What Is The Worst Wegie

Salt Phillip Noyce-Cold War feels warmed over.

If Phillip Noyce's film has already dabbled in espionage in the past ( war games, imminent danger), this time he swapped the old Harrison Ford for the inexpressive Angelina Jolie. But preferring plastic actress on her script, the stacking sequences of action to the coherence of his narrative, Salt to ambitiously eyeing the trilogy Bourne but failed to inject pace in his narrative disjointed and outdated. Salt

Evelyn (Angelina Jolie), works for the CIA. High-flying spy, experienced and patriotic, she divides her time between her husband and his clandestine activities. When a Soviet dissident was arrested and put in question, an unexpected side of his personality emerges. Salt would have an agenda somewhat unexpected assassinate the Russian president on behalf of former KGB members. Escaping while his former American colleagues, she embarked on the execution of his murderous mission.

Synopses of spy films are characterized rarely by their originality of treatment, but by the ingenuity tortuous scenarios. If primers are mostly expected, gears narrative often wonder. Salt Fishing unfortunately an excess of laziness or trapping to surprise the viewer. Echoing the classic hero's frame considered guilty (but is it really?) Who has no choice but to flee, Salt follows the trail (again) of his predecessors fought without them stand out, nor even reach the level through such requirement. Mixing sequences worthy of Die Another day Salt is mistreated in North Korean jails, car chases where all transports make up the numbers (Mrs. Pretty jumped from one truck to a motorcycle, a car in a subway), Noyce's film 's apparent to a patchwork of déjà vu, but the seams too visible, poorly sutured, deeply bored.

Heroin, introduced as American spy, did an about face without preamble or logical to make the features of a high Russian bottle of the Cold War, no other aim in life than "destroy America "(the passage from east to west, nice / nasty be explained by fading from blond to brown threatening naive). Implausible, this reversal is expanded by mawkish flashbacks where we learn among other things, that Lee Harvey Oswald was the first agent of a larger project of destabilizing the U.S. (!) Or the Soviet indoctrination of children into potential terrorists. The processing of these memories, all in pastel colors a bit fuzzy, bordering on poverty (or even unintentionally funny).

interspersed dezincification bodybuilder any azimuth and a multiplication of twists and other changes in the camp, Salt is lost in a narrative gymkhana more unreadable. The character's motivations (revenge) are, for example, never justified. If we add to this opposition between East and West totally outdated in 20 years, a subtle interpretation in any frowns supported and fixed grimace (reducing the actors to pantomime bland), we get a movie without suspense (and yet many bends narrative can at least surprise) and tasteless (from the title, you feel cheated).

Salt dares even a final fishtail that casts a dark omen in a row (s) possible (s). Salt resembles those franchises that hope died in the egg as a second component would amount to a déjà vu ca. Straw!

Posted: http://www.critikat.com/Salt.html

Promo For Garret's Popcorn

Let me in. Matt Reeves- Knock Knock ... Apples by Richard Milward

strange object mimetic Let me in looks like a replay of the bland and disciplined masterpiece of Swedish multi award-winning in festival, Morse. Matt Reeves (Cloverfield) takes up the frame, the atmosphere and twists that have made the critical success of the original to provide a copy / paste altogether honest but without any appreciation or emotional, or plastic. But why a remake?

When Morse was released in 2008 on the screens, the phenomenon known vampiric unprecedented interest (Underworld, Twilight series True Blood and Vampire Diaries. ...) But the little Swedish film, despite critical acclaim modestly fails to attract the public hall. They had not reckoned American opportunism. Sniffing the potential Morse (a vampire movie tweens who fall in love, to really short), producers alpaguent a bankable director in the person of Matt Reeves, and the remake is underway. Less than two years after the original, then copy arrives on our screens.

New Mexico, 1983. The existence of Owen (Kodi Smit-McPhee, the boy from the Road), mid-mid-adolescent child, divided between the bigotry of her mother, sometimes violent ridicule he had suffered at school and extreme loneliness that never leaves. Spending his time to snack on sweets alone in the courtyard of his building, he made one evening met his new neighbor, Abby, taciturn young blonde (the kid killeuse Kick-Ass, Chloe Moretz). Through a friendship turns to love, Owen discovers the terrible secret of the girl, belonging to the race of vampires.

Abandoning the linear narrative construction of the original, which invited the viewer to a viewing apneic and a letting go emotionally, Let me in fact the choice of a scenario more suited and far more dynamic. Starting his film as an action, Reeves offers an opening scene, all in a handheld camera, close-ups and indistinct epilepsy and begins thus artificially pump suspense. The public, parachuted from a random episode about which he knows all the ins and outs, saw his curiosity and fueled his desire to understand exacerbated. But the pace blown into the first few minutes to evaporate the moment a long explanatory flashback takes over. It was then discovered Owen, struggling with her daily in the heart of the snowy winter of New Mexico (perfect echo the decor of Sweden immaculate original). The flabby he shows resonates with the slow pace of construction of the relationship between him and Abby. He is shy, she is fierce, their environment hostile. Like two frightened animals, they observed and not allow themselves to win the trust only after a long prelude.

If the throbbing rhythm Let me in offering the viewer the time of immersion, without being bored, the atmosphere in the world of actors, unfortunately, with heavy weights. Vampire movie requires, the director must have thought a mandatory physical metamorphosis of Abby when she eats. The hunting sequences are similar then to an unlikely mix (and undigested) from The Grudge to the mobility of the monster and the Exorcist for his appearance. Abby is because under the camera Reeves, a monster. While reports of the characters tend to erase their racial distinctions to focus only on what they feel (to Abby's question "Do you love me if I was not a girl?" Owen invariably answer "yes"), the passages vampire away instead of Abby human status. This highly differentiated treatment of the character of Abby makes it difficult public compassion for the girl and almost impossible the credibility of this love story. As the decorum of New Mexico, he retains the winter atmosphere isolation (the whiteness of the snow as a symbol of virginity doomed to disappear in the blood), he errs on the side color. Far from the triad colorist Morse (white, red, black) who built the open space of the courtyard of a building (the geographical heart of the story) instead highly intimate and poetic, let me get crushed by the symbolism of the orange lights , lessening the surreal nature of these appointments.

Worn by young actors at the edge of their sexual awakening, the vampire myth is so special in that age the best setting for his speech. Mined of unconscious wishes, impulses of death, violence returned, the two heroes operating in a world where adults are absent. Unable to support herself, the father of Abby (a former lover who has grown old while remaining in the service of his beloved) fails in its role as purveyor of fresh blood. Owen's mother, divorced, is struggling to raise her child so much so that the camera does not pick up. Blurred, or back view from a child, it symbolizes the idea kindergarten without ever reaching the truly embody. Left to themselves, the "lovers" experimenting vampirism as a transition to the age of reason; Abby sanguinarily becoming autonomous, emancipated Owen family of religious dogma.

For if Reeves has learned a lesson Morse is undoubtedly its allegorical significance. With this "discovery", he clumsily tried also to print a subtext to the film, but not subtle means. Where poetry surfaced and the notions of Good and Evil were constantly displaced invalidating any corporation, let me get used heavy artillery: the speeches of Ronald Reagan moralists in the background, the prayers of mothers everywhere ... So pitting realism primary evidence of the inability of the director to think his audience able to perceive the invisible, feel the unspeakable, to believe the impossible.

The "remakage" has its good points (Piranhas) but Americans have become accustomed in recent years to a low quality Stakhanovism Replay (Dark Water, The Ring and soon Old Boy or Battle Royale). Let me in clearly belongs to this category. Filmed without originality or passion, the film distract those who were unaware of Morse and revive, for others, the desire to see him. It already better than nothing ...

Posted: http://www.critikat.com/Laisse-moi-entrer.html