Evidence of this is that the epic of mass destruction of cars, which began at “Full throttle” in 2001, increasingly resembles that of another successful series, “Mission Impossible”. Heroes are no longer just expert commercial vehicle drivers, race cars, trucks, vans and any vehicle with steering, brake and clutch. Led by the invaluable Dominic Toretto (Vin Diesel), the big family works in a secret government office and in their own way, looks after the country’s interests. They are secret agents and driving masters. And just like the last and still unreleased installment of ‘Mission Impossible’, this tenth episode of ‘Fast and the Furious’ is split into two parts, and the continuation of the final sequence leaves us in anticipation of the fate of the universe. callous Diesel –more and more masking itself–, son, friends and lots of nephews and uncles are scattered on this authentic family adventure.
I don’t know how many times it’s said in the movie. family is the most important. Between sentence and sentence, yes, cars do crazy moves They race for speed with helicopters chasing a bomb rolling through the streets of Rome, being pulled from the air by wire ropes, or even descending from a burning hydraulic dam. All the expected leave (Diesel, Michelle Rodriguez, Charlize Theron, Jason Statham, Helen Mirren, Jordan Brewster, John Cena) and a dramatic villain who appears to be impersonating the ‘Batmanian’ Joker, represented by Jason Monoa in past rounds. Pure delusion, uncontrolled extremism. QUIM CASAS
‘A Good Person’ by Zach Braff, starring Florence Pugh, Morgan Freeman and Celeste O’Connor * *
One wonders the distance between a phenomenon and Zach Braff’s debut feature film ‘Something in Common’ (Garden State) (2004). independent at that time and his new movie ‘A Good Person’. Separated almost two decades apart, they share a script (both scripted by Braff) that puts characters before actions, even stories. And both seem to stem from an honest impulse, the need to get them to say something that worries their writers. In the first case, something more intimate. There is something much more global in this: a “good person”, lone and bereaved survivor of a fatal accident (Florence Pugh), among many other things, talks about (too much) The opioid crisis in the United States. But if “Something in common” (Garden State) sought and found emotion in the micro, at the minimum, in the twists and turns of everyday life (even if it’s mismatched decisions), Braff’s new film looks a little bit the opposite.
Everything is excessive in a ‘good person’: the number of themes, the severity of events, the chain of misfortunes, the fate of the characters’ lives. It is true that it is doomed to a brilliant conclusion, and the director finds some truth in the text and in the interpretation of the actors, but the accumulation of misfortunes, a certain cruelty towards the heroes, and a disposition in general, take us away from the story, to the colossal. FEZ DESIRE
‘Sica’ by Carla Subirana, with Thais García, Núria Prims, Marco Antonio Florido * * *
The movie opens with some beautiful underwater footage of rippling algae and bubbles rising to the surface. Preferring to be known as Sica, the adolescent heroine Nausica wants the sea to bring back the body of her father, a fisherman lost at sea. death shore. From time to time he approaches the abyss of cliffs, a water-pierced Orphic cave he says he is listening to. the voice of your dead father. And he meets a young man nicknamed the storm chaser and assures him that in three days a great tide will bring back to land whatever the ocean takes away.
Trained by Joaquim Jordà, Catalan filmmaker Carla Subirana is returning to directing more than a decade after making the documentaries ‘Nadar’ and ‘Volar’. ‘Sica’ preserves something of its documentary trail, always angry and in constant conflict with men, in the way it explores coastal geography and people’s relationships with the sea. The story focuses on Sica from the very beginning (strong presence of newcomer Thais García) and their growing mismatch, while solving questions about adult world family rivalries or the money to be raised by the widows of seafarers who died in the middle of the job. A small, closed and poor community The hero drowns and does not understand. On the one hand, the sea that provides sustenance and takes life. QUIM CASAS
‘Unbelievable but true’ by Quentin Dupieux starring Alain Chabat, Léa Drucker, Anaïs Demoustier and Benoït Magimel * * *
French Quentin Dupieux’s cinema is based on absurd propositions that lie in the middle of the supernatural and the mundane. Throughout his filmography, he has talked about a killer rubber, a jacket that turns the wearer into a ‘serial killer’, a giant fly tamed to rob banks and, in this new job, a tunnel in the basement of a family home. this, once passed, allows the navigator Rejuvenate for three days as the rest of the world advances 12 days at a time. In addition to the suburban couple moving home, the other major protagonist of “Amazing but true” is a man who is afraid of sexual impotence and gets a mechanical penis that can be controlled from his cell phone.
Dupieux’s films are generally short, with a third act that ends abruptly. The weirdest thing about this weird movie is the 10-minute final montage and no dialogue. this replaces what we know as the node and the result. Despite this, “Incredible but true” stands out from the director’s other work because it uses surreal comedy to address issues as serious as the havoc caused by the passage of time and the danger posed by the fear of death. The results are of course funny, but they are wrapped in a thin but consistent layer of melancholy. NANDO SALVA
‘The Great Youth’ by Valeria Bruni-Tedeschi with Nadia Tereszkiewicz, Sofiane Bennacer and Louis Garrel * *
“Great youth” recalls the time spent by its director, Valeria Bruni-Tedeschi, who was also an actress. At the prestigious theater academy Les Amandiers in the 80s, in Nanterres, while led by Patrice Chéreau. The film tells a melodramatic tale of a toxic love affair as the prestigious director spends some time portraying his questionable sexual behavior and drug use while simultaneously trying to capture the passion, audacity and recklessness of youth.
Most of the characters a group of students in permanent emotional crisis that Bruni-Tedeschi failed to correct their circumstances enough to make them even minimally interesting, as they were little more than carriers of trauma, addiction, overdose, and disease as a whole; Considering that the world depicted here is quite frightening, the director’s nostalgia for this world is remarkable.
Ultimately, the main purpose of ‘La gran juventud’ seems to be to explain to us—out loud—that: those who dedicate themselves to acting are sentient beings extraordinarily beautiful, painful and special, with feelings that are permanently on the surface. It’s more egotistical than autobiographical.It’s pretty troubling for anyone who’s convinced that acting is something like a sacred duty and probably doesn’t share that theory. NANDO SALVA