For some reason , Hollywood became convinced that it is time to reshoot the features of Dutch filmmaker Paul Verhoeven who helped give substance to the American action cinema in the 1980s and 1990s , such as Total Recall – whose remake came out in 2012 – and now RoboCop. It turns out that the films of Verhoeven, and personalist , always come with a built satire, which makes it potentially ridiculous trying to play them .
MGM took few years with the project, to see Elite Squad and decide that the Brazilian director José Padilha was right to update the RoboCop . The similarity is evident – Captain Nascimento of BOPE and his train headed to deal with the crime of machinelike way, with the efficiency of a robot, and dehumanized in the process – and in fact is not surprising that the 2014 split with RoboCop the first Elite Squad also some qualities and their defects.
The main similarity is the tendency to create an intricate panel views. This can be understood as both an advantage (the movie would gain in complexity to encompass various issues) and as a disability (the views are nullify each other and the film is without its own that goal perspective).
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The beginning of Pompeii is not encouraging. A man emerges from somewhere and soon guesses that this is the villain because he lets a child die. Then another one appears, in slow motion, and you can know that this is the good guy, because it is strong, beautiful and takes care of helpless animals. Even comes a beautiful girl, who immediately looks at the strong gladiator, and both fall in love at first sight. She also says some catch phrase like “I can see the goodness in your heart.” These moments do not inspire confidence, but the film makes up for the lack of subtlety and little intelligence script with an impressive visual spectacle.
Director Paul W. S. Anderson seems to have so much fun with the camera and with the potential of this plot. Incidentally, that is the history of the Italian city and the volcano Vesuvius is mere backdrop for director massacring an entire population in less than two hours. The title could also be “A million ways to die in Pompeii“: Anderson creates deaths by sword, chains, asphyxia, lava volcano, tsunami, crushing, stonin… all with the pleasure of a child playing with dolls and dreams of the massive destruction of imaginary scenarios.
This sadistic show is shot with force: the director uses and abuses of air planes, images of buildings collapsing and cracking, and gets to put a camera in view of the fireballs spewed by the volcano. The various action scenes that follow each other without dead times in the script, are sewn by a rapid assembly and feature a generous amount of sound effects. In an exciting time fighting (the scene of the “massacre” of the gladiators), the direction of sound overlaps the noises of swords moans of the actors, the ovation from the crowd, the noise of the fire in the volcano, the noise of the blade penetrating the flesh combatants and an insistent percussion on the soundtrack. Everything is exaggerated, but done in a way to print an intense and effective pace.
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Robert S. McNamara, former Secretary of Defense of the USA in the 1960s, said that the proportionality should be a rule in war – always retaliate an attack with a reaction to height – but the country, in its hegemony armaments, today has never been so far from putting this into practice. Captain Phillips, first job of director Paul Greengrass since Green Zone, 2010, it is a great movie about disproportion.
The movie adapts A Captain’s Duty, book written by Captain Richard Phillips, who in 2009 had its cargo ship, the Maersk Alabama, being held hostage by Somali pirates. Tom Hanks interprets Phillips, and the disproportion is already laying down since the first scenes: the captain is concerned with their workload, as well as their mariners, while in Somalia the relations of work – if it is that the pra call so the convening the military action that we have witnessed in the beginning – are very distinct.
The whole film if structure from this opposition: on the one hand Phillips, their safety standards, its established order and well Octopus cooked in olive oil with potatoes, and another Muse (Barkhad Abdi) mambembe leader of the pirates, and his desire to enter into suicidal capitalism which Phillips is the immediate representative.
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The second part of a trilogy is always difficult to assess as the end of the day we are talking about a movie that has no beginning or end themselves. When the film starts, the story will have advanced and the characters are already in motion, and when it all ends on the usual “to be continued” , much remains to tell, which often gives out the patience of the most enthusiastic spectator. Trying to close their eyes to this unavoidable handicap, what can this mean The Hobbit: The Desolation of Smaug is what keeps the spirit of adventure that characterized the light first chapter , although some holes below this opening chapter.
Peter Jackson is back to his favorite world and we note that it is a world where it continues to feel like you’re at home, because by this time the New Zealander director dominates the fantastic and the particular universe of Tolkien as if running the simplest of tasks. The ease with which Jackson makes this complex world fully functioning continues to amaze us greatly , since the adventure flows like water running in a stream and has many fantastic scenarios that continue to surprise everyone and everything , so real and wonderful that are. The viewer is transported to Middle Earth with tremendous ease, this is undeniable. And the various characters remain as authentic and interesting as always, so Jackson should be congratulated However, some repetitions in the narrative shake a bit the quality of the film, as well as slightly too long sequences that break the pace of the adventure.
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In 1981, Evil Dead placed on the map the aspiring filmmaker Sam Raim. The inventive film mixing scares and gore (blood and filths) with a ragtime good humor, headed by prominent chin of Bruce Campbell, the protagonist.
Three decades later, the genre of movie-of-cabin that Evil Dead helped define reached the point of exhaustion. Simplistic terror “five victims awaiting their fate” underwent changes, twists and attempted reinvention, culminating in exaggerated – and that somehow represent this theme decontrol – The Cabin in the Woods.
It’s only fair, then, that Raimi himself, now a superstar direction, return to the abandoned cabin in the woods to take control of this subgenre of fear again.
However, Raimi, wisely, the film delivers a rookie, emulating his own past. Fede Alvarez, the Uruguayan who made a short film Panic Attack! in 2009, directed and co-wrote Evil Dead (2013). The story follows five friends (Jane Levy, Lou Taylor Pucci, Shiloh Fernandez, Jessica Lucas and Elizabeth Blackmore) staying in an isolated cabin in the woods for detoxification treatment of younger patients (whose symptoms possession mingle with the reflections abstinence). As in the original, but there discover the “Book of the Dead”, which releases a demonic spirit that possesses one by one, the unwary.
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