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.
Where Danny Boyle appears as a manic-depressive who would not know of depressive phases.
With a history that only Robert Bresson and Chantal Akerman extremist or a real filmmaker could handle (a man stuck at the bottom of a canyon, his arm stuck, for 127 hours), Danny Boyle still manages to make a clip (c is in his extremism him), a long half past one advertisement that would sell in the end nothing other than itself.
It amuses me that free, and allows the film to join a film category rather happy: the nanar. Danny Boyle has a thousand ideas a second, and none is good. Accelerated, slowed, shots inside a straw (!), split-screens, dream sequences, sequences fantasized, flashbacks, hallucinations, jerks: any rate, time never passes through any of the plans, and it is entitled only to the excitation of a filmmaker who missed struggles to not get bored. The bidding is such that the film is hilarious.
The story borders on idiocy. One would think that a dying man has some deep thoughts. In Danny Boyle, no. In Danny Boyle, when we will die, you think of Scooby Doo. Only evidence of the maturity that the approach of death gives humans: the hero gives up wank before the picture of a nice pair of tits. That said, there is no evidence that the reason for this inability is any maturity. It may be simply because the hand he still is not free hand with which he usually masturbates (and what good habits change when you know you will die? ).
James Franco is the anti-Isabelle Huppert, so that it becomes confusing. He does not play at all the pain. Just a rock to crush his hand and breaking his arm, and at no time does it badly. When one imagines what would have been Huppert such a role, we are already anxious. This apparent nonchalance of the main actor gives the film an incredible distance.
The best scene is pretty much: James Franco drinks the last drops of his gourd, Danny Boyle hid his camera in the bottom of the flask, and the language of Franco films passing through the orifice. The movie looks like this: oral sex in a sock, a muscular effort without result, or the courtship of a pigeon trapped alone in an attic. I want to be Danny Boyle
three or four days a year. All satisfy me. I would ask myself does not matter. No other movie, no book, no thought seems to me overwhelming. I could do anything and I'll do anything. That would be happiness, it would be cocaine, and I have created the impression of my time while feeling particularly suited me.
a Pepper Candy
2 disorder at age 20
3 Pablo Casals
4 Gold Duke of
5 City lunch
6 Paris by night
7 8 Disorder
you interested in this?
9 The city can
10 Goha
11 Eves future
12 Spider satin
13 Knight Ménilmontant
14 Operation seduction
15 Jacques Dufilho, the actor and his characters
16 The Doll
17 René Clair (filmmakers of our time)
18 Trap
19 Eden miseria
20 Girls sun
21 The cradle of humanity
22 Occupation dancer
23 African Childhood
24 Nothing Here the order
Group formed in 2000 in Atlanta, the Black Lips to define themselves and not without some modesty as unique re sentatives a genre of their own creation: Flower Punk. Understand that the Black Lips produce music combining a song strangely violent and heavily marked or garage punk tunes and accompaniments often more influenced by rock and psychedelic pop of the '60s and flower power. So difficult, I tell you, to believe that such a group has have happened so late, especially taking into account the quality of the recording seems (deliberately one imagines) just worthy of a lambda group of the sixties. Still retaining the sound quality and intentionally infects ancient in the way it sounded, the Black Lips we offer several types of songs all taking the faithful reinterpretation of the classics of the genre from 1960 to the early seventies. A very instrumental Beatles / Byrd s / Kinks / Animals like I'll Be With You or Dirty Hands (which are indeed quite scandalously based on the same three agreements) accompanies a singer with the voice of London hoodlum who is reminiscent of Mick Jaegger the London Years. Other titles like Hippie Hippie Hoorah will refer to a period a little later by using sounds that we think will do more in Woodstock at the Cavern Club). Others borrow from Keith Richards (on everybody's doin it or take me home back to boone ) Jimmy Page and others (listen Body Combat ) of guitars, a voice is still very similar narrative and disturbed to that of Jim Morrison on Trapped In A Basement example (in months can be depressing). The group has written three albums, mixing all my three punk, garage and psychedelic without being able to really say which is more rock, more punk or more psyche than others. The only notable difference is probably the recording quality is improving slightly over the album, Let It Bloom (with it already can not make more revival, with reference to the legendary Let It Be and Let It Bleed Torque enemy Beatles / Stones) to 200 Million Thousands may be more deeply rooted in the years gone by when the recording quality is improving so quickly. Maybe they have also realized that this desire, understandable and interesting background, sounding vintage sometimes pushed their music on some songs to the limit of frankly disgusting.
One thing Im Exposure: contrary to what they say, the Black Lips have invented anything in music. If they are indeed content to resume what had been done better at one times the most lavish for music and rock, if not the most luxurious, they must recognize the merit of having actually done well. There is nothing revolutionary, but it is tasteful aggressive and powerful, disturbing (maybe even disturbed) and must admit that this choice of gives the whole archaic records a certain charm and a certain nostalgia for then they try and succeed to imitate. We could find such a company somewhat vain, even annoying, even without wishing at all costs "progress for progress" to make the current make today. Personally, I do not mind if, as in the case of Black Lips, it's well made with excellent qualifications and very little waste (especially on first and third albums which are the only ones I listened , the second being inadvertently passed to the door), just as authentic as if they had forty or fifty years older. In addition, I must add that I'd much rather see and listen to such a group of representatives of groups swarming anarchic electro-pop-rock often seemed able in every way to each other painfully trying to keep afloat in the various stock Grebe and independent rock since the early 2000s. Note that this group in live performances he seems to say the least rough and rich a fourth album released this year. So do not expect a revolution or a disc is absolutely essential, but at least an album well done, definitely rock and authentic.
RODEO MASSACRE: If You Can not Smoke'em Sell'em
Hailing from Sweden, for their part, the Rodeo Massacre also involved in this will rekindle old fires , to pay homage the larger half of this century. This time with a woman at the warm and powerful voice (which incidentally will not come to break the traditional view that we on this side of the Baltic our Swedish friends and the wider Scandinavian), rhythms supported, the guitars sometimes furious, sometimes haunting and effective and powerful choruses, the reference to Jefferson Airplane blindingly obvious. And again, the result is rather pleasant. If the influence is to JA is indeed obvious, we can not honestly say that the music of this group on behalf of the taste unfortunately not as sure his music is limited to a pale imitation, a vulgar plagiarism of the latter. There are many contributions, and other reconstructions reconstructions from the Swedes. It could for example enjoy the unusual presence in the register of solos of flute, harmonica (hear example Zombies of Life ) or trumpet ( Desert Man ) that enrich the atmosphere of a form of euphoria, may be madness, sometimes as dementia at the end of the song Desert Man and the rhythm of the galloping drums and guitars, us through the great plains west of the New World. It will also show structures come directly from the original Blues ( I've Got A Big Foot Now ) On their debut album If You Can not Smoke'em Sell'em , released in early February 2011, it has the right to a recital of psychedelic rock and pop dasn rules of art, sometimes even approaching intros significantly from those of the Doors (including Turning Wheel ). Sweeping influences undertaken by Rodeo Massacre is still wide but coherent without lapsing into accumulation, with an album that, given the atmosphere where it takes us, form the soundtrack to a Tarantino (especially the song Desert Man ). One is forced to recognize the quality of this album and the group that has given rise, whether you are a reactionary nostalgia for the seventies or a youngster just ignorant and naive (or between).
This is another example of classic revisited with gusto, ostensibly revival group without being vain, that does not give rise to criticism from alumni and purists, or indifference or disdain of the most progressive.
So in a gamble that had launched the Black Lips and Rodeo Massacre, as others have done and will do after them, by choosing this way of revisiting classics . If the company can often seem devoid of great interest, that concern was quickly dissipated in the case of these two groups in this new century with a sound personality, technical quality and creativity that can seduce.
Mr. Lucas
The formula of the film is a nice idea - it would be more if the film was released in 1927, the advent of talking pictures: an almost-king stutterer prepares to deliver a speech that legitimize status or not.
For a first talkie, it would have been something wonderful, because speech is really the only show of the film, his only event. The suspense lies in this: the king he will deliver his whole speech, or stumble there a word condemning the theater back to its origins? It is the legitimacy of the word that comes to the movies here.
The emotion that comes is quite invigorating, and maintains our empathy for a character overcoming her fears, coming to the end of a deep wound, but that it is too heavily identified (it is understood the father's shadow hovering on stuttering son, but there is no original traumatic scene, and that the film remains fairly modest and well seen).
course, actors grimace looking for a price (we come to regret that this film is not just aired on the radio), the music supports them in their ongoing efforts, and speech therapy are compiled clip way, avoiding the filmmaker to sign an essay on language too radical and training.
However, this figure of King stutterer finds its glory in proclaiming the coming of war in Britain is very ironic critique: what's funnier than a character lifting a mountain to participate in History while it will anyway, even without him? What's more ambiguous than this happy ending final apotheosis this personal threshold of a series of defeats and massacres? Conversely
the Black Swan , based on the same show must go on film spectacular, the principle is not dubbed or redoubled, but rather perverted. The artificiality of this kind of film that serves the purpose involves the denunciation of the artificiality of a figure.
Moreover, the emotion that overwhelms us is not overwhelming, and the link between the main character its father figure is absolutely respectable: a friendship can change a life, tells us this nice movie. Among all the machines to cry out early this year, it seems to me the most amiable.
