Groping In Train 2010

us know. And we know you. Avenge


Sam Peckinpah, Jean-Pierre Melville, John Woo and Tsui Hark, Johnnie To is only . Director only for the purity of his camera eye reveals that impossible paths (those of the bullets that pierce the bodies and souls sink) and tortuous personal paths (those of strangers who become brothers). Avenge ( Fuk sau , 2009) is his latest work, presented at the 2009 Cannes Film Festival in May 2010 and only distributed in Italy by Fandango (despite having been awarded the Black Lion for best film at the Noir Film Festival Courmayeur). An idea of \u200b\u200bpure cinema that Johnnie To, who chooses as protagonist of the story the stone face of Johnny Hallyday. It is no coincidence that the character played by French rocker is called Costello, Frank as the "face of an angel" of Melville, Jef samouraï that the face was sad and lonely Alain Delon (he originally called da To per il ruolo del padre in cerca di vendetta).


Solitudini che si incontrano tra Parigi, Macao e Hong Kong. Senza ritorno. Costello vede la sua famiglia distrutta nel giro di un attimo. Neanche il tempo di un pranzo e tre killer uccidono suo genero e i due nipotini. Non potevano fare altrimenti. La figlia è salva per miracolo. E chiede vendetta. Fino a che punto può arrivare un uomo per soddisfare questa sete? La risposta è nel percorso di purificazione che compie. Prima tappa Macao, per assoldare tre killer spietati, i migliori. Kwai (superbo come sempre Anthony Wang), Chu e ‘Fat’ Lok. «Non esiste solitudine più profonda del samurai, se non quella della tigre nella giungla». There is no stronger bond than that which is created between people who have given their word. Seem to see Pike and Deke: "He gave his word. No matter whose. " "Instead matter." At the risk of turn against its leader, the instigator of the massacre. The three arms are from Hong Kong. The shooting of seven in the woods is a concentrated fury to send a visual memory. Like the table spread that scans every single action of the group. As evidence of the old, worn, pleasant obsession that Asian cinema (especially that of To) 'feeds' to the food.


A paradox is the true nature of Costello is a chef, does not touch a gun for twenty years. Because in the past was a killer. A bullet entered the head and cause continuous loss of memory. It may thus make sense to revenge? Sure, as long as the target passes in front of trash cubes into a graveyard of objects, absurd polariod, languid eyes, sudden flashes of a 'gunfight' infinite. A sad and ironic lyricism, which is steeped in four kicks a ball in the company of a bunch of kids and a sardonic laugh, release, before a bowl of rice. The rain keeps falling, the clouds deep left field for a beautiful moon, lights and shadows like the holes that fill with blood. Stillness and movement. A space full of bodies that embody deep ethic. Almost unthinkable today. Like slow motion to expand the time and praise to an endless night.
Wonderful, crazy Johnnie To.

Vintage Eterna Watches 40s

from cinema to cinema: Avatar


Let's face as well, James Cameron is an author with a lowercase "a". Creator of unimaginable fascination, a maker of magical visions and fantasy worlds. Always a step ahead. Mastermind behind the paths of celestial Terminator and Aliens , The Abyss and Terminator 2 . Even capable of 'moving beyond' the simple story of love, shipwreck technological imagination of the Titanic and flying in helicopters from catastrophic fire in rubbish True Lies. Avatar , almost ten years of preparation and hype unusual, is his most accomplished. As well as passes for the final who believes the turning point of the Seventh Art. From the vision comes out in the hall if stunned, not only for the grandiose (and intrusive) stereoscopy. Even after half an hour because of the wrap-around computer screens, the army engineering space and the pristine nature of Pandora (identical to the works of Roger Dean, you know the album covers for Yes?), Leave space considerations, scattered, often annoying.


First observation: the screenplay. Avatar film is trivial. A mixture of Dances with Wolves, Braveheart 300 sauce and sci-fi. History simple and schematic. Jake Sully (Sam Worthington) is a marine with no legs, the brother of a scientist and a team headed by Dr. Augustine (Sigourney Weaver, nice to see that smoke in their lungs!) Has developed the project Avatar. To mark the program which is a mental life of the body (the avatar, of course) created in the image and likeness of Na'vi population that inhabits the planet Pandora. Everything's fine until you discover that the sacred tree of Na'vi resides on a field that is worth all the energy of the universe. Hence the long hands of the government and army to infiltrate Sully and "convince" the natives to "donate" the wealth. Obvious that the contact with people from the soul so pure it will be for the young soldier to be reborn at a new life and fight for the liberation of what he considers his new world. Long live peace and cooperation among the nations, even some snakes heroism made in the USA and is always a time of heroes (U.S.). Each other like the characters so flat, pace of references to current socio-political American (or global) and the symbolic resonance (pantheism and animism of carry-over) leaving the time they find. So much so that the only character to emerge is the most disgusting bully, that Colonel Quarich played by Stephen Lang who is all action and reaction. Involved from start to look. Cuts, scratches and fractures included.


said the substance remains the form. The 3D is an amazing toy. The dive into the depth of vision is something amazing. A sense of reality and fantasy ever. The colors, plants, animals, movements. Even the trajectories of projectiles. And then, more than is justified the simplicity of the subject's eye is so drawn and "distracted" that rarely come on time and how to think about anything else. Besides, there is no room for mythology in the nuances. However, doubts soon emerged. The three-dimensional world is the true revolution of cinema? No. At least if in the future will not be supported due to the 'pulp' fiction. The Pixar animation teaches. The real news will tell a story with a similar method. Avatar seems rather the investment of major combat piracy and to bring people (especially boys) to the movies. In the words of Edgar Morin, a return to the cinema cinema. A phantasmagoria century flavor, as the famous train that was run by the Lumière salt people afraid. But Avatar is - at least in Italy - the representation of anthropological and social tragedy that we live in this first decade of 2000. Hordes of kids stuffed hot dog, coke and stupid comments, mothers and fathers who fail to curb the intrusiveness of misbehaving children, people who are not entering into a room at least twenty years; applause at the end projection model trip by plane, leaving the teenagers viewed with 3D glasses and find them so the street or by tram. Sorry to think that this is a sideshow that produces the show. Pure smoke and mirrors. Not the Cinema.
to applaud you only have operators who, with € 10.15 per ticket are rubbing their hands with a grinning pair of designer glasses.

Bruises On Legs 4yr Old

Institute of Contemporary Arts: Music: Recording Studio: Alexander Tucker


Institute of Contemporary Arts: Music: Recording Studio: Alexander Tucker

A musical genius contemporeanea: Mr. Alexander Tucker . To understand fully the concept of music, we recommend listening to Old Fog (2005), Furrowed Brow (2006) and especially Portal (2008). Waiting for the new work with the project Alexander Tucker Decomposed and Orchestra. Music
kinematics, lunar dust and intimate.

Alexander Tucker MySpace

Walkie Talkie Protocol Use

Not Too Late the Hero, Kathryn


"The fury of battle results in a strong and deadly addiction, because the war is a drug." And like all drugs changes with the changing times. The contemporary world has given us the Great War, stressful and disruptive as a dose of heroin. Then the Second World War, overdose crack destined to leave indelible marks. Korea and Vietnam had to be quick puffs of hashish, lysergic tramutatesi in crazy dancing. Now there's Afghanistan and Iraq, the time for a drink of whiskey and a shot from ketamine. The invasion process is mirrored in the distortion of reality. And his interpretation. The eye is shattered. It crystallizes and squeaks under gunfire. Remain individualistic ethics, the need for action, the denial of the community of so many soiled heroes battles engulf and regurgitated in a hurry.


I knew a teacher like Robert Aldrich . It's great review today Too Late the Hero ( Not Too Late the Hero ), 1970. One of those films exciting, vigorous, robust. With a five-star cast (Cliff Robertson, Henry Fonda, Ian Bannen, a titanic Michael Caine) and directed that from the initial sequences (flags Japanese, English and American torn by the wind and the passage of time) make the chills. The dirty dozen is always, indeed, in this case is damn gears. In an island of the Hebrides, in front of the Pacific, Yankees not too much more convinced of his role he joined a company of British deserters and drifters to blow up a radio station Nippo. Save your skin will prove difficult undertaking. However, no value or ethics of solidarity that war Aldrich tries. Rather, it reiterates a cynicism around that man is a denial of the association of people and exaltation of purely individual action. The conflict remains as on sfondo, un mistero incomprensibile che unisce gli uomini, che siano americani, inglesi o giapponesi (il maggiore pacato e scaltro). La corsa finale tra il fuoco incrociato dei nemici ed il raggiungimento della status d’eroe («Ha ucciso 15 nemici; anzi 30. Faccia lei») non serve ad altro che a sconfessare l’eroismo. Perché «morire in guerra è cretino e crudele».


Quasi 40 anni dopo, è Kathryn Bigelow la sola ad animare d’azione e riflessione profonda i problemi a stelle e strisce nel Medio Oriente. The Hurt Locker (2008) è meno teorico sul punto di vista rispetto al capolavoro di Brian De Palma Redacted . Reject the commotion, the stubborn search for historical truth, humanism and rhetoric in Paul Haggis' In the Valley of Elah (2007). In Iraq the anthropological Bigelow wear the dramas of our time. The enemies have a face, are not distinguishable. As the lines between reality and representation. We are in disarray, thrown at the forefront of a political confused and indifferent. The only solution for those who are facing is pure action. The U.S. Army squad who defuses bombs profession acts with coolness and clarity of professionals. Behind this there are peel alcohol, confusion of roles, psychological dramas, tensions and difficulties adaptation. Between good and bad there's no distinction. The direction is perfect to combine hard rock and biting of the Ministry and constant voltage, zoom blur and fast hand-held camera, the adrenaline pumping in the choices that cost a life, many lives. War is like a drug, dulls the will of men, it confuses duties and spirit of survival. The style of rough, dry, muscular Bigelow would have loved it to Aldrich. As if to say, to deal with certain psychological mechanisms must be a feeling out of the ordinary.
War. It's a dying business.