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he Said William Faulkner, to succeed as a writer, you’d have to “kill your darlings” —translation is dreadful to “kill your darlings”—. A inteligentísimo council that aims to warn about the dangers of falling in love with certain passages of the story up to the point of not being aware of that, in reality, are a stick in the wheel for the correct functioning of the same.
This maxim can be applied in the same way the medium of film, where the “syndrome of the author pluriempleado” is the order of the day, manifesting itself in productions in which the director does likewise the times of the writer and editor; being the most responsible of the three scripts of the film —on paper, on set and in the editing room— and, as a general rule, being unable to dispose of these ballasts invisible referred to by Faulkner.
This is precisely the main problem of ‘The apostle’, the new and dreamt tape of Gareth Evans —director, ‘The Raid’, and its brilliant sequel ‘Berandal’— that, after years stored in a drawer, has managed to see the light thanks to a Netflix that has not hesitated to give carte blanche —for good and for evil— doer welsh; who unleash without filter whatsoever all your talent and creativity into a feature film, to say the least, surprising.
Evaluating global computing their dilated more than two hours duration, it can be concluded that the adjective that best fits ‘The apostle’ is “excessive”. Because the film, starring Dan Stevens who exudes charisma —what do we say to these heights, not afraid to take risks with an amalgam of genres in constant evolution that wanders between drama, adventure, thriller cultist cut more classical, the fantastic, and a terror of wild and forceful.
This tendency to cover too looks equally reflected in a narrative that is dispersed throughout the subplots something unnecessary to which is given a weight that could be considered excessive, but that helps to cook over very low heat the atmospheric exercise in horror of ‘The apostle’; in a constant crescendo towards a ferocious explosion of violence that saw the perfection of the theological theses of the story.
despite the inability of Evans to the time to pull out the scissors and mutilate his work during the assembly process to solve a gaps in timing that many will not know to forgive, but others, such as a server, we consider it necessary to give strength to its setting, is the immeasurable talent of the director in the staging and in the planning lift ‘The apostle’ to a new level.
So, we can glimpse again the nerve in the camera work that we enjoy in ‘Merantau’ and, above all, in both renditions of ‘The Raid’: runaway, free and without any kind of strings attached. Exactly the same as one’s own Gareth Evans who could have become the main enemy of his ambitious production, and that, ultimately, has been crowned as your main savior with an overwhelming and unusual leap into the void creative.
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The news ‘The apostle’: a shocking and irregular leap into the void to pass bill of their excesses was originally published in Espinof by Victor Lopez G. .
October 7, 2018
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