The Shamrock of March 2011 finally in PDF!
is clearly a resurgence of the filmmaker, as his way of moving from one genre to another within the same film is brilliant, easy, obvious. Turn disaster movie, romantic comedy, Christmas tale, melodrama, film and superheroes investigating a social issue (the survey is also the least convincing, through lack of actual knowledge on the subject), Beyond interweaves many ideas and different emotions while remaining still legible.
Nevertheless, I have some reservations: *
the bear into the water after the tsunami is a mix between two things, one foul and one idiot: the little red dress in Schindler's List , Scooby and 127 hours of - laughable and coarse
* the end, where Matt and Cecile roll a shovel, is shipped to the speed of light and reveals the falsity of the company Eastwood then crossed these stories had managed to interest us and even we believe, by subtle variations on the theme of communication;
* representation of the afterlife is a new-age kitscherie so she agreed to it only manages to make ridiculous research Cecile de France;
* Finally, two brief scenes of racism thundering good foundation, We suggest that the old director left to take a nap, confident in achieving Hortefeux - scenes shamelessly legitimized by the presence (suitable for the blind identification) of the kid who just lost his brother and sister whose mother is on drugs :
- the first at the funeral of the boy's brother, shows a funeral too quickly shipped, because at the door waiting for some Pakistanis (Eastwood inquired about the kind of aliens found in Britain, is already something): it could be funny, it is only the reflection of a sly old bastard (one is too many, go home). Of course, the religious commercialism which is described here, but in a roundabout way, perversely, the alien becomes the cause, or at least the unlucky participant (all under the guise of a social realism )
- the second to the school where the primary teacher asks the boy to remove his cap (which is what was his twin brother before dying), so that the table is a girl with a veil: here, too, could have been a comic scene, but no, it insinuates itself badly in the film as a reactionary in a conversation about the PMU. So when
The triumph of the will at The Jew Süss when ? For now, it Beyond , but the worst is yet to come.
(In the San Francisco, there is a political issue that is dealt with at once clearer and more open. The layoffs are expected in the case of the worker Matt Damon, and an agreement between unions and employers 'Proposed voluntary departures not badly paid. Matt Damon, first, is surprised to have been named among the volunteers (he, we are told, seniority in the box and some attendance at work who thought he would save), then said he "understands" that the box was privileged families (he is single and childless), and that it seems normal. Thereupon, the film could not be more explicit, opting for the thesis "Women and children first" slow sinking of the capitalist, but it leaves open reflection.)
Otherwise Beyond is I think one of the first movies really capture the modern means of communication (mobile phone, Google) to make a deep and elaborate fictional material. It's a film about the contact, all forms of contact - with the immaterial, with the taste, touch ... and it is this thinking that I was passionate.
