In these early days of the year saw three new releases at the cinema.
In chronological order.
Without much conviction I've seen the last of Silvio Muccino, Another world . I have not had the opportunity to see the director's previous films, but this just gives me an idea of \u200b\u200bits possibilities and its limits. The film has a beginning pretty good, in a few minutes tells the story of four different people, using a montage pretty interesting and not too classic. The use of photography seems rational, different color scales for different situations. But for my taste Muccino is too excessive and should be filed where little file. He has a tendency to beat emphatic: if you write one or two in the whole movie, ok. But if every sequence there is more than an emphatic sentence, you risk diabetes. He should also file the duration of the film. There has been some slowness and a few too many minutes less would have benefited the economy of the film. Sure, he could avoid too many sex scenes between the protagonist and his girlfriend, who eventually were found to be redundant. Good shots were made in Africa and some images were African Impact. I can not say more. I can only make a small consideration: Muccino should decide whether to be an actor or a director, because to do good things it takes both a mind out of the norm. Direct and head is not as easy as you want to believe.
then. Eastwood Hereafter. It is a complex film. Either you love it or hate it. The image of the cowboy blond, laconic and cynical makes the very idea dell'Eastwood Director: dry, detached, minimalist. Stripping the story, fleshing the director, leans lightly on what he says, does not exceed, not involving too much but at the same time, with his action, stripping the viewer: it takes away the sin too many layers of emotions that American cinema classic We are used and re-activate the emotion of the viewer, the unsolicited, that lies dormant. He does, this time with a film that moves quietly between skepticism, the desire to believe, hope, schizophrenia, doubt and imagination. In his films there Eastwood talks about the afterlife or the supernatural. It gives shape to the stories, but not beyond. Leaves in doubt and makes the viewer decide: the views are displayed outside of the mind, by something better, or are the result of the mind and imagination of man? We must be careful about the film. Here and there, the director throws not-too-obvious elements that undermine the veracity of the visions. Items that can be traced in three scenes: the vision concerning the girl's cooking class (in particular the child by the hand to the father who, in my opinion, brings confusion in the general discussions), the Dream of Dickens, the final vision, all imaginary, most important, made up of fantasy and love, the protagonist. Eastwood made a film for sure not easy, in which a protagonist is the feeling of the viewer.
Again What a beautiful day. Zalone seems to have created a new genre of film whose main character is a comedian much loved and followed. This is not new in Italian cinema. Toto did so long ago. About What a beautiful day you can not make a speech on the director but only on the actor and the script that reads: Zalone door to the cinema to laugh and his goal is the desire to laugh seriously. However, the characters more complex, deeper, those relating to social status and culture of Italy, may not arrive at all: they are not direct and their truth is disarming. The play "serious" serves to bring all subjects more or less delicate, and it is hoped that the laughter of Zalone can arouse in the spectator a bit of reflection.
And now, here's what I'm waiting.
First, I just recently got the surprise this year released the fourth installment of Pirates of the Caribbean . Different director, some actors remain from the previous films, including the inevitable Depp (Knightley and Bloom are not in the cast). The writer is a person who is not just seen in the distance a pirate law and sees all that he is concerned with the attitude of the sick child. The risk that the saga of the Pirates of the Caribbean could lose verve there, yet I was not disappointed. We'll see what lead to the presence of a new director, given that Verbinski, in my opinion, gave the plant an interesting horror saga.
waiting anxiously The Black Swan, the last of Aronofsky. Aronofsky is a very interesting personality. His stories are almost silent but the greatest impact. His car by hand is a hand-held camera that does not give the idea of \u200b\u200bcinema-truth, but an incredible moral proximity to the things narrated, without never exceed the risk of saccharine sentimentality.
http://www.mymovies.it/film/2010/ilcignonero/trailer/
look almost with bated breath Biutiful The last of Iñarritu: This film has a disconcerting way of narrating facts and feelings. One of the closest to Greek tragedy: we suffer, but in the end there is always a catharsis, a resurgence of pain. Iñarritu with open eyes to the things that really matter because his way of mixing direction, photography, sound and story is far from any clichés.
http://www.mymovies.it/film/2010/biutiful/trailer/
look delusional Sucker Punch, the last Snyder. Impossible to tell, here's the trailer.
http://www.mymovies.it/film/2011/suckerpunch/trailer/
Snyder has a very conscious visionary, knows be an author, film making and does autoca that in the second minute is already cult. I agree with a lot of his work and the way it is going to the cinema and storytelling. By Sucker Punch and I expect a lot from what I can see will be a real frenzy. The director himself said that Sucker Punch is as crowds he has ever created. This film, in my opinion, will be the litmus test of authorship of Snyder.
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