Wrote this about a month or so ago. Posting it now to prevent another blog drought.

Exciting and entertaining, The Paper not only gives viewers a peek of the goings on behind the production of a newspaper, but also takes us on a roller-coaster ride as Henry Hackett (Michael Keaton) races against time to ensure his story makes the headlines.

Henry Hackett, a passionate editor at the New York Sun, is forced to consider another job at a more established newspaper in order to spend more time with his pregnant wife, Martha (Marisa Tomei). However, when the chance of getting a big story for his paper arises, Henry blows his chances at the new job and stops at nothing to put the story on the front page.

This is a fast paced film with all events happening within a day. Tension is nicely built up with the help of some clever editing from sequence to sequence. The buzz and excitement of the newsroom is also well portrayed and Ron Howard successfully draws the audience into the frenzy of it all.

As the film progresses, its plot gets increasingly far fetched and exaggerated. However, the strength of this film lies in its good character development supported by a strong cast and witty dialogue. Michael Keaton and Glenn Close lead wonderfully, both portraying strong characters determined to get what they want and at the same time providing some comedic moments. Also as praiseworthy is Randy Quaid. His portrayal of the quirky McDougal was a truly stellar performance and what started off as a character that seemed to just provide comic relief ended up playing a significant role is driving the plot.

The main underlying theme of The Paper is how people struggle as they juggle between their careers and families. This is something many people go through today and can relate to. Many would be able to sympathise with Henry who finds himself torn between his quest for the ideal story for his newspaper and his pregnant wife or with Bernie (Robert Duvall) whose relationship with his daughter suffers as a result of a hectic job.

Funny and engaging, The Paper is an enjoyable film, which will keep viewers glued to their screens.

relevante Themen:

"What's the plot doing way over there?"

(Paramount) Tom Hanks, Ewan McGregor, Ayelet Zurer, Stellan Skarsgaard, Armin Mueller-Stahl, Pierfrancesco Favino, Nikolaj Lie Kaas, Thure Lindhardt, David Pasquesi, Victor Alfieri, Elya Basin, Rance Howard . Directed by Ron Howard.

Any institution that is around long enough is bound to acquire opponents, if not enemies. For the Roman Catholic Church, the oldest institution on the planet, those opponents are many. But, as they say, it only takes one.

The Church is mourning the sudden and unexpected death of the pope, considered a progressive and fair-minded pontiff, beloved by his flock. As the College of Cardinals gathers to elect a new leader for their church, two very disturbing events occur. The first is the theft of a small but significant amount of anti-matter, a substance manufactured in an experiment partially funded by the Church. The second is the kidnapping of four respected cardinals, all of them considered favorites for the papal election, or as they are known more commonly in the Vatican as the preferati.

The powers of the pope are invested in Patrick McKenna (McGregor), the assistant to the previous pope (or Camerlengo as the position is titled), and he is given further reason for misgiving when he receives a cryptic but menacing note, as well as a live cam feed that indicates that the missing anti-matter is somewhere in the Vatican.

To help in the investigation, Inspector Olivetti (Favino) of the Vatican Police Force recruits an unlikely ally – Robert Langdon (Hanks), the Harvard professor of symbology whose investigations in The DaVinci Code brought down the Opus Dei group and caused much embarrassment for the Church. He arrives in the Vatican along with scientist Vittoria Vetra (Zurer) who was working on the anti-matter project and whose father was gruesomely murdered during the theft. She reports that the battery-charged electronic cannister holding the anti-matter would eventually fail when the battery died; when it did, a sizable chunk of Rome would be vaporized.

Langdon determines that the note was written by the Illuminati, an ancient society of scientifically-inclined Catholics who underwent extreme persecution in the days of Galileo. Deciphering the note, he figures out that the plan is to execute the four cardinals, once every hour in four locations sacred to the Illuminati (each having to do with one of the four elements). Langdon must follow a variety of clues to discover where each cardinal is going to meet a grisly end and arrive there before said cardinals get an early opportunity to see God live and in Person.

He is opposed by Commander Richter (Skarsgaard), the head of the Swiss Guard who are kind of the secret service of the Vatican. To let you know how he feels about the situation, he growls in a voice dripping with disdain “What a relief, the symbologist is here” when Langdon arrives at the Vatican. Also conservative Cardinal Strauss (Mueller-Stahl) is suspicious of the openly non-religious Langdon.

This is a very slick-looking thriller that utilizes its Roman locations effectively (although the Vatican locations were all recreated on a set – as you might imagine, the Church refused to allow the filmmakers permission to film there). Howard is one of the best directors working today, and his skills are one of the movie’s outstanding features. The pacing is brisk and doesn’t give you time to think about all the implausibility in the script.

The script is one of the major downfalls of the film. Writers Akiva Goldsmith and David Koepp – both of whom have delivered some really well-written scripts in the past – aren’t entirely to blame for this. Dan Brown, author of the novel, is a talented writer of page turners, but sacrifices a lot of common sense for the sake of a good plot turn. Are you telling me that the combined minds of the Swiss Guard and the Vatican Police Force, who guard some of the most important people and treasures in the world, were unable to turn the note upside down to figure out that it was sent by the Illuminati?

The script is also rather talky. Hanks spends a lot of time cogitating and then delivering a pronouncement like an explanation point “Why didn’t I think of it before? The Church of San Whoever, patron saint of Earth Wind and Fire!” It’s not that Hanks does a bad job – he’s quite believable inasmuch as he can be as an academic who isn’t fazed by being shot at and have any number of murder attempts made on him. In some ways he’s more of an action hero than scholar, but Hanks makes sure the scholarly side is well-represented.

The international cast (with actors from Israel, Scotland, Germany, Sweden, Italy, China, Russia, Denmark, Austria and elsewhere) are solid. McGregor just about steals the movie as the pious Camerlengo. I like him as an actor more and more in every role I see him as. Zurer is likewise solid in a role that literally has no reason to be there – she’s eye candy, nothing more but she at least makes a credible attempt at being at least physicist-like. Skarsgaard and Mueller-Stahl, veteran character actors both, lend gravitas to their roles.

I’ve really spent a lot of time dwelling on the movie’s faults, and that’s a bit unfair. Granted, they are glaring imperfections, but quite frankly this is a solid summer thriller with plenty of mindless entertainment. The trouble is it kind of bills itself as a smart thriller which is a bit of a disservice. This is the kind of movie that if you think too much about it you’re not going to like it as much. Instead, just sit back and enjoy the ride. It’s a pretty good one.

WHY RENT THIS: A nonstop thrill ride that doesn’t pause long enough for you to catch your breath. McGregor is becoming a much more watchable actor than he was in the Star Wars prequels. Breathtaking sets, special effects (particularly one sequence in St. Peter’s Square) and use of Roman locations make this extremely watchable.

WHY RENT SOMETHING ELSE: The script is full of holes and lapses in logic that detract from the action. While it bills itself as an intellectual thriller, it works better as mindless entertainment. Some egregious factual errors, particularly as to historical context and Catholic  

FAMILY VALUES: Some rather spectacular and gruesome murders occur, some of which may be too intense for children.

TRIVIAL PURSUITS: While filming in Rome, the crew and equipment were blocking the passage of a bridal party on the way to a church for their wedding. Upon hearing about the situation, Tom Hanks personally escorted the party through the filming area and prevailed upon crew to move equipment so that the party might pass. The grateful family of the bride invited Hanks and director Howard to stay for the reception but their busy filming schedule prevented it.

NOTABLE DVD EXTRAS: The Blu-Ray edition contains a feature on CERN, home of the large hadron collider and the world’s largest particle physics factory. The crew were permitted to film on the premesis (although not in sensitive areas) and the achievements of CERN are discussed in some detail.

FINAL RATING: 6/10

TOMORROW: The Soloist

Mia Wasikowska and Michael Fassbender are currently in negotiations to star in “Sin nombre” Cary Fukunaga’s (Sin nombre) adaptation of Charlotte Bronte’s classic novel, Jane Eyre.

The film is to be a period piece but will play up the gothic elements of the story about Jane (Wasikowska), a demure governess who discovers her surly employer Rochester (Fassbender) is harboring a dark secret.

Wasikowska will next be seen as Alice alongside Johnny Depp in Tim Burton’s Alice in Wonderland, which Disney is releasing next year. The actress is also going to be in Gus Van Sant’s untitled project for producers Bryce Dallas Howard and Imagine’s Ron Howard and Brian Grazer.

I don’t think I have actually seen her in anything yet so not sure how good an actress she is. Ellen Page (Juno, Inception) was originally down to play Jane, but has since left the project.

Fassbender previously appeared in Steve McQueen’s Hunger, Quentin Tarantino’s Inglourious Basterds and Andrea Arnold’s Fish Tank.

He will next be seen in Neil Marshall’s Roman action film Centurion and Warner Bros. comic book western Jonah Hex opposite Josh Brolin and Megan Fox.

Fassbender is a totally solid actor. He was spot on as Basterd and just seems to be going from strength to strength which each new film. I have no doubt he will make a splendid Rochester.

I am just really curious to see what Fukunaga will do with this classic tale. Shooting is due to start next year.

This case study features Clint Eastwood, Ron Howard and Ed Zwick as they discuss the marriage between ideas and emotion in their films. 

This clip also highlights the importance of having a well rounded script and how a script  moves the filmmaking process forward.

Be Inspired

Post by Celso William Palma

Estou aqui, para não perder o costume, agora com 2 dicas de filmes para a semana ou para esse sábado de “folga”.

Indicação 05 – Transformes – A vingança dos derrotados.

Gênero: Ação, Aventura e Ficção Científica
Duração: 148 min.
Origem: Estados Unidos
Estréia 23 de Junho de 2009
Direção: Michael Bay
Roteiro: Ehren Kruger e Roberto Orci
Produção: Paramount Pictures
Censura: 12 anos
Ano: 2009

Gênero: Ação, Aventura e Ficção Científica
Direção: Michael Bay
Roteiro: Ehren Kruger e Roberto Orci
Produção: Paramount Pictures

Indicado para quem gosta de efeitos especiais misturado com ação e aventura. (Eu por ex. rs)

Filme orçado em US$ 200 milhões (R$ 340 milhões).

Trailler

——————–

Indicação 06 – Anjos e Demônios

Gênero: Policial
Estúdio/Distrib.: Sony Pictures
Direção: Ron Howard
Ator Principal: Tom Hanks

Apesar do incomodo da Igreja sobre filmes deste tipo, não me influencia a maneira que é tratada a estória e o que ela mostra. “Sucessor” de “Código Da Vinci”, também tem o bom “suspense” que nos leva a querer descobrir a todo momento o final do filme.

Trailler

—————–

Boa semana a todos.

COMENTEM!!!

Att vara filmuppföljare till en bitvis ifrågasatt filmatisering av en från början kontroversiell roman är naturligtvis inte lätt.

Bara att ta beslutet att än en gång visualisera den gode professorn Robert Langdons äventyr bland gamla symboler och ljusskygga, hemliga, sällskap är en utmaning.
Trots långt ifrån översvallande reaktioner på det första äventyret, Da Vinci-koden, levererar regissören Ron Howard än en gång lite spekulativ konspirationsteori inlindat i fart, färger och gammal hederlig mysterielösning.

Änglar & Demoner får här fungera som en uppföljare till det första äventyret (i romanvärlden är det ju dock tvärtom). Vatikanen behöver Langdons hjälp när fyra av de främsta favorittippade kardinalerna att ta över den nyss avlidne populäre påvens lustiga mössa blir kidnappade. Dessutom tickar en gömd bomb, innehållandes det högst obskyra och livsfarliga ämnet antimateria, oundvikligen ned mot sprängningsögonblicket.

Jag är övertygad om att de flesta av er redan känner till grundstoryn, och frågan är väl bara egentligen om regissör Howard den här gången lyckats fullt ut med överföringen till filmens värld. Själv köper jag de två timmarna utan några djupare betänkligheter.
Givetvis måste man vara fullt medveten om att några smärre justeringar alltid behövs i originalmanuset för att passa in storyn på ett smidigt sätt. På sättet det görs här, lite snyggt ansträngt och överdrivet och utan några större avvikelser i sömmarna, fungerar det helt ok.
Den här storyn, liksom boken, är ju lite fartigare, lite rivigare.

Tom Hanks som programenligt återvänder som Langdon får den här gången finna sig i att flänga runt i ett upplyst Rom i släptåg med sin nya sidekick, den vackra Vittoria Vetra (Ayelet Zurer).
Och visst är det tillrättalagt, inte speciellt överraskande och ganska tillverkat enligt formulär 1A.
Men vad tusan gör väl det?
Egentligen.
Som tittare vet man precis vad man får och i vilken ordning, det måste ändå anses som två välinvesterade timmar om du är ute efter lite tillbakalutad popcorns-mysterielösar-actionfartig-historia. Vi pratar inget större djup här, utan bara lite simpel lördagsunderhållning till chipsen.

Och att blanda in gamla myter, symboler och hemliga sällskap är alltid gångbart och nöjsamt.
Inte minst i en miljö som Vatikanen med sin digra och ofta inte helt rumsrena bakgrund. På skådespelarfronten inget direkt nytt att rapportera. Tom Hanks cashar in sin lönecheck utan att glänsa. Lite träig, lite besserwisseraktig. Det handlar ju trots allt om en professor till yrket (även om man då och då kan få för sig att det är en modern Indiana Jones man glor på.)
Ayelet Zurer som Vittoria är den som får fungera som bollplank till Hanks när han går runt och tänker högt. Om denna Zurer vet jag intet, och hon gör heller ingen insats utöver det vanliga som kvinnliga sidekicks-hjältinnor ska göra; se snygga ut och leda vår hjälte i rätt riktning.

I övrigt figurerar Ewan McGregor, den pålitlige Armin Mueller-Stahl och självaste Stellan Skarsgård förbi i habila och nödvändiga roller.
Speciellt Skarsgård får stå för den obligatoriska tjurigheten och pessimismen. Rätt roande faktiskt. Alla, både de som läst boken eller ej, vet säkerligen vid det här laget att Langdon alltid klarar skivan, vad han än ger sig in på. När finalen väl sprätter in i den krattade manegen vet vi ju redan hur allt kommer att sluta.
Den högst förväntade vägen dit är dock fylld med, om inte överraskningar, så i alla fall snygga bilder över Rom i kvällningen och snärtiga actionscener blandat med lite upptempo vid väl valda delar i filmen.

Måhända är det orealistiskt och överdrivet.
Men det är förbaskat underhållande på vägen.

Frost/Nixon – Il duello è un film del 2008 diretto da Ron Haward ed è un adattamento cinematografico al dramma teatrale scritto da Peter Morgan che ha anche curato la sceneggiatura del film

Leggi altre notizie su: | Drammatico | Ron Howard | Frank Langella | Michael Sheen |

The Da Vinci Code

Director: Ron Howard

Guión: Akiva Goldsman, basado en la novela de Dan Brown.

Intérpretes: Tom Hanks, Audrey Tautou, Ian McKellen, Jean Reno, Paul Bettany, Alfred Molina, Jürgen Prochnow.

Música: Hans Zimmer.

Fotografía: Salvatore Totino

Montaje: Daniel P. Hanley y Mike Hill

EEUU. 2006. 140 minutos.

El fenómeno Dan Brown

        Si alguien se espera que yo contribuya, ni que sea un ápice, a controversias o disquisiciones con apariencia de elevadas sobre el tenor, responsabilidad o rigor histórico de las (presuntas) teorías de la obra de Dan Brown o del filme que lo adapta, se equivoca de medio a medio. Baste decir que si necesito referentes para entender la Fe o el sentido de la vida para el bien de mi salud mental (y espiritual) no se me ocurrirá buscarlos en un descarado producto de consumo como el que tengo entre manos, un auténtico fenómeno mercantil de pornográficos réditos al respecto del cual sólo debo decir que me entristece de igual modo que muchos otros booms mediáticos impuestos en esta senda hacia la uniformidad a la que en materia de consumo nos vemos cada vez más y más abocados en estos tiempos de globalización, coda de la que (¡ay!) parece que no va a librarse la cultura (aún a riesgo de que, por culpa de esa uniformidad, además basada en productos efectistas de fácil consumo, vaya vaciándose de contenido).

        Vendavales narrativos

        Así que no estoy yo por la labor de demonizar en lo apologético la tarea de Brown (ni siquiera en el apartado literario, pues no me he dignado a leer su obra) ni por ensalzarlo en base a supuestas dudas de Fe que me casen con la velada modernidad de sus pseudo-teorías. Acotada mi indiferencia al respecto, me centraré en la película de Ron Howard que lo adapta, en relación a la cual lo primero que debo decir es que probablemente se trate de una adaptación muy literal, por cuanto The DaVinci code narra de forma estrepitosa todos los acontecimientos que se van concatenando y que van abriendo o cerrando puertas (a menudo de la forma más tramposa) en la investigación que se pone en la picota argumental. En el filme no hay tiempo para la presentación de los personajes –y de eso se resiente mucho-, no hay oxígeno entre el peloteo constante de informaciones que se van cruzando entre Langdom y su acompañante, no hay calma entre las incesantes secuencias de acción o de confesiones trascendentes, no hay tregua para el espectador. Ron Howard, que es un buen artesano, sabe que se trata de –y sólo de- concatenar un torbellino de imágenes, y arrastrar al espectador en su vendaval narrativo, no ya para que no piense –y no se dé cuenta de los muchos goles que pretenden colarle contraviniendo las más elementales normas de la congruencia narrativa- sino porque, como he dicho antes, se trata de crear un producto main stream, de consumo fácil. Y no negaré que en esos códigos Howard de buenas muestras de su artesanía, estilizando las imágenes, sirviéndose de una partitura y una fotografía de lo más efectista (y resultona), valiéndose de unos magníficos efectos especiales para conseguir secuencias espectaculares, y efectuando esa especie de turismo cinematográfico de baja estofa al estilo de cualquier película de James Bond, por mucho que en el itinerario de Brown-Howard por Paris y Londres abunden mucho más los castillos y las iglesias que en un filme-tipo del agente 007.

        International Treasure

        Ya digo que Howard es un buen realizador, y logra hacer digerible el metraje del filme. Sin embargo, cuando nos damos cuenta de que en el fondo esta The DaVinci code no deja de ser una enésima película de tesoros, uno cae en la cuenta sobre una película muy reciente, pero anterior a ésta, llamada La búsqueda (National Treasure), donde en lugar de Hanks era Cage quien perseguía un secreto bigger than life, y en lugar de los cimientos cristianos eran los masónicos los que se ponían en liza. Aunque aquella película era menos sofisticada que la que nos ocupa, creo sinceramente que era mucho más entretenida que la presente, por cuanto, al menos, tenía la deferencia de no tomarse tan en serio a sí misma.

http://www.imdb.com/title/tt0382625/

 http://www.rollingstone.com/reviews/movie/6658038/review/10345385/the_da_vinci_code

http://www.rottentomatoes.com/m/da_vinci_code/

http://movies.nytimes.com/2006/05/18/movies/18code.html

Todas las imágenes pertenecen a sus autores 

Arrested Development

IFC, is one of my favorite TV stations. There’s always great independent movies to watch .   Now, on Sunday and Tuesday nights, IFC is airing Arrested Development (one of my favorite TV shows ever).  Arrested Development originally aired from 2003-2006. I actually own the first season on DVD, and I watch the episodes over and over.

“Arrested Development is one of the smartest and funniest shows of the last decade with a hilarious presentation of absurd family dysfunction,” said Jennifer Caserta, executive VP/General Manager of IFC. “It’s a perfect fit for IFC, which viewers recognize as an authority on what’s new, next and relevant in television, film, music, gaming and online, and, more recently, comedy.” *

Apparently, a feature script is in the works! Yay! But until then,  you can watch the 53 TV episodes on IFC or Hulu.

Here’s the link to the Arrested Development Pilot on Hulu.

*broadcastingcable.com

]]> http://brianvanreet.com/2009/10/30/the-2009-austin-film-festival-in-brief/ Fri, 30 Oct 2009 22:30:33 +0000 Brian Van Reet http://brianvanreet.com/2009/10/30/the-2009-austin-film-festival-in-brief/

I saw Up in the Air, Precious, The Falcon and the Snowman, The Messenger, and Tenure (in order of goodness).

Recommend Up in the Air without reservation, and everything but Tenure was pretty interesting.

My favorite event was a moderated panel: “The Art of Storytelling with Ron Howard, Steven Zallian, and Mitchell Hurwitz.” All three shared anecdotes from their careers and gave solid advice about the importance of hard work & persistence. Lots of laughs courtesy of Hurwitz and Susan Black, the moderator. When the Q&A was opened to the audience, an awkward and starstruck woman asked Ron Howard a rambling, self-revealing question about “Happy Days.” We all looked at our shoes, getting the feeling anything could happen – a proposition, nudity – anything short of violence. Thankfully the woman sat down after a few minutes. Howard handled it like the pro he is. Hurwitz mocked her and we laughed, which might seem mean, but when you stand up and speak in a crowded theater, it’s open season.

Notable misses were The Road (heard it was good), An Education (ditto), and the world premier of Herpes Boy was held in a small theater. We arrived too late to get in.

Good news for the home team: Benjamin Healy won the award for best sitcom with “The Office: It’s Not Easy Being Green.” Sarah Cornwell (another Michener Fellow) made it to the semi-finals with “Friday Night Lights: Just a Game.”

Next year I am resolved to attend more panels and to submit a script. I wouldn’t be able to afford a conference badge if UT didn’t give me one, but it’s worth it if you enjoy film and have a free weekend next October. Hasta entonces.

* Una mente maravillosa [DVD]. Madrid : Paramount Home Entertainment, D.L. 2006. Director: Ron Howard. Intérpretes: Russell Crowe, Ed Harris, Jennifer Connelly.

Basada en la obra Una mente prodigiosa de Sylvia Nasar, la película narra la vida del genio matemático John Nash. Atractivo y excéntrico, Nash hizo un descubrimiento asombroso al comienzo de su carrera y se hizo famoso en todo el mundo. Pero su fulgurante ascenso a la élite intelectual sufrió un drástico cambio de rumbo cuando su brillante mente se ve atacada por la esquizofrenia. Enfrentándose a un reto que habría destruido a cualquier otro, Nash luchó por recuperarse con la ayuda de su entregada esposa Alicia. Tras varias décadas de penalidades logró superar su tragedia y recibió el premio Nobel de Economía en 1994.

- Crítica desde el punto de vista matemático (Matemáticas en tu mundo)

- Sinopsis y críticas en FilmAffinity

- Sinopsis y críticas en La Butaca

- Escena 1, Escena 2, Escena 3, Escena 4

- Página web oficial de la película

Review by Alex DeMattia www.allaboutmovies.net

Directed by Ron Howard – Starring Tom Hanks, Ewan McGregor, Ayelet Zurer, Stellan Skarsgard, Armin Mueller-Stahl

Rating 6.5/10 – Click here to see this review on All About Movies.net

FILM REVIEW: The DaVinci Code was perhaps one the biggest disappointments in a Hollywood blockbuster that has come out in recent years after all the hype and excitement generated by the Dan Brown novel of the same name. Coming in to “Angels & Demons”, one would be forgiven for being sceptical about the quality. Although director Ron Howard and company have actually created a cinematic experience this time, perhaps because the book upon which it is based had a more filmic quality to it, “Angels & Demons” does still come up short in some areas, largely in the climax which degenerates in to complete silliness and implausibility. On the plus side, the first half is quite thrilling as Tom Hanks’ Robert Langdon character is racing against time to prevent four cardinals, and the Vatican itself, from death and destruction.

The Vatican faces a crisis when the top four cardinals to replace the recently deceased Pope are kidnapped by members of the Illuminati, a secret society dedicated to scientific truth, and a mortal enemy of the Church. The Church is told that each cardinal will be killed one per hour starting at 8pm, culminating with an anti-matter bomb exploding under St Peter’s Cathedral at midnight, wiping out the Vatican forever. To face down this nasty threat, the Church calls upon the services of symbologist Robert Langdon (Tom Hanks) who has expertise and knowledge of the Illuminati. He is put to work straight away, racing against time to find the kidnapped cardinals by deciphering clues, symbols and other historical tidbits. As he digs deeper however, all is not as it seems, with the threat coming back in to the Vatican itself, leading to a few surprises and grisly endings for those involved.

The filmmakers have very clearly made an attempt to address the problems inherent in The DaVinci Code. This time, rather than having characters talk through endless exposition and explanations of things without any cohesive narrative, everything is done with a sense of critical urgency. Langdon explains his history on the move this time, with the clock always ticking. The film does not drift in to exposition for too long as the plot pertaining to the missing cardinals keeps jumping back in to remind everyone that we have a crisis. There is even a sequence or two of genuine cinematic thrills, with the prime example being when Langdon and a Swiss Guard officer find themselves locked in the Vatican Vault with the oxygen running out. The film does well to engage interest through its explanations of history and the inner workings of the Vatican (whether accurate or not).

With a strong plot line, the characters have something to be emotionally invested in, and all do very well, starting with Tom Hanks who does not seem to be bored this time, Ewan McGregor as a seemingly well intentioned but dangerously misguided priest, and Ayelet Zurer as Vittoria who apart from lending her beauty to the screen also holds her own against Hanks. Stellan Skarsgard is also quite good as the head of the Swiss guard Commander Richter. Nikolaj Lie Kaas is quite chilling and professional as the assassin, particularly with his quite efficient and gruesome killing techniques. And serving as a supporting anchor of sorts is the always good Armin Mueller-Stahl who plays an old-school, but empathetic cardinal in charge of the Conclave, the time when the new Pope is to be selected.

The film does fall off the rails around three quarters of the way through its running time. When Langdon and company find the bomb, Carmelengo Patrick McKenna (Ewan McGregor) makes a seemingly sacrificial attempt to destroy the bomb by flying up high in to the sky in a helicopter, but then magically falls back to Earth in a parachute just in time to see the anti-matter bomb explode in a blaze of glory in the upper atmosphere. Aside from the fact that we have to accept as a given that this priest can fly a helicopter, he also manages to survive the extremely bumpy parachute jump, even after he had been branded painfully on the chest with an Illuminati symbol just moments earlier. The bomb itself we are told is enough to destroy the whole Vatican and a good portion of Rome but it only manages to knock everyone over and not destroy much. Then it lurches forward in to further absurdity when we are told the the Carmelengo actually staged the whole Illuminati threat when there was none to begin with in an attempt to make the Church more sympathetic by making the Illumaniti and what they stand for appear evil. This includes poisoning the Pope to make it look like the Illuminati did it, hiring the highly intelligent assassin without him knowing that the whole thing was faked, and keeping it all out from under the nose of the Swiss Guard, and in particular, Commander Richter who has cameras installed everywhere to track everyone’s movements but somehow does not find out about the Carmelengo’s treachery until the very last moment. This climax unfortunately makes the whole exercise a waste of time. The Illuminati are interesting; to be told in the end they did not exist is almost a cheat and diminishes the sense of history attached to the story.

The film does look good and is perhaps Ron Howard’s best looking film to date. The images of Rome are glorious, as is a visual motif of blending lens flares which stand in for the crowds of onlookers in St Peters Square which show up throughout the film. He manages to integrate a number of computer generated images in to the film seamlessly, although there are others that look woeful, particularly in the climax when the bomb goes off; the CG helicopter looks ridiculous in this scene, as do a number of other CG elements.

“Angels & Demons” is quite entertaining for most of its run time, only let down by a ridiculous and demeaning climax.

TECHNICAL REVIEW: The transfer of this film to DVD is by and large flawless. The picture is quite stunning, particularly in the richness of colour, sharpness and contrast, with all the images and certain visual effects perfectly represented in their true presentation. The soundtrack is likewise impressive, creating an environment that befits the thrilling nature of the piece, with the musical score thundering out of the surrounds in the big moments. Overall, this film has been given an excellent transfer to DVD.

EXTRAS REVIEW: The extras package on this DVD is not extensive, comprising of four main featurettes which offer some insight in to the production. The two most interesting featurettes, lasting ten minutes a piece, are “Writing Angels & Demons” and “Angels & Demons: The Full Story”, which give an overview of the journey taken by the filmmakers to bring the Dan Brown novel to the screen. There is some interesting stuff here, but also some back-slapping as well on behalf of the filmmakers, particularly when Ron Howard says that he felt compelled to do this film after the fact that so many people liked The DaVinci Code… right… (at least he made a better film this time). The other two featurettes specifically deal with the ambigrams depicted in the film and the props. There are also some trailers for other Columbia films. Overall, these featurettes complement the film quite well but are not anywhere near extensive enough, especially considering that they only hint at the mammoth amount of logistical work that went in to getting the film made which actually looked quite interesting.

BOTTOM LINE: Rent it.

Alex DeMattia is a staff writer/reviewer for the film and DVD review web site All About Movies.net.

Anjos e Demônios  (Angels & Demons)

Nota: 3 Hr´s

EUA, 2009 - 138 min
Categoria: Suspense

Direção: Ron Howard

Roteiro:  David Koepp, Akiva Goldsman, Dan Brown (livro)

Elenco:  Tom Hanks, Ewan McGregor, Ayelet Zurer, Stellan Skarsgård, Nikolaj Lie Kaas, Pierfrancesco Favino

Normal. Pronto definido Anjos e Demônios! Agora se você me perguntar: vale a pena ir ao cinema? Claro que sim, isso se você estiver devidamente acompanhado, do contrário acho que dá pra esperar sair nas locadoras.

O filme traz Tom Hanks de volta ao papel do Professor Langdon, especialista em Simbologia (mostra isso pra ele e pergunta oq significa…hahahahaha) ajudando o Vaticano numa investigação sobre o desaparecimento de quatro cardeais e a possível ameaça dos Illuminati.

Tudo começa bem, com a demonstração do LHC (Large Hadron Collider – Grande Colisor de Hádrons) e o roubo da tão preciosa anti-matéria, logo após o seqüestro de quatro preferiti os mais possíveis ao próximo, papa, sendo que este morreu recentemente. O professor é chamado a ajudar e daí que começa o filme.

O ritmo do filme é acelerado, sem muito tempo pra conversar, uma vez que começa a ação já era mermão se quiseres ir ao banheiro perdeu, é correria de carro, briga, fogo, água, tiroteio, tumbas, falta de ar, roubo e destruição de propriedade do vaticano, uma montanha russa acelerada que para somente no final com o aparecimento do Padre Voador.

Anjos e Demônios é um filme bom, mas que não traz muita novidade às telas e se você for um cinéfilo de carteirinha garanto que vai adivinhar a trama do filme bem antes do final,  é uma boa opção para ir ao cinema especialmente se estiver em boa companhia.

Abr,

Zaboobs

Richard Nixon es un personaje que con el paso de los años se ha vuelto un tanto shakespearano, no sólo ser un ser de una calidad teatralidad trágica, sumido en lo corrupto de sus lágrimas sino el poder de un rey que aunque rey fue odiado por sus súbditos.

Frost/Nixon de Ron Howard es una peli realmente conspiradora. El Nixon de Howard no es un Julio César o un Macbeth es más un Ricardo III jorobado y despreciado hasta por el mismo.

Debo reconocer que no soy muy fanático de Ron Howard, sus pelis me aburren y no las siento realmente originales. No encuentro un estilo propio dentro de todo su corpus sin embargo su currículo llega a ser genial en sus principios de comedia y ligera independencia con Splash de 1984, Cocoon de 1985, Willow de 1988 o la magnífica How the Grinch Stole Chrismas de 2000. Sólo hasta ahora y después de algunos brillos saca una peli interesante.

Una pelea de boxeo entre la trivialidad de un presentador de farándula y la dureza estadista de un bravo ex-presidente que como perro rabioso ataca a su contendor desde la primera ronda.

He de decir además que me encanta Sam Rockwell, que Oliver Platt es un gran gran comediante, que Michael Sheen es una grata sorpresa y que la bellísima Rebecca Hall sigue tan bella como cuando me cautivó en Vicky Cristina Barcelona de Woody Allen también en 2008. Frank Langella es un excelente actor y bien se llevó su nominación al Oscar este año por esta actuación, un desmoranamiento impecable de un titán, una expléndida actuación. Su desempeño como Nixon es demasiado para mi gusto, no se si es satíra apuntando a que es tan sofisticado como un vampiro, un chupasangre, un conde-drácula, pero en el sentido shakespearano prefiero el Nixon de Anthony Hopkins en Nixon de Oliver Stone en 1995 donde se siente su resentimiento por su abolengo humilde, su envidia por los carismáticos y su profunda inseguridad como persona.

‘Just needed something to calm nerves’ he claims

After watching this movie I realized something: BEING A PARENT BLOWS!!!!

Middle-manager Gil Buckman struggles to reconcile his ambitions at work with his loyalty to his family, particularly to his troubled son, Kevin. His divorced sister Helen has a sullen and withdrawn son and a sexually active teenage daughter. Gil’s other sister, Susan, is a school teacher married to an ambitious yuppie determined to make a genius of their 3-year-old daughter.

This is a wonderful look at the joys and pains of being a parent, and in ways a child. The film is told through each of the family members all episodically. The film with such a large ensemble of characters still does well with telling each characters story.

The screenplay is something of praise too. Its witty and used in ways that aren’t always happy-go-lucky and in some ways they have a little bit of a darker side to it other than a full sitcom resolution. It always show that in life you never fully get free and there is always a toll to pay for what you have in your own life.

The ensemble cast does very well at delivering the emotion that each of these characters are feeling at that exact moment. Steve Martin is hilarious but also shows some heart to his family and the troubled people around him. Mostly, I think Dianne West steals the show and I could feel her raw emotion and personally she did show the most heart when it came to doing what was right for her family. Mostly because of her (and a little bit of Keanu Reeves) I found her story more entertaining than the others.

Though at points I didn’t find myself fully entertained. I thought it lagged on too bit with the drama and focused away from the comedy element. I understand they were trying to show the dark side of life, but they shined away from the light side and thats what in ways fully lost my attention in full.

Though it is not too great it is still a classic, its more of an ambitious, keenly observed, and often very funny look at one of life’s most daunting passages. Being a parent has its highs and its lows and that is what this film shows.

8/10=Matinee!!

27x40 Movie Poster

 

Village of the Giants is a 1965 science-fiction/comedy movie with many elements of the beach party film genre. It was produced, directed and written by Bert I. Gordon, and based loosely on H.G. Wells’s book The Food of the Gods. The story revolves mostly around a chemical substance called “Goo”, which causes giant growth in living things, and what happens after a gang of rebellious youngsters get their hands on it. The cast was mostly teens, or young actors playing teens, and The Beau Brummels and Freddy Cannon make musical guest appearances. The movie was a low-budget exploitation film and not a huge hit (released mostly to drive-ins as part of a double bill), but had some notable use of special effects and undoubted sex appeal, and went on to become a cult classic. The movie proved far more successful years later, when released on home video.

Tagline:  They’re 30 feet tall!

Trivia:

• In one scene one of the giants reads an issue of “Famous Monsters of Filmland” with another Bert I. Gordon film, War of the Colossal Beast (1958), in the cover.
• Exteriors were shot on the Columbia Studios backlot (now part of the Warner Bros. Backlot), the same lot as the exteriors for the TV series “Bewitched” (1964) and “I Dream of Jeannie” (1965). Many scenes were shot on Courthouse Square at Universal Studios, which doubled as Hill Valley in Back to the Future (1985).

Buy this Title on DVD

• Loosely based on the H.G. Wells story “The Food of the Gods”, about a substance that causes giant mutations in growing organisms. Children fed the substance become giants (capable of producing giant offspring), who choose to fight when their existence is threatened by adult authorities.
• The brand of chicken that the giant teenagers eat is a tie-in to the once-famous restaurant chain called Chicken Delight. The chain was known for home delivery of chicken and ribs, as well as it’s catchy motto: “Don’t cook tonight, call Chicken Delight.” A banner for the restaurant chain can be seen on a wall behind the adults who turn in their rifles.
• The beer that the delinquent teens drink after crashing their car is the once popular Blatz Beer.
• The fountain that Freddy Cannon sings in front of is the same one seen in the opening of “Friends” (1994).
• An alternate version of the theme music – “The Last Race” – was reused by Quentin Tarantino in Death Proof (2007).
• The “Teen Magazine” that Merrie (Joy Harmon) reads was an actual issue of the magazine published in July 1965.
• Ron Howard plays a boy genius who invents a super growth formula. He later played the same kind of role in “Land of the Giants: Genius at Work (#1.21)” (1969)
• Filmed in “Perceptovision”.

Joy Harmon

Ángeles y Demonios, el lanzamiento más esperado del año de Sony Pictures Home Entertainment (SPHE), se estrena por fin en DVD y UMDel 20 de octubre (hoy) y en alta definición Blu-ray lo hizo el 1 de octubre. Este éxito de taquilla volverá a sorprender y cautivar a los espectadores con escenas inéditas adicionales y con un novedoso material extra con contenidos exclusivos. Ángeles y Demonios se estrena con diez ediciones diferentes, una de ellas de lujo que incluye dos estatuas sujetalibros numeradas perfectas para coleccionistas.

Ron Howard (Apolo 13, El Grinch), director de El Código Da Vinci, ha llenado una vez más las salas de cine de todo el mundo recaudando más de 1 billón de dólares. En España, 16 millones de euros recaudados y más de 2 millones de espectadores avalan este inteligente thriller que combina la intriga con una trepidante lucha contrarreloj donde ciencia y religión se convierten en una guerra muy real.

Ewan McGregor (Star Wars 1, 2 y 3, Big Fish, Moulin Rouge), Ayelet Zurer (Munich, En el punto de mira), Stellan Skarsgård (Mamma Mia), Pierfrancesco Favino (Las Crónicas de Narnia), Nikolaj Lie Kaas (Los Idiotas) y Armin Mueller-Stahl (El Hombre Herido) completan el reparto encabezado por el ganador de 2 Óscar de la Academia y 4 Globos de Oro Tom Hanks.

Ángeles y Demonios estará disponible en diez ediciones diferentes. En DVD, se estrena en Edición Sencilla de un solo disco, en Edición Metálica de dos discos y en Edición Digibook exclusiva para FNAC de dos discos con un libro exclusivo de 24 páginas.

En Blu-Ray, también se podrá adquirir en Edición Sencilla de un solo disco y en Edición Digibook para FNAC de dos discos con un libro exclusivo de 24 páginas.

En UMD se estrena en Edición Sencilla de un solo disco.

Además, los seguidores de Dan Brown, podrán disfrutar en DVD o Blu-Ray de un original Pack Edición Sencilla de Ángeles y Demonios (un disco) +  El Código Da Vinci (un disco). Pero sin duda los verdaderos fans optarán por la edición de lujo en DVD o BD: un Pack Edición Coleccionista de  Ángeles y Demonios (2 discos) +  El Código Da Vinci (2 discos) + 2 réplicas de estatuas sujetalibros numeradas.

Si quereis ir abriendo boca, os dejo el trailer de la película antes de pasar a enumeraros las diferentes ediciones en DVD y Blu-Ray y sus respectivos precios orientativos:

FICHA ARTÍSTICA ÁNGELES Y DEMONIOS

Director: Ron Howard

Productores: Columbia Pictures e Imagine Entertainment

Intérpretes: Tom Hanks, Ewan McGregor, Ayelet Zurer, Stellan Skarsgård, Pierfrancesco Favino, Nikolaj Lie Kaas y Armin Mueller-Stahl.

Argumento: Tom Hanks vuelve a interpretar el papel de Robert Langdon, el experto en religión de la Universidad de Harvard que una vez más descubre fuerzas ancestrales que están dispuestas a todo, incluso a asesinar, para lograr sus objetivos. Embarcados en una trepidante cacería a través de criptas selladas, peligrosas catacumbas, catedrales desiertas e incluso en el corazón de la bóveda más secreta del planeta, Langdon y Vetra seguirán el rastro de 400 años de símbolos ancestrales que señalan la única esperanza de supervivencia para el Vaticano.

Duración: 140 min aprox.

Si quereis leer la reseña de la película cuando se estrenó en cines, pincha aqui.

DVD

FICHA TÉCNICA EDICIÓN SENCILLA

Idiomas: Catalán 5.1, Español 5.1, Inglés 5.1, Italiano 5.1

Subtítulos: Danés, Español, Finlandés, Holandés, Inglés, Italiano, Noruego, Portugués, Sueco

Extras: Cómo se escribió Ángeles y Demonios; Manejando los objetos; Ángeles y Demonios: La historia completa; Esto es un ambigrama.

Discos: 1 (Película versión extendida – 140 min – 7 minutos adicionales)

Precio: 17,99€

FICHA TÉCNICA EDICIÓN METÁLICA

Idiomas: Catalán 5.1, Español 5.1, Inglés 5.1, Italiano 5.1

Subtítulos: Danés, Finlandés, Noruego, Portugués, Sueco, Holandés, Español, Inglés, Italiano

Extras: Roma no se hizo en un día; Cómo se escribió Ángeles y Demonios; Personajes en búsqueda de una historia verdadera; CERN: Empujando las fronteras del conocimiento; Manejando los objetos; Ángeles y Demonios: La historia completa; Esto es un ambigrama.

Discos: 2 (Película extendida – 140 min y más de 90 minutos de extras)

Precio: 21,99€

FICHA TÉCNICA EDICIÓN DIGIBOOK PARA FNAC

Idiomas: Catalán 5.1, Español 5.1, Inglés 5.1, Italiano 5.1 DTS, Español Dolby TrueHD 5.1, Inglés Dolby TrueHD 5.1

Subtítulos: Italiano, Danés, Noruego, Portugués, Sueco, Español, Inglés

Extras: Roma no se hizo en un día; Cómo se escribió Ángeles y Demonios; Personajes en búsqueda de una historia verdadera; CERN: Empujando las fronteras del conocimiento; Manejando los objetos; Ángeles y Demonios: La historia completa; Esto es un ambigrama.

Discos: 2 (Película versión cine  y  Película versión extendida 7 min adicionales. Más de 90 minutos de extras)

Otros: Incluye un libro de 24 páginas con esbozos, planos arquitectónicos, fotos en color y material gráfico digital utilizado en la creación de la película.

Precio: 24,99€

FICHA TÉCNICA PACK EDICIÓN SENCILLA ÁNGELES Y DEMONIOS + EL CÓDIGO DA VINCI

Idiomas: Catalán 5.1, Español 5.1, Inglés 5.1, Italiano 5.1

Subtítulos: Danés, Finlandés, Holandés, Noruego, Portugués, Sueco, Español, Inglés, Italiano

Extras de Ángeles y Demonios: Cómo se escribió Ángeles y Demonios; Manejando los objetos; Ángeles y Demonios: La historia completa; Esto es un ambigrama.

Extras de El Código Da Vinci: Trailers promocionales; Avance de Ángeles y Demonios

Discos: 2 (Ángeles y Demonios: Película versión extendida -140 min- y El Código da Vinci: Película versión extendida -143 min-)

Precio: 24,99€

FICHA TÉCNICA DVD EDICIÓN COLECCIONISTA ÁNGELES Y DEMONIOS + EL CÓDIGO DA VINCI

Idiomas: Español 5.1, Inglés 5.1, Catalán 5.1, Italiano 5.1 DTS, Español Dolby TrueHD 5.1, Inglés Dolby TrueHD 5.1

Subtítulos: Danés, Finlandés, Noruego, Sueco, Portugués, Italiano, Español, Inglés

Extras de Ángeles y Demonios: Roma no se hizo en un día; Cómo se escribió Ángeles y Demonios; Personajes en búsqueda de una historia verdadera; CERN: Empujando las fronteras del conocimiento; Manejando los objetos; Ángeles y Demonios: La historia completa; Esto es un ambigrama.

Extras de El Código Da Vinci: Trailers promocionales; Avance de Ángeles y Demonios; 10 reportajes Tras la Cámara (Primer día en el rodaje con Ron Howard; Una conversación con Dan Brown; Retrato de RObert Langdon; Los códigos de El Código Da Vinci y muchos más).

Discos: 4 (2 discos de Ángeles y Demonios: incluye versión de cine y extendida) (2 discos de El Código da Vinci: incluye versión extendida)

Otros: 2 réplicas de estatuas sujetalibros numeradas

Precio: 49,99€

BLU-RAY

FICHA TÉCNICA EDICIÓN SENCILLA

Idiomas: Catalán 5.1, Español 5.1 DTS-HD, Inglés 5.1 DTS-HD, Italiano 5.1 DTS-HD

Subtítulos: Danés, Finlandés, Noruego, Portugués, Sueco, Español, Inglés, Italiano

Extras: Trailers promocionales; Cómo se escribió Ángeles y Demonios; Ángeles y Demonios: La Historia Completa; Cinechat: MovieIQ

Discos: 1; Versión de cine -138 minutos-; Versión extendida – 146 minutos

Precio: 29,99€

FICHA TÉCNICA EDICIÓN DIGIBOOK PARA FNAC

Idiomas: Español 5.1, Inglés 5.1, Catalán 5.1, Español 5.1 DTS-HD, Inglés 5.1 DTS-HD, Italiano 5.1 DTS-HD

Subtítulos: Español, Danés, Inglés, Italiano, Noruego, Portugués, Sueco

Extras: Cómo se escribió Ángeles y Demonios; ¿Qué es cinechat?; Video introducción; Ángeles y Demonios: La historia completa; movieIQ; Trailers; cinechat; CERN: Empujando las fronteras del conocimiento; Personajes en búsqueda de una historia verdadera; Manejando la utilería; Roma no se hizo en un día; El Camino de la Iluminación; Vídeo instructivo sobre el Camino de la Iluminación; Esto es un ambigrama.

Discos: 2; Película versión cine  y  Película versión extendida 7 min adicionales

Otros: Incluye un libro de 24 páginas con esbozos, planes arquitectónicos, fotos en color y material gráfico digital utilizado en la creación de la película.

Precio: 34,99€

FICHA TÉCNICA PACK EDICIÓN SENCILLA ÁNGELES Y DEMONIOS + EL CÓDIGO DA VINCI

Idiomas: Catalán 5.1, Español Dolby TrueHD 5.1, Inglés Dolby TrueHD 5.1, Español 5.1 DTS-HD, Inglés 5.1 DTS-HD, Italiano 5.1 DTS-HD

Subtítulos: Danés, Finlandés, Holandés, Noruego, Portugués, Sueco, Español, Inglés, Italiano, Portugués

Extras: Trailers promocionales; Cómo se escribió Ángeles y Demonios; Ángeles y Demonios: La Historia Completa; Cinechat: MovieIQ

Extras de El Código Da Vinci: Trailers

Discos: 2; Ángeles y Demonios: Película versión cine (138 min);  Película versión extendida (146 min) / El Código da Vinci: Película versión extendida

Precio: 39,99€

FICHA TÉCNICA PACK EDICIÓN COLECCIONISTA ÁNGELES Y DEMONIOS + EL CÓDIGO DA VINCI

Idiomas: Catalán 5.1, Español 5.1, Inglés 5.1, Español 5.1 DTS-HD, Inglés 5.1 DTS-HD, Italiano 5.1 DTS-HD

Subtítulos: Danés, Finlandés, Noruego, Portugués, Sueco, Español, Inglés, Italiano

Extras de Ángeles y Demonios: Cómo se escribió Ángeles y Demonios; ¿Qué es cinechat?; Video introducción; Ángeles y Demonios: La historia completa; movieIQ; Trailers; cinechat; CERN: Empujando las fronteras del conocimiento; Personajes en búsqueda de una historia verdadera; Manejando la utilería; Roma no se hizo en un día; El Camino de la Iluminación; Vídeo instructivo sobre el Camino de la Iluminación; Esto es un ambigrama.

Extras de El Código Da Vinci: 5 minutos de Ángeles y Demonios; Selección de escenas comentadas por el director Ron Howard; cinechat de SPHE sobre la película, con video introducción sobre su funcionamiento BD Live; Reportajes (Primer día en los escenarios con Ron Howard; Una discusión con Dan Brown; Retrato de Langdon; ¿Quién es Sophie Neveu?; Insólitos sospechosos; Localizaciones mágicas; Premier plano de Mona Lisa, jornada de rodaje; Los códigos de EL Código Da Vinci; La música de la película; Del libro a la pantalla; Los caracteres de los personajes; El diseño de la producción; Recreación de las obras del Louvvre; Los efectos visuales; La música.

Discos: 4; Ángeles y Demonios: incluye versión de cine y extendida; El Código da Vinci: incluye versión extendida.

Otros: 2 réplicas de estatuas sujetalibros numeradas

Precio: 59,99€

UMD

FICHA TÉCNICA EDICIÓN SENCILLA

Idiomas: Español Estéreo, Inglés Estéreo

Subtítulos: Español, Inglés, Portugués

Discos: 1; Película versión extendida (146 min)

Precio: 12,99€

Fuente: Sony Pictures

Karelia

]]> http://allseriestrekvar.wordpress.com/2009/10/19/tom-hanks-no-suelta-a-dan-brown/ Tue, 20 Oct 2009 03:06:15 +0000 TrekVar http://allseriestrekvar.wordpress.com/2009/10/19/tom-hanks-no-suelta-a-dan-brown/

Ya piensa en la película de ‘The Last Simbol’

Tom Hanks no suelta a Dan Brown

Foto: SONY

LOS ANGELES, 17 Oct. (EUROPA PRESS) -

Tras los taquillazos de ‘El Código Da Vinci’ y ‘Ángeles y Demonios’, que le convirtieron en el actor mejor pagado del mundo no es de extrañar que Tom Hanks quiera a volverse a meter en la piel del profesor Robert Langdon en ‘El Símbolo Perdido’, la nueva novela de Dan Brown.

Desde la alfombra roja en la premiere de la cinta de aventuras ‘Donde viven los monstruos’, Hanks aseguró que ya ha leído el último libro de Brown –en las librerías estadounidenses desde el pasado 15 de septiembre y que llegará a España el 29 de octubre– y que, como en las ocasiones anteriores, quedó encantado. “Lo terminé la semana pasada. Dan sabe cómo tejer una buena historia, iba ansioso hasta el final”, afirmó en declaraciones a la MTV.

En este punto, el multioscarizado acto no dudó en asegurar que si deciden llevar a la gran pantalla la nueva aventura de Langdon estaría “encantado” de encarnar otra vez al intrépido erudito en simbología religiosa de Harvard. “Si deciden hacerlo otra vez, espero que me pregunten. ¿Si no me llaman, qué hice mal?”, se pregunta Hanks con una medio sonrisa en la cara.

‘El Símbolo Perdido’ llega seis años después del último libro de Brown y vuelve tras los pasos del profesor de Harvard Robert Langdon. En esta ocasión el protagonista se sumerge en el mundo secreto de los masones y sus rituales a lo largo de 12 horas en un thriller de 600 páginas ambientado en Washington.

Un material que, como sus predecesoras, es ideal para la gran pantalla. “Son películas increíblemente divertidas de hacer y también creo que son muy divertidas para el público”, sentenció Hanks. Los 760 millones que cosechó en taquilla ‘El Código Da Vinci’ y los más de 600 millones que recaudó ‘Ángeles y Demonios’ le cargan de razones.