Suffers from attention deficit and dyslexia Percy Jackson's life easier at school and private life seems to go better, living with his mother, having never known his father. The reason for this becomes clear when, on a school trip to a museum, a teacher turns into a winged monster and threatens to kill him if he did not reveal where he hid the lightning of Zeus. Percy, a demigod, the son of Poseidon and a mortal and the time came for him to train to become aware of their powers.
The training will have to wait for, someone has stolen that thunderbolt of Zeus and all primal accuse Percy to unleash a colossal war between the big three brothers: Zeus, Poseidon and Hades.
Difficult not to see behind Percy Jackson and the deOlympians: The Lightning Thief attempts to give life to a great new movie saga that takes place (not so much in the hearts of fans as in the portfolios of manufacturers) of the now finished Harry Potter. Also deals with a number of books the same name, written by an American (Rick Riordan) and not by an Englishwoman, the movie just like the novel repeats the same situation potteriana of a boy who seems less talented than others but in reality destined to great things, who, accompanied by a friend and a wise and attractive close friend more sympathetic, committed to learning the secret arts of his rank and from time to time what is even more burdensome resting on his shoulders.
Similar to the one made for Harry Potter then the choice of how to make the transition from page to screen by giving the director right away to Chris Columbus (gi director of the first two films of the boy wizard and producer of the third), selecting actors for parts unknown protagonista and large gauges for the complementary roles and finally focusing more on action than anything else. The result for falling short of the stencil. Although there is Columbus at the helm the film never moves, unable com 'to give his characters motivations that will sound authentic and believable, and even in sequences most incredible sounds fake.
The only point of interest that differs from those of Percy's adventures of Harry, the fact that they take place in the real world and be strongly coupled all'attualit, full of references to contemporary obsessions. If in any Harry Potter disappeared indicator contemporaneit, nullified by the future prospects of the magical world traditional English, Percy Jackson Greek myths are folded American semantic universe. Are adapted not only the characters (Medusa runs a shop selling statues in the province, Ade lives like a rock star), but also geography, drawing a map of places all over Greece within the Stawe Emirates (the Parthenon in Nashville, the gates of Hades in Hollywood, the Olympians on the Empire State Building and the place of oblivion in Las Vegas). The result continues a wink to pop and objects of modern consumption as Apple and Converse can boast two of the best product placement ever seen, which overshadows the charm and mystery that should surround the unknown (for protagonist and therefore the viewer) the secret world of the gods of Olympus.

Angels – fighting among themselves or with the demons – were the protagonists of horror in a different more or less recent past. The Australian Gabriel – The fury of the angels of Shane Abbess of these, but the example perhaps most popular in The Last Prophecy with Christopher Walken in the role of Gabriel, the first of a small franchise (the following are four at the time .) Legion takes these issues and – with some suggestion from Terminator and, above all for aesthetics, fromI / recensione.asp? id = 29287th "> Matrix – develops them trying to insert some original ideas into a story rather simple.
Los Angeles, 23 December. God is tired of misdeeds and human on Earth has unleashed a legion of angels to bring the Apocalypse. The Archangel Michael, to not agree and want to save Humanity. In a shabby room at the edge of the desert, Paradise Falls, a group of people living their problems: Jeep is concerned about Charlie, the waitress single eight months pregnant, Bob, pap Jeep, is anxious to get on the local aided by the cook philosopher Percy; pending Jeep adjust their car, Howard held in check his wife Sandra, concerned about the high degree of disinhibition of her daughter Audrey, Kyle has family problems trying unsuccessfully to fix the phone. Everything seems decadent, everyone is worried about something, but without any positive momentum. Suddenly, radio, TV and telephones cease doperations. Gladys enters the enclosure, a sprightly old lady and gentle at first and then much, much less. Howard snapped his neck, the poor, warns all who are about to die. A cloud of insects appear on the horizon, then Michael arrives to face with the men the final test.
Use of a nice old lady, a bizarre ice-cream vendor and an angelic child in a more or less unconventional. Interesting desolate air, disillusioned, from old noir on the border, the location decisive for the fate of mankind. Guessed too apocalyptic and mysterious tone of the first third of the film, most gloomy that grandiloquent, as was the case in other examples of the trend. Then began the concessions to a religious-philosophical comparison pretty easy, a doctrine Bignamini considered it necessary for viewers who are not satisfied implicit. In this middle phase, the film loses its grip on the story it tells and frays in psychologymannered. The final section finds a certain liveliness, but conditioned by the use of classical iconography too in the portrayal of angels in the fight and a total surrender to the rules of melodrama. Between blows and shots wildly loses some 'sense of the clash of ethics, but it probably was not the purpose of the film.
Some effective dialogue: When a baffled Bob tells Michael not to believe in God, Michael, in return, replied that normal, not even God believes in him more. And this because God does not believe most nell'umanit and after the flood, now uses more ways slices and violent horror films in fact: the humans possessed by destroying angels are like zombies and besiege the lone local in the desert. Michael armatissimo and acts as a Rambo-worldly (the thing ironically underlined) fights for the men disobeying God because he has lost confidence in them. Lucky him.
The birth of a child as (re) naScythian hope for Humanity Draws The Seventh Sign, which, without shine, an approach was a bit 'more difficult to Revelation. Dennis Quaid suffered thickness d of the portrait of a failed seeking a ransom to his resignation. On TV his local damage Wonderful Life: other angels, other movies.

In town or you become arrogant or scoundrels: with these words describe Alex in a few minutes after which, needless to say, certainly not according to Vienna became arrogant. Out of prison some time before the beginning of the story, now is a driver for the boss of a brothel and made the terrible mistake of falling in love, in return, the prostitute's IP request. Together meditated flight for which he needs for a lot of money, because she seriously indebted. There 's just a way for Alex to get that figure and in a hurry: a robbery well done. Unfortunately, a small cog in the mechanism does not go the right way by affecting the flight of two lovers from the city and giving the story a second part radically different. In the transition from city to countryside (where the painit mulls cutting wood and has the shape of the giant stack of logs that results), the second of silence contrasts with the chaos of the first and becomes a film noir drama to two: the slow fighter that the self-avenger d the culprit her unsuspecting neighbor farm.
Prostitutes, gangsters and cops in search of redemption. No need to be American to run the excellent noir and not be able to copy them to do so in Europe. Revanche both a crime classic, which tells of gangsters and prostitutes on the run from a life in which impossible to love thanks to a last crime and a film of revenge that begins where the police usually ends. Director GTZ Spielmann (little known to us but on its shelves full of awards) is not fun at all to put in the hands of a violent man already convicted and the possibility of taking the law into his own without anyone to discover, indeed, at any time close metter highlight the contradictions inherent in such an act with the visceral fear of those who believe that everyone (including himself) there is a potential murderess.
They do not make concessions for anybody, the players all have one or more sins to confess and the necessity of atonement is based on their very sense of the story. The only ethics that peeps (see later if everyone agreed with it or not) that of many Christian symbols which are incumbent on the sins citizens to serve in the country and opposition Biblical logic (sin / punishment, guilty / justice, city / country, birth / death and so on).
Revanche a film that explores the sense of vindication and the responsibility for our actions by using characters and extreme situations, a work that can surprise you at all times relying on an impressive quantity of plot twists, each of whom has reason to exist for how to mix the cards again disassembling the certainties ofor spectators which, like the protagonist, we can only wonder what the ultimate goal of our actions and come to where our responsibilities to them.

A villa in the south of France A doctor, Samuel, and his wife, Suzanne, who decides to go back to work forty years as a physiotherapist. While following the construction of its new clinic, he met Ivan, a worker of Catalan origin, who was in prison and lives in precarious jobs. The passion between the two that leave all that Suzanne has to live with him, but the husband declares war and without any means of subsistence.
The English lover, impoverishing translation of the original Parties, sets no new theorems on the husband-wife-mistress triangle and not citing low as Truffaut, from which it borrows from a successful musicensione.asp? 22850th id = "title =" The Woman Next Door "> The lady next door, or Flaubert (also his wife Emma Bovary was a doctor), the film rises magically from its mediocrity. Not happens.
Yet it is precisely in the rejection of morality and melodramatic in its crude lucidit look of the film by Catherine Corsini finds his character. Certainly not in the love story between the woman and the proletariat, but the manner in which a vertex of this triangle, the square of the husband, is brought up out of shape, leaving the other two on the ground, literally. The director points his finger at the disadvantaged status of women, economic blackmail and (again literally) trapped in a film devoid of major subtexts, of course, would say almost superfluous, if not for an invoice tense and dry, which discards the boredom, and left for some interesting light emanatingto the pair Yvan Attal / Kristin Scott Thomas and allows, for example, the scene of hitchockiana husband who helps the woman who destroyed a drink to his feet.
But just because the deviation from the mel feuilleton already been made, even with the proposal of a heroine who refuses to cry on me, do not fully comprehend the choice of a final that was characterized by a female revanchism draft of that machismo antan represented by Samuel. Gesture compartment at the start, that the grand final is at pains to close, to stop a single possible interpretation, again dell'impossibilit and pessimistic view of the equation equals love equals madness destruction.

London. Jane, a beautiful woman and mother maintains an extra-marital relationship with Jasper said a broker in the City. Just as Jane and Jasper are together, is a tragic attack in central London where her husband and son of the woman killed. Jane, tormented by guilt, you do not want to resign to the loss of her son whose body is not made because apparently unrecognizable dallesplosione. Just when Jane now exhausted from the search for veritas, begins to believe the official version, Jasper discover that the damn day something very strange happened and that someone is trying to hide what really happened

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Student of an exclusive high school on the East Coast American, Robert a teenager who lives isolated and dissociated from the troubled world around him and falsely respectable. It shares the room with Dave, drug dealers and alcohol in high school, and a computer with which spends most of her time to download all the short videos posted online. Interest in the world of video led him to enroll in the course of audiovisuals, where it is responsible for implementing a project on the school. While he was alone in filming one of the corridors of the building incorporates the two girls most popular institution in the throes of a hemorrhage caused by a snort of cocaine contaminated with rat poison. The scene marks indelibly on the mind of Robert and undermines the appearance of the INwas educational institution.
Almost always within a functional film as narrative or as mere exhibitionism support technology, low-definition movies in the network actually have reconfigured the boundaries of aesthetics film no less than they have revolutionized the sociology of new media. Until now, the most interesting conversations on the subject were designed above all to the borders of genre films (especially with Redacted by De Palma).
Afterschool, however, tackles this theme with a look inevitable by independent authorities addressed directly to the world that the main producer and consumer of the small format: Adolescence. Not by chance, Antonio Campos began working on the vertigo that invests the universe of adolescents in their relationship with the Imageini already addressed by Gus Van Sant in Elephant, the difference being that instead of on the universes of synthesis and interaction of video games, Campos liminary to reflect on those realities to be sponsored by the small sizes of YouTube, from family home movies from porn subjective fascinatoria explosive violence of the everyday.
His way to turn, the long panoramic almost automatic, the defects of the fire, the sound muffled, they tend to call an identification with the young Robert privileged and the mode by which experiences the world. Robert a character who, like many teenagers, the reality is longing but unable to deal with it, so walking on the vague border between real and realism, between the world around him, so clear to dark as the dynamics, and the fruito across the network, where, on the contrary, the brutal evidence of the content supplants the clarity of the image.
Only the direct experiences of death and sex (united in the vision of the blood) led him to pass the filter of the camera and trying to understand by s the reality that surrounds him and the hypocrisy of the adult world dell'Uptown York. On the way, also the reflection of the young New York director becomes more complex, layered, with some falling into more sociological change, the discourse on dissociation of voyeurism new media with adolescent distress and corruption and the arrival of the institution school. Problems of varying nature and size bulky, but leave the red wire emergence of a fundamental reflection on the status of the cinematographic image, if this film is still able to compete with new media in shaping and conveying the real, or if younow only a place of celebration mellifluous, of asperit to smooth, refine the ginning of reality.

A dozen years away from harm The Blair Witch Project, Paranormal Activity another no-budget horror phenomenon of unimaginable proportions. Made with a budget of only $ 15,000 from a debutant director, has over one hundred million dollar collection in the United States. Like The Blair Witch Project, including Paranormal Activity, in the absence of means that enable the creation of horrors cinematogAFIC, has chosen the path to recreate the simple reality – or rather, lillusione of reality – and to let inside crept lorrore. Built in 2007, Paranormal Activity has caused the participant to a major label and, after a speech and assembly as well as cosmetic changes – pi deffetto and substance – to the finale, was released in theaters nationwide two years later.
The simple story and, in his assumption, leads to tens if not hundreds, of similar films. San Diego, California. Micah (Micah Sloat) and Katie (Katie Featherston) are engaged and living together. Katie has a long and strange history of alleged contacts with unentit supernatural seems to follow since he was eight years old. Micah skeptic, but wants to help. Before making the entire film – the camera pointed at them even when they sleep – so you can capture leventuale presence. The film then presented as if it were a montage of filmats Micah. A psychic, Dr. Fredrichs (Mark Fredrichs), visit their home to see if c something. Katie explains that unexplained phenomena happen: flashing lights, valves that open and close by themselves, and so forth. Fredrichs understands that the issue resolved Devessere l, not enough escape: lentit chasing Katie everywhere, as was already done. Fredrichs distinction between ghosts and demons were human ghosts, demons do not. He knows how to deal with ghosts, demons while serving a demonologist: make a better call. Instead, Micah tries to contact the daemon with a Ouija-board: just what Fredrichs told to avoid, not to provoke.
Shooting is deliberately amateur, with an excess of movements from seasickness that perhaps even the amateur camera do more. But it serves to give the lillusione Ver. Unknown actors, internal any: the secret of the representation of reality in the search dthe simplicity of banalit. The house a normal modern house, with nothing to obscure, old, gothic. a house like those in which we live – in fact, the house of the director – and a background of quotidianit the story. There music, except the diegetic. Again, this serves to create lillusione of reality. Despite its slowness, the film oddly fascinating. Create lintimit with small things, giving the viewer the sensation of looking through the keyhole, a pair helpless sullorlo of a precipice. The initiative very quiet, full of playful banalit of married life. Gradually, but without haste, latmosfera is more heavy. Little things happen in an ever more convergent, until the final precipice when lincubo takes over. The entire of the two protagonists sometimes petulant, but remains probable. Both performers are spontaneous and credible. One thing that emerges strongly in the loneliness of two boys in frontthe evil spirit. No one wants or can help, the sensitive if the beats as soon realizes that this is not the fooleries it deals usually. The concept that goes – common to other horror – that we should not provoke the demons if you do not want you incavolino bad.
A film like this you can forgive the flaws dellinesperienza and some slow. You will appreciate the concept, the novelty of the particular type of approach and the bravado of it done in practice, albeit with a reduced budget cos. And indeed, perhaps the budget to have sharpened lingegno and suggested lapproccio. The story always that it's way of telling that different and original. Not a scary movie, a film that arouses curiosity, that makes you interested in the vicissitudes of the protagonists, more and more immersed in a world that becomes gradually more and more hostile and alien. And the ability to entertain and involve not just a quality.
You will not pisleep does the advertising. Quiet to sleep will continue to sleep. Limportante that it is done to the cinema and Paranormal Activity no favors.