La película de Aranoa intenta dar un nuevo giro a esta colorida historia contándola desde la perspectiva de la autora de esa autobiografía, la antigua amante de Escobar, Virginia Vallejo (Penélope Cruz). Pero incluso con el presentador de noticias convertido en cómplice, Tom Escobar sigue siendo la estrella del espectáculo.
La película se centra más en la noción de complicidad involuntaria que la mayoría en el género gangsteril, pero todavía se esfuerza por producir una percepción mucho más original.
Fernando León de Aranoa pelea por distanciarse de lo ya contado, lo ya visto, lo ya televisado. Que no es poco. Quizá demasiado. Del narcotraficante. La estrategia ahora es distinta. La cámara mira exclusivamente hacia dentro, se dirige a la mirada acuosa de un actor que entiende cada uno de sus trabajos como un ejercicio al límite.
El proyecto es de Javier Bardem; el punto de vista, de Virginia Vallejo, y la firma, de Fernando León de Aranoa. Complicado acercamiento al personaje de Pablo Escobar, pero que se queda empotrado en la pantalla ya sin apenas complicación, o complejidad. Personajes en dos dimensiones que, al menos, son rellenados por esa rotundidad y entrega carnal de sus dos estrellas protagonistas, en especial Javier Bardem, cuya capacidad de inmersión y colonización de cualquier personaje es de aplauso.
El motor de la película es la relación entre Escobar y su amante, también entre Escobar y su familia y el paraíso del narcotráfico que construyó, pero el retrato es apenas sombrío.
Ha habido últimamente un excesivo trajín de Escobares en las pantallas, entre series y películas, y eso tampoco le ayuda a esta de Fernando León, que no se pasa de la raya.
THE (OLD) SHANGHAI GRAND THEATRE *Left : June 2018--my own
*Right : (Probably) 1930's--source : Street View, from www.cinematreasures.org
Originally built in 1928, on what was then called Park Road (today’s Nanjing XiLu), the Grand Theatre operated for less than three years, before going bankrupt and closing. In 1932, a joint Chinese-British-American venture totally rebuilt the Grand Theatre, hiring Czech-Hungarian Shanghai architect Ladislaus Hudec to design the new cinema, which he did in striking Art Deco style.
The Grand Theatre seated 1,913, and screened first-run American films in its elegant auditorium. The one drawback of the Grand Theatre was that it was not air-conditioned and often became unbearably hot, which deterred patrons. It wasn’t until 1941 that an air-conditioning system was installed, and business increased by large numbers.
After the 1949 Revolution, the Shanghai Cultural Bureau took over the Grand Theatre. The theater still operates today, and still occasionally screens Hollywood blockbusters. *Information was taken from www.cinematreasures.org
Estrelado por #CharlieHunnam e #RamiMalek , o remake #Papillon chega aos cinemas brasileiros no dia 4 de outubro pela @imagemfilmes. O trailer, a sinopse e imagens você confere no site! @californiafilmes
Half price day + a coupon + no plans for the day = 3 movies for the price of one regular movie ticket. 📽🎟🎞
Admittedly these 3 were a bit heavy to watch one after the other but they were all important films. Especially #BlackkKlansman which left the audience cheering, laughing, and in deathly silence. I highly recommend seeing it in theatres. And #EightGrade brought back so many horrible memories of the awkwardness of early adolescence but in a good way? #movieaddict
Odeon Limitless 192 was Unfriended: Dark Web. Not bad, but not great and in my view it is a step up from the first. The only relation is how the film is displayed through the laptop screen, but You certainly do not need to have seen the first to follow it. The threat in this story feels more real rather than demonic (but I hear there are 2 different endings spread out across cinemas). However I think the story is uneven in its pacing and it’s the rushed feeling of the last part of film that drags down the marks 5/10 from me.
‘Paris Is Burning’ (1990) dir. by Jennie Livingston // “This documentary focuses on drag queens living in New York City and their "house" culture, which provides a sense of community and support for the flamboyant and often socially shunned performers. Groups from each house compete in elaborate balls that take cues from the world of fashion. Also touching on issues of racism and poverty, the film features interviews with a number of renowned drag queens.” #femaledirectors#lgbtqfilms
Directed by - Alex Garland
Domhnall Gleeson, Oscar Isaac, Alicia Vikander
Ex Machina is definitely in my top 15 films of all time. It's a film that I may appreciate more than I love. The genius behind the script and the story is so evident and the whole movie is pretty much perfect to say the least. Ex Machina is directed by Alex Garland who also directed Annihilation earlier this year. The film follows Caleb Smith who after winning a contest gets to spend a week at a private estate of a brilliant CEO. The film starts off quite ordinary but as it goes on it gets increasingly more mysterious. To start of Alex Garland's directing style is so unique, interesting and clever. He created this whole world inside of a house in the middle of nowhere which just shows his capability. The script is phenomenal and its where all of the genius comes from. Now onto the actors, Domhnall Gleeson is really great in this film and so is Oscar Isaac but the real star is Alicia Vikander who plays the AI. She is just brilliant in this role and almost deserved a second oscar for it. How she portrays fear, curiosity, and love is incredible. The standout moments in this film include the incredible final fight scene in the hallway and that genre changing dance scene that is honestly the best shot in the movie and one of the best shots of all time. Therefore Ex Machina is a really great and genius movie that you can both love and appreciate.
A diretora @nikicaro postou esta imagem do 1ª dia de filmagem da live-action de #Mulan . Olha que coisa linda! O filme chega aos cinemas no dia 26 de março de 2020. Mais detalhes você confere no site. @mulan
----DRIVE (2011)---- 🚗🦂🐸
Director: Nicolas Winding Refn
Starring: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks
Writers: Hossein Amini (Screenplay) & James Sallis (Book)
Cinematographer: Newton Thomas Sigel
Composer: Cliff Martinez
My verdict: 10/10
I first watched this movie knowing nothing about the plot, the director's filmography, Gosling's adeptness at portraying a quiet charismatic psychopath and the gorgeously shot noir tone. Upon first viewing, I was blown away by the visuals, 80s style synth soundtrack and the dreamlike mood.
Right from the start, the meditative practice of night driving resonates with me. Neon city lights bleed into a sky that surrounds you like a dark shell. You are one with your car, armoured as you speed down a lonely street, your focus on the road immediately ahead and the hard-candy glitter of your dashboard instruments. There is a sensation of total freedom, and with it, a lurking, terrifying thrill: Thanatos, the death drive. You know that you could be pulverised at any moment.
The mysterious Driver, who doesn't talk much, epitomises Joseph Campbell's 'Hero's Journey' Monomyth. The Driver is on the hero's journey and the car is his supernatural aid, his talisman. .
The scorpion and the frog fable is also central to the story: the Driver is in fact the frog who carries the scorpion on his back (signified by his jacket). In offering a mode of transportation to the violent criminals he is putting himself in the hands of people who cannot change their nature and will ultimately bring him down with them – the final job being initiated significantly at the bank of a river.
Drive is a masterpiece. It is a film that hits every single note perfectly. The many things that’s amazing about Drive is the use of music, which I still listen to on my night drives.
“I give you five minutes when we get there. Anything happens in that five minutes and I'm yours. No matter what. Anything a minute on either side of that and you're on your own. I don't sit in while you're running it down. I don't carry a gun. I drive." - The Driver
Odeon Limitless 191 was The Festival. I have to admit I nearly wrote it off of as another rude and crude offering from the makers of The Inbetweeners...and it is....but at the same time was quite fun and I had a laugh a good few times with it. Won’t win any prizes for best film but I was glad I caught it and gave me a good few reminders of festivals I have gone to in the years gone by. 6/10 from me. PS Joe Thomas is too old to be playing these roles now