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say that rather than a film is a compromise between Disney, who seeks the sale of gadgets and is contained for several years now in one type of film (start slipping from reality to fantasy ---> path in the imagination with various creatures and situations ---> struggle between good and evil -----> final farewells and greetings with dull) and a genius, to Burton, who as you try, can not be part of any fee (if not in) without slipping into error. Yes feels that this film could have been a masterpiece, the half past eight Burton. The conditions were all there, just let himself be guided by no sense of Alice, had only left him free to do, to dramatize, to construct a story his on the basis of that fucking masterpiece, Alice. And whether this transpires, the characterization of the Red Queen or the staging of the tea party, so melancholy and mournful: and I in those few moments brividino I tried it ... I have never been a burtoniana but I have always considered Burton a mad genius, a mad hatter of our millennium, an artist at 360 degrees, so personal and so irrepressible. But the impression one gets while watching is that genius has transferred to the business, that his art is like an old whore prostitute, who was once beautiful but now begins to become overloaded and pathetic. There is too much all at the same time there is a vacuum of art. I do not think that Burton no longer has the credentials to play his game, I think (and this film is still unknown) which genius lives on, however, must once again be free, must come to create for himself, must return to be neutral and not to align the pencils temperate (ask to borrow a scene from The Incredibles) on the desktop. Burton can not be an employee, someone to give him carte blanche ... or you take a break and go back to being himself.

The film is not bad, but it is up to its author.

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meetings and solitudes

meetings and loneliness
Originally Posted by Diane Selwyn

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The boys are back (anticipation)

Australia: Joe, after the untimely death of his wife is alone with her child and invents a free report and almost animal, made of euphoric moments, but also difficulties. Things change again when Harry comes to torque, teenage son of the first bed, which Joe learns to deal, without knowing it.

Clive Owen I found

fell perfectly into the role, very, very good ... finally believable! (Last roles was just ridiculous).
film in some ways reminded me of Kramer vs. Kramer, the recovery of the father-son relationship is well defined and realistic. There are no kissing or hugging out of place (I mean the eldest son), but only affinity and complicity in the desires and lifestyle. The contrast between the college English Australia is wild and the metaphor of a relationship (that between parent and child) that can be free and instinctive (Joe) or dictated by rules and precepts relating to the appearance than the substance. The eldest son will choose the love of the father because the free and spontaneous. Despite living "like a pig" and proves once more the unconscious side of the typical male parental irresponsibility that Harry will pay dearly.
I really liked the first part, the choice to show the agony of his wife, I found it unnecessary and painfully free. Instead, the apparitions of the wife liked me, are questions to which Joe looks for answers, it really is not his wife to answer but is himself to make decisions, supported by memories of the woman he loves. Appearances of real talk about it only once (her mother) but there are shown. And I liked the choice to see what is possible (the memory of a missing person who helps to live) and not to show off what is useless (visions related to the pain of a loss).
In any case, a film that unfolds mostly in the dialogue between Joe and Harry in the pub, the importance of fathers and the trend generally have a bit 'all into thinking that a child has little need of a mother and a father. Big, big mistake.

7.5/10

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Francesca and thumb red

I prune the roses.

I have to transplant the flowers in vases.

I have brought the garden.

Why do not holly leafs?

The forsythia has bloomed, but it seems stunted. The cherry has

gems.

The plum tree is blooming, what a pity I did not put where I enjoy.

The lawn would be cut (husband done so) but there are daisies and a little 'I'm sorry.

The cat climbs on locust trees bare, the ruin?

The front hedge growth is stagnant, while the photinia side is full of gems. The strange plant

English planted by mistake two or three years ago, did die the bay leaf and rosemary is choking ... I do, I raise that is the wonderful little red?

roses resting on the network and getting fucked.

Ditto for jasmine.

The magnolia bush has buds, but I remember that last year at this time had already blossomed.

I decorate the pergola with some climbing.

The apple tree I love, is the fruit tree that I love most. Too bad that just puts the leaves turn a virus that makes them curl.

The box is a bit 'yellow because of the cold. I hope. The avenue of lime trees

which overlooks my garden is still bare, but when they put the leaves and flowers give off a scent entrancing.

I have to learn to plant the bulbs.

potentially and ideally would be a good gardener.

(Meanwhile, I'm pleased with the picture of my plant with red flowers, not bad .. I got)

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Under the Sand (2000)

Other film by François Ozon, which will mark the first trilogy of mourning.

Charlotte Rampling plays Marie, a teacher of literature who travels with her husband in their home at Jean Lande for a holiday. During their stay, however, the husband disappears swallowed up by the ocean. The desperate wife gives way to the research but do not give results. So we can find Marie in Paris apparently quiet, who carries on his life between work, gym and dinner with friends. But the woman has a sad problem, unable to accept the disappearance of her husband (who is most likely dead) and lives his life as if the person you have always loved was always at his side. Even at the end, faced with irrefutable evidence of the death of her husband, Marie seems to accept their loss. Until his hand sinks in the sand of the beach, and a weeping discharge puts it in front of her pain: the pain of loss.

Ozon seems that in this beautiful film, as a pretext to take the death and forced separation to speak of strong and indissoluble ties. Two people merge into one, are one body. No coincidence that Marie wants to see the remains of the body of Jean, to kill the final part of himself who has since lost.

8.5/10

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8 femmes (2002)

After talking Angel of , I still recommend the film by François Ozon, director too interesting to pass unnoticed (I will write something even the rest of his filmography).

8 femmes is a film that displaces the time. Shot in an interior, like a play, is a bit 'in the style of Agatha Christie, a little' musical (the eight protagonists take turns singing a song and dance), a little 'drama and a bit' funny comedy. Characteristic of the director in question is to use and revisit classic styles that have marked the history of cinema. The film has the honor of intelligent jokes and manages to frame the psychology and the facets of the eight women protagonists. An exceptional cast composed of French actresses old and new generation: Deneuve, Huppert, Ardant, Beart, Darrieux.

The events that unfold in the villa in a day of snow, revolving around the death of the husband of Gaby (Catherine Deneuve), found dead in bed by the maid (Beart). Insulated from the snowy weather and the inability to communicate with the police (someone has cut the telephone wires) the protagonists try asking each other, to find the killer.

In reality besides the yellow, Ozon is looking for a pretext to explore the psychology of women and to address the close links women (resentments, envy, mother-daughter relationships, sexuality) that bind to each other, and it does reveal bits of Their lives one at a time, as sensations.

bitter comedy that recalls Cukor for the jokes and the irony, that smells of Hitchcock (bought it to make a movie but did not turn ever) for items related to the suspense and yellow, which is based to Truffaut's The man who loves women. A great film, which reveals to the international audience a film director, François Ozon, eclectic and free expression of his art.

9 / 10

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It 'difficult

It 'difficult to be original with a play like that. In fact, it ends up having to slip into the usual clichés and revised, with a few jokes to smile pretty, good to see yet another interpretation of Streep. But even with American houses of worship the perfect lawn, the white and bright bedrooms with fresh flowers in pots, the garden in which to take big and juicy ripe tomatoes, the ecstatic assist in the preparation of a chocolate croissant, seeing the family of the mill white even if the parents are divorced, etc etc..

All this is necessarily false, but Streep is always Streep and Baldwin, who was never a great actor, here he shows us a different side. But the film remains low, although not seriously.

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Eden Lake (2008) Shutter Island

Today I want to talk about a film that belongs to the recovery. Disturbing film that I decided to see because I'm passing the film by Michael Fassbender, new entry between "my" talented actors. It is also quite nice ... let's say, erm ... passable.

The story is pretty simple, an engaged couple in love and happy, they decide to spend a weekend immersed in nature, on the banks of a romantic lake surrounded by a forest wilderness. Unfortunately, things do not go as expected, when the two meet a group of bullies, a gang of juvenile violent and unscrupulous.

Nothing new on the horizon, the film uses narrative schemes are quite usual and enriching the vision of suspense and pathos. But the film is very well done, jump on the chair if they do burst, and the basic issues are fairly current. Up to that point comes the human meanness, and what drives the minors today to find expression and fulfillment in the most brutal violence? What does the "pack" and it is true that it only takes one negative element to drag everyone else into the abyss? Social context from which they are surrounded these guys? Two elements

Summary: The movies made with mobile phone from the only girl in the pack, which does not use violence, but trying to capture it, and longed for and finally obtained rayban, the copings of the gang.

British indie film, it deserves a 7 / 10.

Denim Curtain With Bower

Martin Scorsese ... ah ah ah, what a disappointment.

film which I believe enough reaches the union, but that has nothing to do with the wonderful Scorsese's Cape Fear. For several reasons.
The first and most important, are the characters. Where's the director who gave to his characters, both the supporting actors that shape the contour, thickness and a facet of psychological scare? Where did the dialogues on, intense, intelligent films that make the synchronization point between viewer and film? But most of all: where is Scorsese?
No, because I think that in this film we saw very little. Because the beauty of some scenes (I think the parade of the shooting, or the beautiful incipit) oppose some sequences (the majority) of a banality and superficiality of a unique. Where a forzatissimo Di Caprio (who in this film are only two expressions: worried without eye gloss / preoccupied with shining eyes) moves between the most insane regular doctors and between doctors who seem emerged from the movie "Invasion of the Body Snatchers." In the sense that they are expressionless automatons that do not bring anything to the film, including the immense Max Von Sydow, who plays the role of cod put there just because it's Max Von Sydow.
Then after three quarters of an hour you see the face of caprio worried and think "damn, I'd like to see a man" begins to think that it is the right choice. And I regret to say, because I have always defended this player, I never expressed negative opinions, I have always been well prepared. Supported mainly by the ability to transfer emotions that Di Caprio. But this time, and with this film, I think Scorsese would do well to change fetish, enough, it can not be more. In The Departed it worked, was in part, because ensemble film. In The Aviator perfect (but that was a movie Scosese and you could see), but here where the whole thing is made by a film with shaky foundations, face and immature crybaby Di Caprio does nothing but worsen the set .
Returning to the film, I found the script weak in the dialogues, I entered the room convinced to try the chills that you have with movies like this, and yet I have not tried anything. Some things have made me even smile, "Love, why are you ?"... but the wet .... or dialogue with the madman behind bars, one with the pointy cheekbones .... forzatissimo. Or the various appearances with Michelle Williams, for goodness sake beautiful but moscissima and boring. Every time that he dreamed, I thought "oh no, yet." Not to mention the lighthouse in the final ... oh my God, almost embarrassing in the explanations of the arcane, childish and didactic.
short, weak and didactic confronting the issues (not that I expected, but who knows what), the interpretations of expectations and capabilities, dialogues on the edge of the gracious, unconvincing screenplay.
a mess.

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Angel - Life the novel (2007)

The French director François Ozon confirms talented, this time reminiscent of the cinema 40 years to bring out a full-blown melodrama. Angel remembers Scarlett in Gone with the wind, and embodies the artist who lives in his fantasy world, bitterly paying the consequences. The same Ozon said that there is something autobiographical in the personality of the protagonist, so locked in his art that he could not get in touch with reality. Angel loses his identity when he realizes that his writing can be no more than the service itself but a means to obtain the riches he has always wanted. First of all Paradise, an opulent villa like a house of a princess. Art as a means to obtain the transient goods, contrary to the personal art of Esme and misunderstood, that in contrast to Angel, is expressed only for himself. His paintings do not have ambition, and represent a gray world and intimate, which contrasts sharply with the strong colors and bold of the protagonist. Esmè pay for love, Angel will suffer for love, leading them both on two roads that intersect only apparently. In reality the two are light years away, so far as may be the cinema auteur and whispered, trumpeted by the flashy and vulgar.
short, a film inside it has many more issues than it seems, a film about art first, then love, in melodrama which the mold is nothing more than a language to talk and to address issues much more deep and interesting.

10/10

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an angel

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RED CARPET (best interpretations 2008/2009)

I still miss some movies to watch, but I can already off balance and give my medal to the interpretative value of this biennium. Not many, because they are generally very severe with evidence actorial (perhaps more than with those directors), but those that I have given are safe!

Ryan Gosling (Lars and the Real Girl) For making a living doll
Laura Linney (The Savages) perfect embodiment of modern female neurosis

Daniel Day Lewis (There Will Be Blood) When man makes himself the film

Paul Dano (There Will Be Blood) For having noted despite Daniel Day Lewis
The whole cast (Gomorrah) Men lost
Carlo Buccirosso (Il Divo) Half saw Italiot
Naomi Watts (Funny Games U.S.) Workers of emotions
Heath Ledger (Batman TDK) shivers of terror
Christian Bale (Rescue Dawn ) Grief and optimism worms in the magnet
Angelina Jolie (Changeling) Who would have thought
Leonardo DiCaprio (Revolutionary Road) capacity continues to dissipate
Sean Penn (Milk) Perfection in imperfection interpretation of the character

Michael Fassbender (Hunger) hunger
Mikey Rourke (The Wrestler) No character
Marisa Tomei (The Wrestler) Dignity
Clint Eastwood (Great turin) Father
Christoph Waltz (Inglourious Basterds) It's never too late

Michael Stuhlbarg (A serious Man) A the service of chaos

Johnny Depp (Public Enemy) Bye bye Jack Sparrow