rachel McAdams. The two females are alternative paths for the hero of About Time, but the love story going the other way. And so Richard Curtis gets back some of the tone of the film by Frank Capra at the same time giving another twist to the romantic comedy a more solid looking for him at his usual simplistic approaches emotional trap.
As for the time travel, is the example of European cinema 's ability to deal with more flexibility and maturity narrative resources of different genres against clear inclination stiffness usually proposed commercial American cinema . Curtis even allowed the luxury of including a nod in the dialogue:  Nighy talking about the butterfly effect. Do not expect complex narrative style loops Looper or mirror universes of Star Trek style in this story that fable about the possibility of time travel as a resource only to tell us about people and their feelings.
Miguel Juan Payán

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Captain Phillips. Excellentmovieofadventure and intrigue. Tom Hanks is postulated to be nominated for an Oscar.
"You have to be strong to survive." This is made clear in foreboding tone Captain Phillips played by Tom Hanks shortly before leaving his wife to deal with a new stage of work away from home in the sea. A distant sea. Because the seas are always away from home in the life of a sailor. They are the opposite of home. The last redoubt where adventure survives as always was on this planet that new communication technologies make us think that it has become very small but still enormous. Paul Greengrass gives those first moments of its history an almost documentary like something out of a story for television about real lives.
The same is true of pirates led by Muse, played by Barkhad Abdi . The director devotes equal time to show the beginning of his journey as a pirate, recruitment, boats on the shore ... Applying maximum simplicity to a narrative style report gives us a lot of information about how piracy networks in Somalia . Their motivations . Their desires and interests.
The main success of Captain Phillips is that with these early stages and is defined as an adventure story all the way, but without Manichaeism topics without heroes and villains. Despite what he says the tagline of the film in Spain ( "Nobody chooses to be a hero " ), its characters inhabit not white or black, but gray. And the viewer knows the story from the point of view of Western sailors and pirates. In fact, as viewers we experience chasing the boat with the pirates while the experience of being persecuted.
Another interesting detail is the hybridization maneuver film genres that Paul Greengrass presents us with great skill. The film begins as a plot of adventures based on real events. But half of footage, once contact is made between the two protagonists, the U.S. captain and the pirate, begins to change to become a competent exercise of suspense.
The third success of the film is that at that time, when it would have been very easy to get carried away by the melodrama and put on a show to escape without more, choose instead to continue to observe herself respecting its characters and situations. Captain Phillips hits resigning to become another installment of morbid events page and continues to maintain the same tone of sobriety. No intrepid military introduced that can steal the spotlight at kidnapped and the kidnappers. No plot outputs easy or free heroism action movie. None of Chuck Norris and Lee Marvin saving the day in Delta Force (Menahem Golam, 1986 ). The contrary. Rescuers are shown almost like a firing squad, with all readings that carries with it such an image.
That seriousness in the proposal is present from the time after the speech about strength, survival and the world that we are leaving our children in the West, the film connects with the world of survival where hackers live Somalis. What's whole critique on how we see the world from us and how they see it from the opposite side.
If movie plot development is a cross of genres from adventure and intrigue, with regard to its subject is an example of cross-cultural and looks. The first world's look at the third world and the third world returns that look. And in this clash of two worlds discovered that all to one side or another, we are on the edge of the abyss. Captain Phillips gets to look to the bottom of that abyss and feel dizzy, using a type of narrative that hits the camera to the characters and visually puts us inside the action at all times. But it also has all the elements of intrigue film. We are invited to a hunting game in which we are both hunters and prey, victims and executioners.
The first hour of movie passes without you knowing about. We are totally into the action. Then the change of situation in the kidnapping and the coming into play of Navy ship of the United States is produced with a fluidity that opens new possibilities to the story and characters but as I said before without steal the spotlight captain and pirates. Also with regard to the pirates, develops an interesting subplot about the struggle for power within the group of attackers, which adds more intrigue to the end of the story .
And hovering over all this , at all times , the same idea of the clash of cultures without falling into the trap of Manichaeism event page , as exemplified by the dialogue between the captain and the pirate who leaves everything pretty clear :
Phillips : There must be another way to make a living for a fisherman than kidnapping people .
Muse : Perhaps in America. Perhaps in America ...
By the way, I said that Hanks is postulated to be nominated for an Oscar, finish the job with the medical examination, but do not lose sight of his co -star in this story, Barkhad Abdi, whose work reminded me at all times Lamberto Maggiorani in the classic Italian neorealism Bicycle Thieves (Vittorio De Sica, 1948 ). He deserves his own nomination to be a real punch really.
Miguel Juan Payán

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A vibrant and animated  knight tale and family adventure. If a year ago we praise the work and the good doing of those responsible for Tadeo Jones, this September we can similarly celebrate the arrival of Justin, a Spanish film that can compete at most levels with any foreign production and further having Antonio Banderas as a producer and also giving his voice to a character . It is a product of adventures , intelligent in its approach, simple and well prepared to start the biggest smiles and entertain the little ones. And we hope it has the same success that Tadeo Jones had, of course.

A young man who dreams of being a knight in a kingdom in which law firms have filled the streets, to the point of making complicated to protest about a piece of bread, or having a pet (by the way that criticism of our own world is there and is as simple as effective ). Even the knights are banished. So when the threat looms over the kingdom, perhaps the only chance they have is that of young and inexperienced Justin. He will face tough training, peculiar dragons, a brat princess, tin knights, waitresses with character and a villain really dangerous. And if we should say that the film is made ​​by almost any American or European study (except for Pixar ), we could believe it perfectly .

Gradually the animation industry based in Spain is improving and Justin is the proof. The technique and technology improves, the camera movements become more risky and bald, the projected market increases ... until the point that Manuel Sicilia film has in its cast English names like Freddie Highmore, Saoirse Ronan, Mark Strong , Julie Walters , Rupert Everett , Alfred Molina , Charles Dance and Tamsin Egerton . In addition to Antonio Banderas , of course. And in Spanish we have Inma Cuesta giving life to the waitress Talia. All of it for a story full of humor, but also adventures. And humor often devoted to parents (the magician mix of Gollum and Carlos Jesus ... yes , yes, Ganymede... a joke made just for Spanish audience, but a great one) and the references from Excalibur to The Lord of the Rings. Keeps the kids entertained but also convinces adults with humor, sometimes just great.

Maybe it has a part that it’s less entertaining, the burden of the characters through a story that during a stretch is somewhat slow and hard to digest until the action and adventure return to the fray. With pure surrealistic characters ( Sota , the little monk , magician Melquiades ... ) that are hard to forget . And when they are not surreal, they are charming (Talia, Justin, the grandmother, Heraclio when he is the villain...) It is not perfect because the Spanish animated film industry continues to grow and has these little bumps of pace. But can compete with anyone and will delight fans of adventure films or knights movies.

Jesus Usero.

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Family United ****

10 Sep 2013 Escrito por
Daniel Sánchez Arévalo returns with a sensational comedy in the spirit of Primos​​. And I know it's not fair to compare the two films that have nothing to do with each other in terms of the plots, personal stories and dramas that arise. Primos ​​was lighter in this regard, lighter in many respects. But the subtle humor, intelligent , surreal and effective is very present, as the attention to detail and the staging of the director, as the sensational interpretations or betting to make a movie with the clear intention to fill movie theatres as Primos ​​did . And with intelligence , human drama and contagious humor.

Who would have thought that Spain would reach the World Cup final ? With that premise the film takes us back to 2010, with a large family in which the little brother is going to get married on the family estate, the day that Spain plays the World Cup final . And the wedding does not go as expected. With that idea begins this complex film about a family, five brothers, and the relationships established between them, those recovering and those that were lost. The reunion that brings out the dirt under the carpet, the fear of loss, loneliness, jealousy, youth ... But do not be alarmed, this is a comedy. And, as in real life, the only way to overcome a problem convincingly is with humor.

A humor that revolves around football, sex, family dysfunction (not just the film’s, yours, mine ... those of any family ), love ... with great subtlety and a surreal point trademark from Daniel’s movies, as that conversation going on continuously between Antonio de la Torre and Roberto Álamo after an incident at his father’s. Or de la Torre’s soccer fan daughter. Or the grandmother. Or everything Roberto Alamo makes. Or Raúl Arévalo’s cameo. Or the cousin at the wedding. Or a surreal accident. Or that wonderful talk to two bands between the two families of the couple when a "terrible" secret is revealed ... that starts laughter in the room.

And what a cast. From Quim Gutiérrez to Antonio de la Torre, through Patrick Criado, Roberto Alamo, Veronica Echegui, Hector Colome, Miquel Fernández and Arantxa Martí. I don’t want to forget Sandra Martin, a whirlwind that sweeps where it falls and can be the revelation of the film no doubt . A film with a shocking end, but hopeful , sincere and tender that explains a lot and leaves open the future, life . Although the story of the three youngsters remain somewhat less determined or less convinced me in the end . And all with the World Cup as background, that gave a little joy to our country and also in the film fits like a glove. Again, Daniel Sánchez Arévalo proves he is a sensational filmmaker. Otherwise one of the best films of the year, one of the best comedies, and the best thing to see in theaters this weekend. Because it deserves it . If you liked Primos​​, go for it . And if you like to laugh, too. It won’t dissapoint you.

Jesus Usero .

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Rush ***

09 Sep 2013 Escrito por

Rush: thrilling ride through the world of Formula One. Among the best of Ron Howard.
It's funny what happens to some sports and especially with automobile racing: are very spectacular , even epic , in the field or on the track , but outside of its natural environment such characteristics are very difficult to translate into film . This is the first challenge for Ron Howard in Rush. The second was to build an accurate and at the same time dramatically interesting of the two real players in which the film is based . Their duel on tracks provides exciting character, epic action film , but that's not the most interesting or most difficult. The most interesting and the most difficult was to move the screen all those moments of confrontation between the two and their private lives. And do not fall into the topics that are usually common in the slippery and often unsatisfactory biopic territory. I think Ron Howard has overcome both challenges with skill, building a film that stands out in particular the balance between moments of action and dramatic moments . That gives a good pace to the whole. The director is right to build his film about the characters, instead of falling into the trap of turning over all their interest in racing. Howard carefully manages moments of action in this story that it reminds me two films that I like most of his films : Apollo XIII ( 1995) and The Missing (2003 ). In its Space Odyssey Howard applies an intimate tone even to the epic moments. Despite its many special effects, Apollo XIII remains so an actors movie. In The Missing, a western arguably very close to The Searchers, again set to the actors and their characters in front of the plot. Shooting, action and Chase sequences are very dosed. That produces a western so atypical as interesting which explores the genre in a very unusual way. Again this is a film of actors.
The same approach is repeated in Rush, where the duel between Niki Lauda and James Hunt is served by two very different actors whose pairing could in principle risky, but that has proved very beneficial for the film. Ron Howard putting it plays a movie star and film superhero blockbuster like Chris Hemsworth , Thor of the Avengers , opposite Daniel Brühl , an off-road actor able to follow in the footsteps of any real character or fictional in a perfectionist key that brings closer it to the own Niki Lauda. The result is that Howard offers a version that departs Hemsworth from which we have used the actor and gives a more complete picture of his talents as an actor, while allows Brühl deployed as a real predator planes perfectly understood that one of the essential keys of the film was to bring the real duel Hunt and Lauda to his fictional characters . And I had to find it not easy to unravel the keys of a complex character while mythologized as Lauda . The risk in biopic is always caricaturing real characters for the benefit of imposing narrative drama and fiction film . If something must be always clear is that any movie is the truth about any subject or real person. Nor should it be. The film can´t replace or replicate reality . Is precluded by its very nature as a show and his own identity as a result of escape and entertainment. Therefore should not require the absolute truth about anything or anyone to any film, much as we present under the promotional ad " based on a true story ".
Repair that " based on a true story " is not the same as " a true story " .
So we should thank Rush not often fall into the trap of melodramatic embellishment of events or characters. The best example is how he treats the Hunt and Lauda relationships with women, with the greatest economy of footage, sometimes drawing a single plane or a glance to let it all clear to subtract anything real space theme of the film, which is the Lauda -Hunt match. Some might think to include in the story Lauda passing by the hospital is a concession to melodrama, but it is not. These sequences in the hospital are not a concession melodramatic, but an essential piece to understand the conflict between the two protagonists, which are two sides of the same coin in the competition: both united and faced by racing. Shows the consequences of that duel and also addresses the true nature of the deed of Lauda , which further reinforces final decision in that competition with Hunt, and on the track itself. Everything is linked and if anything can boast this movie is to be a very balanced puzzle in which very accurately fit all parts.
The result is a perfect film for fans of racing, a show very balanced and interesting even for those who have not seen one of these races in his life, and one of the best works of the director. Especially shines a great Daniel Brühl.
Miguel Juan Payán

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Fast & Furious 6 ***

17 May 2013 Escrito por

Here comes the most fun, wild, frantic and autoparodic film of the whole saga. And, if it's worth, it says so a guy that has never felt the least appreciation for the series, at least in its origins. The first installment, as most of Rob Cohen films, I found it boring. The second had no sense at all. The third was another very boring movie. But from the fourth installment ... Things changed and changed for good. Maybe because they found how to solve the formula exhaustion, by a group of actors returning to the original, and because, from there, things grew, adding new popular faces, joining the team as if it was a Mission Impossible and leaving aside the racings for a little more urban action, with shootings, fights and foot chases that worked. The script still wasn’t good, full of platitudes and impossible situations. But at least there were laughs and they were taking it down the path of healthy messing and visual barbarism. In the best sense of the term. Thus came Fast 5, the best in the series so far, and so it comes Fast 6 which surpasses all, or nearly all, of the above. As an example. During the press screening there was a time when journalists, people often known (me too) to be as expressive as an artichoke, started clapping, laughing at a memorable moment. Entering the game proposed by the film. And all this works great.

It works partly because Justin Lin has already completely caught the hang of the series, after four films in front (this is supposed to be the last for him), and knows all the mechanisms. On the one hand, provide a vehicle for action and visual sprawl without fanfare, but the most spectacular way possible. Two, handle a cast full of stars and popular faces in which the ego could cause havoc, but still they keep coming back film after film (except when a character dies, which also happens… or not). The director has managed, with screenwriter Chris Morgan which also carries its own in this franchise, not to let the series to stagnate in the underground racing and visual style. A style that has been refined over the films, from outdated video clip in the third, to something more elegant every time, with touches that blend the Bourne saga and Mission: Impossible. Because this saga has already become a spy one, but with criminals.

In this sixth installment they travel through Europe, from the beginning in the Canary Islands to London to the return to Spain, without forgotting a walk in Los Angeles. A journey across the world where technologic toys are used more and more, more powerful cars and action scenes growing wild. But with an irreverent sense of humor and autoparody, like that great scene in which Tyrese Gibson starts going over the villains photos and their counterpart among the good ones. Or that other great moment when the great character Ludacris plays, receives a call from Dwayne Johnson's character and we can see his name on the caller ID. Or another sensational outburst such as the visit of these two to the BMW car auction. There is laughter.

The return of the major players and stars that have met along the way, brings us back to Vin Diesel, Paul Walker, Dwayne Johnson, Elsa Pataky (although she is less in the movie than I would like), Jordana Brewster, Tyrese Gibson, Ludacris, Sun Kang and Gal Gadot. We have new ones, Luke Evans (the villain) and the amazing Gina Caranor. And of course, Michelle Rodriguez. And, yes, they even take the time to explain why she is still alive. And yes, this time we finally know what the hell happened in Tokyo and how it all fits in the series, something more than one was asking from the previous film. We will also have a big surprise final scene for the next installment of the series. Although, on some websites they already have spoiled who appears ... Bad move.

The film is actually an action scene after another, each more exciting, from London to the tank chase in Spain, to the explosive finale. And knowing well the material that they're up to. If you hire Gina Carano is for her to fight. And if you have The Rock is to fight. If it’s possible with Diesel or against him. All of the aforementioned works on screen greatfully. As a Swiss watch. Obviously it still lacks a strong script, but it’s not necessary. The family issu begins to be somewhat dog-eared, but we go accept it because that's what the fans expect. But it gives the movie a "naive" and Disney sense to the heart of the plot, but as they take almost everything as a joke ... it does not matter. Perhaps the more important script issue realys on the "resurrection" theme, which is... well, in line with the series. We also have a small bump in the rhythm that the previous one had not, but it is forgiven soon. The rest is pure adrenaline.

So the Fast & Furious fans are in luck. Especially if you enjoyed Fast Five. That's the line that the movie follows, taking everything a step further. Bigger, more fun, more wild. Mixing the base elements of the series, with others like the Bourne saga or Mission Impossible or James Bond himself has jumped on that bandwagon, too. You can see it the fighting scenes, the technological gadgets and adventure itself. It may not be the best movie of the summer. But it will certainly be one of the most entertaining. If we don’t go to the movies expecting a Haneke film, of course. Here we know what we we are going into.

Jesus Usero.

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Iron Man 3 ****

22 Abr 2013 Escrito por

Iron Man 3 is better film than the previous two and a worthy character continuity exercise for The Avengers.

Mission accomplished. After the very good proposal superhero film was The Avengers and having two films with the character ahead, Iron Man 3 will be played at the height of the circumstances and complete the trilogy with no disappoint the expectations created in the public by all of this earlier, but not get caught in the shadow of the same, that is finding its own personality as a third part of what is clearly an end by first cycle of the adventures of Iron Man, which is highlighted by the closing credits. And it's a luxury brooch for that first cycle, both in his script, capable of providing new and interesting things about the character and his world rather than just being a continuation or copy of Iron Man and Iron Man 2, as in his how to establish a turn necessary for the central character itself.

That twist is that Iron Man 3 makes me seem the most mature and robust of the three films made so far on the Marvel Comics superhero. It is most interesting in its proposal and less willing to be mere pretext for explosion visual effects supported by the undoubted qualities of self-parody of Tony Stark, in which Robert Downey Jr. incidentally found a territory perfect for exercise testing a mirror of his own stardom. Since its first release this saga has been drinking heavily on the capacity for self-parody. That's what made Downey Jr., through the character of Tony Stark, was the soul of The Avengers exerting its, in my opinion not sufficiently valued and outstanding ability to combine that function simultaneously as humorous engine of the group with the construction of the figure of the epic hero. Downey Jr. and Stark reached its highest dramatic performance in The Avengers, and that was not easy exercise pursue his solo adventures in Iron Man 3. But the film passes the test with a remarkable high and becomes this writer's opinion the most complete in the trilogy, cinematically speaking.

It should be noted that greater maturity as a film involves a more rested in his boot, as it happened to The Dark Knight Rises the film with which this Iron Man 3 share the same nature closing trilogy and more decision when to turn the humanization of the hero at the center of its plot, and a stronger principle that takes its time to hand out the game pieces on the board. Saving all distances between both productions and both characters are completely different, Nolan film and this third adventure Iron Man film addresses the same issues: the wounded and fallen hero, his descent into hell and his redemption and rebirth once achieved its goal, which is nothing, in both cases, to get to know themselves. The best thing is that Iron Man 3 is completely true to the character of its protagonist and the key bullish and optimistic tone of the rest of the series and consequently where most tragic reign and dark tones of the always very tragic and dark Batman story, finding himself more than Tony Stark's mask odyssey translates into exciting but essentially cheerful, riddled with humor, parody and verbal and visual jokes that make a lucid satire able to go beyond their own superhero genre, reaching through the character parody of Mandarin delivery xenophobia and ethnocentric passionate topics inspired by fear and social unrest presided action movies and American evasion of the 80s and 90s. It's a parody but at the same time is also something of a nostalgic homage director and screenwriter of Iron Man 3, Shane Black, at that harvest and avoidance action adventures who knows for contributing to it as a writer some of its most prominent examples such as Lethal Weapon series, The Last Boy Scout, the unjustly underrated bust interesting Last Action Hero, or the failed The Long Kiss Goodnight, who nonetheless anticipated the warrior girls frames later popularized by the series Alias ​​and movies like Resident Evil, Tomb Raider or Underworld. The film is adorned with different visual and verbal hints such productions including, for example, the protagonist's dialogue when trapped by the villains but does not hesitate to threaten, an echo of a similar situation played by Bruce Willis in The Last Boy Scout and other played by Mel Gibson in the Lethal Weapon series. The image of Tony Stark dragging his armor in the snow is the best summary of the real subject of this third approach to film Iron Man character that has abundant moments even able to make us forget that we are watching a superhero movie, which seems a success for its intention to separate the character of Stark in his armor and treat it as an individual who is leaving behind her infant temperament to pursue maturity, a process in which coherence fully exercise buddy joins a very young and adventurous brilliant jokes with the possibility that even members of Heroes More powerful nations on Earth to suffer PTSD.

That leads me to also mention as a positive element fluency with which incorporate elements of continuity, which is one of the keys to the Marvel Universe in the comics, related to the events in The Avengers, mainly through dialogue, but fully integrated into the plot of the movie. It is an exercise that adds continuity and complete the plot rather than just being a wink, but take the opportunity to warn that there is a final touch as a joke after the long end credits.

I suspect some purist fans of the original comics Iron Man will not welcome the development applied to character played by Ben Kingsley Mandarin to meet the needs of the plot twist after presenting it as a kind of new BinLaden, but even these purists I challenge you to deny the necessary capacity for surprise and flight of more traditional topics of action films and that such rotation brings evasion and the corollary of this approach determined to balance the hero's journey to know himself with surprise which is the final development of the character of Pepper Potts, the girlfriend of the hero played by Gwyneth Paltrow.

Add up all the above to Guy Pearce as the villain with the most personality of the three films, ahead of the arguably more predictable and schematic antagonists of the two previous films, and will complete the scheme that leads me to say that the third is the strongest and best of the three films made until now on Iron Man

Miguel Juan Payán

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Oblivion ****

10 Abr 2013 Escrito por

Imagine that the final sequence of The Planet of the Apes, with Charlton Heston in front of the Statue of Liberty, can last for about 130 minutes of footage and have the presiding Oblivion visual key. This new foray Tom Cruise in the science fiction genre has reminded me many of the elements that led the classical and essential trilogy starring Charlton Heston in this genre: Planet of the Apes (1968), The Omega Man (1971 ) and Soylent Green (1973). His argument also reminded me paranoid fantasies of Philip K. Dick involving the lead character as a kind of cloak of unknowns and disclosures. I like that this sci-fi fable focus more on the characters and their personal conflicts in the deployment of visual effects and thrilling action sequences. It has moments of action and deployment of the landscape as the protagonist of the story is spectacular. So spectacular that I recommend to viewers who try to enjoy this walk through the ruins of the Earth in the larger screen as they can, to get the best performance. But the action with the fearsome drones (A reflection on the cold killer electronic warfare and distance of the superpowers against weaker opponents?), Persecution and the shots are not the most interesting not abound in the film as could be seeing the trailer. I think that may confuse some viewers, so I worth clarifying. Science fiction is proposed in Oblivion is far from continuous action shows. His show is on the conflict between the characters and a relaxed exhibition of his argument that he takes his time to go revealing the keys thereof, so that is not the frenetic pace could desire if we saw films like War of the Worlds or Minority Report, also starring Tom Cruise.

The interesting thing about Oblivion is that the hero's odyssey to develop the style of those fables of Philip K. Dick in which the protagonist discovers himself through his journey through the futuristic landscape crumbling around him and the relationship with the two female co-stars of the film. The story we are told could be the adult version of Total Recall: again a mid-level operator dedicated to repairing damaged tools have dreams and aspirations that are not satisfied with your daily life with the spouse in your household. The dreams are associated with another female who is the bridge to a revelation, dream or maybe perhaps real, the true identity of the hero and reveal its essential role in a scheme of things much larger than at his adventures as mechanisms repairman defective. If to this we add a visual approach of futurism in the watchtower inhabiting the protagonist along with his partner has reminded me of classic science fiction genre as François Truffaut's Fahrenheit 451, the first version of Rollerball directed by Norman Jewison, George Lucas' THX 1138 or Andrei Tarkovsky's Solaris, will understand why I think I should put four stars to this exciting production that nonetheless has some weaknesses which I will discuss now.

The first is that happy ending imposed on the plot and completely distorts, denying what we have seen previously in approximately 120 minutes of projection. The motivation of the hero is the epic sacrifice on the bridge, before the enemy, in the supreme moment of his heroic journey, it's been a journey that is well known to himself, because Oblivion includes some curious elements of road movie. The hero faces his destiny while quoting poetry epic saga of Horatio. But the end of that makeup looks deprive sacrifice. A makeup whose clumsiness does not fit the rest of the puzzle, an unnecessary change only possible outcome for the plot: girl on the lawn in front of the house and the plane of the picture of the woman.

The second weakness is that the poor performance feature that will draw the characters of resistance. Morgan Freman is fine in his role, as is usual, and along with Andrea Riseborough in the role of Victoria, the companion of the protagonist, are as solid cast. But the character of Olga Kurylenko have been left quite topical and moreover should not take advantage as the character played by Nikolaj Coster Waldau. On the work of Tom Cruise I have to clarify that in my opinion is much better than his usual detractors will acknowledge afford. Which brings me back to the beginning of this article, remember that Charlton Heston also qualified as expressionless in the trilogy of science fiction films I mentioned, today considered classics of the genre. Cruise is not one of my favorite actors, but I think with this work effectively complete their own science fiction trilogy, Minority Report, War of the Worlds and Oblivion. Of the three, the first is more akin and therefore more comfortable for the actor, closest to the type of film Mission Impossible style. The second is in my opinion the weakest of the trio, a failed attempt. Oblivion however I find the hardest of the three for the actor, in this landscape far removed from what is usual in his films, and his work seems pretty convincing.

Miguel Juan Payán

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G.I.Joe, retaliaton. Entertaining. An escapism that will appeal to fans of the Hasbro figures.

The first thing to clarify about this movie is that in my rating is around two and a half, more than three stars. It is very different from the previous adaptation of GI Joe. The first was a touch large-scale epic unfolding through world, but had a more dispersed script pace, less compact than this. G.I. Joe Retaliaton has on the other hand a more limited budget, but in my opinion the best uses. The level of entertainment that can be achieved with both is similar. And if I put the two in balance, I have to admit that it has convinced me more than the first in terms of its construction, 3D view has a few spectacular scenes, especially the attack on the monastery fortress in the mountains and fight later. In the previous film whole flashback Channing Tatum's character and his relationship with Baroness played by Sienna Miller along with the flashback of past Storm Shadow and Snake Eyes made me very heavy, slowed the film, breaking the rhythm. In this there is nothing of that. It is more dynamic in its presentation of characters and situations develop (an example is the simple way to reveal the motivation and conflict Lady Jaye's character, played by Adrianne Palicki, with his father and then solve it with its association with the character of General Joe Colton played by Bruce Willis, flowing and entertaining, no flashback). In that endeavor to present and handle so many characters at once the first installment of GI Joe reminded me more of the first adaptation of the video game Street Fighter which starred Jean-Claude Van Damme, with whom he had many faults in common. So I think that this second film builds its plot more solid, without so many variations of pace and better controlling your footage. That makes it a true entertainment, not bored, maximun action and minimun dramatic development. A product of unashamedly escapist cinema.

From that point of view I can not fault. Yes, I think that the followers of the figures, comics and animated series GI Joe would have appreciated, as I do, a little more continuity between the two films. I mean, do not reappear briefly or even any mention characters like Destro (which are removed from above a somewhat facile in the maximum security prison), Baroness (essential visual hook and an engine distribution of the first installment that is missing and has no equivalent in the second, even with the spectacular appearance of Adrianne Palicki in the red dress), or Scarlett played by Rachel Nichols, leaves a void too big between the two films.

However once said that, and stressing that the construction I think is more solid than the first, this new G. I. Joe incorporates other curious elements that provide good tone to set. The best thing about the film is curiously interesting as the character and the narrative more unexpected area to excel in this type of project, the role played by President Jonathan Pryce, which assumes great importance in the story, also becomes the better connecting element or continuity between the two films and also has some funny moments, with Pryce enjoy this double role of Zartan (shared with Arnold Vosloo almost totally absent whose contribution is little more than a cameo). Pryce and was practicing as a Bond villain, the highlight of Tomorrow Never Dies, but there was more content here and tied more short. Serving as false president can unleash at will in a black humor which also accompanies Ray Stevenson as Firefly. I think Pryce as Zartan is a character best advantage of all the gallery that displays this second film GI Joe, while I think other characters, like Firefly, Flint or Jinx, not take them much game as they should. His contribution to the whole is rather episodic, even below the onset of the ubiquitous short but forceful Walton Goggins as warden of the maximum security prison, having all that weight he gives to his cameos and brief appearances this remarkable actor who we found recently gaining prominence in the series Justified, in Lincoln and Django Unchained. I find it significant that the two characters less identifiable as part of the gallery of the figures of warriors and variants GI Joe, are those moments of prominence better built around the story.

Special mention deserves the character of Bruce Willis, which works well, and this is why I would have liked to see more screen time, with more involvement in the story. The one is slightly wider than their contributions to the saga of The Expendables, but not for many minutes. Another downside that I have to give the movie is that still endeavoring to waste the choreography of the battle scenes. The fights are confusing because they are fitted with many cuts, but also because the camera is not at times where it should be to make the most of those clashes. A pity, because there are pretty amazing things in the choreography of the characters Storm Shadow, Snake Eyes and Jinx. I also find it significant that it is the scene of the attack and escape the monastery in the mountains the most looks not only in 3D but the choreography of the fighting, I suspect because of its association with a significant deployment of computer visual effects.

All told, the film has entertained me enough, is a worthy proposal escapist cinema and I aim to see a third installment.

Miguel Juan Payán

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Evil Dead ****

26 Mar 2013 Escrito por

Evil Dead, good festival terror scares and classic style of the first Sam Raimi.

Bloody. Violent. Disturbing. The Evil Dead Fede Alvarez is a very worthy remake of the original films in the saga of Sam Raimi, which pays homage to different base winks during the footage of this update also has its own personality.

What is the personality? For starters I think accomplishes the goal they had set, that is, bring back the horror haunting quality woven frames to annoy the viewer. Although it would certainly be a movie applauded and certainly not a few laughs with accomplices in any horror movie festival frequented by fans issue, the fact is that some of his sequences are downright impressive, because they suspect that behind all development classical visual effects, no computer tricks, which transmits in the eyes of the public a sense of realism even in the wildest sequences. The visual atrocities that are deployed on the screen are the tangible quality that is inevitably lost with the use and abuse of computer effects. Aside from its quality to impress or so and its ability to make us jump scares or not offered us (this is already personal basis, but the film gets some downright disturbing moments of intrigue, as the prologue sequence history or the teacher's approach to the bathroom inside which is Olivia, for example), the new Evil Dead skillfully deploys the trick finery based makeup and actors team effort and becoming a reunion with a cinema horror that we had a long time without seeing onscreen. A collection of moments that are really gore craftsmanship in its development and add truth to the story that is told even able to survive the trip to all the topics of a genre that is inevitable. With this in mind, it is important that the moments of carnage and offal, the bloody violence planes completely free to do both applaud and cheer to the fans in the horror film festivals more thug and disrupted, are served with whole deployment the more traditional makeup paraphernalia.

In my opinion, it goes to show that this new version of The Evil Dead is something that many come and saying for some time whenever we ask for horror films: these stories need traditional makeup and effects. The raw material of celluloid nightmares is not in the computer visual tricks, but in the same place where he has always been, in the hard work of makeup artists, who have been instrumental in the genre since the early days of silent movies. Whoever doubts should review classics like Frankenstein Edison shot in 1910, the jewels of German Expressionism The Cabinet of Dr. Caligari of Wiene and Murnau's Nosferatu, the films starring Lon Chaney father, The Unknown or The Phantom of the Opera, the silent version of Dr. Jekyll and Mr. Hyde starring John Barrymore in 1920, or the makeup of Jack P. Pierce for Dr. Frankenstein, starring Boris Karloff in 1931, a true masterpiece. That name a few of the first milestones of makeup as inevitable partner of horror. The same could be said of most conventional trick.

Fede Alvarez gets us concern in the body besides invoking a series of infallible concerning which he has had as models or inspiration when developing this project and whose proven to embarrass or frighten the spectators was the best guarantee to start walk this update Evil Dead. More than inspired by Sam Raimi film, which serves as a starting point, the film is very aware of The Exorcist, William Friedkin first, especially in everything related to the development of the character of Mia. It also has very much the contributions of Asian horror, especially Japanese and Korean, to the point that it is impossible not to think at times particularly sinister hentai, erotic shed Japanese cartoons, anime, in the sequence of arboreal violation between the branches of the forest.

Besides these references, the script of the film manages to dodge the naive simplification baseline that leads the characters to the cottage to find a solid base on which to build the ordeal of terror that has befallen them. The reason they are there makes these characters more believable and more interesting for the public. Each sequence reflects the effort to enforce the return of the horror film of the eighties, its forms and styles materials against the ethereal presence of computer visual effects and hackneyed arguments, satirical and repetitive patterns of youngsters killed by the shift threatens to muddle through. Gonzalez and his team get that, contrary to what usually happens in the teen horror films today, we are interested in the victims rather than the executioner. For the first time in a long time, it restores a real role that victims are to be sacrificed in the story above the executioner manager execute them. And so, the ceremony of terror returns to fully envelop the viewer.

Evil Dead is a happy return to the molds and defining characteristics of the most effective horror film.

A final warning: you have to stay until the end of the credits to see a final nod will surely delight fans of the saga of Sam Raimi.

Miguel Juan Payán

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