Rabia (2009) Review

One of the most important Latino directors of the decade, Sebastian Cordero, released in Colombia on Friday his latest film, Rabia, an adaptation made by himself from a successful novel of the Argentine Sergio Bizzio, a prolific writer, filmmaker and musician whose story entitled “Cynicism” was the basis of the annotated debut XXY, his wife, the filmmaker Lucia Puenzo.

Rabia is a psychological drama which tells of an impossible love, claustrophobic and ironically so close. Jose Maria is a Mexican immigrant seeking a better life in Spain, where he works as a laborer. For his part, Rose is a delicate and sweet Colombian working as domestic maids in a family home.

Similar experiences have had these two characters are united in a deep and sincere love despite being so different,  Ceramic Tiles. Rosa has learned to accept with resignation that is in a country that does not belong, while Jose Maria repressed all that atmosphere of xenophobia that surrounds them and turn into a being full of resentment, jealousy and dangerously compulsive disorder.

Love and hate, come together when Jose Maria vent all that it contains with the foreman who works for killing him. The choice of this character is hiding in the attic of the big house where his girlfriend. The perfect hideaway for his crime solving with immediacy, but at the passing of the hours, days, months, you become a being immersed in the anonymity that hears, sees but is not entitled to “vote.” An immigrant more submerged in a developed country who might care little or nothing.

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Avatar Will Have Two Sequences

The executive of the 20th Century Fox confirmed to variety that agreed with filmmaker James Cameron make two sequels to the blockbuster film Avatar. Cameron will be responsible for writing and directing the following deliveries that would open in 2014 and 2015 respectively.

The negotiations are intended to start shooting late next year.

The film was released worldwide on December 18, 2009, became more than a month, the highest grossing film in movie history to exceed more than $ 1.8 million also obtained by Cameron Titanic.

In the mid-year was a revival of the movie in 7 minutes showcasing previously unseen. Today a post office has reached a collection of USD $ 2,776,022,742.

The film set in 2154, tells the story of Jake Sully (Sam Worthington), a former Marine of the U.S. military’s paraplegic who is sent to live among Na’Vi, a race of blue humanoid beings living in the exotic lunar planet of Pandora. When Sully Na’vi falls for a rebel against their human beings, ambitious of power, conquering spirit of seeking it is he who will save the lives of the species, plunged into a polluted planet.

This announcement has been made that Sony hopes to have Cameron as director of the new film about Cleopatra, are suspended for now.

“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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The first battle between humans and artificial intelligence company SkyNet is about to occur. The intent to eliminate John Connor (Nick Stahl), a leader of men, the machines send a Terminator cyborg again at his heels: TX (Kristanna Loken). To protect him once more the T-800 cyborg (Arnold Schwarzenegger) back to the scene.

The director James Cameron revealed when he learned that the Terminator series would win a third party who did not like the idea since the franchise started by him – both as writer and director – the film should have ended in the second part, both would not take part in this third film. Indeed it seemed strange at the end of the first movie, the Terminator destroys Skynet’s technology lab, the technology shares were the first “Terminator” movie, which would be used to produce modern military weapons. I did not think the third part dispensable, the Terminator had only postponed the day of final adjudication, someday humans would develop these weapons alone. And the Skynet virus would dominate these weapons. The doomsday was inevitable really, just think about it. The 2003 production was not anything amazing, great action, as well as special effects and sound. Excellent!

I like cars, and when I saw the movie “Terminator 3: Rise of the Machines“, two of the machines that I see on the dramatic action are the Toyota Tundra pickup truck and the Lexus SC430 hardtop convertible.

Please see the screenshot below:

(Lexus SC430 – click to enlarge)

Used during the Terminatrix introduction scene in Terminator 3: Rise of the Machines, the unfortunate Lexus meets its end shortly into the movie in the vetrinary clinic’s parking lot. The Lexus SC430 is put into action early in the movie when audiences are introduced to Kristanna Loken, who plays the villainous Terminatrix. In a deal with Warner Bros. pictures, Toyota and Lexus supplied the vehicles for the top characters to pilot during dramatic chase scenes.

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