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The "Wolves" of the new documentary film The Italian




THE MOUTH OF THE WOLF
A documentary film by Pietro Marcello

A criminal returns home after a long absence. Falls on the fly from a train in a shooting in an old Genoa port amateur format. E 'Vincenzo, which crosses looking for the places of old, now discontinued, places that come to mind their former glory. In the small house in the ghetto of the old city, is waiting for a cold supper, and for years the companion of a lifetime. Or perhaps "partner" with Mary, transsexual is not very handsome, had met the "fresh" behind bars. He ended up there was a defect of irritability a bit 'with the world. Her for drugs. Then the coded messages to love each other. The dream of a cottage in the country over the city. Are ships without anchors, their desires.

The machine of Hollywood would have made a good story in 3D, even on a budget by actresses Oscar. But here is the acting at the levels of duodenal ulcer. Okay, ' you may say, is a documentary. To which, however, do not need the voiceover angry and gruff soul of a comment by Vincenzo images of paths, where viados tease an old man with his face just out of the madhouse. Okay ', you say, is the stylistic choice of director: two opposing forces as meaning, just like the character of the protagonist. Instead, we say that the signifier bored. It tells us that Mary was in love with him just because a little 'luck and a little lamb' able to cry in front of the animated Bambi.
Beyond stereotypes, does not even fall in love with us. Not so much in the subject, but in passing it. A documentary film produced by the Society of Jesuits (Perhaps a similarity to Christ a guilty sinner and modern, maybe in love with a transvestite?) Made notes from notebook to school without climax. A lyrical loaded, each time by seasoned video inserts of family album, as if anyone cares to view the absence of a story line.

One good thing: it only lasts an hour and ten minutes.

Last but not least . The rumor that Vincent, the protagonist, has been placed in front of the door of cinemas showing the film where just talking about him and think he shouted to passers-by, "Oh, Look, this is me." That's where RAI CINEMA spends money on new forms of "New Media".
Precisely for that reason: VOTE 4 / 10

How To Paint Bunk Beds

acclaim ..

overwhelmed by messages of fans worried about my long absence from the pages of the blog I am back by popular acclaim to reassure everyone that I'm alive and well and I'm fine! Seriously, I never have been and will never be able to be in constant updates as I wish, I can not, I admit my limitations and I do a reason! Cause I'm gone this time? Because I'm about to graduate, and between theory and work time for two scruvere bullshit just can not find it. Appeals on 15/16 Aprlile degree, thesis to be delivered in the office between 6 days and speaker whore that has yet to send corrections, the final chapter ... my stress? At the edge of bearable, I am exhausted and I'm really looking forward to get the point and head to this (brilliant) college career. Let sin of modesty, but not everyone can graduate in the course of 6 months experience abroad and a thesis written during the breaks of a full-time job. I'm proud of myself and I have no problem in saying no. Next to the post, hoping that nn spend too much time ... see ya!

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F.

What Difference Betweeen Ski Pants And Salopettes

Hurt Locker, which is the second Bigelow



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crumbling walls, dust, rough roads. The bomb disposal robot mine of U.S. fast-forward between worn-out rubble, its Track trample the remains of a Baghdad plagued by years of war. curious men and children smiling face on the street mumbling incomprehensible words. red wires emerge from the ground: under piles of debris washed hides yet another weapon to an enemy invisible. is hell, but his closest representation, Iraq today. 40 days dawn Staff Sergeant William James (Jeremy Renner, Oscar nominee for this role), 800 mine clearance behind it, is sent to the battlefield to support Sergeant JT Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty). The camera, shoulder strictly follows the marines in their every move, it simulates the look through rapid movements in continuous sequence, sudden zooms focus windows, roofs, minarets, bridges, huts, which can lurk in any place a terrorist. There is no respite, nor the plot, at least according to the parameters of classic cinema. This is war, unvarnished, without infarction of genre films, mere reconstruction of any day in the no man's land.

Kathryn Bigelow closes ranks of the epic war without taking precise positions on the rightness or otherwise of a conflict that has bloodied the Western consciousness for some luster to this part, or at least so it seems. His anti-heroes are moving fast among heaps of hostilities, counting the days remaining to be served at the front along with the throbbing audience that follows the exploits. In reality, behind the apparent neutrality of the tale, the director of Strange Days and Point Break work builds a strong robust plant antimilitarist, as suggested by the quotation at the beginning of vision that "the war is a drug that creates a strong dependence. And the withdrawal of the lethal explosive repatriated Sergeant James is likely to lead to a paranoid madness the American veteran, forever prey to obsessions die hard. The only cure for cancer seems to be the hell of war return to it, where the days are not passing slower steps towards the dawn of the return, but only dark marks on a calendar of memory that now knows only sunsets. 5 Oscar (film, director, original screenplay, editing and sound editing) and a chamomile tea with plastic to dispose of the whole.

VOTE: 8

Joseph "Joe" Castronuovo

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Inferno Trilogy New York



City of Glass. In the middle of the night a silent and haunted New York, Daniel Quinn, author of detective stories, gets a call from a stranger who mistook him for detective Paul Auster. Worn on the fascinating role of the latter, Quinn decides to meet his mysterious interlocutor. Peter Stillman, the man's name, is an individual from the past grim after the death of his mother, father, obsessed with finding the primitive language, held him incommunicado in his home by hiding in the eyes of the world and avoiding direct contact with the 'outside to where the story was not accidentally discovered and the jailer arrested. Now that his father has served a jail, Peter and his wife rely on false Auster pawns for the task of avoiding any form of revenge and find out what plans hidden.
Ghosts. The investigator Blue is instructed by his boss, the mysterious White, to get on the trail of the mysterious Black and spy slavishly every step of his life. Having settled in the apartment in front of the Black with the intention of revealing the moves, Blue will eventually get lost in the obsession of discovering the truth, losing in this way all contact with reality and ultimately discovering the weakness of the border that separates from being hunter prey.
The Locked Room . In the placid flow of monotonous existence, the writer protagonist of this story is contacted by the wife of an old friend Fanshawe, who disappeared mysteriously years before, that decides what to do with voluminous written material that the man left the woman, as the latter ' Last expressly requested before his death. Through the manuscripts of his friend, the writer will rebuild the steps of uneven existence over the top, to obsessively immerse themselves into the shoes of Fanshawe with the intention to begin your search. But the unexpected arrival of a letter by the latter leaves everything hanging in the balance.

Published in the United States between 1985 and 1987 in Italy and collected in one volume published by Enaudi, the stories of The New York Trilogy mark the intersection between classic noir and Ellroy to the most complex system, which Kafka catapult Auster's anti-heroes in a world of visionary New York populated by ghosts who ply the streets apathetic. Prey to his own obsessions, each of the protagonists in the tale told in the middle of the victim will end up tipping the parties, in a crazy game of references autocitazionistici that slowly but inexorably, lead the reader to the awareness of having been involved in a turn in metaromanzo which each story helps to clarify the meaning of that previous year. Yes, because Trilogy is not really a collection, but one story unfolded in three parts so that those who have the desire and attention to reconstructing the clues left scattered by the author and draw a greater plot that goes beyond the superficiality of the story police to arrive at a more serious introspection of the individual research.

"It started with a wrong number, three blasts on the phone in the middle of the night and the voice unit, asking for someone who was not him. Much later, when he was able to think about what had happened, he concluded that nothing was real except chance. But this was a long time later. Initially, there were only the fact and its consequences. The question is not whether they could have developed otherwise or whether everything was already established from the first word spoken from the unknown. The question is the story itself: what it meant or not, not for the story to explain " (from City of Glass )

rating 8

Joseph" Joe "Castronuovo

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indigestible Breakfast at Tiffany



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In Sierra Leone 90s, Solomon Vandy (Djimon Hounsou) finds himself caught the conflict between government forces and local rebels of the Revolutionary United Front (RUF). While his wife ends up in a refugee camp and his son is kidnapped by rebels and began the hard life of child soldiers, Solomon, a prisoner in a camp for illegal search of rough diamonds, he finds a precious stone with a pink of rare beauty. Liberated by soldiers of the regular army, the man meets Archer (Leonardo DiCaprio), a former mercenary from Zimbabwe and now diamond smuggler, who decides to help him find his loved ones as long as he reveals where he hid the large diamond found previously. With the help of Maddy (Jennifer Connelly), a journalist working on the front of the illicit of "conflict diamonds", a tragic adventure begins on the road towards the end of a story that could very well be drawn from a true story. Edward Zwick, fresh from the success of the mediocre "The Last Samurai", baste again work from the classic Hollywood system to the service, however, involved a complaint of the film, trying to open the eyes of the viewer on the shady dealings of diamonds for years has bloodied a part of Africa. Shot in the stomach with a mixture of raw sequences to swallow, the director puts in a screenplay filled by sliding a trickle of action scenes in which it moves easily the excellent actors mentioned above. 5 nominations Oscars (including one for Leonardo DiCaprio for Best Actor and Djimon Hounsou for best supporting actor) for a film that makes us aware of how much blood can be hidden behind the glitter of a diamond and that should make us reflect any whenever we stopped to breakfast at Tiffany's.

vote 7 and 1 / 2

Joseph "Joe" Castronuovo

Perniciuos Anaemia Heridtary

Everybody's fine (the sauce in Hollywood remake of "They're all good)




Original Title: Everybody's fine
COUNTRY: USA / Italy
YEAR: 2009
DIRECTOR: Kirk Jones
GENRE: Drama
DURATION: 99 min.
DISTRIBUTION: Medusa
CAST: R. De Niro (Frank Goode), D. Barrymore (Rosie), K. Beckinsale (Amy), S. Rockwell (Sam), M. Leo (Coleen)
Screenplay: K. Jones
MUSIC: D. Marianelli
PHOTOGRAPHY: H. Braham
ASSEMBLY: A. Mondshein

Remake of the 1990 film by Giuseppe Tornatore.
In the original Italian, the main character was played by Matthew Dark Marcello Mastroianni.
underlying theme for both versions is the line between illusion and truth.
The plot is that of a man who, widowed, decides to visit his children (who live in cities far from home and far between) that, according to the stories always heard from his wife, believes people professionally established and humanely. The fact that the wait is quite different and, in both versions, the man discovers that his wife has always concealed the true facts not to disappoint the family's expectations.
Unlike other versions of the epilogue. Without revealing the ending, but you can not speak of what appears to be a profound deficiency in the film (in theaters in April) compared to the original 1990: the poetry of Tornatore and Mastroianni is unsurpassed because probably unsurpassed.
Although the interpretation of De Niro remains well-made, nevertheless the poetry and melancholy (but not in key nostalgic!) And Mastroianni, under the wise Tornatore guide, has made the character of the Sicilian father seventy, remains a treat for connoisseurs.
Attractions. Possibly both.
VOTE: 7

DARIO CAPELLO