A prophet

Movies on gangsters or criminals who are or overcome two hours and a half: three deliveries of The Godfather, Scarface, One of ours; and now, A prophet (A prophète, 2009). His director, Jacques Audiard, will find well-taken size length; the spectator, nevertheless, goes out of the movies with the sensation that a too long menu has served itself.

Argumentalmente, A prophet would be more next to Scarface than to The Godfather: we are not before the big history of a (mafia) familiar saga but before the ascent, dividing of anything, of a criminal. Audiard has wanted to make very clear that his Malik small Djebena has to do with Tony Montana. He did not want, he has said, a neurotic dice to the excess (The Djebena starts with a profile more than under). Returning to the question of the length, if in The Godfather it was more that justified, Scarface did not seem needed from a few hours of fork in the assembly room either.

On A prophet, on the other hand, there meets the sensation that to Audiard him the hand has gone away. He wants to be meticulous, and it is one of the strong points of the movie, in the story of how his hero is climbing slowly and painfully, climbing in the nutritive chain by means of sticks, murders and proper tasks of a servant. If in some aspect it had to be especially careful, it was precisely in that one. Hardly the spectator might have excused to him that, to the purest style of the mediocre movies, was settling the transformation of sausage of half a hair in jefecillo of the underworld in a quarter of an hour, after two fights, a fistful of phrases and a tragic tune sounding of fund while there are chained insipid scenes where there is narrated the bad thing that passes in the jail.

Audiard does not commit this sin. His approach to the real prison world is haughty. It denounces excellent papers. Observers are believable, the prisoners are believable, the clans (the Corsican ones, the Arabs) are believable. The realism is powerful, aggressive (the first execution, without going further). But yes Audiard commits another sin: his will to document everything to the detail lengthens tremendously the movie. Synthesis capacity is missing in some point, although it has the virtue of making complicated foreseeing where it might have put the fork. Set already completing the list of defects, the sleep and paranoias that assault the protagonist take a fancy highly redundant. He wants Audiard to avoid the purity of the genre and to contribute poetical strokes, but it is not difficult to imagine the tape without these scenes, and even improving.

Warned the negative points, repeating belongs to justice that both the treatment of the prison and the evolution of The Djebena are outstanding. Supported, there is not less true, for the excellent work of the principal actor, till now unknown Tahar Rahim, who gives to Audiard his that for that he was asking: nothing of excesses, nothing of grimaces, nothing of sinking the face in a coca mountain. Rahim is perfect at all times: the same receiving a drubbing to steal from him his sneakers that suffering before his first murder, assuming his new gallons and experiencing the indescribable sensation of feeling free again. Niels Arestrup as the Corsican boss César Luciani handles a record much more expansive that becomes incarnate with identical brightness.

In all the awards, and they have been great, hoarded by A prophet the applause is detected to the effort to have penetrated in a world that is not new, that of the jail like microcosm, and to there be devoid one of the topics and common places which the movies has usually incurred, especially the American. The same way, having come out the genre to serve what, finally, is only another history of personal overcoming. The Djebena will never discover the remedy against the cancer nor will score the definitive goal in the final of the World cup, but a status has been worked departing from a situation that could not be less profitable. There is no this praise to the gangster that they have wanted to see any in The Godfather, but a meticulous portrait of the success of the pariah. A pity that, in return, 155 minutes have been necessary.

Verdict: 7.

The best thing: Tahar Rahim.

The worst thing: Excessive length.

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Premieres on March 5

Weekend of low profile. There will not be small those who are useful to know and visionar some movie that has remained in the inkwell when we count already the hours so that the big gala / lie of the Oscars should come. But it will not be us whom we discourage to the personnel. Not completely, at least. There are things, from today, which is allowed to see. Helas here:

- Rebellious heart: Fortunately, they have not translated it like crazy Heart, a title that would frighten even the most rash. Classic example of movie in which everything turns concerning his principal interpreter. Jeff Bridges is a candidate for the Oscar for better actor and in all the gossip shops he insures himself that trincará statuette. So the one that is going to see this tape, will do it for the friend Jeff. Oh, skylight, then there will be three or four that are unconditional of the musical country music and real desire will throw him.

- The men who were looking fixedly at the goats: The people like George Clooney, Kevin Spacey, "Slow" Ewan McGregor or own Bridges, which doublet does, they like, occasionally, enrolarse in projects rarunos. It is supposed that it gives prestige. “I am so guay that not only I do serious movies or taquillazos, also me the false indie goes”. A master of unexpected name since he is Grant Heslov directs what they sell to us like “history based on real facts”, and that he narrates cosituated, more than paranormal, of funnier, with military men convinced in that have powers. Option bizarra/freak/alternata for the weekend.

- Millennium 3: The queen in the palace of the air currents: If the level of Larsson's trilogy was marking a clearly descending trajectory, it is not of waiting that his cinematographic adaptations him enmenden the page. I admit that I saw the first tape, correct, and skipped the second one. The very unconditional ones will come to this one third only, I am afraid.

- Dragons hunters: European animation.

- The night broker: With this so fascinating title it can be only one …: typically Spanish product!

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Quite ready for the Oscars

Hollywood is prepared for his most special night. The Oscars warm engines and at a few hours we will meet the lucky winners of the golden statuette. The theater Kodak of Los Angeles will open his doors from the 00.30 (spanish time) and the traditional famous persons inaugural procession will begin for the red carpet. We do not forget of the joint productions Hispanic - Argentinian and Hispanic - Peruvian The secret of his eyes and The scared nipple, which compete for the Óscar of better movie in not English speech, not of the Spanish animated short The lady and the death. The best of the lucks for them.

But here, in Celluloids in his juice, already we have opened the red carpet. On her there have not happened Sandra Bullock, Brad Pitt or other megastars of the celluloid, it nor is missing that it does. Much better that that, for this blog the first thing his readership is, and that's why yesterday we release the forum of our page of facebook with the following question:

Who will the cat take to the water tomorrow, Cameron or Bigelow?

The answer, as always, was immediate, enriching and diverse. Between our followers there is a clear division between fans and detractors of Incarnation, something similar to what it spends with In hostile ground. The opposition Cameron-Bigelow for the Oscar moves to the fans, and really it looks like an impossible mission to meet to someone the one that should like two movies. As it tries it, we extract some comments of our forum:

I hope that Incarnation should take it, the best movie of the year. Later my darling is Up (Carlota).

Since I hope that there should take enough Precious, which frankly is one of the best movies that I have seen lately, especially the principal actress (Susana).

I go with “In hostile ground”. It seemed very entertaining and with a quite twisted background to me. I hope that (Juan) should gain it ex-of Cameroon …

Incarnation is the most overvalued movie of the year, in spite of being acceptably good in the technical aspect. Cameron should have sufficiently in spite of having taken the collection (Manuel)

If it is not because they ever convince me it had gone to see Incarnation, it is not the type of movie that I like seeing. It was a surprise to find me with a movie like that, I liked the truth very much and he would recommend (Prop).

I remain with Bigelow and his “In hostile ground”. Incarnation dazzles for his impressive visual deployment, but his script is slightly worn-out; it is one “Dancing with wolves” in the forests of the Amazon (Rafael).

Not “In hostile ground” not even "A prophet” Depués deserves the Oscar … of seeing “Generation Kill“ and “Cell 211 ″ none of the two has contributed me too much … I prefer “Incarnation“ y “The secret of his eyes” … (Ane)

For me Cameron deserves it since the impact of special effects that it has is spectacular although the history is not so impactante like that of in hostile ground of Bigelow (Stop).

Precious deserves it much more … (Teresa).

Thanks to all for your comments. To remember that you can still give your opinion or even, for more night birds, mention what the live gala is looking like to you.

Certainly, the gala of the Oscars one will be able to see in directly in the Channel 24 hours of channel TVE and in RTVE.es.

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The Oscars 2010, hostile ground for Cameron

It is already. The Oscars surrendered yesterday evening and in the end there were more surprises of the awaited ones. Not because Kathryn Bigelow was obtaining the first statuette for a director, that was sung, or because his movie In hostile ground was crowned like the best movie of the year, which was entering inside the foreseeable thing. The surprise was in the overwhelming defeat of James Cameron and his Incarnation also in the technical awards. In hostile ground it obtained, in addition to the two mentioned ones, four more Oscars: miscellany of sound, assembly of sound, assembly and, for grief of Tarantino, original script (work of Mark Boal). Incarnation had to be content with three of his nine candidacies: there photographs (Mauro Flore), artistic direction and visual effects. Absolute victory, therefore, of In hostile ground.

The rest continued the pronounced way except the award to the best foreign movie, which in the end Hispanic went to stop to The secret of his eyes, joint production Argentine (from here our congratulations) opposite to to big favorite, The white tape. Sandra Bullock and Jeff Bridges took the Oscar as the best interpreters protagonists, while Christoph Waltz y Mo'Nique they did the proper thing with the share-out categories. Unfortunately, the short one of animation of Javier Recio Gracia The lady and the death had to do as the award was coming across of Logorama, of Nicolas Schmerkin. Up, the best movie of the year for these critics, took the Oscar to the best movie of animation and to the best sound-track.

As for our football pools, since it was foreseen, a servant has won Pablo 15 14 (of 24 categories), and that that I allowed myself the luxury of giving to Incarnation the winner to the best movie for giving to him a little of emotion to the thing. The key, as I predicted, there have been the minor awards: better documentary (The Cove), better makeup (Star Trek) and better edition of sound (In hostile ground). Certainly, that in our football pools we forget the award to the best assembly … ups.

Anyway, this way there are the things and this way we them have told … although it is sure that Pablo will give his peculiar point of view to the gala.

WINNING OSCARS 2010

• Better Movie: The Hurt Locker
• The better director: Kathryn Bigelow for T is Hurt Locker
• Better actor: Jeff Bridges for Crazy Heart
• Better foreign Movie: The Secret of his Eyes
• Better actress: Sandra Bullock for The Blind Side
• Better supporting actor: Christoph Waltz for Inglourious Basterds
• Better Cartoon: Up
• Better original song: The Weary Kind” of Crazy Heart
• Better original script: The Hurt Locker
• Better animated short: Logorama
• Better short documentary: Music by Prudence
• Better short: The New Tenants
• Better makeup: Star Trek
• Better adapted script: Precious
• Better supporting actress: MóNique for Precious
• Better artistic direction: Incarnation
• Better wardrobe design: The Young Victoria
• Better sound edition: The Hurt Locker
• Better sound: The Hurt Locker
• Better photo: Incarnation
• Better sound-track: Up
• Better special effects: Incarnation
• Better Documentary: The Cove
• Better Edition: T is Hurt Locker

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The pasta for James, the glory for Kathryn

My hunch was not cheating me. A voice me whispered to the ear that the Academy, entity submitted to caprices, tejemanejes and graze you to him, that have not been missing in 82 occasions in which the Oscars have been delivered, a small surprise had prepared the friend Cameron. A message. A message that might sum up this way: "be content with more than 2.500 million dollars that you have gained with Incarnation and in spite of having given birth to the two most popular movies of the history; the pasta will be yours, but the glory you is going to take it ex-”.

And this way it was. There was confirmed the tendency of the first deliveries of awards, when The Hurt Locker/En was sweeping hostile ground in all the awards, popping in like a cyclone with the history of an artificiero of the Army of the United States who devotes himself to deactivate bombs in Iraq with the rash attitude of a toreador, always to the knife-edge of the razor, in an almost suicidal attitude. Later Incarnation was released, it turned into a phenomenon, into a boom that burst the box office, impossible to deactivate even for the personage that Jeremy Renner embroiders. A fact that it annoys: opposite to almost 2.600 kilos that Incarnation has kneaded, The Hurt Locker scarcely has gone on from the 20. The golden Balloons left us to all of stone on having endorsed, in the shape of trophies, the superiority of the fortunes of the Na'Vi in Box Office.

But I did not allow myself to cheat. And I have not been wrong. Hollywood takes a time raised to the car of the disobedience, perhaps for that one of the Age Obama, if for disobedience, in such a rigid country, and in a structure as stony as that of the industry of the seventh art, we understand the consecutive victories of Slumdog Millionaire, small, coloristic, vitalist tape; and of In hostile ground, movie of 15 millions of budget that he dares to speak about the war of Iraq without glorifying to the native troops, true that without not showing the suffering of the population, but in any case, with a tremendously disappointed vision either.

I will put the letters on the table and will admit that, personally, Incarnation impressed me much more than The Hurt Locker. I grant that Incarnation is designed for that, to crash. He knew, and it has been confirmed, that in Incarnation the academicians would see a mere entertainment vehicle, and that they would attack cruelly a simple script, without big boasting, that it offers to establish comparisons (Dancing with wolves, Pocahontas) and to speeches reduccionistas that I do not share. In spite of everything, I admit that his libretto does not have the complexity of that of his rival. In hostile ground I liked, but there happened to me exactly the same that with Slumdog Millionaire: not me parecce a movie, in normal conditions, to take 5-6 Oscars.

The best of the year, Up, is content with the categories of animation and sound-track. A pity. Some day will be passed of rewarding an animation tape; there will break another barrier, like that of Kathryn Bigelow as better director. With four so praised interpretive categories, the surprises, in this edition, it was necessary to look for them in in the rest of awards. I am glad that Damned bastards only it was bringing reward Cristoph Waltz: it does not deserve any more. Precious, excellent movie, takes two statuettes; I am glad the same way.

And I am glad deeply for the victory of The secret of his eyes like better foreign tape. She was my darling, but I praised myself in my football pools for The white tape dragged by all his baggage in festivals and awards. Finally, Hollywood has wanted to reward the most classic history. Here it has been left of innovations.

Anyway. The workers of Kodak Theatre will be pinched right now dismantling the platform, if it is that they have not finished, that there they are more efficient. Sweeping the filth of the red carpet and drying the Cameron tears. I imagine James sobbing of anger, unable to digest the victory of his ex-, thinking for his innermost thoughts: "but if I have revolutionized the movies, if nothing will be equal again! is it that you do not understand it?”. All this sat on a mountain of golden coins, which Uncle Gilito. Poor King Midas.

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The Soprano

Those who detect appreciative / complaisant grounds in the mafia movies are not exempt from certain reason grade; especially as for the great saga of The Godfather, although it is true that neither other qualifications, see One of ours or The price of the power, stand out for his criticism of the Mafia, however much his protagonists, of a form or other one, should finish punished.

In this sense, a series since The Soprano supposes, up to not excessive point, an adjustment of accounts. Although his only outstanding characteristic is not this, soon there is perceived this distancing that flees of the presentation of the principal personage, Tony Soprano, which hero at a height of Michael Corleone. Principally, because Tony Soprano is distant from being very much this thick figure, totémica, this boy for whom nobody waits and whom ends up by inheriting the mafia empire and dominating it with astuteness. The Godfather is, finally, an overcoming history, that of the family Corleone. The family Soprano takes the opposite road: that of the deconstruction.

The biggest merit of this series, therefore, takes root in his aptitude to undress to his personages' nourished cast. Starting, undoubtedly, by who one of the ringleaders heads them, Tony Soprano, of the mafia of New Jersey who soon inherits the position of maximum boss. Tony Soprano is an oppressed type, a guy to which the pressure can, which a good day begins collapsing (literally) in the most inopportune moments and which ends up by resorting (secretly, so it is seen badly in his business) to the services of a psychiatrist (woman, for more inri). It is appreciated immediately that little of laudatory is going to have his portrait. They do not leave Tony of him the dwarfs grow, good is through the fault of a quarrelsome uncle, an unbearable mother, a few curious children or a few subordinates who put the paw for awkwardness or for wanting to extract more sliced of the one that corresponds to them.

Considered the best series of all the times, it belongs to justice to admit that his personages' gallery fills a vacancy of honor: starting by proper Tony, but without desmerecer the secondary ones, whose leading role is dosed perfectly; if initially the mother emerges like enormous figure, capable of tormenting his son up to unsuspected limits, later they gather the witness the uncle Junior, the always anxious one for Christopher and the psychopath Richie climb. They all play an important role and they all are painted the portrait of haughty form.

Far from offering a pyrotechnic spectacle of shots and blood, The Soprano is rather the result led to the area of the fiction, of placing a camera in the life of a gangster of our days. A subject through that there lives a life radically different from that of the rest of mortal. What was turning out to be outlined in The Godfather (Michael closing to Kate in the knobs the door of his office, separating the familiar life of the "business") is here a fundamental lever of the action. Tony Soprano, and those who surround him, do not get up, record in the work, and return to his houses in the night. They have another type of problems: the FBI, clans rivals, informers who go away of the language, games of poker, the people to whom it is necessary to press the nuts or, even, to give passport … An existence that is salted of the margins of the legality and, therefore, of the normality. In the consultation of the psychiatrist, precisely, it is where this difference shows with major accuracy, where better we contemplate the collision of these two worlds.

With all this there must fight poor Tony Soprano interpreted by James Gandolfini in the role of his life. There him does not go to the rear Edie Falco, who demonstrated interpreting the wife of a gangster (confined in the limits of his house, cheated by a type male chauvinist and womanizer) of what was capable. The family is, certainly, the keystone of the plot; not in vain, the series is called The Soprano.

Although perhaps an affirmation as tremendous as the already reviewed one of “the best series of all the times” could turn out to be excessively dogmatic, few ones will be able to question the quality of his scripts and the role that it has played in the golden age of the television. The Soprano is a television with capital letters.

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4 reasons for which you do not want that the spring comes

Spring 2010. This is the starter, the beginning, the starting point of the cinematographic period. Finished the resacón of the Goya and of the Oscars (although we are still waiting for The Blind Side), they come to the big screen the worst thing, the most infamous thing, that one for what, with pleasure, you would lengthen the winter a bit more. Because with the heat father comes the madness, the wild abandon, the cinematographic strip. Movies that will try to sell us even in the Tail Cao, but of which we have to flee as of the pest. Here an advance goes.

Not decisive sexual tension (Miguel Ángel Lamata).
Of the director of Isi/Disi and One of zombis, produced by Santiago Segura, and with the typical casting of everlasting television figures, March 18 comes one: comedy? of that the tension raises you, but for the thick humor that it distills. Counterprogramming: to avoid any temptation of yielding to the inevitable propaganda with that the good one of Segura will flood the TV, Celuloides advises to disconnect the sign of the TDT of your neighbors' community and realize a marathon of rock comedies Hudson and Doris Day.

There goes pair of polis (Cop Out, Kevin Smith).
Small prestige that Kevin Smith had left travels round the toilet after signing a buddy movie in which he does not even sign the script. For Bruce Willis it can still be worth while, but. who coño is Tracy Morgan? As Amy Winehouse would say: "not … not … not.”. Counterprogramming: do some plan for May 21 that bears to go out of the country.

Camp Flipy (Rafa Parbus).
I believe that he does not need any comment. And if you need it, see the teaser and they will wish a meteorite to fall down on the Earth on June 11, 2010. Counterprogramming: of course, nothing of sees The anthill at least from one month before the premiere. And if there is monkey, see The crazy teacher (The nutty professor, 1963) of big Jerry Lewis.

The Karate Kid (Harald Zwart).
Really was it necessary to have this remake? Really was it necessary to make the memory of venerable Pat Morita dirty? Really was it essential that the son of Will Smith was leading it? And what is that thing about quitarse/ponerse the jacket? Anyway … on July 23. Counterprogramming: to go away to China, paradoxically the only country of the world in which the censoring will not leave that the peli is released.

That it is not said that we do not warn it …

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