Each year, on the ruins of what was once North America, the Capitol, the ruthless nation’s capital of Panem, requires each of its twelve districts to send one boy and one girl – the”tribute” – compete the Hunger Games. At a time penalty to the people for trying to rebel and strategy of intimidation from the government, the Hunger Games are a nationaltelevised event in which the taxes have to fight to the death. The last survivor wins. The young Katniss finds himself facing opponents who are overtrained prepared to play all their lives. Its only assets instinct and mentor, Haymitch Abernathy, a former winner of theHunger Games but that sank in alcohol. To hope to return one day to her, Katniss will have, once in the arena, make impossible choices between survival and humanity,between life and love …

Critique

The new millennium has imposed a film taken from literary adaptations usually in ray youth libraries. After the boxes of international franchises such as Harry Potter or Twilight , it was the turn of Hunger Gamesto join the dance. With a marketing winded, the buzz continues to expand on the canvas. Is primarily intended for young audiences, communication around the film magnetizes fans of novels designed bySuzanne Collins and tries to charm the same time the fans of Twilight , to name just this franchise.

To advance the project, the choice was directed towards Gary Ross , director of the short filmography known for directing Thoroughbred – The Legend of Seabiscuit in 2003 and especially Pleasantville in 1998. This name seems very exciting but experience does not always justify everything in the film and it is often said to be given his chance with the product. Hunger Games is experienced through the eyes ofJennifer Lawrence who camps Katniss Everdeen, heroin daring athletic figure and determined to protect his family from any danger. If the character brings to fantasize, it is unfortunately not dug. The various strong women that have been interpreted on the screen before it does not ashamed of his performance, or even the writing of his role. We are very far From Ripley and Trinity who were able to prove themselves once. The accuracy to which atmospheric Katniss evolves film debut is breathtaking, natural scenery and charming surprises both because some tones come SF hinder this kind so common in our eyes. District 12, dwelling place of the heroine, is reminiscent of the concentration camps of World War II. Add to that elements from the new technology (that we do not know of course) and the effect obtained seems rather interesting, but this joy is short (just under half an hour), the film descends a level where the principal city sneaks on the screen. Cheaps effects, ambience fifth element so that the architectural style in the fashionable dress of the natives. Again, this is not only the look of Hunger Games that tickle moviegoers. If one believes the pitch (because here it is based on the cinematic treatment only) the film describes a completely twisted story where the young are supposed to kill. Comparison with Battle Royale appears as a pop-up in your mind, however, stop there. Hunger Games wants and lives primarily as a fictionalized adventure trends SF, damn consensual and very watered down. Expect good 1h and dust to get into the thick of it.

Although his appearance may seem superficial or somewhat stripped, Hunger Games still offers a variety of reading levels. Mixing of views on the war or the standardization of the new generation, the main nucleus openly criticizes our media system. The coldness with which television news dealing with death and especially the scourge that affects the small screen since a bunch of years: reality TV. Hunger Gamesbased on this concept: this game where young people have to eliminate is retransmitted television and all the machinations involved with this kind of concept is also part of the package. Nothing is forgotten, fans of the show until the very elaborate range of candidates, and any small deceits that production scheming behind the scenes to bring the maximum dose of excitement to the viewers, to the detriment participants.

PG-13 requires, although the bottom of the film is extremely violent and creepy, Hunger Games has fun around about it and does not offer at any time a scene worthy of the name. Particularly important is the passage where the candidates are released into the wild, but brief shots and camera movements severely epileptic leave us none the wiser. The plot takes velvet gloves as a need to obscure the main idea, as we inflict embarrassed about it. RC realization we almost forget our primary motivation, the thick pseudo-romantic reduces the background wild and demented. Add to this a montage “at haphazard” and a bit rate supported Hunger Games proves to be a big deception that displease purists but surely delight the faint hearted. Another film that will make much ado about nothing. Meanwhile, we are far from spectacular event announced.

As per the sources

According to sources, JLo had invited fellow judges Steven Tyler, Randy Jackson and American Idol host Ryan Seacrest to dinner along with her new boyfriend Casper Smart, where the two were spotted getting mushy. It seems through the public appearance of the couple that JLo is getting quite serious about Casper Smart, who has also bonded with JLo’s twins recently. However, the news of JLo’s getting closer with Casper has made her ex-husband Marc Antony go green. If sources are to be believed, Marc is now getting ready to challenge JLo over the custody of their twin babies.

In short, Blake is a pretty good surprise and managed to bring something to the films buried alive , as he seemed already to have come to an end. Nevertheless, even if the work is interesting, it is hoped that such will not be triturated in all directions as the DV-movie, but not swear to anything, the surprises are always possible.

In terms of the staging itself there will be little to say except that Dorff is rather well directed , but otherwise we will not count little or particularly innovative visual ideas as there were Buried in, blame the director Gabe Torres , not always very creative, but who however managed to restore its reputation which was hitherto little brighter, if not through Last Stand, a short film on Litte Big Horn which earned him the honors. will be remembered especially the final, quite unsettling for the viewer , who has a curious feeling of having been manipulated, even at the last second, it will perhaps not in the top 10 best results, but no doubt he will be remembered as something very nice . To conclude, if you like thrillers this register, Brake will see the footage to live a few good moments of heart palpitations and other times action (yes action, because the box is in the trunk of a car). The least receptive to this concept using a lot of strings are relatively common leave less convincing, but it deserves however they linger, if only for the final. Special mention to Stephen Dorff, who despite a career not always glorious, managed to show credible in his role, whether it’s in his moments of weakness as in his moments of bravery. He did not ashamed to face Ryan Reynolds, and his behavior is somewhat different from the latter there is no doubt that some people prefer to it.

The Oscar-winning director Andrew Stanton JOHN CARTER sign with a great adventure film that takes place on the planet Barsoom (Mars), inhabited by warlike tribes and extraordinary creatures.Taken from the first book “Cycle of Mars” by Edgar Rice Burroughs, the film tells the fascinating journey of John Carter, who finds himself inexplicably transported to Barsoom, the heart of a mysterious war between the inhabitants of the planet. Of all the strange beings that inhabit this universe, he made the acquaintance of Tarkas Tars and Dejah Thoris the captivating princess. In this world about to disappear, Carter discovers that the survival of Barsoom and its people is in his hands …

Critique

These past months have been those of a revolution. Indeed, the circle of the gods of animation at Pixar, has seen from two of its best and brightest film in live action. Brad Bird first, that with Mission: Impossible – Ghost Protocol has not only managed to control his superstar Tom Cruise but has mostly delivered a great action movie, and now Andrew Stanton . With John Carter , originally John Carter of Mars , as he should have kept beautiful, the director of Finding Nemo is tackling a project of any magnitude, the kind of movie you can not see once every 10 years, with luck. Like Avatar , the saga as Star Wars , like many others, John Carter is a film-world. Filming Titanic, a crazy project, and ultimately a film that Disney does not know what to do and been trying for months to sell it as a vulgar tale of science fiction for children, then it is a film of a magnitude that the studio will not return anytime soon. Anyway, John Carter there, John Carter will be seen, and John Carter is an outsized movie … if not the great film as expected.

John Carter film is a paradox because it is both at the forefront of cinema technology but seems dated in its content. There is something magical in there, because the crazy bet to Andrew Stanton is to live on a big screen adventure matrix for almost 100 years of popular culture, from literature to cinema, to the comic.Therefore, we repeatedly find the impression of scenes and elements already seen, it is in George Lucas , Marvel or DC Comics. Yet never has the feeling of repetition simply because Andrew Stanton knows his story. He however did not all the advantages on his side, including a scenario sometimes bordering destitution, especially everything concerning the romance between John Carter and Dejah Thoris, treated over the leg while there had the potential to find the one between Jake Sully and Neytiri. There is also a serious problem of narrative progression and systematic recourse to ellipses can be huge, just to be able to enter the film in its format 2:20, far too little for a story of such magnitude and fed with such dramatic issues . These problems are unacceptable, clearly. Yet John Carter manages to rise above these gaps.Never attain the status hoped that huge, but he sweats so much the desire to make great cinema and create from scratch a world governed by its own codes, the codes to revive classic adventure film and SF fresco, is emerging as an important milestone. And especially since it is part of a breed of film endangered, whose representatives will be forthcoming The Hobbit: The unexpected journey and Pacific Rim .John Carter is both the audacity of to face a myth and the desire to achieve an instant classic, based on archetypes everlasting representation of the hero and his journey to fame or accomplishment. A complex which suffers from being here as much tightened but that is really mastered this point. So that there is no confusion, John Carter is NOT an action film per se. There are some fight sequences and battles, great, but it is generally a film built on a classic quest narrative fabric. There are great ideas, like to include in the first and last act of the film, located on Earth, the author of the Cycle of Mars , Edgar Rice Burroughs , giving it a role as consistent as malignant. And the elements while keeping typical “Disney” fully integrated, such Woola.

The first twenty minutes of John Carter were proof that the promotion of the whole movie was a disaster.Indeed, the whole first part located in the state of Virginia has nothing in common with a fresco SF because it is simply a pure western, as epic as funny, and allowing Andrew Stanton to quickly to prove itself. Very laid and supported by a mounting line, he suddenly imposes on a new dimension to his stage when he begins filming a ride from John casing chased by soldiers. It is often the sign of greatness. An impression will be confirmed later as John Carter often flirts with the great movies, always with the audacity to dare the improbable. Andrew Stanton has the inherent ability to filmmakers who have already successfully rubbed the silent film, to Read full control movements of characters in space and frame. Thus, when it comes to moving John Carter on Mars, with the difference of gravity which gives it a surreal freedom of action, it’s wonderful because the director knows precisely capture his movements and mastery of visual storytelling This great tool that is the essence of cinema. This boldness and its positive consequences is also found, for example, in the most beautiful sequence of the entire film. John Carter of a fight alone against dozens of enemies, a savage struggle in parallel with a specific tragedy of his past life on Earth.This scene, visually stunning, is both an intense emotional moment, a great reference to the illustrations ofFrank Frazetta and a brilliant use of the tool assembly to suddenly throw new light on the main character and redefine it. This scene-key that corresponds to the step “revelation” of the heroic journey transcends the film and gives it a new breath, a quite different scale. Yes, because like all great frescoes of the history of cinema, John Carter meets the specifications of the hero as established from time immemorial. We can always rail against the feeling of deja vu, it’s nothing compared to the founding statute of the story that is embodied in its entirety last film, as it was imagined by its author in 1917.

The universal status of John Carter to operate at all appropriate reading grids, starting with that policy.Forced alliance with the enemy, manipulating a shadowy organization, alienation and rebellion of the people, everything is so behind the current universe purely fantastic. Andrew Stanton juggling with figures and concepts which require a true precision and s ‘comes out wonderfully. He builds his hero and so makes sense, allowing it to evolve a personal quest for an awareness of its role as an elected official and a much more noble pursuit. He built a universe completely viable, with its own physics and its own language (with a beautiful scene of language learning Thark which is reminiscent of the 13th Warrior , and reminds us that John McTiernan had already been working on an adaptation of the cycle in March) and built its archetypal characters evolving in a world controlled by the rules of funny creatures polymorphic led Matai Shang (excellent Mark Strong ’s nemesis in the shade), between the creatures of the Sith Star Wars and the elementals of the Chronicles of Riddick . Complex, exciting, John Carter has good potential for this classic, by the consistency of his universe, the precision of its gross staging, a monstrous effort in assembling sequences and a few action scenes in monstrous form of points organ. Some pesteront against the simple values ​​that are put forward, as the struggle to reunify the people, as it is considered rather noble. John Carter is a bit like a first film, a work full of generosity and great ideas, worn by an actor of surprising charisma ( Taylor Kitsch in direct heir of Arnold Schwarzenegger in Conan the Barbarian), Signed an exceptional soundtrack by Michael Giacchino and SFX as much bluffing in using performance capture – with a great interpretation of Willem Dafoe in Thark – as in the creation of this universe comes to life titanic. With a little more confidence on the part of Disney, with more rigor in the writing and / or dispensing with the time limit which led to savage cuts, John Carter could have been a great movie. It’s just great. Finally, a note about 3D: It’s so disgusting that it often ruins the whole composition work plans.

This is the world that the film dares to put before our eyes in so many films that could be called fantastic. To enjoy it requires a special state of mind in which we are carried away, without putting too much resistance. Things happen according to the laws of fantasy, so it is entirely impossible to close and inviting, so we can enjoy, exciting our senses to achieve harmony with the new reality that is being proposed. The laws extend the operation of fantasy from reality into the impossible, so that big becomes small and small infinite weariness and fatigue disappear mitigated by the will, desire and fantasy, the constraints are transformed in magical powers and the laws of nature are suspended to accommodate the miracle appear the perpetual motion of all classes, encouraged by the invincible power of intent and humans behave as heroes or as villains ends, with no room for mediocrity.

This is the world that certain writers dare to invent and describe, notably Jules Verne, the master of masters of fantasy. His fantastic journeys penetrated into all the spaces and the film has been no stranger to these days and has used his incredible imagination unreservedly. This is the world which we enter into Journey 2: The Mysterious Island. Our journey, appropriately, is accompanied by a young rebel and his stepfather (representing a typical current family of developed countries) and a young father and his close (symbolizing a tradition dies slowly, still strong in the other countries of a union between parents and dependent children). Accompanies the grandfather of the young, an explorer, scientific, lonely, a little crazy, who abandoned his family and civilization in search of mysterious islands and fantastic worlds. They are in a place that brings together the combined imaginations of three great classical writers of exploratory adventure: Robert Louis Stevenson, Treasure Island, by Jonathan Swift’s Gulliver’s Travels and Jules Verne, Mysterious Island and 20,000 Leagues Captain Nemo’s submarine voyage.

How fantastic is this island? Resources and creativity of the film allow almost unlimited designs. We all know, from hundreds of films rich in special effects increasingly daring. After Avatar , with its hanging in the sky islands, forests wise, exuberant ecology and intelligent and sensitive animals, we have almost reached the limits of imagination and design. However, that is, to travel with renewed energy to new proposals, which excite the public, so useful, new paradigms, to overcome indifference and monotony of civilization. The director and writers have devised a very beautiful island, rich colors, spectacular, worth seeing with pleasure, profuse of flowers, butterflies, waterfalls, life and landscape. While we like a bit similar to what is modern life, which seems to have everything in the style of what would be a legoland or a toy store, unlimited objects varied and creative, get carried away. The results set that has a work attractive, fast sequences that leave more room for doubt or questioning analysis. Elephants are small, which are left loaded as pets, tame giant bees left immediately, without training and lead to the characters in the sky, as modern aircraft maneuvering to avoid being eaten by all murderers beautiful birds, a volcano emits Golden ash, the island rises and sinks in cycles of creation and destruction. But the fantasy, exuberance and color are just the context that gives meaning to the emotions and stories that the group of travelers living. These are the ones that give a common thread and a meaning to this trip.

This is where you can judge a film of this genre great. Following Verne, Stevenson, Swift, fantasy worlds they do is serve as a pretext to enter the human soul and examine their creative potential. Can the man to solve the great challenges using imagination, passion, commitment and sense of adventure and intuition? Or will it be defeated by violence, war, pain, evil and natural and ecological disasters? In fantasy worlds of modern writers, especially Jules Verne, the man is the output based on the ingenuity, science, technology that is friendly and is mastered, the ability of observation. All goes well at the end, wins talent. This also occurs in the story at hand (may not be bankable epic effort of this magnitude to create a black fantasy film in which characters die devoured by nature and by their own weaknesses). But as we ad-slides of a possible disastrous global warming, which can convert the planet into a barren island, uninhabited by humans may perhaps be the concern that there is no possibility or fantasy, or talent that we rescue.

But here, perhaps unknowingly, the filmmakers are considering a new paradigm, which can be distinguished behind the fantasies of the landscape: the union of enthusiastic young people and adults open, the wisdom of the old who have not lost their vitality, the collective input of races and different ways of thinking and clear-dark beauty and charm of human beings who fall in love and embrace, can we come out ahead, to the extent that we have shared dreams and sense of imagination and of fantasy.

In short, Goon is a good little comedy, honoring the legend and to the sport . The frame has the good taste to renew itself and not be limited to an orgy of violence, leaving a rather nice romance between our hero and a young woman overly complicated, which brings a touch of sweetness in a world of raw, proving that the most stupid of hitters he also has a heart. The cast is great , because in addition to Scott who broke out mixing play Forrest Gump / Happy Gilmore, the supporting cast are all tasty, it is the beautiful Alison Pill (the drummer for rock band Scott Pilgrim ), the manic Baruchel who continually makes the con, or the nemesis, camped by Liev Schreiber as always excellent and devilishly fun. Some do not louperont notice the presence of Eugene Levy , inescapable troublemaker known as the father of Jim in American Pie. To conclude, if the mixture hockey beats down nice and romances that do not take too much space you like, this film will most likely make you spend some quality time rich in gags and tender moments . If all this is not your cup of coffee, you will have little enough to gloat, and its few passages a little soft and not always inspired other gags are there to finish you off . Special mention for Seann William Scott, again at the top, and always has a chance to find roles that fit him, unless it is he who has a real talent to adapt to them, the choice is yours.

The Incredibles is located in the canton of cartoon fiction Metroville (a hybrid of two houses of Superman, Smallville and Metropolis). Metroville home to a number of miraculous superheroes who do everything to track down the killers of evil to save cats stuck in trees. Foremost among the superheroes is Mr. Incredible (Craig T. Nelson) who resembles Superman in both strength and style. Shortly after Mr. Incredible’s marriage to the vivacious Elastigirl (Holly Hunter), a wave of civil lawsuits and other unwarranted offenses were laid against the super-hero by the people they save, who cite numerous damage to their person as a result of being saved. The rash of legal action, and the strain it puts on the local governmental budget, turns the tide of public opinion against the superheroes and forces underground.

Hosted by the government program to protect witnesses, Mr. Incredible has assumed a new identity – that of Bob Parr, an ordinary middle-class suburbanite who works as a specialist insurance claims. Cowering in his cubicle, Bob Parr must deal with the horrors of a typical use of 9 to 5, a boss he hates, and regulations he feels are immoral and offensive to the company’s customers. Meanwhile, Elastigirl is now known as Helen Parr, and she grew comfortable in his new role as a housewife raising their three children removed superhero – Violet (a shy girl with the ability to become invisible), Dash ( an arrogant boy with the ability to run super fast), and Jack Jack (without a baby-of-yet-known super powers). All goes well until Mr. Incredible, anxious to return to life to help people, is approached by a secret government organization Super hoping to get help.When he turns out to be a part of a plot hatched by the complex syndrome of evil (Jason Lee), a former Mr. Incredible sycophant turned bad, Elastigirl and the entire family must risk blowing their cover Parr to save Mr. Incredible , and the world, from certain death …

The Incredibles deserves a place on the list of any of the 100 best films ever made. It is really good. The musical score, composed by Michael Giacchino (known for his work on Alias), sneers at today’s digital multitrack recording for the recording of the old school analog of the 1960s in its efforts to recreate the jazz-orchestra ambience often associated with the golden age of comics. This attention to form and detail of the story sets the tone for The Incredibles. And that’s why the film is an absolute must-see. Its meticulous blend of sound and images, coupled with a quite hilarious – if not ingenious script – makes The Incredibles a strong contender for best film of 2004 …

It is also necessary, before beginning to unfold, to find the end. After a first stage in fuzzy dream where still flashes as the parting of two lovers on a train platform, the eye of the camera settles on the different opening paragraphs Esposito began just before the crease page and start over. Undecided despite the notes he applies to take the middle of the night as an exercise of automatic writing, he returned to see Irene after years away from the capital and asked about the start to give his story.
Perhaps helped by its board to close their eyes and start with the first images that arise, it plunges from the moment in the events of 1974 and, after this incipit Nostalgico spéculatifplus-singular for a thriller that, between bungalow into a world halfway between the Italian crime film of the 1970s (especially in its truculent judicial conversations of employees where colorful reappear, obvious ritales the origins of much of the Argentine population ) and The Three Days of the Condor (which claims to Campanella), especially since the action takes place two years before the military coup, under a government Perón presented here as the antechamber of the dictatorship. The director does not hesitate to tap into the codes of the genre, including comedy its resources – the scene where his hilarious Espósito and faithful companion Sandoval soûlographe notorious, are scolded by their chief for their lack of discretion in the investigation for example, is deliciously funny. The film also follows the work of hermeneutics investigators who scrutinize to till their eyes the few clues available to them, as if – if antonionien theme is also found in Argento, including The Cat nine tails – the truth lies elsewhere was here in these photos (which are superimposed in the before and after the horrible murder) and in these notes written by him as his gaze eventually betray.
However, after some twists police – summary arrests, guilty finding in a crowded stadium (football, of course) and chase scene – the culprit is identified, the film widens its perspective and changes register, giving way to a criticism of the judiciary (which peaks when the murderer exempted from punishment appears on television alongside Evita Peron) coupled with a dangerous tale of revenge unsatisfied. The significant scene where investigators share behind the closed door of an elevator when a heinous forced overcrowding with the guilty, who has just been released by the game system corruption, paradoxically refers to a door that can not be closed , a hopelessly unfinished chapter, an unbearable wait.

In fact, the same way that the hero is hardly the beginning of its history, the film fumbles towards its conclusion – the pace abates, suffered some hiccups, and the tone is tinged with melodrama while we wonder what Nature is the required resolution. The process is, however, the weakness and strength of the film is that pulling the thread of the investigation, it was all a place where Hank stands now clearly the reason for love. The character of Irene, initially discreet, returns to the center of the story as to clarify the contours of the idyll that Esposito and she had never lived, the letting go like a train that eventually separated . As past and present merge (giving the impression of a “Time Regained” where we look back on young faces in finding the aged), two plots now appear, cleverly superimposed by an author who responds to the inequity of the system it stigmatizes a perfect balance narrative (that Campanella wanted to restore from the novel, where the police element predominated) and continuity thoroughly reflected in the smallest details – recurrence of objects linking the two son conductors, such as photos and the old Olivetti typewriter, with its A missing, is quite tasty. Besides, as one notices Espósito, the dark tale of murder at the revelation of love, there is a letter.

It will be understood that in his eyes goes far beyond the term of genre film. The symmetrical organization of the narrative, his dialogues very well composed, the perfect arrangement of the underlying themes (carefully highlighted by a camera accessory) and the ease with which the film combines the genres reveal a writer-director who leaves nothing to chance and clearly the writing process to heart. With its slightly too early when the Proustian hero wonders how to become a writer and his taste for the paper, the paperwork that piles up and other photographic material, the film explores indeed the act of narration and the parallel between narrative and truth. Indeed, the whole movie works as a midwifery – we see gradually what our lone hero tries to solve the twilight of a lifetime are primarily his own feelings, always explicitly latent (and a counterpart to the waiting for ever Irene) but suddenly revealed, suddenly very important, when the blur of the first stage are explained.
At the same time, without contradiction, that truth that emerges seems tinged with a necessary subjectivity. Here, as is clearly the writing tips of Irene (“blind eye”; “tells what you remember”) and especially the scene where after solemnly explained you need to know to adopt other points views, Sandoval decrypts, using his friends barflies, the “code” used by the infamous footballing guilty in his letters, it’s all about the look, including the truth of things. Even the “memory of a memory” here has its legitimacy.
So when, rejected by the victim, twenty-five years after the fact, under the pretext that after all this whole story is “his” life, Espósito replies that this is also his, merely to state this sentence sufficient to establish an essential truth that brings together under one key to understanding both intrigues and enlightens the whole story. This assertion stands out as an act of liberating speech he repeats like a mantra, but by establishing that, in short, his life is what he decides, it also reveals that if all is perhaps a matter of respect, it is precisely not to be the eternal spectator. Thus, for an effective sleight of hand end, the work of the investigation by the frenzied observation leads its protagonist to realize that this is actually taking part in the action he can close the door remained gaping, Campanella offering an impeccable conclusion to a story carried out smoothly.