Kirk Kettner a thin, awkward boy, employed as a security guard at the airport. Order has experienced in managing a disaster at work in private life, where planted by a nagging girlfriend. Believes to be destined for a life without love, struck at the checkpoint by Molly, pretty, blonde and decided to say, s to him. Saved by the sexual harassment of her boss, Molly was overwhelmed by the kindness of Kirk and decides to give him an appointment. A hockey game and a romantic dinner after the two boys fall in love to the amazement of friends and family, who believe The Union of unlikely beauty and ordinariness. Ups and downs, including flights and flights to be taken to spare, Kirk and Molly win perplessit and skeptical, and strike obstacles.
Opera firstto Jim Field Smith, you too much for me a romantic comedy that reflects on injury induced by beauty or dallesserne free. The two main characters embody the beautiful screen and nerds, living conditions contrary (yet discover compatible) that undergo the same treatment in the film. The successful debut of British director working in Hollywood called the court sullaccoglienza reserved from the world to those who are ordinary or extraordinary. Kirk the most gentle and timid boy in the world that carries gravity limpegno an indifferent face and a low profile, Molly, a refined young woman who instills in the fullness of the flesh a heavy white Levit. By accident or chance meeting in a non-place, laeroporto which occupied him, and love against all convention, which wants the nerd, introverted misanthrope and pupal prey deletion guy on duty.
In fact, according inflexible gender-click, and Molly Kirk personifiesano the couple that can not be together. Nelleccezione, which violates the rule set by the romantic comedy, this film is then leccezionalit working elsewhere for the parties to fall in love to ignore. To credibly compare the two worlds, Kirk must necessarily learn to be more attractive than ever and Molly estimated to be less perfect than it has ever been found. The search of the measure and the attempt to balance the disadvantage of the lovers or to reduce the advantage of producing a play based on some ideal relationship and dallaltra comicit a lowly corporal, which seems to pay homage to the politically incorrect film of the Farrelly brothers.
In the end you will be too much for me to play to supplant the comic. Kirk will assume responsibility for growth beyond the condition of children of single eternal nerd. And his next erection suppressing want with her to the blondemost of the red sunsets.

Sicily, 1905. Frederick reluctantly studied medicine and dreams with all my heart to write love stories for the cinema, a wonder of light that reflects life on a sheet. Moved like his countrymen by the magic of cinema, Federico suddenly abandoned his studies and stage manager for Don Gennaro Pecoraro, vicious Neapolitan manufacturer decided to produce a film all its own. Tired of trains arriving at the station and exit of workers from factories, Don Gennaro commissioned the boy discovers a story that itchy 'aspiring actresses and generous pardons. Inspired by the biblical bathroom Casta Susanna Frederick chose to immortalize the meat of the beautiful Marianne, witch cheats illiterate washerwoman and a writer of Turin. The success of the filmcreer many problems leading to the unconscious, additives and disgraced the country at least until u'mbrogghiu nt'o linzolu will not be revealed.
Taken from the novel by Francesco Costa, The cheat sheet in recovers and tells the light of Lumire and wonder who produced the first spectators. Ten years after the first images projected in Paris in the Boulevard des Capucines, cinema landing in Sicily and love to tears peasants, housewives and urbanized province, warned that uncontrollable impulse to get up from chairs to avoid a train to plunge him. Directed by Alfonso Arau ( A Walk in the Clouds ) and produced by and starring Maria Grazia Cucinotta, the cheat sheet in the set in the Italy of 1905, when cinema could finally have a viable, appears ontbsp more refined, a wide and varied repertoire of films, taking their revenge on the spectacle of art varies as to occupy the entire space program, and causing the transformation of many local varieties in actual movie theaters.
Not showing any sense of awe or inferiorit to vaudeville, cinema integrated successfully leveraging, as Gennaro Ernesto Mahieux, itchy and so on shows promising than those offered by dancers and singers from the French name who appeared live . Replaced by females of lights, the star turn of pace and gave the scene an appearance rather than its actual occurrence. The cast of Susan Cucinotta embodies one of those shadows that galvanized the public male tickling voyeuristic curiosity.
Against the backdrop of a land suspended between legends and superstitions, Arau runs a popular melodrama that is expressed in aa didactic and declines (and squandered) the potentialities of the subject nell'ammiccamento itchy and affected. While maintaining a level of sobriety visual, Mexican director fails to infuse vitality to the flows on the sheet.
Storaro's photography is not sufficient to resolve the question of depth and time, however noble suggestions of a modest movie that betrays a clear vocation for television and show little awareness of script or momentum interpretation. An exception is the performance of Ernesto Mahieux and Giselda Volodia, aristocratic beauty to be promoted to leading roles.

Ben and Andrew, a former college friend, not seen for ten years. Ben is married, has a house with a garden, a machine in the garden and dream of a child. Andrew travels the world on two wheels, has many women, many artistic ambitions and little desire to grow. One night Andrew reappears in Ben's life, sweeping like a hurricane. Firmly convinced to return to its bad Lamiche bourgeois street, invited him to a party Dionysian and the challenge to shoot a pornographic film. Andrew decided to show his newfound ruthlessness and deal with its alleged omosessualit, Ben agrees to have sex with him in front of a digital camera and into a room Dalberg. But things did not go exactly as planned.
Humpday comedy independent/ Em>, Film minimal inhabited by few people and made of small rooms, which addresses the emotional and sexual aspects of unamicizia long ten years. The young filmmaker Lynn Shelton is measured by the injury and lomofobia, using subtle tones and perfect comedy timing. At the center of the film there are two men trying to cope with their omosessualit latent or apparent, with the fear of a desire for someone of the same sex, against what is considered desirable and fair by prevailing social conventions. It matters little if Ben and Andrew discover or confirm their omosessualit instead of being hardened heterosexual, what really matters The intention of the director and actors, to enter personal or institutionalized discrimination, raising the great removal. The return of a repressed wish in the form of a beloved friend, produces in the life of an earthquake and Ben leaves behind a new s and frtile imbalance. If the front of the complex sexual crosses British cinema is moved first, producing sharp comedies angry and socially, lautrice American model assumes full of comedy friendly, serene, suspended, creased, focusing on the romantic movement of the characters and design their private lives. Away from the drama or parody, Humpday is an interesting choice of field, claiming the right to unordinaria quality of storytelling that goes beyond the reassuring protection of social and emotional standards. Actors, Mark Duplass and Joshua Leonard, falls the task of taking the pain latent and slightly livid that runs under the skin of young and best American comedy. Stripped of clothes and the embarrassment, Ben and Andrew find that Lamoro not mean to be together but allaltro Juno next.

On the way a man and a child behind a cart and proceed in a "dark night most of the dark gray and one day more than the past." A fallout has turned off the colors of the world, perhaps an apocalypse or nuclear war has ended nature and its creatures, trees fall, the birds have lost the intention of flight, the sea has exhausted the blue men do not dream more and eat men and cruelty. From the past into a future that is not seen moving a father and son, weather resistant and the onslaught of desperate people with two shots in the barrel and the fire of love. Traveling south, the parent tells the child his life in color, full of music and the sweetness of his blonde mother, swallowed by the night and fear to survive. Along the waythe boy explores his humanity, by learning the knowledge of good and evil.
Within minutes and a handful of shots to give the viewer the sense of a work that embarks on a road closed in the obsession of a father and concentrated hard in parenting. Transposing the visions of desperate Cormac McCarthy, director John Hillcoat, places the parent-child relationship in an extreme world, a post-apocalyptic environment which will never be anything other than the information contained in the look, in thought or in dreams the protagonists. If by no country for old men , the Coen have proved that cinema can work McCarthy's literary universe, the Australian author subscribes to this commitment and compares appropriately with art, compact texture and the solemn words of the scrittore of Rhode Island.
Do not share the literary matrix Country for Old Men and The Road films are intimately linked with the drying up of moral logic as the first cause (and premise) of the second. The storm of violence, money, drugs and hedonism that strikes sull'orizzontalit great plains of Texas, the inevitable decline of the country that stops beating Sheriff Bell Tommy Lee Jones , accumulate and explode, leaving a vacuum, ash and silence fatal. But whether the road movie was the Coen desaturated feelings and pathos, whether in Texas without their fathers are more clear rules could only conjure in dreams in America dismantled and stripped of Hillcoat advances irresistible unconditional love that involves two protagonists, resisting failure of loneliness and hunger pangs.
The basis of their feeling c 'the ability toshare, the courage to face the avversit activating its human resources. Viggo Mortensen, once more emotionally attached to the dramatic situation, a father "always on the field" marked by urgency and sweetness, a parent who says, evoking Flashback "color" intense moments of life "navigation," still a source of ( in) training and knowledge for that child that turns from a passive object in the epilogue of "cures" to emancipated person, advanced, civilized.
A child who is magnified in his presence and in the last foreground leaves off America, a world where the ruthless survive but where you can (again) choose to abandon life and stay alive.

Two brothers, Joseph and George. Two teenagers grew up without a father. Giovanna their beautiful young mother, who are jealous like their women with whom they live and work in a home nestled in the vineyards of Sicily, archaic and hard in the early sixties. A beautiful and sunny country of Sicily. In, their best friend, the son of pharmacist and doctor in the country, which combines no good, wasting the money of his father playing cards. The young lover Jeanne, beautiful and a little 'thug who disappear into thin air after a clash with the jealousy of Joseph and George. The father of the lover, that desperate and obsessed, never stop for twenty years of search for the missing son in the house of the boys, to become mad. The incident that rnder blind George, that will grow with more side his brother, becoming dependent on him for everything, even for love. Catherine, the secretary of the Director of Fiat killed by the Red Brigades. The girl who know the two brothers from large to Turin, where they went groped for an operation to George and that will live with them in Sicily. Love both, but in a different way for her to choose to be alone with one of them, dividing them dangerously. The crisis of wine, with farmers in the knee, and starved organized by Joseph barricade blocking the road, having become aware of observing the workers strike in Turin. At the barricade where you lose life, come to support his friend and peasants at the hands of the Commissioner that, firing a pistol into the air to soothe the soul, strikes, pushed behind, the poor boy and all the remorse avr life, even attempting suicide.

Manuel Rodrguez, better known as "Manolete", a famous bullfighter. And so a man, austere, of few words and dallaspetto desperately sad season of bullfights Manolete travels steadily arena Arena. Lupe Sino, however, a beautiful woman, frank, proud, sensitive and with a troubled past behind. Before you fall in love with her, the bullfighter had only one goal: to become famous. Thanks to Lupe, Manolete seems to have found a new purpose in life, but unombra rests on the two lovers. Manolete's death while Lupe love love of life. Lupe teaches the matador to love life and at the same time, fear death.

He saw many things in his life Bad Blake, famous country singer from the past and the present in cigarette smoke and drowned in bad spirits of the local province where he appeared for a few dollars. Saw 4 weddings, a pupil who was playing in his band, and now rich and famous but which will not open the concerts, endless landscapes of the Texas prairies and an impressive number of motels. At 56 years suonatissimi his life could end at any moment, if they overcome before the health will be the debts, and he indeed does not seem to care much. At least until he meets Jean and Buddy.
The country music made by a few chords that are repeated, in which the originality of harmony does not really count as words and interpretation. As for the blEsman, a good country singer has lived and that life ends in the songs. We are not so far from a sure way of making films in Hollywood, where on patterns and dynamics that repeat the same from film to film themselves often engage interpretations or changes can make a difference. Cos for Crazy Heart, modeled on the traditional tale of the rise and fall according to the myth of the second occasion (as we had already seen recently in The Wrestler), although not varying considerably from the expected trap knows the story of a man voted to self-destruction in a speech on the biggest American pop culture as seen through his music. It does this through the commitment and dedication to the work of a very good Jeff Bridges, as always, but this time more in evidence than usual.
Seeing a film like this without knowing the culture country, withoutunderstand the lyrics sung with a dub that undo all the work done on the dialect of chasing real violence towards a work on this to give authenticity to the parable of a smashed all-American, a singer, "which was great "and that now goes on to cigarettes and alcohol. For if Bridges has a face that is convincing and authentic to their character around as has a cast of actors from the first floor, clean faces from Hollywood that impair him in provincial and vulgar characters who do not help to soil this story of true desert dust scaldacuore .

a summer day in 1992 in Bologna. The wedding of Luciano Baietti (Christian De Sica) and Flame (Laura Morante), already parents of two children a few years, is consumed hastily. Just time for a drink in paper cups and groom in the company of a strange character with a bunch of documents on which the bride abuts his property. Years later, today, the two children are grown up: the eldest, Paul Baietti (Marcello Maietta), working in a restaurant in the center and hates that father disappeared into nothing more small son, Archie Baietti (Nicola Nocella), good and generous, he studied film and lives modestly with his mother and Sheyla (Sydne Rome), American percussionist neohippy, accompanying the two women in their pathetic tentment of musical career and seeing flames in his frequent life crises. Meanwhile, in the countryside of Lazio, Luciano does the good life in his luxurious villa with money and advice from the former wife of Sergio Sticker (Luca Zingaretti), a true eminence grise of Baietti Enterprise, president and representative of a holding company that thrives on shady dealings and shameless recommendations and connivance. But times get rough and the supports begin to waver dangerously: the marriage between Luciano and a rich daughter of one pap first step to catch up, but the great idea to find a figurehead sufficiently naive and trusting on whom the responsibility of the situations pi compromised. Someone who does not know and can not say no, someone easy to get around, perhaps appealing to improbable reasons of the heart: Baldo. Overwhelmed by a whirlwind of events, the young Baietti is brought to the villa, from that padKing, who has never been part of his life. While signing dozens of documents he is made an unexpected glimpse of future prosperity, to realize every dream of his and his family, maybe next to his father … Bologna Fire breaks out in illusions and Paul in pessimistic forecasts. But the dream does not last long: Archie must open their eyes, Luciano is expected to report its mistakes, try to salvage Sticker. All nodes will be home to roost, as most glaring and painful. Someone resign, someone andr ahead anyway, someone coroner his dreams. As in life.

The film follows the adventures of a pair of successful Manhattan, Meryl and Paul Morgan, whose lives near perfect with only one obvious flaw: a marriage in the process of breaking. But the disaster's love life nothing compared to what will have to face: finding witnesses to a murder, they become the target of a killer by profession. To protect the witnesses, the Federals uproot Morgan Dallam New York and hide them in a small town in Wyoming, where the disaster threatens their relationship finally collapse. Unless, in the new life free from the BlackBerry, the Morgans are not able to relax a bit and rekindle the passion