The story takes us to a couple who, after losing the baby, decide to adopt a girl of Russian origin that seems charming and all those things that happen in horror movies, but…
Orphan – Movie 2009
The Cast
Isabelle Fuhrman
at the World Premiere of ‘World Of Color,’ Disney’s California Adventure, Amaheim, CA. 06-10-10. Depostiphotos
Isabelle Fuhrman was born on February 25, 1997 in Washington D. C., United States.
Isabelle Fuhrman made her debut in the 2007 drama movie, Hounddog.(2007). After that, she rose to fame thanks to her impressive role in the horror movie, Orphan (2009). She appeared in the black comedy, Salvation Boulevard and she played the role as CLove in The Hunger Games, the saga starred Jennifer Lawrence. She has a recurrent role in the series; Masters of Sex. She also appeared in Escape Room: Tournament of Champions (2021).
“A shamelessly effective horror film (…) The climax is rather startling, combining the logic of the situation with audacity in exploiting its terror. (…)”
Roger Ebert: Chicago Sun-Times
“A padded 2 hours 2 minutes, which is absurd for a dopey “boo” movie — as in creaking sound plus abrupt visual cut equals “boo!” — with a comically contrived premise”
Full Metal Jacket is a 1987 movie about Vietnam War directed by Stanley Kubrick (A Clockwork Orange). Starring Matthew Modine, Vincent D’Onofrio and R. Lee Ermey.
Full Metal Jacket is a 1987 British-American war film directed by Stanley Kubrick. The screenplay, written by Kubrick, Michael Herr and Gustav Hasford, is based on Hasford’s novel The Short-Timers. Set during the Vietnam War, it follows the story of a group of recruits in Marine Corps boot camp training at Parris Island, South Carolina and U.S. Marine combat troops in Hue during the Tet Offensive in 1968.
Full Metal Jacket (1987)
The film stars Matthew Modine, Adam Baldwin, Vincent D’Onofrio, R. Lee Ermey and Dorian Harewood as Marines preparing for deployment to Vietnam and Arliss Howard, Kevyn Major Howard and Ed O’Ross as combat troops in Hue. The film focuses on the dehumanizing effects of the U.S. military’s training process and its subsequent effect on those who experienced it first hand.
The tagline for Full Metal Jacket is “In war there are no winners… only survivors.” This reflects how even after surviving the fighting of the war itself, many veterans struggle with posttraumatic stress disorder (PTSD) due to their experiences in battle zones long after returning home from service. In some cases this can manifest into compulsive behaviors like drug abuse or even suicide amongst those affected by PTSD as a result of their harrowing wartime memories that remain with them long after they have left the battlefields behind them.
Full Metal Jacket (1987)
Full Metal Jacket is widely regarded as one of Kubrick’s greatest films, winning the 1987 BAFTA Award for Best Adapted Screenplay and earning an Academy Award nomination for Best Actor in a Leading Role (Modine). It has become a classic of modern war cinema, serving as an example of how to effectively portray the psychological trauma experienced by soldiers in combat. As such, Full Metal Jacket stands as a lasting reminder of the power and effects that warfare can have on those involved, even long after they have left the theater of war.
The film has had a lasting cultural impact on society that extends far beyond its initial reception. Its iconic phrase “This is my rifle, this is my gun” has been widely
19.10.18.- Hace mucho tiempo, los observadores del cielo vincularon las estrellas más brillantes en patrones que reflejaban animales, héroes, monstruos e incluso instrumentos científicos en lo que ahora es una colección oficial de 88 constelaciones. Ahora, los científicos del Telescopio Espacial Fermi de la NASA ha ideado un conjunto de constelaciones modernas construidas a partir de fuentes de rayos gamma en el cielo, para celebrar los diez años de la misión.
Las nuevas constelaciones en rayos gamma incluyen algunos personajes de los mitos modernos. Entre ellos se encuentra el Principito, el TARDIS de la distorsión del tiempo de ‘Doctor Who’, Godzilla y su rayo de calor, la nave Enterprise de Star Trek; y Hulk, el producto de un experimento de rayos gamma que salió mal.
“Desarrollar estas constelaciones no oficiales fue una forma divertida de resaltar una década de los logros de Fermi”, dijo Julie McEnery, científica del proyecto Fermi en el Centro de Vuelo Espacial Goddard de la NASA en Greenbelt, Maryland. “De una forma u otra, todas las constelaciones de rayos gamma están relacionadas con la ciencia de Fermi”.
Desde Julio de 2008, el Telescopio de Gran Área de Fermi (LAT) ha escaneado todo el cielo cada día, para cartografiar y medir las fuentes de rayos gamma, la luz de más alta energía en el universo. La emisión puede provenir de púlsares, explosiones de novas, los escombros de las explosiones de supernovas y las burbujas de rayos gamma gigantes situadas en nuestra propia galaxia, o agujeros negros supermasivos y explosiones de rayos gamma -las explosiones más potentes en el cosmos.
“En 2015, el número de fuentes diferentes mapeadas por LAT de Fermi se había ampliado a cerca de 3.000, 10 veces el número conocido antes de la misión”, dijo Elizabeth Ferrara, que dirigió el proyecto constelación. “Por primera vez, el número de fuentes de rayos gamma conocidas fue comparable al número de estrellas brillantes, por lo que pensamos que un nuevo conjunto de constelaciones era una excelente manera de ilustrar este punto”.
Las 21 constelaciones de rayos gamma incluyen símbolos nacionales –como el buque de guerra recuperado de Suecia, Vasa, el monumento a Washington y el monte Fuji en Japón– países que contribuyen a la ciencia de Fermi. Otros representan las ideas o herramientas científicas, desde el gato de Schrödinger –tanto vivo como muerto, gracias a la física cuántica– a Albert Einstein, el Radio Telescopio y la Araña Viuda Negra, el homónimo de una clase de púlsares que evaporan a sus estrellas compañeras.
Ferrara y Daniel Kocevski, astrofísico ahora en el Centro de Vuelo Espacial Marshall de la NASA, han desarrollado un interactivo para mostrar las constelaciones, con la ayuda de Aurore Simonnet, ilustradora en la Universidad Estatal de Sonoma, sobre un mapa de todo el cielo observado en rayos gamma por Fermi. Al hacer clic en una constelación, se activa su nombre y su diseño, que incluye un enlace a una página con más información. Otros controles activan el cielo visible y constelaciones tradicionales seleccionadas.
“Fermi es todavía fuerte, y ahora estamos preparando un nuevo catálogo LAT de todo el cielo,” dijo Jean ballet, un miembro del equipo de Fermi en la Comisión de Energía Atómica de Francia en Saclay. “Esto agregará alrededor de 2.000 fuentes, muchas de las cuales variarán enormemente en brillo, enriqueciendo aún más estas constelaciones y animando el cielo de alta energía”.
Para despedirnos, nos proponemos, como hace un tiempo, recomendaros una audición para que os vayáis a la cama más contentos. Soy vuestro nuevo amigo Jack (el de la foto de más abajo) y hoy os propongo esta obertura de Rossini, que creó comienzos musicales para sus óperas que aún hoy siguen siendo bastante populares (éste fue incluido por Kubrick en La Naranja Mecánica, su película más conocida).
Nos caía bien Rossini, un tipo al que su pasión por la música sólo fue superada por su hambre (fue un famoso ‘comedor’ en su época). Ya saben que compuso unas cuantas óperas bufas. El libreto está firmado por Giovanni Gherardini y Louis-Charles Caigniez.
Espero que lo disfrutéis y ya sabéis, nos vemos mañana
¡Woof, woof!
P.S: Martin me tiene explotado, ahora encima le tengo que escribir yo las noticias. Menos mal que me invita a bocadillos, que si no… ¡Más woof, woof!
A la Deriva es una película de aventuras basada en una historia real. Para que se hagan una idea, como La Vida de Pi pero sin tigre ni fantasía. Si te da miedo eso de quedarte solo tirado en el mar infinito, esta película no te va a dar ‘buen rollo’.
A pesar de la estética y ciertas concesiones a lo humano y bello de la vida, A la Deriva no es para nada un telefilm al uso aunque posee algunos de sus elementos. La película está narrada un poco en flashbacks para comprender un poco mejor al personaje principal y sus motivaciones hasta quedarse tirada en el mar sin provisiones.
Es una historia de superación de ésas más o menos simplonas en su apariencia, pero si te gustan las historias reales de ésas que inspiran a algunos y otros las consideran aburridas… ésta película es un poco así: un drama de suspense y superación en medio del inmenso mar, no siempre tan tranquilo como parece.
Los actores están bien, dentro de que son dos relativos desconocidos. Dan el ‘pego’ que pretendeel director: `parecer dos personajes reales y hacernos la historia creíble, porquq el mérito de A la Deriva es darnos la sensación de realidad, de que esto ha pasado.
Una crónica sobre la dureza, la superación y la fuerza del ser humano.
Dos estrellas (y media).
Tráiler
Imágenes
A la deriva (Adrift)
Duración: 1 h 36 min
Género: Suspense, Romance, Aventura
Estreno: 31 mayo 2018
Argumento: Basada en una historia real, narra cómo la pareja formada por los jóvenes Tami Oldham y su novio Richard se hace a la mar en su velero, pero en medio del océano se ven sorprendidos por una de las mayores tormentas jamás registradas. Tras el paso del huracán, Richard sale herido, y Tami tendrá que ponerse al mando para intentar sobrevivir a la deriva con el velero roto, sin comida y sin agua.
Dirigida por: Baltasar Kormákur
Reparto: Shailene Woodley, Sam Claflin, Jeffrey Thomas, Elizabeth Hawthorne, Luna Campbell, Grace Palmer
Para empezar, la empecé a ver con miedo porque, obviamente, ya me conocía la historia de tal vez la obra más famosa de Agatha Christie. Ahora bien, se trataba de Kenneth Branagh y desde su versión de Frankenstein me cae bien este tipo y un amigo, Emilio Ríos, me dijo que a ver si escribía sobre ella. Y ahí vamos con esta nueva versión de Asesinato en el Orient Express.
Tras superar los miedos iniciales (la historia sigue siendo la misma, lo sentimos mucho, y de el final era imposible no acordarse), nos encontramos con una obra fresca que renueva la película de Lumet, la actualiza y la llena de un colorido que no tenía la precedente. Sí, todos nos acordamos de Peter Ustinov y su versión de Hercules Poirot y Brannagh (al que no le faltan narices, todo sea dicho), nos encarna a un detective que, siendo fiel al original, nos resulta más divertido y totalmente creíble. El personaje sigue siendo un gran aficionado a la comida (si ya cambiábamos eso, apaga y vámonos), pero nos resulta más divertido y cercano y el toque cómico nos parece del todo acertado.
En lo visual, la película es brillante y tiene una fotografía excepcional que destaca sobre el resto de sus (bastantes) virtudes técnicas. Y claro, por hablar… tenemos que referirnos a los actores, que son muchos y buenísimos: Derek Jacobi, Johnny Depp, Judi Dench… e incluso Penélope Cruz, que parece que se vuelve a dejar caer por los platós, esta vez para participar en este lujosísimo reparto.
Es una cinta elegante (no esperábamos menos) que supera a su predecesora en los aspectos formales pero que, claro está, tiene el hándicap infranqueable de una historia que se basa en saber quién es el asesino y… si tenemos cierta edad y hemos ido alguna vez al cine, ya conocemos su final. Eso sí, siempre podemos admirar el trabajo de fotografía que es realmente bueno (ya sé que lo dije antes, pero hago como las mujeres: yo insisto porque luego dicen que no dije nada, ya claro…).
En todo caso, seguro que los que no la conozcan la encontrarán fascinante en esta buena película de Kenneth Branagh, que parece haber olvidado el cine de superhéroes (y con todos nuestros respetos, se lo agradecemos).
Ah, que se me olvidó mencionarla. Incluso podemos volver a ver a Michelle Pfeiffer, que hacía ya tiempo que la teníamos olvidada.
Merece la pena. Una bastante buena película.
P.S: A Hitchcock no le gustaban estas películas, que se denominan Whodunit (por eso de Who Do It?). Ésta sí que le gustaría (o no, que era un poco ‘rarito’, pero también inglés).
Imágenes
Título Original: Murder on the Orient Express
Año: 2017
Duración: 116 min.
País: Estados Unidos
Dirección: Kenneth Branagh
Guion: Michael Green (Novela: Agatha Christie)
Música: Patrick Doyle
Fotografía: Haris Zambarloukos
Reparto: Kenneth Branagh, Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Michelle Pfeiffer, Daisy Ridley, Josh Gad, Tom Bateman, Derek Jacobi, Manuel García-Rulfo, Leslie Odom Jr., Lucy Boynton, Sergei Polunin, Olivia Colman, Miranda Raison, Chico Kenzari, Ziad Abaza
Género: Intriga. Drama, Crimen
Argumento: Durante un viaje en el legendario tren Orient Express, el detective belga Hercules Poirot investiga un asesinato cometido en el trayecto, y a resultas del cual todos los pasajeros del tren son sospechosos del mismo. (Filmaffinity)
Donnie Darko is a film directed by Richard Kelly and starring Jake Gyllenhaal.
For anyone who hasn’t seen and hasn’t heard of this movie: I envy you, because you’re going to see something totally new and different, and that’s not something that happens every day. Donnie Darko is a film full of imagination, fantasy and interesting ideas that takes us on a roller coaster ride through a wormhole.
It stars Jake Gyllenhaal.
Donnie’s story is that of a mentally unbalanced boy who, after surviving an almost certain death, begins to see a mysterious and creepy guy disguised as a bunny. No, he’s not the jolly bunny of the batteries but, however long they last, he sets a date for the end of the story. An exact date with days, hours, minutes, and seconds.
The film is full of fantasy, imagination and creativity, a passage into the imagination through the creative mind of a brilliant but bleak teenager. In the course of the 28 days towards its end we will have the chance to accompany him on a journey into the incoherence of dreams and into the dream of being awake as in a lysergic voyage into the absurdity of a time travel that breaks down.
Donnie Darko is a great film not to be missed. A work that is already becoming a classic in the so called ‘psychological films’ genre, which loses us in the paths of the strange, the grotesque.
A Clockwork Orange is a movier directed by Stanley Kubrick (Full Metal Jacket) in 1971. Starring Malcolm McDowell, Patrick Magee and Michael Bates.
A Clockwork Orange is a 1971 science fiction film directed by Stanley Kubrick, based on the Anthony Burgess novel of the same name. It follows Alex (Malcolm McDowell), a charismatic young criminal who undergoes an experimental form of rehabilitation in order to be released from prison early. Despite being lauded as a technological breakthrough, the program has deep moral implications and ultimately proves more harmful than beneficial.
A Clockwork Orange (1971)
The film is set in a dystopian future society where violence is rampant and citizens are desensitized to it. Alex leads his “droogs”, or gang, into a series of assaults and robberies. He enjoys engaging in acts of extreme violence, such as beating homeless people with canes and engaging in rape. After being arrested for murder, he volunteers to take part in an experimental rehabilitation process known as Ludovico Technique. The process consists of conditioning him through psychological techniques and administering drug-induced nausea when attempting violent actions. As a result, Alex loses his capacity for violence but also becomes unable to defend himself against attacks by those he once terrorized.
The film has achieved iconic status due its bold visual style and themes on free will and morality that are still debated today. Kubrick’s use of classical music serves as an effective contrast to the brutal imagery onscreen, while McDowell gives an electrifying performance as the likable yet terrifying protagonist. The film has been praised for its depiction of controversial topics like government control over citizens’ behavior and freedom of choice, making it one of the most significant works of science fiction cinema ever made.
A Clockwork Orange demonstrates how technology can have unforeseen consequences on individuals and society at large when used incorrectly or without proper consideration for its potential repercussions. The powerful effects that Alex’s treatment had on him make it clear that even technological innovations thought to be beneficial may have disastrous results if not handled with care. In addition, the film presents complex questions about morality: should we strive to do what is morally right regardless of personal cost? Or should we prioritize our own well-being over moral principles? A Clockwork Orange offers no easy answers but encourages us to think critically about these difficult questions nonetheless.
A Clockwork Orange (1971)
Introduction
A Clockwork Orange is a controversial and highly influential film that has been embraced by both fans and critics since its initial release in 1971. The story, set in a dystopian future, follows the violent misadventures of 15-year-old Alex and his gang of teenage delinquents.
The movie is renowned for its unique visual style, which includes wide-angle lenses, dramatic lighting, and dizzying camera angles. It also features a powerful soundtrack that blends classical tunes with futuristic electronic music.
A Clockwork Orange has been celebrated for its thought-provoking exploration of morality and free will, but it has also been criticized for its apparent glamorization of violence. In this article, we will delve into the world of A Clockwork Orange to explore what makes it so controversial.
What Is the Plot of a Clockwork Orange?
As you explore the controversial world of A Clockwork Orange, you are taken into the near-future of England, where freedom and youth have a powerful influence on society. Through the eyes of 15-year-old Alex, you enter a world of violence that often goes unchecked and without consequence. Alex and his “droogs” commit heinous acts against their victims while displaying a lack of remorse.
From its drug-filled parties to its ultra-violent gang fights, A Clockwork Orange paints a startling picture of youth gone wild—one that brings forth uncomfortable questions about personal responsibility and morality.
The main plot follows Alex as he is arrested for murder and sentenced to prison, only to soon after be chosen to undergo an experimental rehabilitation program that could restore him as an upstanding citizen. Beyond the prison walls, he must face his own internal struggles with morality as he grapples with his desire for freedom versus his conscience’s need for stability.
Throughout this unnerving journey into a dystopian landscape, one thing is certain: A Clockwork Orange is sure to leave you with plenty to ponder long after its conclusion.
Stanley Kubrick’s Directing Style
Stanley Kubrick’s directing style for A Clockwork Orange is a controversial one – combining a mix of classical music with bold, brutal images. The film opens with Alex’s gang joyfully singing their song ‘Singin’ in the Rain’ whilst wearing stylized masks and uniforms, this is immediately followed by a graphic rape-scene. The contrast between the two creates uneasy feelings in the viewer and sets the tone for the rest of the movie. The main protagonist, Alex, uses Beethoven’s “Ode to Joy” as his own theme music throughout the film, furthering the notion that this is a story about humanity’s ability to seek joy out of suffering and destruction.
Kubrick also incorporates elements of long-take sequences into his direction for A Clockwork Orange. This visual technique emphasizes details that are often lost in traditional editing styles – allowing us to really see every moment. One example is found when Alex visits his parents as an “angel” to apologize for his past misdeeds. We witness every facet of emotion throughout their short conversation; their surprise at seeing him, their confusion at not understanding what he means by “poezdka”, and finally the painful realization that he can offer nothing but emptiness and more destruction.
Overall, Stanley Kubrick directs A Clockwork Orange with a unique blend of poignancy and brutality that doesn’t allow viewers to simply view events as right or wrong – but instead leaves them questioning how they might feel were they ever put in such situations.
Analyzing the Themes of the Movie
A Clockwork Orange features a variety of themes, from free will to ultraviolence and the brutality of modern society. These themes can often be seen as controversial, but can also create discussions on how violence is represented in our society today.
The movie illustrates the idea of free will through protagonist Alex’s actions. Alex is portrayed as an individual who has full control over his own decisions, even though he plays a role in perpetuating the violence he is surrounded by. This shows that while it is ultimately up to individuals to choose how they want to act in any given situation, those choices may still have consequences for their own lives and those of others.
On the other hand, A Clockwork Orange also examines the power structures that exist within society, which can often be seen as oppressive and unjust. It presents an exploration of how violence persists in our culture despite attempts by authority figures to control it with law enforcement or social interventions. The film also questions how much freedom an individual should have when it comes to expressing themselves through violent behavior.
Moreover, A Clockwork Orange also serves as an exploration of morality and what constitutes good versus evil in today’s world. In this way, the film raises important questions about ethical considerations when evaluating our own choices and those of others.
Exploring the Controversy and Debate Around a Clockwork Orange
To this day, A Clockwork Orange remains a controversial topic. It has been both praised and criticized for its explicit content and extreme violence. At the same time, the story has captivated audiences with its exploration of free will and morality.
On one side, many people take issue with A Clockwork Orange‘s graphic violence and what they deem to be immoral messages. While on the other hand, fans of the film argue that it is a necessary wake-up call that forces us to think about our own morality:
Does a person have the right to choose their own moral direction?
Can someone be ‘reprogrammed’ so as to lose choice in order to fit into society?
Is an individual capable of making moral choices outside of imposed laws or societal norms?
These questions—and the complexity of their answers—are at the heart of A Clockwork Orange’s ongoing controversy. Through its characters and story, it serves as a moral puzzle that begs for discussions about our own personal ethics.
Adapting Literature Into Moviemaking
The world of cinematography has often explored the controversial, and Stanley Kubrick’s film adaptation of Anthony Burgess’ A Clockwork Orange is no exception. Adapting a work of literature into a movie is not an easy feat, but Kubrick was able to capture the essence of the novel and bring it to life with a stark visual style.
The film follows Alex (Malcolm McDowell), the teenage leader of a violent gang in a dystopian future. He eventually gets arrested and sent to prison, where he undergoes an experimental form of rehabilitation involving aversion therapy. He then faces a difficult decision between his newfound morality and his old criminal lifestyle.
Kubrick was able to do something extraordinary with this film: capture the spirit of the book while making creative changes to truly make it his own work of art. He masterfully incorporated stylized imagery involving music, color, and motion that provide insight into Alex’s internal struggle between good and evil.
This unique approach to filmmaking enabled Kubrick to create an iconic movie that conveys the themes from Burgess’ novel on an entirely new level—a level that challenges viewers’ views on morality and humanity in ways that no other film could do.
Discussion and Modern Interpretations of a Clockwork Orange
A Clockwork Orange is a polarizing film, to say the least. The complex and often controversial issues presented in the movie have been endlessly debated since its release in 1971.
From discussions of the ethical implications of a government using behavior modification methods to control citizens, to themes of morality and free will, A Clockwork Orange has sparked discussion and debate across generations.
Religious Interpretations
The movie has been interpreted through a religious lens, with some viewers arguing that it is an allegory for exorcism, while others view it as an exploration of original sin and mankind’s struggle against his own depravity.
Political Perspectives
Viewers have also argued that A Clockwork Orange serves as a criticism of totalitarian governments, with themes such as free will serving as an indictment of oppressive regimes. Others point out that the film explores the idea that sometimes violent solutions are necessary in order to effect real change.
No matter which interpretation one chooses to believe, A Clockwork Orange is sure to spark conversation and debate about difficult topics long after its release.
Conclusion
A Clockwork Orange is a controversial film that continues to generate heated debates to this day. It captures a society rife with crime and violence that is constantly navigating a paradox between free will and oppressive control. Stanley Kubrick’s bold direction, together with Anthony Burgess’s potent themes, create a tense and uncompromising view of a brutal, surreal world. No matter what one’s opinion might be in regards to A Clockwork Orange, its legacy resonates through time and will continue to do so for the years to come.
The Cast
Malcolm McDowell at arrivals for Premiere of Rob Zombie”s HALLOWEEN, Grauman”s Chinese Theatre, Los Angeles, CA, August 23, 2007. Photo by: Michael Germana/Everett Collection. Depostiphotos
Malcolm McDowell
Malcolm John Taylor was born on June 13, 1943 in Horsforth, West Yorkshire, England, United Kingdom.
You can see him in a new movie that releases this year, She Will (2022).
Malcolm McDowell (born Malcolm John Taylor; 13 June 1943) is an English actor, producer, and television presenter. He is best known for his boisterous, charismatic and villainous roles. He was born in the Horsforth suburb of Leeds and raised in Liverpool. He later trained at the London Academy of Music and Dramatic Art before embarking on an acting career that has spanned over 50 years. (From Wikipedia)
First of all: Kubrick is not everyone’s cup of tea, and if you like Bruce Willis’ movies (with all due respect and even devotion), maybe Eyes Wide Shut is not a movie for you.
Eyes Wide Shut (1999)
What is about? It s difficult to tell in what was the last movie of its director, who worked in all genres and in this one he gets into the erotic-mysterious field. A doctor’s marriage is a bored and he meets an old friend who invites him to an exclusive party where something like Roman orgies are practiced….but without being Roman and with Venetian masks and capes (the movie won my heart for its cool aesthetic).
It’s a strange movie that leaves you with the same usual question when we talk about the director of A Clockwork Orange: what have just seen? What the hell was he thinking? Kubrick interrogates the viewer and he doesn’t give him the movie mulled over, he has to work on it a bit. Do we learn anything from A Clockwork Orange? Kubrick in movies is a lot and for some people he is something like a God. Other people (I would dare to call them ‘the classics’) lament him and feel something in their stomachs that is not good every time his name is mentioned. I am one of those who adore him and this movie is one of my favorites for its subject matter and aesthetics, for its narrative formula and because it is Kubrick: cold and dry, strange and fascinating.
In this movie, he goes deep into the sexual field, always so difficult to face in any work. And he does it successfully and with a different and complex glance, like that look he had as a good Englishman. It is said that he was half crazy and that he made the strangest requests, that he had to repeat the scene 20 times until everything came out to his taste (from my point of view, he liked to be a nuisance to the actors)
I recommend this movie for one single reason: the glance of peculiarity. You will remember it, you will love it or hate it or something totally different, you will watch it again and maybe you will still not understand anything but… once even I was flirting and, do you know what? I didn’t know why either, just like I don’t know why I love this movie that, aside from the capes and the masks, and the aesthetics, and the cinematography and the script and that it’s Kubrick… wow, so many things.
Gladiator is a 2000 epic historical drama film directed by Ridley Scott and starring Russell Crowe, Joaquin Phoenix, Connie Nielsen, Ralf Möller, Oliver Reed (in his final role), Djimon Hounsou, Derek Jacobi, John Shrapnel, and Richard Harris. The film tells the story of a fictional Roman general Maximus Decimus Meridius who is betrayed when Commodus, the ambitious son of Emperor Marcus Aurelius, murders his father and seizes the throne. Reduced to slavery, Maximus rises through the ranks of the gladiatorial arena to avenge the emperor’s death.
The film was released in 2000 to critical acclaim and box office success. It won five Academy Awards in total at the 73rd Academy Awards including Best Picture and Best Actor for Crowe’s performance. The film was also nominated for numerous other awards including four BAFTA Awards and two Golden Globe Awards. Gladiator revitalized Scott’s career and was credited with returning interest in entertainment centered around ancient Greek and Roman culture.
Gladiator is one of the most successful films of all time both commercially with grossing over US $457 million worldwide at its release as well as critically having an 85% approval rating on Rotten Tomatoes based on 227 reviews with an average rating of 7.9/10. The audience score shows a similar pattern with an 82% approving rating from over 521,400 users. It has had a lasting impact on cinema and culture, inspiring many subsequent films, novels and video games. In 2007, it was selected for preservation in the U.S. National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. The film’s influence can be seen in other media such as television series Rome and Spartacus: Blood and Sand which were heavily influenced by Gladiator.
Los Transformers vuelven con una nueva entrega, esta vez titulada Bumblebee
Bumblebee es la nueva entrega de Transformers (la sexta) y en el nuevo tráiler recién salido del horno podemos hacernos una idea de la espectacularidad de esta película dirigida por Travis Knight y escrita por Christina Hodson. Como siempre (pero sin Megan Fox, cachis), la saga que iniciara Michael Bay promete de todo menos aburrimiento: muchos efectos espectaculares, acción y aventuras.
La podremos disfrutar estas mismas Navidades y tiene que pinta que es para toda la familia.
Trailer de Bumblebee
Imágenes de Bumblebee
Bumblebee (Bumblebee)
Género: Acción, Aventura, Ciencia ficción Estreno: 15 diciembre 2018
Argumento: Sexta entrega de la saga ‘Transformers’, esta vez centrada en el “hermano pequeño” de los Autobots, Bumblebee. Tratando de escapar, en el año 1987, Bumblebee encuentra refugio en un depósito de chatarra en una pequeña ciudad en la costa Californiana. Charlie (Hailee Steinfeld), a punto de cumplir 18 años y tratando de encontrar su lugar en el mundo, descubre a Bumblebee, dañado durante una batalla y descompuesto. Cuando Charlie lo revive, aprende rápidamente que éste no es un VW amarillo ordinario.
Dirección: Travis Knight Actores: Hailee Steinfeld, Jorge Lendeborg Jr., John Cena, Jason Ian Drucker, Abby Quinn, Rachel Crow, Ricardo Hoyos, Gracie Dzienny, Kenneth Choi, Pamela Adlon, Stephen Schneider, Megyn Price, Peter Cullen, Jess Harnell, Glynn Turman, Vanessa Ross, John Ortiz, Len Cariou
Hereditary es una película de terror escrita y dirigida por Ari Aster. Con Toni Collette, Gabriel Byrne, Alex Wolff y Milly Shapiro.
Hereditary es una película de terror psicológico de 2018 dirigida por Ari Aster y protagonizada por Toni Collette, Alex Wolff, Milly Shapiro y Gabriel Byrne. La trama sigue a una familia que comienza a experimentar sucesos cada vez más extraños y aterradores relacionados con los siniestros secretos de su ascendencia.
Hereditary
La película se centra en Annie Graham (Toni Collette), una mujer que lucha por superar la reciente muerte de su madre Ellen, conocida por ser increíblemente reservada sobre su vida. Tras el funeral, la familia de Annie empieza a experimentar sucesos extraños, como cabezas de muñecas que se mueven solas y pájaros que se estrellan contra las ventanas. Cuando Charlie (Milly Shapiro), la hija de Annie, mata accidentalmente a otra chica durante una fiesta de pijamas, queda claro que algo maligno está actuando en sus vidas.
A medida que la familia investiga más a fondo el pasado de Ellen, descubren pistas sobre una organización ocultista que llevaba siglos practicando rituales que implicaban sacrificios humanos. Aunque al principio Annie intenta ocultárselo a su marido Steve (Gabriel Byrne) y a su hijo Peter (Alex Wolff), finalmente se da cuenta de que este oscuro legado puede estar relacionado con las fuerzas sobrenaturales que están en juego en sus vidas.
Heredytary
Además de su escalofriante atmósfera y espeluznantes efectos visuales, Hereditary también explora temas como el dolor, el trauma, la enfermedad mental y los lazos familiares. La película fue aclamada por la crítica tras su estreno por su agudo guión y dirección, así como por la poderosa interpretación de Collette como una madre emocionalmente vulnerable que intenta desesperadamente proteger a sus hijos de una fuerza desconocida que escapa a su control. Sus temas son especialmente relevantes en el mundo actual, en el que las familias se enfrentan a menudo a trastornos emocionales sin ningún sentido de la orientación o comprensión de lo que puede estar causándolos; Hereditary sirve tanto de señal de advertencia de lo que no se ve como de comentario sobre cómo estos secretos pueden afectarnos aunque no los comprendamos del todo.
Hereditary es una de las películas de terror más taquilleras de la historia, con una recaudación de más de 80 millones de dólares en todo el mundo frente a un presupuesto de 10 millones de dólares; también ha ganado numerosos premios, entre ellos varios galardones a la mejor película de terror de organizaciones como Fangoria Chainsaw Awards y Saturn Awards. Para quienes busquen algo más que sustos y buenos sustos esta temporada de Halloween, Hereditary promete un montón de espeluznantes emociones con su propia marca de terror psicológico.
Director
Ari Aster (born July 15, 1986) is an American writer-director, best known for the acclaimed horror films “Hereditary” (2018) and “Midsommar” (2019). He has also written and directed several short films, including “The Strange Thing About the Johnsons” (2011), “Beau” (2011), “Munchausen” (2013), and “Basically” (2014).
