Posts Tagged ‘Posters’

Laberintos

julio 24, 2016

Defiled
Mark Kostabi, 2007.

Defiled

 

Now You See Me 2
(2016)

Afiche de Now You See Me 2

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Spectre

noviembre 14, 2015

Spectre. En la primera mitad, me estaba gustando mucho. Ya me estaba preparando para proclamarla como la mejor Bond de la era Craig. Me gustó que tuviera una onda más pulp que sus predecesoras, pero con un enfoque contemporáneo (se nota ahí la mano de John Logan en el guión). Lamentablemente, la película se estira demasiado después de la primera mitad, hay escenas que se sienten como relleno y la trama se hace demasiado predecible. Y está ese recurso barato de Sam Mendes de hacer que todo tenga que ver con el pasado de Bond para así supuestamente darle más profundidad a la historia, lo cual nunca me ha entusiasmado. Blofeld termina siendo decepcionante; de Christoph Waltz se esperaba una actuación con un carisma equiparable al mostrado en Inglorious Basterds (era lo que se necesitaba, como señaló Antonio Martínez en su acertada reseña publicada en Wikén), pero el guión no le da diálogos ni momentos que estén a esa altura. Y no me gustó que algunas escenas de acción se resolvieran de modo algo bufonesco, no calzan con el tono del resto del filme y peor aún, como que demuestran flojera por parte de los realizadores. En general el filme es entretenido, incluso con muy buenos momentos, pero me parece que Skyfall (que encuentro sobrevalorada) está mejor estructurada; y que Casino Royale sigue siendo el mejor filme con Daniel Craig como James Bond.

Afiche de Spectre

Una Estatua, Tres Portadas y Un Afiche.

marzo 2, 2013

Abraham Lincoln
Daniel Chester French, 1920.
Lincoln Memorial, Washington D.C., Estados Unidos.

Monumento a Abraham Lincoln

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The Phantom #1
(Fecha de portada: marzo de 1989)

Portada de The Phantom #1

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Doom: The Emperor Returns #3
(Marzo de 2002)

Portada de Doom: The Emperor Returns #3

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House of Cards
(2013)

Afiche de House of Cards

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2000 AD prog 1821
(Fecha de portada: 27 de febrero de 2013)

Portada de 2000 AD prog 1821

One Plot, Two Movies.

julio 26, 2012

Afiche de AVP: Alien vs.Predator……..Afiche de Prometheus

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A multimillionare who is close to his death and whose last name is Weyland, gathers a multidisciplinary team to undertake a very expensive expedition to a very far place, with the purpose of investigating signs of contact between extraterrestrial beings and humans on Earth centuries ago. Expedition members make an amazing finding about mankind’s past, while encountering very dangerous creatures. A massacre ensues, in which Weyland is killed by an extraterrestrial. At the end, only two characters remain alive: one of them is a human female, while the other one is not human.

It could be a description of the plot of AVP: Alien vs. Predator. Or a description of the plot of Prometheus.

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Un multimillonario que está cerca de la muerte y cuyo apellido es Weyland, reúne a un equipo multidisciplinario para que emprenda una costosísima expedición a un lugar muy lejano, con el fin de investigar indicios de que seres extraterrestres tuvieron contacto con humanos hace siglos en la Tierra. Los expedicionarios realizan un impresionante hallazgo sobre el pasado de la humanidad, a la vez que encuentran a criaturas peligrosísimas. Se desata una matanza, en la cual Weyland es asesinado por un extraterrestre. Al final, sólo quedan vivos dos personajes: uno de ellos es una mujer humana, mientras que el otro no es humano.

Podría ser una descripción de la trama de AVP: Alien vs. Predator. O una descripción de la trama de Prometheus.

Fearful Symmetry

mayo 19, 2012

Afiche de Batman Begins          Afiche de The Dark Knight

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The Dark Knight examines the effects of terrorism in a society, at the physical plane as well as at the psychological, moral, ethical and political ones. It was released in 2008, but it could be speaking about the USA of 2005.

Batman Begins shows a once prosperous and thriving community, currently sunken into decadence, hopelessness and corruption, because its wealthiest members, instead of acting with social responsibility in order to fight the effects of a great economic crisis, have turned its back on the rest of society, as a result of their apathy and greed. It was released in 2005, but it could be speaking about the USA of 2008.

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ATERRADORA SIMETRÍA

The Dark Knight examina los efectos del terrorismo en una sociedad, tanto en el plano físico como en el psicológico, el moral, el ético y el político. Fue estrenada en 2008, pero podría estar hablando sobre los EEUU. de 2005.

Batman Begins muestra una comunidad otrora próspera y pujante, actualmente sumida en la decadencia, la desesperanza y la corrupción, debido a que sus miembros más ricos, en lugar de actuar con responsabilidad social para combatir los efectos de una gran crisis económica, le han dado la espalda al resto de la sociedad, llevados por la apatía y la codicia. Fue estrenada en 2005, pero podría estar hablando sobre los EEUU de 2008.

Una Portada y un Afiche.

mayo 6, 2011

Detective Comics #457
(Fecha de portada: marzo de 1976)

Portada de Detective Comics #457

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The Next Three Days
(2010)

Afiche de The Next Three Days

Un Afiche y una Carátula

octubre 4, 2010

A Nightmare on Elm Street Part 2: Freddy’s Revenge
(1985)

Afiche de "A Nightmare on Elm Street Part 2 - Freddy's Revenge".

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Charly, Días de Sangre
(1990)

Carátula de "Charly, Días de Sangre".

Un Afiche y una Portada.

septiembre 25, 2010

The Exorcist
(1973)

Afiche de The Exorcist.

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Justice League America #27
(Fecha de portada: junio de 1989)

Portada de Justice League America #27.

Up y la UP.

septiembre 20, 2010

Afiche de Up.

Afiche de la UP.

Logo de Up.

Logo de la UP.

Carl Fredricksen.

Salvador Allende.

¿Podría decirse que Up es la película más “revolucionaria” de Pixar?

Der Untergang.

octubre 7, 2007

Soviéticos sobre el Reichstag

Most daring picture I’ve seen in quite a while. No wonder some people hated it. It’s good that a German made it because otherwise it wouldn’t feel right (and probably wouldn’t have been as good). Probably if someone made a movie about some conflicting chapters of my country’s history, I’d hate it no matter how well it was done. But in the case of Downfall (Der Untergang), I have enough emotional distance to say I liked the movie a lot.

The movie is told from the point of view of the main two groups in which Berlin’s population was divided during the Russian assault: those who fought on the surface (military and civilian) and those inside Hitler’s bunker (high-ranking German officers and Hitler’s personal staff). But the point of view doesn’t come from these people’s ideology, but instead focuses on their human condition. That way, the movie dares to feel compassion about these human beings who made a terrible mistake and now are paying the price.

I read that Wim Wenders hated that Hitler’s corpse is not shown, because it was like granting the tyrant his wish. Before watching the movie I tended to agree with him, but after seeing it I think the choice of not showing Hitler’s corpse makes sense from a narrative point of view: the guy must have been bigger than life to those in the bunker and since that part of the movie is told from their point of view (especially of his secretary), it seems fitting that they would treat the corpse with respect. Exposing the corpse would seem gratuitous, no matter how much we dislike the guy. I’m not saying that I know more about filmmaking than Wenders, maybe he’s right, but I think I kinda understand why the corpse business was handled like it was.

Berlin seems a very close representation of hell on Earth: a place without hope. At some point near the end, when Russian victory is imminent, one German guy asks another who had been making plans to commit suicide (paraphrasing:) “why are you so obsessed with killing yourself?” and the guy replies (paraphrasing again:) “why are you so obsessed with staying alive?”. Religion aside, both questions seem equally valid in that situation.

I liked how the movie creates a surreal atmosphere without any aesthetic excesses: the parties, Eva Braun’s smile, Hitler‘s plans for a counteroffensive, the suicides, the children-soldiers, the people hanged in the streets by the nazis near the end of the battle. There’s a scene in which Hitler is seen wandering the bunker in the dark and he looks like a ghost.

The surrealism affects also the moral plane. I liked the way it’s shown how the circumstances blurred the distinction between loyalty, honor and madness, like when Hitler’s secretary says something like “my family told me not to get involved with the Nazis. How can I go back to them and say ‘when things didn’t work out, I realized I was wrong?’”. On the other hand, at the beginning of the movie, all those guys leaving Berlin to, supposedly, fight on the frontlines or prepare the resistance somewhere else or whatever, seem like rats fleeing a sinking boat.

There are some touches of humor throuhgout the film, but they are not gratuitous; like the rest of the movie, they reflect the darkness and madness of the final days of the Third Reich. And they’re not only clever and insightful, they’re funny as well.

In some parts of the movie Hitler seems like an antenna that irradiates madness to all those around him, and it feels that, like Sauron, he has to be killed so everything he has created fades away and the war can really end. But this doesn’t mean that the movie makes Hitler the only responsible for the Nazi horrors and doesn’t acknowledge the responsibility of the German people in general. There are at least two scenes in which a character (a different character in each scene) says something like (paraphrasing:) “the German people gave the power to the Nazis and now they are paying for it”.

In my opinion, an awesome movie, but I can understand if others think otherwise.

Der Untergang.


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