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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)