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there’s Been a few years —twelve, to be exact— since I had my first contact with the film of Paul Greengrass. Against all the odds, was not with ‘The myth of Bourne’, but with a suffocating and wonderful ‘United 93’ that, in addition to leave me with the heart in a fist, I did discover a producer only, able to move the camera with a freedom and precision amazing and articulate a visual narrative agile, fierce and full of pure nerve.
With ’22’July’ , his new movie after the worthy final installment of the adventures of the agent played by Matt Damon, the british director returns to the land of the fictionalization of actual events how well it worked in its approach to the terrorist attacks of 11-S, addressed on this occasion one of the events most terrible of the recent history of europe: the massacre perpetrated by Anders Breivik on the island of Utøya.
I can Not affirm, nor much less, that ’22 July’ is the return of Paul Greengrass that many were hoping for. Even though to amass a considerable number of virtues that make, in spite of everything, in a product widely recommended, this drama-tinged thriller suffers from an imbalance in its structure, which ends by passing bill facing its final stretch; showing that its almost two and a half hours of footage are clearly excessive.
Surprise, therefore, that the author, screenwriter, opt for to give start to the story by recreating the bomb attack on the small isle of norway in an intense —and widespread— the first act that condenses the best of the film and brings out the talent of your head. So, we offer a thirty-minute awe-inspiring and holders of a violence heart-rending —not exaggerated— that sit a few bases that do not match at all with the tone of the two events remaining.
once you overcome the trigger and submitted the rich and remarkably developed protagonists that will lead the story, ‘July 22,’ disassociating itself from its vis more delivered the suspense to lead to a sort of hybrid between a drama and judicial characters. A cocktail that, despite work perfectly and manage to keep a good level in the dimensions of interest, you can’t avoid getting your unnecessary dilation.
Because the ’22nd of July’ seems to be unable to control an excess of ambition that will play against, accumulating subframes, which are hindering his good pace in global computing and the move away momentarily from their interesting readings to socio-political, sadly necessary in a framework not only european, but global, and the issues exposed by the tape are not only still current, but which have been stepped up.
despite these occasional ups and downs, Paul Greengrass manages to adjust —not without mistakes— balance-running away from the melodrama and the resource-tear and opting for a contention that raises the drama of the passages more intimate to a new level; giving to the respectable, a feature film that not only fulfills its function as a tribute to the victims and a reminder of the tragedy, but rises as a one of the best productions that we can enjoy in the still-spotty catalog of Netflix.
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The news ‘July 22’ is intense and solid, but Paul Greengrass does not reach the greatness of ‘United 93’ was originally published in Espinof by Victor Lopez G. .
October 20, 2018
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