6 Week Oldbaby Schedule

The Unborn

After unspeakably long gestation, I am finally here (led by feelings of guilt, the insistence of Egon, fancazzismo endemic, incurable hatred towards the horror we propinano nowadays) to give birth review of yet another film of poor quality syrup to save us the torment you, loyal fans. Note: I spent the verve with shrewd humorous references to motherhood corsivettati in the first sentence - the heat, you know, makes me Financo less cheerful than usual. Therefore, from now on you have a cold record consists of the cinematic experience by seeing the horror cul (the "t" is not only unnecessary but misleading, see below) from the title, as you might guess, The Unborn.

Together, then, fellow - much more captivated me from the general - and particularly intoxicated by love for film only attraction at the sight of the promising poster (when camped and uninhibited babe sodissimi the buttocks of the protagonist, and only margin - right - appeared the pestiferous Jumby , what wants to be born, now etc etc) - ingrifato, in short, as is appropriate, and provided with plenty of confidence, I went in the room. Following an hour and a half in which the poor story unfolds on the screen without a jolt that one - hint to the producers of horror: when you want to jump on the chair NOT notify the public systematically with jingle and shot him to a standard that is the evil monster to do "bu." If not then people expect it. It 's the 21st century, we are all savvy, blablabla. The gist of the story (indeed, very little) can be summarized as follows:

• the usual handful of producers with no shred of quality meets in plenary session, and after - presumably - 120 hours of intense brainstorming, offers the fateful genius: let's make a horror. Wow. But beware!, There is the novelty. The topic: the unborn babies, children who do not want to give birth. In essence, the first horror abortion in living memory. Shiver, progressivism, Welcome to the age-Obama;

• the protagonist (babe appropriately waved to the audience) is young and naive, and you see the world plunged into a nightmare when several disturbing visions of the face while jogging: a particularly frightening Botolo fat-faced man and the son of the neighbors that the team horny;

• follows epiphany Maino's eponymous, unique taste that manifests in the appearance ("bu", systematic) preferably from the mirror in the bathroom when the girl is checking her scantily clad in the evening - bravo!, encore!;

• investigating the apparent calm of the family past, she suddenly remembers that his mother died in an asylum, ravaged by the madness, the grandmother he never knew who he was, there are several things that do not fit (a brother? I had a twin brother who was never born? Come on?), the father, on the other hand, if you give a damn high, and rightly so engrossed in his work (a bit 'of ethics, for God's sake!)

• is revealed that his grandmother is alive and well, even if vaguely troubled by events in the past: she had been in concentration camp (Ah, the other ingredient is new! Horror Holocaust-themed!), where dr. Mengele (voila, more original), experimenting with gay, had bonded twin brother (daje. ..), thus opening the door to a typical embodiment of a demon (so it seems) the imaginary Jewish - the dybbuk ;

• which dybbuk, obstinate to death, then pursued by the same family for generations, in search of another vehicle by which slip into the world of the living - you can apparently get hold of anyone who is within range, but only pro tempore , and would much rather have someone indefinitely (it has to be one of the twins, mah), and fatefully chooses our heroine (Bravo, again!) - a gift which would lead a temper, but also the deep blue eyes shining (the always valid Mengele had achieved the goal, finally, the influence of Arian jew)

• enters the great Gary Oldman in the role of a rabbi and progressive svogliatissimo, who at first refuses to help the girl with an exorcism Kabbalistic (here, here's the news!), but then - haunted by guilt and visions of her lower back - portrayed his position, recruit the necessary help of a friend of his color basketball coach (giuro!) and a dozen other extras unwise, and is preparing to remove for ever the devil;

• the thing, of course, costs a juicy toll and assorted aches, but fails. If only the young, in a finale that really can to not surprise as few times in history, discovers she is pregnant: guess what? Twins! We await developments. But no.

There could be more to say. You try to revive a dead person before birth (while we're on the subject) to misrepresent quotes from classics of the genre - but any attempt at serious landslide miserably in front of the scene where an old semi-paralyzed and stunned (close to my grandmother's secret room nursing home) is fun zompettare the corridors at night, loosely imitating the pace up the stairs he made famous The Exorcist . The moral that it takes, unequivocally, that is a bit 'of possession does wonders for rheumatoid arthritis - and for various forms of dementia. The rest of the cast is composed of people who clearly deserve to end up murdered (see canonical stupid friend of the protagonist, slain by the little guy next door, however, that clearly is evil inside of her, and possession in the end it's all an excuse) or fuck it beautifully. Oldman is exemplary in this respect - but, if anything, will not sell the usual "Have faith and you will save." What, then, is not true. Everybody knows that.

Moral: Jews, bad guys, abortions and peck their own demons. Maybe I I am wrong. Maybe it's not a horror so progressive.

PS: a prayer from the heart. Just mention Mengele in error. Now he starred in the most drama of Count Dracula and Frankenstein's monster put together. Would it be worth remembering that this is not a bad comic book - on a small effort.

INFORMATION

The Unborn

In a sentence: "IlMaiNato was better," referring to SanValentinoDiSangue3D - I do not know, indeed: here have high ambitions as well, which is unforgivable ...
Sconsigliatissimo: to anyone who is not afraid more for a "bu" announced. And not satisfied with a few shots of the backside of the protagonist. At least one, plenty!
Rating: kkkk

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Duplicity

It is so interesting. Interesting as this is a movie travesti. From the title, sensed the usual well-packed thriller with a love story attached, and quite popular actors to enhance the script. In fact, it is simply a fake spy-story, hidden behind the smiles from the cover of Julia Roberts and Clive Owen (very fit, it must be said), he would like to play around with clichés, and leave a gift in the usual empty-handed.
For a start, it's boring. Chase in slow motion, exhausting dialogue, convincing characters only because of the faces, not words. With the kind once, just telling you, without worrying about the psychology of the protagonists. Now, however, you prefer to fall back on the plot itself, drawing from the existential consequences, even it was a chamber drama. So, here is that, even in a light-hearted, the story is not just that of two former secret agents involved in industrial espionage, the apparent Following two companies enemy, but two people who would fall in love with each other without too trusting of their partner.
The scenario is not exactly new, and did not miss anyone, even in recent times (I think I aching to Bob De Niro's The Good Shepherd) has pondered the absurdity of so-called "secret services" who is with who, who discovers when Who better mind, and so on. No longer a cause, if not the same dedication to work. Fool ballet, with no winners and losers, if not, at least in this case, Tom Wilkinson and Paul Giamatti, respectively skillful puppeteer and pygmy ambitious. Both good and wasted.
Gliroy did not know which way to turn this time. If Michael Clayton had with the slash on the question of compromise and idealism, we do not do that shuffle the cards with a rimasticatura intrigue. Owen Roberts who cares (opening), Owen Roberts who cares (just after), who flirts with Owen Roberts and vice versa, both of which flirt with themselves, and they boast. No one, audience included, knows which side the truth lies, but there is nothing in this charming flourish of Bellocchio that every ten minutes, review, drink a few glasses, if they say, do not trust, pretend to fight, leaving, love, plan a life together even against their own interests, confessed to having lied, first tell you, not before you, and close with a comforting smile that seems so much teasing.
The plot, which should be the real star, not the excuse of a continuous chatter, resurfaces at times, but it is too weak to strike. The script, on the other hand, is not exactly that of Closer, which had the same actors, but many other ideas, and knows a lot of group therapy and a little crunchy divertissement, as perhaps aspired to be. Directed by borrowing (including a sickening abuse of split-screen), interpretation of fashion, poster, well that, mediocre. Overall, those who expected the plot was disappointed, who has seen the irony evaporated, the actors who maybe satisfied but that was enough for some advertising of perfumes.

INFORMATION

Duplicity

In a sentence: "if I say I love you, I would make a difference?"
Sconsigliatissimo: anyone prefer the cinema to the Rubik's Cube Portable.
Rating: kkkk

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beautiful movie of the year - Gran Torino

Ray Stantz

They all said, we do too. Sergio Leone, decades ago, said that Eastwood had two expressions: with and without hat. Very true, at the time. Meanwhile, the then young (not even so then, Hollywood's standards - especially those of today) Clint has become an icon in its own right, her presence fills ("pit", he says) certainly have to add the screen, its no longer one - or two - but expressive acting minimal, basic communication level (animal, in that it is next to the most instinctual, irrational, and true of every human being) in a / private world, made up of glances sideways gestures and sharp cut, mutilated words. What is most surprising is how the actor, the star, has become a filmmaker sublime. A film-maker, maker of cinematographic works, with the composure, elegance, mastery of the classics. Yet able to touch, handle, deal with fundamental issues head-on and very modern. His last directorial tests are consistent and incontrovertible evidence. This time, the new maximum levels of touch and is a joy to witness to it.

Telling "the story" seems almost a snub to the author and readers. What are warned: if they lose this film will not only harm themselves. But the plot, after all, minor thing. History of violence, a lot. Past and present, shows off stage or in a dry (but not free). History of people, human beings - different yet similar tremendously. What part of the American melting pot and you (and us) transports all of us in this dizzying effectively and inevitably moving. Story of one man, at the end of his life. Filled with anger and especially of pain, mistrust and prejudice - all clear, slammed in your face. But also "a good man," addressed him as a girl, a neighbor of China (an ethnic Hmong, to be exact), one of the people who - by sheer accident of the case - is to establish a relationship with him . A report that nobody wanted, which mainly seemed impossible for the will of the parties. And even though born and raised, so real and alive. It serves to show a little 'sick man at a time, tired and angry (angry, indeed, the world whole) yet full of life, power and lessons to offer. And with him to show the world that surrounds him, so strangely and suddenly people nearby though seemingly doomed forever to be apart.

A young man comes by chance, and in the worst way, in the life of a man impossible to approach. Who becomes the mentor, father figure (and thanks, a thousand times thanks to those who say it openly, in dialogue, instead of becoming complacent and pathetic felt deeply ridiculous innuendo and subtle). It helps the path of growth, of becoming an adult ("You must learn how to speak a true man"), and fight to protect it from destructive and senseless violence that contaminates life - in the form of a street gang that wants to recruit him for the struggle between "races" in the streets of the neighborhood. The impossible happens, and in a simple and practical. The boy wants to redeem (for what we ultimately just, the attempted theft - also imposed by the gang as an initiation test - Clint the valuable cars, the Ford Gran Torino of the title) and takes the opportunity to do much much more: becoming an adult, beyond their limits, to grow and live. The old man discovers he has much yet, so much to give to others and to be able to rejoice. And finally, you can also redeem himself by endless violence and forever burning in his soul, even if remote in time (the war in Korea). In between, permanently damage the relationship with their children and the second chance represented by a "gook" without a father. The horrible, bloody stupidity of the struggles of the district which is based on racism, ignorance, lack of values. A priest who does (acute observation of Egon) counterpoint to the old thoughts and feelings, almost like a greek chorus, appearing only and only when appropriate. The pride and fortitude of those who have struggled for life for this but did not want to stop doing that - and those who fight for the chance he never had, but if you have the opportunity to try to earn a better life, does not hold back.

Eastwood office at its 110% character classic, it's the gunslinger with no name spaghetti western or Dirty Harry Callahan - and does so with strength and self-irony, cynicism with only the surface but with great and profound humanity. Dominates the scene, but almost in the abstract is to be so stylized. He has the courage, style and control to address new issues without falling into banality. Talk to (and sometimes) hate and violence, but fills the screen with streams of hope. Osa staging sacrifice and redemption without risking ridicule. Give a warning, a lesson, a message of love that we can be if we give in to our dark side - especially when we feel morally justified to do so (and this is hardly surprising, and here ends in size a fresco already powerful).

Here, if the film were all so it would not help this blog. There we would be blessed a couple of hours a day to see art that blends the life and encourages us and inspires in a movie theater. Unfortunately it is not. The reviews, and the distinctions are. And how. Therefore, we recommend: do not miss this film. Even if it were the last of Clint (and pray that this is not!) Shows that a will can sometimes be beautiful, precious, bright like a lifetime.

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The excuse is always the same: "is identical to the comic." As if fidelity to the original (assuming that they actually exist) was in itself a virtue, and to discharge a film based on a graphic novel, cult or not it is, from criticism. Because, let's be clear: I do not like the cartoons (except for Mickey, as a child) and do not know the series. I am going to the movies, and I expect to see work that is not addressed only to insiders.
Wrong, of course. And I have false hopes. Even the director, Zack Snyder, who in "300" I was not disappointed, although the operation was apparently similar to this one. But I tell you now: "Watchmen" deserves my ire, for a variety of reasons.

First, it is too long. 2 hours and 43 minutes of images are good for a blockbuster, but certainly not for a game-based toys. Then, it is unbalanced. Concerned to illustrate the biographies of some of the protagonists (a handful of American superheroes Nixon was in full, extended to 1985 and thrown open to a nuclear war with the Soviet Union) often loses sight of the plot. Moreover, it is vulgar in the psychology of the characters, cut with a hatchet, and exposure to violence, savage and free.

not enough, there is also a barbaric use of the music: a compilation of scattered masterpieces as the worst food for the public. Steps for "The Times They Are a-changin '" in the opening credits (which is alienating, for a newcomer to the event), or the insert of "All Along The Watchtower", but to reduce "Hallelujah", for more in the version of Cohen, a soft-porn background speaks volumes about the inadequacy of the whole culture.

is not - maybe! - Of moralism: the only one who wonders is Rorschach really evil, anti-hero who goes around in a trench coat, hat and spotted shroud, which turns out to be stripped of a conservative suit of iron, the Irish hardly reassuring grin, but what consistency. And not surprisingly, in the end, you disintegrate, more out of desperation that sacrificial spirit. The other idols, however, are a depressing sequence of trivia: all superman blue without irises (Dr. Manhattan) result of the usual, terrible accident at a research center that has become tired of human destiny demigod retiring to Mars, complete with a philosophical solipsism unbearable. Then, on the same line, the Comedian, a sort of drift living the American dream, who rapes and kills him with a smile pinned to his chest (a memorable scene where the pregnant woman shot him, then blaming Manhattan's not stopping it), in addition to generating the new Silk Spectre heroin. Coveted by the first Superman, then by Nite Owl, a Batman with the character of the poor accountant.

The story does not need to: the watchmen, guardians of the American and masked then the world (we need another imperialist background, thanks), are deprived, because they are inconvenient, by a decree of Nixon and reduced anonymity. One of them (Ozymandias), however, hatching plans for world domination, and begins to secretly get rid of former colleagues before the actual start of its new, original, idea: to unleash the Apocalypse in New York, and the blame in Manhattan above so as to create a harmony between the hostile powers in the world against him. The project, at least initially successful, with the consent of the scapegoat, who leaves the earth forever, and killing of Rorschach, who prefers his own death to the revelation of truth. It will be a diary posthumously, finished in a newspaper office, to perform them.

marginal notes that some episodes, though perhaps imported from the comic, I find it ridiculous inexorably, type:

- Dr. Manhattan that atomize the Vietcong quietly turning jockstrap (in private life, however, directed us propina version "nature ". In other words: extermination, but discrete);

- The Comedian and cold from the perspective Zapruder Kennedy;

- Kissinger to Nixon who trusts earthy (among other things, on the same mask Point Break) Shortly after the attack of Ozymandias, "were not the Russians."

conclusion. If you go to see him, do not expect the alternate universe to Gotham City, nor the political fiction saga of V for Vendetta. Watchmen is all these things and nothing. But with a distinct preference for anything.

INFORMATION

Watchmen

In a sentence: "they told me you were on Mars"
Sconsigliatissimo: anyone think that the heroes in costumes are not necessarily synonymous with Carnival.
Rating: KKKK