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La mosca è uno dei film horror più emblematici degli anni '80 e uno dei più costosi di David Cronenberg . Ottimo remake dell'omonimo predecessore che in Italia venne riadattato con il titolo L'esperimento del dottor K , ammiccando forse alla metamorfosi kafkiana, alla luce degli esiti sociali e disatrosi di cui si intrideva il racconto fantascientifico con un efficacissimo finale degno delle tensioni e delle paure dell'epoca, cui seguirono altri episodi considerati non altrettanto all'altezza dell'epigono, ma lo stesso può dirsi per il film successivo The Fly 2 ad opera del truccatore Chris Walas collaboratore del regista canadese. A dimostrazione del fatto che non sempre gli autori del trucco o degli effetti speciali sono all'altezza dei loro predecessori più titolati.

La coppia cinematografica e al tempo anche nella vita reale Geena Davis e Jeff Goldblum è perfetta, perché al di là delle implicazioni mostruose ed orrorifiche della vicenda, in cui Cronenberg esalta ancora una volta le proprie visioni di commistioni carnali, genetiche e inorganiche, richiamando alla mente i primi suoi work splatter, creates a passionate and sincere love story between beauty and the beast with tragic implications for its protagonist and difficult choices for his wife, torn between revulsion and love for an individual who increasingly lose their humanity in order to achieve a purpose which will inevitably exist.

The fly is a further way to express their visions of Cronenberg and biomechanical changes that the body could be as malleable in his hands on a visionary author, now more than ever projected to areas seemingly more classics, but without sacrificing stimuli and perversions that look deeper than our inner nature.

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Ben Affleck is on his second attempt at directing and he gets much better as a director and writer and an actor, returning with the mind and eyes to the story of Will Hunting written duet with his friend Matt Damon in which he was also second lead of the story.

Well, here too our handsome Bostonian carves out a leading role, which should not strive to show off much in the emotive facial expressions, especially because good at being surrounded by a number of good actors in film and television, especially the trend that more In recent years, managing to make them interact on screen in a credible and functional history.

Affleck knows your city and you feel the same affection for the places and the people who compose it, managing to recreate an environment in which the popular element of the crime is lively and engaged in certain types of individuals that make up the human fauna.

Affleck film follows the style of robbery, failing to make a clean job, no flaws, which are not perceived excesses by the character of its protagonists, in which everything seems balanced and the final result shows how to make a film decent without mistakes or without wanting to overdo it at all costs.

A film that focuses on the sincerity of intent of its author and can be seen and this does not seem overly rhetorical, thanks to a director who can effectively represent the robbery, as much as movies like that teach criminal and suggesting the correct voltage and changes before necessary to take sufficient cause for the viewer's attention, despite the length of the film.

recollect now the curiosity to retrieve the previous film Affleck and see how it will evolve in the future his work behind the camera, surely more satisfying and enjoyable than before it, but in Hollywood there's room for everyone in the world acting.

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Full Time

A tempo pieno , un titolo che non riesce a trasmettere ancora una volta la sottile amara ambiguità del suo originale, ma per fortuna il film di suo vi riesce perfettamente, costruendo una progressiva, costante e quasi insopportabile angoscia per il suo protagonista, un uomo dedito alla menzogna verso i propri familiari e amici, per non rivelare la sua mancanza di lavoro.

Vincent (Aurélien Recoing) è un professionista sicuramente abile e preparato e non si comprende inizialmente il perché del suo vagare senza meta lungo le autostrade e gli autogrill francesi, telefonando alla propria consorte per raccontargli giornate fatte di incontri con clienti mai visti, sparsi per il territorio, as if nothing had happened, as if his home life is to continue smoothly, without smearing, not to feel the weight of responsibility, guilt, a failure that the company in any case recognize you when you no longer have a job because you are identified for what they professed and the second represents a specific social ladder and collar.

So with the passage of time Vincent, believed to be free, to be able to move free from everything and everyone, including their own lies and be able to safely return home to his family every weekend, he slowly finds itself having to terms with their reticence, with its well-hidden secret at all, because it is the family same force him in good faith or not to pose in front of a reality that does not seem to see or which can not escape, as the bitter end of apparent reconciliation with his life and aspirations evidence to suggest that the viewer.

Laurent Cantet director who is always shown an interest and an uncommon sight to analyze and disrupt aspects of our society, often linked to a key issue as the work, creating a work incapable of growing old can be constantly present, capable of affecting the heart and stomach through the representation of what is the meaning and importance of the work for us all and the primal need it sheets, to become the generator of a social mechanism that seems inexorably trapped and from which Vincent would like to get free, but awareness will be very hard for him to the point of fear for a final tragedy, but the silence, the reluctance, the interpretation , all of which are typical of French cinema, in a sublime developed by Cantet, the show inspired by a true story with adverse outcomes in reality, could become in the hands of an author, as the above, a universal parable of our times and each time when we can expect to live and work.

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The shot of the subway (A hostage per minute)

inevitable after his vision of a comparison with the having remake starring John Travolta and Denzel Washington and the subsequent appreciation of the original, not a nostalgic or simply because of sheer love for film, because at the time this film as a single run television that I remember not m 'curious, but after years it has become necessary to the recovery and the successful discovery of its superiority over the contemporary remake in some respects not indifferent.

First of all is the irony that pervades and convinces the element of this film, thanks to a priceless always great Walter Matthau compared with an able and conscientious Robert Shaw, actor known for his role of hunter sharks film Jaws by Spielberg.

Sargent's film has the right rhythm, the right ambience and atmosphere, and an appropriate cast to tell a story of tension that unfolds in a closed environment, demonstrating how a good idea to start and a direction effective to be able to make a story it knows to be biting and sarcastic at the right point, with twists that effective compared with the excess film coated spectacular win for Tony Scott's style and class. Scott tries to update the address of departure and try to insert obvious shadows against the figure of the hero of the moment, and letting the irony in the hands of the evil villain Travolta, who still does his job, but it is to reveal all of the doubts and rhetorical flaws that the original did not, demonstrating a happy time of the cinema of that time, some of which is regretted, but perhaps the audience will not be able to appreciate contemporary practice, unless the authors Tarantino film as this film seems to Serie B in the past is a great observer and lover, so much to learn and engulf cleverly rework ideas and archetypes.

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Zidane, a portrait of the 21st century

Not just a movie, not a usual documentary, but a portrait, as the title evokes, perhaps that is inserted in the video installation, meaning that it can often many to turn up their noses, raise taken away from an object film that stands as a hybrid between cinema, photography, storytelling, to the point of considering it a work difficult to appreciate due to the limitations or advantages that this type of storytelling and implies that only a few cases and contexts becomes the true work of art.

certainly not easy to pigeonhole a product, at least for this writer, which was fascinated by the way it is depicted an icon, remained largely in the imagination as simplistic as the one sport that has brought down his opponent in a World Cup final with a header for his fatal outcome from a competitive point of view. The

shadowing visual function by the authors of this alien object is a way to deconstruct a simple soccer game and a champion of the sport, following the movements step by step in close, almost obsessive way in which we are forced to chase the movements, gestures The sweat and the apparent difficulty, until the athletic movement, which is supposed, imagined only to be revived, but in an always antispettacolare, where you put thoughts and words that can be considered to belong to the sample or the authors themselves, in an arena that you receive just the sounds and noises, until the insertion of sharp and persuasive music of Mogwai , even when their music players a story that is not, as we usually understand it, thinking about a football game and maybe that is why I loved this bizarre object, which should be enjoyed as and when it comes to cinema or work in total, to the big screen .

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Ex Drummer

Ex Drummer is an intentionally disturbing film, perhaps too openly disclose this in its degradation of the Flemish province, but no one can deny the irony of that fund is not always apparent in that cinema in the suburbs and the degradation of typical film overseas, which makes me think first of a Larry Clark .

L'aspetto musicale del film è forte come il disgusto e il sudiciume di cui è pervaso il racconto, che punta volutamente al politicamente scorretto, rischiando di apparire troppo superficiale nei suoi intenti e di voler estremizzare a tutti i costi il proprio senso di neghittosità intrinseca per un mondo ributtante e assurdo.

Quello cui assistiamo è un viaggio in un girone infernale, volutamente intrapreso dal suo protagonista, Dries (Dries Van Hegen), ex musicista e scrittore di successo, che sfrutta la propria intelligenza e superiorità culturale ed economica per rimestare nel torbido e dare il proprio contributo ad un ulteriore e definitiva degenerazione di un contesto che appare destinato alla dannazione sicura.

Dries is a kind of antihero, but in the worst sense of the term and dingy, no less despicable character of the other actors, individuals with specific disabilities, humanly repulsive, which will give them a lesson and inspiration from which to draw its own history of success.

Perhaps most interesting about this film is the soundtrack, which are buried in the story that constantly progresses through delirious moments that find their synaesthetic climax in the long final sequence. A little reassuring portrait of Belgium, or better a part of it, through a care in his directorial style narrative deconstruction, which will surely disturb the viewer until point of disgust and fascinate him, swept up in a maelstrom of anarchy and absurdity that the film wants to be with his film language, but risking his goal of appearing too artificial and constructed.

In any case, a vision that remains etched in visual memory for the outcomes and intentions succeeded or not see the future, though perhaps does not add anything new on the western front of the human and social decay, though in the end I had a irrepressible desire to listen to the Mogwai.

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Desert Rose / Louis Ghirri /

The formal search for Elisabetta Sgarbi basic idea interesting and bold attempt to film making that film usually is not like the photo, but that is not fully convinced of this work is the final result, the attempt to deconstruct the images ghirriane, giving them a meaning, a personal vision, which transform photographs and almost transfigured that alone may be enough to give the viewer the feelings and emotions that the photographer with his shots and was able to send us back.

The use of voice-over from Toni Servillo, one of the best actors of our time cinema and theater and musical score by Franco Battiato can not move as they would and should. The result is a perceived over-construction of meaning impostata ed artefatta, al punto tale da non rendere le emozioni che le foto stesse da sole sarebbero in grado di comunicarci.

Sicuramente questo film invita e può invitare lo spettatore a recuperare le opere del maestro emiliano, che con la regista condivide quelle origini, come il regista Antonioni, richiamato indirettamente dal titolo e attraverso un'operazione di blow up e close up impiegata dalla regista ferrarese nel ripercorrere i paesaggi e le atmosfere impresse sulla stampa fotografica.

Non bastano quindi i testi del regista Sokurov, di Vittorio Sgarbi e Antonio Scurati a trasmetterci quel senso di desolazione che le fotografie dovrebbero darci, anzi, divengono un pleonasmo retorico che svilisce the message inherent in the simplicity of the shots of the master Ghirri figurative, transforming them into something else over the look and detecting retoricizza forever.