Reviews by Rath

Several short stories over the days of the week you have the common denominator in all violent deaths and declining interest throughout the film. With little dialogue, absent in most of the cuts, the film has plenty of experimental cinema, more for his lack of marketability for other reasons. The background of the various stories is the lack of communication, if not the loneliness, and suicide their only Reflection, the solution common to all.

In short, there is a lot of insane and intolerable in that it looks more like an amateur ultragore or limit exercise. Morbid and self-indulgent film, there can hardly be said to contribute something to a particular genre. The music that surrounds it is the most careful and interesting by far.

It seems that all the movies so Jörg Buttgereit and "Der Todesking" the best proof of her very own stamp. I'm glad I made ​​a good choice, but I'm afraid I have only seen enough to repeat, at worst, experience. There are a lot of films to be discovered, fortunately.

After watching "Gummo" (incidentally, what does this expression? Will refer to the rubber glue, breathed the stars of the movie?) all I can think of is that the director of the movie, the "enfant terrible" Harmony Korine, at home should be something like the terror of travel agencies, the worst ambassador with whom they could count.

I have never traveled to USA but I've always thought that if they did little longer I stay away from a big city and I introduced into the Middle America would find populations as shown in "Gummo", with not a few dysfunctional by their sidewalks, but not the kind or generous amount as they appear here. But it seems requisite in this mixed bag that has become the independent film, counting among its players with some other unknown (or most as in this case) to reduce costs and everyone has at least those five minutes of fame that Warhol promised, as the protagonists make marginal characters, largely, or both simultaneously.

The fact that "Gummo" only show in any way isolated people, uprooted and ignore a high technical quality, does not mean we do not have a solid structure. From its very introduction to the fixed plane of the last short scene from the movie, it maintains a consistency in the course of the same speech. The circle just closed and left inside and unable to escape each and every one of its protagonists.

Perhaps saddest of all, it's hard to feel any special sympathy for any of his characters. Away from paternalism or easy compassions are presented (it is welcome) as being very individualized and gifted, but strong, yes strong personality that just trying to survive without considering any other issue. Nothing to do with the endearing "ragazzi di vita" Pasolini's film, so to speak.

That, ultimately, this film like it or dislike it-impossible to situate it in terms of any kind of warmth, will depend mostly on what the viewer may be interested in the "ugliness" and the capacity thereof is willing to bear. Certainly not to fill the night after having been a bad day or have the head for a few problems when watching it. Special mention the poor quality of good art technique of film footage, shot with handheld cameras and images allegedly manipulated to produce distortions and, incidentally, an upset stomach, and like any average viewer.

In my view, the overall story is too improbable and can only be seen from a manifest (commendable or not is another matter) will challenge rather than a criticism of the intricacies of a social system. I think the more repulsive everlasting film image of the flag of the Stars and Stripes on most porches populations as presented in the film and that, precisely, do not remember seeing any in it. Posts to continue absurd riddles, add your own, why is it so hard to find cats in Xenia (Ohio)? ...it just happened a tornado called Harmony.

First of all say that the movie is not at all original and adds nothing to the genre just repeating the same premises of the usual film director, ie, the appearance of unknown virus which recover the dead mass life: the respective hunters and bloodthirsty zombies; closures in homes, etc..

Despite the repetition in the presentation of situations - changing only its scenery - as well as his notorious predictability, the vision of "Diary of the Dead" is entertaining and, at least, fails to be laughable. The closest thing to deserve this term, by far, the general interpretation. It is a great lack of the film only approve one of its actors. But the worst and the head of this folly is generally endorsed by the implausibility of its staging. The group travels protagonist fleeing from the burning, from one place to another, but suffering casualties of lovers and friends along the way and hardly seen in them some brief excitement over these events, in the same way that the appearance of zombies not alters just as if it were a round alcohol and other young people find more drunk than they are. This is not to get into specifics.

Again, although it is a resource that is increasingly used for this genre and the like, the idea of ​​presenting the film as a personal filming its protagonists are, appreciating their complexity, very well done. This, coupled with his undeniable good bill and on interest in their development, that "Diary of the Dead" deserves to be seen by fans of the genre.

Of all the movies I've seen of Jesus Franco "Die Säge des Todes" is what I disliked, far from the rest. Personally I prefer the first film of the 60's and 70's some work, but in the middle of this decade, its production is decanted into the grossest slasher, nothing to do with their first psychotic murderers. In addition, the mixture of genres, all treated with little seriousness, does not contribute to make this palatable morsel of celluloid.

To make matters worse, the aesthetics of Franco and staff had become furiously at the time of the making of "Bloody Moon", or too confusing since the same scripts to staging, including in it the music and all paraphernalia that accompanies visual images. Add to that a bad interpretation of which perhaps highlights the director's own, everything is said.

Amazing German production on the subject zombie, very little generously treated by critics, at least judging their value in some sites, starting IMDb.

For me the film is more interesting on the subject of the resurrection from the legendary and seminal "Night of the Living Dead" by George A. Romero, of which "Rammbock..." also drink directly. Making a translation of a country house to a flat city, the proposal and the starting point of both is almost the same, even the "live" they learn that there has been a resurrection of the dead also through the radio.

It is clear from the beginning that the film does not have big media budget or just more reason to value his imaginative effort and plot devices. The action flows swiftly and in a single stage, keeping your interest at all times and based on the deficiencies and hardships of this group isolated in their homes, communicating through the atrium of the building.

Also of note is its final proposal romanticized in the form of return may also remember that aspect in Romero's version of 1968. All immersed in a speech that displease the lovers of gore, for this and other reasons, as well as those who see little more guts and the only basis of movies about zombies. A minimalist view, bold and different from most of the genre.

The particular cycle that I improvised this last month, "Vámonos con Pancho Villa!" is the film that I found with a stronger and better script finished all I've seen so far today.

The enrollment of a group of farmers in the same town on the Mexican Revolution is a very well-crafted study of personalities that strengthen their friendship in the hardships of war, realizing that in her idealism and courage are not enough. The naivete of the protagonists, "los leones de San Pablo", gives more credibility and charm to them and reinforces the story from a human perspective that never falls into the easy sentimentality.

Gabriel Figueroa's camera does the rest to round out a story that does not decay at any time and followed by certain interest in what is one of the essential titles of Mexican cinema.

"Cadena perpetua" is considered one of the major titles in the history of Mexican cinema. And perhaps that is why the film disappointed me in some way, because I expected more from her. No objection to the good performance of its actors, with special reference to its main character, Pedro Armendáriz Jr.

The biggest decision that you appreciate the movie is the flashback that runs continuously from top to bottom, creating different stories and situations are not always well linked and sometimes extend over or simply detract from the proper tone to this work. Best of all, the background of underlying social criticism almost impossible to expose the social reintegration of ex-convict and police corruption in a society that offers
alternative but to adapt to a predetermined roles almost from the cradle.

This blindness of the police after the offender reintegrated recalls Jean Gabin and Alain Delon in the formidable film directed by José Giovanni "Deux hommes dans la ville" (1973).

Based on a true story, on the "Naufragios" by Alvar Núñez "Cabeza de Vaca," Indians Spanish adventurer, a little less conqueror and a little more rational than most of them. Although there is a clear lack of media and from the first sequence of the movie-of-rafts, also notes a desire not to use the paraphernalia for use in this type of production that, with few exceptions ("Aguirre..." ; "Eldorado"...) tends to the glorification of violence or the purely anecdotal.

In "Cabeza de Vaca" is seen first of all almost an anthropological study because of its good, very careful observation of details appearing well documented from these ancient chronicles of the early sixteenth century. We must also appreciate its originality exhibition in fighting the savage Indian clichés and bad instincts and Christian proselytizing civilized and spiritual in the film the two terms are mixed up and confused when Núñez transposes his personality to that of the shaman of the tribe.

Although by now the film has fallen a bit interest precisely because of such planning as describing the situations of greater religious-ritual and a sake or repetition of ideas and situations.

Curious and interesting Mexican movie. Surprising since the first images strong expressionist influence, recognized by its director Bustillo Oro's decorated with huge windows facing upwards or a carillon clock with a pendulum endless undulating shape are some good examples of this artistic, but not unique. The lighting also has much to contribute in this regard. The combination of light and shadow or chiaroscuro also very effectively enhance this effect expressionist.

As for the story, is a clear example of themed melodrama almost exclusively on two stages, a convent and home address of one of the protagonists. The film's weakest is in the dialogue between the lovers, too smug, cutesy to cloying.

André Breton, the father of Surrealism, in its passage through Mexico praised this movie as "an experiment bold and unusual".

Ozu always said, early on, his interest in Kabuki theater. Also in his films depicting scenes of this kind, in other itinerant actors appear ... is evident that he never lost the taste for traditional Japanese theater.

Ozu is why we contacted the famous Kabuki actor Kikugoro VI with the intention of shooting one of his performances, which made ​​its famous "Lion Dance", which gives the film its title. He was the only documentary filmmaker's work and had no subsequent commercial distribution.

However, being located "Kagamijishi" early in his career, Ozu even asserts in the theater have discovered a source of learning and inspiration: "There is much to learn from Kabuki, especially when we go to make sound films. Creating atmospheres is one of his teachings. When the curtain opened on stage reveals an empty house in a dark alley, while you hear the sound of Nenbutsuko on the scene, felt like we had plunged into the middle of the drama. "

The film is a classic piece of Kabuki repertoire and is directly linked to the early Japanese cinema, with its first films of the late nineteenth century.