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Continue reviewing small pills reviews what we have been seeing in the editing 2019 of the Sitges Festival. It is the turn of fantasy white of omnipotence total ‘The Room’ (not to be confused with that other fantasy), and the confirmation of that in his exile chinese, Renny Harlin is more comfortable than ever with ‘Bodies at Rest’.
Paradoxically, the great problem facing ‘The Room’ is the accessibility of your starting point: a marriage that is installed in an older home newly purchased discover an empty room that can materialize anything you wish. Two problems: first, you can’t get out of the house nothing of what conjuren; second, there is something that the couple wants to above any object. What may grant the room?
The main obstacle that has to overcome the movie is that a viewer will be easily in the position of the protagonists, because they have a fantasy that practically everyone we passed. However, cover the holes of logic and the changes of attitude of the protagonists only to socks, due to a script from director Christian Volckman that describes, not with too much consistency how to evolve the intentions and behavior of the partner.
In its last third, ‘The Room’ is encouraged, exploiting something in more depth the possibilities that bind the argument with the science-fiction domestic and even with the horror film, and slides some idea evil on the family nucleus and its vices. But despite some plane inventive and the energy of that final stretch, the overall feeling left in the viewer is that the film has spent too much time of your footage at half speed.
Bodies at Rest
To Renny Harlin is seen as absolutely established in China, and that that your step there is proving to be at times as rough as the last times of his filmography western. If in the united States was devoted to european co-productions of series B (one as interesting as ‘The step of the devil’), in China goes alternating bombings of the box office as the hilarious ‘Catch a thief’ with a thud like ‘Legend of the Ancient Sword’, released now for a year.
Possibly not see the front of a blockbuster for a while, but ‘Bodies at Rest’ need not squandered. It is more, benefits of a conciseness of scenarios and characters that makes you think of classics actioners americans as obviously ‘The jungle of glass’, and also in equivalent hongkoneses of the eighties and nineties, as any film of Johnnie To. The contribution of Harlin is that it unfolds entirely in a morgue, where you are storming a group of masked men to retrieve a bullet damning of a corpse.
‘Bodies at Rest’ goes with the grain from the first minute of your footage and does not entertain nor with flashbacks, delinquent or with as much drama: the mixing of alchemical characters sufficiently human for that matter, and action sufficiently plentiful as to not lose the interest is perfectly calculated. And Harlin, to this point, has nothing to show: perfect visualization of the spaces in the purest oriental style, stunts, and the action well shot and edited… a small and perfect action film, superior in concept and execution to many of the blockbusters you’ll see this year.
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The news Sitges 2019 | ‘The Room’: fantasy on the perils of omnipotence. ‘Bodies at Rest’: Renny Harlin glitters in the chinese cinema of action was originally published in Espinof by John Tones .
October 9, 2019
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