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magnificent modern classicism' RED ', another meeting of old friends

are becoming more frequent, on the one hand, films that meet a significant number of known actors and, secondly, adaptations of comics and graphic novels that have nothing to do with the classic superhero cartoons. The truth is that there is often little to scratch in one and the other, beyond a brief and passing moment of entertainment. RED , a fusion of the characteristics of both groups of films, meets all previous expectations. Who expect great performances from the big names who populate the cast, to be forgotten because they are just having fun. Who expect a reflexive history beyond the reviled superhero, forget because there's only entertainment. RED is what it is. What other movies have been so many before it: a passing entertainment. It looks and forget as easily. Unequivocal sign that it could have done better, of course. But since then passenger is about two hours left no regret for having lived, not be so bad. It's just one more.

And yet the thing about the paper could promise something else. Bruce Willis takes a few years lost, and only found back to the origins, recovering John McLane in Die 4th. Give it a starring role in a kind of action comedy, based on the graphic novel by acclaimed English author Warren Ellis looked good. Willis fits the cunning necessary for paper and film. If top is surrounded by Morgan Freeman, John Malkovich, Helen Mirren, Richard Dreyfuss, Karl Urban, Ernst Borgnine (what joy to see you again on screen!), Mary-Louise Parker, Brian Cox and Julian McMahon, expectations grow . If a director also runs as varied as Robert Schwentke (author of the widely disparate Flightplan missing and Beyond time), the cocktail can be as unoriginal. And in the end it is not so. It's just a gathering of old friends, a genre that recovered and perpetuated (for me kind of boring) saga Ocean's Eleven , it does not add more than the great pleasure of seeing a remarkable group of actors having fun (I guess that was the original intention of Stallone and Mercenaries , to cite another example) and a moving right director bullets to the big screen. RED

(which stands for Retired Extremely Dangerous, Extremely Dangerous Retired) whose main character is Frank Moses, a former CIA agent who lives a pretty boring life in which only relates, and by phone with Sarah Ross a woman who manages the money from your pension. Everything changes when Frank has to repel an armed group that comes to your home to assassinate him. The next step, and as he had decided to meet in person to Sarah, will go look, because if they wanted to kill him it is normal to try to find you through it. Start and a great little coaster in which Frank, Sarah and other old friends who will be appearing on the road will have to find out who wants to end their lives and why, what will end up completely changing the purpose of his flight. All very typical of Warren Ellis, all very cynical, yet very violent and comically supposed offender. Maybe the bullets run around more easily than it does on the screen, where they meet the odd twist unlikely and expected to be no muss no comment for whom just get carried away without thinking about where you are carrying.

This film does not sink stands for nothing in particular. It is simply a clear and honest title that, if understood, allow greater enjoyment of the viewer. If not, we have a problem because too much risk then travels to the border of the absurd to the point that neither actors like Freeman, Malkovich and Mirren can rescue. The success of RED the viewer depends on the ability of abstraction to prove each of them, because it really does not offer much more. Enough? Each will have national assessment. For me it was not enough, because once its hard to remember a scene from the movie, some dialogue, some point, a character. Everything is seen in this blend of action movies coral-tinged comedy. And what is not seen (the first crossing between the characters of Willis and Urban, a car chase) is so implausible that can artificially scare. Just convinced that unreality in the epilogue, fun, casual and exgerado equally. But the fact is that the film seems to have pleased the critics and the public, to the point already announced a sequel. I'm going be very demanding.

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' Beyond Life 'and where Clint Eastwood wants

is 80 years and never ceases to amaze me. It is the most classic filmmaker left for Hollywood and maintains the ability to reinvent itself. They said that this was not his best film and no, it is, but why stop now. Clint Eastwood and Beyond life. 129 minutes delicious, beautiful, melancholy, especially melancholy. Enter one thinking that going to a movie about death. And thinking out what he has seen is a film about life. In just over two hours, the carousel of emotion is intense, extensive and powerful. With a great cast, with an address so new and known. Clint Eastwood. Just say those two words enough already to surrender blindly to this trip that we face. For its packaging looks different than that of the previous movies or best director. Shocking as it may seem now, their years, explore land adjoining the afterlife. But who cares. What counts is what Eastwood ever, the history of human beings. And although the structure of three people walking toward convergence is new for him, also dominates this item. Beyond life and as far as Clint wants. Now and forever.

Since the early 90's Clint Eastwood put together three masterpieces as a director (Unforgiven , and A Perfect World The Bridges of Madison ) was not the director in a state of grace like that now dominates production. Now there are eight films strung together with a high level, very high, sometimes even none. It started with the raw Mystic River. Continued the painful Millon Dollar Baby. Flags of Our Fathers , the weakest of this stage, it was an exercise in classicism necessary to undertake the formidable Letters from Iwo Jima . exchange is overwhelming. Gran Torino is beautiful, even in its darkest moments. Invictus is a great hymn to freedom and fighting. And Beyond life could come to be understood as the culmination of this trend of the last decade, because all these films (except Invictus ) talk about one way or another on death. What better end to address the death itself? But beware that we are not talking about a movie more than Clint Eastwood. This is different.

variation occurs in the story itself. What we have on the screen are three characters, three lives and three different locations. A parapsychologist of San Francisco who has the gift of contact with the dead but he wants to stop using it (Matt Damon), a French journalist living the traumatic experience of being a star of a very recognizable natural disaster (Cécile De France) and two twin brothers from a broken home who live in London (Frankie and George McLaren). From the outset it was understood that the three pieces of the puzzle are set to converge, although Eastwood, with a dash of the great Peter Morgan (The Damned United , The Challenge. Frost / Nixon, The Queen ) hides his cards during the first part of the film. It is true that meets the highest of Cecil B. De Mille's start with an earthquake and grow in intensity. Only the growing intensity is emotional and not action. And grows to unexpected levels, especially in specific scenes. In fact, this may be great but the film: everything fits in the end, but has mood swings. There is simply indescribable and miraculous scenes and others that only make sense in the end.

A key point to understand the whole movie and is the scene in the apartment of Matt Damon's character with the girl he meets in a cooking course (Bryce Dallas Howard, who until now had reached its peak with M. Night Shyamalan in Forest and Lady in the Water . Until now. look at this scene.) Is the natural outlet one of the best, most intense and beautiful sequences of flirtation and infatuation that have been seen in recent cinema, but also the natural consequence of a life based on the death (as the character itself), which tells us to that moment. Is at the same time, a portrait of both death and life, but above all the loneliness, overcome cravings, the need to move beyond the traumas and fears and the limits of the condition human. Not only is a sublime scene on paper, is that Eastwood's wheel with a master's inconceivable to many other directors who have enormous prestige and often are simple artisans who put the camera to capture the magic. Eastwood, no. He creates magic. With every decision he makes, with every risk taken, with each frame that view. And that scene, I insist, is the climax of the emotional rollercoaster that we proposed.

The trip is credible because, apart from the brilliance of Eastwood, the actors give the condition. Damon, an actor fairly flat in its infancy, is superb, more and more certain of his qualities as an interpreter and increasingly plausible in very different roles. And there is more to see the two characters that Clint Eastwood has given here and Invictus, to check this development. Cécile De France is an actress gala, young but long career, and while rookie in Hollywood. Its role is probably the most intense and probably the most risky of the film. Passes the test with flying colors. The other female role, that of Bryce Dallas Howard, is much shorter but probably as essential to the emotional tone of the story as that of De France. This actress is very talented, but not let him see as much as desirable. And even with the kids get great moments Eastwood, which always brings a cast of secondaries as remarkable as unknown (except for a British actor who is always wonderful to see and which plays himself in a cameo-why blow the surprise by saying your name?). Everything fits, everything moves perfection, are marking Clint.

When the movie ends (and ends with a final ... perhaps too nice, is it possible to consider that a flaw?), Is the residue of having seen a prodigious set of scenes that stand out above others in appearance, only apparently more expendable. Narrative is different from the usual for this director, but other paths may be closer to a choral film has better reputation of which I believe usually warrant ( Crash could be the most popular and award-winning exponent). Is, as I said, a carousel of emotions, everything that goes with the word carousel, also some noticeable ups and downs. It is ultimately the best film of Clint Eastwood. But it is very good. And a film simply very good Clint Eastwood is better, probably, 80 percent of what is released in one year. Old fans of the director do not be mislead by advertising that has supported the visual spectacle (who has a brilliant start as a brutal) and the supernatural. Actually, that's not the best offering Beyond life. Because it looks like a film about death, but it is not. It's about life. And that Clint knows a lot. Are already 80 and half of them delight behind the camera.

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' Swan black 'stunning Natalie Portman

When I see for the first time an actor or an actress and I'm excited without limitation, that artist has won my heart movie buff. When I see that over the years, that I won so easily get stuck in the ease of a media career, it makes me want to mourn. Natalie Portman fit that description. I went crazy with his heartbreaking girl Leon. professional. And if I needed anything else, I fell in love with her pert little girl Beautiful girls. But from there I saw a different Natalie Portman. Always beautiful, but dull in appearance. Without thinking most of the characters he was doing. You'll notice I'm talking about in the past. Because black swan has become Natalie Portman. Has become such a stunning performer, the wonderful actress who dazzled me more than fifteen years. His portrait of white swan is so beautiful as the black swan. Their fears, their warmth, their boldness, their anger, their shame, their hopes, their work. All this puts on the screen. And that, again, has made me shudder, has connected with me, reached my senses and, as before, I've fallen in love.

alone is well worth seeing black swan. Just for her and especially for her, because in the end the film left me a bit low for what could have given him. But then arrive defects, because the merits of incorporating this title Natalie Portman are many worthwhile to continue dwelling on them. Nina is a dancer who longs to get the lead role of a representation of The Swan Lake. It is a beautiful young woman living with a very possessive mother, who can hardly relate to girls her age and shows great sensitivity, so that his white swan is perfect. But can also be a black swan? Do you have within themselves what it takes to represent the darker side of the personality of that character? That is the descent into hell that tells black swan. This is the dramatic exercise that shows Natalie Portman, the transformation of women through their experiences. Gestures are bright, their looks, their words and silences. The actress has admitted that the physical requirements for the role were terrible and almost finished with it. All it shows on the screen. Everything. Brings to the surface many feelings that it is impossible to list them.

The package created by other performers for Natalie Portman contributes to his character, to me, is already legendary. Mila Kunis eye, an actress too familiar, yet here I could have found the definitive consecration if the light of Natalie Portman at times overshadow everything revolves around. Their treacherous and mysterious portrait of a dancer apparently so friendly and enemy of Nina is brilliant. Both out one of the riskiest sex scenes that have been seen on screen in recent years, a brilliant scene, reminiscent yperturbadora equally. Barbara Hershey portrays Nina's mother, and one can only wonder why this woman, who achieved some significance in the late 70's and early 80's, he has no papers. His brilliant counterpoint to Natalie Portman, but her character is somewhat unresolved in the script. Winona Ryder has the small role of the protagonist of The Swan Lake happens to Nina ("metaphor the current Hollywood and the tyranny of the image and age?). A hard paper, risky, complex and probably the best of his films. Vincent Cassel completed a vast interpretive staff, giving life to the director of the work.

black swan is a film by Darren Aronofsky. I have never understood his films. From the experimental Pi to overrated wrestler , passing through for me ineffective (although for many his masterpiece) Requiem for a Dream, and psychedelic absurdly pedantic The Fountain . The fact is that Aronofsky is a director who has a reputation consolidated and a sufficiently large legion of fans. black swan is the first film this director who manages to convey something. And I think that is due much more to Natalie Portman and other elements that Aronofsky himself. It is true that wheel firmly with energy and dance sequences (starting from the beginning hypnotic, dreamlike scene that follows a magic), and sometimes beautiful maps consists of mirrors and reflections. But I also believe black swan is a movie at times tricky, especially in his otherwise fascinating final scene. Play Fantasy (essential to handle this story) in a way that engages and sometimes other leaves the feeling that betrays what appears on screen.

Not to mention the obsessive repetition of unnecessary levels following the walk back a Natalie Portman (technical, of course, already used and I despaired to Mickey Rourke in The Wrestler ). With this hint conceals without explanation to understand this choice of camera position a few precious moments for what purports to be the film, a dip in the soul of the dancer. Immersion also is instrumental music from the movie. Could not be otherwise, being a film set in the ballet. Too bad the Clint Mansell's work is not eligible for an Oscar for being based on Tchaikovsky's music for The Swan Lake, because the music is so magical atmosphere as the interpretation of Natalie Portman. This makes the black swan special film, different and required viewing, which, however, is not the masterpiece it could have been, perhaps, in the hands of another director.

By the way, can someone explain me why this film was released in the U.S. on September 5, 2010 will not reach the English screens until February 18, 2011? What logic has to wait almost five months and a half for the premiere in Spain a long-awaited film, which has talked so much and will have Oscar nominations? Then they say that there is piracy, but that only seek to hide the poor distribution policy of too many movies.

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' The next three days, "a complacent and unable final

Paul Haggis has a reputation as a director, I do not think he deserves. I think it's a good writer and his works grow much when they fall into the hands of class filmmakers (Clint Estwood used Million Dollar Baby and Flags of Our Fathers , in addition to his argument for the master Letters from Iwo Jima ) or when you move familiar characters (His is the script for the reinvention of James Bond in Casino Royale ). But when he directs his scripts, he can not hold back. He handed in to me sobrevaloradísima Crash (who snatched a 2006 Academy Award for best film at the much more complex and underestimated Munich). I happened again in the somewhat failed In the Valley of Elah . And it happens again in the next three days . The story has great ideas, but the most interesting are quite poorly developed and those that do is the final dismount on a complacent and absurdity that reveals the work of a director much more able than it denotes the good direction of actors. Thankfully, we'll always have Russell Crowe, a monster of interpretation.

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Count argument The next three days, reaching almost implies the anger that leaves its final flojísimo, so I will refrain from giving many details. The theme of the film is the limit of human ethics, what would you be willing to do for the person you love in a real world where the boundaries of decency. That is what Paul Haggis explained in more than two hours of film. Or, it would be more correct to say, which seeks to expose. And all those good intentions just shattered in the last fifteen minutes, where the author of this film is formed to close the intrigues of the simplest way possible and settle moral debates raised with a simplicity almost insulting. It is an end, pardon the expression, for dummies, where everything has to be thoroughly explained and where everything has to satisfy a weak and cowardly moralizing, far away from the approaches that had been planted in some moments of the film, especially during the first hour, the slowest but also the most interesting of the film.

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is actually a movie that can be divided into four parts. The first consists the first two scenes and is brilliant. A magnificent scene of dialogue and then laying the foundations of history. Both have the force and engage the viewer (I repeat, give details would ruin it). The second part, the slower it is also the longest. It works largely because it is required to file the characters wear, a development and all the moral dilemmas posed by the extraordinary situation they are living. But all these dilemmas are presented, and very few are developed. The third part, which in any other movie would have been the climax takes on a frantic pace ... and somehow still works seen separately. And it gives impression that is part of a completely different film, because it has no interest in developing the issues raised, only to settle the conflict. And fourth, the conclusions, is what ends up ruining the approach. Is that a good director, the script would have fallen, or at least rewritten. But here it is, surely, as it was conceived by Haggis and does not work.

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Best of The next three days is certainly Russell Crowe. I think there are very few players like him in the film contemporary. Has such a range of records that gives the same paper, always be able to cope with a category immense. It's amazing to see human misery and suffering its inner conflict experienced by the face that gave life, for example, Maximus in Gladiator . Here is a hero of a piece, but a tortured man. Determined, but suffering. Unpayable the two scenes by the phone from prison, in isolation and together as a sign of his character development suffers. Notable is also the short paper, almost a cameo, Liam Neeson, but the force that has diluted his speech the Haggis at the end. Elizabeth Banks suffer the character that best reflects the indecision of Haggis. Here are some of the brightest ideas of the film, but all are diluted in a moment or another of the film. It also gives some regret that the character of Olivia Wilde not give for more than an excuse to end the screenwriter and director. Brian Dennehy (what a pleasure it is to see this man after so many films of him in the 80!) Itself takes his minutes on the screen.

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The feeling that makes the next three days is disappointment, even contradictory. On the one hand, is an effective thirller that plays relatively well with temporal ellipses and takes some advantage of its protagonists. The other is a film that leaves a final message complacent and cheat their distribution not known well how to sell. When you see the announcement of this movie on TV, just find pictures of the final section, the highest rate, and Liam Neeson scene that ultimately discredited Haggis with resolution of his story. And that's not the movie at hand. There is a fast-paced thriller, but its final section then you get closer to their borders. Nor is a story reflective epicenter characters, because their final away that feeling and that Haggis does not know where to take us in that reflection. So the next three days remains in a failed attempt to make a great movie, it could have been quite transgrersora and devastating if it had opted for other ways, with some pros but with too many arguments against it.

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Another great loss: Pete Postlethwaite


Open the newspaper is starting to turn into a financial panic. Another great panic if we are going. As if that is the name of another director or actor who has made us both enjoy the obituaries section. And that has happened to me today. Pete Postlethwaite. Thus the strong name that many people do not recognize you. Surely many say your last name is unpronounceable. But to see your face you know, with no room for doubt, you have seen. More than once and more than two. In fact, I met you in the nineties, when it took fifteen years working in television, as "that guy who comes in almost all movies." Hamlet , Alien 3, Mohicans, In father's name, The Usual Suspects , Dragonheart, Romeo and Juliet , The Lost World, Amistad ... Were everywhere. And anyone I've seen there once or twice a safe. "And you were always right? Do you fit the role to be? What they were getting what you believed in good and bad? Both

I've seen, so I have come across you, I was spectator in the cinema of the last three movies you've done and did not even know I was having that honor. I would run a chill down your back in a very specific scene from one or two of them if they had known you were sick. But I did not. I had no idea that you had cancer. And so long as well. Now I almost feel stupid, but I just enjoyed the ignorance of your presence. In Clash of the Titans . In Source . And The Town . You've got one last paper brand. I do not know if it would have been Killing Bono, though reading the synopsis seems to be a funny movie. Now I have it clear that I'll see. I have to say goodbye. Although, of course, that of so many farewells characters in between is a bit absurd, right? I still remember when Paul Newman died, I had the overwhelming urge to get to see that night, Road to Perdition, the last time you saw him on screen. To see what I see today. Something I leave you, of course.

Today in the press is all over the world with a phrase that Spielberg told him, considerárdole "the best player in the world." I'm staying with another. With yours. "Ultimately, acting is telling lies. We are professional impostors and the audience accepts it. We have closed a deal, we tell ourselves a story, a pack of lies, but there must be truth in it. Can you enjoy it or you may disturbed. " When appeared on the screen, I've enjoyed. Cinema is the only place I like lies. But one must lie and you know it. While we enjoy many lies as you told us on the screen, rest in peace.