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Fear of terror of the city or picnic?

and The Unborn Friday the 13th, horror and national holiday carnage
There are two types of horror movies: those that aim to bring elements of the horror in everyday real life and those that locate the horror in a particular place where the protagonists, in spite of themselves, they meet him. The Unborn
belongs to the first category, whose films are designed to create a scary mood that undermines some certainties of the audience about their own lives but often, because of the detailed description of everyday life, flowing into the ridiculous failing in their efforts to put images in a live threatened by evil.
not least because the second type of horror movie, the likes of Friday the 13th that, by showing ordinary people in extraordinary situations, they can often more easily frightened by going to disturb the safety of the public without need to invoke real reasons for the persecution.
There is no mystery in the suburban horror but a disarming clarity of purpose by an executioner on the fate of his victims which, despite numerous efforts, it remains the only chance to try until the inevitable death Procrastination end of the film.

Time Management vs. The extraordinary situation
horror metropolitan or city usually puts clearly supernatural forces in the field and takes the time to orchestrate a plot sufficiently complex to require an entire movie plot a more complex to explain the origins, purpose and funzionamento.Il Unborn example brings up religion, Nazism, and many past legacies Accessories characters who are the "ferry" in the journey of the protagonist (and therefore the public) to understand the reasons behind what is happening, reasons that inevitably will come by the end of the film.
All things that are absolutely unnecessary for the horror extracittadina environment, which does not need an overly complicated plot and instead relies on some very simple and repetitive dynamic (which are at the heart of the ironies of Metafilm Scream) more like an elimination game than a thriller. Even in such films as Friday the 13th proves perfectly, an explanation even if there is thin, but never a real mystery, and often is shown at the beginning because the heart of it all is the discovery of what is happening but the action itself: the carnage. Therefore, if the horror
citizen labors in every way to explain its reasons, taking the trouble to unravel slowly and progressively worse, the suburban horror goes straight to the point and with specious reasoning is staging a massacre in fund has no real motivation other than the staging of the impossibility to save. A demonstration of what is often present in the films of the university city (and in this sense, The Unborn is no exception) as a place dedicated to scientifically legitimize what happens, as if the film really wanted to convince the viewer that what happens in scene also has a minimum point of contact with real life. In the film Goyer
of religion also involved as a system of opposition between good and evil in this sense provides an element of "realism", with its sacred texts, its mythological figures and its historical basis.

only against all
Another distinctive feature is that you're alone in the city and outside it in the company.
Although the city is the site of mass society, one in which people flows in larger numbers, it is also the site of depersonalization and atomization, the one in which humans are alone in the crowd, so they are also just in front of ' horror. Monsters, ghosts and demons chasing them individually, they can kill their loved ones and a few friends but huddle with the players that there is an exclusive rustic horror where you kill everything and everyone in an order that is not dictated by a network but by needs suspense film.
has not an enemy but especially Jason slaughters all the merry company of young people who come to its territory, punishing them for the very existence and have had contact with him. And what he is alone and that it always has been, much to foment hatred towards others, especially the category to which he once aspired. At a higher level one could say that in these films are just figures to save more moral according to the ethics bigot, those who are not promiscuous sex, those who get drunk and those who do not smoke marijuana. Essentially those who are not young in the usual sense. Jason is democratic: all massacred. But it is the directors to be bigots saving only those who believe have values.
All this of course does not exist in the city because the protagonists are always suffering from a life in a way or another problem, and therefore in their already small heroic and deserving the ultimate salvation.

Enter the horror in ordinary and extraordinary contexts
With an ordinary context the national horror at any time dilutes the atmosphere of tension through daily activities: attending gyms, brushing teeth, called a friend or go to seeking practices and allies are all scenes that engage the plot to reality whenever the appearance seems demonic release it.
This double dimension is very complex to manage because the synthesis of the two components should be born in an atmosphere can change the perception that we ended up making gestures ordinariness newspapers something to be afraid. And here The Unborn fails, because the reality with its soothing aesthetic has the better of the moments of terror by making implausible.
Friday, 13 however, as all attacks unprovoked, violent and well-concentrated in a short period of time (as we saw recently in The Strangers, a horror film but definitely suburban home), has no point of contact with the dynamics of everyday life and in reassuring This is not afraid despite the ridiculous staging things as implausible (especially with regard to the unstoppable executioner).
why proceeding by metaphor and allegory for the reality of the horror that are set in contexts far removed from everyday life can best speak to it. Failing to stop a massacre that happens in camp becomes much more thoughtful destabilizing the fight against the forces of evil that happens in the backyard.

by MYMOVIES.IT of 24/02/2009

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The Oscar? He was defeated by the pirates of the Web

When in Los Angeles tomorrow night's Academy Awards winners will lift the statue to the sky, millions of people have already downloaded their movies illegally, and in excellent quality.
Of the 26 films competing for a prize at least as many as 23 are already available online. And even though many are just out in theaters, the vision is not that a little pirate 'distorted and shaky who has taken over the film with a camera on the evening of the first (or the preview ...) but the best possible quality of the dvd, dvd on the market even if there is not even a trace.

This is not normal, any good pirate knows that the movies usually arrive in the first network in poor quality and only following the release on DVD in the best versions: "Be careful because in addition to the recovery room in a film can get circuits even with illegal copies of internal processing made online by conniving film industry, "said Marco Spagnoli, journalist and critic of the Journal of Entertainment, artistic director of DVD Awards and author of publications on Oscar Big Night as the book.

How do you explain then quest'impennata quality? "You can not say with certainty, but there is the possibility of a leak of material caused by the jurors to evaluate the film that the Academy receive the DVD at home before they go out in the hall."
A big problem, so that the producers' associations in America are taking serious precautions with controls from the airport entrance to the cinema and investigations within their own structures. On the other hand, we do not seem to move a lot: "We are the country with the largest share of illegal downloads in the world (20%), yet has never done enough to educate young people and film professionals in this direction. Industry must look at each other and figure out who and why a business that helps in times of crisis deprives the industry of vital funds and promotes lawlessness. "

by La Gazzetta dello Sport of 02/23/2009

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Italian - Patricio Valladares - Sci Curriculum



The fear and horror films and comic books. It's the same feeling or need to better identify distinctions noticed, especially if related to the technical procedures, similar to what certainly different, these two media?

From this point of view it makes sense to the hypothesis that the artificial construction of a sensation of fear is possible only in an authentic way in the cinema. For the fear is rather a comic ' emotion limit, unlike the horror that seems to arise directly dall'ingigantirsi image in its apparent stasis.

Fear caused the viewer to the film finds its source in the irrepressible film frame that encompasses the vision, within the confines of the camp. The eye travels and captures the space defined by shots, and you tune in to the perception of a time cut from the suggestions of the images, or even the length of a single moving image and variable. But beyond the limit of surface area of \u200b\u200bthe field that inscribes the vision is not granted to the viewer to have guarantees of absolute control of what lives there. This unpredictability, in whole or in part, is the authentic seat of fear.

The horror in film, is determined, however, when this dynamic variation slows down when the image motion causes the eyes to fixate in concentration or in slow motion in a hallucination. Horror, fear change, turns occurred in the finding of an unacceptable reality that is going to touch closely, next to penetrate into our bodies, to transform our deepest subjectivity. The horror is unbearable to take on the absurdity of reality, that it removes any possibility of salvation. The horror involves a scheduled stop for the eyes that can not avoid the fixing side of the event.

In the comic, and field Boundaries are established and life in her eyes. By connecting and deciding the continuity between the fixed patterns of each vignette, the look itself decide when to take, dynamically, in addition to the visibility of the area is coming from the next vignette. In the eyes of a comics reader fear is an emotion only filtered by the design of the horror. The fixity of horror on which the eye discovers engages a different source of fear.

Andrea Cavaletto has the merit of bringing a jewel in Italy bloody and perverse cartoon Chilean El Italian, an anthology that brings together some of the authors of underground comix scene of the most extreme South America, meeting to recount the exploits of El Italian, Paid killers, sadistic and evil, created by the warped mind of Patricio Valladares, author and director of the small cult film Curriculum (see the accompanying video trailer if you have more than 18 years). Stories

strong, bloody, sadistic, provocative and challenging. Stories of necrophilia, pedophiles, serial killers, sexual perverts. Stories that have a cold and cynical merciless cross-section of dark times in which we live. Stories that show a dangerous and crazy South America, where it is best not to walk alone.





Nicola Pesce Editore - NECKLACE AND ITALIAN HORROR

by Patricio Valladares
by Andrea Cavaletto
stories and drawings by Andrea Cavaletto, Patricio Valladares,
Evelyn Belmar, Rodrigo Diaz Ricci, Miricioman, Caoz, Moz
80 pg. - 24x17 - B / W - 7 € - MATURE READERS

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Identify the forms of the fantastic as a privileged observatory of the social dynamics is a great merit!

tales of the fantastic show enormous potential of information and symbolic dynamics does not conceal the deep cultural industry, but instead makes it obvious!

science fiction, gender appeared rather late on the scene of mass cultural consumption and yet able to return the conflict - man / machine, nature / artifice, individual / mass - with a feature comparable to that of the mythical stories is one of the places where most frequently illuminate contemporary mythologies, allowing us to understand the context of social change with a significant advance over most of the sociological contributions.

On the other hand, science fiction - very embodiment of the great age of positivism and its technological derivatives - is also the place where the imagination is constantly redefining the way industrial and mass. Science fiction is a metagene that, rewriteable, contains and activates all the others, but most importantly it is a horizon that allows you to actualize the narrative themes and the basic figures of myth reorganizing signs in order to restore the sense of this through the sense of the future.

We find in it, since the seeding of the scientific romance, and even before the gothic, which is removed or shifted elsewhere: the important figure of death and eros, the constellation of conflict between tradition and innovation, applications duly filed in sphere of the sacred.

In its various translations within the media system, whether it be movies or comics, literature or illustration, science fiction - more and better than other narrative genres - is one area of \u200b\u200bwhat is speakable in which it is concealed evident.

The historical understanding of the dynamics of cultural production in the industrial age is essential to address this, whether it puts in perspective antagonistic toward the cultural industry, whether we move to "make it"

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The Return of the space robot "Pixar, passion, science fiction

sounds like "Wall-e" but is called "Burn-e" and together with the robot protagonist of the last film Pixar has also being at the center of a short novel than those for which it is famous animation studio, the DVD content of Wall-e released today. Speaking with Alan Barillaro, supervising animator on Wall-e (and countless other works of the study directed by John Lasseter) we discover that everyone should be mad at Pixar for the robots that tell the story of a Wall-e chasing his love through the galaxy was just an excuse to put on the screen as many robots could be: "Everyone at Pixar we grew up with sci-fi movies and now we passionate about these issues, "says Barillaro. "Already in Wall-e, although a large part of the film was formed by the love story, there was a whole geek side that had to do with our love for robots. Obviously we did not have enough" . It really

Burn-in and you feel this love for small creatures in technology. The short film written and directed by Angus MacLane takes place simultaneously with the events narrated in Wall-e, showing the parallel story of a robot engaged in welding and facing incredible difficulties crossing the comic adventures of WALL-E and Eve. Equipped with a humor and wickedness typical of a great tradition of American animated short films, Burn-E is yet another little gem comes from Pixar.

"The secret is that we love making movies and telling stories, so let's just we like to see the film at the cinema", a line of thought, however, could be applied also to rivals like DreamWorks studios (responsible for the great success of Shrek , Madagascar and the upcoming Monsters vs. Aliens). What then are the courts just one of the secrets of the extraordinary nature of Pixar? "Let the courts for many reasons. One of the key is to give young designers the chance to tell a story, and later John Lasseter began with the courts, so it is a kind of creative process that we love. "

A love reciprocated by the public and by critics that this year will be enshrined at the Film Festival in Venice with the delivery of its Golden Lion for Lifetime Achievement to John Lasseter and the other founding members of the study group recognition as never happened. The award did not fail to arouse great enthusiasm in the company even if tempered by the strong American work ethic: "We are really excited about this award and to John, is a very big thing and when there will be The award ceremony for a moment we will stop all to celebrate. "

The ceremony then temporarily stop the processing of Up, the next film signed by Pete Docter (the director of Monsters, Inc.), which is scheduled for U.S. release May 29 and that we will come with the usual delay in the fall. Of course, in three dimensions. It 's the story of an old man, bound his home to a mass of balloons that make it up in the air, traveling to the southern United States to see the mountains as he would like his now deceased partner. With him there is a child, inadvertently stepped on the veranda of the house at the time of takeoff.

A plot in line with big business always at the heart of Pixar films, but more so you can not say: "From what little I have seen I understand that this is one of the most visionary and exciting things I've ever seen. I can not anticipate a lot but we really set ourselves to do and we have passed to give the public something really exciting. "

by REPUBBLICA.IT / 11 02/09

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REVIEW The Curious Case of Benjamin Button

Benjamin Button is born the day of the end of World War I, is a baby in swaddling clothes, but the health of a nonagenarian: arthritis, cataracts , deafness. Should die the next day and instead more time passes the more rejuvenated. The His is a life backwards through the twentieth century American still looking for their first and only love, a woman much more liberated, free and in line with his time than he. The only time you will be able to find the intersection of their age, "you still love me when I am old?" She asks. "And you still love me when I have acne?" he says.
Fincher chooses to tell a story with a classic trick: from modernity, through the memories of a diary and read in the now elderly protagonist on his deathbed. He photographs all showing signs of sepia, and chose to push the handwriting, which padding the story with the indulgence and the charm of which have the memories. The result is a hagiography of the past who wins on this (New Orleans yesterday and today with Katrina at the gates), a prospect back and indulgent fable about the U.S. that does not address any topic, and really, what good is more serious, lack of move with sincerity.
Benjamin Button younger instead of aging, but this has no effect on the plot, nor even need to give a particular view of events in which he is involved or the society in which it is inserted instead as it was with the stupidity of Forrest Gump (the comparison intractable with the work of Zemeckis spontaneously given the substantial identity of the structure of the story).
The Curious Case of Benjamin Button seems only ask "How would an old man with the head of a child and how a young man with the experience of an old man?" and attempt to result in a reflection on death and on ways to make the most of their lives. "You never know what's in Serbian for you" Benjamin repeated the adoptive mother, carefully avoiding to mention boxes of chocolates. Giant
the job done on aging and rejuvenation digital Brad Pitt, both obtained by experimenting with a novel technique of motion capture. The result is obvious: in any case the character is him, Brad Pitt, even when very little like him. Less celebrated but Cate Blanchett, who is also aged and younger for script requirements, makes up for the frequent lack of digital with the usual performance out of any normal circumstances.

to MyMovies

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Cinema rivoluzioneil prepares the future will be three-dimensional

The good news is that 3D movies are there and like, the bad news is that it is still difficult to see them. During 3D Day at Future Film Festival Bologna has become evident that when the rooms are 42 Italian ready-to three dimensions, fewer than 3000 total and very little if you consider how many films shot in three-dimensional and what will come out in 2009: Up (Pixar), Ice Age 3, A Christmas Carol (Robert Zemeckis) el'attesissimo Avatar (James Cameron) to name only the most important.

coverage of the area continues, however, and already out for the Easter Monsters vs. Aliens, the first DreamWorks cartoon designed and built from the beginning with 3D technology, the salt should have become at least 60 600 total on which project the film. So in 90% of the film will be seen in an adapted version of the traditional two dimensions.

have but be careful because you do not repeat the problems of Journey to the Center of the Earth 3D, three-dimensional film that was more visible than in other two-dimensional version. In fact many of the 3D cinema was not specified that it was a normal projection, which led the majority of viewers to think they have seen a film in three dimensions while not having to wear the goggles are essential. In those cases, the review was inevitably, "Do not change anything."

a bad publicity for a technology that it should serve as a Trojan horse for the adoption of digital (and distribution of the benefits that entails), even in Italian theaters.

However, despite the low coverage, the first 3D movies we have also confirmed the positive trend recorded in the more mature U.S. market: when the viewer can choose between seeing a 2D or 3D film in 7 cases 10 chooses the second and especially the three-dimensional film leave satisfied, so that their collections rather than physiological decline of 35% fall in the first weeks only 8%.

by La Gazzetta dello Sport of 01/02/2009