two decades ago, much of the distribution of Now parents are they (2010) would have been the main attraction for an intense thriller politician, a solid drama style Sophie's Choice (1982) or so: Robert de Niro, Dustin Hoffman, Barbra Streisand, Harvey Keitel, Laura Dern ... Among the stellar cast would be Ben Stiller, Owen Wilson and Jessica Alba all, actors less famous but want to change their tune, or embark on new challenges ... But people get older and you have to ensure income, even at the cost of typecast as insignificant. At the end of the filming is not requiring great efforts (especially performers like them) are close to home and provide easy revenue. not I who take them on face to be practical and look for their future beyond screen. Sigourney Weaver, for example, has made a negligible little capital thanks to the endless saga Alien (1979, 1986, 1992, 1997), which ended up being co-producer, and now allows him the luxury of shooting that he wants, even produce small independent experiments.
Robert de Niro has found his personal Alien in the character of Jack Byrnes , former CIA counterintelligence methods applied to know the true intentions of their future sons-in particular Gaylord Focker (in Spain, not to spoil the joke phonetic Follen called ). the Parents (2000) raised to the nth degree the topics on both figures, cleverly exploiting the comic side of the situation: the mistrust, the desire to please, the father from the son of the lie detector, the son goofing with dramatic consequences incremental ... In the sequel - Meet the Fockers (2004) - the duo Hoffman / Streisand provided the counterpoint in the form of Consuegra uninhibited, informal ... and Jews. It miss the elaborate gags of the first part, but some are, especially towards the end.
Now it's time to finish the triad, and what better way than putting them all together in a tangle in which everything fits : infidelity unrealistic - with a farting Jessica Alba more than ever - putting Byrnes nose in the life of his son. Of the visual gags of its predecessors is not no sign, just a concatenation of grace to do as even the film going thread. None of the possible specific stories, all are small misunderstanding and endless dialogue scenes that pit different characters.
predictable movie where there that, at times verges on landismo Hollywood version: that false flirts with sexual humor knowing that certain topics will be verbal and visual.
widening the gap between the romantic dream and reality (Real Life)
The thing is usually something like : chance encounters, couples waiting decades to meet, men posing as to link gays, women who fall in love with gays, women with children who caught a rich husband, pregnant gay left her friend of all life, sponsors who share a hatred and a goddaughter just starting a family, men with children who get a sensitive woman, slim and smart co-workers who fake a relationship then becomes a reality, children who meet their parents divorced, rediscover friends as lovers lovers as people rediscover guys who fall in love brides their brothers, mothers fall in love with his daughters' boyfriends, stays on deserted islands that lead to privacy, secret lovers attending the wedding of the man / woman of your dreams, pregnancy unexpected unthinkable that unite a couple, men and women who get candid simultaneously making it clear that the feeling is mutual. Exciting final, unexpected reunion, the rain returns, rescues last minute, waiting in doorways, just off work, just imagined a thousand times becomes reality, honesty and sincerity amply rewarded. Wealthy, thin and pretty, picture light, supermarkets and shops brimming with wealth and welfare, affluent lifestyles, generations clearly marked, implicitly sexual roles established, cohesive family environments, secrets and little details, comments secrets and little details, emotional statements in front of family and / or friends, perfect moments ... I do not leave me anything.
Real Life (2011) is the second film in ten years of Greg Berlanti - not to be confused with the film of the same name by Peter Hedges with Dianne Wiest and Juliette Binoche - and contains some of that jumble the previous paragraph, plus a few dialogues occurring (especially early) and a couple of gags that promise, but are not quite polished enough to consider the outcome hilarious and romantic. The rest is to be expected, is that it is unlikely, as the characters .
And now a little background Viewing: I accompanied my daughter, my niece and my sister (I know: I should have anticipated all the warning signs), and we got in a hall crowded where - I assure you - there were only three men. Still, I did mine recommendations Darwin and I adapted the environment to survive : start the session and have a good time, I laughed out loud at times ... But there comes the scene where the young and handsome players - who have taken the dog and the cat until then - curl and the public explodes in a joyous and spontaneous standing ovation ... repeated at the end of the film . understand that the gulf between the expectations of the teenagers and reality widens every title like this . The problem is not the existence of gender itself, not even the glut of quality titles to more than mediocre. The problem is that the myth of heterosexual romance rich and handsome enough to call a devoted audience in advance who thinks he is something more than fiction, something within your reach. The problem is that the romantic comedy , given its current ubiquity, subrogation threatens socializing role in the issue of relations , leaving background entertainment. The love affair is not so, now is a fable about the need to maintain consistency in adversity , clinging to traditional values \u200b\u200band, above all, above all, above all, never to betray their friends. Keeping these principles virtually assures that the boy of your dreams will come for you : that you liked in high school, the office hunk (no matter what edge that is) or any man capable of uniting in a single body the perfect combination of intelligence, beauty, humor and sensitivity. The female imagination has nothing to envy the men in to unreality.
Funny how a genre as stylistically limited argument and exhibits such a variety of stories tending to infinity. The credit, of course, is the writers . Of the spectators, what can I say? Do you admire their inexhaustible capacity to believe in happy endings? Are you confident that when the time comes, you may discern between reality and fiction? Manuel Rivas wrote that fiction serves to create more real, perhaps the new generation XXY (the label I just invented) prefer reinvest in myths that fuel the journey of solitude.
This weekend has been productive. Friday I finished this case the Japanese style, although it has many imperfections, I like how it has been.
This weekend I have been productive. On Friday evening estuche Complete this Japanese style, which, although has many imperfections, as has quedado me gusta.
also gave me to make him a cover on the agenda this year. I grabbed some clothes that had Japanese for some time, and a button Matrioshka (need more!) I bought in Sitges. I am also happy with the result!
pego I also make you a cover for the agenda this year. Cogí unas japonesas fabrics that had from time-direction, and a Matrioshka buttons (like not!) comparing in Sitges. Estoy happy with the resultado!
and Saturday we had a board meeting of the Association, and we use to make gift of invisible friend as the subject of the Marathon, we had not had time to us anything. To me he played this beautiful pad that came from the hand of Maite. Thanks Maite is moníssim!
And on Saturday we had board meetings in the Association, and to make the aprovechamos regalito Friend's invisible, that with ya the issue of Marathon, not guided by time-habíamos hacerlo. I myself play this beautiful cojincito that came hand in hand Maite. Gracias Maite is monísimo!
, necklace and Carteret. Hawaiian, and coin necklace. Information
Our teacher, we enssenyar before Christmas Hawaiian technique. Unlike my companions, and as always, in my plan anarchic, I decided to make it a different size than the Eva we suggested, and also with two different designs. I already have the new sofa cushion! And I made the idea of \u200b\u200bchanging the days of home decor, now that "represents" I temps per a fer coses .... El meu "Sant Jordi" flicker ja ...
Our teacher taught us before Christmas Hawaiian technique. Unlike my compis, and as always, I plan anarchic, I decided to do another size Eve we suggested, and also in two different designs. And I have again to the sofa cushion! And it took the idea a few days ago to change the decoration of the house, now that "represents" that I have time to do things .... My "Sant Jordi" and shakes ...
article further
Volia enssenyar us a collar that em vaig fer aquesta per festes. There is little secret is a kit + Dseda always made me funny. Accompanying a black blouse, is fantastic.
also show a collar bone queria que me hice para estas fiestas. Too much has no secret, is a barbed kit + Dseda There was always called my attention. Acompañando a black Blouse, is fantastic.
Carteret And this which I bought the clothes and the pattern of the last fair Ton. The place I used to work a little and take it in the bag, since I spend quite a few times lately in waiting rooms ....
And is the coin which I buy the fabrics and patterns in the last fair Tona. The work I will use to put a small, and in the bag since it llevarla últimamente me paso a bunch while in waiting rooms ....
Update (14/02/2011) : Goya the edition of 25 surrendered and the highlight was the sincere and realistic fired its president (the full text here, video below), the classical and intervention Jimmy Jump, the consecration of Pa negre Agustí Villaronga (my second best choice as a favorite) and the absence of dissenting opinions to this post. Is it, as noted by De la Iglesia, a metonym of the social impact of English cinema from its potential public? I do not know.
As for my ability to anticipate, this year has shone like never before: 16 hits! A brand unpublished detracts a bit for its internal imbalance: in the categories of art no nothing (except more than sung Bardem).
this year's edition of Goya , and the classic betting and predictions, has added many attractions: the result will have a lot of developer as regards the air that are between the union of the film in Spain . And all this without leaving the category for best film. This year competing trumpet Sad Ballad of Álex de la Iglesia, whose cold and uneven critical reception and audience does not fit with the barrage of received nominations (including Best Production), except if we use the wildcard current director of the academia. Then Pa negre Agustí Villaronga, a Catalan film production, content and - what is more amazing - original language, his victory (regardless of the value of the film, which is what we are judged ) would also offer a political reading about the benefits of cultural pluralism in the academy. For its part, Buried Rodrigo Cortes, is a prime example of where the shots will go in the future of the English film industry (and most Western cinema than the U.S.) : co-production with the U.S. to secure its release in this country, shooting in English with actors (in this case actor) and artistic team angloshablantes English (Catalan majority to be more specific). Buried is also nominated for awards Gaudí, granted by the Catalan school of cinematography, and his eventual victory would be even more paradoxical since it is not a film spoken in Catalan (the main and almost the only variable used so far by politicians and institutions to limit the label "Catalan cinema"). Finally, rain also tandem Bollain / Laverty, is the classic quality product that the Academy tends to reward for his defense or claim of certain principles of progress (past or present) and / or human values \u200b\u200bin line The ball (2000), Mondays in the Sun (2003), Te doy mis ojos (2004), just Bollain, Solitude (2007); films generally committed to a social reality which, unfortunately, contribute little to alter what they denounce. Of course, convinced in advance to love. Lope would be the fifth title in contention on this list if there were five candidates for the prize, but their nominations in other categories undoubtedly represent the best film craftsman lifetime applied to patriotic themes convenient (and hopefully) renewed for good.
Voting rain also for me would mean the classic continuous and predictable vote; Buried renew the commitment to style, theme and production; Pa negre extracinematográfica victory of Spain peripheral trumpet Sad Ballad the sad spectacle of an academy more inbred and meritocratic than ever . In any case, we should be glad if - like me - so many changes have served to see more English film because his films are more movies than English.
These are my preliminary thoughts, and to that end entered in post, here goes (in blue ) my bet for each category (awarded with an asterisk). I hope so other readers (Regular or not) feel compelled to get wet copying and pasting in a comment that list and expressing their preferences, reasoned or subjective. Movie
trumpet Sad Ballad Buried Pa negre * rain also
Address Rodrigo Cortes Buried by Agusti Villaronga Pa negre * Icíar Bollaín by rain also Álex de la Iglesia by Sad Ballad
trumpet player Actor Antonio Tower Sad Ballad for Trumpet Javier Bardem Biutiful * Ryan Reynolds Buried Luis Tosar by rain also
actress Elena Anaya by Room Rome Emma Suárez The mosquito Belén Rueda by Julia's eyes Nora Navas Pa negre *
Actor Eduard Fernandez for Biutiful Álex Angulo by The Vázquez great Sergi Lopez for Pa negre Karra Elejalde by rain also
* Actress Terele Pávez by trumpet Sad Ballad Ana Wagener Biutiful by Pilar Lopez de Ayala by Lope Laia Pa negre Marull *
Newcomer Juan Carlos Aduviri by rain also Francesc Colomer by Pa negre * Manuel Camacho by Among Oriol Vila Lobos by All Songs talk about me
Actress Aura Garrido Plans for tomorrow Bang Carolina Sad Ballad for Trumpet Marina Comas by Pa negre * Natasha Yarovenko for rooms in Rome
Director novel by David Pinillos Bon Appetit * Emilio Aragon Paper Birds Juana Macias by Plans for tomorrow Jonas Trueba by All songs are about me
European Movie Writer The King speech * White Ribbon A prophet
Hispanic Film Counter The man next door Hell The fish life *
original screenplay by Alex The Sad Ballad Church trumpet by Chris Sparling Buried * A. Bo, N. And AG Giacobone Iñárritu Biutiful by Paul Laverty for rain also
Screenplay by Jordi Cadena Elisa K by Julio Medem Rooms in Rome Agustí Villaronga by Pa negre * Ramón Salazar Three meters above the sky
Documentary film Bike, spoon, apple * Citizen Negrin How Building Your Weigh Much does, Mr. Foster? Maria and I
Assembly by Alejandro Lazaro trumpet Sad Ballad Angel Hernandez Zoido by rain also Rodrigo Cortes Buried * Stephen Mirrione by Biutiful
Photo Antonio Riestra Pa negre * Eduard Grau Buried Kiko de la Rica trumpet Sad Ballad Rodrigo Prieto Biutiful
original music Roque Baños Sad Ballad trumpet Gustavo Santaolalla Biutiful Buried Victor Reyes Alberto Iglesias rain also
* Original Song In the lap of the mountain Loving Buried Strangers Rooms in Rome That takes us by surprise sonnet Lope * can not live with a French paper Birds
Art Direction Ana Pa negre Alvargonzález * Hydallgo Edou sad ballad trumpet Brigitte Broch Biutiful Caesar Pasta Lope
Costume Designer Paco Delgado trumpet Sad Ballad Mercè Paloma Pa negre Sonia Grande rain also Tatiana Hernández Lope
* Makeup and / or hairdresser J. Quetglas, P. Rodriguez, N. Sánchez trumpet Sad Ballad * K. Soler, M. Trujillo, P. Lope Rodríguez A. Casal, S. Merino K. Pa negre Soler and P. Rodriguez also rain
Sound C. Schmukler, D. Garrido, Sad Ballad trumpet Urko Garai, Marc Orts, James Muñoz Buried * D. Fontrodona, F. Novillo, R. Casals by Pa negre Cortés, Royo-Villanova, Gutierrez also rain
Production Manager Cristina Zumarraga rain also * Aleix Castellón E. Pa negre Roch, T. Lope Novella Yousaf Bokhari trumpet Sad Ballad
Special Effects R. Abbots and F. Sad Ballad Piquer trumpet * G. Paré and À. Buried Villagrasa GH and J. Farias Nogales rain also R. Romanillos and M. Lope Siqueira
animation film Chico and Rita * Treasure of King Midas cloth Troop The Adventures of Don Quixote
Short Fiction Goodbye dad, mom goodbye The order of things A button box * Lemon juice
Short documentary cinema libertarian The German flag Memoirs of a provincial cinema * A god that no longer protects Short animation Exlibris The bruxa * time Tower Vicenta
Today I invite you to go through the blog Mavi. makes a lot of some very cute things she has done herself, and coneguent-la, they sure are beautiful i superbenfetes!
Today I invite you to stop by Mavi Blog. ago raffle very cucas few things that she has sewn, and knowledge, they sure are precious and superbienhechas!
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article further comment Alguns bom i Volia salt Piluki m'ha the moving passat per la xarxa. In hi ha of macos força! Ja tenim totes Molta know feina, but .... Els teniu Here!
I also wanted to mention some pump and salt Piluki has happened to me running on the network. There are some very nice! I know we all have a lot of work, but .... Here you have!
Bollain seems to have found its place in film : Director with a letter, child actress - Southern (1983) - and occasional writer, a creator whose experience and interests SUV's are among the best qualified to pull the English cinema of the expected decline and misuse technical theme (is shot in 3D) which will Torrente 4 (2011). His sentimental and artistic association with Paul Laverty - one of the best current British writer and regular contributor to Ken Loach - has allowed direct a film based on a material much better job than his other scripts written in collaboration : Flowers From Another World (1999), Take My eyes (2003), Mataharis (2007).
rain also (2010) could have been the new Loach film, but this detail is irrelevant, since Bollain has directed with the same style between passionate, lucid and disenchanted with his beloved mentor , which met while filming Land and Freedom (1995). The difference is that Once the topic - the English looting of America in the fifteenth century and the multinationals in the XXI - is much closer to the Hispanic audience than the usual conflicts and political dramas of the Anglo-Saxon history.
The film contrasts the shooting of a film about the looting / English genocide of the colonies recently discovered by Columbus - it was time that the film openly speak English of this issue - with the desperate struggle of a group of neighbors (which also involved as extras on the set) by the rising price of water because of the privatization supply. The mixture of both stories can present different degrees (false) commitment that we tend to exhibit when faced with situations that make us well aware of the gap we have with much of the world around us, with our selfishness and our double moral about what we mean by activism and involvement in the fight against injustice and inequalities that contribute to perpetuate .
Nothing missing in this review is already known to regulars Loach film, without going any further, the scene of the popular assembly, based on that which appears in The Wind That Shakes the Barley (2006 ) or the same Land and Freedom , or the portrait of a world unable to improve due to the sum of our individual selfishness , that stand like a wall when things threaten to get involved too much. In tandem there Bollain / Laverty must recognize that fall into the trap of Manichaeism, but the same characters altruistic moments alternate with other selfish lucidly, without which we can draw simplistic conclusions . The best example: the tears that spilled the film's director (Gael Garcia Bernal) to read some passages from his script on the denunciation of slavery de facto applied by the Crown of Spain contrasts with their blindness to the human drama unfolding before their eyes.
So we Westerners: us a shoot just three weeks in an exotic location , a roll with a hotel maid, learn four little words of their language, make bombastic statements for the making of and go home boasting of militancy and modified after leaving for good experience. The paradox is that neither team Bollain not escape the curse of that solidarity without consequences reported. The farewell scene between the producer (great Luis Tosar) and the interpreter and leader of the revolt (Juan Carlos Aduviri) perfectly sums up the double standard presides over the opaque conglomerate formed by NGOs, business initiatives and anti-globalization militant leftism recycled: one knows that, despite its humanitarian gesture, do not think certainly involved in a fair fight, but can not help but feel moved by the fate of Hatuey, who stays there - as he himself admits - "surviving." Bollain and others have made his film, presented in festivals where cocktails are served, and meanwhile, remain in their country Aduviri, scraping by on the embers of the reputation that earned him a shoot abroad. Perhaps the only possible attitude is that of the character of Karra Elejalde, openly selfish, but able to awaken from its slumber enolizado to decide that, if things are bad given, must face certain risks . And by the way, offer a little alcohol to the detainees.
The film is worth the sincerity beating hard after exposure of acts and motives: the world can not be changed and it is unlikely that people like us so moved by altruism (lucid or naive, given both .) Making a film denouncing it is something little that can be done to alleviate the impotence of this bitter truth.
two decades ago, much of the distribution of Now parents are they (2010) would have been the main attraction for an intense thriller politician, a solid drama style Sophie's Choice (1982) or so: Robert de Niro, Dustin Hoffman, Barbra Streisand, Harvey Keitel, Laura Dern ... Among the stellar cast would be Ben Stiller, Owen Wilson and Jessica Alba all, actors less famous but want to change their tune, or embark on new challenges ... But people get older and you have to ensure income, even at the cost of typecast as insignificant. At the end of the filming is not requiring great efforts (especially performers like them) are close to home and provide easy revenue. not I who take them on face to be practical and look for their future beyond screen. Sigourney Weaver, for example, has made a negligible little capital thanks to the endless saga Alien (1979, 1986, 1992, 1997), which ended up being co-producer, and now allows him the luxury of shooting that he wants, even produce small independent experiments. 
