‘The silence of the white city,’ demonstrates that a bestseller and a film maker in full form are not always sufficient

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    ‘The silence of the white city,’ demonstrates that a bestseller and a film maker in full form are not always sufficient

    there is No doubt that the thriller Spanish is in full power. We have to take a look at the last two decades to see how the genre has not only proliferated, but has reached its highest levels of quality exceptional with titles as disparate as ‘Buried’, ‘Kidnapped’, ‘God forgive us’, ‘Late to the wrath’ or the one that continues to be the major concerning among their counterparts, ‘The island minimum’.

    Of all the directors who are flirting lately with this type of production —or that, directly, have taken hold in them, stands a Daniel Calparsoro whose filmogafía recently has evolved in an irregular manner with works such as the estimable ‘one Hundred years of forgiveness’ or decaffeinated film version of the novel of the same name by Paul Pen, ‘The notice’.

    it Would have been wonderful to be able to conclude that the new literary adaptation from the director of barcelona is more aligned with the film starred by Luis Tosar with the header by Raúl Arévalo. But ‘The silence of the white city’, in spite of it to stand out from their peers thanks to a muscle audiovisual worthy of praise, suffers the effects of a narrative deslavazada that leads to a progressive disinterest.

    One of lime and another of sand

    I should not wonder in the least that ‘The silence of the white city’ is remarkable in terms of shape is concerned. Calparsoro has been shown since the beginning of her career a great skill as a storyteller in pictures, and on this occasion, take advantage until the last drop of resources are visibly loose, and a production design as successful as smart.

    In this way, the film illustrates the passages written by Eva García Sáenz de Urturi with a pulse and a clean aesthetic to the level that the serial killer antagonist manifests itself in the sunset scene and the eye-for-detail employed in their crimes. is too bad that at the level of narrative, this thriller homeland is much less meticulous psychopath.

    And is that gives the feeling that the plot of investigation and unknowns as large as the revelations that happen in your dilated 110 minutes of footage lacks the appropriate levels of causation required in stories of this cut, taking place —self-evident— turns, and dramatic changes in the course of a somewhat run down and disjointed that screams for something more than glue between sequences.

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    Skinny, please make some dialogues that, with will sobreexplicativa, guilty of obvious and literal, sounding too artificial to be interpreted by a cast that also reign in chiaroscuro, with performances simply acceptable as Belén Rueda and Javier King, light years away from the solid work of a Manolo Just chilling.

    Within the chaos narrative, and the progressive and path to the disconnection which is the irregular development, ‘The silence of the white city’ will meet —without fanfare— those who seek a reflection of the thriller criminal american shot in the language of Cervantes, but it will be complicated that its powerful way to achieve make up with effectiveness of their multiple shortcomings.

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    The news ‘The silence of the white city,’ demonstrates that a bestseller and a film maker in full form are not always sufficient was originally published in Espinof by Victor Lopez G. .


    Espinof

    ‘The silence of the white city,’ demonstrates that a bestseller and a film maker in full form are not always sufficient
    Source: www.vayatele.com  
    October 25, 2019

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