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.