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“Advantage, service, fault, break, love… the basic elements of tennis are those of everyday life, because every match is a life in miniature”.
This phrase, included in the autobiography of the legendary Andre Agassi published under the title ‘Open’, acts as the knock on effect perfect to inaugurate the magnificent —and elusive— 103 minutes that you need to have ‘Borg McEnroe’ to dazzle and, at the same time, condensed in a few lines the a whirlwind of emotions to flower of skin and the complexity that holds this representation of one of the duels tennis more epic story.
Regardless of the discipline on which turn the story, these heights are unquestionable the strength and the ability to transmit that holds the drama sports thanks to a few stories in which the physical effort, the sweat and the competition remain in the background, appearing as the optimal tools for exploring the psyche of the athlete and to portray the protagonists.
With ‘Borg McEnroe’, Janus Metz Pedersen squeezed until the last drop of the potential that hides the sub-genre, giving way to a feature film as exciting as impeccably executed and on the that all and each one of the elements that compose it able to highlight individually to, in few words, build in set one of the best movies of the year.
above the myriad of details and components that make ‘Borg McEnroe’ tape standout, are your round characters and the way in which the writer Ronnie Sandahl and the inspired cast with enrichment with an excellent treatment and narrative art the real props that transform what could have been an exercise simply acceptable in a production of greater scope.
In this way, the film was dumped to create a portrait sufficiently detailed —many lie down in lack a more profound analysis, more typical of the biopic— of the mentality of the couple of players that give title to; studying their fears, their behavior and the origin of the same to build a empathy rare among the stalls and two magnetic personalities bordering at times sociopathic behavior.
This would not have been possible without some interpretations of the highest level of Sverrir gudnason the and, especially, of a Shia LaBeouf immense your work to give life to John “Superbrat” McEnroe. Two more pieces in a gear that works to perfection under the detailed design of a Metz Pedersen the address of which shines in many aspects.
The filmmaker Danish does converge their mastery of the audiovisual narrative with an invoice visual pristine —superb photography Niels Thastum—, catching the respectable during the passages more at ease to length and cutting off the breath with the representation of the Wimbledon final that makes up the dilated, intense and dramatically narrated climax of ‘Borg McEnroe’. A party worthy of a heart attack.
With ‘Borg McEnroe’, Janus Metz Pedersen and his artistic and technical crew take advantage of all and each one of the set points to take the cat to the water in a match so intense in the physical as in the emotional. A work vibrant that conveys all the energy that only a collision between two trains as Björn Borg and John McEnroe can generate, thus becoming full a cathedral in the drama, sport.
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May 18, 2018
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