AMERICAN HISTORY X
American History X is a reflection of hatred and racism in the united states. Kaye is a boy who lost his father and is disappointed by the "injustices" around him, who channels the anger at the world in the "politics" of a hate group, where he believes he will find strength and security. The strong point of American history X are just the flashbacks, from which the viewer can learn the causes of the fate of Derek. In reviewing the facts that have imprisoned his brother, Danny stroll down memory lane to find the "root of all evil." But it is precisely that Derek, revealing the violence in the prison by members of the Aryan Brotherhood, explains how the hatred for everything and everyone had blinded him. The explanation of what happened to him, Derek does not want to say to his brother what to do or not do, in that moment the only thing that matters for the former skinhead is that Danny understands that sooner or later in life everything is paid for, and the tragic ending confirms this. American History X is not only an analysis of the phenomenon of neo-fascist skinheads, but also a condemnation of racial prejudice, an issue much discussed in the United States. The film is made even more "poetic" an accurate picture and a script that perfectly expresses the theme narrated.
Tuesday, 15 January 2013
THE DARK KNIGHT RISES
The darkness seems to have swallowed definitely Batman, as well as his human alter ego Bruce Wayne. The protagonist went from hero to criminal, sacrificing himself with terrible accusation to keep alive a lie. Meanwhile, Gotham seems to have solved its problems, with the crime rate reduced to a minimum thanks to the anti-crime law desired by the late Attorney Harvey Dent. Yet, that is a city that lives on a lie: a lie that toppled good and evil, which elected a criminal to hero citizen and has unjustly destroyed the icon of his vigilante. A lie which however can not protect Gotham for long: not when a new, dangerous criminal is about to make his entrance into the city, a ruthless murderess from his face hidden, incomprehensible as its objectives and scary as his metallic voice. And when a new, dark figure comes to disturb the sleep of the inhabitants: a thief in the figure feline, it shook from his stupor even the same Wayne. The masked vigilante of Gotham seems obliged to return to get back his role, but, perhaps, the "old" Batman can not be against a very enigmatic as Bane, who soon discovers him tied with a dark past.
The darkness seems to have swallowed definitely Batman, as well as his human alter ego Bruce Wayne. The protagonist went from hero to criminal, sacrificing himself with terrible accusation to keep alive a lie. Meanwhile, Gotham seems to have solved its problems, with the crime rate reduced to a minimum thanks to the anti-crime law desired by the late Attorney Harvey Dent. Yet, that is a city that lives on a lie: a lie that toppled good and evil, which elected a criminal to hero citizen and has unjustly destroyed the icon of his vigilante. A lie which however can not protect Gotham for long: not when a new, dangerous criminal is about to make his entrance into the city, a ruthless murderess from his face hidden, incomprehensible as its objectives and scary as his metallic voice. And when a new, dark figure comes to disturb the sleep of the inhabitants: a thief in the figure feline, it shook from his stupor even the same Wayne. The masked vigilante of Gotham seems obliged to return to get back his role, but, perhaps, the "old" Batman can not be against a very enigmatic as Bane, who soon discovers him tied with a dark past.
DEAD SNOW REVIEW
Wirkola does not seem to be very interested in creating believable characters and develop tension through the construction of history. What interests him, after a minimum wage of presentation of the situation, is to act as wildest possible by introducing zombies and staging the fight to the death between them and the guys who want to try to survive.
Bad special effects, however, is always carried out with the intent fiercely good-natured fun, just a bit of fun 'lugubrious and certainly bloody. The cult scene par excellence - exemplifies this approach - is the one where one of the protagonists hanging from a rock face along with a zombie, but instead of a rope or a shrub, it is hung on the innards "unrolled" another zombie is located on top of the cliff. The spirit of unbridled Peter Jackson joined the villainy of some trashy Troma style, Offering guests a frozen snow that gives suggestions austere, almost metaphysical. Not everything works as it should and there are moments of tiredness, but overall the film takes, fun and sometimes surprising.
Dead Snow is for lovers of splatter and entertainment dementia: a horror unleashed that starts pretending to look for the atmosphere and the silence of the forest before heading off on a tangent and never return to the basis of rationality.
DJANGO UNCHAINED REVIEW
United States, on the eve of the Civil War. The bounty hunter Dr. King Schultz of German origins, in a cart dentist, is looking for the Brittle brothers, to deliver them to the authorities rather dead than alive and collect the reward. To find them, he hires a slave named Django, promising freedom to mission completed. Between the two men the result is a human and professional association that leads them through the plantations of America and racist horrors in search of criminals on the run and the wife of Django, Broomhilda, sold as a slave to some landowner slave trader.
Tarantino is holding a genre story that is also a piece of American history: the western is the ideal choice, but it is obviously a western that does not fall under the big sky of tradition.
Here, more than ever, the pleasure of cinema, to do it as well as to admire him, is in every fold of the text in the expansive recitation of the characters, with highlights of Samuel L. Jackson and Di Caprio, in the power of dialogue , the use of music and looks, who has resurrected the Italian cinema of the spaghetti western and resulted in new splendor in the game.
Although the film does not bring with it nothing of the wonderful Corbucci of Django, if not a message of love, enclosed in the title and refrain of Luis Bacalov, and a hint of horror, which rhymes with racism, Django Unchained work is impeccable fully resolved, which proceeds as a long treadmill from a starting-grotesque cynical, almost to the Coen brothers, to a speech more deeply cruel and a total redemption, given the character of Christoph Waltz, who puts to rest any sterile controversy.
The pleasure of the text is so real, verifiable, undeniable result of satisfaction of the expectations that we had placed in it. Nevertheless, Barthes would say, there are texts of pleasure and enjoyment of texts, which exceed the norm, causing a shock, a state of disorientation that is indescribable.
United States, on the eve of the Civil War. The bounty hunter Dr. King Schultz of German origins, in a cart dentist, is looking for the Brittle brothers, to deliver them to the authorities rather dead than alive and collect the reward. To find them, he hires a slave named Django, promising freedom to mission completed. Between the two men the result is a human and professional association that leads them through the plantations of America and racist horrors in search of criminals on the run and the wife of Django, Broomhilda, sold as a slave to some landowner slave trader.
Tarantino is holding a genre story that is also a piece of American history: the western is the ideal choice, but it is obviously a western that does not fall under the big sky of tradition.
Here, more than ever, the pleasure of cinema, to do it as well as to admire him, is in every fold of the text in the expansive recitation of the characters, with highlights of Samuel L. Jackson and Di Caprio, in the power of dialogue , the use of music and looks, who has resurrected the Italian cinema of the spaghetti western and resulted in new splendor in the game.
Although the film does not bring with it nothing of the wonderful Corbucci of Django, if not a message of love, enclosed in the title and refrain of Luis Bacalov, and a hint of horror, which rhymes with racism, Django Unchained work is impeccable fully resolved, which proceeds as a long treadmill from a starting-grotesque cynical, almost to the Coen brothers, to a speech more deeply cruel and a total redemption, given the character of Christoph Waltz, who puts to rest any sterile controversy.
The pleasure of the text is so real, verifiable, undeniable result of satisfaction of the expectations that we had placed in it. Nevertheless, Barthes would say, there are texts of pleasure and enjoyment of texts, which exceed the norm, causing a shock, a state of disorientation that is indescribable.
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