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archivos_extraidos/MCE-Corpus-main/Dataset/367

Rafa Ferrer

Pasado de vueltas

muchocine

Funny comedy set in the world of the engine, which will not lay the foundations of the 7th art.

Simple Entertainment starring Will Ferrell, John C. Reilly, Michael Clarke Duncan, Sacha Baron Cohen, typical tape which you can not ask nothing more than entertain, where the characters are caricatured and carry to the limit.Will Ferrell in his line (those who have seen "the reporter" will know what I mean), Sacha Baron Cohen is perhaps the most sympathetic character in the movie, giving life to the villain of the same, making of afrancesado gay.The scenes of motor, directly taken from the American Nascar (those who have seen Cars will know what I mean) give the film an air of freshness and action not we saw on screen from "Days of Thunder" Tom Cruise.En end, a funny comedy set in the world of the engine, will that not lay the foundations of the 7th Art (rather)(, and as I often say "of 7th cinema") but that entertains, and in the times in which we are to leave the brain for an hour and a half outside our routine concerns, well deserves.

archivos_extraidos/MCE-Corpus-main/Dataset/1833

Pruden Rodríguez

River Queen

muchocine

A film of great plastic beauty (for his photography, scenery and success in the direction), well performed (including young Rawiri penis) and although dull at times, well told. Since then it does not shine too, but it was satisfactory.

Welcome to New Zealand. Forget about everything for a couple of hours and feel his armchair becomes a canoe. The visit, in the hands of Samantha Morton (in the role of Sarah O'Brien), will lead us along the Whanganui River, located in the National Park of Whangui (World of humanity, by the way). Do not think that working for a travel agency Commission, simply seems to me the locations of River Queen are one of its best attractions.The new film by Vincent Ward (Más allá de los sueños, the map of the human heart), shot with the blessing and participation of several Maori peoples, tells the story of a young Irish daughter of settlers. Halfway between two cultures and in the middle of a war between the British and native, Sarah he falls for a Maori with whom he has a son. After the death of his beloved, the most heartbreaking moment of his life get to see that the small Boy is kidnapped and taken up the river by his Maori grandfather. Here begins a bitter search and, after that, the story of a long-awaited as disappointing reunion. The time has passed and both she and her son have changed a lot.River Queen is a history of searches, not only that of a child, but of internal cultural identification searches. Sarah lives hell of having to choose between two realities which co-exist, but mutually incompatible. Although the tape has a fairly predictable ending, it is interesting to follow the ires and goings of the protagonist and one wondered to what extent will be that of "are is not where it was born, but where pace", or of "If you can't with the enemy, join him".The pace is somewhat slow in general, and the motivations of the characters are not always clear, but its aesthetic appeal is often offset these faults. On the other hand, almost at the level of cultural enrichment, we will have the opportunity to deepen customs and rites of the Maori people. In this regard, appreciates the work of Ward and his team for showing as is, without major pretensions.Ultimately, who are encouraged to see it will be with a film of great plastic beauty (for his photography, scenery and success in the direction), well performed (including young Rawiri penis) and although dull at times, well told. Since then it does not shine too, but it was satisfactory.

archivos_extraidos/MCE-Corpus-main/Dataset/3227

Andrés Pons

Zoo

muchocine

An authentic jewel that would hardly be distributed outside festivals specialized losing into oblivion, one of the proposals more a counterflow of current cinema that breaks all the molds.

When I learned of this project could not believe me that someone was prepared to carry out such history.The unknown director ROBINSON DEVOR earned his candidacy for unconscious or perhaps crazy year. Surely with the scandal that would mark it out of anonymity, no doubt because proved to be an author of quality in his previous film, "POLICE BEAT" a hard urban drama about a single disputed neighborhood seen in festivals.With average amateur actors, only seen in very small nature productions. Stresses the great work of JHON PAULSEN "VISIONEERS" and RICHARD CARMEN "BLOODY MARY" serving well in the fictional part because the other part of the film is a documentary with interviews on such events. That is a fact of life.I think that is clearly understood the difficulties of dealing with similar plot, could stay just as the typical morbid film or try something really offensive for the Viewer.Nothing of that, we have high quality work, seeking the easy curiosity, at no time developing for a few poetic paths of great sadness. A melancholy visible thanks to his enormous picture, soundtrack and interpretations to the surface. At times it evokes the TERRENCE MALICK film in this strange beauty that shines every level as it were a table. I believe that none of the human is alien to me, and hombres-animales sex happens really. Then, it is also part of what we are. With such statements of the director is clearly what the film wants to count and sincerely makes it wonderfully. An authentic jewel that would hardly be distributed outside festivals specialized losing proposals more into oblivion one a counterflow of current cinema that breaks all the molds.

archivos_extraidos/MCE-Corpus-main/Dataset/3045

Kiko de España

El motel del infierno

muchocine

It is overwhelming affection and sympathy of the farmer Vincent and is demonstrated in and falls in love with his naive victim (and hostage but do not know) even decided to pass by the altar, something very similar to what was happening in the great I drink your blood between rapist and victim.

I see the pull and no reason Motel Hell of ad 80. Farmer Vincent runs a road motel next to his sister Ida (the sita Balbricker of Porky's) and is famous (at least 150 kilometers) by their smoked meats.I imagine that with this you don't need to know more about the movie. I do not know because plant to the victims in the garden and hypnotizes them with rays leiser before chop them and smoked them.It is overwhelming affection and sympathy of the farmer Vincent and is demonstrated in and falls in love with his naive victim (and hostage but do not know) even decided to pass by the altar, something very similar to what was happening in the great I drink your blood between rapist and victim.Farmer Vincent has a brother sheriff who knows nothing of the "secret" of his older brother. Go sheriff shit. Acojonante climax between man - pig (is the farmer Vincent, clear) and madero: duel on chainsaws!At the end the farmer Vincent, at a time to remember, reveals that he used preservatives in the meat (!) while he is dying. Priceless final stretch.

archivos_extraidos/MCE-Corpus-main/Dataset/884

Oscar Cantero

Los fantasmas de Goya

muchocine

Milos Forman does not seem to have been soaked enough of the brilliant artist hand and the character not just be convincing. Entertaining, but no more.

That they roll today in day films on Spanish artists, whatever the time, seems to me something great. Especially if revolves around the figure of one of the greatest painters which has had Spain and the world in general. Although it is true that the fact that is shot in English, sincerely, subtract attractive, because nothing is more beautiful than an original work; something easy to understand especially if it is something related to an artist, as it is the case. And it is that dubbing, usually slightly distorts the films, by very good. Milos Forman does not seem to have been soaked enough of the brilliant artist hand and the character not just be convincing; the portrait of the black Spain which aims to reflect the film, lacks solid foundations, Amen their characters than ever give the sensation of possessing the characteristic attitude of the Spaniard of the time (with the exception of Bardem and the secondary Portillo and Ugalde), which is neither better nor worse than any other but is ours. Or at least it was.In general, Goya appears as a witness to the events of the time, with the Inquisition a toda mecha and Philip IV as monarch of a decadent Empire, subject to one omnipotent Catholic Church and resigned themselves to fall back on himself despite his external contests. The Napoleonic armies and the misery of the citizenship complete the framework in which aragonés performs his paintings of the so-called black era that adorn uncredited initials and finals. A pity that the improbability of the argument and the lack of mordant on the script not allowed its two protagonists do better work, because you have to recognize that both Bardem and Portman are two great actors, regardless of personal consideration worthy me of each one of them. Those who do not know enough history of the Spain of the time can enjoy more of the film, that cinematically it is not bad, but lack you rigour. Contrary to usual, the fact that the writer is the author of the novel on which is based the story, does not contribute to the adaptation to be more credible, and in my opinion, I have had the opportunity to read the original book, the film is far worse, without being a genius the literary work of Jean Claude Carrière. Entertaining, but no more.

archivos_extraidos/MCE-Corpus-main/Dataset/2409

Rafa Ferrer

Robots

muchocine

Animated film you must see (must support animation, hermos@s) but leaves a strange taste when it ends.

Most of the tapes made by digital animation have many pros and some against, "Robots" is not an exception, the pros, which is brilliantly made, which seems even a film made with the method "Stop-Motion" (for those who do not know who is!)Search for it in Google! (Which am not going to waste time explaining I), and that the voices more in you than dubbed (even if Flo does not do wrong and "the mountain" on duty, either, go) are great. The against? The script, that although comes signed by two writers of comedy (city Cowboys, A mess father; sweet home sometimes) is quite simple, linear and predictable nauseam, in fact, I would say more, is come the end of all the events from the 5th minute of film.It is true that the Fox (and BlueSky in this case) leave with this film years light to the also brilliant "The ice age" (that taking advantage of the premiere of "Robots" is out on DVD with a "ultrachachi-great" Edition), however and although as I have already said the animation is excellent, both Pixar and Dreamworks have done extraordinary work such as "The Incredibles" and "Shrek-2" that leave this as a "mere Apprentice" of the above and while the tributes and coleteos to the 7th art history (from "the wizard of Oz" to Fritz Lang's "Metropolis") are more than patents, the movie falters in simplicity, perhaps because the topic that the animation is only for "nanos" continue thinking?Finally, an animated film you must see (must support animation, hermos@s) but leaves a strange taste when it ends.

archivos_extraidos/MCE-Corpus-main/Dataset/3916

Monica Jordán

Interview

muchocine

The pace of the film decays to enlarge the lies, and with him the interest of the Viewer, that before both plot twist does not cease to provide the final surprise of the film makes it.

The project which is carried out in Hollywood under the name of Triple Theo aims to make a tribute to Theo Van Gogh after his death in the hands of an Islamic fundamentalist. The fight that Van Gogh carried out in favour of freedom of expression gave way to much of his Dutch filmography, but always wanted to make the leap and see come his work translated into English to theaters around the world. Hollywood, within this lust for remakes and hiding this creative nullity under a (false?) homage to the Dutch director, decided to launch this project compiling three of the works of Van Gogh: 06, Blind date and Interview, first piece of this project which directs and stars in Steve Buscemi.Poco or nothing be said of a film conceived as a replica to an existing one that alsofor not being anything original, follows even the system of shooting of Van Gogh, who rolled his films as if it were filmed Theatre using three cameras: one for each actor and one in level master. Thus, in this Americanized version of the Interview (I refuse to call it international version) there is no place for innovation and the only thing he has left to the Viewer is enjoy the magnificent interpretative duel we provide actors.It is precisely in this area where Interview (as so many other films based on theatrical scripts - the odd couple or footprint, in its first incarnation or in the remake of this year-) plays its best asset. Steve Buscemi is reserved the role of the journalist who, after a journalistic missteps, is renegade second line to take an interview with an actress of clamoring. Sienna Miller plays Katya, this actress's second which will put things not so easy the arrogant interviewer. The psychological duel between the characters does not focus so much on fast and intelligent dialogue (so typical of the duels between character of film noir - something that alone in the approach, Interview tap and flick) as in the continued deception of a character to the other making their relationship a mousetrap in which both seek to find the exit before the other. Distrust, pride, and that hidden side we all want to portend what both characters will and will remove the table in a game of deception, lies and half truths which, if it were not for the interesting thing about the interpretative duel would be somewhat tedious and boring film.The pace of the film decays to enlarge the lies, and with him the interest of the Viewer, that before both plot twist does not cease to provide the final surprise of the film makes it. An end somewhat naïve and populist in its message, which reminds us that appearances are deceptive and that nobody is what at first glance appears. Something coming from who comes may seem us simplistic. Perhaps we will have to wait and see the entire trilogy to assess whether this first part of Triple Theo takes a turn as do their characters and end up surprising us, this time for real.

archivos_extraidos/MCE-Corpus-main/Dataset/2757

Kiko de España

Oceans 13

muchocine

In Ocean? s13 there are no experiments, or Nouvelle vague streams, or jump cuts, nor deprived of dubious taste jokes. We are going, it is not as badass as it was Ocean? s 12, the best in my opinion. Third-party...

Steven Soderbergh appears to put an end to the adventures of the gang with this third installment (thing that never know, go to know what raises this), more accessible (and therefore less enjoyable and evil) than the second installment and with a tone more friendly and suitable for all ages and minds.On this occasion, the team commanded by Clooney and Pitt (because in fact interpreted in themselves) are retaliate of an evil rogue to the life-giving Pacino on vacation also, why not, which betrays Reuben (Elliott Gould) into a multi-million dollar business leaving him in a terrible situation?Then is when the gang goes into action and is then when differentiate clearly the tone of the film, clear, accessible and direct, as in the first installment. In Ocean? s13 there are no experiments, or Nouvelle vague streams, or jump cuts, nor deprived of dubious taste jokes. We are going, it is not as badass as it was Ocean? s 12, the best in my opinion.There are some good gag, some "made in Soderbergh" level and a permanent cleavage of Ellen Barkin, but there are also times, gaps and moments sosotes which are noted, as well as scenes of comedy, the worst in the trilogy.Fails to load the foundations of a sympathetic dominguera trilogy with style but it is a step back to Steven Soderbergh, although many think that in the case of the adventures of Danny Ocean and his boys this even count as curriculum.

archivos_extraidos/MCE-Corpus-main/Dataset/2970

José A. Peig

En la ciudad de Sylvia

muchocine

On the terrace of a café, various compositions of faces, with a profusion of shadows and reliefs, draws with his eyes words lost in incomplete conversations, fragments of reality which constitute the great search puzzle.

The new film by José Luis Guerin urges us, once again, to interfere in a search of the significance of the film and his role as art or means of communication, with subtlety and enormous formal coherence, their work is for the movie buff cause for reflection in order to try to glimpse an ontology of cinema, a glance sustained in the analysis of the evolution of cinema since it origin until today. Film is poetry of the image, or the image is the reality of the pristine look before all the tricks with which the aesthetic effort has been burying the supposed original truth?. We have a lyrical work or it is pure realism and document a moment in a corner of life?.Minimalism requires a certain amount of ambiguity, but in the city of Sylvia is a film that does not hide any of their features and responses appear in a simple act of understanding. Indeed, is a film about corners of life, in particular, a city that darkens and dawns governed by the routines of every day in the different neighborhoods, premises and belongings of the collective and individual life. The long flat and the travelling along its streets built an exploration of the urban landscape, subordinate to the spiritual search contained in the history of the young artist subjected to a female Epiphany, a ghostly object that acquires the uniqueness of the Palindrome, a maze of female faces that form the multifaceted image of an obsession of the dream (from the billboards starring beautiful women to the graffiti that constantly appears on the walls of the city;) (Do j? aime Laure, reference to the loves of Petrarch). Thus the city is not a "real" space as a reverie of the artist. And when we talk about the artist, we mean to José Luis Guerin and Xavier Lafitte, each one of which it personifies the subjective gaze of the camera. La ciudad de Sylvia is only a fleeting image created by the artist, a space of symbols that concentrated the various manifestations of the dream. It is therefore, lyrical film based on a real field.The subjective gaze unfolds in two layers, one metaphor for the other. The expressiveness of the face of Xavier Laffite (emphasized by the blue of her eyes, beauty element introduced with the purpose of attracting the attention of the viewer and do involve search) is the best instrument to represent explicitly suggesting the visual composition of Guerin in the formal-estética field. The camera sets the abstract narration that the central character translates into immediate sensations. In this way, get the proper symbiosis enters two eyes a complementary relationship from which emerges the concept a couple clearly to the precision and simplicity of each level. Film material such as the representation of a State of being in search of beauty, or the past, of itself cannot be interpreted. In the sequence that opens the story, we see Xavier sitting in bed and absorbed in an idea. He is the creator becoming aware of their need for artist, and then goes out to the street to find (any creation implies a process of searching). On the terrace of a café, draws with his eyes (and here Guerin melts the two perspectives in one, with which we are dealing with the use of subjective camera) various compositions of faces, with a profusion of shadows and reliefs, words lost in incomplete conversations, fragments of reality which constitute the great search puzzle. The memory, the past, love, beauty, are so ephemeral and undefined as the puzzle in the real image subordinated to a subjective assessment. The scene in question is meritorious by the narrative tension deployed in a single set but of enormous complexity when moved it to its abstract meaning, which reaches its maximum expression in the image of the supposed Sylvia reflected in crystals of a café or in the Windows of the tramway; the Evanescence of remembrance and anguish which puts an end to the search. The creator was looking for his art in a woman's face, and it teaches a polyphenic and elusive character of the same substance which intended to endorse. Finally, one might wonder whether this impeccable exercise of cinema, which aims to take us to the original meaning of the film through an exploration of life, has more force and narrative value by the mere fact of being. No one can deny the perfect use of film by Guerin, but beyond the formal adjusted to the millimetre working in order to articulate the meanings, it is obvious that the idea developed stumbles with its inherent schematic, and there comes a time in which representation is in the foregoing preceding images. In the light of this, we raised the question of whether dramatic progression of meaning not encalla at any given time to fall in a static address, without involving a setback to the values exposed with effectiveness.

archivos_extraidos/MCE-Corpus-main/Dataset/2142

Ramón Besonias

Days of glory

muchocine

I do not think that the intentions of the director have been directed to adjudicate a historical thesis. It rather seems to have had the intention of make think the French on the paradoxes of its history.

As I already did the diptych of Eastwood with the double look Japanese and American on the siege of the island of Iwo Jima, (hollywoodizada with the stupid title of Days of Glory) indigenous reveals - language with a more direct and close, unprotected from the dramatic tension, the visual weight and the epistolary poetry of those - the participation of Arabs (disparagingly called bougnoules) of the French colonies in North Africa (Algeria)(, Morocco, Tunisia) in the campaigns of the army of French liberation during World War II, through the eyes of four goumiers (Abdelkader, Saïd, Messaoud and Yassir).The army of Africa participated from 1942 very actively in the liberation of France. The second division of general Leclerc consists of a mixture of the French city of pies-negros, of Lebanese, Algerians, Moroccans, of Equatorial Africa blacks and Indians of the counters. In the end, the balance will be enormous: 60,000 soldiers (African and Western) of the army of Africa die in 1945, i.e., the fourth of the French losses during the conflict.This Rachid Bouchareb (known for his previous work, A small, equally vengeful of the memory of the forgotten history of Senegal) intended to compensate not only the historical injustice committed with the thousands of soldiers from African, especially North African origin, who still expect public recognition and comparable pension (today are a pittance) to the rest of veterans, but also challenges us on racial prejudice that beyond the private sphere infect the military institution itself.Thus the character of Abdelkader see dashed their hopes of ascending rank in the rigid and nationalist military. Saïd will discover the shame that feels his Sergeant at the prospect of is to discover that he is married to an Arab woman. Messaoud will never receive the letters that his beloved writes, and theirs will be the censorship of an army which sees racial Exchange with bad eyes. All will be used by France and only receive in return the back of their compatriots. It says everything that scene with the car of Colonel away in silence.Among the interesting scenes of this honest film noteworthy that in which Sergeant responds to the Abdelkader stops on the lack of training of the soldiers (obligation imposed by the French army itself to their hosts). «Saïd, do you want to learn how to read?» «And Saïd responds: why would I serve?» Sobran comments on the intimate relationship between ignorance and wars.Therefore, indigenous is not only a classic anti-war film (there is the unsurpassed paths of glory as a reference). Also provides, in addition to their vindictive suitability, a political plea against racism which reproduces without reservation the military and calla with clear complicity the own director Estado.El had to silence the many voices against this film, leaving clear in some scenes than the Group of goumiers - famous (do not know if unfairly) for its cruelty and plunder in the strife - was nothing more than a group of people afflicted of the terrible evil of poverty and the despair. The army promised to be a hope for its famine, and turned out to be, if not his tomb, a lived example of his supporting role in the protection and construction of his alleged country.It is a good idea closer to European citizens today issues make us remixed our map of the world, although they occur in formats and stories of the old. Indigenous is a honest film (in its social commitment), with natural interpretations (as of that small great actor called Jamel Debbouze), and with a few foreign and an austere staging which situate us naturally in the sterile and empty means that all conflict is manufactured. Their actors are all in place, giving us simple interpretations, without egocentrismos Hollywood.Why not has been indigenous devoid of one fertilizes controversy (widespread in all current films of true historical significance) on what it may be truth or partisan advocacy of the Arab cause. Some branded her as opportunistic and partial, other liar and insulting for all French to give merit that name. Some reinforced the theory that in reality the goumiers, Moroccan, divided into more or less irregular bands, fighting without rules, taking as trophy heads enemy, living of the sack and devoted himself to all kinds of savagery. The truth is that in France this film has raised blisters still not cured (in Spain happens so everytime we talk about recover the historical memory of the Civil War).However, I do not think that the intentions of the director have been directed to adjudicate a historical thesis. Rather seems to have had the intention to make think the French (and by extension to all enlightened Europe of political correctness) on the paradoxes of its history. The France of human rights, the encyclopedia and respect for cultural diversity is at odds with facts as that has this movie, good little we serve whether they were or not truth, and Yes serve as a perfect metaphor for the nearest present.In the same direction, although sharp and distant fires remorseless excellent cache, Michael Haneke. I recommend it to anyone who has not seen. A joya.«Bougnoule, noun appearing in 1890, means black in language Wolof (Senegal dialect). Used by some white of Senegal to refer familiarly to black native, in the 20th century this noun will become an injurious nickname given by the Europeans in the North of Africa to Africans. Synonymous with "bicot" and "mouse" [the term "bicot", commonly used to designate a goat, and the term "mouse", which normally appoints the raccoon, are also used in France to refer disparagingly to Arab immigrants.] «[Translator's note.]»Dictionnaire alphabétique et analogique la langue française. Le Petit Robert / Tome 1, Société du nouveau Littré. 1979.

archivos_extraidos/MCE-Corpus-main/Dataset/1949

Silvia Giner

Spiderman 3

muchocine

The 3rd sequel of this series Marvel is a real disappointment. There is no where take it.

Good friends we are facing a hodgepodge of incomparable stature. The 3rd sequel of this series Marvel is a real disappointment. There is no where take it.First of all the writers have emphasised, what is the comic itself is what they have gone through the ass and have remodeled the history as it has given the win and above bad, without imagination and fabulously pathetic moments.When working with a production of that caliber, with these budgets lunatics and above all with a solid idea and hook of base since that is adapting a comic book, it is unforgivable that the end result provokes laughter. Of course that it is by not mourn, laugh because I assure you that if it is to laugh, then id to see because you will not lose your time. On the other hand if you expect to see something "as a minimum" at the height of the previous Spider-man, I advise you what you to think twice.All this disaster involving Spiderman3, would like to highlight the following unforgettable moments:-time boy Genial: is the beginning of the film, a real horror, seems a Latin soap opera of series Z-time Chepa Wonderful:pero let's see, what happens to my beloved Kristen?, is desmejoradísima, with an extreme thinness, goodbye to the brand-new Mª Jane of the previous films. Not be who will be told that it is beautiful, because it is horrible, anyone could give him a pucherito?. Fuck on top of more than 45 people at least were on the set of filming when she sings "Wonderful", pussy and recoño there was nobody able to yell "Kristen my life, get straight to the chepa is horrible". Fuck. someone tell that it put straight, is in the pass of equal Madrid press, lost chepuda and as a noodle, with wonderful, not the entiendo.esperemos to go back to his time dorée-time flag American "because I'm worth it": bone that above, I have to endure with the American imperative, seeing the superhero in a moment of maximum glory by art of magic is a U.S. flag. There by God, I laughed, absolutely pathetic. A nationalist claim unnecessary.-time I get the orquilla: nobody has given account, that when Parker grandmother is giving the engagement ring to his grandson, he begins to leave a huge orquilla of the bow, jajajaja, momentazo gentlemen, click Pause and laugh non-stop. To where it looked the script at that time?.-Time moral: and if there was no little, above, over, fuck, rising me sugar reminded at the time final pelt us with the patriotic moral idealist. ANDA, Anda that go the pedo.meteos writers la moraleja where more pleasure you for-now I like the pepper: I forgot this, is very good. When James Franco (this man has me in love with as a quinceañera, can not with him, is the most) and Kristen Chepa are in the kitchen and he tells her "You like peppers," as saying "that you mmm same". Ay! James control you son that you are clearly very sexual, I then had told him: "sisi with rubber or without rubber?."Ultimately all a horror show.

archivos_extraidos/MCE-Corpus-main/Dataset/2599

Tito Chinchan

Volando voy

muchocine

Many things happen but you do not learn well why. The actors are quite loose, the remainder drama. And follow the plot is very complicated, for the continuous ups and downs (and because it is incomprehensible why the acts of the PEAR).

Flying go, flying I'm here, by the way I I entertain. (Kiko Veneno 1979).The film is the life of a child, nicknamed the PEAR, from age nine to eleven. Only brother among five sisters, from very small is dedicated to steal cars and drive them. Their continuous assaults and persecution, United friends of wrongdoing that has, it makes him flesh of presidio. Parents attend totally powerless to as your child becomes a myth among juvenile delinquents in the South of Madrid.Al seem everything is based on the real life of Juan Carlos Delgado "the pear". Look, it will be truth that did all this, but I script so I do not believe neither of coña. It may be that the chosen actors are not the most appropriate, but I think that very little credible is plot. I suppose it's a case of which reality surpasses fiction. Not I learned well if it was a comedy or a drama, as the father of the PEAR (el peral, juas, juas) has no dramatic record. And it is that when you're bad actor and you're pigeonholed in the role of goalkeeper's series of humor, badly you can leave it. This film would have needed a dramatic actor of truth, and not to this gentleman. They could have made a very good movie with good actors and transitions between scenes clearer, but done so the result is loose.In short, many things happen but you do not learn well why. The actors are quite loose, the remainder drama. And follow the plot is very complicated, for the continuous ups and downs (and because it is incomprehensible why the acts of the PEAR).More than anything what could have been and was not.Besitos.P.D: do Kiko Veneno will have something to do with "the poison" (of sharks)?Pd2: There are poorly resolved very violent scenes.P.D.3: The only one that is saved is the director of CEMU (students city boys) which seems to me to be acting very credible. And what is incredible, but true, is that there is people like this in the world. Here I give you my most heartfelt congratulations.P.D.4: Once I was with a tarao in the streets of Toledo imitating the PEAR and I almost small on top.

archivos_extraidos/MCE-Corpus-main/Dataset/654

Plissken

La prueba del crimen

muchocine

Cheat and irritating but entertaining and cloudy at the same time. What could have been and was not.

'Running Scared' (2006, 'Proof of crime' in the cultural ghettos in the world), directed by Wayne Kramer, is higher than the thriller medium. Up there, okay. The trouble is that gender has come to miserable levels in this beginning of the 21st century and be above average not you escape mediocrity. This could be thinking Kramer to write the screenplay, because it has details and moments that stand out, and much, by both above and below, of the hundreds of films with the word "crime" included in the title (Spanish title, clear).The plot: Joey Gazelle is a stressed mafiosillo suburb to which their (Italian-American, of course) heads charge you to get rid of his last shooting weapons. That same night, the gun disappears with his young neighbour and Joey must find the two before the police, the Russian mafia, their own heads or knows who do so.What we sold initially as a rampant search of happy "proof of the crime", becomes the flight of a scared child (hence the original title) through a forest full of ogres, monsters, witches, evil elves and any other fairy godmother (excellent end credits). And are, in length, the best moments of the film, with a couple of anthologies scenes. Gives the impression that the true story that we want to tell Kramer is this, and not all that gangster bullshit with confrontation between families and (for height) multifinal, authentic ballast of the function.The pace is so frantic as the kidding look of Joey Gazelle (Paul Walker pasadísimo), and the visual style is so bipolar as point of view, at times "ultracool" and full of effects that end up dizzy and sometimes direct, dirty and hard. Interpretations are not too, apart from an effective Vera Farmiga and the omnipresent "niño-raro" Cameron Bright. When Hollywood gives a child, it is that they put us it up in advertisements for refrigerators. Paul Walker defends his character three-quarters of film for then sank with the rest of the film in one of the worst and most incredible twists of script of recent times, which will ruin the credibility of the whole history, hitherto shaky and sordid as few. Total, than a 6, cheat and irritating but entertaining and cloudy at the same time. What could have been and was not.

archivos_extraidos/MCE-Corpus-main/Dataset/3676

Oscar Martínez

Once

muchocine

A fascinating soundtrack, and a few characters who manage to transmit large amount of emotions and feelings, just speechless make eleven a film of great pleasure viewing, that under no circumstances would classify in the musical genre.

After obtaining the audience award in the latest edition of the Sundance Festival, the Irish Film Once has become one of the most unexpected phenomena of this year, getting very good reviews by both the public and the press.Directed by John Carney and starring Glen Hansard, Markéta Irglová, Hugh Walsh, Gerry Hendrick, Alastair Foley, Geoff Minogue and Bill Hodnett, the film tells the story of a singer and composer who plays their songs in the streets of Dublin, when he is not working in his father's shop. During the day, to earn some extra money, he interprets known issues for pedestrians, but at night, he plays his own subjects in which speaks of how his girlfriend left him. His talent does not pass unnoticed to an immigrant Czech amateur piano selling flowers on the street, so both will end up working on a demo, the possibility of starting a new life together while hanging over their heads.It is that Once one of those movies that leaves you with a very good taste in mouth after its viewing, despite its bittersweet poso: duration exígua (eighty minutes, think), the film is a simple manifest, more even if we take into account that much of his footage takes place along various musical performances. Once, as I said, is terribly simple at the same time that quite obvious and somewhat sweetened in some respects, but it works. It is simply: there is no complex plots, plot twists, comedy or drama apparent but, in contrast, offers a wide range of feelings and sensations terribly human.And that is probably the formula that makes eleven film, I do not know if memorable, but round: we have two characters worldly, gray and melancholy but not exempt of hope, as the own city of Dublin, linked to a past that is reflected through the music composed. And to join through this, both characters seem to find the reason, the excuse they both needed to leave behind their weights and start a new life together or separately. Eleven offers what a terrible affinity, a mundandad sometimes hurtful, as this perennial feeling round the two protagonists and that makes them wonder with the look and if.?, as probably any of us we will have happened on more than one occasion. And precisely that possibility, hope, makes its players can restart their lives with security that despite all the hits that could give them life from now on, they will always host inside the memory of that person, and that memory will be back to get up and move on.From the delicious introductory scene, until the impossible although hilarious sequence in the Bank looking for a loan, eleven is a song of hope in every rule, next rarely have the opportunity to watch on a screen, and without falling into the clichés of the drama or comedy to the use.A fascinating soundtrack, and a few characters who manage to transmit large amount of emotions and feelings, just speechless make eleven a film of great pleasure viewing, that under no circumstances would classify in the musical genre, and no doubt will be a reference for all those eminently melancholic spirit.Highly recommended, and a pleasant surprise.I give a 7'5 out of 10.

archivos_extraidos/MCE-Corpus-main/Dataset/2797

Iñaki Bilbao

Death Proof

muchocine

Good film genre, more serious that what it seems and with good ideas, both Visual and verbal, showing once again that Tarantino is a large, much to those who consider him a chupóctero that takes advantage of the strengths of other colleagues.

Estimable work of Tarantino films previously, that, as always in his film, baby playing different genres, popular in the 1970s. To begin we must say, although this already knows almost everyone, is "Death Proof" is the second film which made up the "Grindhouse" created by the own Tarantino and his friend Robert Rodriguez, of which we have already seen the first "Planet Terror" Grindhouse.In United States he was in session only, but given the uneven results (rightly) considered that in Europe (and I guess the rest of the world, although this do not know with certainty) should do so separately.On this occasion, Tarantino manages to work very entertaining, full of spectacular, intrigue, well measured tension, humor humorous and a little terror. To achieve this he has directed beautifully to a group of, above all, excellent young actresses, some of them with experience only previously as a specialist. In this sense, Zöe Bell which, for example, had been the double for Uma Thurman in "Kill Bill" is a discovery. However, to my cost me enter a little into the heart of the matter, as they say, to seem me their first twenty minutes, somewhat insubstantial. I refer to the tirades, conversations and discussions between the first four girls. The truth is that everything, everything they spoke I was alien. Me the refinflaba.This made desenganchara me it a poquillo. But, with the appearance on the scene of the character of Kurt Russell, the interest returned until no longer disappear until the end of the tape. A tape which, in its second part, acquires dyes majestic, full of interesting and humorous approach to the life of the four friends that have been addressed to Tennessee to try a wonderful car to get all the juice. They are full of fun, laughter in a few scenes that manages and which draws a smile at all times. Here they are magnificent, spectacular, desperate shooting moments, and that put the willies to the Viewer. Feminism to power, or fight against the sexist bastard who tries to break free, beautiful women and a future to conquer. A good genre film, more serious that what it seems and with good ideas, both Visual and verbal, showing once again that Tarantino is a large, much to those who consider him a chupóctero that takes advantage of the strengths of other colleagues.

archivos_extraidos/MCE-Corpus-main/Dataset/4363

Oscar Martínez

Hula Girls

muchocine

Can he sinneth be purée and possess certain effect previsibes coups, but both the attachment by its protagonists as his characteristic sense of humor do we overlook their flirtations with its more commercial side.

Directed by Lee Sang-il and starring Yasuko Matsuyuki, Etsushi Toyokawa, Yu Aoi, Shizuyo Yamazaki, Ittoku Kishibe, and Sumiko Fuji, Hula Girls has won four awards from the Academy of the Japan film, in addition to having been elected by his country as a candidate to the Oscar's this year.Based on real events, Hula girls tells the story of the daughters of miners of coal of a small and remote village that will face to the tradition and its grey destination as for through the Hawaiian hula dance, with the help of his teacher of dance, women become involuntary heroines of his people in crisis and throughout the country.I have to say that Hula Girls has seemed, in general terms, a ravishing film: under a premise of self-improvement and hope, the Japanese film could be considered, as well have already said in many other places, a kind of Japanese Billy Elliot, while particular mode both conduct and interpret Japan make it a completely different film.With her both share the theme of the dance as a means of escape from a nothing grim reality as the background of a society in crisis, or what is the same, the longing of a group of characters make their dreams a reality and prove his worth. Although posts to compare, even the series Fame could accomplish that same premise, so.What perhaps distinguishes to Hula girls of other similar productions is its treatment, more positive than dramatic, in which not avoids the drama or tragedy, but where we find that the strength of their characters makes them really able to overcome the blows of fate determination, desire for improvement, and friendship. In this way, the look more appealing Hula girls are their characters, portrayed magnificently from a good start, outlining the different archetypes but at the same time into a credible and unique beings.On the other hand, applies to Hula girls sinneth in some moments of being even slightly sweetened, possess certain effect blows something previsibes, but both the attachment that the viewer feels for their protagonists to five minutes of projection as his characteristic sense of humor do we overlook their flirtations with a kind of more commercial cinemain a really emotional and brimming with sensations film positive.

archivos_extraidos/MCE-Corpus-main/Dataset/564

Silvia Giner

Los Borgia

muchocine

The film is reduced to 3 master interpretations, and Cesar Borgia, because more than the history of the family, is the history of this dark character, who inspired the Machiavelli himself in his work?The Prince?.

The Borgias is presented with a masterful performance by Sergio Peris-Mencheta, followed by a spectacular Luis Homar and a more than credible María Valverde. The rest of the cast loose, excluding clear Eusebio Poncela, Antonio Dechent, which as always is great, and good ok, let's also save Sancha (Linda Batista).The ten million euros that has cost this does Spanish overproduction? Do thought initially how TvFilm, in addition to in the salaries of the players? gone go to the costume (Bravo Luciano Capozzi) which is the very best that has this movie, interiors, flat General few but decent.What is certain is that this vision of the Borgias is a so particular, I think that for what this family got up at that time has been short the plot and moreover too Benévola, I believe it is a greatest common divisor of the most relevant writings on these controversial characters, leaving a velvety version of the story resulting. Although we can never be secure nor the most atrocious of the written stories, real evidence of feats no exist as.The representation of Cesar Borgia is the brighter you are going to see in this film, no doubt the best role of the young career of Sergio Peris-Mencheta, an actor undervalued in his interpretive talent and that finally has been given the opportunity to recreate in a great historical figure, arriving to our days with a relevance such, many of the Renaissance paintings where appears the image of Jesus Christ, they could have taken the physical image of Cesar Borgia. What is certain is that for Sergio, it will have impact. What most caught my attention to this interpretation, is it isn't overshadowed by Luis Homar (Rodrigo Borgia), or Maria Valverde (Lucrezia Borgia), form a triad that, tension and scenic karma are alike.If however the performance of peace vega, is absolutely overshadowed by Sergio, in normal terms "her eaten", too actor for an actress, each more national day (with the consequent loss of charm) and more predictable in its interpretation, and be foreseeable to an actor is the beginning of the end.I have only 1 thing that criticizing Sergio in its interpretation and is, that, very bad ride a horse, most of the time going crooked because it carried no well-regulated Stirrups and that well because surely (do tells me my experience as Amazon?) lacks the necessary balance, but peace that is a good is much better on the scene they share together on horseback when they are back in Rome. Not be as not you corrected this because really is pathetic, in all the scenes, is that all this horrible horse. But well this is fault of the director and if there has been coaching the coach?Cannot be displayed a beautiful floorplan with a few riders so bad, sings much, a little more practice, and it would have been great.Good and we are with horses, criticizing the casting director, the election of Miguel Angel Muñoz, too close to its role as Robert in "A step forward" to be credible. At the end of the film when he appeared on his horse, I didn't know if he was going to start to give stunts on it or sing "Sámbame". I had to laugh, I could not help it and why I love Mr Muñoz, but in this case, it hit anything, despite what his fans think.I can not describe the film as a bad job that is not. In fact represents a breakthrough for the Spanish film but nor is it a masterful film, let's quit normalita (I liked more the old "intact" for example). But indeed there are things that I stress of the film as the little signs continuous "12 years earlier", "1 year after"? at least 8 of these posters told something that seems excessive. I have to say that I liked the treatment that has been given to the sex in this movie, as well as avoid the bad taste to see pubis as mink (see my blog entries film Rasurado I and II) scenes are not explicit with which I think the plot WINS much, for that does not have to continuously pull of tits and asses to attract the Viewer, although they show, is done in a sensitive way, at the end and at Cape is appreciated, because easy sex have in almost any tape.María Valverde, is wonderful, but there is one thing that shocked me and they were his hands, they were descuidadísimas, by God if at that time the ladies were passed the day smearing the hands with the famous aromatic oils, as the director can give by valid an outlet where the hands of Lucrecia look full of cuticles and broken nails! honestly is not the image that has given the history of a great Renaissance Lady of the stature of Lucrecia Borgia.Como I said at the beginning, for me, the film is reduced to 3 master interpretations, and Cesar Borgia, because more than the history of the family, is the history of this dark character, who inspired the Machiavelli himself in his work "The Prince".

archivos_extraidos/MCE-Corpus-main/Dataset/1875

Oscar Cantero

Seduciendo a un extraño

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James Foley has traditionally been synonymous with monotony. This film is a perfect example of this.

With an argument too simple, more typical of TV movie that desktop, and the only incentive for an important cast, it reaches Spain Seduciendo a stranger, the last film directed by James Foley monotonous. The story revolves around a journalist (starring Halle Berry), who decides to investigate the murder unsolved one of his childhood friends. Via the internet, and with the invaluable collaboration of a hacker (already comes one of series with almost all the films), located in one of the suspects, a billionaire who gives life harmful Bruce Willis, which might be called the man of three faces. Namely: one of joy, one of anger and a third wildcard for the rest of their States of mind.And from here, mess montepío everywhere, messages filled with the classical and hypocritical American moralina and unbridled carousel of topics. Halle Barry, that seems to have regained its lost splendor, is very comfortable in this type of roles, and this is evident in the naturalness that transmits in the interpretation, while Hong Kong the broken and emaciated Giovanni Ribisi, who embodies the hacker that accompanies it, continues to demonstrate that it is one of the players called to set a time. Willis, better not to say anything. Perhaps due to the presence of the first two that the film, with a mediocre screenplay excessively supported in the scenes of sensuality and poor narrative, is no sleeping, and at least serve to entertain. Search any aspirations in it, is wasting time.

archivos_extraidos/MCE-Corpus-main/Dataset/3111

J-rules

Promesas del Este

muchocine

We attended a master class of direction, accompanied by some impressive performances, but at the same time, we find ourselves with a history tells us the same always, as always, and with a somewhat weak and disappointing ending.

Neither cold nor heat has caused me the new film and Cronenberg, which tells us impeccably, with stellar performances, the history of mafiosi already thousand times.Indifference would be the right word to define my feeling after the viewing of this film, which wanted to see, but it has left me a bitter taste in the mouth.On the one hand we attended a master class of direction, accompanied by some impressive performances, but on the other, we find ourselves with a history tells us the same always, as always, and a somewhat disappointing end. The entire film is accompanied by a solid history with achieved dialogues, and a Mortensen that is out of the screen. Although it is the same basis, sobriety, credibility and robustness over 90 minutes is achieved, but inexplicably, Cronenberg is diluted a final promised intense and dramatic, which he is in correct and justito.At the end we are left with a film of book, essential in schools of cinema, because all visual and interpretative, but at the same time it all comes with a rest unattractive by being indifferent to use all watched topics and see in the mafia film.I can only highlight the actions of the Quartet protagonist, above all that of Viggo Mortensen. (Up Vincent Casell I liked, and that he always makes the same nose!), otherwise, highlight the great House of Cronenberg, the strength of the script and the indifferent final.

archivos_extraidos/MCE-Corpus-main/Dataset/1153

Rafa Ferrer

El jefe

muchocine

A simple comedieta of fast, linear consumption nauseam that does nothing, but that we are pushed, who do not know very well why strange inner strength.

I have a special setting for this type of film, I can not, I know in advance that it will be a shit movie, that I will end up hating and that in every minute of projection I'll be cursing out left and right each and every one of the details of it, but however, a strange Goblin pushes me to watch her (and then criticize).As well, yet another advance to the "Buddy Movies" so booming in the first half of the 1990s and had its maximum splendor in films such as the "Lethal weapon", "Colleagues to force" series and even, and although to a lesser extent "Beverly Hills COP in Hollywood", now, all living a second youth have Samuel L.Jackson making the role of always, and to Eugene Levy, idem of the same, this insults comedieta, which lasts some righteous 83 min. and that view, be másca and digested nearly as Levy character on screen, digestion is perhaps less important, given the simplicity of the same.The greater incentive is a soundtrack that never ceases to amaze, and the participation of English actor Luke Goss, famous at the time for the musical duo Bross which have now moved to action cinema (le souvenir "Blade II", for example as a vampire).Anyway, in short, that little more can be added, a simple comedieta of fast, linear consumption nauseam that adds nothing, but that which we pushed, is not known very well because strange power within, leaves little to say nothing to the imagination. Even the jokes are basic!

archivos_extraidos/MCE-Corpus-main/Dataset/789

Oscar Cantero

El ilusionista

muchocine

A well structured work, a good photography and a setting of high level. Magnificent.

Edward Norton has always seemed an enigmatic individual itself. A mysterious air that often favors their interpretations has background in any of their records. If as in this case, the role that plays is a magnificent magician who triumphs by the early twentieth century Europe, that quality to which I have referred help that his interpretation is more convincing. Paul Giamatti continues to demonstrate that it is an extremely versatile actor, while Jessica Biel continues in the line of recent years to diversify characters to not stay framed in blood and action films. The fact that the screenwriter and the director are the same person help that the argument is well linked and that the sensation of the Viewer is that of being before a well-structured work; added to this number of qualities a good photograph and a setting of high level (the Vienna Imperial mandates already alone), the result is a superb quality product.The mixture of intrigue, suspense and love the viewer require a degree of significant attention, something that is not difficult to pay because the movie itself is responsible for catching us and their little less than two hours is not that they are bearable, is that in some cases, just knowing a little. We have a film that as it progresses, it becomes more interesting, more enveloping and that Neil Burger, despite his limited career as a director has been able to give the touch of solemnity that requires the historical moment of its development, without losing the ability to do a fun job that is attractive to all kinds of publicby the multiple turns of the argument and its diversity of scenarios, which make it a multidisciplinary film. Magnificent.

archivos_extraidos/MCE-Corpus-main/Dataset/1721

Robgordon

300

muchocine

Blockbuster well mounted, plastically perfect, very wild and entertaining. Flawless as epic film and special effects and that, without doubt, open a new path of palomitero film, more if we consider, that their collections at the box office are still heavy...

The aesthetic transformation of cinema show latest grilling has behind it to the figure of the artist graphic novels also screenwriter, Frank Miller. Theirs are the works "Sin City" and "300", which in addition has participated very actively in their versions for the big screen, codirigiendo, writing, producing or simply to monitor these adaptations and trying above all to the essence and appearance of his works, were reflected with similar scrupulous in the film.For this commitment in moving images of a comic to the seventh art more quote possible, Miller and Robert Rodriguez in "Sin City" and now Zack Snynder (responsible for the zombie revival which was "Dawn of the dead") have needed to carry out an original use of special effects, not so much in order to surprise the Viewer (although they have subsequently achieved that effect) but with the intention of docking to the maximum images and vignettes, with the film and visual evolution that entails.In this way, both "Sin City" as "300" are now responsible for a new evolution of the blockbuster film tapes, a new way of understanding the popcorn cinema, which bets in its entirety by the croma (i.e., the green background on which act the actors is then transformed into sets infográficamente), something that has tried and George Lucas in his recent episodes of the "Star Wars" saga, certain passages of "The Lord of the rings" or Peter Jackson's "King Kong" or those responsible for "Sky Captain and the world of tomorrow", but apparently, these adaptations of the worlds created by Miller and his attempt to be a reflection on the move of the graphic novels, have endowed this new film use, (radically opposed to the conception of cinema as such) of a perfect alibia justification for this absolute use of Visual effects to the detriment of the classicism of the film that we all know.Whether we like it or not, "300" already forms part of the history of the film's special effects. "Their proposal is radical and we cannot deny that his influence, such as"Sin City", which is taking will be decisive for the future of cinema show, that big budget film which is no longer unable to show us the most unimaginable universe, most unexpected situations or the most unlikely creatures."300 "is a piece of history to compose their world of fantasy. The battle fought at Thermopylae Greek between Spartans and Persians in 480 BC and Leonidas an army of 300 brave men fighting against millions of soldiers of the opposite side, is the plot excuse that Frank Miller created his graphic novel and now Zack Snyder has been able to portray avispadamente on the big screen.As already in Mel Gibson's "Apocalypto", historical accuracy is the least. The battles, the protagonists and places written in the annals of history, are only taken from inspiration to reinvent the history of the more lavish, colorful or fancy way. In short, to create a fast and fun entertainment. Because "300" is just that, an effective tape action and adventures of new generation, made with ex officio by Snyder and full of violence, testosterone and Golden colors.The visual power of "300", such as rabies and the force that appears in each one of its moments is undeniable. With a pretty little script that focuses on the battles from very soon, Snyder, based his film interest in the powerful figures of Leonidas (Gerard Butler, magnetic in his role), Xerxes (an amaneradísimo Rodrigo Santoro) and Lena Headey (great as Queen Gorgos) that focused the interest of history in their different points of view.The moments of battle, are well made, are clean and avoid this endemic evil of war scenes from the current cinema, that nothing can be seen and everything is confusing. There is also a certain abuse of the slow motion, which recreates in certain situations, but ultimately, "300" has the best battle sequences from "The Lord of the rings" which is again a clear benchmark on this occasion. As for the palatial intrigue, they have hardly any consistency, and it is a very weak throughout the history, though, point repeat the good do Lena Headey as Queen Gorgos.Resumiendo, "300" is a blockbuster well mounted, plastically perfect, very wild and entertaining. Flawless as epic film and special effects and that, without doubt, open a new path of palomitero film, more if we consider, that their collections at the box office are still heavy, it is to be the main thing for the producers of this film genre that so much money needs to be able to be developed. One of the tapes of the season.

archivos_extraidos/MCE-Corpus-main/Dataset/3507

Emilio Calvo de Mora

Soñadores

muchocine

Wasteful, dreamers emulates many films, pays homage to many films, and although coated film of political and social commitment, is a sincere tribute to cinema, culture, wonderful and last instance.

By age and intellectual preparation, I lack the sentimental acquis that had allowed me to see dreamers with other eyes. Mine did not see the French May 1968. My hands not erected barricades. My pen did not write pamphlets and placards, incendiary prose to burn the routine and change the world. Nor I was born in Chicago in the violent 20 (the roaring as) and, on the other hand, I appreciate and me involved in film noir and patterns that explicit. In any case the French may, by cultural contamination or because of lack of it, is more far. Blame the must have our postwar policy, which led to Spain to isolationism by the work and grace of the warlord and his regime. It was more tolerable a mafioso docked a bank or that a couple of small-time criminals planted corpses of five States in the passage of his misdeeds as a revolutionary ideologist calmly proclaim from the rooftops their total objection to the law and their disregard for traditions, including God, the Church and the order established, usually by force.But Bertolucci, which is an old dog, has not clearly portrayed that world of University and commitment to freedom and progress policy. Or, at least, has not portrayed only that aspect of the plot, by others, tiny, almost negligible.The history of the two incestuous brothers who stay at an American University attraction to spend a few days in the apartment in Paris besieged by chaos (is that, at the end and all, which meant in those turbulent then the revolution: chaos, a release, combustion, a very planned disorder) becomes an exercise of sick sex, nostalgia, discovery of the own experience as an engine for the world and, above all, a fresh imposing on the construction of the ideals that enlighted the society in which we are. So much ambition sinks: just being demolished by a frivolous vision of things, barely attached to such high ideals. Dreamers is not the last tango in Paris, although some so it had to benefit of cinephiles of showcase. Dreamers is little thing at the bottom: three Brats with the settled life that entertain the time between ejaculation and progressivism, Cortázar's Rayuela and Charlie Parker records in the pick up. Correct in excess, although carnal in the demonstration of the gallant adventures of these three revolutionaries of divan, tape entertains, gives rise to an interesting discussion about what counts and that, not counting it, it hints. That Paris which created the Nouvelle Vague, the Paris Jazz and poetry of Baudelaire, the intellectual decadence and hippies dressed in terrestrial verses to the Whitman and a complete lack of prejudice in the sexual field (which Bertolucci gives good account with a trio delivered protagonist to stage this promiscuity without sin, that activism venereo that it was not only looking for tremor)(, the mere pursuit of pleasure but also the audacity of his execution, the recklessness of their propaganda).Commendable the Bertolucci stubborn in opening a door is not open almost never: of ideological cinema as a cultural label as a reference, as a sentimental treasure of generations who have learned to live and to love the movies. That makes it here, and does so with significant naturalness. Then there is the political aspect, the revolution that was then - walking distance from urn - a failure and became outburst to benefit of nostalgic inventory or, at best, as a matter of conferences and manuals on Social and political thought in the twentieth century, that thus forth. So the film is a parade of bodies who love, of bodies who love and speak of impossible characters (combines) exemplifying the oft cash and Honoree feeling of youth of the 68: sex, drugs and cultura.a lack of rock n' roll, less well seen to the bebop, blues or the song protest, more easily exchangeable into accessions genera. What happens is that these heroes only led his bourgeois sense of leisure, his instinct domesticated between four walls that exude anything except wanting to wanting to change the world.Isabelle, Theo, and Matthew are, to post, sacrificables pieces of magna opera that Bertolucci wants to show: his utopia is in the books, is in the film and in the halls of corridor after a school of philosophy in the University, but these utopias do not permeate society. The real revolution requires sacrifice, votive offerings, pieces that are inmolan to magnify the ideal, and they operate at a lower level (different, frivolous) occasionally, of minor relevance. Isabelle, a fractious Virgin, a vestal with explosive uterine dizziness, occupies lot screen. It focuses tour the full text of the tape. Eva Green is not Jean Seberg announcing the New York Herald Tribune in the streets. The young delivered to the ideal of the revolution is also a perverse girl who breaks taboos and ironworks, based on winks moviegoers and convoluted parliaments on freedom, ethics and political responsibility, his own desvirgue, which is performed by the best candidate, an American who was fascinated with the nattering pseudo-revolucionario and very well versed in Mao, John Coltrane or Chaplin or Keaton. The film is pure voyeurism. The culture also.However, a nice film, well hilvanada, devoid of fundamentalisms and occasionally corny, but dignified and attractive.

archivos_extraidos/MCE-Corpus-main/Dataset/2288

Florinda Chic

Tideland

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You don't ask is the time because it is boring, that it is not. If not because it is unbearable to see both sufimiento and a situation so miserable.

Terry Gilliam seems a genius but his genius in this case bordering on madness. Tideland would inaugurate a new genre, the film of bad feeling. A film that you can not believe what you are seeing and you left between the naúsea and the irremontable downturn.This peculiar "Alice in worseland" is perverse, dirty, ugly and Gilliam serves cold and very little done, almost raw. The protagonist is a girl that coexists with two drug addicts. Upon the death of his stepmother, she travels with her father on a flatulent journey to nowhere, to a home in the countryside. The small wild……, fantasizes and borders on Schizophrenia while preparing him PAPI his injection of vitamins in what are some scenes that herirían the sensitivity of Charles Mason-but are not the only ones.With this panorama, the girl becomes an emotional girl and engaged relationship with its neighbours: a woman who lives terrorised by the wasps and his son, a mental retarded adolescent. But sometimes it is better to be alone than badly accompanied and his psychotic DELIRIUM is increasing while becomes child forced Norman Bates.Do do do and with these ingredients it is evident that the film, which delights to show small possessed by his avoidance of reality, makes that you will pass the footage thinking about three things:? that someone call social services?,?Do if I had a daughter non had I left him star in this film? and? when hit this??But it is not that be requested time because it is boring, that it is not. If not because it is unbearable to see both sufimiento and a situation so miserable. As well as in the laberinto del fauno, the protagonist locked in his fairies and their bugs to survive and the imagined story was more attractive, in Tideland happens otherwise. It is so insane the environment, the fantasy, the scenarios and characters that do not know what is worse and shrinks the stomach, the soul and the heart.Sorry but I not noticed if he had good photography, soundtrack and art direction, result that just looked.

archivos_extraidos/MCE-Corpus-main/Dataset/1484

Rafa Ferrer

American Dreamz

muchocine

It is nothing more than a stupid comedy, where there are only 2 or 3 thank you showing up in the trailer, but if we scraping a bit we find ourselves with a raw and biting critique of society.

Watching this movie I was reminded of these new once coupons, that if we look at the movie above, and without scraping we will get the prize, that above it is nothing more than a stupid comedy, where there are only 2 or 3 thank you showing up in the trailer, but. If scraping a bit we find ourselves with a raw and biting critique of society, (more to the USA to the world), where we see a useless President, that can not speak, nor concerned the policy, or you have idea of what is the world in which we live, a depressed and disgusted President who does not know very well that with a post that comes big does sound them of something?On the other hand, we have the television competitions, where people are able to do the most embarrassing of the ridiculous just to have their 15 minutes. of Fame, then this the problem of Islamic terrorism (and in the end they are so Western as us), so that in the end, the film above is shit, but scratching is something else.Original, but not to impact.

archivos_extraidos/MCE-Corpus-main/Dataset/2073

Rafa Ferrer

Diarios de la calle

muchocine

So that if I have that you as a "teacher" I liked, and that has left me good taste but... (there is always buts in this film).

You are not a successful actress if you don't have a teaching tape, so Hillary Swank, with his brilliant career could not be an exception, here gives life to Erin Gruwell, a teacher who really exists and that with the Foundation "Freedom Writers" (original title of the film), has managed to get to many of the ghetto boys go to College and become people of benefit.I have to say, that a server has quickly been immersed and at the same time identified with the story, and not by the ghetto, but because some years of my life I spent them giving computer and accounting classes to kids of more diverse, more, today, in my current work spend some days (now that the warm weather arrives) teaching training cycles, by teaching, in some way, running through my veins. Perhaps, this is the main premise that one needs to identify itself with the final result, a tape that produced with the baton of MTV (that do not know if it is good or bad, but there it is), and covered 2 years after the race riots that ravaged L.A., presents as well as the doubly Oscarizada Hillary Swank, for a casting tonot to be varied, found some good pearls (as the character of Swank which leads to the neck), which is worth discovering, in addition to Imelda Stauton (already is fraguaba in this film his next role in the new adventures of Harry Potter) and that is a priori as interpretativamente camaleónica, which one can hate or worship in a matter of seconds; on the other hand we have the television Patrick Dempsey (famous for the Tv series "Grey Anatomy") and here is the long-suffering husband of the protagonist in a linear, almost predictable role, and is by more than firms trying to get into the head otherwise, today, the personal life conciliation / working life is fully utopian.A concise, typical and topical tape (there are 100 films of similar characteristics) that, under the veil of "based on a true story" manages to touch the Viewer, and at times even excite (okay, I admit, I almost cry in a couple of cuts from the footage); its reverse negative have disagree with this abuse of voice-over (me cannnsa so that film resource), some moments, completely empty and/or stupid, and certain doses of fantasy (seems at times sponsored by "Bricomanía" for what of "If you can imagine, can be made" prior to the shelve this, my opinion, admire an excessive good job at some levels of the film)especially when the character of Swank begins to read newspapers, and as one is watching the stories and anti-militarists gradually with all the kids (well, that you put in your pocket in a moment).So that if I have that you as a "teacher" I liked, and that has left me good taste but. (there is always buts in this film).

archivos_extraidos/MCE-Corpus-main/Dataset/1239

Yojimbo

El último golpe

muchocine

This entertaining comedy is more paladeable for a few who know the subject to other lay in the field.

Feel the passion of the film sometimes opt to take a step beyond who are trying to do something. And as in any other discipline, the illusion of starting a project you exceed and create you a totally indescribable euphoric State. And more even if it's an "Opera prima". This is the case of this film.This film is based on an article by Steve Fishman entitled What´s wrong with this picture? The FBI apparently masked produce a film to catch a mafioso. And it sounds like this is the argument. Alec Baldwin (Joe Devine) is a very involved with his work and has to catch a mobster who controls to truckers. Matthew Broderick (Steven Chats) is a naive lover of cinema that is moving from centuries ago his script. The FBI agent follows that many trucks are used in the shooting and therefore, if they are passing through producers and simulate that they will make a movie climb you with the hands in the dough. And at that time Devine and Chats are known.The lure of this film, like many others that portrays the world of cinema, is that many look it with more affection and see reflected experiences that many other viewers deduced as certain: the eccentricities of the world of movies, actors, actresses, of the drawbacks of the producers to the directors, etc? The most "romantic" film is addiction who feel all to create something as large as a feature film. Even when the conditions of production make shooting a sequence of a desert in a parking lot, everyone feels this sensation of being brewing something to join a team. And the magic of the film not only catch the usher of a film that premieres as director, but also a FBI agent who sees power of cajole and engage in the fruit of its decisions.It's fun to see Martian of many workers in the film. So the film is supported by an actress as versatile and great as Joan Cusack (uncredited) or Toni Collette, as well as other side who do not not bad as Calista "McBeal" Flockart, James Rebhorn or Tony Shalhoub. And as a good way of creating humor by "contrast", the director (and writer of the terminal and catch me if you can) chooses my admired Glenn Morshower as head boss of the FBI to monitor a desmadrado Baldwin. Ray Liotta and his scary face will make "balloon pinchador".That is why, at the end of this entertaining comedy is a more paladeable product for some few who know what refers to other lay in the field. And such leave final power project a negative without revealing, see it as a positive and enjoy them on a big screen with sound and everything can even forgive them. : P

archivos_extraidos/MCE-Corpus-main/Dataset/3900

Dragon negro

Mortadelo y Filemón: Misión Salvar la Tierra

muchocine

The second incursion in film and with real actors of the adventure of Mortadelo and Filemón salda with a result very similar to its predecessor, is not capable of withstanding the type for an hour and a half without coming to tire.

Our two most famous agents confront this time to a major problem of drought affecting the entire planet, that also not to suffer attacks to pollute the waters. Effect invents a machine of rain it is having the opposite effect, takes away the water. The evil Botijola is behind the attacks decides then kidnap the inventor and done with the machine for advancing the purpose of their plans, put an end to all the water on the planet so that everyone has to buy her drink called botijola.New delivery, second, of the adventures of Mortadelo y Filemón transferred to the big screen that does not differ much, aesthetic and visually, from its predecessor. The cartoon effect is present in the film with the intention of transferring the visual of Ibáñez the cinema, that universe as already happened with the film by Javier Fesser, this highly successful and even improved and much more spectacular. Unfortunately, this proves to be the only point in favour of the film suffers from the same evil from its predecessor, a script lengthened in excess and not stand level during the hour and a half of footage.Repeat the same characters as we have already seen with the only change of actor in mort, this time played by Edu Soto, that although best actor, must be acknowledged that it gave more as mort Benito Pocino pego. Anyway is Pepe Viyuela in the role of Philemon who takes all the weight of the film just mort is dedicated to gracietas all the time, and some of them of more silly, another big problem of the script, is one of the most ridiculous and sonrojantes gags I've seen in recent times.Apart from a few very accomplished special effects, in its favour it must be said that Miguel Bardem has included many details to any reader of comics of the couple will recognize, even many of the gags have traded literally, although as I have already said, not all produce the desired effect and what role does grace in the big screen causes shame others.The second incursion in film and with real actors of the adventure of Mortadelo and Filemón salda with a result very similar to its predecessor, an aprobadillo thanks to their achieved special effects and its visual aesthetic, but with a hyphen and a few gags that could have improved. The question that I am concerned about is if really Mortadelo and Filemon are able to endure the type for an hour and a half without getting tired, the answer so far is that, perhaps in a new installment, if this works at the box office, you can say otherwise.

archivos_extraidos/MCE-Corpus-main/Dataset/3470

Oscar Martínez

Beowulf

muchocine

One must recognize that Robert Zemeckis film intended to, although fails it entirely, go beyond mere aesthetics in an entirely virtual world, which is worthy of praise.

Certainly some, one of the most awaited movies of this 2007 is Beowulf, epic fantasy based on the eponymous Saxon poem which has been directed by Robert Zemeckis and starring a few digitized Ray Winstone, Angelina Jolie, Anthony Hopkins, John Malkovich and Robin Wright Penn among others.Beowulf situates us in a time of heroes, in Denmark, where Hrothgar reign lives under the shadow of the giant Grendel; on the other side of the sea, the mighty warrior Beowulf will arrive to kill the devil, thus provoking the wrath of its monstrous to seductive mother, in a conflict that will transform a King in legend.First of all, I would like to specify that a server has not had the opportunity to enjoy the film outputs 3D stereo, as it seems that they sent the canons, but in an Orthodox, although of considerable dimensions display.One of the most striking phrases of Beowulf and which, on the other hand, sums up perfectly good part of my reactions to the film, is that the vassal of Hrothgar converted to Christianity shouts in the final stretch of the film: the sins of the parents. Why? Because Beowulf has exactly the same mistakes (although to a lesser extent) that it lacked the previous attempt by Robert Zemeckis, Polar Express, digitize their characters.After this ominous outbreak of criticism, now move on to talk about the virtues of Beowulf, on the other hand, are not few: the new film by Robert Zemeckis is, as expected, a visual wonder, with some dazzling sets and a fascinating history, a noisy and catchy soundtrack in many of its passages and an epic aura which, without a doubtIt is the best of the film by far.On the other hand, and as I said at the beginning of this critique, the characters in Beowulf are not always at the level of their environment, at least graphically, as the price of their close-up and his hyper-realism are partly marred with some of their movements (when riding, for example) as for his tertiary characters, very little defined in some cases. For this reason, and despite the first visual impact of Beowulf - even more (I guess) if her fine we in stereo 3D - one cannot have the sensation that is watching a long introduction of a latest generation console game.In favour of Beowulf can be said that its history, despite predictable result in general terms, nevertheless interesting, above all thanks to a few not too extensive, although dialogue effective, in addition to surprisingly verosímilies on the lips of their virtual, rather more consistent players than many actors of flesh and bone in other movies fantastic. On the other hand, one of the greatest achievements in the Robert Zemeckis film is that, although it may be paradoxical, not abused the special effects, based on a relatively calm and sober narrative pace in general except for its final stretch, which no doubt helps own the footage epic status.The epicentre of this footage is, if anyone doubted it, the character played by Ray Winstone, the legendary (though slightly swashbuckling) hero, noble and haughty, proud and bold, which change all those virtues required for a lifetime of adventures in favour of the stability of a reign, and perhaps something of lust. Thereafter, Beowulf goes from being a hero of legend to expose as a cowardly traitor, but why not be undermined in the eyes of his Entourage or the Viewer, actually, the myth has become man, nothing more: a be vulnerable, mundane, that with the passage of the years will realize his mistake and he must face their own fears givingCuriously, the redemption his soul yearns for. Why does Beowulf but portraying man as Monster and vice versa, message, especially lately, we find in greater or lesser degree in new productions as in the case of this copy/paste called invasion, the most recent example.Thus, the epicidad of Beowulf is guaranteed, as well as the waste of sober special effects and, like 300, snapshots to remember, but one must recognize that Robert Zemeckis film intended to, although it fails at all, get beyond mere aesthetics in an entirely virtual world, which is worthy of praise. That, and the fact provide us with a fairy tale without connotations children, as has happened with this pleasant surprise has been Stardust. ASI and everything, still think that the same movie with meat bone characters would have been much higher.I give a 7'5 out of 10.

archivos_extraidos/MCE-Corpus-main/Dataset/139

Iñigo

Hostel

muchocine

When there is not much more to offer, more practical usually approaching people with renowned or draw attention to trying to sow panic

Eli Roth, sponsored again by a major character, in this case the ineffable Quentin Tarantino, insists draw attention and create controversy in any way possible to attract viewers to the viewing of his works. When there is not much more to offer, more practical usually approaching people with renowned or draw attention to trying to sow panic. Both cases occur in the person of Eli Roth.En her film debut, "Cabin Fever", be covered by the figure of David Lynch was a point in his favor. To note that the name of a genius as Lynch is involved, in some form, in the project, many will be launched to watch her, even just by mere curiosity. And this is its major asset.The truth is that Eli Roth needs a powerful campaign accompanying so his films do not go unnoticed and remain in the most absolute of the oversights. Be produced by a controversial director, create a stir on the terrible and controversial theme of the film and preach the five continents is without doubt, a very effective way of achieving its purpose interested.It is the young director not more than another fan of the grotesque, staunch follower of worship near what today is called "geek" and see persecutor of Fame in world magazines and newspapers that want to become in the world of cinema. A world that, in one way or another, is attracted to. Captures fans, feeds his ego, earn money and be labra controversial future for their next projects to check. Yes, it has been achieved because the spectators fall into their trap. The damage is done.Already be we had been selling "Hostel" for quite some time as one of the most violent and brutal years, movies not suitable for the most sensitive stomachs. And, indeed, there is something like that. But, as usual, advertising brings everything to a close to the disproportionate limit. As I said, their own ideas very few. If any. But what little they have need to squeeze it to the maximum. And Eli Roth has been able to get juice. While "Cabin Fever" was a conglomeration of elements of many directors dealing with terror from a different point of view (see own David Lynch, Cronenberg, Hooper, etc.), becoming a product seemingly so appealing as little original, "Hostel" is a much more simple, direct work in certain aspects.What at first occurs suddenly as a purely teen film, of those that make think that to reflect the social life of young people there rather than develop the plot on the basis of sex (or rather, the desire to get it) and the party slowly will becoming the explicit film that actually is. Thus, the route of the mindless of turn (leading them to Slovakia) is presented as a paradise for those who dream to shoot their hormones of the free and easy way.It impresses the ease with which to manage all their desires. And that rises and low slippage and fun is reflected on the screen of a purely unreal form that manages to bring to every tourist in search of easy sex. A pamphlet for more planes of mind. And effective, of course. Although, of course, rather than impress, such display of easily makes us doubt.A little more than usual (while the viewer in sight again and again these rants of the protagonists) it takes to get the turning point of the film. But it comes. Then, logically, the brutality we harassed and already does not give us breathing space.At the same speed that the characters are disappearing, the climax of violence increases their heights. And then, the speed of the events is extreme. There are no concessions of any kind. Eli Roth tries to us sumerjamos in this bleak environment without possible return. And if you have, our thoughts will prevent that we can escape.Discover the real plot, and torture, humiliation and brutal and incoherent beatings never cease to happen is. Some manage to escape, but it is to ask if it was really worth having escaped. The clearest example is the eastern part of the "unbearable" scene in the film and most will already recognize the flight. Example that makes us reflect, even on the importance that today given to the physicist. If you look in a mirror and you see deformed, mutilated or stripped of one of your visible parts. life cannot go on. It is too heavy and painful to lead throughout an existence.The film seems to save a point of social interest, but as soon as he looks over her head, her returns to hide sharply. A simple concession to the Gallery, on the other hand, makes us reflect on violence and the nonsense that the world is turning. Do not know if one acts thus pure pleasure, amusement, frustration or causes the same offending individual is unknown.The violence is in any corner waiting for us. As the gang of kids of Bratislava. But let us not delude ourselves or look for five-legged cat. The film is simply a Museum of violence, intrigue and high tension which may engage us in the sofa as easily as do we lift him or look the other way. Its premise, despite possibly social notes, is as simple as the cause to the Viewer. But the eternal search of terror lost in the films that do not be fooled. Here terror there. Setting, bestiality and suspense that will get good dose. But even the staunchest followers of "gore", which boasted the advertising for the film before us, will be disappointed by the lack of content (with the exception of a couple of scenes).What is clear is that the sensitive stomachs and easy to impress hearts feel nausea on more than one occasion. It becomes unbearable not visually, but psychologically.In short, an absolutely flat, simple, surplus, free and unpleasant film that all they can offer is entertainment and tension. It does not say anything new and the word "idea" is conspicuous by its absence. It has an interesting invoice, some credible performances, a very successful ambiance and an in crescendo of history which is degenerating more and more in what is predictable as final. Without going any further, surely the own Tarantino saw more than satiated his violent palate. In fact, the film baby much more pure violence of the director of "Reservoir Dogs".Let everything in a fad is actually her. Exactly in the same way that prevails the Tarantino film in our time. Maybe you are much more interest fans of latest movies as "Saw" (which, in comparison to this, up might seem large jewelry) or similar. It is certainly a new and widespread wave which seems to have no place in the contemporary concept of cinema.Everything is forgotten and the hostel, little by little, will be losing customers. Later, maybe reservations are are depleted again. Everything is a matter of see our progress and wait for the evolution of the palates of the Viewer. You never know. Meanwhile we are going to continue torturing. If it is possible to Americans, that, as in the film, they are worth more points (black humor satire sponsored by the creators of "Hostel"). What is clear is that not they will no longer us surprise. And misleading advertising either.

archivos_extraidos/MCE-Corpus-main/Dataset/3657

Dragon negro

La brújula dorada

muchocine

The northern lights, the first book in the his Dark Materials trilogy, would have deserved an adaptation to the big screen quite successful and achieved that before us, so seen, I'll buy the two remaining books and I sit to read them on my couch, that insurance I do not decepcionaran both as the planned second and third part.

From the outset has wanted us to sell this the Golden Compass as the trilogy was going to pick up the witness of the Lord of the rings, a spectacular trilogy of fantasy that would break ticket and return to amaze us. But there are several factors that may have not taken into account and that jump in sight once seen the film, and the first one is that Chris Weitz is not Peter Jackson or by far and this project is something greet and sought for years as it was ESDLA for him, but it seems rather a film commissioned. Another reason is that you lights of the North (as it is called the book actually), despite being a good and entertaining book of fantasy, fails not even close to the level of epic grandeur of the Golden Compass Tolkien.La work does not put in an alternative world to our own and quite similar except in some things. Humans there van always accompanied of a Dæmon, a sort of personification of the soul in the form of animal and comes to represent the character of each. Our protagonist is Lyra, a small girl to which a great destination awaits you. Everything will begin when someone begins to kidnap children and Lyra have to stop the Oxford School where has raised to spend in the care of Mrs. Coulder, which is who is actually behind the mystery of the disappearances.The northern lights, the first book in the his Dark Materials trilogy, would have deserved an adaptation to the big screen quite successful and achieved before the us. After a year of waiting the film and that her they paint us as well, us they back folded into a film that is not at all at the height of the novel. Although the plot is following the thread of the book, everything seems to happen so fast and accidental way that even seems to hurry by finish or skip at least throughout the first part of the book which is undoubtedly the most heavy, it is not until that begins the journey of Lyra when the thing starts to get really interesting. The film getting going snips of paper here and there leaving aside delve into characters from scene to scene quickly and in a hasty manner, in short too many situations. The final climax happens in the last half hour of film where taken licenses are clearly disturbing and without any sense. SPOILER Ya tell me that pussy looks that the film bears struggle, remove it and the picture stays the same, does not have the slightest sense, on the other hand, in the book is perfectly justified and occurs after saving children, not before, as they are the bears who have retained the uncle of Lyra and where go to rescue him. END of SPOILEREn as to the actors, the main protagonist is Dakota Blue Richards, which can be equally charming than of irritating within minutes of difference, but that generally holds pretty well, Daniel Craig, Eva Green and Sam Elliot are correct on the little paper they have, and Nicole Kidman takes the cake, get to the character of Ms. Coulder which in the book is a beautiful and refined Lady, but the evil Fund and with the power to influence people is completely disfigured and even ridiculous at times.It seems that Chris Weitz not be her has played with the film, as if made Jackson with his trilogy. Not a book as complex and full of nuances can be explained and fantasy elements such as the northern lights in an hour and three quarters, this film with half an hour or more had been better defined. Anyway there is a severe problem of adaptation of script which is the major drawback of all and which I hope will improve in future releases, although seen so I'll buy the two remaining books and I sit to read them on my couch, that insurance I do not decepcionaran both as the planned second and third part.

archivos_extraidos/MCE-Corpus-main/Dataset/3267

Emilio Calvo de Mora

Disturbia

muchocine

Disturbia is a teenager thriller, a disturbing picture of the solitude of an individual Justice has been confined to his home. Hitchcock thought for adolescents in the 21st century.

The model.Or you're analog or digital are. The lofty and sensitive suspense by the great Alfred Hitchcock basculaba between Cartesian, unproblematically, sistematizable and computable evidence and the uncertainty of the amazement that not let Assualt by predictable patterns or consents to the routine or neutral aesthetics. Hitchcock was driving his talent for ambiguous territories and refuting the pre-eminence of the well with sordid battering of pure evil, with pertubadas conclusions on the human condition. But it was Hitchcock who was a being analog, arguing its prodigious cinematic pulse on noble handles almost all literary. The Empire of imagination planned, free.If it is true that the Jesuits invented the suspense, according to some anecdote about his life in an English boarding school and how the noble cloister Regent left the punished to run severísimas physical assaults which it was subject, Hitchcock invented the dramatized suspense, suspense as single ingredient of the plot. Everything else is incidental. The Viewer is also an actor of this plot. James Stewart is the invalid who escruta their backyard neighbors in search of strong emotions and encounters what he believes is a murder, but James Stewart, in a formidable game of mirrors, is also the spectator placidly installed in the armchair, in a subtle exercise of duplicate voyeurism. We do not criticize what we're blessing with our viewing. The copy. D. j. Caruso has filmed an attractive update to the voyeur of Hitchcock in this Disturbia, but times they dictate their laws and it is not possible to minimize the filmic space and give the young plays Shia Lebouf in the adult that once made James Stewart. One is proverbially equipped with a sophisticated digital mentality and the other is an analog dreamer possessing only binoculars and a horse boredom. In this sense, Disturbia is the logical film for the times in which we live. IPod, Windows Live, broadband, X-box, as portable Mac. All this technological paraphernalia is the flag of coupling a solid argument, led with care and very skillfully assembled to satisfy a diverse record of public. Disturbia is a teenager thriller, a disturbing picture of the solitude of an individual Justice has been confined to his home through an AB e with GPS so that it expíe the aggression towards a teacher. It is also a pleasant vehicle for mixing suspense in the purest style Hitchcock with bobalicón romanticism of adolescents with hormones bursting them all seams of the soul. In its essence, Disturbia is an intelligent proposal barely recordable, but becomes pleasant in his not very extensive footage. It is not worth making the game of contrasts. Each time it has its references and it, balcony to the Vertigo of the gadgets, delusional in his Machiavellian demolition of the responsibility and the noble chapter of the personal effort, produces subjects as the portrayed in the film, individuals without stridency, which can be heroes or villains and not require excessive script to be carried away by an option or the other. And the bad, the hazy murderer in the House opposite, a flat, David Morse, is a vaguely acceptable anonymous citizen, without the charm of a Hannibal Lecter or morbidity of the Boston strangler (a formidable Tony Curtis, by the way). Here is a meaningless subject of history, one that we can not find reasons which justify its anomaly because (simply) no matter. The hodgepodge of topics they are assembled with ex officio and the malice of the voyeur is lowered with sugary landscapes of juvenile comedy that everything conforms to the moral dictates that will allow to make a larger box.The only requirement of the plot is that it has killed much and that his house has an infernal basement where all the worms in the world celebrate their good luck. We would have liked a more rugged tone, a more sordid aftertaste, but D.J. Caruso - a guy ready - has chosen not to miss in sadismos, on outputs of tone, more or less gore from the original story variations. Theirs is more caramel: there is no factor surprise, but the game created by its writers leads to well planned scenes and moments of entertaining films over not being able to. And therefore contaminated readers, it is much and appreciated much more. 1954 is very far away. Disturbia is a gum light, acceptable, but perhaps want a steak of beef of Kobe and then friend reader ay, what saves us is the magic of our shelves of DVDs and the lust out of his sleeve the original and deposit it with exquisite care and absolute Rapture in the player. Darkness. The film exists. And it is one of the most essential pleasures that we have. Although it is not a bad film, what will happen to it, none of this.

archivos_extraidos/MCE-Corpus-main/Dataset/323

Tito Chinchan

Silent Hill

muchocine

Film of intrigue on fantastic scenarios, with much storyline and some that another fright to release tension. To see with your senses alert, not to lose us.

Silent Hill is based on a video game that I'll never play, he has painted for am and I am not for these scares.The film is a couple with an adopted daughter of about eleven years. This is night and usually try to kill during their nocturnal raids, shouting that it is in Silent Hill. Total, the mother still with the opposition of the father, goes to Silent Hill, which is an abandoned village of the United States, who suffered a string of horrific fires to make its unbreathable atmosphere. But nothing more to get there, and when they are pursued by a police motorcycle, suffer an accident. When he wakes up in the car, his daughter is not and the police tries to stop. A strange fog fly them over with a continuous ash cloud. It is in Silent Hill.Oye, that most interesting film. I was expecting something many special effects without ton or they are mutant assassins and heroines starting with love of House with the curls. But no, or much less. This film has a solid plot, with an atmosphere very worked, suffocating at all times. I was delighted that there are two parallel investigations, one of them that takes place between two parallel worlds. The only issue is that to learn well to walk very closely. Each frame, the thing it is entangled, resolving at the end, but if you have not yet followed you have left a little stupid face. And the end me has seemed very serious and very well closed, without patochadas or nonsense.In short, film of intrigue on fantastic scenarios, with much storyline and some that another fright to release tension. To see with your senses alert, not to lose between name, dates and figures.

archivos_extraidos/MCE-Corpus-main/Dataset/3038

Pablo López

Hairspray

muchocine

'Hairspray' is, without a doubt the funniest movie of the summer, and very probably, year-round complete.

Skeptical I was during this time as a musical film adaptation of a King of the trash film John Waters could be as geek who could not distinguish if I had loved or wanted to hit me a shot they had given me. I already alone I am fairly geek, I do not deny, but he feared that this musical I determined, land the absurd, the grotesque, the monstrosity and stay in one more than multiple adaptations of Broadway musicals to cinema failed. But you can rest assured, because it is not well. 'Hairspray' is a real candy for any lover of the more playful music and adrenalínico: musical number relentlessly, frantic dances and colorful and attractive aesthetics all this at the mercy of a brutal band sound, catchy over not being able to and to do that you're moving in the armchair from the beginning until the end.Shankman performs a work of more elaborate adaptation that we put as an example, Susan Stroman in 'The producers' and much appreciated. Freedom of movement and choreography of actors and dancers gives the film much more eye candy and allows to produce a much richer in flat scenes and others, but I'm not too bored.The actors are superb. The great discovery of the movie, Nikki Blonsky, the borda, the cast of young people headed by a hilarious pipiolos James Mardsen, a justito Zac Efron, Amanda Bynes and Elijah Kelley are they go out, and less are not the most experienced as Queen Latifah, an unrecognizable Christopher Walken and the lovely Michelle Pfeiffer. Special mention to John Travolta, turned into an entradita Lady in kilos, without a doubt, the funniest of the film character.I cannot conclude without doing the required compared to the original. John Waters film was much more politically incorrect, much more disruptive, and Divine was much Divine, this history is simpler than the mechanism of a jug, the script has some tricks that may confuse, but does that matter when they are looking forward to is get up and get to dance? 'Hairspray' is, without a doubt the funniest movie of the summer, and very probably, year-round complete.

archivos_extraidos/MCE-Corpus-main/Dataset/1289

Emilio Calvo de Mora

Algunos hombres buenos

muchocine

Perfect vehicle for a brief but dazzling Jack Nicholson. Few good men is a fiasco, in a way, but Jack her successful and her raises a worthy films which may have been notorious cast and inexplicably, falling into oblivion.

It should not be cause of surprise that a film exclusively pivot on the personality of one of their players or, put another way, a film to be an actor and not we can under no circumstances imagine her without her presence. If above the character in question is secondary and only comes in whole we are witnessing a fiasco.Few good men is a fiasco, in a way, but Jack Nicholson her successful and her raises a worthy films which may have been notorious cast and inexplicably, falling into oblivion.The yankee film has experienced many times of this advertising claim. Movies of Bogart, Gregory Peck or James Dean. There is also the disks for a single song. Or books that we are only left with a phrase, with a faint glow that lingers in our memory as gold in the hand of the miser.Few good men survives for a trial where all stakeholders (including Tom Cruise) given the size and where Jack Nicholson gives life, but gives her effortlessly, imperceptibly. The deception of the hour and a half prior excuse and get one of the film (well, I yesterday saw in my dvd) with a satisfied smile: not feeling timados in excess.The script, which grows up to the formidable ultimately reveals the rigid codes of honor of the American army and how a young lawyer (Cruise) dismantles the shebang of protectionism, the discipline of silence and, above all, the untouchable status of a (repeat) Nicholson in State of grace absolute, in one of the roles adjusted to his mental mismatch, his creative genius and his dreadful nasty face.Side notable as Kiefer Sutherland or Kevin Bacon give an attractive counterpoint. Demi Moore stuffed, as almost always, and Tom Cruise, unpolished, pipiolo, is correct in his role as military principles, although frivolous at first.Years after its premiere, Cruise has high flight, while recently the distributors, the owners of the DIBs, withdrawn their trusted party because its franchises, their jumps and careers (see runs the uncle in all films) do not give box they wanted.Do Nicholson passes box nobody arises that a film will cover the usual holes of the producers, but this is known and Jack, my beloved Jack, is what it is: to make us believe that the interpretation is an art and deserves absolute praise when running with this appalling clarividencia.¿note what one of my favorite actors? Because by Jack attend the favorite video store, rent these good men or buy it. Buy cinema is an investment, although her does not consider those who write these periodicals of yellowed paper speak of indexes dow-jones and so many hundreds impossible to understand for simple minds like mine.

archivos_extraidos/MCE-Corpus-main/Dataset/2289

Florinda Chic

Bajo las estrellas

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While under the stars is a remarkable debut, the expectations created in its path by Malaga and the salivamiento of the critique that has put it in the clouds, make that it happens typically when create you many hopes: you are disappointed.

Sound the trumpets but not rockets. While under the stars is a remarkable debut, the expectations created in its path by Malaga and the salivamiento of the critique that has put it in the clouds, make that it happens typically when create you many hopes: you are disappointed.The film of Viscarret outlines a history of sympathetic losers - not reaching fall friendly - adapting the novel the trumpeter of the utopia of Aramburu. An Alberto San Juan that makes you want to give a sponge and ten euros gets into the skin of a musician cantamañanas returns to his village, namely Estella.A grudgingly come to see his dying father and scrounge up that gets shot, primarily to his brother, an Ibarrola of the metal that makes impossible sculptures and has few lights although enormous heart. San Juan between patxarán and patxarán is dedicated to establish friendship with the daughter of the girlfriend of his brother - a cuellicorta feral-, which despite the little respect that trafficking, is thrilled to life with his new uncle, who also gives him tobacco.The story takes place between these relationships and a drama that is sensed from the two frame. Although the movie - seen so - isn't it isn't so bad, suffers from a script that outlines but not specific and an excess of lyricism that while it is aesthetically appreciated, contributes little to the storyline and slows her down. In short: I bored and did not excite me despite the good intentions of the debutante. That Yes, the realization is impeccable and navarro landscape and the landscape are very well portrayed - although not all are so garrulos-. Merit also of Viscarret is having succeeded in a dusty atmosphere, very close to the western. The soundtrack is very good starting with the central theme. Enrique Morente sang Stella by starlight with a tear that neither Tom Waits. And mention the expected resurrection of Emma Suárez, a great actress who works a little lately.And please someone I can reply to this? Why the Spanish films - in which more - are as given to show the actors miccionando?PS: As I know that when do waves to a home movie you falls from God is Christ ready I am. That Yes, I've been benevolent because my two companions demanded me as the six euros and I will no longer let choose film anymore. Although now that I remember with one of them I saw Bienvenido home and inexplicably we remain friends.

archivos_extraidos/MCE-Corpus-main/Dataset/1886

Enrique Colmena

Pudor

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The existential drama in this grey family cometh with all its power towards the end, in the cathartic meeting where everything will explode, and more later, when an unfortunate accident possible, perhaps only temporarily, the Union of all.

Here is one of those (rare) cases in which the direction of a film stripe over his script. And isn't that, ultimately, this family history of devastated middle class by the routine, everyday life and fatigue live has no interest: the husband, sentenced to death by disease whose name no one dares to say out loud; women, forgotten as a female; the sullen teenager (sorry for the redundancy?), confusing their budding sexuality, in his secret infatuation of her best friend; the small, whose step in the real world the ghosts occurs with the naturalness that can only happen when you have six years; the old widower, seeking their place in the world for the last bend in the road. But with twigs from the novel by Santiago Roncagliolo, well pickled for a smart script be interesting, maybe is the powerful staging from novice filmmakers David and Tristán Ulloa (although the first has a long experience as a Director of television and the second has amply demonstrated his sensitivity as an actor in films such as "Sex and Lucia" and "Savior"), with an enviable ease handling fragile materials where there: underground feelings, with a semblance of normality, where a furious source of unexpected meanders really runs. Filmed with intentionality, with stimulants you framing, mild virados photo, movements precise and accurate, the film is always attractive, although sometimes the interest decay (the storyline of the grandfather is clearly inferior to the others), and incurs the regrettable habit of wanting to be noted, as usual in the filmmakers neophytes. On the contrary, it seems the Ulloa brothers have been filming life, and the consequence of these tables outside this beautiful film. It is true that the beginning is somewhat hesitant, while David and Tristan are the tone required by the story, but when they get, it is early, because everything is on wheels: existential drama in this grey family cometh with all its power towards the end, in the cathartic meeting where everything will explode, and more later, when an unfortunate accident makes it possibleperhaps only temporarily, the Union of all. The sequence of the catharsis is magnificent, with dramatic tension and high-voltage emotional, but there are other, less showy, are also tremendous: the encounter of the child with the ghost of the pederast with dog, a little subtlety in allegorical darkness prodigy; the encounter of the mother with his anonymous lover course, resolved with an ability to master. Mention apart for the couple protagonist: above all, Elvira Mínguez, definitely the best actress of her generation (and there are very good), splendid in this difficult role; Nancho Novo escapes for a time of the zarrapastroso Bohemian think their brand to make honest family guy, a grey clerk cornered by the unmentionable disease and by the end of an existence prepared "mean Aurea".

archivos_extraidos/MCE-Corpus-main/Dataset/3779

Carlos Giacomelli Puig

El espía

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The end result is, therefore, rather sweet and sour, that while the feeling of déjà vu is too explicit, and the television aspect of the film becomes even annoying, can neither deny that it makes you have a fun one...

Billy Ray, which debuted several years ago with little luck with "The price of truth", now directs "The spy" ("Breach"), which tells the true story of Robert Hansen, agent of the FBI religious and exemplary family guy that however was the most dangerous of the U.S., and how spy the also Eric Neill (Ryan Philippe) managed to unmask him posing as his employeehaving followed orders from the highest positions of a FBI wearing years followed the track.It all starts reasonably well. Interested in the script, Chris Cooper (Hansen) is excellent, winning the game by a landslide to Phillippe (as it was expected), and the presence of Laura Linney is, as always, a real pleasure for the senses rather than his character is completely flat and predictable. The address is not anything like the other world and peca too impersonality, turning the film into something that hardly stands out in a tv movie, but still are not heavy because it is always at the mercy of the script. Let the thing promises.The penalty is that everything stays there. It is not to fall the level, is simply not cares less for uploading it. When the character of Hansen is presented, offers very good expectations, and begins to break down in a very interesting way (comments of more coercive does on women at work just before entering a chapel are a clear example of the moral duality - or not - which proposes). In the same way, doubts that assail the character of Phillippe on the veracity of the complaint of the FBI to him come to convey to the Viewer, which though to know in advance how this will all end (the film opens with real after scenes of a spy arrest) cannot help but feel uncomfortable. But from there the equipment stops dry. We are witnessing something repetitive and stereotypical situations which continue outlining the obsessive religiosity of the suspect, and ultimately are only a rhythm of one already obstacle per se paused movie.Is true that also occur situations of tension, in that it seems that Hansen is about to discover the lid, but they are too predictable, and, as I say, they do not lead to anything. In the end, everything turns into a cluster of somewhat repetitive scenes that go slowly down the interest (without to lose at all, that Yes). Even the (rather cameo) presence of Dennis - President Palmer - Haysbert saves the furniture, because again we are talking about a completely untapped and flat, stereotyped character.At the end, it seems that someone will realize that there are already enough spent footage, for becomes it a rather hasty conclusion (not explain one of the aspects most critical of the real character, as it is his knowledge of the existence of a tunnel through which you could access with ease to the White House) that despite everything the Viewer it is rather a reliefwell then you already know that the film will not give more than Yes, and therefore he adds absolutely nothing new.The end result is, therefore, rather bittersweet, that while the feeling of déjà vu is too explicit, and the television movie aspect becomes even annoying, neither can deny that it makes you have a fun one, because it is solvent and sober, and contains a couple of scenes even worthy of mention. 5/10

archivos_extraidos/MCE-Corpus-main/Dataset/3937

Tito Chinchan

La Carta Esférica

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Film about the search for a wreck full of emeralds in the waters of Cádiz. Fighting between the sinsorguez and the placidity move same ela, swinging in the complex world of novel adaptations, up sinking like a fish of lead.

Director: Emmanuel D'irube. duration: 108 minutazos.Release date: 31 August 2007.Espectadores: 275.744 of human beings.Personally, Perez Reverte is not my favorite writer. Not for nothing in particular, I did not finish like his style. But I think that the abuse that is suffering in the film adaptations deserves it no nobody. At the end I'm going to have to buy all the books from Alatriste to compensate this man, that makes me sad.The film is about a sailor of salt water that is on the ground by a little problem with the ship (something some rocks scratching himself, or something as well). Total, which is involved in the rescue of a wreck (the sunken ships are named, dear readers) along with a girl who works for a State Agency. Together with them, looking for the said wreck an Argentine and another kind that makes alien (and that it acts tad wrong, everything is said). And little else.A little roll if the film, if. It is really maintained a pace taaaaan leeeeento, of those not passing naaaaaaadaaaa, which becomes infernal. The contributions of the actors is very poor, impoverished if I apurais. The making of alien is not credible, Carmelo Gomez still does not convince me and Aitana don't know if rie or crying (although gives us completely dispensable scenes of nude, do not stick anything and are made to arouse the Viewer, although appreciable breasts the viewings, by Jove). And the story has very little strength, very linear, with a surprise ending that looks come from afar. And if you do not see coming, it is that it gives you such as the film that you not interested make soothsayer.In short, film about the search for a wreck full of emeralds in the waters of Cádiz. Do fighting between the sinsorguez and the peacefulness moves same ela, swinging in the complex world of novel adaptations, even some malicious will tell that sank like a fish of plomo.¿Lo better? Relajadito that leave you outside.Besitos.P.D: I am pleased to see that the binomial Spanish film - tits remains in force. You take something to the visual.The binomial Spanish movies - guys with horrible physical unfortunately for the sector of feminism, remains the same.

archivos_extraidos/MCE-Corpus-main/Dataset/480

Alberto Concepción

Match point

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For any lover of cinema, it is imperative to see this film. And it is that, today, is missing real film, and this, undoubtedly, is

Do many times we've stopped thinking about how luck influencing things? How many situations of our lives have been marked by this random? How many times we wonder: what would have happened if..?? do and we realize how much the fate had (and has) to say in our lives?Woody Allen tells a story in which the fate and chance change the fate of the characters. Leave aside all kinds of prejudices, whether good or bad, because it is that the final result is what some have already branded, and quite rightly, masterpiece.Chris Wilton (Jonathan France-Meyers), an attractive former tennis player, decides to teach the sport at a London club, where he meets a young Englishman, Tom Hewett (Matthew Goode), which will begin a friendship that will lead to a relationship with the sister, Chloe Hewett (Emily Mortimer). But from the moment meets the girlfriend of his friend, Nola Rice, starring Scarlett Johansson, the life of Chris will be a storm of comings and goings, loving, jealousy, despair y.suerte.Woody reflects Allen, with a great talent, how the despair and anguish seize the protagonist, being immersed in two relationships: which has with Chloe (with which marriage), and that is with Nola. Two totally opposite relations: love on the one hand; and passion on the other.The protagonist, arrived a moment, debate between the stability that gives the relationship with his wife, and the obsession with her lover. In this sense, Allen makes us see how life is full of interests and how we move by them. The work of Allen is crucial in this regard, and only he is able to tell us magnificently how is the development of both relations with the circumstances, the coldness with which Wilton takes them, their lies and their tribulations. And above all, how it resolves eventually, when anxiety exceeds the protagonist and decides to put an end to one of its relations dramatically.Without doubt, the film will not leave indifferent anyone deserves special mention the grand finale, where luck returns to be decisive, and that Allen gets apuntillar to the Viewer. Although there are already several feature films in this style, the quality that gives the director is worthy of all praise. His way of filming allows us to comprehend the anguish that invades the protagonist, who is on the other hand, portrayed by a great Jonathan Rhys Meyers, who certainly makes his best role to date to perfectly reflect all situations that goes through the protagonist. A wise choice by Allen, who named him specifically, even coming to declare that: "since that I started to think about him for this role, already not could take me him head."Scarlett Johansson plays correctly Nola Rice, with that air of attractive and "Femme Fatale" with which seduces Wilton. The rest of the actors fulfils its task perfectly, "coming to exceed expectations" own Allen, such and as he himself recognizes; Although, however, are overwhelmed by the absolute role of Rhys-Meyers.Para any lover of cinema, it is imperative to see this film. And it is that, today, is missing real film, and this, undoubtedly, is.

archivos_extraidos/MCE-Corpus-main/Dataset/105

Tito Chinchan

Lie with me

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For amateur to indie cinema or impenitent pajilleros

Returning to the theme of the posters of cinema and movies that hide behind, in this case corresponds quite well. We have two people doing a sexual act, which fits very well. And the title is a play on words between "lie with me" and "acuestate with me". I.e., horns and folleteo.The film is about a girl that has an excessive sexual appetite, we, as a typical man. One day he meets a boy and he emerges a crush in what has been the crotch, so he decides to go to a field to romp with another while that liked to seen from the car while his girlfriend he sharpens the sword (of truth of the good). And start a session of amorios and folleteos (between the protagonists) for an hour and a half, showing how to change the view of the protagonist about sex and love.Well, the movie has little, very little. At a first glance, we have only a kind of low budget porn film, which is not too bad. At a second glance, we see a love story real as life itself, sex and grumo, none of roses and wine. That it is not bad. But the set does not kill, given that it doesn't end of hook. The actors do their role, but not you get on your skin at any time, especially hits the male public acts of the protagonist. We can say in its favour, which is a low-budget Canadian production, so it focuses on "cheap" aspects, but to me I did not finish like. And at the end I bored a lot.In short, for the indie film enthusiasts (or as type) or for pajilleros unrepentant who have to justify his masturbation under "serious" films.

archivos_extraidos/MCE-Corpus-main/Dataset/4224

Sandavito

Caramel

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Caramel surprised by how easy it is.And however it contains that complexity of who knows how to do things well and to see it seem that, simple. But not simple.

I remember that I saw the trailer for Caramel and thought "How have the plot once". During the almost two minutes that lasted (trailer long compared to the rest), one could see the supposed protagonist work in a barber shop and flirt with a police officer. But, fortunately, the human being is wrong, and I'm not going to be an exception. And I am glad I made a mistake, because I could enjoy this simple but exciting film, costumbrista Court spiced with a pinch of suggestive sensuality (both to the eye and ear) and quite humor.Caramel surprised by how easy it is. Easy to tell the stories, ease in the evolution of the plot, ease of identification with the characters or the recognition of any of them as close to you. And however it contains that complexity of who knows how to do things so well that seem to see it to that, simple. But not simple.We started with the well-crafted screenplay with sufficient interest in the sub-plots as to give verisimilitude as a whole, but without the excessive importance which sometimes gives them under the umbrella of "Choral film". Characters who live and breathe, have his philosophy of life and their concerns without having to show it in an obvious manner. Plays with before seen things, but that does not bother to see again. Interpretations seem sincere. It is true that there are moments in which each character adopts a somewhat fixed role, but there is always something behind a Fund.The realization of the also protagonist, Nadine Labaki, won't be of those who switch to history, but at least allows us to see clearly and with a certain focus what is happening, from open levels (American or generals many times) to flat preciosistas detail of the preparation of the candy that gives its name to the tape, supported by the warm picture of Yves Sehnaoui. Music, as it is logical, clear North African aires and an oriental touch, is the perfect counterpoint to the situations of the film.But not everything is good, or rather, it is too good. The movie sins of too much of that "candy". Sweet and well-meaning, perhaps in excess, in my opinion is a film which is easily, leaving a light sediment, a smile out of the room, but nothing more. Still, recommended to have a good time.

archivos_extraidos/MCE-Corpus-main/Dataset/2989

Antonio Bret

Halloween El Origen

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A film that takes very seriously itself, which takes its time and dosed deaths, incredibly dry in the initial third and that no wallows in the blood or her adorned with cheap theatrics.

Premiered in the U.S. the last Rob Zombie movie, after the good taste that left us all to "The Forsaken of Devil", sequel to the lower "La Casa De Los Mil Cadaveres" and marked a regression to the dirty and dry film horror that is both practiced in the seventies, sponsored by the huge success of "The massacre of Texas". As you must know, it's the remake - prequel of the seminal "the night of Halloween", precursor of the slasher (with permission of the previous "Black Christmas" by Bob Clark) directed by John Carpenter in 1978 and that until the arrival of "The project of the Witch of Blair" was the most profitable movie in the history of the cinema.As happened with "Hostel 2", a workprint network has been leaked. Since its premiere in Spain will not take place, at least until Christmas (1), already I have been able to take you a look, Amen of sank through the gender forums to see how well they had seated the fan this new "assault" to an "untouchable" work. Read until now, everything or almost everything are negative reviews. It must not ignore. "Halloween" is, luckily, radically different from the Carpenter (2). And luckily because what is a remake, at least, is that the "author" contribute something other than what has already happened, not limited to be a photocopy or, much worse, a deformed reflection, bastard, aseptic, correct and adapted to the times, as almost all the films of terror from the end of the last decade has been up quite short, because of, for another wonderful part, "Scream". "Halloween" is divided into two distinct parts: the first has the children of Michael Myers. It was necessary to deal with this issue? While it is true that Zombie naive peque placing unhappy Myers in a muddy environment, alienated, corrupted and rotten to as well, at least, "justify" the reason for their actions, can not think, however, that this is another nostalgic tribute to the modes and forms of the terror of the past (see if not as it freezes the image to insert the title of the film).Myers presents as an isolated child, a psychopath in power, however does not remember his vile acts. It is locked and his psychologist, a magnificent Malcolm Macdowell full and happily recovered after passing through "Heroes", leaves the skin trying to delve into his twisted mind. After an unfortunate incident in the hospital, escape fifteen years after those unfortunate events, and what follows now you can imagine: a typical correctly directed slasher that shines with special intensity in two of the deaths, a particularly successful through the glass of a door. "There a special decompensation between the two parties, although we can glimpse a certain domestication by Zombie, no doubt due to the pressure of the MyersWeinstein bosses.""Halloween" is thus a competent sunset on the verge of a character drowned in the parody of its vomitivas aftermath. Full of expensive known by the lover of the genre (Dee Wallace, Brad Dourif, Danny Trejo, Udo Kier, Ken Foree) a film that takes very seriously to itself (3), that few times treats the Viewer as a delayed mental (hence can come the bad criticism), which takes his time and dosed deaths, incredibly dry in the initial third and that no wallows in the blood or her adorned with cheap theatrics.(1) the official Premiere will not take place until next month of October in the 40 Edition of the international festival of cinema of catalunya which is held each year in Sitges.(2) despite to this Zombie homage to the original explicitly in a scene that we will not disclose.(3) so much so that no doubt to fuck like crazy to the youngsters before giving carnage and trufar the film of juicy naked, something unthinkable in the avalanche that we suffer from terrors of design

archivos_extraidos/MCE-Corpus-main/Dataset/3945

Tito Chinchan

El ojete de Lulú

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Pornographic film on the hairy and talkative eyelet of a such Lulu felt underused. Since it is pornography for more than 20 years ago, is very obsolete, although it is very curious by the strange argument. It becomes unpleasant.

Director: Jesus Franco. duration: 77 minutes.Release date: 14-04-1986 Madrid: Room X (Francisco de Rojas).Spectators: 25.137 of humans (some current releases will not reach this figure) reading my book of Spanish film (I hope the author I pass a heel by free advertising) I found the word "asshole", which sparked my interest. I quickly had to do with a copy, to see this work of art and essay, the prolific hyper Jesús Franco (which not only makes movies of blood). Spinning with the theme, the male I recommend sector search for the above word in the Spanish Wikipedia. And even more so if they have seen this movie, it is a detoxification cure.The film is about a hairy asshole, specifically that of Lulu. It's raw. Reflects the loneliness that has this hole, intended to be only an only felt by a woman to know the delights that can be provided. Minuspreciado by his companion, her pussy, the history shows us the sexual evolution that receives the aforementioned hole, until finally the so desired objective. Do cachis, you've already revealed the end, je, je.¿A be counted so os pica curiosity as the eyelet to a mandrel of red ass? Because leaves you curious, that the movie has moments that gives up to disgust. It is not you have noticed that the hairy asshole of Lulu speaks. And speaking with voice of girl or woman Tulip, which is even a bad feeling. In addition, the crazy zoomes no sense of Jesus Franco, shows levels that no human being should see. Well, perhaps I spent. And it is that a film director record porn movies, and try them to give a meaning, does that they stop eyelet - pussy's most exciting films such as these, with talks.In short, pornographic film on the hairy and talkative eyelet of a such Lulu felt underused. Since it is pornography for more than 20 years ago, is very obsolete, although it is very curious by the strange argument. At times it becomes unpleasant.Besitos.P.D: to have so many years, not you espereis penetrations filmed with gynecological levels. Rather wait a monologue of an asshole who speaks with shrill voice.Pd2: The final scene rubs the gore. It is más, I prefer thousand;-) decapitated bodies

archivos_extraidos/MCE-Corpus-main/Dataset/148

Victoruco

V de Vendetta

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Too much policy, I would have removed social burden and would have given him more action

N, is not about me the movie (because, I understand it either, but seems to be that I am not the only one that starts with V?). Finally, is the case that you I wanted to watch this movie? Be written by the WachoVscky brothers her supports, that they were the creators of the Matrix phenomenon. And the truth is that it is entertaining, but fails to be as its predecessor.The story is very complex, and there are times when both name and both turn you get to lose a little? It is very well threaded, and at the end you see the puzzle fits surprising and correctly, but I still think it is too convoluted? Do besides that he gets into complicated issues? does in my view it is too political, I you would have removed a bit of burden? social? to give a little more than action.The subject is a "terrorist" according to the Government, fighter for the freedom of the people, he said. It is based on a comic book, it is true, but it is a delicate subject? because justify violence is an issue that cannot be treated lightly? But well, rely on what is the film itself.The interpretations are very successful, well, the protagonist has it easier? because not is you never sees the face? is it a famous actor? We will have been always the same person who was under the mask? It will be done casting for that role? Does testing them it mask?. We therefore resolve doubts: V is neither more nor less than Hugo WeaVing, agent Smith. Yes, the evil Matrix! Do now think for me: he will always been? Anyway, that never will know?Natalie Portman spectacular, tremendous? what great actress? When the see me remember this piece of film called "Leon (the Professional)", probably my favorite movie? Natalie was great small and still is now. Thus, it is an entertaining movie, it will not become a mass phenomenon, but you well spend in the cinema. Then to enter into debate and seek more feet to the cat, now they will be others

archivos_extraidos/MCE-Corpus-main/Dataset/880

Plissken

El ilusionista

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One more failed proposals for the season, part of one material rather than interesting to leave half of footage to a mix of supernatural thriller and Danielle Steel novel.

Hollywood producers are milk: instead of making movies in original plan, they opt to copy neighbor, lest it storks and they are ridiculous. That is why we tend to have several examples of films "repes" (Robin Hoodes, natural disasters, Wyatt Earps.), in a season which one of them tends to be the "poor missus". This year he has played them the wizards, and 'The illusionist' part as the Cinderella of the pair. 'The illusionist', directed by Neil Burger, tells the story, almost the story of Eisenheim (Edward Norton on auto-pilot), a magician in the early 20th century Vienna leaves no one indifferent: nor to Sophie (stunning and somewhat bland Jessica Biel), his love of youth; or to the inspector Uhl (Paul Giamatti in another one of those roles that end up being the center of the function), an admirer and rival; or to himself Prince Leopold (credible Rufus Sewell until the final scene), evil aspiring Emperor and professional revientatrucos. What begins as a challenge between reason and superstition becomes a struggle for the love of Sophie, with unexpected consequences.Well, this would be, more or less, the official synopsis. What we really have between hands is one more failed proposals for the season, part of one material rather than interesting (the world of the magic of late 19th and early 20th Centuries) to leave half of footage to a mix of supernatural thriller and novel by Danielle Steel which has just bored by predictable.And it is, in a movie called 'The illusionist' in which the protagonist is a magician, because the average viewer say that it surprised not too when at the end goes what happens. But hey, better to not do much blood. Do let them in boring and previsible.¿Y why not do much blood? Well because as I said earlier, the film starts dramatically (great job in photography carried out by Dick Pope, in charge of Philip Glass music and art carried out by Ondrej Nekvasil), with a treatment of the perception of the magic by the profane very stimulating (all, ever, have wanted to be the smart people that elevates the secret of a trick). But the main plot comes into play and the charm disappears, leaving only a mise en scene, to make matters worse, devoid of history just for view pompous and tiresome.A penalty, truth, that not counted, simply, the adventures of a magician in love with a Princess. I think that it would have fared much better.

archivos_extraidos/MCE-Corpus-main/Dataset/491

Alvaro Oliva

Corrupción en Miami

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It is not the best work of this director and also maintains the rhythm of?Heat? and?Collateral? but it is a very interesting proposal for the current film scene.

Michael Mann is responsible for bring to the big screen the adventures of Sonny Crockett and Ricardo Tubbs, who were already accustomed to seeing in the 1980s and that thanks to the Internet we can recover wherever we want. As well, the successful "Heat" and "Collateral" director presents the adventures of this pair of policemen, who unwittingly drink it or are involved in a drug trafficking network, which gives them the possibility (which do not hesitate to accept) deal with a much more important case that had a hand. So begins this new work by the creator of "The dilemma" somehow.This has had two major actors, one acting level and another at the box office level mainly, such as Jamie Foxx and Colin Farrell respectively. In fact the second has surprised me more, as demonstrated by the recent winner of an oscar (by Ray) of what is capable in many occasions and records. Well, both on-screen tuning is good, especially with their respective wives, and here comes one of the strengths of the film: Gong Li. This attractive actress presents a very interesting character, which Sonny Crockett will start to play and you know who is playing with fire.Continuous Mann with the visual style which we already presented in Collateral, alternating film cameras with high definition cameras, thus providing a distinct sense that somehow brings us closer to the action at time that the illumination level in these conditions, relieving him and streamlining a complicated shoot him surely much facilitated. The participation of the Spanish actor Luis Tosar is interesting. It seems that Mann likes the villains incarnate by actors in our country, as in the film starring Tom Cruise, and the own Foxx, resorted to the great Javier Bardem. It is a shame to not have seen "Corruption in Miami" in original version, because we had thus been able to enjoy and better capture their expressions, even more so when there are many in our language, is something to what we already are accustomed, even if everything is true, the role of Tosar nor has large dimensions, but still performs.The film begins with action and ends in the same way, and there in the "palomitera" action is no longer a very interesting product, in which the characters operate by these jungles, knowing all kinds of characters. Very good, although typical, scene of "gimmick" in which Colin mounts the show to one of the bad guys so that agree to work with them. An example of this saw him with the above-mentioned Bardem in "Word of mouth" applied to the casting. Returning to the film before us, Mann gives a lull in the action, showing us the developments faced the characters, motivated especially by the opposite sex, it is one of the engines of the film.It should be noted the final sequence, consisting of two main locations: the caravans and the port where is going to make the delivery. Mann, with pulse, positions us in the body of Ricardo Tubbs, and we share the feelings at a fact as has before and after weaker in the Sonny way, although they achieved one of the best excerpts from the film. Final "corruption in Miami" is not the best work of this director, and also maintains the rhythm of "Heat" and "Collateral" but nonetheless to be a very interesting proposal for the current film scene, although it is clear that for viewers more "palomiteros" who expect big bangs this version of "Miami Vice" can be decaffeinated.

archivos_extraidos/MCE-Corpus-main/Dataset/1576

Florinda Chic

El buen alemán

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Clooney and Blanchett were they criticized no chemistry between them. More than a chemistry problem, I see it more a matter of overacting in both.

The career of Soderbergh is one of the most unequal of the current film. Do do Oscarizado by Traffic and sold to the? mainstream? with the infinite consequences of Ocean and their thieves, now presents the good German, an exercise of self-satisfaction that serves to pay tribute to the film he likes: fatal women and man hieratic engaged in devious stories of spies. The director puts us in a Berlin military post in which nobody seems to have a future and most attempts to erase its past. To this bleak picture comes a journalist - Clooney - in search of a great article and old love?Cate Blanchett-. A murder and all the spy film clichés make up a fairly diffuse argument of which is likely to be lost if it is not very attentive to the screen. Clooney and Blanchett were they criticized no chemistry between them. More than a chemistry problem, I see it more a matter of overacting in both. However, the couple does what it can with some dialogue impossible, topical and manichaeans. Obviously is a calque of the interpretations of the hard Bogart or the fragile Ingrid Bergman but moved to 2007 and a few faces so contemporary, Squeak.The most positive aspect of the film is impressive photography in black and white. Soderbergh has shot with the methods of the 1940s, using a single camera and lenses of that decade, resulting in an enveloping atmosphere and an aesthetic worthy of the productions that pays tribute. As cool as the war that came years later was the host of this film in the last Berlinale. Nor the Americans have supported her at box office and like this there so unforgiving, it was ignored completely in the recent edition of the Academy Awards. He competed for the statuette to the best Original Soundtrack which ultimately went to Gustavo Santaolalla - Babel-.

archivos_extraidos/MCE-Corpus-main/Dataset/1505

Taliesin

Banderas de nuestros padres

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Despite the fact that it fails to bore, the film is set with an irregular rhythm that does not help the form of flashbacks that has chosen to tell the tale, which occasionally confuses and subtracts freshness to the action.

Flags of our fathers is a film set in the second world war, whose plot focuses on the landing and subsequent decision-making of an island to the South of Japan: Iwo Jima. Until here everything is little novel, so its director Clint Eastwood has decided to focus the camera away from the field of battle war and closer to the political and social field. But what makes it unique is that you along with other pelícucla, letters from Iwo Jima, it will form a team that will have the same fact from different perspectives: flags of our fathers will make it from the American point of view and letters from Iwo Jima will from the Japanese side. Eastwood continues for much of the footage in which canónes to war movies refers. It all starts with a group of young soldiers embark on a mission of great importance for the development of the war and little by little we will be featuring the characters, and see that each of them has a different motivation for the shoes be playing for his country. The war is shown with the objective harshness that already used Spielberg in saving soldier Ryan that, however well that yet in flags of our fathers, is still the best military landing in the history of the cinema. The rest of the field of battle scenes stand out for their sobriety, and focuses on that at times seems that Americans not faced the Japanese, but rather went to hunt animals. I guess this yawn more surprise in the Viewer when he discovers that the Japanese also have father, mother and even feelings. But the strong part is the showing us Eastwood when the plot focuses on United States, away from battlefield, where shows us the shame and lies of the war. On Iwo Jima as blood and death, in the White House are symbols that allow to sell the war to the citizens. Tell us how a photograph of a few marines by placing a flag can become a metaphor for the victory, no matter how many lives have been lost in the effort or few lies has to tell. And how truly powerful message is that you are falsehoods are worth for Iwo Jima, Viet Nam, or the nearest long Iraq. Despite the fact that it fails to bore, the film is set with an irregular rhythm that does not help the form of flashbacks that has chosen to tell the tale, which occasionally confuses and subtracts freshness to the action. Another but must be put is that not noted by the direction of actors, who are at the service of the overview, so in general are something flat and reach the Viewer. Despite these black dots, flags of our fathers is an interesting production with anti-war vocation which gives me the impression that will gain much see letters from Iwo Jima, with which the whole picture will be completed. I liked: the sobriety, a far cry from the war film of action, of the scenes of fighting. I did not like: the characters are somewhat flat, so no I got involved with them at any time. Curiosities: The Japanese Government not allowed filming scenes of fighting in the island of Iwo Jima, so filming beach scenes had that you done in Iceland, whose beaches also have black sand due to volcanic activity. Recommended audience: tough film, both in its form and in background. You need a slow digestion, so it is not recommended for those seeking a light dish.

archivos_extraidos/MCE-Corpus-main/Dataset/4106

José A. Peig

Expiación: Más Alla de la Pasión

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This is, again, one of those movies that possess great strength and narrative force that hide a weak look.

Atonement in times of war and peace. Images and words that draw a process in three registers Visual and audible. Since the beginning the pounding on the keys of the typewriter (that reinforces the visual rhythm) insinuates us nature metafílmica of the story. Frustrated that only lives can redeem himself in an act of imagination. Remorse subdues with literature (and film). Joe Wright film is valuable in that it is a concise description of a weak soul which seeks to clean his conscience based on literature of (fake) good feelings; seek refuge denying reality. Here is invoked the power of the imagination without having this noble human quality authentic purging category, at least as we have it in the epilogue that echoes to detail the meaning of the three previous segments. If anything, literature of despair. All development is consistent, no doubt, but when we arrived at the end of the alleged purging we realize that there has been film to tell a truly complex story, use the history to offer an overwhelming array of Précieuses, though this is only appearance. See descriptive (and not devoid of psychological depth) beauty of the impressive flat sequence in a circle. The conclusion of the story tells us that it is not a whim of the filmmaker. The formal structure predominates over the content. Content, on the other hand, that can be summarized in a vital process fragmented into three levels: origin of evil (the mansion of the Tallis, gardens, family photography light and bright colors), consequences (landscape of war, interior of a hospital, chiaroscuro), review and recognition of the meaning by the elderly Briony Tallis. Seeing this scheme, we identify the smallness of the project to develop and are, again, one of those movies that possess great strength and narrative force that hide a weak look.Not pretentious movie, but yes, certainly too concerned to be witty at the visual level, without backbone a strong speech from expiatory confession that, ultimately, resembles more a selfish cry that a true selfless consideration towards her sister and lover for whose love was jealousy. In a few words; Atonement is a spiritual concept that goes far beyond the plañidero gesture. Atonement is a film that is taken too seriously herself to not repair the concept that defines the content and intended to last.After discussion, it was tempting to placing it on the level of mediocrity. But no one can deny its internal consistency (while the concept to develop is simple of what he believed in principle), the magnificent use of photography, the emotional soundtrack, the construction of characters so versatile and strong, and that vigorous and playful narrative describing characters and parallel times (sometimes describing the same scene from the omniscient narrator and)(at the same time, the malevolent perspective of Briony) feelings in the distance and grudges seeking the last chance even in the most desperate stronghold: art.

archivos_extraidos/MCE-Corpus-main/Dataset/434

Red Stovall

Corrupción en Miami

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A movie full of ups and downs, with excellent rations of great action movie, but that does not stop being a small disappointment for those who do know what Mr Mann is capable.

Directed by Michael Mann. That simple phrase is more than reason enough for any good amateur film passing through box office to see 'Miami Vice'. The American director was responsible for the famous television series and has now commissioned to film, in a fairly free, more than expected adaptation. In fact, if get you another title and the players characters other names, this would have worked equally and no one would have noticed the similarity to the television series. Seems to me that the series was going or I came, Mann succeeds by doing this, but just as many see it as a disappointing commercial play. Either way, important thing is the movie and not what is based on. And the film is not as good as that one would expect of a filmmaker he has filmed two absolute masterpieces such as 'Heat' and 'The dilemma' (his best film). It is a notable action film mixed with silly romantic scenes. Fortunately, the successes of the film are much more powerful than the skidding. 'Miami Vice' focuses on the detectives James 'Sonny' Crockett and Ricardo Tubbs 'rico'. After the call of an infiltrator to Sonny, the stylish protagonists learn that a band of criminals has uncovered throughout a covert police operation, ending the life of several agents. Convinced that there is a very big fish behind affair, Sonny and Rico will prepare a major operation to catch him, whose first step is the infiltration in the business of drug traffickers. What they did not expect is that the 'gangster girl' go to cross on the path of Sonny and endanger the mission. The film begins almost without warning, putting us squarely in a nightclub in luxury to the beat of Jay Z & Linkin Park (a great song, by the way, is much better without the participation of the rapper). Soon we will see the two protagonists and we will feel immersed in the best film by Michael Mann: great technical virtuosity, beautiful images perfectly accompanied by great music and striking lightning of extraordinary action. The best from the beginning is that you leave you little room for manoeuvre. You enter or enter. What does Mann, as Billy Wilder, would say grab the Viewer by the lapels and (this already so I say) throw it without alternative to the dance hall. With some few strokes we learn what is happening and who are the protagonists. Everything is underway. The boot is the best of the film, but it will soon give way to a disturbing change of pace, following the call to Sonny, who will be the tone of the rest of the excessive footage. Moments of extreme action with others of extreme boredom. Because Mann not only boasts of his grandiose style that makes it taking it to the highest level, with their advantages and disadvantages. The advantages I have already commented, and, really, is what survives to the end: the beauty of the images and the thundering action scenes. Special attention, talking about the action to the realism that emerge, not only by the visual format that chooses Mann but, above all, by the brilliant planning and staging. As I have said, these successes of the film are the ones who left after its viewing, but. There are also obvious weaknesses. A poor argument, usually empty dialogues and exaggerated duration, to what counts. Course, it's an action film and matters such as character development and the argument must not be regarded with magnifying glass or affect the enjoyment of the session. Since then, here one that he aims at that. But the own Mann takes a bit of reason to the raised and becomes his major opponent. And I say this because there is a peliculón of the same director entitled 'Heat', which we must take into account when assessing 'Miami Vice'. We can even put on the table the recent and notable 'Collateral', where Mann demonstrated that the characters are as important as a good scene of spectacular action. In 'Miami Vice' not given the most minimal importance to the characters and handles them as if they were regular puppets of a topical tape action of B series starring Van Damme or the shift Seagal. Okay the excuse of the series behind to save this aspect? Neither of coña. The Viewer does not have why have been soaked in the television series to enjoy fully with the film adaptation. In addition, even so, the excuse powerless when the treatment of the characters throughout the film, without any depth is. To this must be added a few dialogues that leave a lot to be desired. The encounters between the 'good' and 'bad' are a good example of the great void of the talks. In fact, there are scenes in which the characters are talking and when you respond to one, stays silent and a few seconds later, change of scene. It seems that Mann has tried to give a spontaneous touch to the dialogues and the tyre, by this time, has left by the stock. Not to mention 'comic' scenes as the fake 'gatillazo' rich, more like another type of film (and everyone who thinks that wants to). As I say, for more than two hours there are moments for everything. For both the startle and more involuntary yawn. Not understood the excessive length of the movie and when the story lacks any kind of complexity. They could have longer times of cheap SOAP in the editing room. Because if I mentioned before that of the dialogues, we must make reference to the fool and forced romance between the characters of Collin Farrell and Gong Li. Are they look, they return to find they look, become to find, they look. Finally, he asks the 'favor' to invite a cup and she, without think about it much, takes him to Cuba in a boat. The most normal of the world since then. What is happening there is also normal. They drink, dance and fuck. She cries. He is like a champ. They showered and returned to the attack. Shortly after, they are talking about parents and teaching pics. But they decide that they cannot be together. and back to bed. In reality, the romantic moments starring Jamie Foxx and Naomie Harris is not be best narrated, but as they have less time on screen it shows less. Interestingly, both parejan have a 'meeting' scene in the shower; already could have sought Mann otherwise make palpable passion in the two couples and not to repeat the scene. Certainly no less curious is that Foxx disappears from the film for quite a few minutes to make Farrell as the absolute protagonist. I had read somewhere (as you would say Alatriste, my memory is harmful). (for some things) that Foxx was not nothing happy with what Mann did with his character and his role in the film. Now (without knowing if this is true or not, eye) I see it more understandable. Which one of the two stars, in particular to the two best actor (for something has an Oscar and the other is not), so out of the film, without any reasonable reason, must be less than mosqueante. Leaving that aside, and returning to what is important, the real problem of 'Miami Vice', the film would have won a lot and could have been that great movie expected Mann if the romantic scenes seem not filmed by the 'director' of any soap opera that tend to emit after lunchtime, but by the same who did 'Heat' or 'The dilemma' or 'Ali'where there were moments for the couple of question time and, unlike on this occasion, they were very accomplished and excited. Quite possibly, the reason for this can be found in the coldness that follows the film at all times, a coldness which is well connected with the protagonists of the story and the fact that at night where more comfortable feels the director. The best example to sum up the coldness of the film is the great villain of the film, a guy named Arcangel de Jesus Montoya, role who plays (i.e. a) Luis Tosar, recovering the 'touch Spanish' from 'Collateral'. Tosar represents a very cold and deadpan kind that sometimes it seems that the actor is a statue of wax. I do not know what will be said Mann to make the Spanish as hieratic, perhaps photos of Seagal taught him and told him: 'imitate him'. What is clear is that Tosar is a great actor and has presence, charisma, whereupon his frozen character, with the help of the Mann House, becomes a figure of power, some threat. Not in vain, the most terrible character is transmitting its power without reaching exercise it. No charge, Jose Yero, the other 'bad' of the film, subordinate of Montoya, boss is much more active, nervous, direct. The 'unknown' John Ortiz has good scenes in which shines and shows where your choice has been very successful. Notably, leaving us with the set and leaving aside the useless verbiage, the first encounter with Farrell and Foxx, where the three put their cards on the table. Duo protagonist, as I have already indicated, Jamie Foxx, with less minutes on screen and slightly less prominence, beats him Marist (not surprisingly) for Collin Farrell, who, on the other hand, does anything wrong. Farrell still has much to offer to justify his fame (apart from events of gossip or rumors about its Anatomy) but no one should forget, assessing him as an actor, some their own interpretations of excellent level, as in 'The last call' or 'Alexander the great' (essential, obviously view it in original version). Gong Li, an actress beautiful why seems that do not pass the years deserves special mention. If in 'Memoirs of a Geisha' was totally irresistible, here it is not less. A pity that his character is so cardboard and have to rely on both his great physique to highlight on the screen. As for the rest of the cast, almost all side with little time on screen, I can only say that they comply with far and you wish that they had given them some minutes to develop a somewhat decorative character. I speak of Naomie Harris (promising actress that we saw, very lumpy in the sequel of 'Pirates of the Caribbean'), Justin Threoux (who just does nothing), Barry Shabaka Henry or the own Luis Tosar, to quote the best-known. Therefore, a good movie full of ups and downs, with excellent rations of great action movie, but that does not stop being a small disappointment for those who do know what Mr Mann is capable. With a more elaborate script, would be his third masterpiece. No wonder that you had a very warm welcome in the United States. UU. and to be repeated around the world. The first week gets a good sum for the issue of advertising and the protagonists, and then down, without remedy. The public is not for a quiet film, is considered a waste of time. If you do not get the kids that fill the Chambers are glued to the screen, there is nothing to do. An sms and to give cane to the emule. The truth is that you have to be a little mad (who it is not?) to pretend that this 'Miami Vice' is a success. It seems that your site is another, here at a time, when it comes out on dvd and you to situate next to his older sisters, 'Heat' or 'Collateral', on the shelves of many of us and others who now prefer products of rapid consumption (television, especially) and leave the cinema for a session more comfortable Casita. Nothing to object to, by the way, don't get me wrong. And speaking of dvds, we hope that Mann has decided to make a touch to the film and give us the ability to contemplate an alternative mounting. It would not be bad.

archivos_extraidos/MCE-Corpus-main/Dataset/3562

José A. Peig

El proyecto de la bruja de Blair

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The great merit of the film is its ability to make the viewer participant of this paranoia, if the Viewer is able to enter in the psychological dynamics of the narration.

As is customary in this site often, retomemos past taking advantage of the present and the debate sponsored by the film that titled REC this causing real feeling in our cinemas. Blair witch project is its closest, that play with the same trick to induce the feeling of terror: show the story through a camera inspired by the patterns of a real shooting. This raises many interesting questions regarding the film understood as art (which you know is - almost - only thing that motivates the ratings of this blog.) The sensations. (them enjoy the spectator, so paid and live). I don't - I - not perhaps too delve into this, but it should be noted that if the filmmaker tries to imitate reality with a structured story, you can fall into an inconsistency that makes that the product does not exceed the test of the theatrical to make way for a real effectiveness. And if a homemade shooting can be equated to the care and aesthetic intent of a work film. turn off and we reinventing the cinema. Major problems can lead to expose and develop a terror theme (based on the supernatural or extraordinary) submitting to the laws of "reality", because they limit the potential possibilities of the story. I.e., the film would not be terror, nor the content of the narrative, but the trick used. Eduardo Sanchez and Daniel Myrick made a film in which realism goes beyond a certain use of the camera (and leave aside the impressive advertising campaign, which was a scam for thousands of spectators), with which managed to create fear without resorting to overly extraordinary elements, and apart from supernatural elements. This is a virtue (creating a directly human terror, avoiding the excessive use of clichés) and a default (restricting the possibilities of the horror story). Blair witch project is not a story about witches and demons or not psicokillers to use. First and foremost, it is the story of a suggestion fed each other between the three young actors. In connection with the supernatural or extraordinary human terror, the Royal and which all can feel at a some point in our lives, always is the result of a suggestion induced by external stimuli. In this case, they introduce a series of folk signs (some stones in circle, pagan symbology, etc) that feed the paranoia of the protagonists. The great merit of the film is its ability to make the viewer participant of this paranoia, if the Viewer is able to enter in the psychological dynamics of the narration.In his "realistic" exercise, the filmmakers chose the perfect argument to open the step towards the suggestion. Lost in a forest (which is, on the other hand, an archetypal idea of enormous effectiveness), without a path to guide the safe steps, is the sea of easy, even with a map, since the homogeneous landscape and horizons stretch at the discretion of open space, without having the Wayfarer a reference point clear. The horror story begins when the three main characters realize that have been lost. The horror comes not from disturbing signs that appear in the forest, but the fact of disorientation. The further development is the representation of a psychological state reinforced with external signs of indefinite meaning; montoncitos of stones that appear with the new day, around the tent (a common fact in rural cultures and areas of high mountain. are you sure? that weren't there when they camped attention and selective perception?), sounds in the night fall within the ordinary, the canvases of the tent moved by a sporadic burst of wind (?) while it seems we hear voices and laughter of children (the volume used for that sound stream) It is so low that it is at the limit of what could be real or a simple auditory hallucination. Know the reader, in passing, that a Blizzard in the forest can be easily confused with cries of women or children voices. (It is a well known fact).The critical point, in this sense, is the disappearance of one of the protagonists, who in prior situations had shown signs of incipient madness, and the later appearance next to the shop of eyes and blood inside a bundle of firewood. Many spectators viewing the viscera with the missing character, but there is nothing in the story that will lead us to that conclusion, beyond of the suggested hypotheses.Joshua could have been lost in the depths of the forest, shouting that his two companions heard during the night. In short, although the film shows signs that some intelligence this playing with three boys, there is nothing verifiable outside of the psychological atmosphere that alludes to a human, subtle, terror in the tenuous line that separates the apparent of the real. For this reason, the creation of Sanchez and Myrick is located in a cinematographic expression that transcends the simple theatrical to tell a simple story (of how three boys are lost in a forest, and the psychological terror originated) from which emanates an enigma open to several readings: does sorcery? child's play? a cluster of unfortunate coincidences?.So unfortunate that the conclusion seems to suggest the death of characters. We see recorders precipitate on the ground. What we don't know is the cause: aggression, accident or anxiety as to what they are looking at, you will see. The last picture is the best example of the ambiguous style used; a character, backs against the wall, fixed assets and insensitive to the cries of the terrified protagonist, camera rushes to the suelo.y some viewers say see a hairy arm moments before closing.The reality usually not so structured as in the succession of events and reasons as effectively developed in this film, hence the inconsistency that we said at the beginning, but which at least establishes a chain of causes and effects for a narrative solvent in which the contents and exposure through permanent subjective camera are complementary parts. The film begins with an exhibition - by way of documentary - on the rural legends about witches and ghosts. This, seen through the eye of the camera which, in this case, is the mind and eyes of the three boys, determines and explains the suggestion when from the subsequent feeling of helplessness. The girl, Heather, holds the main dramatic burden, and is moving - as many spectators witnessed, even the most reluctant – the sequence in which reiterates the idea of guilt and asks for forgiveness. Guilt is a relevant theme in the story, and the way in which the three seek to blame others follows a progressive pattern very in tune with the real stroke of human relationships.Depending on the style, scares over what is or is not well understood, the phenomena represented to the detail and the use of archetypes. In a work of art, is more meritorious the kind of terror used in Blair witch project than the strident, banal, predictable and explicit reality show that these days we see in REC. It is difficult to present a situation of suggestion with possible signs of reality in a coherent manner. Take camera in hand, get a group of people in the interior of a building and it come already all paste shouts to the career - ladder up, stairs down - escape of the zombies too, it is so easy as unimaginative. Remember, in addition, Demoni 2 by Lamberto Bava. In Blair witch project artifice is inherent to the theme developed, because the only way to represent stimuli of fear (the specific type of stimuli) is putting the viewer in the disoriented gaze of the protagonists. Only REC is unnecessary artifice in the service of the proposed theatrical.

archivos_extraidos/MCE-Corpus-main/Dataset/3324

Ramón Balcells

El sueño de Cassandra

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Do as if it were a real Greek tragedy, ' Cassandra? s Dream' is conceived as the new challenge of master Woody Allen, another confirmation that his undeniable talent beats yet.

When Match Point premiered, the public (only not European) surrendered to master Woody Allen. And I include myself in this group. That was a masterpiece that vovlía to the adventures of another of its wonders, offences and misdemeanours; that I was back to the crime and the conscience, both portrayed in a manner closer to Dostoievski and Highsmith to the own previous Allen (more focused on inteligentísimas comedies or some tributes to admired Bergman). And is that the new genius not only us has satisfied their fans on a yearly basis, also we have amazed with some indisputable masterpieces. This year, after a lighter Scoop another thing, once again (for the third time, if not calculating evil) to his favorite themes and more concienciadores, these focused guilt and human consciousness, and you pass to the crime. With Cassandra's Dream teacher shows us once again that his talent has not been exhausted, has even lost originality. And I say that because his last film is no less than the closest thing to a masterpiece, a masterful (concienciador and terrible) waste of good film, very good.Although, however, not everything went you on wheels with the third and final installment of his London trilogy. The criticism her crushed rather than caressed. They have left it on the floor! And I wonder, how can make this mistake? Honestly, this is a question without and with response. No, because I fails to fit in my stubborn head that film critics (many of them fans of the director) may not understand that Cassandra's Dream is not a surrender, a "I don't know or I'm more interested" by maestrísimo Woody. Go already! You have (and many) similarities with Match Point. So what? It is not even accurate, has several basic elements that change on his penultimate film. Here the story does not focus on a man of class low to ascend socially through crime, here the thing is much more amplified. In this dream of Cassandra come to play so sensitive as the family, fraternal relations, loyalty in my opinion, nor is it a copy outright to Match Point, nor a director performance. Woody Allen is more in shape than ever! As he says, when I was young yes they were interested in these tragedies, but your problem is that you were only jokes. It has now aged (matured perhaps not, because it seems that it has always done), and believes that this is the precisomo time to deal with such tragedies. It is, without doubt, and will be, a controversial film. That its capacity for childbearing new stories follow you off, but also directed them Cassandra's Dream and meet forty years having directed what he has directed. Since then, outrage me there.We are focusing on the wonderful movie before us, there is no doubt that virtually contains all the elements to be another masterpiece of the director. And it is, but find, as only failure, the small similarities with Match Point. Yes, can that I contradezca, but it is not quite true. While some criticize for being original and little charisma, I criticize it for containing small (very small!) elements similar to his first foray into the English City. Whether a pair of police officers present in the outcome, a stereotype of femme-fatale a both scarletjohanssonizado and a main character with similar questions to the of the superb Jonathan Rhys Meyers. Although, despite running a quasi perfect script, there are some other elements which not me convince to come, as a presentation somewhat elongated and cutting, despite having one of the most sensational film endings of recent years, recorded. Its flat end, utterly, elected in a better way impossible, and accompanied with the splendid score again, within the lares of Allen, Philip Glass, just conmocionando, and the unísino, destroying the Viewer. Terrible, poetic, too tragic.It is also imperative to comment that his trip to the English capital has sat in fable. If the result, both box office and critical, was excellent at Match Point, of Scoop was not, although no one however mentioned that it was more than what it was, a simple but effective comedy in the style of Allen, although somewhat simplified. Cassandra's Dream is a back in the tragedy, extremely fierce, terrible conclusion in its content, powerful in its storytelling, balanced, smart and hard, very lasts. He is not the best work of the director, but one of them. Its level is higher than many of his other dramas (such as September or husbands and wives), and I am personally delighted that us has returned with such wonder.Woody Allen continues here, portraying the London City as any director has done (both foreign and English). His plans, his way of seeing social as in any other country Ascension (se) seen, cruel and interested manner, and also the use of colours grey, on the contents of his works (although these elements have only been represented in Match and Cassandra's). And I think that his vision can not be more accurate. In addition, the personalities of their characters (including the of Hugh Jackman in Scoop) are cold, calculating and mentally obsessive. Ewan McGregor in the film in question, is an ambitious uncle and triumfador, one of those being rendered, but luxury cars a selfish to any rule, however, knows well choose the girls. Canvi, in the film adds a character of equal importance, although of opposite personality, as it is his brother, a malleable and mechanical roller of cars that costs it to take the weight of a terrible fact his conscience. In short, a human either. These two misfortunes collide in Cassandra's Dream, in a perverse and manipulative game about the limit of the ambition, conscience, guilt, the temptation and sexual desire. All these elements together form this wonder. His script, does not lack tell is practically perfect, with scenes of duration needed, sublime dialogues and very allenianos (those who speak of God, common but even greater depth), a final (as much as say) nothing to hit, but as an end to a tragedy must be intelligent, brief and no less dramatic.The cast, once again, is characterized by its brilliance. The fictional brothers of Allen, his new "muses" are two commercial actors, although none of them is below the outstanding. Ewan McGregor is brilliant in its role of ambitious, and Irishman Colin Farrell, better than never as brother more stubborn, humane and sincere of the two (which I has fallen tremendously well). As a side, are a huge Tom Wilkinson, of custom, and the beautiful and rookie Hayley Atwell, a captivating paper, well remembers the Johansson in their first time with Woody. All in all the new movie, suffering from disorders, are, generally speaking, imperfect (never forget this feature), and hence the seductive moves as if it were a beautiful complement that will following the desire of the protagonist through her intelligence.As if it were a real Greek tragedy, Cassandra's Dream is conceived as the new challenge of master Woody Allen, another confirmation that his undeniable talent beats yet. While band its favourite themes, as the imperfection of the human being or the incursion of the comic in the tragic, get trapped and not release us until its beautiful and sensational conclusion. And I will continue without understanding the unnecessary and bad conception are having it. Frankly, incomprehensible.

archivos_extraidos/MCE-Corpus-main/Dataset/3544

Rafa Ferrer

Rec

muchocine

Terrifying, shocking, fearful and cruel, but, rather than a film, a cinematic experience, must be set aside which is a Ribbon, and see it more as a kind of fair attraction, if we analyze as tape, this would lose many but that many points.

September 26, 1984 died Paquirri, I remember perfectly as I with 8 years looked in TV perplexed as the right-handed indicated the doctor as his injury, fatal necessity, and as the housemate of yesteryear (23 years ago) let me really impressed, we are talking about a few years where the TV was not what is now, and that easily impressionable, server and that you tide if you see a drop of blood, for many years, was completely impressed with those images; I know well that REC and Paquirri have no bearing, but if TV reality in which the tape of Plaza and Balagueró we put, a sort of "pasaje del terror" film, that it is true that it is less than what it seems and over which suggests, I admit, that was prepared for something much worse, and that, minutes before entering the cinema still feared dying of fear in the stalls, moreover, even went to the bathroom before, if one of the horrors he had to download my sphincter (haha).The documentary format and camera in hand, makes functions to 50%, because there are times that it brings reality to the plot, and others that tide (above I without glasses.), a fresh and interesting way of making new films, but that hopefully not burn too much, because that one or two films of this type per year, as experiment would be quite well (outside circles of festivals and other paraphernalia)However, if now enter all horror movies so. Bad thing.Is also true, that impresses the tape (not deny otherwise), but once one him picks up the "tranquillo", comprising roughly the plot is less terrifying than one imagines or supposed before entering the room; separate mention of actors and a couple of comical situations Balagueró and Plaza get to relax a little in the frightened audience.Something I've read in quite a few reviews and so I quite agree is that it is abusing both perhaps screams volume up too much of the lead actress (excellent Manuela Velasco, Sitges best actress award), and their scared close-up, losing in some moments the "approach" of the reality we want to show the tape.In short, Terrifying, shocking, fearful and cruel, but, rather than a film, a cinematic experience, must be set aside which is a Ribbon, and see it more as a kind of fair attraction, if we analyze as tape, this would lose many but that many points.

archivos_extraidos/MCE-Corpus-main/Dataset/1348

Iñigo

Sin fin (Bez Konca)

muchocine

Is it possible to separate the private life of political life without conflict? Can you choose without betraying? Is it possible to forget...?

Krzysztof Kieslowski: "freedom is a contradictory concept with human nature." Any election entails a restriction and denial of other possibilities, that they become unworkable since that time. Freedom for Kieslowski supposed something unattainable, that the human being is limited, but also was an illusion. And in its innermost Forum always her I was looking for, understanding and understanding. To empathize with Kieslowski (as much as possible) we will have to understand that, despite his actual resignation, he was eager to dreaming something naive as theoretically unreachable. All yearn to attain a certain degree of fullness. The real issue, according to the director himself, was not whether we are or are not free, but if you really want to be. If we are indeed prepared to unleash the chains of our inevitable condition human. If we want to separate us from the road that comes from factory. Our elections are of great importance in this, starting from a point of view "virginal" and non-existent, which only could be achieved with our demise, logically. All those reflections fatally drove the film that we are dealing with. "Without end" is certainly the most pessimistic work of Kieslowski, its darker creation in search of small crevices to freedom, to the ingenuity of a few dreams that end up bursting in our own face. "Bez Konca" implies an earlier and a later in the films of Polish director (many of his films could acquire the meaning, but none in a way so vital and radical like this). It involves placing in the jaws of the policy more inside that never, for, leaving them (if it is possible to do with life), never to return. This film would be the beginning of the relationship between Kieslowski and Piesiewicz, future co-writer also in works by the likes of "The double life of Veronica", "Blue", "White" or "Red". "Without end" would be the prelude to the mythical "Decalogue" (also with the hand of fellow Piesiewicz), masterpiece in films of Kieslowski. It is evident here the suffering of the author in first person. The painful consequences of living under martial law, feel the repression towards the Trade Union "Solidarity", completely forbidden within that framework. The light of the creation of art as a form of human expression of ideas as a form of social awareness and complaint; all of them inexorably become our worst enemy and lead us to our own condemnation. Any decision will result in an error that we chained for life. And the only loophole, if there is really one that is valid, is death. We could say that it is the film in which Kieslowski is dangerously more accountability. All done, looks back at his past, deeds and creations, become dark and pessimism takes over in excess of its person, creating a film that "alive" all hope fades. Indeed, the worst moment of his life made this a truculenta film of resignation. "Endless" has links in common with the "Blue" future, many will say. History, its characters, its development. But they're simple appearances. Both end up in a sharp curve. However, one overlooking the sea, to hope. Another gives the abyss. "No End" Ulla and Julie in "Blue", after the death of their husbands, try to find an escape route, either through sex or loneliness. On this tour you will find with various details (sometimes invaluable for us) that will show them that freedom is "damaged", which is something much more complex of what many we try to make it clear. Kieslowski reconciled with love and freedom (and already detached from any political aura), after the aforementioned slump, us returns to show his innocence, stolen by a moment in "Endless", and once again believe in the human being in "Blue" (already from the "Decalogue" trusts timidly him). But in the movie before us, dazed, decomposed, it is suspicious of any election in search of freedom. The politics and society of the time weighed too much on already exhausted shoulders. Therefore, and more than ever, here the answers will not be easy to come up. Moreover, there will be no answers. He himself was unaware of the direction to take. The film becomes dense, very uncomfortable, we will not know what to grab us. All symbols and metaphors are incredibly elusive, from the mousetrap to the mysterious and seemingly "empty" apparitions of the deceased husband. But everything has a meaning beyond of the metaphysical or spiritual, showing us clearly, on this occasion, the inability among the private and political life. The public and personal, choice, join resulting in inefficiency in the search for a separation between the two. It tells us there is no effective freedom. Women, axis main but not only, hesitant, does not know which direction give his life. Not realizing initially that, Ulla ends up accepting that he needs her husband, her life without him is completely unfathomable (which happens to the setback in "Blue") and that you can not forget him. There is no sex that tape. And in its internal Forum, despite its efforts, it does not want to ignore him. Their desperation is imminent, and their accountability looms. Meanwhile, the husband, aware of its own despair, notes. More cryptic than ever, Kieslowski doubt and makes doubt to the worker (Artur Barcis), another of the key players in the entirety of the Filmography of the director. A character who does not know if staying or leaving, feeling that any decision will lead you to your personal prison. The shackles of a misguided policy will be that we ourselves find to our particular treason. Polish tilting brutally against communism, again, and again, had to pay the price (as happens in "The random") of alienating the senior leaders, that skeptics about the possibility of a hidden criticism failed to understand, decided to censor the film. "Endless" is a film full of messages, symbolism, coincidences, opportunities, beliefs, faith, personal beliefs and freedoms in search of love. It is a complex movie like that more in his work, because it does not give or intend to give answers. It is the Kieslowski closer, closer to the limit, causing at times, logical discomfort not understand if you're not prepared to understand that there is nothing to understand, and that, indeed, exceeds this limit approaching himself hell. But no one said that the journey was easy. Ulla and Barcis are real examples. Both are auto condemn. On the one hand, looms the renunciation of survival as only way to preserve dignity. But is it valid? It is, at the same time, worthy? It is simply another loophole, that will not allow us to find our desired response. On the other, we see hesitation vital of the character of Barcis, perfectly adaptable to the own Kieslowski, paradoxical, contradictory, human, therefore. This worker who knows the limitation of elections in one organic so little environment, consumed inside, but at the same time resigned, and that, throughout all of the "Decalogue" appears as soul penalty, consciousness of Kieslowski, silent Adviser of the protagonists, trying to bring its experience in peak times, limit, that is a decision. However, it won't do anything. It will be. The decision will only be ours. When it asks for help, despair makes an appearance. As Ulla in the time which is aimed at us, the viewers, in search of an explanation. She does not understand, but we can not provide answers. Who knows if in the darkness and rot that surrounds us in the future, we will find subterfuge. Innocence stained green. Vitreous point that our happiness (or part of it) has room. In the same way as Kieslowski, unfathomable, vast, impenetrable, so it kept in its interior. Imperative, forced, necessary that the viewer will dominate and know join the film if it does not suffer an insurmountable bewilderment. And, therefore, an unwavering torpor. In the same way, it is also basic to be knowledgeable of the life trajectory of the artist, their political and social experiences, otherwise not be can understand their position nor their ideas. Dark phase of the Polish director, until the creation of the "Decalogue" focused their films in the moral, ethical, social and political in search of a possible and relative freedom. Since then total emphasis will be on the spiritual, human and transcendent, leaving aside political "platitudes". But always present random, volitional decisions, love and freedom. An inseparable whole. It should be noted in "No End" the presence of a large Grayzna Szapolowska, present in titles later as "Not Amarás", which performed a commendable performance, contained, replete with necessary gestures, endowed with a great success. "Bez Konca" stands as a turning point and, apparently, also as a Union of vital characters from then in the surroundings of Kieslowski. In addition to co-screenwriter Piesiewicz, here also known that would, subsequently, his inseparable musical collaborator: exceptional Zbigniew Preisner. With him got unforgettable masterpieces. In this film stands out with a mysterious, disturbing and captivating beginning and a no less mysterious and dark finish (with that pace.) (do funeral?). Concluding. Disturbing and reflective film of the late Polish director, which, though Sin somewhat pessimistic and Maverick, continues to be a very personal work and an exercise of great film knowing. Will not be his greatest success, but it is a step in his delicious filmography. A situation unique to know in his image and likeness, better than anyone, we do not know anything. To be safer than anyone else that we are not in absolute insurance. To search for a truth that was not: our truth.

archivos_extraidos/MCE-Corpus-main/Dataset/3973

Berto

Halloween El Origen

muchocine

Quite entertaining film, that has the addition of further a little childhood of so hold psychopath, and that efficiently solves the memory of the original film.

Halloween has to his credit with the label of being one of the most profitable films of the history of the cinema. The budget that Carpenter had managed in his day is derisory in comparison with the global collection which went around the world, apart from the achieved fame and lay the foundations for a genre that would be fashion and that from time to time continues making a comeback, of the slashers. This handicap he had to fight the producer to get get a remake more than worthy of the first film in the series, and is that after that several directors and writers to leave the project at the end they managed to bring forward thanks above all to the interests of the director of this new version, the singer converted to filmmaker Rob Zombie. Already in his two previous films had demonstrated very good manners, being their debut, with the House of 1000 corpses, and then its subsequent sequel, the forsaken the devil, two already considered to be cult films.On this occasion, the Remake tries to go a little beyond, and while in the original version of Carpenter murder that would usher in the mythology of Myers was told very in passing focus on the killing of the day of Halloween 15 years later, in this new version takes a full hour to try to show us the Tinder which is I think one of the older murderous psychopaths in film history.During the second hour, focuses more on the classic, reaching copy murders and situations, but I think more sincere tribute a blatant, copy because after very different home that has this well show new generations that was what really gave the success this film.Actors are quite well, Tyler Mane meets perfectly when it comes to embody a giant Myers that scary just seeing him standing up on screen, and manages to create an aura of supernatural about the character, although part of this success is due to the outstanding leadership of Rob Zombie, that my already liked a lot in their previous two films and that in this film he continues to demonstrate that it is one of the values in any future upside project to this cinematic style, although it on good authority that the rest of Clockwork partners will be happy to refute me any recognition to the director.Child, played by Daeg Faerch, Myers is another interesting role and makes a very convincing recreation of the childhood of the character, something key to the evolution of the character throughout the footage.In short, a fairly entertaining film, that has the addition of further a little childhood of so hold psychopath, and that efficiently solve the memory of the original film, something that according to recently seen in the film is very take into account, that are not generally find worthy remakes.

archivos_extraidos/MCE-Corpus-main/Dataset/3865

Moebius

La leyenda del indomable

muchocine

Apart from one of those immortal characters of the film, the legend of the indomitable has given great scenes with wonderful dialogues, these iconic images that may penetrate the popular subconscious. Essential.

Cool Hand Luke. Go type. During a game of Poker is able to bet the limit without having a good hand. Not even a couple. Few would be able to fight empty-handed? That same wondered fortachón Dragline. But as said the good of Luke, Yeah, well, sometimes nothin' can be a real cool hand. And it is that after this "nothing" hides an unshakeable self confidence.Luke is not an easy to understand type, and lives in a world that is not prepared to accept someone as strange. It wrecks vending machines because there's nothing to do on a Saturday night. And why society condemns him to spend two years in a tough prison. Something smells to rotten in the judicial system. Don't follow leaders, watch your parking meters.Luke represents total, at all times and circumstances individual freedom, although the own physical integrity at risk. Does not accept any imposed rule, either society, prison, or own criminals who share sentence with him. According to the normal procedure someone like Luke would have gone through many hoops to earn the trust of thugs as Dragline. But this is unthinkable for someone like Luke. He prefers doing things his way, and will force Dragline that you fight with him. Dragline will give you a beating sovereign, but that won't do that Luke gives up. And the young blue eyes knows that reversing the advantage of the fear have veterans, they will not have no choice but to give up. The personality of Luke is so overwhelming that Dragline will be carried by it as a branch in a flood. "Why I have escaped if only I had two years?" Good question, Drag.Normas, rules, laws, repression. civilization, in short. The legend of the indomitable tells the story of the clash between the authority and freedom at all costs, the feeling primary and selfish to do at any time what one wants. The struggle between law and Luke is pitiless and prolonged. At all times the guards will try to break the spirit of the prisoner, make him one. And Luke will continue unabated, inventing thousand Wiles to avoid, to make it go wrong to defenders of the law. His teammates almost see it to a divine being, and few will be the times in Luke to show its weaknesses, their feelings. When he shed tears, real tears, by the death of his mother, it seems that the last loop linking to Luke with the rest of the world has been broken forever. Perhaps Luke learn "Plastic Jesus" of his own mother, he being a child. But the law knows no feelings, not in a prison like that. Luke will be locked in a punishment cell to avoid that is to attend funeral fuge. A free and independent spirit is the Declaration of the State war against Cool Hand Luke.Con like yours it is terrible to see him in the mud, pleading to the guard that not hitting him more. For those who admired their willingness to unabated it was as if a myth come down. But, after all, a man is only a man.The repressive authority was perfectly symbolized in this sunglasses mirror look at the world maquinalmente and cold. It is a resource that has been widely imitated, but have a special significance in the history of the legend of the indomitable. Not desviéis attention wherever they go. You remember as just? That smile of Luke. indomitable until the end.With a history and a script (Donn Pearce and Frank Pierson) so exceptional a film can have many interpretations. I believe that the legend of the indomitable values individuality, almost primary liberty, the fact that be different is not necessarily bad, and that confidence in oneself can work miracles. A scene as unforgettable as the bet of the eggs is a clear example. "Have you you ever have eaten 50 eggs?". Of course, no one has eaten 50 eggs, is impossible. But for someone like Luke, wanting to is power.Apart from one of those immortal characters of the film, the legend of the indomitable has given great scenes with wonderful dialogues, these iconic images that may penetrate the popular subconscious. In short, I am speaking of great moments to remember. Sunglasses mirror, 50 eggs, ditches, prisoners working in the hot sun. This stunning blonde is dedicated to hot all prisoners be while it soaping his car (wonderful Joy Harmon, who was discovered by Groucho Marx in his television show You Bet Your Life, and ended up working for him later). With this film the director Stuart Rosenberg left a model to follow for the subsequent prison films, especially those that take place in "prisiones-granja".And well, how does not refer to that mischievous smile Paul Newman in maximum State of grace, or that beloved great actor George Kennedy is going crazy with the chiquilla limpia-coches to not to call Genoveva. God, sometimes I think that it could talk about this film for hours! Or at least what lasting a couple of beers. The legend of el indomable, essential, speak little.Finally, a question: do you think that the picture that sends Luke is real or is a montage?

archivos_extraidos/MCE-Corpus-main/Dataset/649

Alberto Concepción

Hijos de los hombres

muchocine

Cuarón gives a lesson in how to make a film, how filming sequences, how reflect many things, without leaving aside the plot. There is no other that applaud... This is good film.

Many directors have reflected the future, near or far, in his films: many times with optimism, other more pesimistas.y others really catastrophic. Apparently, Alfonso Cuarón is a really worrying chaos, and launches a fierce criticism of current Western society: we're going adrift. While the story might seem unfinished, the throw something in lack reasons for female infertility (although to be honest, it isn't the most important thing and devotes some few strokes), the plot is very interesting: 18 years without birth a child, (so current) problems of illegal immigration they reach implausible points, chaos takes over all world capitals. What's going on? What to do when you know that humanity has counted? Cuarón already received praise for making the third part of 'Harry Potter' to acquire a tone much more grim and somber than their predecessors (not very difficult era given child Columbus films), which was appreciated by all sectors of the public and critics. And now, not only returns to print darkness, but that the impressive setting is really priceless: never saw so well reflected futuristic chaos, with many details that they guiñan the eye to the spectator, both the visual and the clear message of Fund.If this premise you add a very correct Clive Owen that, without shine, fits the role with a very good performance (another one on the face of this interpreter between glamour and professionalism) as well as a degree of seniority with Michael Caine (another big), and the strength of Juliane Moore (one is wanting more.) in addition to the aforementioned paragraph technical (do had already said that it is formidable?)the result is one of the best films of recent years which, without being a masterpiece, will be classified as one of the best of this year by far. But, without a doubt, there is one aspect really succeeded in 'Children of Men': sequences of one shot that occur throughout the film. How much these images, shot without any pausa.tanto so well filmed movement appreciates the viewer get tension manages to penetrate the screen easily, to the extent that at the end of the tape, the feeling of being stuck to the seat is inevitable. Ultimately, Cuarón gives a lesson in how to make a film, how filming sequences, how reflect many things, without leaving aside the plot. There is no other than aplaudir.esto is the good film.

archivos_extraidos/MCE-Corpus-main/Dataset/2678

Francisco Bellón

El ultimátum de Bourne

muchocine

What could have been a product of Hollywood without pretensions and moderately entertaining as the original, turns into one film action.

Before fully entering the analysis of the film, let's spend a moment to talk about these small pieces that largely determine the success or failure of a film: the trailers. Most of them are extremely false, and that of the Bourne Ultimatum is no exception. Less usual is seen in them blunders as speaking in the South of Europe, is quoted London and Tangiers, which is not even a European city, and instead omit Madrid, which by the way is the most southern European city of all those listed.Leaving aside this small claim, the Bourne Ultimatum is the final chapter of one of the most profitable action Trilogies in recent years. On this occasion, the Viewer is witness to the investigations and inquiries carried out Jason Bourne by half the world for (at last, and it was time) find their true identity and recover his memory. What could have been a product of Hollywood without pretensions and moderately entertaining as the original, turns into one film more action, the lot. And it is that the Bourne Ultimatum is full of clichés, and most of the plot is easily predictable. The duration of the film is clearly excessive, and Paul Greengrass fails to print enough intensity, doing that whole lost packaging and interest. The action scenes are well saved, although occasionally being shot camera shoulder lift headache. All this leads to a forced, absurd and predictable outcome that will leave outraged fans of Bourne. The highlights of the film is the presence of great actors like David Strathairn, Albert Finney and Glenn.El Scott Bourne Ultimatum is another of so many action films Hollywood, entertaining to the most enthusiastic of the genus, and that puts an end to one of the most popular sagas of these years. Or at least we hope so.

archivos_extraidos/MCE-Corpus-main/Dataset/656

Mario

Hijos de los hombres

muchocine

I start to not properly digest the burden of implicit moralina that carry this type of production. To know how foolish that we and the origin of all the ills of this planet I don't have to go to the cinema.

We are all the children of men, but what would happen if the last of us had already born? Under this approach Alfonso Cuarón presents, in its peculiar and last film, a new story on hackneyed society dystopian which the human being has made to shit (again) and back, costs down and without brakes, to the State of nature. Typical and topical history, written and filmed hundreds of times, based on the novel by p. D. James, and that reminds both certain classics of literature of anticipation as to the track 1984 or brave new world, that already bored. Deformed viewing of a society as her our a few years older - years that would become evolve towards positions more radical and fascist today can imagine - already not impress anyone, especially when the development of the movie in question seems too close to any news of the three in the afternoon. In a moment of the film, a radio program click a song of 2003 and the announcer reads something as well as? the time in which the world was not aware of that everything was going to go to hell? I would say for him.To enjoy a good reinterpretation of this kind of subgenre of science fiction, I recommend V for Vendetta graphic novel by the great Alan Moore, much less Manichean and with really interesting proposals. A partir de here, and taking into account that the plot seems to me neither original nor too interesting, we can say that the film is dotted with light and dark.Sharing is one of the facets to highlight (despite the thymus which is see Julianne Moore in the closing credits) consisting, among others, a surprising Michael Caine and a superb Clive Owen; Perhaps the most charismatic actor of the current Hollywood which is just enough to sustain the project, even in their spare time more leaden. All of them say tacos and smoke fags which is very welcome. Another advantage is photography, more suggestive and right to transport you to a near future in which things are almost like now, but more ugly. Probably they didn't have to squeeze too much to find the locations, and this is one of the greatest successes of the film; in the middle of the final confrontation in which the protagonists are submerged, it is not difficult to recognize the same faces we see daily in Mogadishu, Haiti, Palestine or Baghdad. Recreation from eternal conflict entrenched and street is notable.But on the other hand the script loses in a succession of predictable and aburridísimos, events with very few moments of genuine emotion. The pace of the film suffers many ups and downs, even taking into account that the director (very wrongly IMHO) us tide with the camera on his shoulder during the footage; This technique has its explanation in a few minutes of the roll, but it becomes even irritating in others.Sometimes the impression that if it weren't for the good performance of Clive Owen, making current type to which life has been abused, the film became virtually unbearable. However in others (as in the final minutes, despite the tijeretazo which is the own end) the film is interesting and can be seen.Finally, I must say that I start to not properly digest the burden of implicit moralina that carry this type of production. To know how foolish that we and the origin of all the ills of this planet I don't have to go to the cinema, just with that I stay at home and look at me in the mirror.

archivos_extraidos/MCE-Corpus-main/Dataset/3509

José A. Peig

Beowulf

muchocine

It reduces the soul of Beowulf a medley of Visual plagiarism when there is not the filmmaker, but production and the prefabricated idea.

In a translation from the literary language until the of the cinema, and more specifically in a gender motivated by laws of entertainment nowadays derive from a model that aims to restore the epic sense of the legendary adventure, sword and sorcery, the most important aspect is the created style - or create - that the written legend may have a significant film expression.Either because the original text does not have sufficient attributes, or because the adaptation lacks fluency and imaginative impetus, the truth is that Robert Zemeckis's Beowulf shows a texture warm and impersonal, a pure technological apparatus of dubious utility. What we want to digitize the human characters if this technique does not exceed - or not equals - the expressiveness of the real actor?. If the characters - since the same conceptual basis - are doomed to be clichés default in all their acts and words, use them as technological excuse is to trivialise the product from the surface to the potential depth.For dramatic purposes, the first fifty minutes contain elements of interest and the bulk of the epic intensity, while the final stretch is reduced to a digital circus starring the Dragon and the twilight King, to a logical conclusion and subtly embodied in the last game of plano-contraplano. This shows that we have a proper entertainment film, but that does not get its own framework to raise the dramatic intensity essential in this type of film, the end as apotheosis of mythical characters.Great work, Yes, photography and artistic design, producing an environment of legend in which we can glimpse a superfluous brushstroke (often with poorly explained details) about the error, lying, and the curse that pursues the Royal lineage, with as theme sexual promiscuity, and combating the myth that imprisons the mind of Beowulf. Pity that Zemeckis display reduced to a production of pure industry, with landscapes, flat, chopped and drawn from the trilogy banding Peter Jackson air progressions, 300, or the Galactic hexalogía of George Lucas. I.e. reduce the soul of Beowulf to a medley of Visual plagiarism when there is not the filmmaker, but production and the prefabricated idea.

archivos_extraidos/MCE-Corpus-main/Dataset/748

José A. Peig

Palindromos

muchocine

Above all, a lyrical, atosigador story of our consciences and often a fun elegy to any lost soul, despite the burden of a somewhat irregular set.

"Palindromes", the metaphor of our tragedy as alleged instigators of change and evolution if you don't find departures to a universe of emptiness and disorientation. Gives the same how you named and what your physical appearance: you are all, all are the same, there is no change, only the pain that comes from a misunderstanding.Analytical film, immersion in disturbing thoughts and dark States of being. But there are also pretensions of taste and hope by innocence, as well as fear of children, stage of maximum disorientation in this continuum of solitary beings fleeing to other prisons emerged in a social fabric unstructured, a bitterness of dreams that are shades of cherished and lost forever.Todd Solondz has woven a bitter poem on love and fear to life brilliantly. Perhaps there is no greater cruelty than the do birth. But without the perpetuation of life we lose all hope in love and that the need to love and be loved may bring us something more than desire and the poetic enjoyment of vulnerable souls. Aviva may be the entire society or the lost sheep who us shouts to consciousness from its moorland. The structure of the poem in the same essential profile that takes different faces is quite accomplished and reaches the proper metaphorical significance. The cinema has no why be a toy for moviegoers pedants quibble, Solonzd, bold and honest, shows us that pieces so small and unusual as they discover the uniqueness of an idea or a few thoughts that do not belong in the cinema of masses. Just why his last work deserves to be enjoyed by all types of public, although cinemas which is planned upon arrival in Spain with two years of delay can count on the fingers of the hand.However, cinema not necessarily entails the guarantee of high quality cinema. Despite its stimulant and correct film work, "Palíndromos" does not go beyond a few profiles and a story that just proving too megalomaniacal, and sins of a too explicit Mannerism in a speech deterministic and doomed to the mere effect in the mind of the Viewer, without leaving sufficient margin of decision against a work which had aimed at displaying a sour image of fate and life, but not manipulate and in response to the alleged complexity of discourse. On the other hand, the grotesque characterization of some characters not always effect functionally speaking (in some sequences nothing be a capricious of dubious taste extravaganza, while in other scenes, sections or places seems to conform to a texture of circus poem around the world Freak with pretty packaging).Above all, a lyrical, atosigador story of our consciences and often a fun elegy to any lost soul, despite the burden of a somewhat irregular set.

archivos_extraidos/MCE-Corpus-main/Dataset/2414

Rafa Ferrer

Gritos en el pasillo

muchocine

The tape becomes a mere experiment, which, like the soda worth making at home and then save it in a drawer, the highest possible view of others.

I know that you I referred to this film in my opinion on "Once upon a time a tale to the upside down.", but it was not until a conversation with my brother-in-law, faithful reader of this page (take to send you a greeting!)Hello Joselito!), when I have been pushed to see the tape, even though he qualified with a mere experiment, which had to do, was curiosity and his opinion that took me to see for myself.It is an original way, ever seen, this to animate with peanuts and other nuts, that it falls on deaf ears, of course, but that despite the excellent band sound, debtor of the film by Tim Burton (and with some touches of sound with great Danny Elfman), just that, in a mere anecdote, of short duration (hour and nothing more room)with a language of their own and a debtor of cinema of terror and suspense plot, it gets only interested a bit original of his plateamiento.And is that peanuts express barely anything, and one sometimes thinks that it is losing a few min. precious in doing anything else, and not see as two types move over and over again about "panchitos" the screen, part of the dubbing, think of those facts by 2 coleguita plan total joke.Finally, I share the opinion of my brother-in-law, and it is that, as the said, the tape becomes a mere experiment, which, like the soda worth making at home and then save it in a drawer, the highest possible view of others.

archivos_extraidos/MCE-Corpus-main/Dataset/135

Nico

V de Vendetta

muchocine

There are few things that excited me but a motrollón of explosions to the rhythm of Tchaikovsky is something that get me fiber

If there is is something of what I'm proud of my prejudices. I do not know if they are the engine of the world but at least in my life. Movies that I do not see because "Cove" fame of the director throws me back, others I see only because the director of photography is the same as the HEAT drives that I do not hear because I do not like the typography of the cover, etc?The only reason that had to make an entry on V for Vendetta in July 2005 was because Natalie Portman went out in it with the shaven head. Or the Alan Moore comic, I have not read but I will do it, or the script of the Wachosky brothers or Gee. I wanted see Natalie rápada head and as the rest of things seemed totally secondary I did not bother to read what was the movie, where it was set or what criticism he had received; I to mine. It seems that V for Vendetta has not aroused much excitement because we put in the smallest room of cinemas to see. He filled obviously because its dimensions were as the Hall of my house. Am not going to make a summary for sure that everyone has read the comic (I'm an ignorant on this topic, so I would appreciate any advice.) (Hágamos of the comments something useful!) and because it would be absurd. But if someone is interested my opinion, say that I had at various times tachycardias, spasms, got me goose bumps on several occasions and I cried at the end. There are few things that excited me but a motrollón of explosions to the rhythm of Tchaikovsky is something that get me the fiber. Anyway, because I don't like tattoos but if not I would be one in front of V for Vendetta.Ya I have said before that I'm an ignoramus in which comics refers in that and other many things (go) but do not understand how a film that was shot in May-June of 2005 can be based on a graphic work where part of the attacks on the London underground that took place in July of that same year. May I have bad dates, may the writers to make last minute changes and used a real event as a base, or that the fiction of Alan Moore became a reality on July 7 year pásado. View the photo I guess that it will not need say are worth to pay 6 euros, but you aborrezcas the movie (which is very unlikely if you have a minimum sensitivity and Encephalic mass), only to see that head without hair.

archivos_extraidos/MCE-Corpus-main/Dataset/432

Iñigo

C.R.A.Z.Y.

muchocine

Do do witty drama with strong load symbolic and large doses of? magic?, with a special aura and the feeling that, despite seeing something entirely new, is innovative and fresh.

How develops the film and are successively exhausted ideas, plots or stories, in times that concern us is merely being repeated the constant that the important thing is not what are counting, but how are counting. "C.R.A.Z.Y.", despite being aware of that was too dangerously close to the repetition of previously established formulas, leaves very airy what you see as an example of the previously mentioned.Jean-Marc Vallée is not cut when it comes to telling us the stages of growth of a young man very in the style of what did this deceased teammate Lauzon in "Léolo". The director Canadian (for more INRIA), the truth is that you achieved a result certainly interesting, influenced by a notable psychedelic, almost extravagant and markedly hippie Halo.Here, the repression and the denial of the reality of one's own, evolves as does it fashion and music more purely sesentera/setentera: double pants, hardly etiquetable clothes to the sexuality of who the porta, religious ceremonies to the rhythm of the Rolling Stones, snuffed and "highs" anthological presided over by Pink Floyd and his psychedelic, family discussions and, above all, undoubtedly personal, intimate and non-transferable.Our Narrator particular family is Zac, a typically problematic young man, with your questions and needs. Everyone is aware that the rest of the "kooky" descent (already know in due course as to why that enclose the word) also has its problems. But our nearest support is logically Zac, which tells us what is happening throughout his life in their family environment.In a fatherly circle so purely conservative and religious, our peculiar stem, is emerging as the classic misunderstood bug. From a very early doubts regarding their sexual orientation do more than bring him down the street from the bitterness, and still not sure of nothing, refuses his condition himself, decides to suppress to retrieve his father.Thus, Zac grows, at different times, to different rhythms (beautiful time "Space Oddity") and with different horses on the heels: drug addiction of his brother, knowledge of his body, the search of unknown sexuality (both male and female), strong family religiosity that leads him to the selfsame Jerusalem (crucial moment in which the director enters as mystical as marshy land), and despair by a stability that never comes.It is neither more nor less than the history of growth, an adventure in constant evolution and constant potholes. Speaks to us of the classic family discussions that do that we find ourselves, our frustrations and our mistakes. It is life, the family, music with which we have evolved, the doubts with which we have lived? and the moments that we will never leave behind. Do the new paths occur over and over again? and these paths, create or not, are inscrutable. It is true that the basics and, occasionally, the foreseeable or the extremely laughable/absurd, dot to work doing that it becomes somewhat excessive in footage, and manages to wake us up some another yawn. In that regard, it is a film that suffers excessively changes of pace, you will end up giving has that sins of irregular and that, sometimes, it gets a bit of context. The mixture of child with wit (see dreams that carry our character to an onírico world that, inevitably, reminds us "Léolo") and evolution by stages in the style of "Almost famous" (basically by the environment in which we dipped), make that, a priori, it was something original, is not really so much. But with all this, no one can deny is an interesting film, treated with much success, with a musicality and a Halo which are not you going of the retina in a long time, with plausible scenes, more fine humour and a sincerity that invites reflection and the nostalgia in many respects. All detailed and dosed by an unknown cast, but that line to a perfect level of credibility.And most importantly: despite seemingly weak points such as the troubled narrative limp family in a particular environment, time and with a particular belief/culture (disadvantage that, without doubt, the director is knowledgeable) or an irregular rhythm that ascends as easily as it descends in the respective to the attention of the Viewer, "C.R.A.Z.Y." is a film that captures the viewer's attention.Simply take advantage of their mistakes to make little original in original and interesting, in a witty drama with strong symbolic and large doses of "magic", with a special aura and the feeling that, despite watching something not entirely new, it is fresh and innovative. As much as you try, "C.R.A.Z.Y." not will erase your memory at a time, because, ultimately, it belongs to our own history. As Léolo trying to escape their inevitable "degeneration". Clear that, not compare one with the other, because as pray out there: comparisons are odious.

archivos_extraidos/MCE-Corpus-main/Dataset/3306

Ana Belén Pacheco

Los Seis Signos de la Luz

muchocine

Totally expendable if you not with a minor. That Yes, I can assure you that if you have less than 14 years or your companion is in that age range is a secure implementation that will enjoy much.

I occasionally try to take me to the movies to a good critic I know, he is my cousin of nine years and may be useful for some movies that find me unclassifiable or certainly frustrating sea. Many years ago the producers realized that seeing a movie in the environment of a film plagued with people who enjoy the tape can affect the vision of the critic and make you feel a little more generous when it comes to writing about it. Why invite press in cinemas passes with children for children's films was a common practice that got quite good result. There is no heart that resist to say that a film is bad when hundreds of kids have been enjoying and throwing popcorn each others to your around because while the reader of your criticism is his father can not ignore the fact that the child has moved it well that, for better or for worseIt was the par public which created the film and that will consume it in cinemas, DVDs and various merchandising. The Variant that exists now is that there is a new genre of adventure after the emergence of fantasy films for children and adolescents is rebounding dramatically with child actors and epic adventures in parallel as the Chronicles of Narnia, Eragon, or Harry Potter worlds. The public of these is wider and it must be quite carefully already that although infants of up to fifteen years enjoy with these desktop divertimenti possible adult viewer who has enjoyed with ribbons as the Gonnies or the Chip Prodigioso wants to relive the 1980s and just deal with a simple deployment of effects special flavouring the last success of the Juvenile literature. The six signs of light tells the story of Will, an American teenager who has just moved with his large family to England and that will discover that it is chosen to carry out a special mission to find over time of the six signs of light to help fight against the darkness that want to take over the world. On his way to the signs Will count with the help of the ancient, timeless people who help the search engines to discover their powers and use them in time to save the world. I am a great follower of fantasy films from action-adventure. I grew up with adventurers with Hat and whip and Golden boys. I can not help that a teenager gets into a magical world remind children's readings as the history forever and all this background is what makes tapes like this become me something boring and loose. Invoice impeccable but careless in the care of adult audiences get leaving little footprint and a memory between nostalgic and pretentious after viewing. Totally expendable if you not with a minor. That Yes, I can assure you that if you have less than 14 years or your companion is in that age range is a secure implementation that will enjoy much.

archivos_extraidos/MCE-Corpus-main/Dataset/1194

Francisco Bellón

Bobby

muchocine

Well built characters, a solid script full of intensity and some fabulous performances make Bobby's one of the films any restless Viewer should not be missed.

Reach the Spanish screens Bobby, film sneaks by surprise in Golden Globe nominations, and that United States has raised many blisters in the more conservative sectors of society. With the recent, controversial and very unfortunate statements of true patriotic politician on the Union of actors and their right to demonstrate, is easier to imagine the kind of reactions that will be elicited Bobby in United States. Although the title seems to announce it, it is not a biopic of Robert F. Kennedy, nor of a chronicle of his assassination and subsequent investigation, as JFK by Oliver Stone. The tape continues to 22 different characters, which all have in common is their presence at the hotel the day was murdered Robert Kenndy.Se is obviously a very political story, with a clear ideology, in which Emilio Estévez employs these fictional characters to draw an x-ray very accurate of American society, the problems and ailments suffered in 1969. Bobby uses all these elements not to have the status of United States forty years ago, but to denounce the current situation of the country. Don't have a grand vision to detect that almost forty years later, these social and economic problems have not diminished, they have increased. The country returns to live an unpopular war that leaves as balance thousands of deaths, while social inequalities are increasing, as well as unemployment and poverty. Estévez made that complaint through the spirit of a great statesman, as already it was his brother (coincidentally, also killed), or Marthin Luther King, Robert Kenndy represented the hope for a better world, leaving aside frivolous and absurd wars, and concerned about the welfare of the people. Well built characters, a solid script full of intensity and some fabulous performances make Bobby's one of the films any restless Viewer should not be missed. And if not, as the final scene of the film shows there is.

archivos_extraidos/MCE-Corpus-main/Dataset/1800

Rafa Ferrer

Todas contra él

muchocine

The film? Truly anyone interested my opinion of such patochada?

Yet another romantic comedy I have to see / hold and is that, for a time this part, my wife (fan of this type of film) has given to an endless list all these films, that: 1) seem to cut by the same pattern. 2) do not provide anything and aburren.3) not interested, not fun, not entusiasman.4) every month there are 4 or 5 of these on-screen.Not long ago, I read one of my critical favorites in press, rant based on good of this film, I'll stick with the end of criticism, know, suffered spectators, watching these movies from the only public deceased deserves a desbaratadora sex session of the malaise afflicting us, so we will have to continue watching them, and sufríendolas (no doubt), but always for the "good dust" later. the film? Truly anyone interested my opinion of such patochada?

archivos_extraidos/MCE-Corpus-main/Dataset/3846

José A. Peig

El guateque

muchocine

Blake Edwards set an expression deserves to be included in the anthology of film humor, of their potential for a concise representation of the slope more pathetic and ridiculous of human society, and its ability to provoke laughter with the use of the more vulgar gesture.

Blake Edwards directed this comedy about the adventures of a trapped Hindu in 1968 between the glamour of high society of Hollywood, drawing a close to a myth so vacuous and Mannerist profile as the of the "noble savage" and so in vogue in those prone 1960s towards Orientalism. The film has air of parody, and can be understood as a social satire in the service of the skills of the main actor. Certainly, all timeless which can be found in this classic (classic, despite everything), is the charisma and the containment of Peter Sellers, who achieved the feat of resolving an irregular aggregate of clumsiness with dignity ranging from the cynical humor (quite delusional at times) to the bland joke. But a charisma does a film, nor imitation silent if this is not accompanied by sufficient packaging in relation to the proposed topic, or the content (it is a satire too inoffensive and hierarchical, with which this imitation of the visual does not exceed the complacency of the product).A brilliant performance with one-handed sober as of Blake Edwards set an expression worthy to be included in the anthology of the film's humor, albeit only to discriminate what in this genre - so abused for a long time - is valuable and what is futile, i.e. of its potential for a concise of the slope more pathetic and ridiculous of human society representation , and its ability to provoke laughter with the use of the vulgar (and lacking in creativity) gesture.

archivos_extraidos/MCE-Corpus-main/Dataset/4129

José Antonio Bermúdez

Los Simpson: La Película

muchocine

The life of a family in cartoons has become a cultural reference of (our) Western society. Again, what do they love us so much? Let us be more precise, what does Homer (Homer) that we want to both?

What are the Simpsons? Became one of the most awaited movies of recent times. Yes, Yes, anyone would think that you it's an advertising phrase of the Hollywood industry. Nothing to do. It is the first film of the most important family of the last decades: the Matt Groening Simpson (s). Now that we're drunk of mass media, internet (youtube), television content (garbage) are criticized above all what have the Simpsons to have remained so long in the cathodic screen? They have marked, continue marking an era. The life of a family in cartoons has become a cultural reference of (our) Western society. Again, what do they love us so much? Let us be more precise, what does Homer (Homer) that we want to both?The epicenter of all this is a generational issue, represented by the main figure. The vast majority that they identified a few years ago with Bart, they have now become Homer. At least they understand Homer. They identify with Homer. Empatizan with their everyday problems with the way of life, whether or not they agree with its decisions. Homer is a honest character, transparent, sincere towards the audience. Homer, there is secrecy, beyond drawing strokes and becomes a character of flesh and blood. More real than other attempts in television and film, with recognized actors, directors trying to tell us important stories (remember American Beauty).For so many years the television series has been consistent, renewing the fair and maintaining a theme according to the situation. So, within the Simpsons should be everything: madness, surrealism, the constant reference to cultural icons. The Simpsons have been with us so long logical, demanded it the public, it was to see the family on the big screen. Necessary, by way of homage. The result, an enlarged chapter, a giant Homer. It could not be otherwise. Introducing the digital animation of how accurate, as required it an adventure of such a scale. Fun and ecological message, according to the times we live. The Simpsons could not escape such responsibility. And Homer (by way of redemption) the save his family, his world, his everything.

archivos_extraidos/MCE-Corpus-main/Dataset/2177

Emilio Calvo de Mora

Corazones solitarios (Lonely Hearts)

muchocine

I like co-operation film noir that makes me hard to be gentle with these telefilms of commitment, not excited, much to regret, contain the pure classic cinema mimbres and be filmed with ex officio without anything chirríe.

It may not be possible to recover the black film, L.A. confidential apart. Todd Robinson does nothing which can regenerate the enthusiasm for a genus abandoned by multinationals, despite continue to enjoy the favor of the public. That that the customer is always right is a lie. The written history here is real and splashed American newspapers in the 1940s. A pair of assassins estafaban and then killed their victims, maids with possible solitary, desiring an adventure, ladies who saw a blade of risk and glamour in the midst of a life grey and confined to the tedium. Robinson does is put the weight of the fabric on the shoulders of the detective Elmer C. Robinson, curiously his grandfather in real life, which was who came up with the murderers and took them to the electric chair.Travolta is sobreactuado. Gandolfini is not credible after admire him as a mobster, rude, bocazas, and not in this simple piece of paper that does not have material to look as it should. I know this is a bias and admit that the Sopranos is lot number and James Gandolfini much actor as to not ask always a papelón, and not a few crumbs of talent in the middle of a film with bits of quality.Because lonely hearts is a vacuum device in the background. It was presented at Taiwan in October 2006. Then (here more than curious data) in the United States. Now, in Spain. It is as if the producers themselves were not entirely convinced of the pull of the film and escrutaran wide geography world to see what reaction would be in Beijing, put by case, rather than in San Sebastian, where he also was (without penalty and without any glory). Salma Hayek deserves separate chapter: have caught the wrong actress. It is not let me guided by what I've already read, that the woman who gives life, in reality, was horrifyingly fat and ugly shouting. Or perhaps. But the Hayek is, despite that effort by afear her, solid, how not, and already is in the poster of the film with what arguments they want to sell us the content. Worth plus two () that two carts. In the end. Jared Lato, the latin lover on engolosinar to the maids to then give passport to Pimlico, I say to the loving sky of pure souls, makes a role corrientita, pulling at bobo. And telling that the plot, well look, gave of themselves. So I put a regular, as says a friend my very aware that to see a movie then there is to put a note. In the school. Is this short, relatively good?

archivos_extraidos/MCE-Corpus-main/Dataset/673

Plissken

Hijos de los hombres

muchocine

Cuarón has achieved a balance between message and show, so rare these days that it is mesmerizing. If this movie had shot her a master enshrined at this stage many already speak of classic.

2027: there are no children in the world. The initial premise of 'Children of men', directed by Alfonso Cuarón, us is not given in a sign type 'Star Wars', or by a voiceover, or the characters get to speak directly about it. Cuarón leaves the futuristic thesis of the original story of P.D. James is simply the straw that has filled the glass of a world so deranged as, for example, that in which we live. And it develops all the setting of the story from that final desquiciamiento. Countries razed, prey to anarchy. Laws anti immigration carried to the extreme. Terrorism threaten all kinds of people, perpetrated by the very Government both radical groups. Fatalism and desperation in people, who know that the human race has only one generation of life.In such an environment, Theo Faron is a disenchanted more. Official of the British Government (the only country apparently on foot), resigned to the atrocities that happen around. He has also accepted the world that he lives. But one day is "recruited" to help Kee, an illegal immigrant, to escape from the country. That day it will change your life forever, and you will awaken a consciousness asleep wearing too long.Admittedly, the proposal of Cuarón is a story simple and already told. But it is that this is one of those rare occasions in which the film has more through the world of the characters through the characters themselves. The plot seems more an excuse to carry the latest apocalyptic consequences, we have set the path to the human race. In each general level, in each panorama, we found so much information that it is almost unnecessary to push forward the story through the script. Cuarón has built a world so real that all they have to do the actors is confined to (envelope) live on it. This is the great merit of 'Children of men': not just part of a suggestive situation to tell a story, develops a world from that situation, and makes that his characters lead us through that world, giving rise to the history.As well, very convincing Clive Owen as the disenchanted Theo; effective Julianne Moore as Julian; vulnerable and emotional Claire-Hope Ashitey as Kee; and phenomenal casting of side, with Michael Caine, Chiwetel Ejiofor, Peter Mullan, and Pam Ferris at the head. In my opinion, the characters are always consistent with his nature, and when transferred ownership do with horror that unfolds before them; what some call feathering characters I call attach importance, at every moment, what is interested in it. And Cuaron is clear when the protagonist is that monstrous world that surrounds Theo paragraph Faron.El technical, simply flawless. Comparisons with 'The war of the worlds' are merecidas, because Cuarón, as Spielberg, plays the trump card to let the created world speak for themselves. Other films, such as 'V for Vendetta', playing dystopia without showing her, making the characters talk about how bad that is all, Cuaron hits to put us squarely in this reality, for let us escape by hairs in each sequence. The picture, the costumes, the art, the FX, make-up, form a whole in which the most amazing visions are possible, from the famous giant pork of the Pink Floyd flying over London until an assault with heavy artillery to a suburb of southern England full of insurgents and refugees.And mention apart the work as director of Cuarón, spectacular during the footage, but scratching impossible multi-level virtuoso sequence; Although I'll stick with an image that sums up the philosophy of the staging of 'Children of men': a bus leads to the protagonists, as long as the pathetic fate that immigrants may suffer in this world we see through the Windows of the same. Without underscores, without drawings. Only the world through the Windows of a bus.Cuarón has achieved a balance between message and show, so rare these days that it is mesmerizing. If this movie had shot her a master enshrined at this stage many already speak of classic. For me it is. A 9.5.

archivos_extraidos/MCE-Corpus-main/Dataset/35

Dragon negro

Underworld evolution

muchocine

If you are of those who enjoyed the first part, this will not disappoint

Not go much into details about the storyline of the film, that we explained in a previous post, only to say that there are still there where left off the characters in its first part, and which will be unveiled more secret, know several characters more and see how everything has an explanation and there was nothing random in its predecessor.We are not going to deceive anyone, the film follows the footsteps of its predecessor, frenetic and action almost without pause, fights between vampires and werewolves, much digital effect improved, and much, much blood everywhere, if you are of those who enjoyed the first part, this not you disappointment, if the first directly you didn't like or you leave indifferent certainly this also will do it.So what we have is entertainment pure and simple, is not to say that that is a bad film, on the contrary, within this type of genre stands out on the media as well as the to its predecessor, which shows us once again that make action movies, or fantasy film, not incompatible with some consistency when it comes to capture the images and tell a story.Note also the harshness of many of their digital effects, the fights have become more cruel and bloody, the desmembramientos and the ripped heads are several throughout the film, as well as the presence of blood and as they feed and use it as a way of transferring memories.The film leaves open the door to endless possibilities to make possible a third or more installments of the saga of vampires and werewolves.

archivos_extraidos/MCE-Corpus-main/Dataset/1496

Rafa Ferrer

Voces en la noche

muchocine

A tape, which, although excellently well set and with a development quite good (and short, I do not forget), ends with a very bad close. Often suckling pig without rhyme or reason...

Lately the lack of ideas in Hollywood let me quite haunted, to start an article in a magazine released the saga "to all gas", also in this way appeared on screens the film "on the edge of the waves", as well, this film that brings us today comes to root of a phone call, Yes, but a call, neither more nor lessa "ring" what? who is? And Zas! Film singing.A tape, which, although excellently well set with a development quite good (and short, I do not forget), ends with a very bad closure and is the film star Robin Williams, Toni Collete and Sandra Oh, does not know to lead us to the end where should do so, because its simple point and end does harm to the promising of the story beginning; a dramatic tragedy of those who we can see any day on a TV channel (on the desktop, of course).Perhaps, the problem that I see her at the tape, is that the narrative pace, infamous, trying to, in small doses, badly managed, put all eggs in one basket, and leave (with small traps) that the viewer has a lime and sand in the esasos other 75 min. footage (this that lasts 90 min. will be with the credits), of a shelve "simple" give terminate the projection.In short, I'll take a sentence that said one of the people who accompanied me on the pass: often suckling pig without rhyme or reason.

archivos_extraidos/MCE-Corpus-main/Dataset/310

Jesus Lens

Zona libre

muchocine

One thing is to ensure that the evolution of the characters is well perceived by the viewer through conversations, gestures and glances of the protagonists. Quite another to recreate causing a certain boredom

The film begins in Jerusalem, continues towards Jordan to finish entering Palestine. It is the wonderful Natalie Portman, which continues to grow and evolve miraculously, starring and directed by Amos Gitai, one of these managers with its own voice, who works outside the usual commercial circuits and likes to write their own scripts.We have a road movie of book, manual, which passes through landscapes very unusual on a cinema screen and, unfortunately, too common in television screens, news reports and news. A road movie in which women are absolute protagonists, but not wild style of Thelma and Louise, but their friendship and their relationship is more possibilist, more leisurely, more creative. And also contradictory, about the generational question.We have, therefore a few twigs of the most attractive, which should bring a great movie. However. There is something wrong. The narrative rhythm of Gitai, for my taste, is too slow, slow and premioso. One thing is to ensure that the evolution of the characters is well perceived by the viewer through conversations, gestures and glances of the protagonists. Quite another to recreate in the thoughts and the silences, causing a certain boredom and excessive distance.The film has very intense moments, as the talk between the American and the Portman. It has powerful images, such as the village in flames. It has very intimate sequences, as the three women in the car, vibrating with music. But lacks it continuity in the emotion. It sometimes is too discursive, too obvious.In any case, it is necessary that, besides design supermen and Scaries Movies summer, becomes another such film looking for emotion, the look and the floor. A teller and intimate cinema, a film committed with the characters, that pays more attention to the content to the continent. A film risky and minority, but those that do evolve and grow the seventh art. Pity that, however, this "free zone" more promise of what will finally end up giving.

archivos_extraidos/MCE-Corpus-main/Dataset/913

Emilio Calvo de Mora

Jackass 2

muchocine

One wishing to soak up this dreadful bullshit, go, sientése, assemble a stomach as a hangar of a Boeing 707 and leave dirty, literally, dark, stinky and cheesy shit.

Yes, I admit: I have fallen so low. I hardened in Jean Renoir, Fritz Lang, John Ford, have attended the ceremony of the unconscious and I lost time and peak of my life to verify, perhaps this is the last time, to what extent can degrade the human being for the sake of commercial claim. I admit that the savagery of the sketches has its point of hilarity: remind me of those videos of first, or as rang, amenizaban family dinners and nurtured mindless babies (by leaving Randhir, not to have little intelligence, come on) and mozalbetes with acne were recorded while replaceable someone is departing for the benefit of the community risotada.Jackass is a formula of success of MTV which probably has his hole in accelerated hearings, bourgeois of the cable, strong feelings that their lives are sufficiently grey and flat, Avid so devoid of emotion, that they require this artificial clamping system that his adrenaline is not die in your organic bedroom and feel between whack and others asquerosidada plus of adventure, a trip (armchair, with the remote in hand and the LCD 1080 full to all pixel) to eschatology, i.e. shit pontificada as artistic expression.In this thread of things, Jackass isn't film: it is not a film, but uses its mercantilist machinery and its industrial billing process. This Johnny Knoxville, father of the bastard son of home entertainment, has clear ideas: the ready kind seen in this stinking litany of prowess of the absurd is an easy method (the more criticized, more amortized) to fill the current account and create in the fifteen year old market (ay, believe that there I am extremely short) one candy fully addictive morons laughter and chabacanería amplified at full power.Read more: is nor warns that those who recorded this nonsense have any idea of how to handle a camera or how to mount movie. Everything is frayed, badly finished: seems that my cousin had returned to his eighteen years and camera on his shoulder, had recorded an afternoon of Follies in the town square. Kind of. Amateurism with sponsor millionaire: exploitation in cinemas around the world.If stepping on a hook on the cheek or showering with leeches is encouragement for a viewer, then Alfred Hitchcock is dead, Francois Truffaut is dead, dead Ernst Lubitsch, Clint Eastwood has died, has killed Steven Spielberg, in short, all those that have contributed to that cinema is an art and concite the unanimous opinion among his followers and addicts, that life can be, Yes, gentle reader, wonderful.One you want to steep in this dreadful bullshit, go, sientése, rearm (I insist) of a stomach as a hangar of a Boeing 707 and get dirty, literally, dark, stinky and cheesy shit. (Had to see it to, quietly, write on it: here are the sad role of responsible film critic)

archivos_extraidos/MCE-Corpus-main/Dataset/3896

Rafa Ferrer

La brújula dorada

muchocine

Happens to be one of those "great stories" that emits any weekend evening, some television channel, loaded big stars, as well as budgets, and that with a slight vision, one forgets just as easily with that view.

Every year I have the healthy (and almost mandatory custom) to see a good movie to close the year film buff and other good to open it; This year it wasn't so, since, the last movie I saw was "Saw 4" (even taking many others in the bedroom) and yesterday, against all odds, I received the call from some friends to go see "The Golden Compass" tape of which I had no illusions be participant of its listing at the box office, and that the 13 had to pay to see it (6.50 mine and other so many of my lady wife) came out me of the soul.Although I admit that if the tape is not so terrible as she had predicted criticism, and that, being somewhat benevolent, happens to be one of those "great stories" that emits any weekend evening, some television channel, loaded of big stars and budgets, and that, with a slight vision, one forgets just as easily with that view.The story, as soon slows dry, as it progresses so rapidly that one fails to locate easily, the argument becomes so confused that 4 people we had seen the movie together, to end the slide show each had understood a completely different thing, the tape, waiting to know if they will shoot 2 sequels or no more, leaves many open doors, as it reads will need at least one couple of discs on DVD to close both mess.On the other hand, actors, worth coming out Nicole Kidman (with the same face as in advertisements for Chanel), Daniel Craig (which begin to see with eyes of James Bond.), Dakota Blue Richards, (unbearable girl where they exist), Sam Elliott (does this man not know another role?, Eva Green (was hoping that at some point it out a chest)), but are seen, the vast majority think more on the check that they will charge to give credibility to his role.Both excellent special effects such as digital animations, and is that one takes to realize that at some moments that ve is the result of CGI and not of the real world (bears, cities, etc.) a pity that special effects are one of the few good things of the tape.Incidentally, note I do once again to the parents, this film although it is adventure and for children, has an age of tolerance, and carry children less than 7 years to the film is madness, because the 2 min. they will be fed, they will want to leave the room, do pis, drinking water, etc. Lords potatoes, if you are those who want to go to the movies, leave the kids with the guys (that's what we are), with the grandparents, or any other similar character, and do not give the bara with their offspring to other viewers of the room.

archivos_extraidos/MCE-Corpus-main/Dataset/151

Pablo

Plan oculto

muchocine

It will delight those who enjoy with the unexpected twists

It is surprising to see the capacity of astonishment that causes people to simplicity. The controversial vision of Spike Lee takes advantage of a simple plot used to bathe some of his characters with such socio-cultural prejudices that both likes and badly embedded in his later works. The truth is that the movie has a very successful style and a history somewhat predictable but with details which baffle the viewer stunning him and making him ignore the most obvious and logical things which are actually those that provide the solution to the problem.Personally robbery films attracted me much, for what he really enjoyed this, what I liked most was without a doubt the role played by Clive Owen, a sort of robin hood modern, relaxed and unperturbed practically throughout the film and showing a pride in his speeches that I understand that became unbearable for some, but for myIt was an ideal antagonist. A master.A brilliant sequence of credits will show us step by step as a painting truck going picking up a number of individuals whom dressed in industrial monkeys make a bank called Manhattan Trust control. The forces of order not slow to make her relevant appearance, led by a Denzel Washington somewhat arrogant and vain but turn rogue and aged in the body making it to symbolize an old dog that could not reach the American dream on the right track and that use this conflict as via to satisfy his ambition. the dilemma is if the hara in a legal and judicious manner or if sucumbira to the so-called attempt to corruption. On the other hand we have an icy manipulator named Madeline White (Jodie Foster) to seek to safeguard the interests hidden in a box of the Bank the founder of this site. Objectives of this woman are not entirely clear, it is a sort of solucionadora problems for senior and wealthy officials of the city. (a kind of Sr.Lobo). Given this percale, the viewer feels a strange situation, don't know who put party. Initially none of them directly sympathizes with the Viewer, creating an interesting spiral of sub-plots and intrigue that will delight those who enjoy with unexpected twists.Throughout the film you can see some small criticisms with which they disagree. The truth is that the conversation between the black child and Clive Owen speaks for itself, or which Denzel Washington has maintained with the polícia that encañonan. Even so do not see them appropriate for the type of film that is hidden Plan. Anyway is logical that Spike Lee try to leave their mark and so increase the controversy to promote their new work. A work, which from my point of view do without such details to become a prominent place in the thrillers of these last five years.

archivos_extraidos/MCE-Corpus-main/Dataset/204

Jeremy Fox

La soga

muchocine

It has been for history as one of the most radical experiments of its director and he has not lost an iota of his audacity with the passage of time

Hitchcock bet strong which was his first film in color and the first of his Trasatlantic Pictures company, founded with Sidney Bersntein British film magnate. He decided to adapt "Rope", a play by Patrick Hamilton whose action happens entirely in a Manhattan penthouse in real time. The story is slightly based on the real murder committed by two students of the University of Chicago Nathan Leopold and Richard Loeb, inspiration also film of Richard Fleischer momentum Criminal (Compulsion, 1959).That, no doubt, was a great risk decided to shoot the story in shots long (plano-secuencia) about eight minutes each. To pass a character in front of the camera the back of the character would darken the image and do the junction there. The duration of shots is because eight minutes is the time that lasted a loadable film in the camera roll at the time. Despite this (and what many fans and critics mentioned) there are some sharp cuts not hidden. For example there is a cut after the opening credits and the plane gives a turn of 180 degrees. There are some more such cuts during the film.Anecdotally tell that although the film lasts 80 minutes and it is assumed that it takes place in real time, in fact action covers about 100 minutes. This was accomplished by accelerating action: dinner takes only 20 minutes, the Sun gets too fast, etc. The number of September 2002 of Scientific American contains a complete analysis of this technique (and the effect on the onlookers who really feel as if they were watching a film of 100 minutes).It is easy to imagine the tremendous difficulty which was filming. The furniture and the walls were fully mobile so that the camera could move through the decorated with freedom and, due to the length of the shots, the floor was full of marks where should pass the actors or deposit the furniture.Through the window of the living room is the line of buildings in New York. To simulate a massive Cyclorama was built (three times the size of the attic) reproduced almost 70 kilometers from the scene of the city. That of cyclorama with 6000 incandescent light bulbs and neon tubes 200 was lit. The lights in the Windows are lit and apagaban to simulate the normal life of a city (the lighting and color are really important in the film, see in this respect the final scene where the lighting accentuates the tension of the moment). Built clouds of fiberglass that were moving to go moving the filming and the hue of the sky was changing to go bringing overnight. In short, a very complicated shoot.Another added difficulty was linked to what has already been said. Hitchcock was a director of montage, which considered that the fragmentation of planes in a movie served to enhance the story (in the popular imagination is well recorded the scene of the shower of psychosis as a perfect example).It therefore had before it an enormous challenge against himself: adapt his style to the shooting in a single plane. And it is certainly interesting to note how does. There are moments in which one movement from a character to another makes the same function that acts as a plano-contraplano, an overview of insert (so typical yours.) or relates a look with the object of such a look without having to cut the plane. A certainly fun and interesting exercise for a fan is watching the film to pay attention to these and other details.Hitchcock always mentioned that suspense is to make the viewer knows more than the protagonist. For example, to know that there is a bomb under the desktop of the protagonist and suffer seeing like this do not leave the room. As well, here master Hitchcock carries its definition of suspense until the end to do that throughout the film there is a corpse in the room without the protagonists know it and we know how they will find out the truth.It is this tension that makes advance action and it gradually increases from the first moment of the film. Every detail is designed to keep the attention of the Viewer. As a small example I would say that the character of James Stewart takes 20 minutes to appear for the first time but when it does have spoken so many times he and have drawn their character with such clarity and interest that we are eager to meet him. Entering the scene is really impressive.In the opening credits to the end of the film the characters appear referenced in function to its relationship with the murdered boy (David). The only person who is not mentioned as well as the character of James Stewart.La film was banned in many cities in the USA due to the implicit homosexuality of the characters of Farley Granger and John Dall (unfortunately not improved too much since then). The film has been for history as one of the most radical experiments of its director and has not lost an iota of his audacity with the passage of time.The small problem comes precisely from its main virtue: the shooting in a continuous plano-secuencia a little encorseta the Mise en scène. Nevertheless it's an excellent film that will keep viewers stuck in the seat since the beginning until its resolution.

archivos_extraidos/MCE-Corpus-main/Dataset/963

Manel Juanico

Supervixens

muchocine

Not only the girls have big breasts in Supervixens, men have "Superpenes" of more than half a meter!.

Today I will tell you of Supervixens, a small classic film series b, which perhaps not be entirely known as it should be, but certainly all the mold-breaking at the time. Supervixens has everything, humor, love, violence, action, sex. everything that you could ask a film is here, together with a frenetic pace as rarely seen in a production of this style.More than one considered this movie as a crappy, it is not a conventional film, humor that has is very acid and macabre occasionally, feminists could find macho for the way it has to teach sex female, always with the breasts outdoor and willing to open the legs at all times. But nothing more from reality, the absurd form that shows all this makes you take it with humor and did not give him importance, Russ Meyer only want us laugh exaggerating all actions of the girls appearing during the footage to the limit.Well, first of all should be commenting a bit that goes Supervixens. We already know that it has girls, many girls, and very despelotadas, but what more there is a part of girls?. Supervixens is not an erotic film, although it contains several scenes of sex and as I said before women as God brought them to the world. The plot revolves around Clint, a gasolinero that is married to Superangel, a lush women huge breasts. The couple does very well and they have many discussions. Following one of those discussions, Harry, the police, brilliantly played by Charles Napier, makes a visit to his house to investigate what happens, Superangel seduces him and takes him to bed. But Harry paid not to the expected level, Superangel is rie, and this feels very angry, so much that he does not hesitate to electrocutar Superangel when it is taking a bath. Clint is accused of the crime and must flee. Harry chases him, and here begins the adventure with a myriad of persecution. Else better discover it yourself.Supervixens has an exemplary Assembly for a film of this type, giving a pace frantic that does not breathe the Viewer, the truth is that it is a very entertaining film laughter are assured, that Clint will be harassed by a lot of girls during his escape, all with huge and eager breasts so Clint make theirs. The problem is that some of these girls have husbands, and upon hearing that Clint has been with their wives won't shake hands precisely.Not only the girls have big breasts in Supervixens, men have "Superpenes" of more than half a meter!. It is the way that teach the sex scenes rather seem animated, the Stallion the fly with a snap down and takes his manly member, which we see reflected in a shade in a kind of sexual parody, with music little seen in this type of scenes, better to watch it to understand that I mean.Russ Meyer was conceived and I think this film he could almost say alone. He did everything from the script he wrote for six days in a hotel in Hawaii, until the direction, through photography, with some interesting landscapes shot in the desert of Arizona, the production and the Assembly. So here we have a product that reflects exactly that type of film wanted to makes this director, no one put obstacles is a film 100% Russ Meyer.Nos are faced with a copyright film, with their strengths and their weaknesses, you can like it or not, but no one can deny his originality in the staging and the personal and unique style that the director gives to Supervixens. It is really worth seeing her. As it isn't edited in Spain on dvd, and find the tapes on vhs is somewhat complicated you can download a montage I made with the original dvd and the sound of my tape vhs. Here this the result. It was my first mounting of this type, so it may be a bug is synchronization, hope will not notice much.He later following this style, Russ Meyer directed Up! (1976), entitled Spain Megavixens and Beneath the Valley of the Ultra-Vixens (1979), here "beyond of the Valley of the ultravixens". I guess someday you comment something of these two films, which are also quite interesting, especially Up!.

archivos_extraidos/MCE-Corpus-main/Dataset/1271

Elena Suárez

Dreamgirls

muchocine

If you enjoyed watching Crow Paz Vega, forget about the previous paragraph and go to see the film, perhaps discover what a real musical.

See a musical in the film seems to me a very risky idea if production is Spanish. Never get, to my dismay, the large amount of neural circuits that I lost after seeing one of the films over the blockbuster Spanish cinema, as well as one of the more bad: the other side of the bed. Another very different thing is to see an American musical, gentlemen, despite who gets upset, they know to make a good show and that is, first and foremost, what must be a musical.Based on a work that triumphed during the 1980s on the stages of Broadway, the film tells the sentimental and professional career of a trio of girls who aspire to succeed in the world of music.Of all is known the role played by the famous Beyoncé, however, stressed, above all, the voice of an unknown in our country, Jennifer Hudson, which was given out in a successful program on the Fox network: American Idol (an OT but big kind). For his great work, is nominated to the Oscars as best supporting actress (though it is complicated because it competes with the amazing Abigail Breslin) must also mention an important work of costume, make-up and hairdressing (a style that has been able to show us what is most innovative of the sixties and seventies, work he has also earned a nomination). The musical numbers are notable for a large set of voices that vibrate with different rhythms (rock, blues, jazz or gospel) and which are accompanied by simple choreography to that is they could have benefited more.Said good Dreamgirls, is to analyze what has lacked or left so that the final result was not as spectacular as it would have been, something which could outline in nine words: can spare you 20 minutes and more "prose" is missing. The first of the problems is common to the majority of the films that are made for several years: I don't know who came up with the idea that films should last more than two hours but sometimes the only thing that feels is a bad concept of mounting. As for the second problem, it can be described in a very simple way. Think of a singer or band of its delights. Do you have it? Now imagine enjoy the music they like during a two-hour concert. Perfect, right? Now enjoy this same concert but on DVD, our artist no longer has the magic of live and, therefore, it is possible that us it is heavier. In other words, it is not the same view the live of a musical in a theater that see it in the cinema. The first has the magic feel the action live, so, please an orgy of music and songs. The second, already lacking with such grace, so will have to incorporate more dialogues to help digest the ambiguity of a recorded performance to the public.And now finally, only I would apuntillar a clarification: If you enjoyed watching Crow Paz Vega, forget about the previous paragraph and go to see the film, perhaps discover what a real musical.

archivos_extraidos/MCE-Corpus-main/Dataset/1808

Alvaro Oliva

Alpha Dog

muchocine

It is presented as an interesting proposal, which is lost through a long structure that mingle displays items with other classic style, and who in any way manage to create the climate necessary for this interesting story, we get to seduce.

Under the premises of based on a real event, a history of gang members, which reminds us at times to major films of the genre (or sub-genre) as "The boys of the barrios", "187" or "Street law" among others comes to screens."Nick Cassavetes tells the facts that led to the young Jesse James Hollywood, to become one of the ten most searched people of the Unidos.Pues States well, to tell this story, Cassavetes opts for showing us a mockumentary, which interspersed interviews with the events"."Alpha Dog" becomes a very uneven product, which mixes great movie moments, including doses of adrenaline, violence, intrigue and empathy with the characters; but he manages to throw down with others quite unnecessary, little credible and that they take the viewer of what happened. Justin Timberlake becomes one of the revelations of the film, giving a good package to his character, as Emil Hirsch, Hatosy Shaw and Anton Yelchin.Bruce Willis, Sharon Stone and Ben Foster complete an ensemble cast, which they could have gotten much more.In short, "Alpha Dog" is presented as an interesting proposal, which is lost through a long structure that mingle displays items with other classic style, and who in any way manage to create the climate necessary for this interesting story, we get to seduce.

archivos_extraidos/MCE-Corpus-main/Dataset/3055

Alex Largo

Furia de Titanes

muchocine

Ray Harryhausen hoeing to "impregnate" magic to this film, something which, if they had carried out the computers would not even half of charm.

"Clash of the Titans" is a classic. Could it be the (totally dispensable) work of the director? or with the actors? No and no. The answer is (if someone didn't) special effects, work and grace of Ray Harryhausen, hoeing that them to "impregnate" magic to this film, something which, if they had carried out the computers would not even half of charm.Let us start from the beginning (where if not?).Director (Desmond Davis) work bad. Making the moments in which the hand of Harryhausen does not appear the movie Miss bellows in an incredible way. Thank God, the special effects are present on the tape, making the "damage" caused by the director to pass unnoticed.In the script, is more than obvious that he has written that Harryhausen look (and in what way, everything is said), making the (practically only) strong point of the movie special effects. Another matter are the actors.Harry Hamlin, in his role as Perseus is, frankly, to bring him to a concentration camp. And it is that man is bland and deadpan as a Boulder. A disaster, more if we have is the protagonist.The only that dazzle with their own light are brilliant in their roles of gods and Burgess Meredith, perfect in his role as old Guide Maggie Smith and Laurence Olivier.The rest of the cast is pretty good, although not especially noted none. In fact, all seem to be very good next to Harry Hamlin.Los special effects, as I have been saying from the beginning, they are impressive. Attention to the magnificent Pegasus, Medusa, kraken (perhaps the single most "without grace"), the Raven/Turkey giant, the Harpies the magnificent work of Ray Harryhausen will be certainly remembered for this film and for many others. But this, no doubt, assumed the showcasing of the filmmaker to levels Titanic.

archivos_extraidos/MCE-Corpus-main/Dataset/3776

Estesoyo

Juegos secretos

muchocine

A dramatic film of that time in when get to see... and that in the end you have an aftertaste they bitter, of the type: why milk habré had to see this thing? It was not more happy for a couple of hours?.

A drama film, which plays from time to time see. and that in the end you have left a bitter aftertaste, of the type: ' why milk habré had to see this thing? It was not happy for a couple of hours?'. In fact, it's another shitty movie that we have crept in through the back door.History us torture during more than two hours by mixing three miserable people's lives: a bitter husband is responsible for the care of his son while his wife works, a wife mother of a girl leading a bitter life and a pederast (without comments).The thing is that 'normal' fathers are lian by pure boredom (such as which has produced me this story) and almost just fugando, while the child molester just auto-castrando on the death of his mother. Joie de vivre, are going. So then say that al gore lovers are sick. ill will that has enjoyed with this story, I say.Well, the original title is 'Little Children' and I guess that it is a game on both parents to have a child, there is a pederast of means and that in the end, the real kid is the husband who stays at home with his son, it is unable to make a decision (and when making stays enbobado watching play teenagers and forget it)(go stupidity). Here is translated as "Secret games" to mislead a bit and see if you get something more public. I personally thought it would go with spies and why I swallowed her. Go slip, pardiéz.Kate Winslet is well in her role as bitter and wealthy housewife. because these fulanos not lack anything. It will bunch of scoundrels. Too bad that the story does not give more than Yes. The uncle, Patrick Wilson, I just do not fit, too similar to Paul Newman in a role of galán quite bland and repellent. The rest spend out there.As a curiosity, the film was nominated for 3 Academy, which demonstrates how different are the criteria of these Lords of mine. I will not bother to look if he won any.The director, Todd Field, has done a lot of things, so much as an actor as director. He has worked for television shooting many series, combining his task of director, actor and producer. I Fortunately, do not remember seeing any of their work.In short, another film amargante, sad and disgusting, that 'serious' criticisms tend to say that they are good movies, but here are zero stars.

archivos_extraidos/MCE-Corpus-main/Dataset/4156

Oscar Martínez

4 meses, 3 semanas y 2 días

muchocine

4 months, 3 weeks, 2 days is a good example of how a movie without too many resources and fewer claims can be a pleasant viewing.

Directed by Romania's Cristian Mungiu and stars Anamaria Marinca, Vlad Ivanov, Laura Vasiliu and Alexandru Potoceanu among others, 4 months, 3 weeks, 2 days (4 luni, 3 saptamini if 2 zile) won this past 2007 Palme d'Or at the Festival in Cannes and the Fipresci Grand Prize at the festival of San Sebastián, in addition to having been nominated for the Golden Globe as best foreign language film and nominated for the Academy Award in the same category, although has been out of both competitions.The film puts us in Romania, during the last days of Communism: Otilia and Gabita are students and share room in a residence in Bucharest. Gabita is pregnant, and young women agree to a meeting with a such Mr. Bebe into a cheap hotel that practice you an aborto.4 months, 3 weeks, 2 days is a good example of how a movie without too many resources and fewer claims can be a pleasant viewing: both Fund minimalist in form, this Romanian film has two great virtues that make it mercedora all those awards for which is guaranteed: firstly its realism, a relatively daily history we have and that I could locate in almost any space, and second, their impartiality.It will be better explained: when I speak of impartiality, rather I am referring to his lack of subjectivity, or what is the same, to its position before an act that still today can be taboo as it is abortion; Cristian Mungiu film does not judge at any time its protagonists, just plasma events into a sort of hyper-realist ' Costumbrismo ', which is to be welcomed, because its director leaves it well clear that his interest focuses on the characters, not in itself history and even less in an almost anecdotal context.But, without a doubt, the greatest success of 4 months, 3 weeks, 2 days, is the fact of erecting a character a priori secondary protagonist, increasing even more - if possible - his drama, because all the suffering of Otilia us strikes as unjust terríblemente, collateral from the mistakes of others victim: monetary problems, discussions of couple, and evils infinitely greater than I am not going to reveal here. The film rightly eludes the plastic harshness in benefit of the cruelty inside, to put it in some way, transporting us to a grey and squalid Bucharest where takes place a gray and sordid life.On the other hand, one must recognize that 4 months, 3 weeks, 2 days is not a round film: it is true that not it decays in almost no time, and its central character manages to captivate us with ease, but the minimalism of the film by Cristian Mungiu flirts dangerously with the atmosphere of the telefilm, label that falls on it, everything must be said, almost by default.

archivos_extraidos/MCE-Corpus-main/Dataset/3110

Daniel Galindo

Padre nuestro

muchocine

Don't miss the opportunity of entering in a world far although family through a film that is based on the particular anecdote and anticipated us the stark reality.

New York is what we see, but it is very different to which we are accustomed: the city of opportunities is shown distinctively immigrant, clean resources, and through four outstanding performances, torn and very hard.Interesting thing about this unusual production which do not have more than his work to survive in a hostile world is both the form and the Fund. The shortcomings of an opera prima are usually cover with a good approach, an Honorable achievement and a finish that meets expectations.The debut of Christopher Zalla passes these three assessments and passing the final exam with note because it does not fall in the pretentious nor in the foreseeable. After going down to hell more than one decides to stay between the IMPS even having the opportunity to hold on to the hand of an Angel. After this phrase and bearing in mind the obvious religious of the title, may think that we are encouraging the path of the good Christian.It is not, we intend only to want to continue a way, Yes, but by which we guide this newcomer, an itinerary that runs with logic and surprises that enrich the journey. An example can be found in the search for the father: has weight that desire meet with the parent because of the importance of this figure in a child's education (and hence also enter the dreams of which leaves the Mexican city of Puebla), but not here lies all the weight of the footage.We will not have anything about the plot, it is worth taking the point of view of the trio of young protagonists and entering in New York overnight, in the other, which we do not see with our own eyes.

archivos_extraidos/MCE-Corpus-main/Dataset/3891

Ivan Villamel

Im a cyborg, but thats ok

muchocine

A movie dream wake up and being drawn by this great love story between two patients who need each other. Wonderful.

There are occasions in which speak of certain directors is a film lover pleasure incomparable after view or revise his works, and the case of the South Korean film director Park Chan-Wook is just one of them. Once again a success at the diana of good cinema with this work on solitude, the need of a loved one and find the place in this world.The argument we placed in a psychiatric centre to which goes to Young-Goon due to his refusal to eat since they locked to his grandmother, and the fact that, literally, is considered to be a cyborg and fears that if you eat you can lose that capacity. There swarm inside a series of characters which more stranger, but it will be Park-Sun (played by the popular Rain) which most associate with her. This implies the fact that Young-Goon asked to use their "skills" to steal his compassion in order to kill all the doctors and residents of the Center, that this own compassion prevents him from doing so.Thus, the argument can frighten more than one, and taking into account that we are talking about an Asian film, which are always received with some suspicion by the Viewer, runs the risk of this marvelous film work go unnoticed.The work after the cameras by Park Chan-Wook returns to be commendable, with a new demonstration, as he did in his popular trilogy on vengeance, that we are faced with one of the best values of the global film scene. A director can take each and every one of the stylistic and technical resources of modern cinema and give them a personality on screen that leave open-mouthed formal perfection get. Chopped, close-ups, close-up, etc, always gives them a visual capability which refers to a realism magic remember to films like "Amelie" but high to maximum power in the particular case of the movie before us. Your use of the frame, the colors, the audiovisual magic, is a feast of references moviegoers and visual metaphors that turn this director in one of the newest of the current film, but which most.Would paragraph acting, highlight the excellent interpretation of its two main actors Lim Su-Jeong playing the "cyborg" and the aforementioned Rain creating the fun Park Sun, who know how to give him a magic special performances, without ever falling in excess or in gestures that carried the end be outlandish, an excellent acting job.The film is metaphorical richness that only after several viewings can acquire its true dimension, the use of images surreal, the contrast of colours which we have used director, always in accordance to the emotional of the characters look, all this carries itself same an air of unique, innovative and original in its results filmrather than in its own plot conception. A visual imagination full of ideas, stylistic resources and wonderful scenes. Cite the extraordinary scene of confinement in adjoining rooms of the two characters, his way of contact and his struggle as such surreal to overcome their own emotional or psychic, conflicts with that communication through the two vessels and the thread. Or go no further that plane of Kiss where she "off" literally from the soil of the emotion, just great. They are so many and so many images that are in the memory in this rich film that would be impossible to list them all them, even a comic tone which gives a smile of complicity charming in the spectator (the scene of the battery power level) or the dreamlike scene of the massacre in the hospital, or humour (the conversation with part of his grandmother stuck in a bag by way of farewell is descacharrante).Perhaps to put a but it would be fair to admit that the script occasionally is schematic, where images and the visual aspect sometimes exceeds the development of history itself, given that so much visual and stylistic imagery is not its counterpoint in any realistic aspect that gives to those moments his true emotional value to 100%, fortunately compensated ably by the director using inserts of fine irony or visual humor.In short, a film that follows in the line of great films that shows year after year this extraordinary director, although on this occasion maybe more misunderstood probably by the viewer average than previous films, precisely because of the own conception of the film and their intentions from the beginning, the plot marks much and probably not suitable for all audiences.A movie dream wake up and being drawn by this great love story between two patients who need each other. Wonderful.

archivos_extraidos/MCE-Corpus-main/Dataset/2680

José Antonio Bermúdez

Solos

muchocine

Fun and exciting reflection on affective relations, of the confusion so many times lead to loneliness and confusion are both difficult and complex. And do not expect more, because the film loses interest to passes the footage.

José Glusman, director in the independent Argentina film, try to answer to a "difficult" question in his latest film: is good men are alone?His response has dyes of comedy-drama, one of these as recurring in the latest Argentine cinema, between EL son DE LA NOVIA and NO SOS VOS, SOY YO. Where people and their circumstances are what really matters in the course of the story that we try to tell. ALONE is a film that speaks of love, friendship and loneliness? and portrays, in the final analysis, insight into possible in the way that men love and suffer for love.The film tells the story of two men and their destination. Henry (played by Sergio Boris) is 37 years old. The last 12, living with his wife and two children. Sick with jealousy, just separated once again from his wife. Louis (played by Adrián Navarro), 40 years, has just completed a passionate affair with a very hysterical television journalist, which he was madly in love with, and left him on the other.So one comes from the horror of jealousy and wear, and the other of a passion that swept it, and finally left him alone. Do as Henry has no where to go, Luis invited him to live in his house, provisionally? do not want to know anything about women. And it is at this point where begins the coexistence. Full of obstacles, stages and sensations coexistence. A moment in which one is needed to each other more than ever.ALONE tells one of those stories so common in the last Argentine cinema: it's a therapeutic history. Situations that are going to live the two characters in the film are those that are going to allow clear that "sea of doubts" that have weakened them in their daily lives. The suffering that carries with it a separation they will make stronger? and is that, as said many times, "there is no evil that good does not come". And I forgot, you will discover the power of viagra? but, well, that's another story.ALONE is a fun and exciting reflection on the difficult and complex are affective relations, confusion and confusion that so many times lead to loneliness. And do not expect more, because the film loses interest to passes the footage, in the absence of a development of the characters as well as ambiguities in the script.

archivos_extraidos/MCE-Corpus-main/Dataset/3840

Javier Martínez

Roma Ciudad Abierta

muchocine

The fact is that this film never leaves indifferent, gives equal that the you've ever seen one, seven or a thousand times. Still tearing apart me the screams and the personality of the Magnani, the interrogation to the engineer, the monstrous coldness of the nazi leadership and, above all, father Pietro.

Sometimes a cry more than language, becomes a symbol of such force that there are no words to describe it. Anna Magnani gave the film the best of all (see below), is like the Munch made film. It is curious that the owners of the two most famous shouts of classic cinema, and I forgive purists if I left any, die halfway through the film, both Magnani here as Janet Leigh in "Psychosis".But there is much more than the heartbreaking "!"Francesco, Francesco! "." The performance of Aldo Fabrizi as father Pietro (based on a real event) trembles almost as much as the cry of Anna Magnani. None of what he says in the film is priceless, they should get a book only of their phrases written ex aequo by two geniuses such as Rossellini and Fellini. When see you in any comedy, more or less 90% of his filmography, may understand that piece of actor was this man.I know that the world has known heroes with cassock but, as he himself says, it is his duty to help the downtrodden. Perhaps instead of so many demonstrations to the family, tinsel, commissaries, encyclicals and dirty people like Rouco Varela maneuvers should export more the image of those living in the midst of the horrors of famine, disease, war and suffering. Others, that vadean it and move onto dogmatizing without knowing what is the world real do not more that denigrate the ideals of unsung heroes and encourage every day fewer people take them seriously. I am sorry to say this, gentlemen of the top brass of the clergy, but did more Aldo Fabrizi in an hour and a half to you in twenty centuries. You continue sucking of the udders of power; and those who belong to "the Church", which really helps people, forgive me if I have offended them. It was not my intention to offend them neither you nor your creed.Leaving the extraterrestrial issues, it is essential to point out this film as the pioneer (along with "the shoeshiner" by Vittorio de Sica) a film that put the camera to ground level, depicting reality and suffering and setting aside any hint of glamour and sophistication. Here was born the neorealism, even today continues to draw the best movies, Yes, those who nobody sees of Iran, of India, of Russia, films to avoid film us suicide dandruff and producers more interested in his collection of Cadillacs to do something useful. Certainly, the world would be worse if there had been the same Neorrealismo.Al that almost all Italian neorealist films the actors aren't professionals (except Magnani and Fabrizi), that also should be ashamed a lot star media of their time both now. When I saw "Bicycle thief" I could not believe that they were not professional, really. Perhaps it's true the Italian theatrical character, who knows.The fact is that this film never leaves indifferent, gives equal that the you've ever seen one, seven or a thousand times. Still tearing apart me the shouts and the personality of the Magnani, the interrogation to the engineer, the monstrous coldness of the nazi leadership, the revelations of alcohol of the general throwing Earth the ideals of the Aryan race and, above all, the father Pietro after seeing this movie, Ingrid Bergman wrote to Rossellini: "Dear Mr Rossellini: I have seen his films"Rome""", open city" and "Paisà" and I have really enjoyed. "If you need a Swedish actress who speaks very well English, which has not forgotten the German, which can be made to understand in French and in Italian only know say you love, I am determined to come to Italy to work with you". Too much modesty for an actress that was on top after having triumphed with "Light that is dying", "Casablanca", "remember", "Chained", or "Do for whom tolls bells".The rest of the story already know: end of era Magnani, global scandal and Bergman as muse and wife of the great filmmaker did more to the height of "Rome, open city" (was almost impossible), left masterpieces such as "Stromboli" or "You querré always".

archivos_extraidos/MCE-Corpus-main/Dataset/1226

Jesus Lens

Hollywoodland

muchocine

Hollywoodland would be a perfect example of that Boulevard of broken dreams in which so many aspirations end up bursting are and becoming dust.

He wanted the coincidence that this "Hollywoodland" was premiered at the Venice Film Festival, to the chita figured, just after the highly publicized "The Black Dahlia", which was a disappointment and a disappointment for the majority of critics and viewers.However, the film of Allen Coulter was excellently received by the Cowbird and company, which put it in the clouds, praising its realism, the excellence of the interpretations and the benefits of a script in a single film tells two stories, in present and past, in the classic style of "Laura" or "Outlaws", where the dead come to life thanks to the research ofin this case, a private detective.Two films, therefore, in that the stories overlap, becoming both equally attractive and interesting. On the one hand, the farcical biography of George Reeves, one of those actors in Z series that appeared in "what the wind" and hit a braguetazo with the wife of a capitoste of MGM, through which landed the role of "Superman" in a popular TV series. and nothing more. Because between the type did not have too much talent and the man of steel cast a lot, few more opportunities had show off their talent.Ben Affleck plays with dignity the role of pathetic actor-gigoló with artistic pretensions, at times lower than his film no-carrera, he decided to hit a shot and put an end to everything. Or not?Because his mother tends to think, rather, that their child was committed suicide. And that is when it enters the picture the cadaverous, ugly, attractiveness, drunk, acomplejado and complex Louis Simo, a detective of medium hair that falls in luck the case and that, using for their cause to the tabloid press, begins to play the noses of some and others, left and right. to stay single.Simo, impeccably played by an Adrien Brody that he weighs worldwide, which seems to carry it loaded to their backs, it is the prototype of uncomfortable detective and hinchapelotas who becomes obsessed with the discovery of the truth, despite who despite. And what is the truth? Suicide? Murder? That is the question. Or not. "Because what is really interesting is the Hollywood tells us his debutant film, but veteran director as to tell the dark flip side of the American dream, thanks to its recognized work as director of many chapters of the Sopranos, among other series.""Hollywoodland" would be a perfect example of that Boulevard of broken dreams in which so many aspirations end up bursting are and becoming dust. And the musical reference is not free, since much of the atmosphere of the film is achieved thanks to a soundtrack that faithfully reproduces how sounded the California at that time, with their bands of jazz and melancholy music, still far from the rock of the 1960s.The sordidness and the sadness of the lower depths and slums, the grief of the detective and the desolation of the middling actor are highlighted through a soundtrack in key jazz, with lot of metal of wind that trumpets look especially piano chords and up a whispered harp.This contrasts with the joyful and festive jazz played the big bands at luxurious parties Hollywood that appointment was the cream of the Mecca of cinema. A musical counterpoint which comes to to highlight the few lights and much more numerous shadows in which thousands of people lived the Hollywood dream.

archivos_extraidos/MCE-Corpus-main/Dataset/2767

Tito Chinchan

La última legión

muchocine

Epic of adventures on the last stop of Rome, which begins in search of a sword motivated by the Goths. It is not a great film, but fulfills a purpose clear, it has entertained me, and long.

These pseudohistóricas movies give me a tad of rabies, given that not is if I'm learning history or a comic book I am learning. Then so paint me hair, I've lived thinking that the Congo were some negritos docile than July Cesar could not dominate all Gaul, or in Spain had a called the TIA Intelligence Agency. It should be as drugs, with prospect "the historians Association warns that the viewing of this film will make picha a mess" or things.The film is about a Roman emperor who is appointed when he is only a child. Shortly after the nomination, has a Gothic problem (begins the festival of humor) for what send you to the island of Capri, that it is not yet of great luxury, if not a prison. Accompanying him his mentor is, a type of aspect of Druid of the Gauls, and her rescue runs a few selected men and the Chief of the guard. Can they rescue the presumed last Cesar? That more jittery nerves.Hard is the profession of film critic. Luckily I am computer, so I can say with all the pride of world this movie poop I liked very much. I direis that the script is a ful of Istanbul, the ending is predictable, the action is predicible, the amorio is a pain in the ass and things as well. But hey, that I loved the film. The action scenes are certainly not great things, the inclusion of a woman has truffled tape nonsense (some very funny) but has very good things. Develops rapidly throughout the tape, has very good points of humor is nice all the time and the final epilogue has seemed very big.In short, epic adventures on the last stop of Rome, which begins in search of a sword motivated by the Goths. It is not a great film, but fulfills a purpose clear, it has entertained me, and long.And if the harangue had been minimally motivating, her hull 5, ale.Besitos.P.D: In addition, it has weird stuff. A Goth with dreadlocks and rubio died three times in the same fight sequence. The rapper that accompanies the Chief of the guard reminds me of the brother of the girl who liked to Stive Urkel.P.D.2: two things I have not been clear. On the one hand, it is big-budget or something more modest? And the other is seriously or is laughable?

archivos_extraidos/MCE-Corpus-main/Dataset/4212

Matías Cobo

El espía

muchocine

In a way, and although it may seem a simplistic printing, the Spy is the typical story of revenge of the nerd to the most handsome and popular class.

The glamorous encouraged spy image machaconamente by the film already seems obsolete, excessively exploited. The latest productions with spy agencies workers as protagonists come to corroborate this trend with examples such as Syriana, the good Shepherd and even, though not renouncing the exaggerations of the saga, the last Bond portrayed by David Craig, much more earthly and vulnerable than its predecessors. This is also the case for the spy (Breach), second work of director Billy Ray, who debuted with the price of truth (Shattered Glass), notable film funded by Tom Cruise.Y find it curious that, for both works, Ray had been based on two popular scandals: in the case of the price of truth, a journalist with an excess of inventiveness for his stories, and the spy, as it puts forward his elocuentísimo Spanish title in the history of a secret agent, considered the greatest traitor/topo discovered in the bowels of the FBI. Judging by the theme of both works, Ray you must interested much the characters cheats and double life.The approach of verismo of this sober tale is noticeable from their initial credit titles, with the television images of John Ashcroft, Attorney general of the first Bush administration, announcing the arrest of Robert Hanssen, an agent of the FBI who sold secrets and American spies to the Soviet Union for more than 20 years. His case, perhaps the most significant public known to date, was considered one of the greatest disasters within the U.S. intelligence.But the tape does not deal with the way in which this man could filter secrets to a rival Government for two decades, the possible reasons and reasons of Hanssen. So the Spy is, above all, deepen in the strange and contradictory personality of an agent specializing in management systems information whose grey task, a far cry from the glory predestined for the field agents, it was never subjected to severe scrutiny.Excellent work of Chris Cooper, a regular from the third line of credits, giving it complexity and depth to the contradictory character of HanssenPara guide us on this trip to the mind of Hanssen, another character far removed from him, the young Eric O'Neill, effectively portrayed by Ryan Phillippe, agent will be who we want in the complex world of this character with great richness of nuances for the excellent Chris Cooper, actor usually relegated to the third line of the end credits. O'Neill will be assigned the task of 'hunting' Hanssen in one of their betrayal to avoid retiring from the FBI without even having stepped on a court by his countless list of offences. So, during much of the film, both are measured in the typical pulse between the gifted student and the old Fox who is knows all. The always splendid Laura Linney in the role of head of O'Neill also appears in the cast.Ultimately, the simple proposal for the Spy is the explain how an agent of acrisolado patriotism and apparent honesty was able to 'sell' his country to a rival power. Why could strange intersection of cables in your mind make decisions as prejudicial to the security of their country. Many of the arguments put forward in the film hint at continuous contempt shown by the superiors of Hanssen towards his work, considered to be of Office mouse, but as he showed with his betrayal, was much more crucial and required much more dedication and effort to safeguard sensitive national security information. In a way, and although it may seem a simplistic printing, the Spy is the typical story of revenge of the nerd to the most handsome and popular class.

archivos_extraidos/MCE-Corpus-main/Dataset/1102

Tito Chinchan

Candida

muchocine

Pay homage to a person who has lived through things that nobody should live is no guarantee of a good product. Films must be much more work, spinning a plot of movie, not documentary, make the characters seem real (though they are, not what resembling), etc.

There are movies that you want to see to be able to criticize them, not to implement them to give birth, if not quite the opposite. I usually hear in the afternoons to foam, when I return from work, and had long hearing as they praised his own film. They carried the original soundtrack, he spoke the same Candida, and everything seemed great. Thus it was eager to reach the time to put it through the roof and talk of a delicious comedy vital and energetic. Not be why still biting in the same always, anyway.The film is about a Candida called Lady living happy despite his miserable life. A drug addict son, one schizophrenic and one that leaves little but not to leave, better is the sweetener of life of eternal cleansing. The plot runs linearly on an extracted from his life time, that has been this as it could have been another.Look, if I have to be honest, the film seemed to me shit. And I say this with all my heart pain, given that this woman I love and me tenders in equal parts. But the film made about it is not worth a pepper. To begin with, it is not a film, it is a simple course of events, to each one more sad, but without a logical beginning and an incredible end (which gives me just to be real, the reality surpasses fiction and I think). It is a drama, but a drama very fat, told from the filter feeders that I like so little when it comes to filmmaking. And the jokes are not such, honestly I felt the grace was laughing of bad talking this poor woman, who seemed very cruel thing. That is not humor, and people laughed at that, not situations. Saving the time that will recover the television, the rest is not funny, if not very sad.In short, pay homage to a person who has lived through things that nobody should live is no guarantee of a good product. Films must be much more work, spinning a plot of movie, not documentary, make the characters seem real (though they are, not what resembling), etc.

archivos_extraidos/MCE-Corpus-main/Dataset/3240

Patri

Las 13 Rosas

muchocine

Las 13 Rosas is not a masterpiece, but the story is powerful and moves and shakes the heart for the injustice that was committed with these girls.

In these times where there is much controversy created and fed by politicians of right-wing, this kind of movies are also victims of these absurd and in polemics. But it is normal to make films about the civil war and the post-war period, which is a part of the history of this country that generated many events and injustices that deserve to be counted, just as there are many films on the Holocaust, because these conflicts are human dramas that are likely to become films.Leaving aside the polemics, this film is not a great work, although the story is powerful and touches and stirs the heart for the injustice that was committed with these girls. Despite being a good story, actors are not at the height, above all the male actors who fail in the voice, giving the feeling in some moments that are reading rather than acting, this makes you leave the history, especially in the beginning.Towards the middle of the film, when the girls are incarcerated, the story becomes more intense and already beginning to peek first tears in anticipation of the tragic end.Actresses generally do a good job stressing above all Marta Etura and Luisa Martín (remembered for being the family physician Juani). Surprisingly Leticia Sabater makes a small role and does it not hurt.In conclusion, it is not a great film, but tells a story that deserves to be remembered and therefore is not over see it.

archivos_extraidos/MCE-Corpus-main/Dataset/547

Jeremy Fox

Corrupción en Miami

muchocine

Perhaps pantry some things and the truth is that it is not very well resolved but we must acknowledge that one doesn't think too about it while it is fun, for more than two hours, with cinema entertainment good.

Although he followed regularly, the truth is that I was never a fan of "Corruption in Miami" (series). Even so, the name of Michael Mann as director is, to me, enough reason to go to the movies so I went to see "Corruption in Miami" (the film) hoping to find me with a good action film but without expectations of being before a masterpiece. Once again, Mann not disappointed me. I won't go into details of the synopsis because in reality it is unimportant. "Miami Vice", the film, could well be an episode of the series, because it begins with the end of a mission and as who says, ends with a mission without end. In such a way that, although it seems unlikely, not it would cost them nothing write the script for a sequel to the film.Isn't the story, I repeat, what matters here. What matters is that we we have a film for more than two hours filled with good action scenes, very well directed, which are very few in the film each year. There are also site in the film for intimate moments and a romantic story in which Mann gives rein to his capacity for visual poetry. Some levels are really beautiful though without reaching the height of this absolute masterpiece entitled "The dilemma".The actors are good because they could not be otherwise. Colin Farrell is a good actor but if you also give the role of guaperas cool it is not uncommon that it edge. Jamie Foxx making hard with heart will have not so been difficult to keep up, in the same way that Gong Li arrives with showing only a pinch of his talent to compose a mysterious and attractive character. Legendary Lieutenant Castle, Edward James Olmos in the series, is here played by Barry Shabaka Henley, supporting actor in which worth look because it uses wisely the minutes appearing on-screen in his recent films ("The Terminal" or "Collateral") for example.I can not mention the good role played by the always wonderful Luis Tosar in a short role, but enough to impress with his presence on screen. There are times in which authentic frightens. Anecdote for attentive spectators: in a moment of the film, his character appears reading a newspaper (seemed "La Voz de Galicia") news about Amancio Ortega Gaona and Inditex, in a clear nod to the Spanish public and especially Galician.You should not ask for anything more to this film, but already it seems to me little. Perhaps pantry some things and the truth is that it is not very well resolved but we must acknowledge that one doesn't think too about it while it is fun, for more than two hours, with cinema entertainment good.

archivos_extraidos/MCE-Corpus-main/Dataset/2598

José A. Peig

Indiana Jones y La última cruzada

muchocine

A superb exercise Classicist adventure and adventure as a metaphor for the spiritual quest, a spectacle of appalling Visual rhythms, humor, some of Wagnerian romanticism, excellent characterization of characters and anthological description of the hero.

Many years passed until these days - motivated by recent news about the new adventure of the archaeologist of yore, which reach the screens around the world in May 2008 - who writes this and his troupe of thinking minds, they decided to review the three pieces that have forged a timeless icon, and this third - is by ignorance or forgetfulness - discover with great satisfaction that hides a masterpiece", perhaps, never as sufficiently proclaimed, and since then has nothing to envy to a work of art as it is"in search of the Lost Ark".""Indiana Jones and the last crusade" is one of the best adventure film in the history of cinema. If we look at a classic pattern - a pattern that synthesizes the bases of what should be the art of narration in images-is one of the most perfect movies ever made. It is model and CANON, at the height of the great adventures filmed by John Houston or John Ford. You can add also something of the spirit of Howard Hawks. Spielberg, borrowing a bit of each, makes his personal synthesis, appropriate to their times, and proclaims himself - with merits and justice - master absolute entertainment.The first images are already an evocation to the classicism of John Ford; the Paramount icon gives way to a mythical landscape, the steep arid mountains in the State of Utah and the Colorado Valley, winds that drag sand and far a convoy of riders that ride in a row. It seems that we are back to the golden age of the Western. The pace acompasado in the succession of long and general plans in harmony with the first notes of John Williams, transmit the sensation of a spirit and a way of making films that, unfortunately, now seems to extinct. Then we discovered that the riders are a group of boy scouts, and Indiana (our teen Indiana) is among them. In one of the caves, Indiana discovers a group of looters, whose head leads the future hero attire. Suggestive evocation of a Genesis; the theft of the cross of Colorado and the consequent persecution until the train, and resolution, defined from the prism of the saqueador anonymous which then "baptizes" our hero by placing the hat, the fate of bold, amoral adventurer: that smile of pride and satisfaction when he sees the boy flee with the precious object. It seems that he sees in it a reflection of himself. The beginning of the future hero.When young Indiana arrives at his home looking for his father's support, it makes a gesture of rejection so a latent conflict because of a too inward in his archaeological passions and indifferent father of Family Affairs is established, and by reason of this future criticisms will come.Once the hat falls on the face of River Phoenix, as in a wonderful fusion of the past in the present, the teenager that emerges is already adult, faced his former adversary, at a first level which culminates the genesis of the hero in a continuous temporal not devoid of beautiful meanings. With so much hot air just try to say this: that those first ten minutes of footage are a masterful lesson in cinema, example of synthesis, and exquisite by narrate taste. And, incidentally, shows a great respect for the created character, which already in 1989 was part of popular culture.The following sequences raise a return to the scheme of "In search of the Lost Ark", again Indiana as University Professor, returns Marcus Brody, Christian mythology returns to be the excuse to start the adventure. Venice, a library with its secret passageways, boat chases, conspirators fundamentalist, and her presence omitted the father of Indiana as a main driver of the quest for the Grail, until finally appears in an Austrian Castle. From that moment, the film becomes a journey of action accentuated with blows of parody and sarcasm. The relationship between the Jones the Jones and father son this drawn with a sense of humor that covers both the cold and distant communication between them as a disguised feeling of mutual admiration and respect, as well as the criticism and opposition from ideas: Indi materialism against the faith of Henry. And the relationship between one thing and another, presents an eloquent ambiguity. In short, the chemistry achieved between Henry and Indiana Jones is one of the best orchestrations on the characterization and connection between two characters, who have been in the past thirty years, worthy of anthology.And to this tale, there is a key phrase put in mouth of Walter Donovan (Julian Glover): find your father and you will find the Grail. The Grail as a literal element of a spiritual quest and personal fulfillment. Between father and son, as we have pointed out before, there is a conflict whose origin goes back to childhood. The "Junior" nickname used by Henry to appoint his son has a contemptuous connotation, as an effect of this conflict in which the father does not end value to his son into perspective. Then, in the final scenes, when Indiana cuando Indiana está is I note from falling into the abyss for wanting to take the Grail beyond the label which limits the eternal life, in a moment of understanding, Professor Henry Jones pronounced with emotion the word "Indiana", which comes to heal all the wounds of the past that redeems the hero of his sins of greed.There are several outstanding action scenes: persecution in motorcycle, mounted in an aircraft, through the desert and to the beach, in which we see a feat Sean Cornery, skewing a flock of birds with an umbrella, making his own army and evoking, umbrella in hand, the words of Charlemagne, while the face of Indi draws a gesture of admirativo appreciation, but always back to his father, which is a constant (the love content or disguised, a certain emotional isolation) on the relationship between the two, except in extreme moments.Excellent mounting allows a collective story, in which the characters are its constituent role of rhythm and narrative claw; Donovan, Elsa Snaider, a German soldier with very bad milk and penetrating blue eyes. Anecdotally, we see Indiana face to face with the very Adolf Hitler, giving him a book of secrets that will go unnoticed. The gesture of Indiana to Elsa Snaider, at the ceremony of burning of books in Berlin, taking him neck with fury, and the response of it, the content between the two, hate maybe beating also is a mutual respect, in spite of the circumstances and the lack of scruples by some and others, a network of relationships forged through an excellent construction of sharp dialoguesin which premium the sarcasm and irony. Goes without saying that the main action scenes are all an example of master in every moment and problem viewing, superb handling of the rhythms, the profiles in a flawless structure which ends up joining the whole way in the battle in the desert, between tanks, horses, camels and fundamentalist guerrillas, there where all parties involved come together in the resolution. Pure spectacle and narrative structure that becomes a timeless classic taste.Excellent chemistry provided by Harrison Ford and Sean Cornery reaches a point of Ecstasy in the last steps to enlightenment. Donovan shoot Henry, and is then when Indi another option that does not fit the go in search of the sacred water that can save his father. The scenes in which Indiana is surpassing three final examinations acquired an intense dramatic meaning through the proper use of the Assembly, alternating the fear the lack of faith in Indiana with the agonizing gesture of a Henry Jones who urges his son to a State of faith enabling it to achieve the Grail. The magic returns at the end, after the last leap of faith, and father and son recognize the mutual discovery. The four adventurous ride towards the horizon while the solar disk invokes the twilight of the gods, we see the silhouettes of four horsemen who move away in one of the best frames, evocative and meaningful from a farewell, farewell of an adventure film made with love and craftsmanship.In summary, a superb exercise Classicist adventure and adventure as a metaphor for the spiritual quest, a spectacle of appalling Visual rhythms, humor, something of Wagnerian romanticism, excellent characterization of characters and anthological description of the hero, nostalgic, tender, as well as parody and easy-going. And Yes, in reality, and despite the fact that the Lost Ark has taken all the fame, this is the best of all, still not valued enough in all its complexity. Do we change mind from here to a few months.?

archivos_extraidos/MCE-Corpus-main/Dataset/2615

Tito Chinchan

Primeval

muchocine

Film about a dentudo bug which denounces the lived and current situation of a country representative of black Africa. If not liked by that expect me a shit or that really it is good. Add the benefit of the doubt.

To sit at the cold and insulting blanquedad of the monitor, to write criticism, I was reminded of a joke that is very beside the point with the film. This is a company that hires a group of cannibals to your human resources department. Total, past a few months thrown them into the street. Will the leader of the cannibals, and says "we spent months and we have eaten 10 managers, 4 heads of personal and 17 project managers without no one realized, who was the idiot who has eaten the fellow who did all the work of the company?"Muahahahahaha, send your donations to my Switzerland account to continue the festival of humor.The film is about a giant crocodile called Gustave who makes the mistake of wanting to expand their diet based on Burundians with a white girl of the UN which is investigating a few graves of civil war. To make a report about the lizard size boat motor, start a beautiful and attractive girl, a presumptuous jerk, a mulatto camera with face that you are going to eat, a supporter of animals with the same look as above and a hunter with somewhat different to other purposes. Arriving there, informs an officer must go in the way of a local leader, autollamado little Gustave, with bad fleas.Hey, that pleasant surprise. I thought me that the film was going to be those with the kind of Anacondas bug and the like, and nothing to do. Well, a little bit. The argument, even if you have background to the reptile, is a bit denounce the genocide in Burundi as well as remind us how people live in sub-Saharan Africa. We have two basic plot lines, the search for the crocodile, and the small Gustave being persecuted by a subject that is not the case. Special effects, based on the bug are average achieved, given that the digital stone cardboard gives the pego, but removed to such a speed that you can not enjoy with the deployment of bytes. Only in one scene is seen as God manda, ending very nice, by the way.In short, film about a dentudo bug which denounces the lived and current situation of a country representative of black Africa. If not liked by that expect me a shit or that really it is good. Let him the benefit of the duda.¿Tendremos a second part in which combat the anacondas? Who knows.Besitos.P.D: That I don't say it is based on a real event that puts the hair like hooks only read that label.Pd2: The scene of the girl in the Lake made me jump like a cat when get you into the water.P. d:3: who has made this film the name of crocodile: a serial killer? Pathetic. web page: the web is sad, tristísima, something that here you have for your delight visual:http://video.movies.go.com/primeval/Trailer:Os thing put to English, given that say three words and the rest has nothing to do with the movie. If they then say that if people put to give birth movies, they put a trailer that has nothing to do.

archivos_extraidos/MCE-Corpus-main/Dataset/100

Iñigo

Paradise now

muchocine

How to put on the skin of a kamikaze

It is a relief that before such film that is the Palestinian issue in a somewhat linear way, positioned on one side and with the political or social issue as background, we get a work as "Paradise Now". The film of Hany Abu-Assad, offers the same way, social cracks and political notes of the Palestinian problem, but what raw material in it is human treatment (all applicable not only to that location, but the rest of the world) of the question.And it is appreciated that for many absurd controversy which has aroused in certain places (especially in the run-up to the Oscars), the film shows completely aseptic. And that is, precisely, the eldest of their ventures.Despite the fact that the protagonists agree with certain political or social positions, religion, beliefs or convictions, the direction and development not are positioned on any position in particular. They only try to deepen and immerse themselves in the head of the person who reaches such extremes, is for the reason that it is. And that is the purpose of the film: discover the reason for the actions of the kamikazes. Although it does not offer a final closed let us clear the why of this. We have to be able to get on your skin and try to understand it.Because, as much as some insist on demonstrating otherwise, there controversy or dispute the fact of wanting to understand the actions of someone, it kamikaze, rapist or child molester (e.g. the close of the also very correct "the woodsman"). Beware, this does not ever include the fact to justify them. I believe that we are mature enough to differentiate it.It is always interesting and productive to put in the shoes of someone, try to understand him and suffer their fears and feel their desires, by very atrocious to be the crime that has been committed. Logically, and as it happened, for example, in "The sinking", not everyone will be able to put in the shoes of a monster as Hitler (serve as a paradigm). Many feel nausea only think about it. And I can understand. But a person with moral concerns it will be very productive, and ultimately, and although it sounds exaggerated, empathy is based on that. In not making distinctions of any kind.It is high time that we realize that victims are not the only protagonists. The executioner, in some ways, is always a victim at the same time. Whatever its condemnation and reason. It should be digging in their past.To win as individuals in a society, we need to understand that everything has a reason. And nothing and no one can judge the life of another for free.And I repeat. Thus it would not justify (cannot be justified in any way the brutality of certain acts) nothing, but not punish, we would just the opposite effect. Correct (educate) is the more appropriate term. Ever since Cain, a punishment did improve anyone or dissuade him to commit a crime. Maybe we should put us in front of a mirror and observe. It would be interesting what would come to discover if we look at the proper depth.The truth is that the direction of Hany Abu-Assad helps a lot when dealing the film with the seriousness and objectivity that it deserves. Your camera is as sterile as possible, simply notes and still not determine or judge. While a very low budget, both the camera and the somewhat homely way of filming is evident, it is not necessary nothing more. If you know say with class and subtlety that is meant, as it is the case, there are no problems is that aspect.And interpretations are also quite successful. Without performing a job that attracts attention, Ali Suliman and, above all, a hesitant Kais Nashef does help us to put ourselves in your difficult place. And this work of containment and expression is really worthy.We can live, thanks to them, each and every one of the apparent remnants of a kamikaze, including their beliefs, their sectarian religion, family, social, political and educational environment. And we can feel very closely their fears, their wishes, their sense of guilt, his anxiety and concern, as well as doubts, their most internal conflicts, their constraints and his gruesome indecision, that it is, in essence, Genesis of the greatest terrors. And all those confronted feelings degenerate into emotional instability and lack of control of his person to avoid that their acts are, from that moment, entirely predictable. But it is something that not only them can happen to them.In short, a breath of fresh air to the vast majority of films that flooded us lately and who have no intention to be offensive, certain pamphleteering character that ends with bore the Viewer. Let us not forget that we are talking about film. And, personally, I prefer to understand it as a projection of vital feelings and spiritual concerns. Not as obvious and repetitive criticism.I'd rather live the cinema as a game in which the human mind and spirit are those who decide, and not the hands of a director that caresses the complacency and only feed the ego.The true value of the address is us are those who have the final decision in our power. He is the craftsman who produces quality Wicker, develops ideas and problems from which we are those who finished rooting our decision and our determination. That, in part, we are, also, part of his work. We are the last point in this long route of the film, which is that, really, any movie and any creator want reach.Even we ourselves can qualify us as a last bastion, so it is compression and reflection. That is, in essence, understand the cinema as art. And know that, first and foremost and in spite of this, the film exposes hard terrorism rather than none, precisely for all that I have mentioned earlier. Pulls all kinds of complex sectarian overland and fans than what they do, simply, is to generate crazy and useless injustices that lead not more than globalized fear and the desire to reach a non-existent glory.As reads the sentence of your poster: "24 hours at the head of a kamikaze". With its advantages and, obviously, its drawbacks.

archivos_extraidos/MCE-Corpus-main/Dataset/1423

Iñigo

Funny Games

muchocine

He has fun, you fun. All we have fun.

Do you dare to enter a story that you are as guilty as anyone more.Do you dare to feel the fear, feel very closely the reality that no one is free from sin and suffering.Do you dare to look inside you, betray you, you recreate your unjustified violence.Do you dare to play. It is already too late. You were playing much before what he thought.Once again, the Austrian director hits hard in the consciousness of the Viewer, do with it what good seems it.When one is to reflect, realizes perfect that has fallen in his experiment, in his particular trap for human.Haneke is the puppeteer, demonic Acrobat who notes, manipulated to show the reality. Us puppets, obliged to open the eyes although we look to other side.With a lucidity that gives real fear, terrifying, dreadful, Michael Haneke doesn't let us escape. There is no possible excuse before his master exercise of personal imprisonment.The only way to escape is pressing the "stop" button of our players or leave of the projection room. Although if we neglect the tape to the best returns to play before our eyes.If we have seen the film, whether we like it or not, have succumbed. It has come out with his own. "The reason lies in the true sense of the film."Funny Games (fun games) "is not entertainment film, while it entertains to perfection to achieve its purpose.""Funny Games" is not at all, violent film, despite its storyline. It shows nothing. Violence is contained, frivolous, psychological: the most hurtful."The unique thirst for aggression, anger, cruelty, we ourselves.""Funny Games" is autorreflexivo cinema.Using winks, looks, gestures of "criminals", Haneke makes us accomplices of their misdeeds. He manages to us we feel true murderers.Two kids educated a priori, the typical couple, the smartass and silly, the Laurel and Hardy. Figuratively well settled (by what the golf course).Young people kill, hit play. Only get bored. There is no apparent reason to do so. There is no relationship, or mobile.It is a nonsense that we, the viewers, we recreate. Although, being part of the plot, maybe it is complicated to us, we do not want to continue with the macabre game. Lie. Let us not deceive ourselves. We want the murderer him sticking a shot throughout the body. We want to continue, we want revenge.Even if you know the reason, like them, we want to see violence, we want to be violent.Then, when we jumped with joy and gloating to justice, the director introduces one of their ACEs (for many very questionable) and leaves the public face of idiot astonishment and disappointment.Ultimately, what we are celebrating is a crime.In earthly life, in the films of fiction, at all times, we cry revenge. We wish that the to make the pay, but, if possible, with blood from through.Shots, shots, machetes, a feast for the senses. The cause of that our environment is becoming what it is becoming.Haneke could discern a Philo in all that and created a necessary film, a film that manages to see our own reflection on the screen, and nerve us of what we are visionando. Yes. Those of us. It is high time that we realize.The two companions of game are taking it with some leniency, very verge with the comic. However, by the other side, the tragedy be felt with the fingertips. This mixture makes something really controversial film (provocative if possible). It amuses us? Us terrified? is it contradictory to have to resort to a film of such spirit to condemn the violence in today's society? Seriously think about it, and meditate if there really are more accurate and lucid, otherwise not be manida, obvious or glib relate things. Focusing on the fact that, of course, in the film just shown. To the contrary: is evita.¿No is manipulative to become complicit through signs, innuendo, for then, by contrast, reprimand him such attitude to the Viewer? This is based on the game, gentlemen. Pretenciosa, self-worshiping, mocking, joke, lack of respect for the audience? Maybe it is that you harassed us recognize that we are as well.Haneke is a bastard. But a bastard without paint. In the background, even if it is embarrassing, we know that fundamentals not missing.The rest: oppressive, tyrannical, draconian, asphyxiating levels. We do not know at what point can explode before the coolness and calm, paused, quiet shooting sequences that, in essence, are brutal. Haneke House voltage to one hundred percent. Or music is not necessary to ensure that the director we brought an uncomfortable, close to the unbearable atmosphere.All a macedonia that led to the very same Susanne Lothar to undergo psychiatric treatment.As additional data, the American "remake" of "Funny Games" for expected this year, with a cast headed by Naomi Watts and Tim Roth.Una news bleak, if not because the director will be the same Austrian filmmaker. Anyway, seems to me very little necessary, unless it is done to teach cinema at the other side of the pond. And coming from who comes, don't exclude this option. what think, hence the film? It is a masterpiece and, without a doubt, one of the films of greater foresight of earlier decades.Do you dare to Michael Haneke take you the hair. With me it has achieved, there is no possible return. But I love.

archivos_extraidos/MCE-Corpus-main/Dataset/1769

Emilio Calvo de Mora

Trastorno

muchocine

Unnecessary, for repeated by trivial, by predictable disorder won't to any history of the cinema, or general or intimate so it will be payment of video store in neighborhood, of those which to me I love, for enjoyment when there is nothing, absolutely nothing to do...

Reventona topics, pregnant of clichés, never better said then the movie goes psychedelic pregnancies and maternal wickedness high the paroxysm and madness, disorder establishes a short dialogue with the Viewer, is always ahead and know, at all times, the byways wherever it goes to the plot and the way in which the director desembrolla for thatin the end, everything is nice and exit one of the film with the face of having had a good time. And it is not that this is bad sentence. It could have been worse, of course. There is a decent roster of actresses that her here pifian with high note. Ingrid Rubio not strain as homicidal manic and Najwa Nimri is as ida, disregarding all rigor in the characterization of a character who could have given more than it... His history of interchangeable pregnancies is almost never credible. And the script, fear be excessively heavy but think attend me all the reasons in the world, is the fundamental pillar of a filmmaker when not is a genius (there you have been and have waived sovereign of a plot to make imperishable products: put the reader names.) (I give to Kubrick to Eisenstein, to Tarkosvky, to mention distant cases in models and cultures).It is inevitable to bring to memory the hand that rocks the cradle because the arguments are based on similar budgets, but Curtis Hanson, not being or much less master tape convinces by the sobriety of the actors and the slow and almost artisan concatenation of events that are leading the Viewer to the final outcome.Disorder malea well early: undoes any possibility of interest when the narrative conventions occur without any shame. The plentiful cliches of the tape gives rise to boredom because, as usual, this is the film that, without seeing her, we have already seen many times. It has echoes of what happened to Baby Jane (especially in the final stretch) and this forgivable mediocrity of chapter of well-made telenovela (that suppose you have) by what disorder has its audience, but is not a movie buff, who like to be surprised and public which has already seen both movies that you see them come even with the covered eyes. Lacking inspiration, burdened by a simple script, the film contributes the scarce titles creative our film in the thriller, although we are already taking flight with directors as solvents such as Enrique Urbizu, Jaume Balagueró and Paco Plaza.