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In Superbad, Seth Rogen and Evan Goldberg were in charge of building a teen comedy from the epic that is to buy alcohol underage. The whole plot revolved around it, the problems that were generated during an evening, one after another, until the end. The story became a buddy movie, and we found two parallel sides, the two best friends, and the police colleague and complementing each other with higher doses of madness. Under this, there is a true comedy about friendship but, after all, also on the need to be accepted by others. Pineapple Express

repeated writing staff, among other things, but above all, repeat the same pattern of Superbad. The story turns back on a specific event that triggers a series of comic action but, if Superbad was to blame for everything that comes with being a teenager in Pineapple Express is immaturity, fear to face the problems of face. The fear of leaving the marijuana, the fear of losing happiness.

But let's focus on what really makes Pineapple Express is equal to the other side of the usual Apatow factory products, and who, incidentally, is confirmed as an excellent comedy: This slapstick performed by a perfect partner who smoked expands to the absolute limits, and every shot is always dry and rough than the last. Special mention is the construction of the trio that exploits all its virtues as a comic.

Definitely, David Gordon Green's film is not far from perfect. Its end is dilated to lose pace and fury. Something that the film is already suffering in these times dead in which the effects of marijuana seem to relax and do not quite know where to go.

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Pineapple Express Wanted Halloween

not really stop writing. Yes, I have not gone public, and not give too many explanations. I have my reasons. Despite all this, and I hope to really fast, I have written a text for Noel Blog, where I choose my Halloween Double Feature for a level.

read it.

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No wonder, after seeing the film, comparisons with the Fight Club. But in their development are almost radically different from an idea like the mediocre man who self-atoning to have full control over your life. Wanted, the film uses the argument to the service of a festival climax that defy physical laws adrenaline, which is important, and, above all, is aware that it is creating pure cinema. Tones put it well when he talked about why he loved action movies: It is the only genuinely cinematic genre. I add that it is the most spectacular, the closest thing to an amusement park. And Wanted film exploits all existing resources into a film of ravishing beauty that could only be described as orgasmic. Is hyperbolic, almost by definition, not to from beginning to end. Nor am I surprised

comparisons with Matrix. Forget, Wanted plays in a different league, self-conscious of what is, so it's as cool and fun. Leaves the metaphysical, and even ironic about it when he says that destiny is written in fabric. And in the end, when finally spits out against it, in a hymn to individualism as sarcastic and angry. That

Wanted starring supervillains is necessary (although it is something that comes from the comic, of course), and not trivial. This is how you can compose an orchestra of violence, anger and ambiguity. The viewer accepts, without resignation, in the words of Minchinela, "enter into a fantasy that is not going anywhere," Hong Kong heiress (specifically John Woo), and make a final climactic scene as an example: Wesley enters headquarters of the brotherhood, which Chow Yun-fat, killing many villains who appear from nowhere and bursting in the crossfire, the same intensity and use of more sophisticated bullet time. Definitely, Timur Bekmambetov's film ends up as another subversive cinematic fable of our times.

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Hellboy 2 The Thing


The Thing is another sample more than the genius of Carpenter at the time of recreating oppressive atmosphere and small-scale apocalypse. If The Fog with a mist that simulated a revengeful hell share moments with him beyond Fulci, La Cosa Antarctica becomes the worst representation of the human species. Not only the setting, extremely intelligent, when choosing a site completely from society. That is, in Antarctica is inhospitable terrain, cold and sterile. Like the characters and the narration of the film. The Thing in the audience is skeptical about the characters and the situation there is no one to identify, perhaps with Kurt Russell for the simple reason to be the leader and take charge, but the viewer is not sure who is an alien. Although, after all, what difference is there. So, The Thing becomes unpredictable for each minute that passes, false identities and mutual distrust, the film forces its players to be individualistic and selfish, skeptical colleagues: As the viewer. And a grand finale: The Apocalypse is loosed, and hope, probably, has vanished.

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There is a moment in the movie where Hellboy and Abe, drunk, start singing a popular song from Barry Manilow. I can not smile without you condenses values \u200b\u200band defects of the film. That is, Hellboy works when the button is on sarcasm, and humor that oozes Del Toro works perfectly with this lovely bunch of monsters who have emotional problems to work with a fantastic business and baroque scene. But just as Del Toro fails to melodrama takes its characters. Fake sound, almost a parody, unintentionally, and at its worst is dangerously close to the worst moments of forgettable Superman Returns. Del Toro's applaud the fact take his own land to Hellboy, ie it shows the harmony between director and character, but work better seating, or gambling, plus a sync between action and comedy starring freaks 'humanized' and introduce more excitement to action scenes, well shot and stylish choreography, emotion and short on adrenaline.

As I said previously, the film scores points when it resembles a sitcom starring monsters eternecedores: Do not be surprised if in the third part the jokes about the children of Hellboy is the best film. Ultimately, Hellboy plays both sides of the same coin: Using love as a resource for a joke, and used the love to give a few drops of melodrama and sentimentality that does not come at all well to the film.

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Batman: Mask of the Phantasm The Dark Knight

What


need is LOVE

"The Animated Series is a product of the nineties that transcends a very beautifully anachronistic spirit of belonging to a decade"

Alvy Singer.

SPOILERACOS

adapt the phrase of Alvy Singer for The Mask of the Phantom. Batman film by the creators of the animated series. It is time to rectify and I must say that now I do not think The Dark Knight the best Batman movie with this, but Mask of the Phantom is clearly superior in every way. Of course, ignores the realism and seriousness TDK fascia. But the ghost mask also is dark, melancholy, funny and deeper (by mistake trying, all told), without resorting to bombastic phrases, obvious metaphors emerging from the mouths of the actors as if they were poets TDK pochos or two hours and peak footage. Within an hour, The Mask of the Phantasm condenses more than TDK. I mean you get to have many of the things that TDK is proposed: Some origins of Batman who comes to question whether to become a vigilante or living with his girlfriend, a life without fear. Some sources counted by this pocho memories in a dark under expressionist aesthetic collection of the best that had Burton's Batman, and that without the viewer being aware, we are counting the other righteous origin, although its real definition is that of revenge. That is, the genesis of two vigilantes who fight the same but in different ways: When Batman forget to be an avenger, and think of it as just and righteous no murders, and The Phantom, the love of his life, is a vengeful killing anyone who killed his parents, who, at last, after all, is the same mob that Batman wants to dismantle. And in the end we are presented with something terrifying: Bruce Wayne is not intended to love, her destiny is to be Batman, while Andrea Beaumont is meant to mourn the death of his father without any support. Ghost Mask also plays the superhero theme and its relationship with society, the rejection that can occur, but does not affect too much on the subject. We have a guest star Joker, as perfect to a Batman villain chased by police and tried to regain the love of his life in a futuristic setting and left, paradoxically, was where Wayne and Beaumont spent one of his first moments idyllic. Now is the revelation of a future far worse. The film Timm, Dini y cia moves between references to the most exciting moments of primal Batman in Year 1 and Miller's own animated series. The movie is not perfect, far from it, but they are the basis for an excellent synchrony between action (superb action scenes in the movie: Since its first performance until it takes a while to be Batman), melancholy and clever references, something for which Nolan needs to feel smart to listen to their dialogues: The worst thing is that the public will accept to be told to your face without no respect.

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One of the things I discovered watching The Dark Knight is so pathetic and silly that is its predecessor, Batman Begins, which saw its sequel and has no sense and still leaves more ridiculous: In Begins was a moral teaching and ten in each scene evidence, along with the melody of Hans Zimmer, the waste of Rha's Al Gul become an enforcer for Al-Qaeda or the performance of Katie Holmes and Rachel Dowes stupid, reached ridiculous levels-not to mention a few action scenes, ahem, that rather than disastrous ... nonexistent.

The Dark Knight is not a perfect film, nor is the definitive Batman movie, it's better with the animated Mask of the Phantasm, much higher than Begins, Scumacher and less than that of Burton (especially Batman Returns .) Its absurd and pompous caricature reappears, in less degree, but in the form of recurring metaphors underlined and Harvey Dent / Two-Face, as personified metaphor already crystal-on dramatic weight falls and ridiculous dialogue, along with a forgotten and lost to Alfred, though his initial approach is interesting ... until he becomes Two-Face. That may be the biggest mistake of The Dark Knight, which begins as a boring comic Jeph Loeb and Tim Sale, but redeems itself with a Joker who is the real star of the show.


Now the good, the movie is full of good ideas (attention to the BAT-POD!) Successfully carried out: A Heath Ledger Joker-A-perfect, away from the histrionics of Nicholson, much more wicked, funny, anarchic (could be Discordianism!) and son of a bitch. It's the Joker who unleashes unhealthy air, chaotic and black humor in the movie. There is in every scene its an interesting detail to point, especially his appearances on television perfidious and provocative. It is surprising that The Nolan Bros go against the whole course, so to speak, in your own Joker Begins: Eliminate a past to become a more enigmatic. The direction taken by the Joker TDK is excellent: Recreate, indeed, a society in chaos and a superhero, and his assistants, the edge of their physical and emotional limits, forced to devise a risky plan.

And yes, entertaining, something essential for a blockbuster superhero genre and more. Nolan has been good: The action scenes are longer and we can enjoy a beautiful Gotham, and we can even talk about intensity in major scenes like the first game against the Joker (although we still can speak of a genius level Bourne). Vibrant. Nevertheless, TDK continues with its irregularities and its cartoonish claims.

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Howling


"You can not tame the wild. Naturally"


She said one of the werewolves in the delirious and left end of the film directed by a young, and great shape, Joe Dante Sayles next to a state of grace after Piranha have written, again forming a team more effective with Dante. Let us say, may be the phrase that summarizes the values \u200b\u200bof the movie: Howls finds its strength and beauty in the brutality of a type of wolf hommbre too wild, depraved and emotional problems ....

Without taking any complacency with the audience and totally sour, which means not to allow distilled humor in almost all-repeat, Excellency-end, Howling begins almost as a giallo, or where it would start the final part of any thriller, but handled in a much more dreamy, when our hero is about the crazy stalking you. Dante gets in the first fifteen minutes serious summary later to find: brutality and perversion. On the one hand, the history, find us the story cited above: that of our famous attacked and starred with her husband, which marked the fifteen minutes to be the cause of the march to a village to do group therapy.

On the other hand, we have the most Hammer, that is, the parallel investigation of the case of our protagonist. The pair of journalists discover everything that surrounds the legend of werewolves. Which, inevitably, has to fall into squarely in history.

In Howling, the protagonists are helpless at their worst emotionally and as helpless it is impossible to work out the situation. There is another howling success, lack of compliance with the viewer who spoke before, apart from Dante keep a pulse knows scenes of werewolf attacks at any time without losing both the excitement and the spectacle. It's what leads me to remember, "call me crazy if you want! - Straw Dogs Sam Peckinpah, both in the pace of the narrative as the arrival of a marriage in a hostile community. Reference

, yes, you can banish Howling intelligently, and not merely the pure referentiality, but creates a new path with a werewolf and drawn as more powerful and as sect crazy. Special mention an ending so shocking and unforgettable: A transformation and death directly from the television. Howling defines also a good idea taken to extremes.

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Back

I can not describe the month. It may have been the best of what has happened in my life.

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entire month here. I have three weeks.

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Timecrimes, entrance, is the smartest movie of the year. It is rare and painful to have people who do not understand, maybe because it scares the fact we reflected as it moves the action or because you like his game, but you can not deny or his audacity, his emotion, his intelligence and amazing ability to go at any time, full of details bound to a review, make a film with echoes Hichcockianos, but genuinely vigalondiana (ie, completely independent), a gem. Everything in Timecrimes makes sense: Since the own interpretations of the characters to how history moves. In short, is a puzzle, a toy (I'd say a LEGO) hilarious and brainy: Even after the dismantling still surprised (and continues to enjoy).

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Southland Tales Speed \u200b\u200bSkins

I do not like to advertise, or promise, or anything. But when I announce right now is because pieces will have a brief outlining why it is so cool cool and Skins. That is, we return, and even allow me the pleasure of renewing all the writing.

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Richard Kelly stood with his debut, Donnie Darko, as the great hope, in turn, as one of America's most interesting revelations in years. Donnie Darko was an excellent example of visual talent, exquisite musical taste, and time travel. Kelly drawn up a film critique aunaba american way of life ( to the figure of U.S. 'moral guardian' GOP voter) the portrait of an intelligent young man and somewhat disturbed, perhaps, an autobiographical look Kelly, playing his own self choose your own adventure . Donnie Darko sinned unnecessary expansion of the story and the game ambiguous, half-way and without opting to finish the story, a dramatic tone, irony and homage, and such psychological nuances that could cast doubt on whether Donnie was really crazy or not (I see So many things tucked in, so many things to say ... just be what will be the beginning of the evils of his next film). All coupled with a philosophy about time travel that at times approached the great metaphysical Borges. ( remember the inexorable path to death and the proposed alternative realities when I spoke of 'Death and the Compass' ).

"When you see the Director's Cut of Donnie Darko may be disappointed, and at the same time, the story is much clearer. In addition it includes some variation in the personalities of the protagonists, a visual game and little else.


This is the way the world ends. Not with a WIMP, with a bang. Kelly

sins of hyper-ambition. Well, say, Southland Tales is an attempt by a revolutionary science fiction, an epic story on the eve of the apocalypse. Richard Kelly, swollen by criticism of his directorial debut, tried to devise the perfect (or slightly ahead of its time) and ended up coming out a pile of everything and anything: It is not entirely a love story in the apocalypse, not just being a reflection on the power of the media, especially Internet, in the near future what Orwell imagined in 1984, and it becomes an interesting view of the power exercised over us and how we used the government, nor the chronicle of a neo-Marxist society in search of conquer the world and the end of capitalism. In fact: The very idea of \u200b\u200bSouthland Tales, his own ambition, is higher than Kelly himself that 31 years has failed to get its first revolution. But not everything is a disaster in Southland Tales, the good of it all is that, with its mix of crazy ideas and some lucidity, leaving just a fun film with 'The Rock' spectacularly unheroic, is the story of the anti- apocalyptic epic of a movie star stuck, without rhyme or reason, in an intricate political struggle / social. And one of the virtues of Southland Tales is the ability to distribute the-little-information and the various plots together, so it is a flawed masterpiece fun and a sample interesting science fiction as it arrives at the end rave up extremos.Esperemos that in many years, when Kelly and is confirmed as a figure, returns to its Southland Tales and tried to become what in our time. Who knows, you could travel back in time.

PD: Sean William Scott gets out and makes the best role of his career. PD1

S. M Gellar teaches no tits. And Mandy Moore either.