There are no words ....
Francesco Biagini is spectacular!
Visit her blog to learn more and to rub your eyes! France
Go !!!!!!!!!!
Friday, January 30, 2009
Mac Messenger My Name Keeps Changing
Ladies and Gentlemen: Francesca Biagini
There are no words ....
Francesco Biagini is spectacular!
Visit her blog to learn more and to rub your eyes! France
Go !!!!!!!!!!
There are no words ....
Francesco Biagini is spectacular!
Visit her blog to learn more and to rub your eyes! France
Go !!!!!!!!!!
Wednesday, January 28, 2009
Short Period High Cervix
REC and Quarantine, the difference is all in the small variations Let
MyMovies of 28/01/2009 
Americans do not dub movies, refer them again. After the case Vanilla Sky / Open your eyes back in adapting a successful English film Quarantine, instant remake of REC.
And as for the many cases of Japanese films readjusted once again it is a horror, one of the best and most "American" among those shot outside the United States. Strangely, even quarantine, like Vanilla Sky, and unlike the j-horror, is a nearly perfect cast original, an exact copy of the history, the structure of the story in scenes, scenes, and the idea of \u200b\u200bthe fund. A copy each of the many small changes which matters a lot.
Faced with so many small differences, however, the real gap between REC and Quarantine is given on how the first face only pretend to imitate the style of amateur film that actually pursues the second one. Quarantine is actually film from start to finish and continues his speech all Hollywood horror staged hand-held camera through the lavished great care in lighting, the shots (carefully studied and made with great care), the effects of blur directing the gaze of the audience and attention to the items entering or leaving the scene out of sight.
The first and biggest difference between the two films we see now in the first shot: Scott, the cameraman who never see the original English comes into play. It is black. It will not be the only time you see him, but his appearances will sip this throughout the film, "normalized" in a sense his character. Similarly
are designed in a more canonical and therefore a bit 'characters even more depth of firefighters, especially in early scenes in the barracks.
Another expected change in character is the one that see the family become a family of Asian African and the disappearance of the old European figure very effeminate.
In line with the tendency to portray the U.S. in its security forces violently then there is a small but significant change in how the police not only to prevent people leaving the house but is also ready to kill them with snipers rather that let them escape.
finally disappears in the whole satanic anti-Catholicism (very typical English horror recently) that characterized the original character of the tenant on the top floor. Again, this is not seen Quarantine, but this time there is the voice imprinted on the tape to explain what happened and only a few clues are given the cards on the walls.
In terms of fees to the differences between horror Quarantine and REC is total. The Americans have their own laws and rules regarding the fear and in this sense, the dynamics of the film adapted by adding a few new scenes underlining or other more strongly. Over all very
stands as the "infected" roars like animals, in a sense anticipating their direction and brutal as you press the pedal a lot more on the gore. In fact, the American remake camcorder becomes a weapon often slammed against the face of the infected to defend themselves and there is much more bloodshed.
More generally, however, we can say that all the scenes hinge joints and the narrative were unchanged, and around them the added sequences were designed for "variations on a theme."
There's more the character of a drunkard and his dog infected that are deleted in another scene that includes adding an elevator. Similarly, there are sequences that provide the added presence of infected mice in the building. The presence and then find an explanation in the scenes on the top floor.
And just in terms of explanations come to my attention as Quarantine dwells much more in explaining the scientific reasons of contamination, theorizing a form of "anger" that is contagious and occurs instantly, and then refuses to give sense of what has given rise to epidemic
And as for the many cases of Japanese films readjusted once again it is a horror, one of the best and most "American" among those shot outside the United States. Strangely, even quarantine, like Vanilla Sky, and unlike the j-horror, is a nearly perfect cast original, an exact copy of the history, the structure of the story in scenes, scenes, and the idea of \u200b\u200bthe fund. A copy each of the many small changes which matters a lot.
Faced with so many small differences, however, the real gap between REC and Quarantine is given on how the first face only pretend to imitate the style of amateur film that actually pursues the second one. Quarantine is actually film from start to finish and continues his speech all Hollywood horror staged hand-held camera through the lavished great care in lighting, the shots (carefully studied and made with great care), the effects of blur directing the gaze of the audience and attention to the items entering or leaving the scene out of sight.
The first and biggest difference between the two films we see now in the first shot: Scott, the cameraman who never see the original English comes into play. It is black. It will not be the only time you see him, but his appearances will sip this throughout the film, "normalized" in a sense his character. Similarly
are designed in a more canonical and therefore a bit 'characters even more depth of firefighters, especially in early scenes in the barracks.
Another expected change in character is the one that see the family become a family of Asian African and the disappearance of the old European figure very effeminate.
In line with the tendency to portray the U.S. in its security forces violently then there is a small but significant change in how the police not only to prevent people leaving the house but is also ready to kill them with snipers rather that let them escape.
finally disappears in the whole satanic anti-Catholicism (very typical English horror recently) that characterized the original character of the tenant on the top floor. Again, this is not seen Quarantine, but this time there is the voice imprinted on the tape to explain what happened and only a few clues are given the cards on the walls.
In terms of fees to the differences between horror Quarantine and REC is total. The Americans have their own laws and rules regarding the fear and in this sense, the dynamics of the film adapted by adding a few new scenes underlining or other more strongly. Over all very
stands as the "infected" roars like animals, in a sense anticipating their direction and brutal as you press the pedal a lot more on the gore. In fact, the American remake camcorder becomes a weapon often slammed against the face of the infected to defend themselves and there is much more bloodshed.
More generally, however, we can say that all the scenes hinge joints and the narrative were unchanged, and around them the added sequences were designed for "variations on a theme."
There's more the character of a drunkard and his dog infected that are deleted in another scene that includes adding an elevator. Similarly, there are sequences that provide the added presence of infected mice in the building. The presence and then find an explanation in the scenes on the top floor.
And just in terms of explanations come to my attention as Quarantine dwells much more in explaining the scientific reasons of contamination, theorizing a form of "anger" that is contagious and occurs instantly, and then refuses to give sense of what has given rise to epidemic
MyMovies of 28/01/2009
Friday, January 23, 2009
I Live In Queens Where To Get Marriage License
Gianni Agnelli: Juve Style ......
Giovanni Agnelli of Juventus and always in the heart of all the supporters
On 24 January 2003 ended the life of Giovanni Agnelli. All of Italy mourned his death, because with him it was one of the most noble and important of the century. The Advocate has profoundly marked the history of Juventus of Turin and of our country and, six years after his death, his memory is more alive than ever.
Tomorrow night, Juventus take the field against Fiorentina and the Olympic Stadium before the game will hang in his memory: the screens will broadcast some of the most significant of his life and his passion for sport.
"The Advocate Agnelli - said the Juventus president Cobolli Gigli - was one of the most popular Italian and influential of the twentieth century. The Juventus's history is inextricably linked to his image and the whole family: a relationship that is nurtured and renewed day after day, match after match. This team would have liked: it is composed of a group, coaches and players, which puts together class and temperament. A group that wants to win and that interprets the values \u200b\u200bthat the lawyer has always appreciated. "
Giovanni Agnelli of Juventus and always in the heart of all the supporters
On 24 January 2003 ended the life of Giovanni Agnelli. All of Italy mourned his death, because with him it was one of the most noble and important of the century. The Advocate has profoundly marked the history of Juventus of Turin and of our country and, six years after his death, his memory is more alive than ever.
Tomorrow night, Juventus take the field against Fiorentina and the Olympic Stadium before the game will hang in his memory: the screens will broadcast some of the most significant of his life and his passion for sport.
"The Advocate Agnelli - said the Juventus president Cobolli Gigli - was one of the most popular Italian and influential of the twentieth century. The Juventus's history is inextricably linked to his image and the whole family: a relationship that is nurtured and renewed day after day, match after match. This team would have liked: it is composed of a group, coaches and players, which puts together class and temperament. A group that wants to win and that interprets the values \u200b\u200bthat the lawyer has always appreciated. "
Monday, January 19, 2009
Ethernet Cable Cold Weather
Carmine Di Giandomenico
Saturday at Comix Factory Stefano's nice, I had the pleasure of knowing Carmine Di Giandomenico!
For the uninitiated, Carmine is a talentuosissimo affermatissimo designer and is considered one of the leading authors of contemporary Italian comics landscape.
But the real talent Carmine is the sympathy and his super power is talking!
It 's a real talkative. Has had all her life story:
when draw with fellow high school, his trips to the mountains with friends, his beloved nephew, as Frank Miller's artistically has opened my mind (Beautiful definition of comics as a "draw onomatopoeia).
's not all!
Good Carmine has had the ability to tell a comic!
said it seems a nonsense ...
I mean
marvelliana The latest work published in Italy by Carmine is Daredevil: Battlin 'Jack Murdock , a mini-series of 4 numbers that focuses on the character of Jack Murdock, Matt's father-Murdock-Daredevil, revealing many details of the continuity of this character. Well, if I told you that comics that Carmine had in mind is not the same as it was published, I believe it?
's right! The
Daredevil: Battlin 'Jack Murdock originally created is of a different thickness of a disarming depth, it's exciting and romantic .... Listen
the author speaks as if he were speaking of a child, look into his eyes and imagine the cartoon is priceless!
I had goose bumps!
Carmine Thanks for the wonderful person you are!
PS: If anything you should meet one day I recommend Carmine Di Giandomenico not to open any topic relating to films or comics that you have not seen or read ... Carmine will inevitably
sputtanerà the final: asd: 
Saturday at Comix Factory Stefano's nice, I had the pleasure of knowing Carmine Di Giandomenico!
For the uninitiated, Carmine is a talentuosissimo affermatissimo designer and is considered one of the leading authors of contemporary Italian comics landscape.
But the real talent Carmine is the sympathy and his super power is talking!
It 's a real talkative. Has had all her life story:
when draw with fellow high school, his trips to the mountains with friends, his beloved nephew, as Frank Miller's artistically has opened my mind (Beautiful definition of comics as a "draw onomatopoeia).
's not all!
Good Carmine has had the ability to tell a comic!
said it seems a nonsense ...
I mean
marvelliana The latest work published in Italy by Carmine is Daredevil: Battlin 'Jack Murdock , a mini-series of 4 numbers that focuses on the character of Jack Murdock, Matt's father-Murdock-Daredevil, revealing many details of the continuity of this character. Well, if I told you that comics that Carmine had in mind is not the same as it was published, I believe it?
's right! The
Daredevil: Battlin 'Jack Murdock originally created is of a different thickness of a disarming depth, it's exciting and romantic .... Listen
the author speaks as if he were speaking of a child, look into his eyes and imagine the cartoon is priceless!
I had goose bumps!
Carmine Thanks for the wonderful person you are!
PS: If anything you should meet one day I recommend Carmine Di Giandomenico not to open any topic relating to films or comics that you have not seen or read ... Carmine will inevitably
sputtanerà the final: asd:
Wednesday, January 14, 2009
Creative X-fi Supreme Aktivierungsschlüssel
John Doe # 69 Marvel Movies
Drawings: Luca Maresca
Screenplay: Roberto Recchioni 
Drawings: Luca Maresca
Screenplay: Roberto Recchioni
Friday, January 9, 2009
Cubefield Play Last Level
as Nosferatu, a variation on the theme of Dracula
to MyMovies of 08/01/2009 
It took a Swedish film with great skill to fit the figure of the vampire classic to modern. Let me despite not being at the center of its development dynamics vampire back to life the myth of the vampire following all the guidelines set in the mythological traditions of the time, and then the nineteenth-century literature. From sensuality to the asexual
of violence to hit, the attraction to the morbid calm manner, with the theme of evil ever trip to the revenue from the window, all the features and topoi of the classic tales of vampires come back disguised as gimmicks Modern with a skill that we have rarely seen.
Although in recent years the figure of the vampire has become in some ways a romantic hero, victim of a curse which fights against murder and refusing lonely trying (and failing) to love, and for others a sort of zombie athletic frightening figure without shading it more like an animal than a refined gentleman, his face deformed and organized in packs, the same film by Tomas Alfredson manages to reset everything without sounding old and stale, in fact. The real news is to find a way to tell that figure in a modern antiquity. In this case then is not the story but how that change is told.
It was not easy, because between different genres the horror that is more than all the years the company has been able to reflect through the staging of "what in this historical moment there is fear." In the world of horror hosts a very special role the vampirism and its evolution, from Dracula and its variations and then also with the concept of "vampire" as bloodsucking creature.
It took a Swedish film with great skill to fit the figure of the vampire classic to modern. Let me despite not being at the center of its development dynamics vampire back to life the myth of the vampire following all the guidelines set in the mythological traditions of the time and then the literature nineteenth century. From sensuality to the asexual
of violence to hit, the attraction to the morbid calm manner, with the theme of evil ever trip to the revenue from the window, all the features and topoi of the classic tales of vampires come back disguised as modern devices with a skill rarely we have seen.
Although in recent years the figure of the vampire has become in some ways a romantic hero, victim of a curse which fights against murder and refusing lonely trying (and failing) to love, and for others a sort of zombie athletic frightening figure without shading it more like an animal than a refined gentleman, his face deformed and organized in packs, the same film Tomas Alfredson manages to reset everything without sounding old and stale, in fact. The real news is to find a way to tell that figure in a modern antiquity. In this case then is not the story but how that change is told.
It was not easy, because the different genres the horror that is more than all the years the company has been able to reflect through the staging of "what in this historical moment there is fear." In the world of horror hosts a very special role the vampirism and its evolution, from Dracula and its variations and then also with the concept of "vampire" as bloodsucking creature.
From the sophisticated dandy 30s the figure of the vampire continues constellation in one way or another the American cinema and not always looking at that model, but more often by varying the tone. Sometimes these are small changes in recovery times instead of classical, as the series of Hammer films of the 60s for the history of cinema with the wonderful Christopher Lee in the role of the prince of darkness. But even in these cases it is still a progressively more brutal version of the myth or the figure. The times were not the same horror and brutality needed most.
The crosses from which they were elements of the vampire could not support the view that they become objects to touch his skin burns violently, the blood is increasingly represented and the attention glides slowly to the threat of fear to fear bloody. All things that we find in the Swedish film that rejects the violent dimension (except for a few acceleration typical of modern cinema) that the preferred modus operandi of the vampire story and the reactions of the population.
What happens is that in the years to follow, then passing through the famous ironic representations supervised by Andy Warhol and deviations from teen-comedy of the '80s, the film has vampires dawn of the '90s with the same shape of 60 years if serious (in principle set in the nineteenth century) and as more modern, if ironic. This leads to an interest always less than the public figure, because even as it is no longer able to intercept the modern fears, does not arouse fear and does not seem plausible.
To revive the figure that will serve two legends of cinema, dealing with the sacred monster Dracula adaptation of the original novel that made history and an astonishing variation on the theme.
In the early '90s, the vampire takes the stage with powerfully on either side to Bram Stoker's Dracula directed by Francis Ford Coppola, who portrays the classic vampire as a romantic figure now full, no more animal sex but tender love with the victim of a curse, not bad but good more ambiguous. The other by Abel Ferrara with The shows his addiction in New York today, a group of vampires living in modern schools and who have nothing of the original if not insane dependence on blood brutally consume no more biting but eating. For the director was a metaphor for drug addiction, but for the rest of the film becomes a guide to follow. These two films
create two separate strands that continue to influence the simultaneous production: a romantic, the other bloody.
Vampires thus returning to the cinema and have little to Neil Jordan Coppola confirms the trend with his Interview with the Vampire, where the bloodsuckers are romantic, full of feelings and obsessed with a curse that forces them to depend madly murder from which to try (at least one of two) to escape. Lasciviously still bite but they are full of problems, the disease is not sex but the murder, the bad figures become understandable and not oppose. But because of bad
you always need someone to take charge. So they have fewer problems with vampires that are all the rage, bloody ones that are infected each other more like the zombies as their illustrious predecessors, who have a psychology and hunt as animals do not like men. Are those of the Blade and From Dusk Till Dawn, strong and powerful beings who often do not even speak but they seem to react like animals in the presence of man. Even
film that recover the old days as Van Helsing Dracula no longer show in the traditional way, but you replace more and more monstrous figures who choose non-human forms or that monstrous face when you are about to eat and that do not have that look and magnetic charm of Bela Lugosi.
The arrival today at the cinema for a film like Let the Right along with another almost as twilight continues the trend. In the Twilight vampires are shown in two sizes: romantic, full of problems and plagued by a curse (the good) but also monstrous, unstoppable and animals (bad). While in the Swedish film
the issue is more subtle and complex: the violence is no longer the center and the child vampire (though not content to live killing) is fascinating as Bela Lugosi, binds other children and take them with them until they are too old and useless, has no sex but decoys. The vampire is back as the curse that goes from village to village, like the plague.
of violence to hit, the attraction to the morbid calm manner, with the theme of evil ever trip to the revenue from the window, all the features and topoi of the classic tales of vampires come back disguised as gimmicks Modern with a skill that we have rarely seen.
Although in recent years the figure of the vampire has become in some ways a romantic hero, victim of a curse which fights against murder and refusing lonely trying (and failing) to love, and for others a sort of zombie athletic frightening figure without shading it more like an animal than a refined gentleman, his face deformed and organized in packs, the same film by Tomas Alfredson manages to reset everything without sounding old and stale, in fact. The real news is to find a way to tell that figure in a modern antiquity. In this case then is not the story but how that change is told.
It was not easy, because between different genres the horror that is more than all the years the company has been able to reflect through the staging of "what in this historical moment there is fear." In the world of horror hosts a very special role the vampirism and its evolution, from Dracula and its variations and then also with the concept of "vampire" as bloodsucking creature.
It took a Swedish film with great skill to fit the figure of the vampire classic to modern. Let me despite not being at the center of its development dynamics vampire back to life the myth of the vampire following all the guidelines set in the mythological traditions of the time and then the literature nineteenth century. From sensuality to the asexual
of violence to hit, the attraction to the morbid calm manner, with the theme of evil ever trip to the revenue from the window, all the features and topoi of the classic tales of vampires come back disguised as modern devices with a skill rarely we have seen.
Although in recent years the figure of the vampire has become in some ways a romantic hero, victim of a curse which fights against murder and refusing lonely trying (and failing) to love, and for others a sort of zombie athletic frightening figure without shading it more like an animal than a refined gentleman, his face deformed and organized in packs, the same film Tomas Alfredson manages to reset everything without sounding old and stale, in fact. The real news is to find a way to tell that figure in a modern antiquity. In this case then is not the story but how that change is told.
It was not easy, because the different genres the horror that is more than all the years the company has been able to reflect through the staging of "what in this historical moment there is fear." In the world of horror hosts a very special role the vampirism and its evolution, from Dracula and its variations and then also with the concept of "vampire" as bloodsucking creature.
From the sophisticated dandy 30s the figure of the vampire continues constellation in one way or another the American cinema and not always looking at that model, but more often by varying the tone. Sometimes these are small changes in recovery times instead of classical, as the series of Hammer films of the 60s for the history of cinema with the wonderful Christopher Lee in the role of the prince of darkness. But even in these cases it is still a progressively more brutal version of the myth or the figure. The times were not the same horror and brutality needed most.
The crosses from which they were elements of the vampire could not support the view that they become objects to touch his skin burns violently, the blood is increasingly represented and the attention glides slowly to the threat of fear to fear bloody. All things that we find in the Swedish film that rejects the violent dimension (except for a few acceleration typical of modern cinema) that the preferred modus operandi of the vampire story and the reactions of the population.
What happens is that in the years to follow, then passing through the famous ironic representations supervised by Andy Warhol and deviations from teen-comedy of the '80s, the film has vampires dawn of the '90s with the same shape of 60 years if serious (in principle set in the nineteenth century) and as more modern, if ironic. This leads to an interest always less than the public figure, because even as it is no longer able to intercept the modern fears, does not arouse fear and does not seem plausible.
To revive the figure that will serve two legends of cinema, dealing with the sacred monster Dracula adaptation of the original novel that made history and an astonishing variation on the theme.
In the early '90s, the vampire takes the stage with powerfully on either side to Bram Stoker's Dracula directed by Francis Ford Coppola, who portrays the classic vampire as a romantic figure now full, no more animal sex but tender love with the victim of a curse, not bad but good more ambiguous. The other by Abel Ferrara with The shows his addiction in New York today, a group of vampires living in modern schools and who have nothing of the original if not insane dependence on blood brutally consume no more biting but eating. For the director was a metaphor for drug addiction, but for the rest of the film becomes a guide to follow. These two films
create two separate strands that continue to influence the simultaneous production: a romantic, the other bloody.
Vampires thus returning to the cinema and have little to Neil Jordan Coppola confirms the trend with his Interview with the Vampire, where the bloodsuckers are romantic, full of feelings and obsessed with a curse that forces them to depend madly murder from which to try (at least one of two) to escape. Lasciviously still bite but they are full of problems, the disease is not sex but the murder, the bad figures become understandable and not oppose. But because of bad
you always need someone to take charge. So they have fewer problems with vampires that are all the rage, bloody ones that are infected each other more like the zombies as their illustrious predecessors, who have a psychology and hunt as animals do not like men. Are those of the Blade and From Dusk Till Dawn, strong and powerful beings who often do not even speak but they seem to react like animals in the presence of man. Even
film that recover the old days as Van Helsing Dracula no longer show in the traditional way, but you replace more and more monstrous figures who choose non-human forms or that monstrous face when you are about to eat and that do not have that look and magnetic charm of Bela Lugosi.
The arrival today at the cinema for a film like Let the Right along with another almost as twilight continues the trend. In the Twilight vampires are shown in two sizes: romantic, full of problems and plagued by a curse (the good) but also monstrous, unstoppable and animals (bad). While in the Swedish film
the issue is more subtle and complex: the violence is no longer the center and the child vampire (though not content to live killing) is fascinating as Bela Lugosi, binds other children and take them with them until they are too old and useless, has no sex but decoys. The vampire is back as the curse that goes from village to village, like the plague.
to MyMovies of 08/01/2009
Lifesave Smoke Detector Beep
Slowly, step by step, Hollywood is throwing the groundwork to bring on the big screen movie that will feature the Marvel supergroup for excellence: "The Avengers" ("The Avengers")
We saw Iron Man at the end of the meeting held between Tony Stark and Nick Fury (leader of SHIELD) , and likewise we have seen the end of the exchange Hulk of beats between General Ross and the Tony Stark ...
But who are the Avengers? It 'hard to give a comprehensive answer to this question because over the years, many superheroes have come and gone and have been part of the team, but certainly we can point to the first group, that is: Steve Rogers aka Captain America, Tony Stark aka Iron Man; Bruce Banner aka Hulk, Thor aka Thor, aka Ant-Man Henry Pym and Janet Van Dyne aka Wasp.
The next two years will be full of appointments with cine-heroes of the comics (the films are shown on the project "Avengers")
Punisher: War Zone - Cinema: USA 05/12/2008 , Italy 03/04/2009
Coraline - cinema: USA 06/02/2009
Yatterman - Film: Japan 07/03/2009
Watchmen - Film: USA 06/03/2009, Italy 06/03/2009
Dragonball - cinema: USA 13/03/2009, Italy 10/04/2009
Kick-Ass - cinema: USA 04/2009
X-Men Origins: Wolverine - cinema: USA 01/05/2009, Italy 30/04/2009
Transformers: Revenge Of The Fallen - Film: USA 26/06/2009
Lucky Luke - Cinema: France
21/10/2009 Sherlock Holmes - Cinema: USA 20/11/2009
Red Sonja - cinema
Dead of Night USA 2009 - Film: USA 2009
Iron Man 2 - Film: USA 07/05/2010
Thor – cinema: USA 16/07/2010
Green Lantern – cinema: USA 2010
Sin City 2 – cinema: USA 2010
Conan – cinema: USA 2010
Y The Last Man – cinema: USA 2010
Jonah Hex – cinema: USA 2010
Torso – cinema: USA 2010
Tintin - cinema: USA 2010
The First Avenger: Captain America – cinema: USA 06/05/2011
Spider-Man 4 – cinema: USA 05/2011
The Avengers – cinema: USA 15/07/2011
The Losers – cinema: USA 2011
Preacher – cinema: USA 2011
Tra i titoli manca la data di uscita del movie su Ant-Man perché la design of this work is straining the capacity of director Edgar Wright (but sooner or later will appear in theaters ...) Of course, the full-
actor goes crazy on the web!
certainly know the interpreters of Iron Man, Hulk and Nick Fury, respectively, Robert Downey Jr., Edward Norton and Samuel Jackson. But who will play
Cap.America? About Thor?
I think especially the role of Steve Rogers has to be interpreted by a very charismatic actor. Cap.America is not just a superhero but the living embodiment of American democratic values, why not just be beautiful and physically ready, you need to know how to act!
The most popular names are fans of Leonardo DiCaprio and Brad Pitt, but my favorite would be Matthew McConaughey both physical capacity for interpretation.
As for the name that will play the "God of Thunder" Thor seems almost certain the nomination of Paul Michael Levesque, better known by his name wrestler: Triple H
do not know the acting abilities of Triple H (which also appeared in Blade: Trinity), but my idea is that Dwayne Johnson (who has successfully passed the ring to the cinema) there can be only one ....
course Triple H would be perfect, both physically and in attitude from the Norse god Odin's son, but at this point I have many concerns that have Thor in the thickness (in fact) film.
We fans also know the Ultimate version of Thor and we got used to it politically and socially engaged on the side of environmental groups and anti-globalization. Thor
This is not just muscles and courage, but something more!
Therefore I would propose two other actors: Jason Lewis and Josh Holloway (but will play Sabretooth in Wolverine film dedicated to the outgoing Italian screens 30/04)
Finally my Nominations for the interpretation of Ant-Man and Wasp: Eric Bana and Lucy Liu
What do you think?
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