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When a movie benefits from other movies as teasers, you get a feeling of the incredible forces set in motion behind the scenes. The Avengers had a few difficult tasks to accomplish: not to upset the Marvel fans, to make sure to attract nonfans, to bring Disney redemption after John Carter, to pack 7 superheroes and a lot of never-before-seen action in 2 – 2.5 hours (in 3D and IMAX) and to generate buzz for the upcoming sequels of Iron Man, Thor and Captain America. If we look at the results so far: over 90% positive rating on Rotten Tomatoes, 8.8 on imdb.com and a shattering box office record of 207.4 million dollars (the previous record was around 168 million dollars for Harry Potter and the Deathly Hollows part 2) and a boost in ticket sales for the disastrous John Carter, it could be easily said that The Avengers passed the summer Hollywood exam with flying colours.

I went to see the film twice: first in 3D and then in IMAX, just to indulge the shallow side of my cinephillic self. There is something that is absolutely addictive about big, action packed, overly digitalized films: the excitement you get on the moment, the wow reaction you have, even just for a second. The Avengers seems to have that and more. The charm of this movie lies actually more in the comic situations evolved from the over expanding egos of the manly men and gods which form the team rather from the extended special effects.

The digital destruction of Manhattan as alien forces swarm through the skyscrapers and corporate buildings is less enjoyable than the what does that hammer do? moment Iron Man and Thor share in a forest. Comic performance wise, Robert Downey Jr.’s lines and Hulk’s timing of sharing his smashing abilities are the most successful.

The narrative starts out as a puzzle of elements from several previous Marvel films, explained through fair choices of dialogue and flashbacks. The Thessaract, a self-sustainable alien energy source is stolen by Loki (played by Tom Hiddleston, whose voice and poise reminded me of Michael Fassbender). As he is the troubled villain, his intentions include ruling over the Earth, releasing some friends from other worlds whose hobbies feature whipping out entire cities. Nick Fury (Samuel L. Jackson, the most profitable actor in Hollywood) decides the situation is grave enough to run the beta version of his Avengers plan : a group of superheroes with different special powers: the Black Widow (Scarlett Johansson, to me personally, for the first time tolerable and quite pleasant), Iron Man (Robert Downey Jr.), Captain America (Chris Evans), Bruce Banner/Hulk (Mark Ruffalo), Thor (Chris Hemsworth) and Burton/Hawkeye (Jeremy Renner). As their egos are as buffed as their muscles, the first interactions turn out to be quite difficult. Saving the world proves to be a goal good enough to leave differences aside and work together.

Joss Whedon is basically considered a hero himself for managing to find a story which works and the creative means to assemble the cast and the forces necessary to make this project come to life. The Avengers surprises you with its ability to be simple and still very innovative.

I’ve been trying to  figure out what is my final conclusion regarding The Avengers. The same thing happened to me when  Hunger Games was launched:  critics, fans, friends have nothing but praising words for the movie, but I miss some kind of connection with it. I liked The Avengers a whole lot more than Hunger Games, but I am left with the feeling that we are being tricked somehow. The Avengers is 2.5 hours of entertainment which leave you with a short term excitement and a hunger for wanting more. The Avengers set some sort of a bar, we will be expecting the next films to be bigger, funnier, we, as well as executive producers, will be craving for more records, stars and big box office results.  The Dark Knight Rises  is no longer the final chapter of Nolan’s trilogy, it’s the possible contender to The Avengers box office record. It’s not necessarily a bad thing to enjoy the guilty pleasures of fun-driven blockbusters, but I am starting to doubt how enjoyable they really are if they take more than they give. Maybe they too need some form of avenging.

May 9th, 2012
Categories: In Cinema, Reviews, So and so, The graded . Author: lauratoma2305 . Comments: No Comments

Tags: 3D, 7.5, Captain America, Chris Evans, Chris Hemsworth, Disney, Harry Potter, Hulk, IMAX 3D, Iron Man, Joss Whedon, Mark Ruffalo, Marvel, Robert Downey Jr, Scarlett Johansson, The Avengers, Thor, Tom Hiddleston

I went to see the Star Wars Episode 1 mostly out of curiosity. As expected, despite the fact that a 3D layer is added to the film, it has nothing on the films launched in the 70′s and 80′s, proving once more that good acting and a enticing, well-structured story will always prevail over all the technological gimmicks in the world.

Still, there was something very special about this trip to the cinema. I suppose I has this amazing “gift” of always sitting next to people who talk on the phone or between each other or make comments or a lot of disturbing-things-it’s-not-polite-to-do at the movies and especially during the screening. This time, next to me, there were sitting a father and a kid. The latter being so young, the gentleman read aloud all the lines in the film. Having already seen the movie a few years ago, when the 2D version was launched, I focused my attention on the child’s reaction and the conversation he started with his father rather than on the images. He was definitely caught up in the story, he sided with characters and had favorites, for him the action was intense and he liked the fact he could almost touch the stars.

Coming out of the cinema, I realized there were a lot of parents with their children at Star Wars. That is when I figured why George Lucas made Star Wars into a never-ending work process. This saga is about a story which will live forever and each generation will have its own way of enjoying it, live it, and most of all love it, so they can proudly declare:

Like my father before me, I am a Star Wars geek.

February 12th, 2012
Categories: In Cinema, So and so, Special . Author: admin . Comments: 1 Comment

Tags: 3D, 6, Episode 1: The Phantom Menace, Star Wars

Just like Tinker Tailor Soldier Spy, Haywire is a movie whose charm comes from building momentum, tension and in the case of the main character, revenge. Unlike the British production, this is not an arty movie, but rather a good enjoyable DVD rental for a night with friends. The film is worth seeing for the complex fighting choreography mastered by mixed martial arts fighter, Gina Carano and for the acting the rest of the cast does.

The movie represents a set of Yin-Yang encounters, relationships and goodbyes, as Mallory,a betrayed agent, develops and breaks relationships with each of the male characters. Steven Soderbergh brings together complementary elements from casting: he mixes unknown (for Gina Carano, this is her acting debut) with extremely recognizable figures (Ewan McGregor, Michael Douglas, Antonio Banderas, Michael Fassbender) to cinematography: the shades of grey are warmed up by browns, oranges to structure: very intense, very strong action sequences are intertwined with the calm before the storm, the few tranquil talks that the characters have.

It’s a movie worth your time, just don’t expect loud bang bang, or explosions, or an overly fast montage. It’s just a story about dealing with difficult situations. Plus, I liked the ending.

February 6th, 2012
Categories: In Cinema, Reviews, So and so, The graded . Author: lauratoma2305 . Comments: No Comments

Tags: 7, Antonio Banderas, Ewan McGregor, Gina Carano, Haywire, Michael Douglas, Michael Fassbender, Steven Soderbergh

Tinker Tailor Soldier Spy was a very new, very different cinematic experience for me. It was like seeing a film for the first time. A spy thriller without any bangs, neither literally or metaphorically, just a narrative audio-visual process which takes its time, at its own pace. Adapted from John Le Carre’s 1974 novel which redefined modern spy fiction by the Swedish director Tomas Alfredson, this piece is an austere insider into the smoky world of British Intelligence during the Cold War.

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The first sequence sets the tone of the entire movie: Control (John Hurt), head of Circus (the playful code name for MI6) asks Jim Prideaux (Mark Strong) into his home office in order to assign him with a very important, very tricky, very delicate and dangerous mission. In the suffocating, claustrophobic atmosphere created both by the piles of files and books and augmented by the lit cigarette, Control informs his visitor he believes there is a mole right at the top of MI6, a Soviet spy. To his mind, the pool of suspects includes the men who work closely to him: Tinker – Allelline (Toby Jones), Tailor – Haydon (Colin Firth), Soldier – Bland (Ciaran Hinds), Poor Man – Estherhase (David Dencik) and Beggarman – Smiley (Gary Oldman). The Budapest deal which Prideaux takes on  turns into a bloody trap for Prideaux and a reason for firing both Control and Smiley. The true film actually begins when the Secretary of State hires Smiley back, to find out who the mole is and with the first words uttered by Gary Oldman, 18 minutes into the movie : I’m retired.

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From this moment on, a world of secrets and lies, of shadows and light, of loyalty and betrayal is untangled by Smiley with a cold determination. Ricky Tarr (the one closest to having an aura of a pop star played by Tom Hardy) is the crazy element of the puzzle and the set in Istanbul is voyeuristic, tragical and intense for the part it plays in Smiley’s investigation. The mysteries behind mysteries reveal themselves slowly, at the exact, right time. The present is interrupted by flashbacks only to bring light on the future.

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Tinker Tailor Soldier Spy is a slow motion universe, dense with cigarette smoke, shadows, pale lighting, frustrations (very eloquently uttered by the I am seriously under-fucked line of a retired spy). It’s about a profession of secrets, where the evil is not so out there in your face, the her doesn’t always get the girl (or the boy, in some of the agents’ cases), the only bombs dropped are top-secret information. Instead, there are sealed rooms, brown, grey suits, tea or whisky, whispers, meetings where everybody looks at the others in suspicion, ever-doubting, ever-searching, ever-fearing.

Tinker Tailor Soldier Spy is flawlessly acted by Britain’s best and out of the crowd, Benedict Cumberbatch playing Peter Guillam (Smiley’s help) stands out, in one of the most highly charged scenes with tension, his moving through an interior maze in order to get information out of the Circus. As a long time personal favorite now, since I’ve seen him in Rocknrolla, Mark Strong has its moments of being incredibly stable and deranged and he’s the one you feel most sorry for at the end, as his experience of being betrayed is utterly heartbreaking.

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I haven’t seen The Artist or In a Better Place yet. But I did watch The Descendants, Moneyball. All four share the nomination for Best Actor in a Leading Role at the Oscar with Tinker Tailor Soldier. Gary Oldman’s performance comes naturally, the essence of his character development is in the little details: the way he sits in a chair in front of the Secretary of State, the way he confronts his colleagues and the mole, the way he adjust his (awesome) spectacles, the nonverbal element is much stronger than his enunciation of lines. The composition of his part is artful, theatrical: he’s an actor doing the best at portraying a man who is just doing his job, taking in all the dreadful consequences. There are no dramatic speeches, no conflictual stand outs, just poise and a delicate reenactment of his meeting with his nemesis. For him, acting is not an effort and that is what makes him stand out.

February 5th, 2012
Categories: Adaptations, Best, In Cinema, Reviews, The graded . Author: lauratoma2305 . Comments: No Comments

Tags: 8.5, Ciaran Hinds, Colin Firth, David Dencik, Gary Oldman, Mark Strong, Oscar, Tinker Tailor Soldier Spy, Toby Jones, Tom Hardy, Tomas Alfredson

Starring Sam Worthington as a former cop convicted for a crime he did not commit who would go to any length to prove his innocence, Man on the Ledge is far from being the thriller it promises us to be. The only reason it doesn’t completely fall is due to some beautifully shot sequences and an editing strategy which sort of saves the really poor script. The lack of intensity, the weakness of events, the cheesy ending are far more powerful in their negative influence over the viewer than let’s say the impersonation of the villain by Ed Harris, who seems to be having a good time.

I should have chosen Contraband.

January 30th, 2012
Categories: The graded, Worst . Author: lauratoma2305 . Comments: No Comments

Tags: 5, Man on a Ledge, Sam Worhington

It’s strange sometimes how things come together. On a Saturday afternoon, while trying to gather ingredients and my nerves to cook something, on the same week as the finals of a cooking show the agency which I work for organized, I stumbled upon Julie and Julia on HBO. Motivating story, starring Meryl Streep and Amy Adams, it tells the parallel adventures of two women whose lives have been changed by cooking.

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It’s a lovely, week-end movie, about following dreams, passion, cooking, friendship, love, blogging, finding your way in life and a lot of  things as tasteful as Julia Child’s adapted French recipes. The movie stayed with me for another reason, though. At the end, Julie receives a note stating that Julia is not particularly fond of the 30-year blogger’s experiment, which sort of puts the latter in a state of torment. This reaction is one I’ve encountered so many times. Just like Julie, I’m ambitious, passionate. And in search of my models or mentors approval.

To me, Julie and Julia is about that: the relationship we have with our mentors. They are titans at the beginning of any story, flawless, close to perfection. Then step by step, we discover their weaknesses, their own trials, the dangers and hardships they faced. That never weakens them in our eyes, their aura just becomes more heroic. Julie finds Julia’s hardships at the French Cooking School enlightening, almost blaming the chefs that did not respect her rather than Julia’s stubborn and not-entirely-adapted attitude. To her, Julia’s path is a struggle she has won. Despite her mentor’s reluctance to accept and celebrate her experiment, she keeps her affection for Julia. At the end of the movie, her gesture shows humility and recognition and thanks for the right ingredients provided to her by her mentor: determination and skill.

Probably the reason why it’s so complicated in dealing with our mentors is because they are like our parents, except we are not so sure they will still love us when we fail them. We can rebel against them, or thank them, or ask questions or open our hearts, but we will always do that with our eyes looking up.

This is dedicated to my everyday mentor whose birthday is today: happy birthday, O!

January 30th, 2012
Categories: Reviews, So and so, Special . Author: lauratoma2305 . Comments: No Comments

Tags: 7, Amy Adams, Meryl Streep

since, well, since the last time I’ve written on this blog. Certain events have occurred during this time: one extremely plain – New Year’s and an extraordinary one which will be detailed soon enough The first one is relevant due to its resolutions, among which “taking care of this blog” squeezed in. Besides the motivation and a small success which made my yesterday, the language friend from now on will be English, instead of Romanian, as I find my words easier. Although at first it may seem a paradox, it’s comes more natural to me, as I watch, read and listen to films in English.

Since December, I have seen a number of films, mostly new launches, as awards season is in full development. As I need to get up to date on this blog, here is a list of the films I’ve watch and my two cents on each:

New Year’s Eve – 3

I’m not very proud for seeing this movies,which I would use in any conversation to mention as a disaster. New Year’s Eve was meant as the Christmas holidays version of Valentine’s Day. Fortunately, I haven’t seen the previous film made by Garry Marshall, but the “recipe” is basically the same: many many good and famous actors like Michelle Pfeiffer,  Robert deNiro, Halle Berry, Ashton Kutcher etc etc in small stories which one way or another intertwine. Usually, I am a sucker for this type of short stories put together through one character like Love Actually, Babel, Amorres Perros and so on, but New Year’s Eve lacks good acting, good structure and its characters and their stories are basically lame. It’s meant to be this cheerful love story of how everything comes together on a special night, how family, and the ones you love are the most precious things in your life, but all it makes you wanna do is leave the cinema and wish you will never be as foolish as those characters.

SNL New Year’s Eve spoof:

Sherlock Holmes : A Games of Shadows – 7

According to Wall-Street.ro, this has been the most watched film by Romanian during the holiday season. At least, it’s a rather good movie on the first place. The sequel is as bromancy as the first part,  and the villain is extremely classy played by Mad Men’s Jared Harris. The women have no room or importance in the scenery dominated by the strong relationship between Holmes and Watson. Guy Ritchie directs an action-filled, smart and ironic movie driven mostly by Robert Downey Jr’s and Jude Law’s performances. The film keeps all the elements that made the first movie successful, the only thing missing is the awe feeling we had during watching the first film. A problem shared by any sequel, actually, therefore excusable.

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The Girl with The Dragon Tattoo – 7.5

Devoured the book in just a few days, slightly disappointed by the Swedish adaptation. Expectations met by David Fincher’s version. There’s something about the intelligence with which he manipulates intensity, tragedy, human feelings and pathological flaws that makes him perfect to bring complex characters on screen. Rooney Mara’s Lisbeth is deep, hypnotizing, you cannot take your eyes of her. She’s driven by something greater, which you cannot actually explain in words, but you connect with the dark determination of the main character. Even Daniel Craig’s eyes reflect that, letting her dominate the stage and himself. Disturbing, intelligent, can’t wait for the next two movies of the trilogy, to be adapted in following years.

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J. Edgar – 7

This is the film for which Leonardo DiCaprio’s should have been nominated for an Oscar, but wasn’t. It’s a composition role, debatable, attentively constructed. Clint Eastwood took the story of one of the most powerful men in the history of America and humanized it/him. It’s about J. Edgar,  not J. Edgar Hoover, it highlights the paradox the man was: a fearless actor in its profession and a paralyzed-emotionally person. DiCaprio portrays both sides of the coin with the same courage, it seems that he is looking for limits to surpass in order to prove himself to the Academy. It’s like he fails to see how good he is without winning an Oscar.

The Ides of March – 8 and Happy Feet 2 – 5

These are the main features of the extraordinary tale mentioned at he beginning – to be reviewed separately, soon.

Underworld Awakening 3D – 6.5

I only saw the first movie of the saga. The filmmakers of this vampires vs. werewolves story made sure we knew what was the storyline of the previous three films. I felt like seeing an episode of a show I don’t mind watching. Not crazy about it, but at the same time, not bothered by spending time viewing it. Kate Beckinsale still looks amazing in the leather suit, though. The fact that not much feels to be said stands as a statement of its mediocrity.

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The Descendants – 7

Or the movie for which George Clooney is most likely to get an Oscar. Good adaptation, good direction, impressive young actors, a landscape to die for, a tricky situation where love has to confront hate, unwillingness to forgive. The only contemporary story nominated for the Oscars proves to us that no paradise on this Earth is flawless, neither are we. Life has a unique way of sending sorrow and joy as tidal waves and between them we have to keep on swimming. Must see, not only for the Oscars it’s going to receive, but for the energy this calm drama gives you.

[article source]

Carnage – 7

Polanski offers us a play we can see on full screen in the cinema and brings together four memorable actors and their performances. I adore Christoph Waltz, with his superior grin and detachment. Line after line, the situation becomes ever more absurd, like a violent session at the psychologist. Frustrations, anger, beliefs to stand for are thrown in the claustrophobic small living room of the Longstreets and can barely fit in, as they are immediately suffocated by opposite answers. A movie I would love to see again, for all the conclusions on our contemporary world which can be drawn from it.

January 30th, 2012
Categories: In Cinema, Reviews . Author: lauratoma2305 . Comments: Comments Off

Tags: Carnage, Christoph Waltz, cinema, Clint Eastwood, David Fincher, Gary Marshall, Guy Ritchie, J. Edgar, Jodie Foster, Jude Law, Kate Beckinsale, Kate Winslet, Leonardo DiCaprio, New Year's Eve, Oscar, Polanski, Robert Downey Jr, Roman Polanski, Rooney Mara, Sherlock Holmes: A Game of Shadows, Sherlock Homes, The Girl with the Dragon Tattoo, Underworld

Propunerea cinematografica a Chinei pentru Oscaruri, The Flowers of War mi-a aduce aminte de primul film al lui Bale, Empire of the Sun (regizat de Steven Spielberg)

December 13th, 2011
Categories: Trailers . Author: lauratoma2305 . Comments: No Comments

Tags: Christian Bale, cinema asiatic, The Flowers of the War

Nu m-au fermecat ochii lui Brad Pitt, nu am suspinat dupa el si nici in Fight Club nu era preferatul meu (pentru mine, in primul plan era Edward Norton). Pana la Burn After Reading al fratilor Coen. Si Inglorious Basterds (v. monologul My name is Lt. Aldo Raine sau stricatul Buongiorno). Si la cele doua filme de anul acesta: Tree of Life si Moneyball. Daca la primul se cere o a doua vizionare, al doilea a reusit ceea ce multe dintre filmele mai vechi ale lui Brad Pitt n-au reusit: sa ma impresioneze privirea lui.

Asta deoarece, de cativa ani incoace, ceva se intampla in spatele ei. Nu e numai farmec simplu, ci si inteligenta, ironie, emotie. In Moneyball, adaptare a romanului omonim, Brad Pitt este elementul cheie al unei experiente cinematografice inteligente, speciale.

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La prima vedere, Moneyball nu are un sinopsis atragator: inspirat din fapte reale, filmul spune povestea unei echipe de baseball care a inceput sa castige meciuri bazandu-se pe o teorie creata de un tip care nici macar nu calcalse pe un teren de joc. Este vorba despre un exemplu clar in care statisticile castiga in fata intuitiei. La fel ca in cazul echipei de baseball, nici filmului nu i-au fost acordate prea multe sanse, productia fiind oprita de mai multe ori, o data chiar cu 3 zile inaintea inceperii filmarilor (Steven Soderbergh urma sa fie regizorul).

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Brad Pitt interpreteaza rolul GM-ului echipei de baseball, Oakland Athletics, Billy Beane. Fire retrasa, singuratica, agitata (nu se poate uita sau asculta meciurile echipei sale), are sarcina in momentul deschiderii filmului de a pune pe picioare o echipa puternica, cu foarte putini bani, in conditiile in care 3 dintre cei mai buni jucatori ai sai au parasit clubul. Salvarea vine de la Peter Brand (Jonah Hill), un absolvent de Yale care la prima vedere nu are nimic de a face cu jocul, dar care lucreaza cu statistici. Valoarea unui jucator este calculata in functie de abilitatea sa de a “parcurge o baza”, pentru ca asa se obtin punctele in baseball. Adoptand aceasta teorie, Bane construieste o echipa formata din cei mai putini populari jucatori: unul care e neatragator pentru public pentru ca are un stil ciudat de a arunca mingea, un jucator aproape de retragere, un scandalagiu si lista continua. Grupul reconstruit incepe sezonul cu 10 infrangeri, dar in cadrul acestuia reuseste performanta de a castiga 20 de meciuri la rand. In final, pierd meciul decisiv, dar, ca in orice situatie si mai ales film despre sport, victoria nu este totul.

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In lupta contra traditiilor, Jonah Hill este impresionant: la inceput, timid, apoi din ce in ce mai sigur mai sine, devine consilierul neasteptat al lui Bane. Ca de obicei, Philip Seymour Hoffman joaca impecabil, in rolul antrenorului Art Howe care isi doreste prelungirea contractului si a carui experienta este insultata de metodele lui Bane. Scenariul este scris de Steven Zillian (Schindler’s List) si Aaron Sorkin (The Social Network). Cel mai probabil datorita celui din urma dialogul este atat de concis, inteligent, iar discutiile abstracte reflecta conflicte emotionale puternice.

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Moneyball este un film despre business, despre alegeri, un insight in emotiile celor care trebuie sa gandeasca rational, la rece, intr-un domeniu dominat de pasiune. Alegerea lui Bane din final arata ca nu este vorba numai despre a castiga, ci despre incapatanarea de a construi si despre a te bucura de experienta si de joc. Si revenind la Brad Pitt, urmariti-i privirea in cea mai buna secventa a filmului, cand fata lui i-a compus o melodie ale carei versuri traduc situatia in care se afla:

December 11th, 2011
Categories: Best, In Cinema, Reviews, The graded . Author: lauratoma2305 . Comments: No Comments

Tags: 8, Aaron Sorkin, baseball, brad pitt, Jonah Hill, Moneyball, Philip Seymour Hoffman, Steven Zillian

Intr-un articol intitulat Hollywood Dishonors the Bard, James Shapiro, profesor de literatura engleza la Columbia University, prezinta si desfiinteaza teoria fundament a filmului Anonymous.

In 1920, J. Thomas Looney, scriitor englez, in oarecare dusmanie cu idealurile democratice, sustine ca numai un nobil ar fi putut crea operele atribuite lui Shakespeare, fiu al unui analfabet, fara un background potrivit care sa sustina scrierile de geniu. De aceea, acesta atribuie tragediile, comediile lui de Vere, Earl of Oxford (al 17-lea), nobil din vremea lui Elizabeth, care a avut parte de o educatie aleasa si de resursele necesare – mentale si nobile, pentru a crea asemenea capodopere. Printre fanii declarati ai acestei teorii, se numara Sigmund Freud, John Paul Stevens si in 2011, listei selecte se adauga si Roland Emmerich.

Numele regizorului suna foarte cunoscut, pentru ca in ultimii ne stereotipizeaza desfasurarea catastrofelor mondiale sau a sfarsitului lumii prin lungmetraje ca 2012, Independence Day, Godzilla. Roland Emmerich a declarat ca el crede puternic in aceasta teorie, iar pasiunea cu care sustine aceasta idee se observa usor in eforturile investite in realizarea filmului Anonymous.

Lungmetrajul este o experienta splendida, dialogurile, interpretarea actorilor, atentia la detalii in reconstructia Londrei elisabetene – care oscila intre opulenta casei regale si strazile pline de noroi, in care trebuia sa mergi atent pe scanduri, intensitatea cu care dorinta, gelozia, intriga sunt redate pe ecran construiesc un film aflat la granita dintre Shakespeare in Love si Elizabeth. Ceea ce ii lipseste lui Anonymous, din pacate, este o premisa sanatoasa de la care sa porneasca.

Shakespeare este jucat de Rafe Spall (a mai jucat in One Day) si este portretizat ca prostul satului, un criminal, un analfabet, in opozitie cu de Vere, jucat de Rhys Ifans, atent, profund, gentleman in esenta. Nu numai Shakespeare sufera din cauza unui portret fals, ci si Elizabeth, care in filmul lui Emmerich isi pierde aura virginala si devine o dama care se indragosteste usor, la tinerete si de o senilitate tacuta la batranete. Cu toate acestea, Vanessa Redgrave reuseste un portret regal al unui monah in decadere.

Anomymous aduce impreuna teoria obsedata de clasa  alui Looney, cu motivele politice ale sustinatorilor lui de Vere de mai tarziu. Pe langa construirea intregului film pe un fir gresit, naratiunea pune accentul pe o potentiala finalitate a pieselor dramaturgice de propaganda : all art is political…otherwise it is just decoration. Puternic discutabil.

Emmerich, care are o reputatie din a distruge lucruri, a reusit sa creeze o fictiune istorica entertaining. Dar inainte sa sustina ca nu vrea ca pustii sa invete minciuni in liceu, ar trebui sa afle ca de Vere a murit in 1604, inainte ca cel putin 10 piese ale lui Shakespeare sa fie scrise. Ceea ce Hollywoodul ar trebui sa invete este ca onoarea sa e mai usor de a fi patata decat cea a lui Shakespeare.

November 13th, 2011
Categories: In Cinema, Reviews, So and so, The graded . Author: lauratoma2305 . Comments: No Comments

Tags: 7, Anonymous, roland emmerich, Shakespeare