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Last Clint (who does not miss a shot): INVICTUS



By: Clint Eastwood.
With: Morgan Freeman, Matt Damon, Matt Stern, Patrick Mofokeng.
Genre: Historical / Sports (134 ').
Comment: The politics when it was still politics, and sports as a weapon of mass seduction. It is not who invented the cinema history, is history, with a capital, to be cinema, setting a story straight out from the script and instead is simply perfect artificial fruit's natural destiny. Of that South Africa created a game, a World Cup, rugby. Style "When We Were Kings," a condensation of pure epic, Clint at the time of Nelson. One of the rare cases of movie and keeps promises. And most of all a (head) work duly announced by the three vertices of the triangle of celluloid: Mandela on one side, Eastwood and the other, last but not least, the adventure sports and perhaps more accurate rolling humanly never bore her. For three giants could only leave a monument of film and emotion, that s'allaccia multifaceted art film by American director most prolific and inspired yet more recent years, introducing the current sports "pure", but stifled by theme touched far more poignant in "Million Dollar Baby," and put into this case in parallel without subordinate to politics, discipline implemented on the ground, even when part of a project on paper. Clint Homer's epic is the sport, because this is the way he chooses to travel, sometimes at the cost of neglecting the balance for a project instead of holding large tracts of tones, colors and rhythms of hyper-classic: could show the ugliness of South Africa more crudeness and that visual final dense and optimistic, in fact, contrasts with what is still happening in most southern African offshoot. But its filings seems deliberate, not accidental, as indeed nothing escapes those who have gained experience film, which now leads to the determination of the sling every frame: sorting and representation. Like Michelangelo, in short, Clint away and chisel away, and as a Canaletto, however, chosen the path ahead and discarded all others, embroider and adds delightful details. Even in the event highlight of the film, the memory of the prisoner 46664, is passing through pain and humiliation in the eyes hinted (overrides the non-seen) but for those who know are well aware understand them, placing emphasis instead on, poetically, the ransom that passes through the beautiful lines of William Ernest Henley, author of the poem "Invictus," which gives the title of the film. A level of achievement "sport" then you get the best you can hope, with words worthy of shooting from the field, and even Matt Damon, who seemed so far subscribed to the whole bad boy action, shows a heart in the muscles, adapting perfectly to the climate of hype and excitement that permeates sipped every race at Ellis Park in Johannesburg. The rugby matches look real, because next to the fictional documentary that made the back story (all the footage of the four Lomu destinations, the best player ever of the oval ball, in the semifinal in which New Zealand crashed into England, becoming later as the only rival, announced but respected) and contribute to the credibility of the camera. Out of tune, perhaps some exaggeration: the clock that counts down the last echoes, fights with all sorts of grunts to symbolize the fury of a people in search of a new golden age, and some peaks of rhetoric difficult to objectively digest. But in the era of Caressa and 'amazing' too little credible, Eastwood has the ability to appear sincere and not throw random acute sentimentality. Freeman is a different story itself, pouring all the charisma of Nelson Mandela as a leader in the prim mature serenity, which transmutes the uncertainties into certainties, because before being able to make the sacrifice to reach the goal (not just sports). Evidence that justifies the casting, not only with the physical similarity between film and real protagonist. Bottom Line, perhaps the most convincing: Eastwood, as always, has an eye for the bad guys, for the losers, and believes in the power of redemption rather than condemnation of indelible. That is why this film, based on a true story and screenplay by blowing in the Carlin book, "Love your enemy," seems tailor-written for the values nth, magnificent (too) Clint.
Do not miss: One of the most moving passages of the entire film: the four tickets for the final match to be given away to family captain Pienaar. The last of such an unexpected visitor, in a symbolic tribute to changing times.

RATING: 8.5 - Mighty

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But what a show ... Mighty

I have no words to describe how proud I am to having to show this video to show all the 'commitment that our team has put into this project. The big thanks goes not only to the team that did its best but also to all those who have not been in Rome but are part of the team and without whom today I could not write these two lines.

thank

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A little Scorsese Scorsese: Shutter Island



By: Martin Scorsese
Starring: Leonardo DiCaprio, Ben Kinglsey, Mark Ruffalo.
Genre: Thriller (137 ').
Comment: Good story is not necessarily synonymous with good script, Scorsese's Shutter Island, and then risk being reduced to a good hype for the homonymous Dennis Lehane's novel. Di Caprio Di Caprio is always, though in the long term is likely to numb the usual wrinkled and that conditions now and eternally fought all their latest products, while the magnesium film is, at least, recognized as having dared going out with the colors and the Gothic atmosphere, the traditional rules that had marked his latest works. That said, the construction works in the middle, because of the visionary dream-glimpses now seems wasted a flash-forward, to work differently, because the plot twist, after all that work, comes backed by a series of mental psychosis of the protagonist. Better to have lightning-fast reversal or the traveling hand in hand with the plot? Matter of taste, it is certain that the effect seems at least got a bit 'stuck. Colors and much horror thriller complete the picture, in a labyrinth spiral reminiscent of Mad House and even the comics of Batman Arkham Asylum, in what is a praise of folly, but a conscious and measured (perhaps too) down in the fog of human mind. Curious, the balance of Scorsese, who in the past and in the darkest place you can find the unique and undeniable truth (after various Rashomon effect, or different views of repetitions, just sketched). With that punch line that is a shot of the theater (rare), which again unbalances the border between virtual world and recreated real awareness of a better future in the implementation of the worse fate. To see, but knowing that you have to do with an experience that Scorsese and therefore unconvincing.
Do not miss: The three sounds of sirens, which are worth more than all the rest of the soundtrack.

VOTE: 6 - UNEASE

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From the Earth to Middle Zone: The Lovely Bones Jackson is back




By: Peter Jackson.
Starring: Saoirse Ronan, Mark Wahlberg, Rachel Weisz, Stanley Tucci, Susan Sarandon
.
Genre: Thriller (130 ').
Comment: Jackson's Lovely Bones and gathers them together, crafting a cross-over of the original hyper-g and-blacks that affects the heart. The story, beautiful in itself, born childhood destroyed by Alice Sebold (author of the book), actually raped at age 14, inspired by Jackson
that, besides the duties touches on the script, try not to distort the juice from those pages of a story sad and bitter, yet clinging the supernatural hope of a better world. Thriller, fantasy, horror, tragedy and the memory parallel worlds: from Middle-earth to the middle zone, Peter Jackson does Bard of digital, a quiet street, creating harlequinades less folly of Parnassus and serene visionary Avatar not to lie to the naive nature of a girl, who in death has still yearn for the purity of a last kiss. Even a daily exceptionally broken may take flavor. Some scenes make history, raising the tension and pasting the soul development of the story, while Stanley Tucci tip on quality facial, putting aside the amount of shots and went on: you can win an Oscar as well. The rest is poetry, with occasional false notes, perhaps the story slows down too much in the middle phase, while the reaction of the father of Suzie
borders on schizophrenia in an ascending climax too steep, but small flaws of the script are repaid by directorial choices that they know paste moments in the book, far away. Delicate and raw, with the exception of a storyteller, never seen the movies? For without encyclopedic knowledge, it seems that
this time it does.
Do not miss: The explanation of what are the remnants of the lovable title. And that stalactite, retaliation genius.

RATING: 8.5 - COLLAGE

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ALICE (little) IN WONDERLAND



By: Tim Burton
Starring: Johnny Depp, Helena Bonham Carter, Mia Wasikowska, Anne Hathaway, Crispin Glover.
Genre: Fantasy (108 ').
Comment: We want to tell the truth? But throughout it all, to the end, without infringing on anyone's majesty? This Tim Burton has quite disappointed so enough to think that Alice in Wonderland is not the result of his (usually) clever inventiveness and imaginative power of his earnest, but to a consummate director of the remake, which accepts the story, but not the renunciation of violence done to give his ego, sometimes overbearing, in the reinterpretation of Lewis Carroll's masterpiece. Alice is still a good film, but the impression, leaving the room, you have been dealing primarily with a big missed opportunity: if, at the entrance, you wonder how I do I like to diverse brain Burton have waited so long to put meat a story tailor-made for his career populated by strange creatures and gothic insanity, you have to exit remains the doubt and replace it. Because Burton did not dare? We would not want his stay English had a little 'gentrified former director of the dark side, I suspect this flag exacerbated by Her Majesty's tax history since the initial fog of London. The impression is that the respect owed to a literary landmark, also want the intercession of the Disney production, both in boundless admiration too stuffy, patrician, the death dell'antieroe. The poetry and lyricism of Burton shrinks behind the plot of the obvious, handed down by an oracle and unable to deflect: after all, the final emancipation of Alice knows a lot of liberation stopped, not full, together with directing the moves (not always explicit) of the director. He moved his criticisms, perhaps heavy, hour and forty film exhibits a brisk plot, which has some merit in the midst of shame, to not lose any pieces in the street, speeding up the story to fit the concentration of the youngest and also the eternal spigliatezza request of the adult world. The renovated between human beings and digital (new, but not too much of Adam's breath fantasy) may appear as mere caricatures, but after this they were also in the original, while Deep Mad Hatter does not justify all the waiting, with a test over the top, but too much butter in a heavy make-up for too long not to be "normal" in comparison with the actor. Cheshire Cat, Caterpillar, rabbit and hare are the legacy of history, to which Burton gives people a lower dose of irony, but if nothing else from which squeezes the expected rematch of supporting actors, quasi-actors: using them would help in better tone. From the fabulous scenery, the armies of papers and also the interpretation of the two queens (Anne Hathaway has never been so theatrically apt in its stupidity) and Mia Wasikowska, debut, but no demerit shows some defect of personality. Wasted by far the 3D as never before half time to make money, and stop point. In summary then, what captivates Burton is a special Oedipus complex: if the director invented from scratch, God the Creator and Father of becoming a history all its own, then it is wrong not even a comma, loving creature and dipping all the madness that is its trademark, but if the remake does not look up from the horizon of the "good movie" . It is no coincidence that the last was his masterpiece Sweeney Todd, a love story and horror very sui generis, taken and adapted from a musical magic to the movies. Alice, in her wonderful, wonderful only to a certain point, and the rest at the first press conference he admitted that Burton wanted to make all the sacredness of the original: in this sense there is successful but, in all frankly, this writer loves too much Tim Burton does not miss his genuine madness.
Do not miss: In addition to dialogue and slang Carroli adapted into Italian, the moon through the eyes of the Cheshire Cat, a signature typical burtoniana. Sin is the only remaining. Regrettable but the ballet's delirious, surrounded by mystical hold and then fixed in un'ilare (too) dance step.

VOTE: 7 - Chained