sometimes I feel a po'preso your ass when I watch movies, and is not a good thing. With this "The Shadow" was so. One of the best Italian films that I face recently made by a Frederick Zampaglione, frontman of the band Tiromancino, here at his second race behind the camera. Why take the piss?, You ask. Simple, because even now I can not comprehend how it is possible that we need a singer to make a decent movie of the motherland, as if the filmmakers did not know our own to do their job.
The plot - which starts from a true story by the director, who worked on the screenplay with his father, Jerome James and Gensini - is one that sees David as the protagonist, a young soldier returning from the war in Iraq, which still bears the physical and psychological wounds. While in the mountains to grips with his mountain bike, he meets a girl who feeds his passion. Such action is too risky to make them prey to two neutral hunters determined to make their holiday, until all four will not become prey to a ruthless predator still Piò: Mortis, a skeletal spaventosissimo individual (an incredible Aquint Swimming, which has had to prepare physically for five months in order to achieve the features that we can all see). The race for survival begins.
me be clear: I liked it, but as he wrote Erich Maria Remarque, Nothing novo on the Western Front.
admit that the good Paw knows her. Manages scenes at the limit of claustrophobia, with a photograph of Oscar Marco Bassano and phantasmagoric scenes of David Bassan. Even the obligatory scenes splatter managed to tickle the gut, over and orgasms blood in comics, but doing one so coldly realistic as to make the hole tight ass like a rabbit. However, nothing new. Twist the final surprise, pleasant for the side of social commentary, but the other expected.
the magazines Nocturno (which have become huge fan and supporter) have defined as the 'rebirth of horror our'. I do not feel like I usually do approve of their opinions, because I see very little of rebirth. At most, a good example of a tribute to what was our horror, one of Fulci, Bava, Argento, and various snack-mates. But just look at the poor distribution and poor earnings that had to point out that this was a slight fluke, seen only by fans of the genre. Similar works are not followed, then a pair of rebirth lies, in my opinion.
Perhaps because consensus has attracted many Italian productions of this kind are rare. I'm not saying that is bad, definitely worth more than a vision, Only you have to say it like it is. Iconic
Mortis's character (perhaps the iconography of warfare?), True strength of the film.
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