Thank You Note Community Service

THE SPEECH OF THE KING (GB, 2010) by Tom Hooper

There is a genre that knows no crisis, and that always comes out on time these days: is the so-called 'Oscar-winning film' : it is said, in fact, the produced classic 'perfect', well acted, with ultra-luxury box at the right and politically correct. They are films that seem built especially for gaining the highest number figurines possible (although not always the case), and allowing players the classic 'test as an actor', that is, a role specially packaged to enable a skilled interpreter to break the heart of the judges of the Academy. It must be said that the British are masters in this: the days of Shakespeare in Love , through Sense and Sensibility, Atonement, The Hours, The Queen, Howard ... or almost all strictly honored.

Here King's speech that is not chronologically the last member of this very particular kind, and fully reflects all the features listed so far: it has a pair of amazing actors ( Colin Firth and Geoffrey Rush), a flawless script, an obsessive attention to detail (costumes, scenery, music, makeup). The classic film that, in short, is in your eyes like a work of art but ... mind you, without being at all.
Yes, because the films 'Oscar' have practically all the same weakness: they are highly accurate in staging, but difficult to excite and involve. I'm icy, detached, impersonal, and leave the actors' 'burden' to warm the hearts of the audience.

And King's speech is no exception to the rule without the 'golden couple' first cited would be very difficult to be caught by the enthusiasm for a story all in all not too interesting, and rather obscure to most: that of King George VI of England, father of Queen Elizabeth and quiet man, shy and unfriendly, with a 'defect 'rather embarrassing for a king: the stutterer and be antrofobico, so frightened and unable to utter a word whenever it needs to go out in public or read a speech on the radio, with millions of people listening. If so, then add that the king has experienced a difficult childhood, a physicist, not just an athlete, a health unstable and volatile character and temper, things get even more complicated ... of course all are consulted the most important psychologists and scientists of England, but nobody can get away from a spider hole. Until, as in fairy tales, here is that at some point materializes the 'savior' in the form of a speech therapist 'sui generis', failed playwright and ex-brewer, perennially penniless, whose unorthodox methods but is finally able to make effective read a speech to the sovereign acceptable e. .. very important: the declaration of war on Germany (we are in 1939).

be clear: I speak of history 'very interesting' in terms of film buff in the sense that I honestly did not feel the need to bring to the screen biography a king's stuttering. But I will not completely diminish nor to mock those who suffer from this disease, in the strongest terms. Also because only those who have suffered difficult to understand what it involves: great great shame and shyness, resulting in fear of dealing with the outside world. Stuttering is not disease but a mental state, psychological insecurity born, anxiety, fear of the people, and the only way to heal and seek to overcome these phobias achieving greater self-esteem and inner peace.
exactly what you need to understand the bewildered George VI 'Doctor' Logue (a good Geoffrey Rush) succeeding the end of its mission. And the final just happened, is the only truly moving moment, thanks to the usual performance-monster of Colin Firth, who books with few worries of mind the Oscar for best leading role. But it remains the only 'click' on a good film but 'plastered'.

RATING: * * *

Stockings Lady Barbara

The road to Oscar

With Swiss punctuality, here again this year comes the ritual of Oscar nominations: thus begins the great race for the prestigious statuettes and begin the surprises: just ten days have passed from the Goden Globes ceremony (which, by tradition, are very good 'lead' the results of the Academy) and we have the first plot twist: The Social Network that the Globe had won hands down, is exceeded as the number of applications not only from King's speech (which at this point becomes the favorite for a number success as the best film), but also by sorprendentissimo The Grit , the remake of the '69 film directed by the Coen brothers and Jeff Bridges in the role that once belonged to John Wayne. the numbers tell twelve nominations for the first and ten for the second, while David Fincher's film on the genesis of Facebook is stuck at eight. It should be said, however, all three films cited contribute equally to the highest honors: The difference lies mainly in the actor cast for King's speech (which besides Colin Firth Best Actor Geoffrey Rush also square and Helena Bonham-Carter of the five non-actors) and the technical categories for The Grit (scenes, sound, costumes, where no figure The Social Network).


It 'pretty obvious, however, that the fight will be limited to these three films, with little hope for all others: the bringing to ten the number of candidates appeared fim plus a shot of the theater to' move 'from the point view of the television that evening for a real increase in competition is proof that Inception or movies like The Fighter altogether have received very little. Is quite sensational, for example, the rejection of Christopher Nolan among the directors, and here we could argue endlessly ... Only outsiders could eventually be Black Swan of Aronofsky, but I honestly believe little, that will end Natalie Portman will take home the statuette for best actress, among other well-deserved, and all happy.

In any case, I say clearly and without hesitation, the undersigned fans of The Social Network shamelessly for : epic movie, sad and extraordinary chilling portrait of modern society as seen through the genesis of the invention more infulente 'year zero': a real film 'break' between those in the race, beautifully classic in its approach but definitely 'beyond' in terms of emotional content and rate. I do not know whether jurors Academy, traditionally conservative, they will realize the scope of a film like this, but whatever happens in the end, David Fincher has constructed a work that will be remembered for years to come, that's for sure.

I have not seen king's speech, but frankly I just draw this feeling 'skin' is that both the classic film 'made' specially for the Oscars: icy, impersonal, stylistically perfect, very good in the package but otherwise insignificant in terms of content. Remember, just to understand, other films such as 'Shakespeare in Love' or 'Sense and Sensibility'. Fine, but rather 'wide boys' and unnecessary. We'll see.

Apparently sensational instead of the ten nominations for The Grit , but the surprise here is relative: the western, cyclically given for the deceased, always falls through the front door and no wonder: it is a usually immortal, the only real kind invented by the Americans and that has always identified their country, and it is normal ritrovarselo between the feet ... and if we think that this is remake directed by the Coen and Jeff Bridges as a 'showman' absolute, I can see him with sympathy. Let's say it is lying in wait!

Few words about the other categories (as we will riaprlarne): Colin Firth strategic is favorite among the actors (and would also be the time), while for women the Oscar goes to Natalie Portman is likely to for his remarkable performance in Black Swan (and this would be a nice bonus, even if the competition Annette Bening, Nicole Kidman and Michelle Williams is respectable). Incertissime, as always, applications among non-players stand out, however, where great names like Christian Bale, Geoffrey Rush, Mark Ruffalo and Melissa Leo . It would seem obvious the victory of The Social Network between the adapted screenplay and for the original probable duel between Inception, King's speech and the 'politically incorrect' The boys are doing well. Nothing to do for I love, the beautiful film by Luca Guadagnino who got the job only for the costumes (designed by Antonella Cannarozzi).

And the failures? Also this year there are excellent, starting with Christopher Nolan , blatantly excluded the quintet of directors: and here it seems a tad obvious dislike of the Academy for the talented filmmaker in London ... Inception
film is a cold, cerebral and perhaps too little addictive, but the quality of the shots you really can not discuss. And what about Roman Polanski , even considered by his beautiful The Ghost Writer? As well as confirming the absolute incompatibility between the jurors and Leonardo DiCaprio , and doubly snubbed again be the same Inception that Shutter Island. What will make the poor even Leo to take home an Oscar? I honestly do not know give me an answer ... appointment to 27 February! LOOK HERE

all applications

Raped On Japanese Bus

ALBANESE And Zalon: LAUGHTER (LOVE) POLICY. RING OF A MILLION

It is now clear that there is a passing phenomenon: Checco Zalone broken every day that passes all box office records (including Benigni), and sorry if it is little. Whatever, just released, is already staggering box-office record file (I've experienced firsthand this afternoon). And of course let's not forget Welcome to the South, although that came out well before Christmas (the period of 'fat cows' for our film), reached the remarkable figure of 30 million €.
With these numbers, you clearly this is a new kind of comedy that is gaining momentum, and we can only applaud. Also because it comes in the aftermath of the exciting results of the 'cinepanettoni', which mark the step in part. In short, for the first time since time immemorial, the charts show a resounding domination of Italian cinema, which places (for now) three films in the first three places with dizzying results.
At this point, there are two questions that most affect the movie fan: 1) what's going on? 2) It is true glory? Understood as: a consensus so high is the quality?

begin with the first. What are the reasons for this 'flashback' to the naked and pure comedy (and not passed off by 'comedy'?). Mainly, as mentioned, the partial alienation of the public against cinepanettoni. I stress partial because we do not forget that Christmas in South Africa grossed nearly 19 million euro, while The gang of Santas arrived at 21: I am still very respectable results for our box office. But the decline there, is undeniable. And the reason is quite simple after all, says Diego Abatantuono : ' are now twenty-five years in Italy are produced cinepanettoni, and people is a bit' broken bales ... 'To blame him?

Probably this is Checco Zalone has fallen into our rooms with the fury of a storm, taking with him the face of 'new man ', the 'comic right time'. What a beautiful day not be comparable to a film by Billy Wilder (to quote a joke of a dear friend of mine), but laughing is laughing, and even a lot. Of course, it is absolutely true that this is comedy 'biting', 'alternative', 'belly', as I read in many reviews ... I would say that is just the opposite: Zalone draws heavily from Benigni and do not invent anything: it takes good-natured around terrorism, racial prejudice, the eternal conflict between North and South (which also had the good fortune to Bisio) and does so in a simple, direct, effective but not vulgar. It is also fairly conventional, if we are honest. But maybe he's right Gianni Canova when he says that ' Zalone stages the' prevalence of idiot ': we all sometimes tend to feel stupid Zalone, staging more than a fool of us, makes us self- fulfill our stupidity '. But beyond this, the main merit of What a beautiful day is to be a movie 'true', built and designed with all the trappings, with a screenplay very simple but not pulled away, and able to support the timing and pace of the film. And this we must recognize this.

What does that instead Antonio Albanian in Any . Of course, here we are on other tracks of comedy. Albanian film leads to one of his most successful characters, blatantly kissed by good fortune: the facts (tragici. ..) these days far exceeds the imagination, making it sound like the film an instant-movie on the 'painful' vicissitudes of sexual Our premier. There could be no better for towing Any : people pour in the room to be loved laughter, looking fierce complicity the comic-Sicilian Monza on the degeneration of morals and the barbarism of our ex-belpaese. It 'a comedy' bad ', acid, masturbation to Tafazzi if we could say that you go to room to get confirmation of what we are stupid and scoundrels, and what really resemble the character of Cetto, which as the same Albanian' comparison of certain politicians of today can be considered a moderate '. So far so good. But Any pateale collapses in a film in its structure: the film is nothing but a succession of sketches, hilarious gags as fierce but held together without head or tail. And in the end the viewer instead get tired fun to do. Laughter in the first twenty minutes, but then the repetition of certain scenes brings out the boredom, and eventually the Oretta projection seems far-fetched and a half longer than usual ... Albanian Fazio worked right or Zelig, where a quarter of an hour scompisciare makes you laugh. But once again (as in Man freshwater and hunger and thirst ) shows it has not yet taken the steps of the film itself.
From this point of view better, much better Checco Zalone .

RATE 'What a beautiful day': * * *

RATE 'Any' * *

Can A Football Visor Fit On A Lacrosse Helmet

Vallanzasca, ANGELS OF EVIL (Italy, 2010) by Michele Placido

course ours is a strange country ... I was convinced, you never know why, we were a people become numb and anesthetized to all, without any shame and disgrace. But incredibly wrong I was! I must therefore express my most sincere apologies to the 'value' League member David U who with great courage and dignity, took a tough stance against Michele Placido, director who is about to land in theaters with its Italian- Vallanzasca The angels of evil , fictionalized biography of the famous bandit. Says U " Having advertised the mafia in the world and made famous by the bloody north to south of Banda Magliana of Rome, not yet satisfied the bad teacher Michele Placido and 'ascended the pulpit to elevate to hero's ruthless murderess Renato Vallanzasca .
Oooh! Finally someone who is angered by serious things! Other than the nonsense of these days ... so much noise for some 'fling' erotic a poor man who is anointed by the Lord, working all day for us and most persecuted of Jesus Christ! In short, the usual communist plot that is able to raise a fuss out of nothing to hide the true atrocities italic, like this movie blasphemous and heretical signed by a director known subversive and Communist-Old ... and what the heck!

Returning serious (even if it is not easy), if I were Michele Placido absolutely would not give weight to the controversy that accompanied the creation and distribution of its film . Meanwhile, because it's all free publicity (and I think Placido, director already sailed, underneath where the laughs in his sleeve.) And why has not anything really to blame his conscience, as it would be absurd to crucify a director for having filmed a drama about a gangster. As if it were not gangster movies ever filmed, and how if you do not know that, since there is a cinema, the characters 'My Own Private Idaho' was always fascinated audiences, without being emulated or glorified by the public. It would be like Americans, just to understand, accused Michael Mann for directing Public Enemy, the film telling the 'managed' by John Dillinger ... on, let's be serious! So The Godfather? And Once Upon a Time in America? And Scarface, Taxi Driver, Goodfellas, The Departed, Carlitos Way, The Untouchables ... if Scorsese, Pacino and DeNiro had lived and worked in Italy would have to be hungry!

Ok, here it is better to close it. And we try to talk a bit 'of the film, which is the most important thing.
The only concern for us cinephiles, if anything, was what to expect from this movie because the director Placido is a more reversible character of Dr. Jekyll, beautiful and very capable of alternating film thickness ( lost in love, A Hero Borghese, Romanzo Criminale ) to untold trouble (see the tremendous Wherever You ol'irrisolto Big Dreams ). No problem, however. I tell you now that Vallanzasca is a good movie. A genre film that recalls the films 'cop' Italian of the '70s, full of rhythm, shooting, action and drifting. And before you know something ... you can argue that in this case this is not a problem: we are not dealing, in fact, not a treatise on the years of lead, or in defense of the feared gangster as the families of the victims, but an honest product which reconstructs very well be the figure of the bandit that the climate of the time without getting lost in the maze-historical sociology. Do not expect, in short, another Crime Novel: This is simply the story of a man who has chosen (though not the need, as he himself declared) to be on the wrong side. Needless to say that most
the success of the film can be attributed to Kim Rossi Stuart , which is great in its interpretation of the 'bandit Italy's Most Beautiful' (as Vallanzasca was called then): the perfectly aligned, so impressive in scope, look, appearance and speech ... a reason more to see this film, and to reject the sender to the controversy created art.

RATING: * * *

Prices For Putty Hill Skateland On Saturdays

GOLDEN GLOBES: Triumph 'The Social Network'

David Fincher and The Social Network are low as the Golden Globes 2010: it would be trivial and too easy to talk about victory 'announced': course in the name of Facebook, the most lucrative and revolutionary invention of the 'year zero'. But Fincher's film is not only that: it is a big and unforgiving portrait of contemporary society, built on a beautifully classic and attractive. An extraordinary 'thriller feelings' which is already an icon of our time, and it deserves all the accolades: In addition to those for best dramatic film and best director added that for the best screenplay (doveroso!) and, surprisingly, also that for the soundtrack. And if you see a good morning by morning it is easy to predict success at the upcoming Oscars, including the Golden Globes are more reliable than the antechamber.

Sure, the fans know how to differentiate Globes awards in two categories: drama and comedy (as opposed to that Oscar is unique), but it's really hard to believe that this year we are able to extract a comedy The Social Network the most coveted prize. Firstly because, as mentioned, we are faced with an absolute masterpiece, and then because in truth the level of brilliant films in competition this year was quite low, if we think that among the candidates was also impossible The Tourist understand well what I mean ... In the end the victory went to The boys are doing well Lisa Chodolenko film that chronicles the misadventures family members of a lesbian couple struggling with the problems of everyday life. But we believe that the award to Annette Bening (who beat the wire the 'wife' Julianne Moore) is already more than enough.

Nothing to say even the pair of dramatic actors rewarded: if the premium Colin Firth was predictable (magnificent King George VI in The King's Speech ) less obvious but well-deserved was the victory of good Natalie Portman and good in Black Swan Darren Aronofsky, the film is not yet released to us but on the Israeli-American actress performance art bet with my eyes closed. Just as there seems deserved the statuette of the talented Paul Giamatti it version of Barney : his interpretation of 'save' a film otherwise literal deboluccio. Among the non-actors, finally, winning the 'Aces' Christian Bale Melissa Leo of The Fighter, yet another drama about the world of boxing ... certainly not original, but in any case, both players winning a long-deserved recognition.

These, then, the main verdicts. The focus now moves on the prize 'more', that is the Oscars, whose nominations will be announced on 25 January, and must then wait another month (February 27) to know the names of the winners. But you will see that the names in contention are not much different from those mentioned above ... is already on then a fight to the vote between Portman and Bening between actresses and between Firth and Giamatti among men. Although Hollywood has long been the law in force 'unwritten' (but very valuable) that will (almost) always rewarded with the same interpretation of the dramatic actor or actress. Unlucky for
instead I am the love of Luca Guadagnino , the only Italian in the race, beaten by Denmark in a world of the five best foreign films. It must be said, however, that for the small Italian film was already a success to reach nominations, among other things, accompanied by a flattering result for the American box-office. It still remains in contention for the possibility of the ultimate prize ...
But there will be time to talk it over.

WINNERS:

- Best drama: The Social Network David Fincher
- Best Comedy: The boys are doing well Lisa Cholodenko
- Best director: David Fincher for 'The Social Network'
- Best dramatic actor: Colin Firth for 'The King's speech'
- Best brilliant actor: Paul Giamatti for ' The version of Barney '
- Best dramatic actress: Natalie Portman for' Black Swan '
- Best actress brilliant Annette Bening for' The guys are good '
- Best Actor prot. Christian Bale for 'The Fighter '
- Best Supporting Actress prot. Melissa Leo for' The Fighter '
- Best Foreign Language Film: In a better world by Susanne Bier (Denmark)

Scores And Ritz Recipe

Which 'version' do you prefer? The eternal debate between cinema and literature

finally arrives in the room Barney's version, the cinephile awaited implementation of the cult novel Mordecai Richler : ne I had already spoken at the time of the preview 'Venice' of the film (see here ), but it was inevitable that I would be back on the subject. Not so much because the film directed by Richard J. Lewis is particularly memorable (anzi. ..) but because once again, as always happens when it is brought to the screen a story of great success, you turn on the age-old question about what is right (or should) remain more or less faithful to literary text. And of course the more famous book, the greater the controversy ... especially if the writer can not or will not cooperate with the screenplay, so that it becomes 'free' based on the novel. In this case it was not really possible (Richler died in 2001), but there have been countless cases in which the authors of the books in question are more or less explicitly disowned the film version, not to mention the fans 'irreducible' Taliban and the written press who often refuse 'whatever' the film considering it almost a sacrilege (think the saga of The Lord of the Rings ).

start by saying one thing: I have not read the novel by Richler and therefore can not make comparisons with the film: I can only say that the film is a convenzionalissima Lewis and predictable romantic comedy-style American, but it certainly is not unwatchable all except irreverent, 'incorrect', caustic, non-conformist as it seems to be the text from which it comes.
But this is not the point.
The question is: How far you can push the 'loyalty' to the novel? And to what extent the director (or writer) can get 'putting their'?

I believe, first, that making comparisons is eternally wrong cinema and literature are two arts that can not be compared in any way. Are simply DIFFERENT. The novel is the highest expression of thought, without limitations or restrictions, and the film must necessarily be a summary. But this should not be (at least not always) at the expense of film, because the cinema is the 'summa' of all intellectual arts (literature, image, music) as saying someone smarter than me ... Any other form of representation can not have the same direct and immediate ability to represent reality. The feelings that can give us some images of the film could not be caused by any form of artistic expression. Take 2001: A Space Odyssey : Arthur Clarke takes dozens of pages to go from 'Dawn of Man' today, and are often considerable. But Kubrick single frame (the mythical scene of the bone thrown into the sky becomes a spaceship that) all the sums in an extraordinary way.

said this, it is obvious that there can be great books and bad movies, or the opposite. But I find that the comparison is impossible, and I think that the director has the sacred right (and I think even the duty) to translate the novel according to his vision, putting his words and not merely a slavish pursuit of philology. I'll be back again The Lord of the Rings : in my opinion is a wondrous film saga, I do not think it would be possible to achieve better than Peter Jackson did : yet most of those who read and loved the book claim that the film is 'reductive' with respect to the novel (despite the twelve total hours of film!). But it was inevitable that it was considering the bulk of the story, and Jackson has had the merit of not 'copy' purely literary text, but to stage a film 'personal', as amended, different yet excellent, which I believe has nothing to inferior compared to Tolkien's tome.

The same thing can not seem instead to be called Barney's version, but even here the choice should be respected directors and producers that he wanted to give their cut of the film, which each case must be neither to glorify nor to belittle the work of Richler: directing a film very often those who use the literary text as a canvas or as a cue, then giving birth to film adaptations absolutely 'free', with very different concepts and styles.
And I find that this is absolutely right. Understanding that everyone is master of giving their opinion.

Heart Gold Working Rom

TRON LEGACY (USA, 2010) by Joseph Kosinski


will be getting older, you will see that perhaps too many movies and are always more 'canny' in front of the big screen, but I'm beginning to think it is really Labranca Thomas (see his book ' Collateral 'latest issue of FilmTV): 3D is just back in theaters and is already being boring. Why is not the 3D that makes a good movie: to limit makes it more spectacular, more visually appealing, but if history is not boring is that 'Third dimension' makes it less boring, but ... In some ways even more bored, bewildered by a barrage of special effects that add still further the vision. 3D should be like the referee in football, a referee is much better at the very least it should be noted during the game. If the referee becomes the protagonist, then it means that something is wrong ... in the cinema is the same thing: if we realize that we are watching a movie and this concerns us only because we bring the infamous 'glasses', we are certainly not paid off by what passes before my eyes.

All this to say that Tron Legacy is a huge disappointment. Despite the dazzling 3D staging highly hi-tec and skintight overalls Olivia Wilde: If the first Tron, one of 82, was at least creative and innovative in some ways, despite its apparent simplicity, this pointless remake is really the triumph of boredom It is a film of great visual impact (eccimancherebbealtro!!), but completely unsupported by a proper screenplay: the situations are so obvious and repetitive that really seems to be inside a video game, not to mention the dialogues, at times, are even horrifying ( "As the sun" - "It 's beautiful and warm" . sic!)

Tron Legacy is develops through the accumulation, throwing it on fire all the 'meat' which we are immediately overwhelmed by special effects, but you get tired very soon, because the story does not hold, the characters are essentially 'invisible' to their smallness and the damage ' impression of not knowing what to do, a bit 'as Inter's Rafa Benitez: It is unnecessary to have large budgets and big names (something like 160 million dollars spent!) if you do not have thoughts. Kosinski's film winks now Matrix, now Nirvana, even 2001: A Space Odyssey , without having any idea about where is going.
But meanwhile the kids are having fun in the room with his glasses, draw popcorn, joking with their mobile phones ... I guess I'm really invecchaindo!

RATING: * *

Logitech Y Sab59 Drivers

Hereafter (USA, 2010) Clint Eastwood

The finest review of Hereafter has given its Cecile De France, the beautiful star of the film:

' Clint is a man incredibly free, and is such a master who can now also deal with huge issues, like life after death, while maintaining its simplicity and its ability to speak with the public '.

Stop. Not much to add to these words, they say really everything. Or at least enough to make us love a movie like this exceedingly imperfect. And never mind if the script is lame in several parts, if the pace is perhaps a bit 'too slow, especially in the central part, if the use of special effects (quite unusual for Eastwood) is not always' under control'. .. are defects that are really venal when compared to the great emotional range of a film that touches on a subject very difficult, thorny, a real 'trap' for anyone delving. Eastwood does his part, and won the bet in the usual way of always turning with the utmost rigor and simplicity, coming straight to the heart of the viewer without pain and without speculating on emotional blackmail.

There is a scene of Hereafter example that demonstrates what we just said we are near the end of the film when the boy protagonist of one of the three stories finally able to convince George sensitive (a good Matt Damon ) to put him in touch with the brother died in a car accident. The medium realizes the state of despair and frustration faced by the small and begins to lie about what you 'feel', making him believe that his brother is close to him and spurs him to go forward without fear. I challenge anyone of you have no compassion in this sequence, so touching as the primary staging, which once again demonstrates the incredible Clint Eastwood dell'ottantenne ability to be able to warm hearts in a modocosìsemplice and so direct as to be disarming and almost 'miraculous' ...

Hereafter literally means 'beyond', but it soon becomes clear that the secular Eastwood particularly interested in the 'aldiquà', namely how to develop and come to terms with death by those remained alive. It does so by building an ensemble film, consisting of three episodes in which they tell three different ways to mourn: the first a beautiful young French journalist escapes miraculously a 'tsunami', which swallows its devastating force, and for some moment the plunges in the limbo of death before being saved by the hair. In second (shot in London) a dissolute mother drugged and unable to take care of twin sons, one of which is hit by a car after a trivial quarrel between peers. In the third a young worker in San Francisco discover that they have the option of contacting the dead people, but this 'gift' soon to ruin life sentenced to not being able to live a 'normal'.

Eastwood, in the name of his consistency and his intellectual honesty, it shows nothing of what is (or may be) after the death, unable to obviously be aware of. But equally not refuse and do not deride those who believe in the assumption that none of us is able to judge what each of them 'feel' in relation to this, in any case not proven.
A great lesson (yet another) film and life.

RATING: * * * *

Koleston Wella Charts

E 'war between the cinepanettoni. Already ... but quality? Towards the Golden Globes


usually do not ever look at the box-office receipts, in all honesty I am just excited. But these days it is impossible not to talk about it, because there is no newspaper, magazine or television that does not show the trend of so-called 'Battle of Christmas', that is the real 'war' that exists between a title and the other to grab the last spectator to the sound of millions of euro. Anything but frivolous argument because, as we all know, Christmas is the crucial period for the Italian film industry and the receipts of these films depend on the strategies (if not the very survival of ...) distribution of many houses.

Hence we astonished (so to laugh) to the formidable exploits Checco Zalone , which can reduce no other than 'Avatar' in the ranking of receipts from the first weekend (almost € 6 million, a figure that makes one shudder ). So to suggest that the comic might even undermine the Apulian absolute primacy of the general classification, which currently is held by 'The Band of Santa Claus' of Aldo, Giovanni e Giacomo before gluing for a 'Christmas in South Africa ': for both the total box office well over 17 million euro ... and then there are those who say that this year cinepanettoni lagging behind! Mind you, we are far from the times of the 'infamous' pair-off the contenders Boldi, capable in certain seasons to reach 25 million, but we must not forget that in recent years competition has increased exponentially, if only for the 'advent of 3D has encouraged the proliferation of many animated films, usually a favorite of excellence for this type of format.

short, cinepanettoni is still alive and well, in fact is in good health! Sadly, I think. Why do moviegoers readers of this blog know well what is the quality of these works, often very far below the minimum tolerable in terms of decency and vulgarity. Mind you, I do not want to open a crusade against anyone, well aware that I would draw on the arrows of those who accuse me and other fans of being 'snooty and snobbish' against anyone who, 'at least one day a year' (as they say) want to have a few laughs and that's it ... God forbid! But this does nothing but confirm the Italian anomaly of this kind of film is able to draw in the rooms (almost) Who goes there only to the movies, in fact, once a year! So I wonder: but are we really sure that cinepanettoni do good to our cinema? Perhaps in the near yes, in terms of a nutshell, but certainly not in the future, as they provide no means a wider public in the halls on a continuous basis. Not to mention the impact (I would say devastating!) From the cultural point of view against an average audience enough of her lobotomized.

cinepanettoni And that is an exception mainly Italian is evident from comparing the rankings of the proceeds of our country with the rest of the world. Do not believe us? Take for example the most trivial possible: the American box office. Here are the standings at the end of last weekend:

TO U.S. BOX-OFFICE 02/01/2011

1. Meet our
2. The Grit
3. Tron Legacy
4. The Fighter
5. The Yogi Bear
6. The Chronicles of Narnia
7. Gulliver's Travels
8. Black Swan
9. The King's speech
10. Rapunzel

And here was the Italian classification:

BOX-OFFICE IN ITALY 05/01/2011

1. The gang of Santas
2. Christmas in South Africa
3. The Tourist
4. Tron Legacy
5. What a beautiful day!
6. The Chronicles of Narnia
7. Megamind
8. The Adventures of Sammy
9. The beauty of the donkey
10. Another world

The difference seems obvious to me, under the eyes of all. While the top ten U.S. are film obviously hyper-commercial, but standards of decency (and well beyond, honestly titles like 'The Fighter', 'The Grit', 'Black Swan', 'The King's speech' will be featured next to Oscar), we have the view is bleak excluding cinepanettoni and cartoons, the only film 'watchable' is (perhaps) 'Tron Legacy', and at times even to Castellitto ... but you really scraping the barrel! The only good news is the indifference with which it was welcomed by the public unwatchable film by Silvio Muccino (maximum expression of a non-sweetened film terribly, blackmail and false, good only for those who want to fill their handkerchiefs in command), but really there is little to be happy.

and also responded (playing in advance and doing almost the 'Devil's Advocate') to those who say, rightly, that the U.S. 'season' of commercial cinema is not now but during the summer months . True, in the United States the most comparable to our Christmas period is from May to August, when people are accustomed to leave the beach and seeing some good films 'gender'

not want to think too much. Again, however, the comparison does not hold

TO U.S. BOX-OFFICE 08/31/2010

1. Inception
2. Eclipse
3. Toy Story 3-
4. Shreck
5. The boys are doing well
6. Salt
7. Me very bad
8.
white lies 9. The Last Airbender
10. A weekend of big babies

As we see, in the first place is 'Inception' Nolan, not 'Christmas in South Africa' ... and even movies like 'The guys are good', 'Knight and Day', 'The Last Airbender' are far from despicable. Not to mention that we have the same ' Inception ' but also ' Hereafter 'Eastwood and many other titles have had to anticipate or delay the release over Christmas just to be' burned 'by the public holiday season. What, another example, we awarded for collections and even liking ' The Tourist', the terrifying pseudo-romantic thriller signed Von Donnesmark which was a flop almost anywhere ...
short, you want to see that besides the government, we also have the cinema we deserve?

Allergic To My Computer

\\ I Am Love (Italy, 2009) by Luca Guadagnino

Sometimes fairy tales do come true ... or perhaps more important is that the tales of certain short-sightedness and courage to other distributors. And maybe even a bit of luck. Maybe a little of everything '. Fattostà that what is happening in I love fourth feature former director Luca Guadagnino videoclipparo really incredible.
summarize briefly: the film was presented at the Venice Film Festival 2008, snubbed by the critics and our local business with a return almost non-existent. Distributed (so to speak) in fifty rooms in the space of a weekend, many months after the transition to the Lido, it gets ridiculous and receipts shall be confiscated immediately. The showcase festival, however, for once, gets its purpose, the film was first noticed by Canadian producers and distributed also in the U.S. market. Is then presented first at the Toronto Film Festival and then at the prestigious Sundance Film Festival , with great appreciation by all the criticism North America. Once I reached the cinema, I am love (the title 'International') begins incredibly big box office successes in American coming to collect the highly distinguished figure of $ 6 million, a goal achieved in the past only by very few other foreign securities (eg Life is Beautiful). In addition, for the Washington Post is considered among the four best film of 2010. Variety comes mockingly to argue that 'not even look like an Italian film is so different from the usual (and implied poor) comedies of Belpaese '. The New York Times even compares him to Hitchcock's Vertigo (!).

All this earned him a surprising nomination for a Golden Globe for Best Foreign Film and the protagonist best actress Tilda Swinton.
What can I say? Myopia of our home cinema or dazzle critics with stars and stripes?
Perhaps the truth, as always, lies somewhere in between. One thing is certain: I love is not a trivial film, and certainly not worth the arrogance and indifference of our market.
The film is an ambitious Guadagnino, brain, perhaps unresolved, but that certainly does not leave indifferenti.E 'the story of a prominent family of Milan's beautiful people, whose daily routine is disrupted, ruined by the sudden passion of the wife of headed for a newly hired young chef. This story of impossible love, the first suppressed and then exploded with the force of a cyclone, it creates a devastating effect on all members of the family, too long imprisoned in the dryness and stuffy bourgeois life in which they struggle along. The tragedy of course is just around the corner, but the ability of the director is not to give anything to pity and sensationalism easy, avoiding 'big scene' and effect sequences.

The cut of the film is cold, icy, impersonal, and seemingly quite 'indigestible' to the viewer, who expects 'something happens' at any time ... but the minutes pass and the discomfort (of the actors and the audience) grows without on the screen that you see something 'sensational'. Yet the concern is palpable, making the viewer aware of the collapse in value of a company (in this case Italian, but could be anywhere in the world) based on appearance and hypocrisy.
Sure, the film in some respects it might seem pretentious and complacency. 'A dry exercise in style' as he wrote much of the Italian critics ... who may not have a point but, I say, has never addressed the same criticism, for example, the films of Michael Haneke : director praised by all whose works, in my humble opinion, are the closest to this one.

The conclusions? That perhaps the Italians (I am speaking in general) should have a little 'more patience and a little' more critical in judging works of conscience 'misaligned' and depart from the national standards. Sure, a lot of snooty critics will continue to cut down on principle Guadagnino, but while he makes money hand over fist in the States and could more than one application at the upcoming Oscars. Not that but for the foreign film category for which Italy has chosen the ruffianissimo, tired, hypocritical and politically correct The first nice thing to Paolo Virzi. Film 'aligned' and the name of 'good blood volume', typical of our country. Maybe you will win, but certainly more than one employee in the work begins, subtly, to creep in doubt: we will not have the wrong movie?

RATING: * * * *

Do People With Hep C Have A Elavated Bilirubin

orecchiette with turnip tops

this recipe only place not to forget,
Web I found many recipes,
do not know whether the original,
but for the most part,
ingredients and procedure were so ...
then I assume is the right recipe,
cmq both enjoyed them very much ...
recipe and then I will not change ....
possibly homemade orecchiette,
turnip greens (I think I've got the right ones)
extra virgin olive oil, garlic and some anchovies desalinated
(there was chili, but I do not like,
in my opinion, covers too tastes, personal opinion, eh!)
made orecchiette,
boil the same water where you read the pasta, broccoli,
gently sauté oil, garlic and anchovies, drain
the tops and throw them in the oil and wipe a little over a low heat ,
Meanwhile cook the orecchiette in the water peaks
and once drained the pasta
to blow up everything in the pan, stirring,
serve (to taste) sprinkled with cheese

good good ...
(
clicking on the collage you can see more photos enlarged)