Here is an excellent fan made trailer by Hawkeye Protagonist. Would you want the next Batman film to be like this?

CAPED CRUSADER aka SHADOW OF THE BAT Teaser Trailer for the Dark Knight sequel.

-Gotham is being overrun by a billionaire crime boss known as the penguin.
-A potential threat, known as Edward Nygma, battles with his own mind and the answer to “Why?”
-The key theme of Batman Begins was “Fear”, in The Dark Knight it was “Anarchy”. In Caped Crusader it’s “GREED”.

Starring:
Christian Bale as Batman/Bruce Wayne
Phillip Seymour Hoffman as Penguin/Oswald Cobblepot
Johnny Depp as Riddler/Edward Nigma

The poster is an old fan made one as well.

Espero que hayan cumplido el reto de ver tooodas las películas de Halloween llenas de sangre, violencia, adolescentes estúpidos…mmm, confio en que algunos de mis lectores son psicópatas y vaya que disfrutaron verlas y leer las palabras anteriores; y algunos que si no lo eran descubrieron que lo son por amar ver tanta SANGRE, VIOLENCIA, ADOLESCENTES ESTÚPIDOS (se que les gustan esas palabras…o mejor dicho, que les valen). Yo? Si, si disfruto verlas…porque me puedo reír de ellas, aunque desgraciadamente no las pude ver todas este año porque muchas personas se volaron las películas del Blockbuster…no los culpo. En fin: psicopátas. Son las personas más geniales que he visto en el cine. Son manipuladores, agresivos, calculadores, inteligentes…ahhh. Eso según los psicólogos. Pero según yo, aquí va un recuento de las personas geniales -y malvadas- del mundo del cine con patología imprecisa:
Jean-Baptiste Grenouille
Nuestro chico francés que tiene un gusto especial al aroma de las mujeres jovénes y hará todo para obtenerlo…en especial matar.

Catherine Tramell

La mujer que arrancó…suspiros a muchos hombres en Bajos Instintos y que encontraba un placer mayor en matar a los hombres que …estar con ellos. (No la culpo…sólo vean el Espacio de Keso y díganme si no se convertirian en asesinos al leer lo que dicen…haha)

Earl Brooks

Pues, este Mr. Brooks es un psicópata agradable (en los estándares comunes) y muestra bien a sus …amiguitos que viven en su cabeza.

SWEENY TODD

Ohh, me gusta mucho la película! Mrs. Lovett quién ama a un psicópata asesino y él la mata al final lanzandola en una caldera…Que hermosa historia! Esperen…me suena conocida…Oh…

Anton Chigurh

Bueno…pues me sonó a Harvey Dent lo de su moneda esa, pero aún así la escena final es genial y más aún la cara de “que más da” de Javier Berdam.

LEATHERFACE

El sonido de la sierra + una chica gritando horrible durante toda la película= Boo! Hasta a mi me asustó por sus gritos y aún peor cuando esta en la hermosa reunión familiar de psicópatas: oh, que honor! El abuelo de 150 años va a partirle la cabeza para la cena! Llena de miedo psicológico tiene la cinta ” La masacre en Texas” y quién no? Con un carnícero con una máscara de pieles humanas. Me llevo dos!

Hannibal lecter

El ex psiquiatra Dr. Hannibal cuyo plato favorito somos tú y yo. Bastante culto e inteligente y con diálogos llenos de ingenio hacen que entre en la categoría de psicópatas refinados. Pase usted, es hora de la cena!

JIGSAW

Vaya lecciones de vida nos da! Acosado por una enfermedad terminal, busca enseñar a todo aquél que no disfrute su vida a cómo “Vivir la vida” con unos simples y divertidos juegos: No pierdes nada al jugar! Sólo que si pierdes, mueres de una forma horrible y dolorosa. ¿Quieres jugar?

ESTHER

Una “niña” completamente diabólica!!!! Ok, es una psicópata. Basta ver los lindos dibujos que tiene pegados en su cuarto, bueno, ya sabemos porque no quisieron ponerlos en la puerta del refrigerador. Sabe mostrar muy bien lo psicópata y más aún con la escena de la paloma. Bueno, claramente con una pedrada en el cráneo dejara de sufrir.

NORMAN BATES
Creación de Hitchcook de un hombre que se disfraza de su madre para asesinar. Es prota de la famosa escena de la ducha. Usa frases cortas como estas. Muy buena actuación. Vaya madre debió ser esa. Han de oirse raras estas frases. Diablos.

PATRICK BATEMAN

A poco? Por algo se llama Psicópata Americano, no? Ohh, muy buenas escenas hay en la película. Desde el vago asesinado, la chica asesinada con la sierra desde las escaleras, su crisis mientras confiesa sus crímenes. Vaya que vale la pena y Christian Bale aquí es muy genial!

Alex McDowell

El ultraviolento Alex es sumamente genial en Naranja Mecánica y un claro ejemplo de psicópata…un psicópata fanático de Beethoven y de Gene Kelly, cabría suponer.

Y AHORA…EL NÚMERO UNO!!!!

THE JOKER!!!

El de Heath, claro. Bueno, bueno…él no es un psicópata. Más bien es un sociópata (simplemente Joker <3), pero no importa. Ya no falta decir POR QUÉ, verdad? Creo que ya lo he dejado claro. Ohhhhhh…<3 <3

Hello. My name is Yasmin, and one of my biggest fetishes was Christian Bale.

It started one day, sitting all by myself doing nothing. I thought to myself “What should I do…?” and then it hit me: far away, standing alone in my bookcase was the dvd I had borrowed from Agnes. American Psycho.

And I just loooooooved it! Everything about it.. but mostly my good friend, Christian Bale. Since, him and I have spent a lot of time together… until I met Troels (and no, I’m not writing it to please you, Troels. But I truly mean it)

Once again Agnes sent me something that amazed me. A combination of this lovely boy, David, who had just been to the dentist for the first time and is a bit… high and Christian Bale yelling at some poor smock, and although he is an asshole in the clip, I still think gladly of the time we spent together when I was 17.

“Todo gran truco de magia consiste en tres actos. El primero se llama ‘La presentación’: el mago muestra algo que parece ordinario, pero, por supuesto,… no lo es. El segundo acto se llama ‘La actuación’: el mago hace que lo ordinario se transforme en algo extraordinario. Ahora bien, si buscas el secreto… no lo encontrarás, es por eso que hay un tercer acto llamado ‘El prestigio’: ésta es la parte con los giros inesperados, en la que la vida cuelga de un hilo, y entonces ves algo impactante que nunca habías visto antes”

Así empieza “The prestige” (El prestigio), o “El truco final”, nombre con el que llegó a España esta película que ayer por la noche estrenó la primera de televisión española.

Una película sobre el peligro de una obsesión, con magia, romances y algo de tensión – que se agradece, la verdad – de la mano de Hugh Jackman, Christian Bale, Scarlet Johansson y Michael Caine, entre otros también bastante conocidos.

No es una película para quitarse el sombrero, pero sí que la recomendaría para esas tardes de domingo o esas noches de tormenta.

Los efectos especiales no son increíbles, pero tampoco hay excesivas escenas en las que sean necesarios los mismos.

La trama sí que me parece elaborada, con esos giros cada día más esperados por los avezados cinéfilos, pero que a los que nos gusta dejarnos sorprender hace que nos recorra algo por el estómago cuando se dan.

La ambientación está  conseguida y la caracterización de los personajes me pareció quasi inmejorable.

Ahora mismo no recuerdo bien qué nota le daría a la actuación, y cuando no recuerdo la actuación suele ser síntoma de que fue buena, o al menos no parecía sobreactuado.

Siempre me emocionó la magia.

Estad atentos, pies izquierdos.

Każdy numer iluzjonisty dzieli się na trzy etapy. Pierwszy nazywa się “Obietnica” (The Pledge). Iluzjonista pokazuje coś zwyczajnego: talię kart, ptaszka bądź człowieka. Pokazuje obiekt, być może poprosi o sprawdzenie, czy naprawdę jest rzeczywisty, nienaruszony, normalny. Ale, oczywiście, zazwyczaj nie jest. Drugi etap nazywa się “Zwrot” (The Turn). Iluzjonista bierze ów zwyczajny obiekt i robi z nim coś nadzwyczajnego. Szukacie sekretu, ale go nie znajdujecie, bo,  rzecz jasna, wcale nie patrzycie. Tak naprawdę to wcale nie chcecie wiedzieć.

Chcecie być… oszukani.

Ale jeszcze nie klaszczecie, bo nie wystarczy spowodować, aby coś zniknęło. Trzeba to sprowadzić z powrotem. I dlatego każda sztuczka ma trzeci etap. Najtrudniejszy. Etap, który nazywa się…

Prestiż (The Prestige)

Na bohatera mojego pierwszego wpisu wybrałem jeden z moich ulubionych filmów. Film niepowtarzalny, bo chociaż w mniej więcej tym samym czasie ukazał się “Iluzjonista” ze skądinąd świetnym Edwardem Nortonem, to jednak i klimat, i jego sposób podejścia do tematu iluzji oraz magii różni się znacznie (a oprócz tego ostatniego i osadzenia akcji pod koniec XIX stulecia, jedyną cechą wspólną było tzw. “twist ending”). Pod względem wykonania “Prestiż” jest typową hollywoodzką produkcją, nominowaną zresztą do Oscara za najlepszą scenografię i zdjęcia w roku 2006. Przy budżecie sięgającym 40 milionów dollarów i gwiazdorskiej obsadzie (Hugh Jackman i Christian Bale w rolach głównych, na dokładkę Scarlett Johansson oraz Sir Michael Caine), tylko w czasie weekendu otwarcia zarobił 14 801 808 $, wg danych podanych przez stronę Box Office Mojo. Tym bardziej dziwi mnie, że obraz ten jest, przynajmniej przez znane mi osoby, praktycznie w ogóle nie rozpoznawany.

Jeśli o mnie chodzi, to natknąłem się na “Prestiż” przeglądając filmografię Brytyjczyka Christophera Nolana, znanego m.in. z niekonwencjonalnego “Memento” oraz dwóch najnowszych części przygód Batmana. Ci, którzy widzieli “Mrocznego rycerza”, wiedzą, że Nolan potrafi nawet nastawione na zysk megaprodukcje kręcić z ambicją. W przypadku “Prestiżu” postawił on nie tylko (jak w “Memento” właśnie) na splecioną niczym węzeł gordyjski linię chronologiczną, ale także ogólny koncept filmu-przedstawienia, który poznawać zaczynamy zresztą już na początku, poczynając od słów przeze mnie przytoczonych na wstępie.

Obsession is a young man’s game

Ale żeby nie uprzedzać faktów, kilka słów o fabule (bez spoilerów). “Prestiż” to historia rywalizacji Alfreda Bordena (Christian Bale) oraz Roberta Angiera (Hugh Jackman), dwóch iluzjonistów. Opowieść, początkowo równie ociężała, jak drukowany pierwowzór o tym samym tytule napisany przez Christophera Priesta, z czasem (i z pierwszą pochowaną ofiarą) nabiera rozpędu i niepostrzeżenie wciąga widza w istny spektakl tajemnic, poświęcenia, zemsty, zatracenia i obsesji, w którym nawet śmierć jest pojęciem względnym. Jestem pełen podziwu dla braci Nolanów i ich tytanicznej pracy, jaką musiało być przekucie interesującej, lecz statycznej powieści epistolarnej w pełen suspensu dramat. Widzowi od początku dawane jest do zrozumienia, że tak intensywna walka dwóch iluzjonistów musi prowadzić do katastrofy.

Are you watching closely?

Siłę tego filmu stanowi zbudowanie go na koncepcie, który w równym stopniu dotyczy zarówno sztuk magicznych, jak i kina. Otóż ludzie przychodzący na przedstawienie wiedzą, że to, co oglądają jest fikcją; że są na własne życzenie wodzeni za nos. Chcą choć przez moment dziwić się temu, co widzą, mieć trudności z wyjaśnieniem zdarzeń. Takie jest credo Nolana, wedłgu niego ukształtował “Prestiż”. Ściśle dopasowane efekty dźwiękowe budują napięcie wespół z bardzo dobrymi zdjęciami (wystarczy tylko wspomnieć scenę z polem żarówek, bądź ostatni pokaz The Real Transported Man), i dynamicznym montażem. Reżyser specjalnie pozostawił w swoim obrazie wiele poszlak pozwalających odgadnąć większość łamigłówek. Niejako efektem ubocznym stało się wypłynięcie na wierzch niedociągnięć scenariusza, które to zauważają swoim wprawnym okiem i wytykają jeszcze wprawniejszym palcem kinomani. Ale czy właśnie o onanizowanie się nad tymi niedociągnięciami chodzi? Polecam nie tyle obejrzenie “Prestiżu”, co zatopienie się w jego niepokojącej magii, którą niewątpliwe rozsiewa. Najlepiej przekonajcie się sami, czy chcecie być choć oszukani

Abracadabra

PS WYŁĄCZNIE dla tych, których nie przekonuje moja rekomendacja, polecam trailer (zawiera pewne spoilery, które mogą ewentualnie popsuć przyjemność płynącą z właściwego seansu):

- Nemico Pubblico – 2009 – ♥♥♥♥ e 1\2 -

di

Michael Mann

E’ Michael Mann. E si vede. Il realismo che contraddistingue i suoi film in questa sua ultima opera forse trova il compimento e ci porta a sentire e vedere tutto in prima persona. Con gli occhi di uno dei fuorilegge americani più celebri dai tempi della Gran Depressione: John Dillinger. E mantenere il realismo quando si parla di un personaggio così cotroverso come lo è stato il famoso rapinatore di banche degli anni ‘30 non è da poco. Per gli americani di quel tempo Dillinger non era solo un criminale ma per certi versi era anche un eroe che rubava alle banche che erano considerate colpevoli di aver causato la Grande Depressione negli USA. E Mann rispetta quell’ immagine facendo si che il suo attore Johhny Depp assuma questi doppi connotati di eroe e criminale. Contrapponendolo all’ altrettanto ben delineato personaggio di Melvin Purvis (Christian Bale), il cacciatore di criminali che ben rappresenta la nemesi di Dillinger. Mezzo perfetto per trasformare queste parole in opera filmica è l’ utilizzo del digitale che dona costante autenticità, nonostante le sue imperfezioni. Frequenti sono i tallonamenti della macchina da presa ai volti dei suoi protagonisti e i riverberi di luce che si infrangono sull’ obiettivo sottolineando minuto dopo minuto il tempo reale delle azioni. Peccato ancora una volta per i titolisti italiani che hanno deciso di tradurre il plurale americano Public Enemies nell’ italiano Nemico Pubblico che dà quindi la sua massima importanza a Johnny Depp alias John Dillinger, relegando così in sordina Melvis Purvis che invece è considerato anche lui un “Nemico Pubblico”, seppur dall’ altra faccia della medaglia. Se il primo (Dillinger) rappresentà la libertà di colui che non conosce freni e che non appartiene a nessun sistema o schema, il secondo (Purvis) è la sua risposta che vuole bloccarlo e isolarlo facendo di ogni uccisione da lui effettuata un tentativo di arginare Dillinger relegandolo prima o poi a restar solo e allontanandolo da ogni suo complice, amore o amico. Vi sono estremi parallelismi tra l’ opera di Mann e il cinema gangster degli anni ‘30 americano che vedeva in Clark Gable o Gary Cooper l’ estrema manifestazione del criminale di bell’ aspetto romantico e comunque di buone maniere. Ed è come se Mann usufruendo del mezzo digitale voglia segnare una nuova era del cinema gangster, non offuscando la precedente fatta di pellicola e di Black and White ma al contrario inglobandola, come metaforicamente si evince nella sequenza nella quale Hoover (Billy Crudup) decora i giovani G-men che viene fagocitata dallo schermo cinematografico. E’ un vero melodramma Nemico Pubblico nel quale i suoi due protagonisti sono entrambi alla fine costretti a lasciare qualcosa: Dillinger la sua amata ” blackbird” Billie (Marion Cotillard), alla quale sono dedicate le sue ultime parole, e Purvis si lascerà dietro la sconfitta di aver decisamente saputo troppo poco del suo obiettivo (Dillinger), escluso anche dalla conoscenza delle sue ultime parole-testamento. La società di quegli anni è perfettamente specchiata nell’ ambivalenza dei personaggi dell’ opera “Manniana”. Un’ epoca nella quale i mass-media iniziavano a schierarsi sempre dalla parte dei vincitori, preoccupandosi solamente di mettere più carne sul fuoco, e nella quale i soliti potenti dell’ economia avevano causato la Grande Depressione. E la morte finale di Dillinger come una star segna proprio la vittoria di tale economia. Una morte nella quale al centro dello schermo vi è il cadavere del difensore di quel senso disfattista che rappresenta l’ ambivalenza del bene e del male e ai bordi dello schermo pian piano scompare la sagoma di Melvis Purvis, comunque sconfitto da non essere stato il vero protagonista della sua uccisione.

( Dillinger il criminale dal cuore debole)

( E Melvis Purvis sua fredda nemesi)

Imagined of being able to backwards travel in the time carrying with you one of the best high definition camera available on the professional market and, once joints in years 30’s, to begin to resume the moments and vivid colors  of those times. Public Enemies written by Michael Mann, Ronan Bennett and Ann Biderman is drawn from bestseller of Bryan Burrough (the Italian edition published by Sperling Kupfer) and narrates of a country, the States, during the crisis of `the
29, while the bands of brave cold blood’s gangster running with fast car for the cities roads armed of powerful and automatic weapons ,heisting banks and destroying keeping books loans like modern Robin Hood. These will be destined to be confronted with the reaction of Washington and baby FBI with to head a young person and unscrupulous director, Edgar J.Hoover (Billy Crudup) and agent Melvin Purvis (a stoic Christian Bale). A epic as well as bloody-thirsty crash that will carry icone of the imaginary US collective  like the nobleman  John Dillinger (Johnny Deep with an interpretation that goes beyond the reliability of the personage), Pretty Boy Floyd (Channing Tatum) ; Baby Face Nelson (Stephen Graham) behind the slabs or often with their name carved over a tombstone. There is not a nostalgic translation of the facts but the search of the authenticity, of the realism meant also like a refusal of the subjects of conventional beauty (but Polly Hamilton interpreted from Leelee Sobiesky and Marion Cotillard in the role of Billie is splendid) and of every idealization in favour of a more pragmatic approach, often with an accent on the humble life or the quotidianity, with nearly documentaristic resumptions, for being able to us to render tangible which we are observing. This is the type of concept HD avant garde of sonorous visual authenticity/(powerful and defined sounds effects .45 ACP Tommy Gun included) and novellistic to which Michael Mann, collaborating with Dante Spinotti, it has intentional  join for Public Enemies; the dosed use of the classic conceptualized lighting system, typically named Hollywood’s Lighting, that it sees the use of powerful Beebe Night Lights for the nocturnal ambush to the hut of Little Bohemia in the forests of the Wisconsin for giving priority to the use of the practical natural light/already existing in location and available for that determined scene; being full  of nocturnal scenes of action, the conceptual key for this film is given by reading of the shadows from the support types as high definition, totally and positively different regarding if compared to film and this has allowed a dynamic use of the filmic grammar obtaining a modern film with hyper realistic look that does not get lost in romantic classicism and that it succeeds to conserve solid Manns trademarks beginning from the use of music, symphonic and ambient score by Elliot Goldenthal, music and use of the music that removes the breath for how much guessing, as it always happens in all the works of Michael Mann and that I have already wide dealt. Bravo and expert Italian director of photography Dante Spinotti to its fifth hard work with Michael Mann (Manhunter,the Last of the Moichans, Heat and The Insider) composing the film in format 2.40:1 has used for Public Enemies HD camera Sony F23, excellent for sharpness and depth of field (but also the F950 model with T950 adapter) in coupling to the small (but great) Sony EX1 for inner resumptions happened inside of car, using on these supports Lenses Zeiss Digiprimes and zoom Fujinon HAe10×10 (T1.8), while for any scenes shot in super 35mm with film Kodak Vison 3 500T 5219 has been used film cameras ARRI 435, 235 with the splendid optical Cooke S4 nearly to give a tribute to the past of Manhunter – “With digital cameras, there aren’t any steadfast rules, and I believe that gives me a huge amount of freedom,” he concludes. “The medium is romantic, interesting and beautiful, but it also looks real. And there’s so much you can do in post! Film has a certain kind of quality that cannot be matched by digital technology, but at times, the advantages digital has over film are important for the language and the contents of the story you’re telling, and that determines your choice.
Goes to to Colleen Atwood (already costume designer in Manhunter)the task ,does in excellent way because it becomes woven novellistic, to dress the personages of this film, sons of a casting at least fabulous: concept can be condensed with the face of the characther of Charles Winstead (interpreted from Stephen Lang). The production design, carefully splendid, are by Nathan Crowley (Dark Knigh,Batman Begins, Escape from L.A.) while in phase of pre-production the research work in location sees engaged, like always, Bravo photographer Gusmano Cesaretti that is also in dresses of Co-producer. There is who has compared Michael Mann to an author who prepares itself as Rembrandt and executes like Picasso others like Caravaggio that then is transformed in a Kandinsky, but what is the painting if not the main source through which the cinema he expresses himself visually? Interesting and true concept because in observing some they works have understood the visual process of Michael Mann. A visual and novellistic course ,that one of Mann,made by  a identification’s cinema (the scene of the Biograph Theater is a magum opus), revoluzionized  with ALI, stilized from Collateral and Miami Vice where Hid Def is contemporary phenomenon, witness of the change of our way to frame(shot) the images and transported in years 30’s it works to the perfection and that clean our preconcept been born from the repertory of sgranate, dirty images, sometimes sepia or black white images (than Mann it cites with a editing game during the scene of the extradition in Indiana), and far away from the reasoning that who it has lived those times and places has lived them  to colors and in the high definition of our eye.

Terminator Salvation, the latest in the Terminator franchise which was made popular by good old Arnie.  With the massive advancement in CGI since the original one, this one has massive expectations of its visual department.  It has already been widely publicised in the media because of Christian Bale’s rant at the lighting engineer.  Personally, I can’t help think that it was staged a little and is somewhat amusing.  Be warned, it contains a lot of strong language.

Terminator Salvation shows the aftermath of Judgement Day and with it follows the fight of the human resistance and its destined leader, John Connor (Christian Bale), as they fight to save humanity and ultimately their future.  Connor is looking for a resistance civilian Kyle Reese, his father, so he can stop the machines from killing him and thus removing Connor himself from existence and leading the resistance.

When Kyle Reese find a loner form the past, Marcus Wright, wandering the streets and rescues him from the T-600, the fates of Wright and Connor are ultimately intertwined.  When Reese is taken by the machines on a journey with Wright and Wright ends up saving a resistance fighter, he is taken to a resistance base where he meets John Connor.  Wright turns out to be not quite what he seems and Connor doesn’t trust him, though as events unfold he comes to trust him, albeit a little sceptically.

Terminator Salvation Landscape

Throughout the film you get a very real idea of how bad the world will be after the apocalypse, it’s all seemingly sinister, dingy and generally awful place to be; even during the daytime.  The sun shining and what would otherwise be a day with good weather you can’t help but feel massive disappointment at the abandoned cars left scattered round and the foliage over growing what remains of the buildings which were blown up back in Judgement Day.

Even with Bale calling the lighting engineer “amateur” during his rant made infamous on YouTube (see the link at the start), the lighting at the start of the movie where the resistance are on a recon mission is fantastic.  They are going into the darkness where there is a lot of smoke and steam, you do get a feeling of actually being there in amongst the heat, dirt and steam.  During the day scenes you get a feel of everything being much better than it really is and everything being fine.  Where the fuel station is blowing up before Reese is taken prisoner by Skynet there is an air of disbelief around the scene, something just doesn’t quite add up.  Everything seems too light for what is going on around, all illuminated by the sun, not so much by the abundance of flame, and not dimmed down by the scores of black smoke littering the area with the fire.  More could have been done in this respect to make it a little darker to add to the tone of the movie.

The movie is very loud with sound effects; guns shooting, Terminators clashing with their environment so there is a lot of metal on metal, metal on concrete etc. and quite a lot of explosions and steam hisses.  You get easily immersed in the action simply through the sound which complement the visuals fantastically and give you a great sense of belonging in there.  The musical score heightens the senses with sinister music playing during the times of trouble and more up-beat energetic audio during the times of the heroics.  You don’t get a sense of the music overpowering the scenes and detracting from the emotion and energy of the visuals, rather it all fits together well.

Despite there being a lot of CGI workings going on in the film, you rarely get a sense of it being unreal.  The reflections on the machines, the dirt and rust in the whole postapocalyptic world and the texture of everything which has just been standing rotting for a decade.  There are a few moments where you can see that it is clearly CGI, but because of the way the rest of the film fits together, you do question whether you have imagined it because you want it to be a little flawed.

Much of the action scenes have been made with actors in bodysuits which would later be animated with CGI to keep the sense of real interaction.  This makes all of the action have a more exciting feel to it, and not feel like it was all staged.  All of the action seems fluid and because of this you get a sense of being there, being part of the resistance.

Anton Yelchin, Christian Bale and Sam Worthington play Kyle Reese, John Connor and Marcus Wright in Terminator Salvation

Christian Bale gives a great performance through the film, portraying the sense of desperation he has with his mission to save his father and therefore save his own existence.  He puts across the sense of arrogance which he has a tendency to do in his action films, but also in the sense the a destined leader would also have.  As the film progresses there is the definite sense that he is slowly getting exhausted with whole adventure of his mission and destiny.

Sam Worthington plays a great part as Marcus Wright, the unlikely helper and hero who has his destiny intertwined with Bale’s John Connor.  Starting as a condemned man in 2003, he knows he is way past any help and is put to death by the penal system.  His re-emergence in 2018 shows him as the same person he was 15 years before, someone who cares a lot but always seems to get in the wrong place at the wrong time.  His presence on-screen is never overshadowed by Bale when they share the frames, rather they complement each other as two big characters who are very much a part of the same cause, despite being so different.

Kyle Reese, played by Anton Yelchin, is the little guy in all this mayhem, but is the have a go hero of someone who was probably bullied quite a lot previously, but he will stand by his convictions and fight for what he believes.  He has the persona of someone of someone who can talk about their experiences all day, but still comes across as someone who is a little naive for everything that is going on.  He plays the part well but maybe plays it a little too well for the naivety the character has from time to time.

Director McG mentions many times through the different parts of the special features of the blu-ray that he wanted things to be as real as possible, and not to have to rely on CGI where possible.  There are a lot of HUGE explosions in the film, all adding to the drama, and they do add some great effects.  He says that when things like that are real “you can see it in the whites of the actors’ eyes”, and this realism certainly comes across brilliantly in the film.  He has made something brilliant with this movie.

Whilst the film will not be to everyone’s taste, those who are fans of the Terminator franchise, or those looking for a good action film will certainly enjoy.  At just under two hours in length it is quite short for some of the films which have come out recently, and you don’t feel like it was a chore to keep watching until the end, but there are parts where you feel that they could have shortened the scene a little to have the storyline flow a little easier and in a more fluid manner, but ultimately you don’t feel disappointed by the film.

I think as part of the Terminator franchise the film is a brilliant addition, but it can also stand-alone by itself without needing to know the ins and outs which surround the series.  It lends itself to the possibility of a follow-up, but similarly could simply stop there.  Whilst I was initially apprehensive about watching it, having not seen Terminator 3, and not being that much into the original two films, I was very pleasantly surprised at how good the film was.

To quote the film, “there is no fate, only what we make” and if this is the fate of McG because of what he has made, he has put together a very good fate for himself with this movie.  To give the film its Judgement Day I rate it very highly with a 4/5, but it almost managed to push a little higher than that.

The following article is about My Batman, the Batman interpretation that to me, is the definitive, ‘proper’ Batman. For this, I not only look specifically to the comics, as they are the source — any other novelizations, television series, or film, is merely an adaptation of that source — but it so happens that my definitive Batman can be found in one, single Batman comic, published in September 1988, Batman #423, also known as You Should Have Seen Him …

Although I am picking one specific comic, that comic is actually part of an era of Batman that I am partial to, and so some history is necessary before I get into my review.

The year is 1987. Beside the Indian Grocery store that my mom frequented, was a comic book store called Target Comics, run by, what appeared to be to my 7 year old eyes, a biker gang, although they were likely just stoners who liked rock ‘n’ roll and read a lot of comics in between perfecting Motorhead riffs. And it was amidst this rock ‘n’ roll troupe that I began my first foray into the world of comics, and to their credit, they never kicked me out or scolded me when 90% of the time, I never had enough pocket change to buy anything.

My first comic book that I think I ever bought was the first issue of the relaunch Aquaman title at the time. Although I never had enough pocket change or meager allowance money to buy subsequent issues of that particular series, I did, on one particular day, see a ‘value pack’ of Batman comics. The 3-pack was such a cool deal that I had just enough to get it, and so I did. Contained in that 3-pack were Batman #414, Batman #415, and Batman #416. While Batman #415 was part of the larger ‘Millenium’ storyline that told its story among various titles across the DC universe, Batman #414 and Batman #416 were self-contained stories about Bruce Wayne written by Jim Starlin, a fascinating and by all accounts, grossly underrated comic book writer of the 80s. While Batman #414 dealt with Bruce Wayne’s relationship to a woman whom he is unable as Batman to save from a serial killer due to a bad hunch, and the grief that follows, Batman #416 deals with the schism between the first Robin turned Nightwing, Dick Grayson, and Bruce Wayne/Batman. More broadly, the issue deals with the challenge set by father and son in expressing their need for one another, even if the son must go his own way. Both stories are remarkably nuanced and emotional, with action either being secondary or existing purely to further the emotional journey of the characters.

It was the memory of this ‘forgotten Batman’ of my youth that inspired me to dig through a back issue bin at my last comic book convention and seek out more forgotten Starlin issues, where I came across an issue that captures, in my mind, everything Batman is to me: Batman #423: You Should Have Seen Him ….

Told in the words of three different police officers sitting in a diner after their shift, each with their own ‘Batman encounter’ to tell of, the issue bears conceptual and structural similarity to Batman #250: The Batman Nobody Knows! (1973), written by Frank Robbins, in which a group of kids trade wildly imaginative (and inaccurate) campfire stories of their witnessing of Batman (the concept was later adapted to the animated show The New Adventures of Batman to pay tribute to both the Golden Age Batman and the Batman of The Dark Knight Returns, and then again in the animated film Gotham Knight). However, instead of colorful reimaginings, what we get from the resting officers of the law are accounts of three different men in one, of a hero as complex as any one of us, whom we both admire and relate to.

In the first story, a young, poor, black man named Kenny is about to throw himself off of a bridge, gaining the attention of the police and a crowd of onlookers. He explains that as a junkie, he is incapable of recovering his life from the mess it has become. Arriving on the scene is Batman, whose presence only seems to provoke the man further. After some back and forth, Kenny says, “Listen man, I’m poor, I’m black … I got a jones I can’t shake … got no family, no job … no future … ain’t no better life waiting for me.” The junkie then jumps, and Batman leaps after and catches the man in mid-air while suspending both of them from his Bat-rope.

Batman: “That was real stupid, Kenny. You threw your life away! Wasted it! By all rights, you should be dead now! But you’re not! You got another chance. It’s time to start over Kenny, get on a drug rehab program. Clean up your body and your life. Quit looking for excuses to fail! You’ve got as good a shot at life as anyone …”

While we live in the kind of sad society that thinks of dialogue as this as over the top, or conjuring elements of an ‘after school special,’ I can’t think of many moments in comics as awesome as this. Here’s Batman saying to a very troubled, angry, self-hating young man, with very little to live for, to get his life together. It’s not a deep or complex sentiment, nor is it ‘badass’, but it’s to the point and it is, in a sense, what Batman is saying to all of us who’ve been in Kenny’s situation, if even slightly. Who among us is so foolish and arrogant, and, well, darn crazy enough not to listen to Batman when he lays it down like that? The significance of this entire episode is not only its ability to motivate anyone from shaking the excuses they make for themselves, but that during this time in the 80s, drugs were becoming an ever increasing problem in America, as were racial tensions. Whether or not many of the comic’s target audience were even reading it at the time, it is essentially Batman saying to the nation’s youth, ‘Quit making excuses and get your shit together!’

Here, Batman is speaking in a tone which could be considered self-righteous, but the fact that Batman not only stops the man from committing suicide, but stays behind to lecture him, conveys that he’s not simply a hardened vigilante who goes after murderers and robbers, out for vengeance or to maintain some abstract sense of order, but rather, that he genuinely cares about this person. He wants this man, this junkie, to make something of himself, to rectify his mistakes, and very unlike the sullen, stoic Batman of later comics, he speaks his mind to him in broad daylight. Sure, there’s a time for lurking in the shadows, but sometimes, you just need to come out with it.

As a segway into the second story, the cop who’s just been told this tale replies, “the Batman I saw was a totally different person.”

He tells of a Batman not unlike the dark, violent character of Frank Miller’s The Dark Knight Returns, or Christian Bale’s Batman interrogating Detective Flask in Batman Begins (“SWEAR TO ME!”). A young punk threatens to kill an old lady inside a held up convenience store. Batman swears that if the gang member pulls the trigger, he’d inflict endless pain upon him … endless because Batman would not let him die, no matter how he suffered by his hand. The scene ends with Batman hurling the young man through the window.

This Batman is true to familiar form, but I will not discuss it in great depth here, as it has been the aspect of the character most seized upon and popularized by comics and film. I will say that it’s cool when Batman ‘gets all badass’ like he does here, but it doesn’t reach sublime depths of storytelling or characterization on its own. It is, however, a necessary incident within the larger fabric of the comic, for its plain acknowledgement of violence, juxtaposing one extreme of the character with the contradicting gentility of the third and final story.

As the second cop concludes his story with the line, “That Batman is one tough ol’ mother. Mean and cold as ice,” a third cop, Officer Kirby Jackson, approaches the two and states, “No, he’s not.”

Kirby Jackson tells how he cornered two, very young homeless children in an alley, Batman showed up, and the kids threatened Batman and the police officer with a baseball bat. While the police officer was scared for the kids, knowing Batman only as a dark, violent character of the night, Batman says unexpectedly, “Can we talk about this?” The children, coaxed by his understanding and ease with them, tell their story. Their mother had died in a car crash, and their father had lost his job soon after. In an attempt to make ends meet by cheating in a poker match, he was killed, leaving the orphaned brother and sister in the hands of the foster care system. The two siblings, having been told that they would be placed in different homes,  ran away and chose to live on the street, out of a shipping crate underneath an underpass, eating scraps. They couldn’t bear to go on without the only family they had left: each other.

The following moment the cop describes is gut wrenching:

“That’s when I saw it. He turned his face away from the fire, hoping the shadows would hide it, but I saw it anyhow.”

A single tear falls down Batman’s cowled cheek, and Batman promises that Bruce Wayne will find a home in which the children can live together.

This is the moment that makes the comic for me, because it’s not only unusual for the character in terms of what is most often written, it addresses what kind of a man Batman is. In the first story, he is direct and firm, the voice of sanity and divine purpose to a soul that’s lost its way. In the second, we see the anger and the hatred contained within him at a person who would hurt another for personal gain He is the vengeful angel we’ve always known … but in this final story, Batman is simply a man of unbridled compassion and sympathy. He’s a human being.

I remember after reading those first Starlin Batman comics, #414 and #416, I was introduced to such graphic novels as Arkham Asylum, Batman: Year One, and The Dark Knight Returns, by my uncle. The darkness and violence and psychology of those elaborate and by now famous titles captivated me as I moved into adolescence, but years later, as an adult male, they barely scratch the surface of what Batman really means to me. While they delivered the necessary ‘push’ for Batman to remerge into the mainstream as a dark and brooding figure of the night, they also began a trend that, by the time the late ‘90s came around, had turned Batman into a shallow, callous jerk. Another unfortunate result is that from the standpoint of the non-comic reading mainstream, Batman was most defined by the 1960s show, a respectable and historic pop culture product, but still campy, superficial, and comedic. Just about everyone who doesn’t know the legacy of the character well enough, but ‘just kinda’ knows it, thinks that it was Frank Miller who was most responsible for the rehauled and grown up Batman, responsible for Batman being a serious, mature character from the pulps, as opposed to the Adam West incarnation of the 1960s. The truth is, the ‘darker than dark’ Batman of Frank Miller, later co-opted by Tim Burton and popularized through subsequent writers, is to the campy 1960s Batman what a 14-year old’s perception of the world is to an 8-year old’s perception of the world. It’s grown, but not ‘grown-up’.

Actually, as my review of Batman #423, proves, Batman had been grown-up and smart for some time , thanks to writers like Jim Starlin who were carrying on the tradition of Dennis O’Neil, the real deal when it came to the intelligent design of Batman’s evolution (it is debatable what influence Frank Miller had on Starlin, as some of Frank Miller’s work came slightly before or during it, although it is inarguable that #423’s Batman is a much different hero than Frank Miller’s in terms of TDKR or Year One.). Batman was not campy in those early 70s-80s comics and he wasn’t a super-dark sociopath either. Batman, for all his tragedy, was a smart, committed, responsible man who cared for the well being of others, and who used every means at his disposal to help those people he could still save. His life experience had predisposed him to a hatred of criminals, commitment to his objectives, and a slightly rigid, if ontological sense of right and wrong. As abnormal a man as he may be, Batman’s sanity, rarely, if ever, escapes him. Most importantly, Batman had sympathy for the weak, and it was out of this sympathy that he sought to protect and help them.

Based on that acceptence of the character, Batman #423 is my definitive Batman comic … not Year One, not TDKR, or anything which has come after. The reason being that through contradiction and extremes, we find the man caught within, and it not only makes us understand him, but care about him. In the 22 pages of this monthly issue published over 20 years ago, more is covered and established about the character than in most trades or graphic novels, or for that matter, Batman films.

Anyways, that’s ‘My Batman.’ What’s yours?

IMDB: 8.4 / #74 on Top 250
Rotten Tomatoes: 75 / 55 / 93
Production Budget: $40 Million, Worldwide Gross: $109 Million

The Prestige, in my opinion, is one of the most underrated films of our times.

Directed by Christopher Nolan (Memento, Batman Begins, The Dark Knight) and staring Hugh Jackman, Christian Bale, Scarlett Johansson and Michael Caine, it contains all the elements which make a film — a truly great one!

The story revolves around two rival magicians (Bale and Jackman) set in England at the end of the nineteenth century.

With a back and forth narration, the film becomes slightly difficult to follow – but is extremely intense and gripping throughout with a setting and ending which most directors would kill for.
(Nolan gets the timing perfect)

The sets and the lighting are remarkable and take you to that place in time. The music director for the film, Hans Zimmer (Gladiator, Batman Begins) does a brilliant job matching the intensity of the drama being played out on the screen.

The Prestige

Though the narration of the film may seem confusing to a few, it is apt and Nolan – brings his experience from Memento and keeps it engrossing as the events fold out in the film.

The acting is definitely one of the strong points — with everyone playing their parts out to perfection. Hugh Jackman stays true to the showman and celebrated magician image, Bale to the very talented underdog, Scarlett Johansson to the ravishing stage assistant and Michael Caine as the wise old engineer.

Like all good movies, this film is actually made up of many different layers which unfold as the film progresses leaving you lots to think about when it finally gets over. Definitely a movie to watch if you haven’t done so already.

My Recommendation:
Watch it with someone who really appreciates and understands films. Not a film to watch with more than 3 – 4 people at a house party. You will require to pay attention to really enjoy this one. (Watch in a single sitting).
Not really a family film.

My Rating: 5 stars definitely!

During the 1930s, a notorious criminal by the name of John Dillinger stormed the banks and other rich institutions, robbing them at an alarming rate. In Public Enemies, Agent Purvis (Christian Bale) is on a manhunt for Dillinger, and will stop at nothing to apprehend him. Over the course of this time, Dillinger created a popular public persona with the media and society. This idea is crucial to Mann’s thematic element and what he was attempting to investigate.

Michael Mann has always been an extremely reliable director in regards to narrative, visuals, and an even balance between action-based entertainment and character exploration. I’ve never been wary of Mann’s films due to their challenging concepts, as well as their efficient and reliable direction. With Collateral and Miami Vice, I felt Mann could have gone much further with his characters, rather than playing safely from a distance. Both films lacked the necessary substance, but both had a strong aesthetic style to help compensate to some degree. This time around, however, Mann has successfully built a solid foundation, with a fine balance of intellectual substance and aesthetics. Mann hasn’t given up his emotional distance (which is unfortunate), but he has added an extra layer of intellectual intricacy. But I’ll start with the good parts of Public Enemies, and there were many, but one stood out the most.

One of, if not the best, parts about Public Enemies is how it’s shot and what it means to the grand scope of the film. The aesthetics of PE are hyperreal – this is very deliberate on Mann’s behalf. We’re witnessing the birth of a celebrity on screen, John Dillinger. The handheld choice was an interesting one, as Mann wants us to feel part of the growth and birth of a criminal who was turned into a celebrity. Digital gives us something we’re already familiar with and Mann throws us into the Dillinger’s life. At times, it often feels like each action is staged and the characters are playing “dress up”; but that is actually a far more interesting choice. All throughout PE, Dillinger is seen in movie theaters – one can assume, by Dillinger’s expressions, as he watches the events unfold in front of him, that he’s technically viewing himself, while we watch him as well. A mirror within a mirror, essentially. Mann forces us to be part of the building of the mythology of a criminal and goes even further with his fascination of the topic. Now, I will admit that the images aren’t always beautiful in a conventional way, but that isn’t really the point (and I actually thought the night scenes were beautifully shot). All of this seems to have a purpose, which gives the film more subtext and much more depth than most of his previous works.

One might expect stellar, solid acting with the extremely talented cast of Christian Bale, Johnny Depp, and Marion Cotillard, but there were still some problems that needed to be addressed. Christian Bale was definitely the weakest link as far as acting is concerned. His accent didn’t entirely ring true at times, as it felt extremely forced. Occasionally, it was difficult to really buy Bale as a federal agent. It would have helped significantly if we had learned more about Purvis, instead, we’re left in the dark, and the result is a little one-dimensional. Eventually, when Mann attempts to pay off his character, it falls a little flat. Depp, however, plays the part to perfection – this is hardly a surprise, though. Depp plays a character in love with his public persona, and the foundation he set for building his own mythology. Several scenes throughout the film really work very well. Johnny Depp has one or two private moments (one very important one) that are extraordinary. Although the acting is sometimes a bit spotty, Depp compensates for the weaker Bale, who isn’t up to his already high standards. Marion Cotillard, as Billie Frechette, doesn’t really add or take away from the film. But that’s a bit of a problem. Due to the nature of PE, we would expect that the love interest be a little stronger, considering she is the primary motivation behind Dillinger’s actions. Cotillard, unfortunately, is left almost as one-dimensional as Bale’s character. We could clearly see that the foundation was there for her in other scenes, but it needed to be built upon.

However, as I stated earlier, Public Enemies lacks something fundamental within its fabric. That isn’t to say it wasn’t strong, but  this fundamental element was crucial to a film of this ilk. That element is emotional depth. At times, Dillinger and Frechette’s relationship feels flimsy and weak. One could argue that this may have been the point, but then why attempt any sort of emotional ending – like it did – if this were the case? It moves too quickly. More time could have been spent on their relationship, instead, it felt hurried, rather than fluid. Their relationship seems to spark out of nowhere, and burns out before any emotional response can be elicited. Perhaps Mann wanted us to feel the same way; that this relationship was like Dillinger himself, both living fast, but burned out early. But we could have cared more for these two characters if we had spent more time on their romance, sadly this was not the case. This could really have lifted the film even higher.

Public Enemies still falls a little short in the end due to the lack of emotional depth. The intellectual complexity is there, but what makes us care in the end is the emotional. It’s not Mann’s best work (although it is perhaps his most sophisticated), but it’s definitely a step in the right direction. I only wish that Mann would make more of an attempt to build a solid emotional foundation to his films; in recent memory, he has been progressively growing towards a more style based direction, which is fine – but we still need the depth and substance. Mann is clearly one of the best living directors, but I’m still anticipating a film that will trump his crowning achievement: Heat. All in all, a good film that could have been really great.

Nach dem Ende des dritten Weltkriegs wurden zur Erschaffung einer sicheren Zukunft sämtliche Gefühle der Menschen mittels Drogen abgetötet. So entstand ein totalitäres System ohne Kriege, aber auch ohne Emotionen. Zur Bekämpfung derer, die die Einnahme der Droge verweigern und weiter an ihren Gefühlen festhalten, wurde ein übermächtiger Kriegerorden gegründet, der in den Ruinen zerstörter Städte Rebellen aufspürt und zur Strecke bringt. Zu diesen “Grammaton-Kleriker” genannten Kriegern gehört auch John Preston (Christian Bale), dessen bedingungsloser Glaube an das System nicht einmal durch den Verrat seines Partners (Sean Bean) erschüttert wird – bis er eines Tages vergisst, die Droge zu nehmen …

Drei Jahre vor dem erfolgreichen Reboot des “Batman”-Franchise qualifizierte sich “American Psycho” Christian Bale hiermit als Actionheld der Zukunft. Dabei ist “Equilibrium” nicht einmal ein reiner Actioner; Schusswechsel und Martial Arts spielen tatsächlich eher eine untergeordnete Rolle, während die Handung deutlich mehr in den Vordergrund tritt als in dem Genrefilm, an dem sich “Equilibrium” Anfang der 2000er natürlich messen lassen musste, “Matrix” nämlich. Offensichtlich, dass “Equilibrim” es nicht leicht hatte, diesen Vergleich zu bestehen. Erstaunlich, dass der Film sich dabei so gut aus der Affäre zieht.

Die negative Utopie, auch Dystopie genannt, ist beinahe so alt wie die Science Fiction selbst – ein untrügliches Anzeichen für den angeborenen Pessimismus des Menschen. Gleichzeitig lassen sich vor diesem Hintergrund immer noch interessante Geschichten erzählen. “Equilibrium” lehnt sich dabei an Klassiker des Genres wie “Brave New World” oder “Fahrenheit 451″ an – letzterem kommt dabei besondere Bedeutung zu, denn in der über alle Maßen regulierten Zukunft ist jede Art von Kunst und Kultur verboten, weil sie bei Menschen eben Gefühle auslöst. So kommt den Klerikern nicht nur die Aufgabe zu, Rebellen auszulöschen, sondern auch deren Besitz zu vernichten, seien es Musik, Gemälde oder Literatur. Geschickt stellt “Equilibrium” dabei die Bedeutung dieser Dinge für uns heraus, was sich vor allem in der beeindruckendsten Szene des Filmes manifestiert, in der John Preston durch Zufall Beethovens Neunte zu hören bekommt – eine Referenz an Stanley Kubricks “A Clockwork Orange”, vor allem aber eine grandiose Liebeserklärung an die Musik. Die facto eine der berührendsten Filmszenen, die ich je gesehen habe.

Natürlich kann man in eine Handlung wie diese reichlich Gesellschaftskritik hineininterpretieren, gerade im heutigen Piratenzeitalter. Das halte ich aber nicht für die Hautintention des Regisseurs und Drehbuchautors Kurt Wimmer. “Equilibrium” ist vielmehr eine Warnung davor, was geschieht, wenn wir anderen Dingen Priorität über unsere Emotionen einräumen – vor sozialer Kälte also. Letztendlich stellt der Film die Frage, was vom Menschen noch übrig bleibt, wenn er die Fähigkeit zu fühlen verliert. “It’s circular – you exist to continue your existance. What’s the point?“, fragt eine der Rebellen John Preston und ergänzt: “Without love, breathe is just a clock ticking.” Nur zu wahr. Von der Handlung her kann es “Equilibrium” ohne Weiteres mit “Matrix” aufnehmen, selbst wenn das Ende den Bogen dann doch etwas überspannt.

Außerdem wäre da ja noch die Action, die – ich erwähnte es eingangs schon – den Film nicht alleine trägt, aber mehr als ansehnlich ist. Highlight: Nahkampf mit Pistolen; geiler geht’s einfach nicht mehr. Überhaupt ist “Equilibrium” optisch absolut gelungen, sieht deutlich teurer aus als die 20 Mio. $, die tatsächlich als Budget verbucht wurden, allerdings bei weitem nicht wieder eingespielt werden konnten: An den Kinokassen ist “Equilibrium” ebenso dramatisch wie unverdient gefloppt, was ohne Zweifel an der erwähnten Konkurrenz in Form der “Matrix”-Trilogie lag. Schade, denn “Equilibrium” ist ein überzeugender Film und kann es zumindest mit den “Matrix”-Fortsetzungen locker aufnehmen.

Wertung: 8 / 10

(Der Film ist übrigens besser als der Trailer. Wobei mir einfällt: Wenn irgend möglich, nicht synchronisiert anschauen …)

Jag har märkt att jag skriver väldigt mycket om min musiksmak, men nästan ingenting om dom filmer som jag gillar. Så jag börjar med att skriva om en av mina favoritfilmer, som är en film från 1998, Velvet Goldmine.

Det som skildras i filmen är allt mellan upptäckter av nya artister, kärlek, sökande, musikframträdanden, sex, otrohet, drogmissbruk och glitter&glamour. Flera skådespelare som är stora namn idag är med i filmen – Jonathan Rhys-Meyer, Ewan McGregor, Christian Bale och Toni Collette.

Filmen är en skildring av glamrock-eranunder 70-talet, och karaktärerna tycks vara inspirerade av David Bowie, Iggy Pop och Kurt Cobain. Ytterligare kuriosa är att mycket av dialogerna sägs vara taget från Oscar Wilde-citat.

Ik heb afgelopen maandag de film Batman Begins (2005) op tv gezien. In deze film worden de hoofdrollen gespeeld door Christian Bale als Bruce Wayne/Batman, Michael Caine als Alfred, Morgan Freeman als Lucius Fox, Gary Oldman als Jim Gordon, Rutger Hauer als Earle, Cillian Murphy als Dr. Jonathan Crane, Liam Neeson als Henri Ducard, Ken Watanabe als Ra’s Al Ghul, Colin McFarlane als Loeb en Katie Holmes als Rachel Dawes.

De kleine jongen Bruce Wayne zag zijn ouders voor zijn ogen wreed vermoord worden: een trauma dat hem voor de rest van zijn leven vervult met wraakgevoelens. Het lot laat hem zijn wraak echter niet uitvoeren. Hij vlucht naar het Oosten, waar hij opgevangen wordt door de ninja-leider Ra’s Al-Ghul, en als hij terugkeert naar zijn thuisstad Gotham City vindt hij die in de handen van maffiabendes en andere gangsters. Hij besluit een nieuw persoon te worden, één die de harten van misdadigers met vrees vervult: Batman! Met de hulp van politieman Jim Gordon zet Batman zijn eerste stappen in zijn strijd tegen het onrecht. Zijn strijd begint tegen de maffiabaas Don Falcone, de gekke dokter Jonathan ’Scarecrow’ Crane en een mysterieuze derde persoon …
[FilmTotaal.nl]

Ik vind dit een hele goede Batman-film. Juist het fet dat de beslissing die Bruce Wayne neemt om als Batman de misdaad te bestrijden halverwege de film genomen wordt vind ik moedig en is verder heel goed uitgewerkt.

Wat ik ook heel goed vind is dat je ziet dat Bruce Wayne altijd last heeft gehad van het feit dat zijn ouders voor zijn ogen vermoord zijn. Ook wel leuk om te zien dat Bruce Wayne bij een groep Ninja’s terecht gekomen is om zichzelf te stalen en veel te leren.

Verder blijft Gotham City gewoon erg gaaf om in beeld te brengen en dat is ook in deze film heel goed gelukt. De nieuwe batmobiel is natuurlijk supergaaf!!

Al met al een film die gewoon zeer goed en onderhoudend is.

I’m totally going to blog about The Sexiest Man Alive. That is, if I can get my fingers to work this morning. It’s at least 50 degrees in my office and the digits don’t want to work as fast as usual.

Anyway, Johnny Depp. Yummy! Those eyes. I’m really not going to start drooling *gets out the bib just in case*. He really is one sexy mofo. Oh, I know people are attracted to different things, but he has this (I was so about to bust into French but I can’t spell it) air about him. He’s a man who can be either the boy next door or the man your mama always warned you about. He’s just that hot.

So who else makes it on my list of men who are so flexible (in more ways than one I’m sure *eyebrow waggle*) they can play any part? List time!!

1. Edward Norton will always make my list. He isn’t your usual good-looking man. He’s actually kind of unassuming if you think about it. Except when I watched Fight Club, I was instantly drawn to him. (Hello Brad, you were a hottie too, grrowl.) Then, I saw him in Death to Smoochy and fell in love. If you haven’t seen this movie, you don’t know what you’re missing. It’s so absurd, but man…it has EDWARD NORTON in it!! *swoon*

2. Brad Pitt. You didn’t honestly think I could have a list of sexy men and not put Mr. Pitt on it, did you? Pffth. Brad…oh Brad, I’m mad…for you! So we all know he was dead sexy,  yet whiney in Interview with the Vampire. Those fierce, freaky eyes, that long hair…and fangs! Hubba, hubba. He so could’ve bit me anytime he wanted to. Then he had to go and make Troy. I distinctly remember seeing this at the theaters with my mom. You know that part when we see Brad in all his golden, sun-kissed, naked glory? Oh yeah, that’s my favorite part of the whole friggin’ movie! Moving on…(glad I got the bib out)

3. Jake Gyllenhaal. He has such a boyish face with those big blue eyes and that wide smile. I swear, if I were still a teenager, I would so have a shrine dedicated to his cuteness. I first saw him in Bubble Boy…500 dollar! 500 dollar? 500 dollar! Sorry, had to get that out of my system. He was cute and clueless and I wanted to hold him and pet him and call him George. Then, I saw him in Jarhead. I love a man in uniform…buzzcuts, muscles, sand, Nirvana playing in the background. Mm.

4. Christian Bale. I know, I know, he’s got some serious anger management issues and a lot of people don’t like him because of it. Am I ever going to meet this man? No, I seriously doubt it unless he’s given the role of Lucian when my manuscript makes it to the silver screen. Then, it’s on like Donkey Kong. One night I was bored and decided to watch American Psycho. OMG (or to borrow a phrase from fellow FF&P’ers) ZOMG!! Christian Bale running through a hallway in nothing but a pair of tennis shoes, wielding a chainsaw. I was in love! Then, I saw him in The Prestige and I didn’t even look at Hugh Jackman (who is also luscious). He was bad, he was good, he was confusing me! But I wanted him anyway. Evil, naughty man who needs to be spanked.

5. Liev Schreiber. Hm, you’re probably wondering who he is. Most recently, he played Sabretooth in X-Men Origins: Wolverine. I first saw him in Mixed Nuts dressed as a woman. I thought he made a pretty woman and to be honest, I thought he was the best character in the movie. Then I saw him in Scream and I was in instant lust. Okay, he was a bad guy, not a bad guy, still a bad guy, Hell I don’t even remember if he turned out bad in the end or not. It didn’t matter. I thought he was cuuuuute! I wish he’d get more lead roles because I think he’s a delicious actor.

And that’s my list of five sexiest men alive. I feel as though I’ve cheated ya’ll by not providing pictures, but let’s be honest here…If I had looked for pictures of them, I wouldn’t have posted this at all because I’d still be drooling and scrolling through my list.

So who is on your list of sexiest men alive? I really wanted to put Mike Rowe on this list…he’d come in 6th to be sure. I just love that man. He’s so cute and funny and his voice is divine! Okay, back to the questions: Do you agree with my list? Love these men in a different movie? Hate all of them? Give me some opinions here folks!

Nell’annuncio ufficiale, la Mattel giustifica le nuove scelte a proposito della serie Movie Masters di “The Dark Knight” dicendo che sono dettate da vendite particolarmente soddisfacenti. Difficile crederci. Basti pensare che la prima delle action figures uscita in esclusiva sul sito Mattycollector.com cioè Joker versione rapina in banca (Joker as Gotham City thug, foto a sinistra) oggi, a più di un mese dal lancio, è ancora disponibile e non sold out (i personaggi di altre serie, come ad esempio i MOTU Classics di He-Man & company, vanno sold out in pochi giorni, spesso anche in un solo giorno)! Le notizie sono due:

- le prossime action figures saranno vendute a 15 dollari e non a 20 dollari;

- a partire dalla primavera 2010 le action figures, una volta uscite su Mattycollector.com, saranno disponibili anche nei negozi americani della catena Toys “R” Us!

Perciò, Joker versione rapina in banca rimarrà l’unica esclusiva di Matty. Il fatto che le action figures avranno un mercato alternativo al sito Mattycollector.com rende auspicabile e molto possibile un calo dei prezzi e un fiorire delle occasioni su ebay. Le action figures usciranno su Mattycollector con cadenza mensile a partire dal 15 Dicembre. Ecco il calendario (suscettibile di modificazioni):

- 15 Dicembre: Survival Suit Bruce Wayne
- 15 Gennaio: Harvey Dent
- 15 Febbraio: The Joker with Missile Launcher
- 15 Marzo: Scarecrow
- April 15: Batman (Night Vision)
- 17 Maggio: Two-Face

[Fonte ToyNewsInternational]

omg hey guys, so i need your help and figuring out whether or not the actor Christian Bale (batman) is really in a porno video.

this link recently found its way into one of my msn conversations! and i had to share it…

i watched it and couldn’t believe its real, or maybe the dude is a perfect lookalike !

i mean this is to funny! check it out  [waring video contains pornographic material! YOU'VE BEEN WARNED] http://bit.ly/1kAWxM

please comment your thoughts after watching it! im interested to know if its really him.

De acordo com Batman-on-film, em  janeiro a Warner  e o diretor  Christopher Nolan ( Batman Begins e Batman – O Cavaleiro das Trevas), se reunirão para começar a pensar no terceiro filme da franquia encabeçada pelo diretor britânico.

A informação foi publicada, no Brasil,  pelo Omelete que completa:

“O site diz ter recebido a informação de uma fonte confiável, mas sempre é bom desconfiar”.

Leia o especial: Batman

Essa fonte teria dito que a reunião não haverá um imediato anúncio oficial logo após a reunião. Uma das razões seria porque o novo filme de Nolan, A Origem (Inception), chega às telas em julho de 2010. As notícias sobre Batman 3 ainda devem ser escritas com o verbo no condicional até metade do ano.

Leia Mais:

• Um Coringa diferente!
• Espantalho comenta sobre 3° Batman
• Christopher Nolan: Um novo gênio?
• DeVitto comenta Batman
• Christian Bale é eleito o melhor Batman de todos os tempos

Adriana Chaves

There has been a lot of lists running around the web about the best movies from 2000-2009. The sad fact of the matter is that none of the lists have been truly correct. I am a movie aficionado, so making this list will not only be a walk in the park for me, but it will also provide you with the movies that actually were the best from this period. It gives me great honor to present to you the top 30 best movies from 2000-2009…

1. Mar adentro (2004) Director: Alejandro Amenábar
2. Sideways (2004) Director: Alexander Payne
3. Match Point (2005) Director: Woody Allen
4. The Pianist (2002) Director: Roman Polanski
5. There Will Be Blood (2007) Director: Paul Thomas Anderson
6. Le Fabuleux Destin d’Amélie Poulain (2001) Director: Jean-Pierre Jeunet
7. American Psycho (2000) Director: Mary Harron
8. A Beautiful Mind (2001) Director: Ron Howard
9. Master and Commander: The Far Side of the World (2003) Director: Peter Weir
10. Adaptation (2002) Director: Spike Jonze
11. Crouching Tiger, Hidden Dragon (2000) Director: Ang Lee
12. Donnie Darko (2001) Director: Richard Kelly
13. Lost in Translation (2003) Director: Sofia Coppola
14. Juno (2007) Director: Jason Reitman
15. Y Tu Mamá También (2001) Director: Alfonso Cuarón
16. Casino Royale (2006) Director: Martin Campbell
17. The Departed (2006) Director: Martin Scorsese
18. El laberinto del fauno (2006) Director: Guillermo del Toro
19. A History of Violence (2005) Director: David Cronenberg
20. Superbad (2007) Director: Greg Mottola
21. Babel (2006) Director: Alejandro González Iñárritu
22. Dogville (2003) Director: Lars von Trier
23. In Good Company (2004) Director: Paul Weitz
24. Wedding Crashers (2005) Director: David Dobkin
25. Grizzly Man (2005) Director: Werner Herzog
26. The Aviator (2004) Director: Martin Scorsese
27. Old School (2003) Director: Todd Philips
28. The Dark Knight (2008) Director: Christopher Nolan
29. The Curious Case of Benjamin Button (2008) Director: David Fincher
30. Up (2009) Director: Pete Docter, Bob Peterson

THE TRAILERS FOR THE TOP 3 BEST MOVIES OF 2000-2009

NEMICO PUBBLICO

Regia:

Michael Mann

Attori:

Johnny Deep, Christian Bale, Marion Cotillard

Durata:

143 minuti

Produzione:

Universal Pictures (U.S.A.)

Si spengono le luci, lo schermo nero viene riempito con la data, scritta in bianco, dell’anno in cui inizia la storia del nostro film: 1933. Un impatto visivo potente che richiama subito all’attenzione e immerge in una dimensione storica ben precisa: la grande depressione statunitense, funzionale e indispensabile per l’intento biografico che il film si propone; la storia della cattura di John Dillinger. John Dilliger, un rapinatore di banche, un vero gangster! Per lui i mitra Thompson non hanno segreti; nato ad Indianapolis il 22 giugno del 1903 e cresciuto da un padre che lo picchiava non conoscendo nessun altro metodo d’insegnamento. Spirito libero e geniale, affascinante e spietato (non dimentichiamolo), ama il baseball, le macchina veloci, i vestiti eleganti e il whisky, come ci viene riferito dallo stesso protagonista nella scena dove affiora maggiormente il carattere di Dillinger, ovvero nel momento in cui deve conquistare la sua blackbird Billie “rubandola” dal guardaroba. (“Bye Bye Blackbird” è il titolo della canzone che accompagna il ballo dei due la prima volta che s’incontrano).

Mann ricrea magistralmente il clima e l’atmosfera dell’America degli anni trenta. Emblematica la scena subito dopo l’evasione dei membri della gang ideata e orchestrata da Dillinger, nella quale ci viene presentato un classico rifugio per gangster: troviamo all’ingresso un disponibile afroamericano, un magazzino pronto a riceve la scottante consegna, un esperto di armi, ma soprattutto un poliziotto che si preoccupa di rassicurare, dopo la consueta mazzetta, i nostri protagonisti affermando “Chicago è come un ventre di vacca per voi galantuomini” e infine, immancabile, una maitresse, Anna Cumpanas, che invita il gangster a “provare” le ragazze.

Ci si accorge durante la proiezione della presenza nella pellicola di un’accurata e minuziosa ricerca storica effettuata dal regista e dalla sua troupe; è probabile che si sia ricorso anche alla consultazioni di alcuni storici esperti di quell’epoca storica per la ricostruzione dei costumi, degli oggetti ma soprattutto per la metodologia d’esecuzione delle rapine. Impressionante, a tal proposito, la prima rapina: inquadratura a livello dei piedi, suggestiva inquadratura aerea mentre i rapinatori salgono le scale e si dividono in tre direzioni, rapida panoramica a 360^o della lussuosa banca avvolta dal panico, geniale ed emozionante ripresa da sotto mentre il nostro John scavalca il bancone con un salto felino sfoggiando l’immancabile cappotto il tutto sotto il ritmo della trasportante “Ten Milion Slaves di Otis Taylor”. In questa sequenza si presenta il John Dillinger passato alla storia, il rapinatore da un minuto e quaranta secondi esatti, con una metodologia d’esecuzione ben precisa a cui interessano solo i soldi delle banche e non dei cittadini, il gangster Robin Hood poiché bruciava i registri dei debiti e per questo suo modus operandi fu ben visto dall’opinione pubblica. Ovviamente, essendo cinema (e meno male che sia così!), Mann arricchisce tutto il film con un velo d’ironia ed elementi fantasiosi; come non citare la battuta “Buon giorno direttore facciamo un gioco, si chiama gira la manopola!” o anche quella di un complice di John rivolta alla cassiera “Sai quando non rapino banche scopro volti per il cinema” e la bella cassiera bionda risponde “Davvero?!”.

Mann presenta anche una volontà documentaristica, quasi filologica, nel suo lungometraggio, la quale tocca il suo apice nella scena dell’atterraggio a Michigan City nell’Indiana: l’aereo, le macchine, i vestiti e persino la disposizione della folla e dei reporter sono riprodotti in maniera fedelissima in modo che le immagini di repertorio si accavallino armonicamente alle immagini del film creando una vera fusione tra cinema e storia, dandoci l’impressione di un vero e proprio flashback storico e non può che coinvolgerci ancora di più nella narrazione trasportandoci in una dimensione magica a cavallo tra sogno e realtà.

Siamo consapevoli dell’immoralità di fondo di Dillinger ma non possiamo fare a meno di parteggiare per lui, proprio per il suo carisma e la sua genialità, per il suo venir meno alle regole; ci immedesimiamo e vorremo anche noi poter decidere riguardo il nostro futuro cavalcando l’onda della vita senza preoccuparci della possibile caduta dalla tavola. Incantevole la scena dell’evasione, per la sua realizzazione da cardiopalma: all’interno della Ford V8 dello sceriffo possiamo quasi toccare la tensione e anche noi trepidiamo affinché il semaforo sia celere a diventar verde e ci preoccupiamo nel momento in cui il militare sembra che stia per riconoscere il nostro “antieroe”.

Il film non risparmia la crudeltà e il realismo della violenza non è il solito succo di pomodoro che siamo abituati a vedere; l’atrocità della morte ci viene riprodotta realisticamente e senza dolcificante. Pensiamo alla prima scena in cui appare Melvin Purvis dove l’agonia di Baby Face Nelson, colpito al ventre, ci rende impietriti di fronte allo schermo per la sua reale drammaticità. Il film affronta il tema del comando e della responsabilità che esso comporta, Purvis è consapevole della difficoltà della sua missione e si rende conto di non poterla portare a termine con gli uomini che li sono stati assegnati. Per combattere i veri criminali bisogna essere duri e giocare duro, ed ecco che arrivano in soccorso di Purvis i “Texani”, i quali, nella bellissima scena alla stazione, scendono dal treno in un alone di vapore come fossero cavalieri medievali che si preparano ad un attacco in un giorno di nebbia invernale. Analizzando questa scena ci si accorge anche di un altro elemento pregevole nella ricostruzione dell’ambientazione storica: in tutto il film, com’era negli anni trenta in America d’altronde, gli uomini di colore sono ritratti sempre in condizioni di servaggio; si pensi, appunto, al lucidascarpe alla stazione o anche al “maggiordomo” del rifugio.

Il ritmo frizzante e serrato, pieno di ironia e fascinazione, del primo tempo non riesce a resistere per tutto il film che, purtroppo, nel secondo tempo cade in momenti di tedio e ripetitività sfilacciandosi e perdendo attrazione nella struttura narrativa.

Resta esemplare  il rallenty nell’ultima scena al Biograph Theater realizzabile, senza cadere nel grottesco, grazie alla sublime espressività dell’unico e inimitabile Johnny Deep che risponde prontamente all’appello e supera la sua prova a pieni voti.

Mann si affida spesso all’uso della telecamera a mano per il suo intento documentaristico e per illuminare meglio la sfera intima dei personaggi in un approfondimento psicologico che ci viene mediato anche attraverso i numerosi primi piani. Vi sono anche riprese volutamente errate, dove la testa di Johnny Deep viene letteralmente “tagliata”, attuate per rendere la macchina da presa più simile al nostro occhio che tutto non può cogliere, in un intento squisitamente realistico.

Maestoso l’uso del sonoro sia nella riproduzione reale dei suoni che nella loro spazialità acustica. Macchina da presa e apparato Dolby Digital lavorano all’unisono per calarci all’interno dell’azione e c’immergono nel caos delle sparatorie dandoci un vero senso di spaesamento e confusione. Potenza espressiva e coinvolgimento totale sono dunque i punti di forza del film.

Mann dimostra di saper usare tecnologia e tradizione per creare, o meglio evolvere, quel linguaggio d’arte totale quale appunto è il Cinema!

Michelangelo Scialfa

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- por Bernardo Brum

Depois de mais de quarenta anos de carreira, Bob Dylan alçou seu nome, álbuns e canções ao posto de um dos artistas mais importantes e influentes do século vinte. Na música, foi responsável por levar a onda inglesa de música pop adiante e torna-la mais séria, adulta e compromissada, a fim de levar o rock and roll ao posto de mais artística e consciente, influenciando algumas das principais bandas e artistas contemporâneos e posteriores. Liricamente, trouxe as preocupações, linguagem e estilo de gente como T.S. Eliott, Walt Withman, Dylan Thomas e a literatura beat para cantá-las sobre um estilo único, mistura de folk, blues, country e rock and roll.

Muitas vezes criticado abertamente pela crítica, o público e até mesmo por companheiros de profissão por deixar de fazer o que já era consagrado para arriscar-se em novos universos, Dylan não olhou para trás e fez sua fama como cantor engajado, como poeta marginalizado pelos seus, como excêntrico e até mesmo como pregador religioso. Recusou todos os rótulos impostos a ele e construiu uma carreira complexa e ambígua como o artista sensível e pessoa difícil que sempre aparentou ser aos olhos do público – seja por suas músicas e letras, seja por sua vida pessoal atribulada. O homem por trás do mito sempre provou ser alguém tão cheio de ambivalências e longe do alcance de maniqueísmos, assim como a sua música.

Todd Haynes, realizador de um dos mais cultuados filmes alternativos da década de noventa, Velvet Goldmine, no qual abordava a história do movimento glam rock, realizou com rara maestria este filme sobre o homem que é uma das figuras mais conhecidas e ao mesmo tempo mais misteriosas da música popular mundial. Desde o início, parece ter uma proposta muito difícil: a de retratar um homem que tanto mudou com o passar dos anos. E para tal, Haynes teve uma sacada exótica que se revelou extremamente funcional: a de dividir a história em seis segmentos, e em cada um deles, um ator diferente interpreta Bob Dylan.

Marcus Carl Franklin é “Woody Guthrie”, o Bob Dylan impostor e viajante, que cruzava o país de vagão em vagão antes da fama tocando violão para trabalhadores interioranos dos Estados Unidos, escondendo sua identidade verdadeira e atravessando o país em busca de conhecer seu ídolo, o verdadeiro Guthrie (um dos compositores de música folk mais influentes do século vinte). Ben Wishaw é Arthur Rimbaud, o Dylan poeta e anônimo que serve de ponte entre todas as facetas, que é anti-social, não quer ser reconhecido de jeito algum e passa todo o seu segmento dando uma entrevista sobre sua vida, demonstrando suas inquietações e parecendo ser uma espécie de “cérebro” para todas as outras encarnações Dylanescas.

Christian Bale é Jack Rollins, antigo cantor de folk que após anos de excesso converteu-se ao protestantismo. Richard Gere é Billy The Kid, o Dylan fora-da-lei (uma referência direto a uma das incursões de Bob no cinema – Pat Garrett & Billy The Kid, de Sam Peckinpah) que foge de todos. Heath Ledger é Robbie, ator despontando em início de carreira após interpretar em um filme o personagem de Christian Bale, que vive um tempestuoso relacionamento com sua namorada . E por último, mas não menos importante, a mais falada de todas as interpretações: Cate Blanchett, como Jude Quinn, o cantor que trocou a música folk politicamente engajada pelo blues-rock poeticamente desajustado. Um fantasma em vida, que vive de lançar sua sombra sobre o mundo da cultura de massa e assombrando os mais próximos pela seu desajuste social, sua dependência em drogas, sua alucinada vida de músico de estrada sem vida própria e sentindo que todos à volta estão o espremendo até não sobrar suco nenhum.

O mais surpreendente é que Não Estou Lá, é perfeitamente inteligível, e o melhor de tudo, sem nunca deixar de ser complexo – o tipo de filme para ser sentido – por mais caos que exista, o diálogo com o espectador sempre existe. Com a premissa de aproximar o mundo do universo de Bob Dylan, Todd Haynes nunca peca por falta de ousadia; o filme mergulha corajoso no objetivo de desvendar a lenda que se construiu em torno de uma só pessoa.

Pouco a pouco vamos entrando em sintonia com a história de um homem que, de início um completo desconhecido, foi catapultado em largos saltos para uma fama opressiva que progressivamente foi minando-o de relacionamentos, de contato físico, de uma vida saudável, de qualquer oportunidade de lazer, sendo sufocado cada vez mais por crítica e público que exigiam que cada assobiada que desse fosse genial e ao mesmo tempo não queria que ele evoluísse como artista, até que um dia não agüentou mais, refugiou-se de tudo e de todos e renasceu como alguém mais espiritual e que vê o tempo passar e as pessoas agirem de outra forma, em um período que pode ser reconhecido como o início dos anos sessenta até o fim dos setenta, construindo a cruzada solitária e excêntrica de um homem em busca de transcendência não econômica ou popular, mas, acima de tudo, pessoal. Uma estrada dura e realista de decadência e glória muitas vezes misturadas uma com a outra que deu ao mundo da música não o que ele queria, mas o que ele precisava ouvir.

A habilidade técnica de Haynes se sobressai especialmente no segmento interpretado por Cate Blanchett, em que pipocam referências em matéria de enquadramento, fotografia, história e concepção ao clássico Oito e Meio de Fellini, onde um diretor sufocado pela fama não consegue encontrar vazão suficiente às suas angústias interiores, mas quer de qualquer jeito fazer um filme que consiga fazer com que as pessoas revejam seus conceitos de vida através de sua arte – o mesmo dilema vivido pelo músico à época. Cate, soberba, oferece uma das melhores interpretações dos últimos tempos como um Dylan atordoado irônico, perdido e consumido por show business, álcool, anfetaminas e poesia.  Christian Bale também segura muitas bem as pontas, com o seu segmento narrado em forma de documentário que trata sobre as mudanças de vida do artista que interpreta. A aparência já desgastada e velha, a voz amargurada e já meio rouca, e o jeito de andar já meio desajeitado e de sobrevivente de dias frenéticos convencem muito bem.

Não só nesse segmento, o talento do realizador empolga por coordenar seu filme tão bem, e pode-se dizer que ele nunca foi tão feliz quanto aí, em que seu cinema pulsa como a vida do músico que o retrata – a fúria suicida de Ballad of a Thin Man, a solidão de One More Cup of Coffee, o idealismo político dos áureos tempos, a inocência dos primeiros dias, as experiências de quase morte que sempre fizeram de Dylan uma espécie de Jó roqueiro… O final é a própria anti-catarse cinematográfica. Sem clímax, seco e direto, sem orgasmo. Apenas a sinceridade e contemplação que parecem as mais apropriadas do mundo à uma obra que nem essa.

Enfim, literalmente um dos melhores filmes dos últimos anos,  fugindo da direção convencional e um tanto covarde de outras cinebiografias como Johnny e June e Ray e convergindo tudo em um necessário cinema autoral. Assim como Dylan, Todd Haynes sabe que a rollin’ stone gathers no moss, ou em bom português, uma pedra que rola não cria limo, e criou esta pérola que, por sua ousadia, dificilmente irá tornar-se datada ou rapidamente esquecida. Não Estou Lá cutuca, questiona e nos joga no inferno pessoal de um indivíduo o tempo inteiro, sem concessões.

Crítica escrita ao som da obra-prima de Bob, o disco Highway 61 Revisited. Essencial para qualquer um que queira se inteirar, filme e música, Todd Haynes e Bob Dylan.

“Eu aceito o caos. Só não sei se ele me aceita”.

5/5

Ficha técnica: Não Estou Lá (I’m Not There) – 2007, EUA. Dir.: Todd Haynes. Elenco: Ben Wishaw, Christian Bale, Cate Blanchett, Richard Gere, Charlotte Gainsbourg, Heath Ledger, Marcus Carl Franklin, Kris Kristofferson, Julianne Moore.