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The director and writer S. Craig Zahler offers us in this movie his
debut as a film genre: a western.
The starting point of argument is not new, kidnapping and attempted rescue, but how to develop it is original, blending genres western with terror. Structurally it is a "Road movie" half of the film is dedicated to show the four protagonists walk. The preamble is only a requirement, but interesting, is totally elegant and perfectly defines the characters. The final section, when the subject gives a more unexpected turn, brings great personality to the whole.
The casting is superb. Russell is splendid in character sheriff. The actor and rest of the cast is working proficiently.
The influences in the film are many: presents us with characters who resemble Ford (like Matthew Fox), others that seem taken from "Rio Bravo." It has situations and dialogues reminiscent of Tarantino and his "Django" and a surprising Paleolithic tribe of Indians, that has nothing to do with the Comanches Music is scarce, and only has a few little touches in some transitions between scenes.
Among the latest films in Camus (90's) may be "El Color De Las Nubes"
his best film.
The Spaniard filmmaker relies on dramatic stories and very human characters, it's one of those small films, which apparently do not address complex stories, but for their honesty warmly welcome the viewer, which like its protagonists is also in need of humanistic arguments and encouraging.
It is a remarkable and emotional, with a wealth of characters who constantly rescued exciting, beautiful and moving work to each other (the kids to Grandma, Grandpa Children, niece grandfather ...) and which has splendid performances of veterans Julia Gutiérrez Caba and Jose Maria Domenech.
The short film three stories, initially shown by parallel assembly, eventually coalesce, thus achieving an overview form that tries to reach consistent conclusions.
Although such a story could have been set anywhere Camus chooses a beautiful and peaceful rural setting as Cantabria, achieved through generous well photographed plans, the viewer and the characters, they feel awed by the beauty of the landscape, which becomes and an extension of the home With a script that initially develops independently arguments later go approximating to melt, including a thriller subplot own, are not the most important dialogues, but the constant suggestion of the needs of the characters, In conclusion it's a small film that containing sufficient merit and values desirable to make more than one viewing.
This film narrates the story of a man his wife and children living in
the jungles of Colombia, under the domains of the FARC. Their existence
is harmonious and peaceful, until the FARC put a baby in her care.
Little was born during the captivity of his mother, Clara Rojas, and is
Miguel Courtois, who as director, is controversial films as "Gal" or "El Lobo" risky step back ground with "Operación E" based on real events in Colombia.
The epicentre of the film will always marriage played by Luis Tosar and Martina Gracia, and his family. Confronting the military, the health system, the mafias ... an epic in a real world, and cruel that tests the forces and the bonds of family, and a man who only sought a peaceful existence, far from political ideologies, military ...
The script is full of adventures and troubles narration and a good rhythm that makes it enjoyable for the viewer. Luis Tosar, star of the film, does a superb job and performs an interpretation that comes very close to the character.
The film is shot with technical correctness and good taste, "Operación E" is a well entertaining film reminding us that the greatest adventures and emotions are in the world in which we live
This movie is a historical film, with nature as a backdrop. It has the
North Pole as the protagonist, but in turn with a human sensitivity and
psychology and impressive intimacy. Or what is the same, we must take
care of the atmosphere in a wild nature, decor, costumes, makeup, story
and screenplay at the highest level.
If for an hour you are part of the characters that you see pass through the screen, there's no doubt you're facing a great movie. And if the next day you find yourself thinking about these characters, and remembering with joy or grief, the story has you excited and you shared part of what the director, in this case, he has sought to convey.
In addition to the breathtaking landscape and an almost perfect setting, the film reveals the emotional journey of two such disparate characters as attractive, as strong as tender, as brave as stubborn. In this disparity lies one of the magnets of the film, and the evolution thereof into an existential communion. It's especially the interpretation together with reverence for the two main actresses mention.
Perhaps it ends too abruptly and that there are few planes but the whole is worthy and highly recommended.
Fernando Fernan Gomez filmed in comedy tone, the problems that a family
of middle class of the 50s has to survive after having a child. For
example, shown moonlighting, "Antonio" (F. Fernan Gomez) works as a
clerk in the morning and in the afternoon various trades. F. Fernan
Gomez made this film a sequel to "La Vida Por Delante". With Analia
"Antonio" (who is a lawyer), offered to defend habitual criminals parading from that moment the thieves various screen with their behavior lead to hilarious situations. One of them deserves to be mentioned is that in which they discuss how to dock a house so that the penalty imposed on them resulting minimum. Also noteworthy are the soliloquies of the characters, which are face to face with the audience to tell her confidences.
It is full of fine critical spirit and observational comedy of manners, its cleverly subversive tone, lively rhythm and excellent dialogue, as well as a construction "Sui Generis" for the Spanish cinema of the time. "La Vida Alrededor" is today a jewel of Spanish cinema, a classic that graces our filmography (in a sweet moment with Berlanga, Bardem and company) and represents one of the great works of the author, plus a magnificent film.
It has an excellent script, in the hands of wonderful actors, shows very funny situations, portraying both the miseries and joys of 50s Spain.
Three guys from Madrid who will spend Easter 1967 in Torremolinos. With
that starting point Pedro Olea drew up a delicious work that speaks of
love, feelings, emotions and joy with all kinds of shades. Even in the
dialogues that seem inconsequential no depth and a sense of
authenticity determines the entire narrative. One of the brightest
moments is the strange party where all the characters meet.
The film has a charm hard to describe. Perhaps that ordinary love story between the protagonists, with those looks, the smiles, the first and disagreements, doubts ... A love story that develops between walks and leisurely way French songs of Luis Eduardo Aute, who plays a character who often play guitar and sing on the terrace of a bar.
Olea uses all possible means to enhance film each scene of the play, valuing everything that is good about him. The only flaw is excessive spontaneity of some sequences which gives rise to a certain sensuality in some effective moments and other tedious moments something. It is certainly a special film.
The song of Luis Eduardo Aute film's title is very nice, and all the soundtrack, which almost always has a nostalgic, sad, melancholy touch that just spreading to watch this movie.
This is one of the films that best defines the style of Mario Camus:
Exaltation of the bucolic, simple characters, predilection for
landscapes of Cantabria, aesthetic and very careful photography and
light plot and no clear objective. These ingredients and enjoy in "El
Color De Las Nubes" and other films of Camus, who makes clear his taste
for cinema without fanfare.
It is a film without a story to tell and accurate without a defined main plot. There are several characters, and each carries its own subplot; the cyclist boy, the old woman who dies and leaves a coveted heritage, the manager of the rider and old friend (played by Alvaro de Luna), the girl working in the asylum and sister of cyclist etc. However, none of them seem to have enough strength to give the category of the main character.
Its script is the love, the desire for work, sport, old age, the generosity of those lovers of cycling, the formation of the young (the importance given to the studies), interest ...
The characters remain in the general tone of the film; very simple, with little psychological depth and with little force. It seems that all remain unchanged in a state, something that contributes parsimonious narrative rhythm.
In short, it is a small, extremely simple but with an undeniable plastic beauty and an undeniable charm work. I recommend viewing.
'La Casa De Bernarda Alba' is one of the most renowned plays of the
twentieth century. This film adaptation manages to capture the essence
that Lorca he gave to this work. Interpretations of Irene Gutiérrez
Caba as "Bernarda" and Florinda Chico as "Poncia" remain in the memory
for years. It is a wonderful adaptation, it seems that we are
witnessing a performance. Incredible work though, only the text it to
make a significant film.
It is a true portrayal of the deep Andalusia, where appearances mattered more than the individual. difficult years of rigid moral relegate women to keep Mourning 8 years by the late patriarch.
Stresses the intelligent solution that Camus gives the fact that "Pepe El Romano" should not be seen: a shadow that fills the room, the sound of hoofbeats, a distant body ... Irene Gutiérrez Caba won a Goya nomination Best actress in 1988 for her portentous and furious incarnation of Bernarda. And Camus turned again to adapt a Spanish literary classic. It is a story of women, as seen "Pepe El Romano" never leaves, but "Pepe el Romano" it is impersonal and no matter in the film but everything revolves around him.
As for the performances are exceptional but all include Irene Gutiérrez Caba, also Ana Belen and Florinda Chico and the other sisters that although supporting roles, portraying a totally credible women in a turbulent Spain and in deep Andalusia.
It seems an extraordinary film adaptation of the play by Federico Garcia Lorca, is the best adaptations that have been made, and I like that touch of play that has been given.
Baden Baden is a German city that was fashionable for the gentry in the
nineteenth century as a city break for the hot springs, already used by
the emperor Caracalla, so "Los Pájaros De Baden Baden" is a reference
made by Ignacio Aldecoa to those who vacationed in Madrid 60s.
This film is perhaps the best of the films based on stories of Ignacio Aldecoa and taken to the cinema by Mario Camus. Both "Young Sanchez" and "Con El Viento Solano" marked the extraordinary career of this director.
"Los Pájaros de Baden Baden" has something engaging from start to finish. It is an even more skillful director and an argument with strength and interest to catch the viewer. It is a love story, but had an undeniable charm that captivates, and even excited.
This matter is this wonderful film. Its protagonists are given to love differently. She lives a fleeting summer pastime, does not reach entirely immersed in the whirlwind of passion, but at some point seems hesitation. He, however, comes to love with the craving for a castaway.
Of course it is a difficult love where bet is uneven: they just risk nothing, perhaps in the future even come to forget the experience; He, meanwhile, bet it all. The die is cast.
This love story is treated with great care and subtlety by the great director Mario Camus, author of excellent record here achieved one of his best films. The script is of great perfection, much higher than the light Aldecoa tale plot in which the story is based; but it is in the embodiment where reaches the virtuosity with flat-intensive as those developed in the cocktail bar, which uses a weapon that few directors know how to handle like him: the game looks, the most delicate essence of the film grammar. Other moments of great emotion are flat on the back of the restaurant Elisa, a moment of great tension; the scene three in the cinema with the tender exchange of seats; a visit to poet friend with the brilliant recital of poems and the flashes that illuminate the memories of the protagonist; Finally, the music always excellent Anton Garcia Abril.
It is perhaps the best films of Camus and among the best in our cinema.
This is a remarkable film by Mario Camus based on a novel by Calvo
Sotelo. Antecedent of "3 hommes et un couffin" (1985) by Coline Serreau
irregular and American remake of this film director Mario Camus's
extraordinary. The story is two unmarried siblings who find an
abandoned baby home door. Both men decide to take care of the child.
Mario Camus does not use the easy tear, but two excellent actors who
make their characters believable. The film was filmed most of the time
inside the house. Using excellent flat and good situations. It is a
film to recover.
Pleasantly surprised the deal of the argument. Teargas at all enters tenderness, fully respects your idea of casual script. Special that is set along the street shot in which the brothers are at your portal and collide with a woman who is shopping There is an old language neighborhood in the collision ...
The film also speaks style director. You Searched details to offer high-class parts of an intimate story, as when his hands and she seems to want to hit, almost shy away when touched. A scene of incredible value and well done. Like when Alberto Closas going to the boarding house where they play cards four women. Apparently it is a simple but actually launch brand personality thousand feelings: loneliness, boredom, disgust ... All great sequence Sensational López Vázquez as long as Laura Valenzuela transmitting a feeling with great effectiveness.
Also great that kiss that manage to be Alberto and Laura Lopez Vazquez above when stooping. Maybe I missed it more script, but the stories of life are like that.
Extraordinary film, performances and direction. A whole classic.
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