“Rachel Getting Married” Movie Review

Kym (Anne Hathaway) expects his father, Paul (Bill Irwin), outside of rehab. Again the scene repeats itself, since it is not the first time that the girl goes through the same cycle of loss-treatment-back home. Only this time something special is happening in the family home: Rachel (Rosemarie DeWitt), her older sister Kym is getting married. The participation of Kym seems crucial at this point at the same time it shows very conflictive, awakening old feelings of rejection and conflict among family members, including the girls’ mother, Abby (Debra Winger).

I admire Mr. Jonathan Demme. He is one of those guys who make movies in Hollywood that was popularized as the “authorial cinema.” Demme was responsible for two spectacular movies: The Silence of the Lambs and Philadelphia. But after them, it seems that the director did not return to anything so close to perfection. And while Rachel Getting Married is an interesting movie, it shows, once again, “less” in the filmography of director. Demme uses a camera and a somewhat dizzying narrative that seeks realism in a fictional story clearly. I say this because it seems clear that this plot does not happen that way, though it is well constructed and interesting. But in essence it is artificial. Some gear does not fit in the process. The good thing in this story are the performances by Anne Hathaway – deservedly Oscar nominated for her role – and Rosemarie DeWitt.

The producers like to highlight the work of cinematographer Declan Quinn and his team, who were all the time with cameras in the hands capturing what happened to that family and their guests in the days before the Wedding Favors of Rachel. Through the dissemination of material that I learned that some cameras were placed actually in the hands of players like Joseph Gonzales, who was the military cousin of the groom, Jimmy Joe Roche, a cameraman hired to film the wedding (which eventually contributed with images, as others for the film) and two other “wedding guests” who were recording events without us noticing – no more, no less than the great Roger Corman, a mentor of Jonathan Demme, and Charlie Libin . Now that I found amazing….

A film that follows the line of “semi-documentary”, ie fictional productions which is based on the “cinema verité.” In this case, the director put his hand in some adjuncts are cameras that recorded scenes in the movie and then, like cloth-of-fund, invited musician friends to make a spontaneous and original soundtrack. The trial was interesting, although sometimes the improvisation ended up turning the dialogue into something a bit theatrical or hanging. Overall, it’s an interesting story about the difficulties that circulate an addict and his family in search for answers and solutions. Although it has a load of powerful drama, this film is nonetheless a part of hope with a few pinches of sarcasm – especially the character of Anne Hathaway, indeed flawless in this work. Rating: 8.7

Death Proof (Playarte)

This is the most erotic film of Tarantino’s career. His camera glides under the legs and feet with a female pleasure without equal. And you have to have that experience alone in the darkened room obscene, to avoid embarrassment!

That’s right, because “Death Proof” seems like it was done by one of those B movie director and sordid. Sick of love for women and sick with love for cars. Look: Tarantino opens his novel with the roar of a V-8 and a girl’s feet on the dashboard of a mustang. In parallel, we see a gorgeous polish panty parading around the apartment. A third comes out of the car and running, close to pee. It is the second women’s world Tarantino. A world in which they are exercising the freedom to stay comfortable. It’s paradise. And of course, not everyone thinks so. While the trio of girls go to a rave and argue about who has the most striking back – the mulatto or Latino Julia Arlene – a car accident following the trail of the young ladies in the evening.

The car’s owner (Russell Crowe) is an old Hollywood stuntman named Mike. It sports a scar that crosses his face from chin to forehead and says cynically that made the time to shave. And since no one in Hollywood gets employment for the distinguished, guess who he uses to test a few bumps?

The only way to achieve an orgasm Stuntman Mike is playing the car against women. And Tarantino presents it in a way terrifying. The scenes of shock amputations show in detail how those sadistic horror films.
At this point I think we all do understand that Tarantino is a director of the third. Since the first movie, “Reservoir Dogs” reveals a desire to revisit the pleasures that movies gave him, but turning against scholarship cinephile. For sure, he loves the great movie, people like John Ford, Hitchcock, Kurosawa, Kubrick or Hawks, but these, everybody emulated in the 70 and 80. And the movie that we had double sessions follow on with a bunch of underground bands. Tarantino devoured that sandwich the good with the bad. And the question he always tests in such films as “Death Proof” are the limits of what is really art and obscenity.

Perhaps “Death Proof” is the most daring film of his Business Articles career, because he invests with lust on the eroticism of violence, of the vices that made him famous, as the dialogues full of references to pop culture, with the intention clear of the poison of the gorge. Can you imagine a dash of romance in that?

The villain of the film can. He stresses: “I am an artist from a time when the car crashes were real, not made by computer.” Yes, and he lived the glory of being a stuntman Lee Majors! But Stuntman tells that to the girls, and they do not have the slightest idea what the old dinosaur is talking. Were not even born then. The film is an aesthetic manifesto and certainly reactionary, for a cinema craft, handmade. That is where Tarantino goes beyond the mere idea of recycling. The film marks of wear (scratches, jumps, etc.) created artificially, as “Death Proof” was seen in old copies do not appear on the screen as a gimmick: in truth, neither can be seen as an end but as a “imprint” of what is the big “remorse” cinema of the digital age. What remains of human beings in the midst of all this dilution? A parade of beautiful female feet.

The Secret in Their Eyes (Europe)

Was the winner of the Oscar for Best Foreign Language Film this year, and many people will end up watching for it, even if Oscar is far from being synonymous with quality. Let us consider this an exception. This “Secret” has that same emotional and poetic tone of “The Son of the Bride” from the director. Here the central character, a former prosecutor of justice (Ricardo Darin) writes a memoir as an excuse to talk to a criminal case that did not solve, and in fact, show his former boss (Soledad Villamil), such as during hid his lifelong love for her. Men and women in this film by Juan Pablo Campanella hide its truths, its secrets, but it is fascinating, especially the first half, as the camera reveals the game looks and emotions with an accent always ironic.

Then in the second part, Campanella seems to accommodate the narrative in a more conventional plot police. Yet the film concludes with an interesting thesis: it tries to justify the repressed personality of his characters saying the Argentine dictatorship was also able to mute the love.

The White Ribbon (Imovision)

This is the most elegant and sophisticated film ever directed by Michael Haneke (The Piano Teacher, Cache), with violence always about to explode, and that remains veiled in black and white photography. The grading, however, grows like a pressure cooker. Very exciting how Haneke begins the film. Remember those classic 40 years on the innocence and purity of living in a village in the countryside, as the action progresses and the story becomes darker than the wings of Graúna. The doctor of the village falls from the horse after tripping over a wire and the townspeople speculate who could have set such a prank. Later, other people will be victims of pranks like this will generate and discord, discussion, a real ferveção between parents and children, teachers and students, men and women, bosses and employees. Neither the Church escapes the sense of watching Haneke. The pastor who has no control over the faithful in the parish tries to educate children with an iron hand, tying a white ribbon in her arms, every time they make a slip.

The white man uses his heirs to remember the existence of innocence and purity, the truth becomes a symbol of all the oppressions exercised. It is under this same contrast between black and white photo, which incidentally, is introducing a deep unscramble the picture of order and Manichaeism, as faces are between dark and light: Does anyone still believe that good is the light and shadow is evil? Here’s the confusion. The community is Austrian, highly civilized, but anyone who ends up becoming the target of variance with an accident. Over time, the teacher suspects that their students may be involved in this conspiracy that seems to target the natural selection of species, especially after a kid with Down Syndrome, turns the victim of an attack.

The theorem is closed under the light of historical context. Austria entered the First World War with Germany soon after, but the aspirations of those young people only become even force the creation of the Third Reich. Therefore, Haneke does not want to bull in order to understand his film, but the situation clearly reflects his fear of the Fascist increasingly strong in civilized countries like yours Austria.

His film is a portrait hard, especially for a company of some years ago, vote en masse in the extreme right. The behavior of the characters, the mix of art, who play dictatorial power, would not happen anywhere. Do remember to claim the English literary critic, German-born Jew, George Steiner, that the Nazi leaders read Goethe and listened to Beethoven evening, morning and worked quietly in a factory to kill people.

The feeling in “The White Ribbon” is pure provocation. Normally we do not want to be confronted with unpleasant scenes as this movie shows. But more disturbing is precisely the serenity with which the characters go to Mass at the end and sing as if nothing had happened.

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Do you like online movies?

The cinema is a cultural artifact created by specific cultures, which reflect the same and, in turn, affect them. The movie is considered an important art form, a source of popular entertainment and a powerful method for educating – or indoctrinating – citizens. The visuals give the film a universal power of communication. Some movies have become popular worldwide using techniques of dubbing or subtitles that translate the dialogue.

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Watching Free English online movies over the internet is really something that can make you save a lot of time and gives access to very good movies. Watch free full movies is also possible. Nowdays the internet save a lot of time of fans of movies. The releases are also disclosed in these sites that provides access for people who want to watch full movies online, which makes everyone very well informed about what is just coming out of cinemas. You can also stop visiting the movie at the time for ten minutes and come again. The continuation can be watched without a problem. You can Watch free English movies online now with your internet, is really amazing and I recommend to you.

“Incendies” Movie Review

IMDB 8.6/10

Denis Villeneuve confirms the maturity of the “Polytechnic” with “Incendies“, a work rich and universal conflicts that ravage humans. A film open to the world that addresses the greatest possible number.

At the death of their mother (Lubna Azabel), twins Jeanne (Melissa Desormeaux-Poulin) and Simon (Maxim Gaudette) receive a will that leaves them stunned: they must find their father presumed dead, and their brother whom they knew nothing of its existence. To do this they must go through a Middle East, enabling them to learn more about their origins and true nature of the person who gave birth.

Popular playwright Wajdi Mouawad, “Incendies” is transposed to the cinema with care and precision by Denis Villeneuve. After his pathetic “Polytechnic”, the director of “Maelstrom” continues to explore themes that are dear to him, including that of memory and the strength of the feminine gender. His scenario, the metaphors in the foreground, is in the evocation, turning almost Greek myth of the horrors of war.

This is not strictly a conflict that seems to interest the filmmaker. The region is practically not mentioned (though this is Lebanon, though the book was filmed in Jordan), or reasons in place (it comes to religions and refugees, but only implicitly). The treatment is intended rather universal, returning children home. The mother wants so much human and geographical, and it is essential to know its history to evolve as human beings and countries.

The actors are supported by their misunderstandings that tear. The first part is mainly that of Lubna Azabel, after his incredible performance in “24 Measures” and “Melissa Desormeaux-Poulin” which proves his great talent (especially since it was rather difficult to see in both “On your mark! Party! “). His playing visceral and rational can take immediate action to his fate and see this unknown region through his eyes. A little too removed, Maxim Gaudette be argued later, using a very dark humor to keep the drama take center stage. In this chapter Rémy Girard plays a notary who is there to ease the way, which is sometimes good.

Like the play, the film is not without length. Especially since the narrative, rich in diverse ideas, abusing ellipses. It would not matter if the final revelation did not hold precisely this time that passes between yesterday and today. Although difficult to predict, the twist does not always take the road because it seems to be missing some crucial information to be certain of the logic of revelation.

Boasting a superb cinematography by Andre Turpin, a strong thematic interpretation and powerful, “Incendies” proves that Denis Villeneuve control increasingly his writings, offering more than just glossy pictures as it was the case of “Un 32 août sur terre.” From the first seconds, a rich and emotive piece of Radiohead sounds, and melodies of this cult group will act as a leitmotif for the story with its great waves which will reveal dark secrets buried many. Painful but necessary.

IMDB 6.6/10

The fourth volume of a popular series of feature films, “Resident Evil: Afterlife” is close finally the fantastic video game that inspired it. A step in the right direction that will appeal again as fanatics license penalty for so many years, to renew itself.

A virus has decimated humanity, turning people into undead. Although she lost her extraordinary powers, Alice (Milla Jovovich) is still motivated to find survivors who might find themselves on a boat off the coast of Los Angeles. Yet it must arrive there, when their aircraft crashed on a nearby building. No output appears on the horizon, there are only zombies in search of human flesh.

“Resident Evil” looks suspiciously like “Saw”: no matter what happens, there’s always a new suite that was created. Yet quality has never really been at the rendezvous. In 2002 Paul WAS Anderson alignment (or slaughtered) the legendary series from Capcom, which has brought happiness to many players with the Playstation and its derivatives. Excluding this transposition was finally almost nothing to do with the scripts for various episodes. But as is often the case, commercial success dictates while having the last word, which gave rise to even more pathetic “Apocalypse” (2004) and “Extinction” (2007) of any duty.

For this latest adventure, Mr. “I do not know how to adapt video games but I do not think about the consequences of my actions” Paul WAS Anderson (“Mortal Kombat”) is back behind the camera to deliver a new version of chewed “The Matrix” in the feminine, without the complexity and small philosophical lesson that accompanied it. He proposed instead of the action, but nothing that fans of the genre has never seen before. After a short introduction that summarizes the issues, his wife Milla Jovovich chases bad guys abusing waterfalls, bullets (unlimited, of course) and slowed. This explosive sequence is just an excuse to attract the attention of the audience because the story really begins later.

Once the first half hour, viewers can finally look at what is happening under his eyes. The essence of “Resident Evil” finally comes when the characters are trapped in a building: they must find a way out before it’s too late, and the threat may appear at any time. The concept recalls “Alien”, but also the television show “Virginia.” The rumor suggests that this is the last lap, then the director has brought together most of the heroes of previous efforts to make them live one last scare. One idea that has merit and should be further developed, instead of just an excuse for a rudimentary scenario.

Despite the feeling of déjà vu this movie dozens of times, anyone interested from near or far to the marvels of the company Capcom (when in “Mega Man” in the cinema?) Will be curious about this fourth . Without doubt it is better than the previous two, but is it a necessary reason to want to attend such a bloodbath, unimaginative and interpretation leaves much to be desired terribly? Especially it will spend even more than before since everything is in three dimensions and that this technology does nothing to improve the quality of production.