The start of ‘I’ll leave when you want’ makes you fear the worst. It does not make any effort to disguise the age of his…
The start of ‘I’ll leave when you want’ makes you fear the worst. It does not make any effort to disguise the age of his three protagonists -the younger, David Verdaguer, with 35 years – to try to make us believe that they are some young college students who are sacrificing all the fun made possible by the promise of a better life when they take their respective careers.
there is nothing on this boot that invites the reader to have hope in that ‘leave when you want’ is going to be a comedy that was worth it, but then the film manages to straighten something the course. Not enough to recommend it, but it does allow you to give you a laugh occasionally and don’t end up desperate in your seat hoping that its adjusted footage is finished as soon as possible.
The variety of an imbalance
What is certain is that selling us out to Verdaguer, the Carlos Santos and Ernesto Sevilla as people of 30 years ago also it was a bit difficult to digest, but at least it is not as absurd as what was proposed initially and the blows that they have been receiving the life in those 10 years that we don’t see can’t explain it in part. And is that their lives have been very far from their aspirations and that resignation vital will way of ending them.
There ‘leave when you want’ exposed with correction which leads them to try a tablet without making a will and how that will change his life forever. However, not to commit the error of making them the kings of the mambo of the night to the morning, as they do not leave of be three poor wretches, and during that phase of the movie is when the character of Saints, the better it works -then just desfasándose too-both for his musical vision to make the effect of the pills as their way of coping with this new reality.
however, the true anchor of the film is Verdaguer, which is the only one of the three protagonists that manages to provide a certain naturalness to his character. That allows you to shine less in specific moments, an advantage they do have Saints, and Seville, but at the end of the movie is the only one that really gives you to have had an arc developed with logic and sustained by your talent of interpretation.
On the opposite side is Seville, who is likely to have the sparks comic more fun, but overall it seems a little out of place, and its plot with Christine Brown it is failed to be generous. This peculiar cocktail results in a variety that it makes everything more light and allows us to be more lenient with the frail character development. In addition, some secondary inspired as a fun Ernesto Alterio helps to avoid the indisgestión.
‘leave when you want’ fault that he gets it right
Carlos Therón, director of the film, opt for try to raise the script through a job of setting the scene take hold of certain excesses visual. Are not sufficient to give a true personality to The ‘leave when you want’ but it does keep it flat, making it more obvious so the limitations of a script that focuses on pose a scenario curious and trying to fit notes funny here and there of a somewhat disappointing.
Being direct, ‘I’ll leave when you want’ he wants to be a comedy, madcap that leads to three two nobodies to a situation unimaginable for them even when they start dealing with those pills. For this, it relies on the physical comedy but based of hits that rarely works, notes eschatological that rarely grace and dialogues that do tend to give more in the target when it is used as a replica or jokes occasional. Nothing memorable, but at least something fun you that way.
In short, the ‘I’ll leave when he wants’ meant to be a hilarious comedy irreverent, and remains in, a movie that you can laugh at any occasion, but whose side comic fails more than succeeds. If you don’t ask for much, you can assert to pass the time, but beyond that there is little else to scratch it off.
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The news ‘I’ll leave when you want’: a discreet comedy whose hooliganism only manages to cause a few laughs was originally published in Espinof by Mikel Zorrilla .
April 13, 2019
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