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you Can generalize is one of the biggest stupidities which can be committed by a human being, especially when it comes to a topic so vast and rich in nuances, and products of the most diverse natures, as is the film, but it is undeniable that the bulk of Spanish productions contemporary come to large audience is being dominated, except for honorable exceptions, by such a comedy stale prefabricated in large studies.
Under this scenario —and I repeat, apart from certain exceptions—, film genre rises like a ball of oxygen with an apparent lack of risk, creativity —and we could say that also of quality— being the last show of this ’70 Binladens’; the new Koldo Serra, after the fantastic ‘Gernika’ —2016—, returns in style with his best movie to date.
Pulling one of those similes that, depending on how you look, they may sound like genuine nonsense, we could come to the conclusion that a robbery to a bank branch and a feature film are similar in the following: both require of meticulous planning that, run properly, can generate brilliant results. And this is what the producer of bilbao and his team have achieved with this sort of ‘Late dog’ made in Spain.
More “Binladens” and less “last name”
Parking aside any comparisons —always odious— with the classic Lumet, it is worth stopping in the key elements that make ’70s Binladens’ in one of the best and most exciting tape that has given us the film of the homeland during the past few years; beginning with a hyphen simply spectacular, signed to a six-hands by Javier Echániz, Juan Antonio Gil Bengoa and Asier Guerricaechebarría.
Despite embracing a good part of the tics and passage within the sub-genre, the libretto of ’70 Binladens’ manages to move out of their works counterparts thanks to a repertoire almost endless of those twists and surprises able to keep you sitting on the edge of the armchair throughout the projection. Calculated to the millimeter, accurate, witty, with a management of suspense and few senses of rhythm and humor specimens… all the praises to him are few.
But the game of masks, deceptions and mirrors that proposed this thriller would not be, even remotely, as effective, not to have had the vision and the domain of the visual language of your principal, which gives passages to the memory —masterful the plane sequence that starts the blow in the bank— which plans with a effectiveness enviable and, what is even more important, which takes genuine gold of your deal.
Because if something leads to ’70 Binladens’ to a new level, that is a cast particularly inspired and dazzling from its rich spectrum of secondary up to a duo core with seal female header for a huge Emma Suarez and Nathalie Poza, who steal all the spotlights of the function, and that take full advantage of the remarkable design of characters, detailed and written with care.
During one scene of the film, one of the characters sentence in a loud voice that “Spain is a country of shit, full of sons of bitches,”. It may be that this perspective is more or less fortunate —I will not be I who between to evaluate it— but, since then, our film industry would be greatly benefited if apostase more often for a film as brave and risky as this. More “Binladens” and less “last name”.
the.news ‘70 Binladens’: a thriller copy that shows the best side of the Spanish cinema originally.published.in by Victor Lopez G. .
March 9, 2019
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