In a night of partying and revelry, Hrotgar King and his subjects are attacked by Grendel, a giant monster that destroyed the King's Men. Help Needed promises great riches to those who took the monster. In its shores comes Beowulf, a hero destined to create a legend that will inspire great songs. 
While people here in the street just know the story and only you know the name thanks to this aberrant Christopher Lambert movie of the same title, Beowulf is an Anglo-Saxon epic poem written around the eighth century and of comparable importance to the Song of mine Cid in Spain or The Song of Roland in France. Robert Zemeckis has brought the story more faithful to the fiasco of Lambert, but interpreted by digital actors, but with meat and bone. This is the main attraction in a film that entertains but was somewhat insipid, with the feeling that monopolizes the story action with two big battles at the beginning and at the end of the function. The poem went through the hands of screenwriters Neil Gaiman (also author of works like the Sandman comics) and Roger Avary (Silent Hill, Pulp Fiction) that have proposed ending the gaps in the poem and move it to the big screen a complete history and adapted to the film viewer, and so, manage to complete what, who knows, has been lost over time oral tradition of the original poem. The story not only speaks of great battles with supernatural creatures, with a violence-free action is not explicit, but also the inner demons. Male victims of their passions and flaws that end up killing in life and condemning them and those around them. Beowulf is a human character, as it is defined at one point "Remind me not as a king or a hero, but as a man, fallible and imperfect," though a hero, when we contemplate that we realize is not the archetypal hero classic, has very human flaws that stand out more than his virtues as a warrior.
Undoubtedly, the most attractive of this production is the kind of filming, for years, failed Final Fantasy The Spirits Within (2001) , already predicted the arrival of a new animation film computer, and now, 6 years later, Robert Zemeckis, who already use this technique in Polar Express (2004), returns to the fray with technology renewed. Now do not try a Christmas story for children, but an epic story with violence and suggestive scenes. Unlike the production of Final Fantasy, Beowulf moves to digital actors to the world of pixels, and actors, Anthony Hopkins, Angelina Jolie, Robin Wright Penn, Ray Winstone and John Malkovich. All covered with monkeys and sensors were moved from a cold room with motion capture to the 5th century Denmark. They highlighted the simplicity of the production and agility to roll, then, free of makeup, costumes or repeat shots from different angles, they made the scenes acting freely and pulls. The effect on the big screen is noticeable, and the actors are easily recognizable, even some improved (Ray Winstone is fantastic commented that being turned into a blond hero 1.95 and athletic body, when it measured 1.55 and budding belly), and their performances are convincing to be reflected in animate beings, but lacking in real life or not?. This technology allows you to create great battles and heroic impossible and costly real picture, only to Grendel would have needed a puppet of four meters and computer animation, and of course, devoid of interpretation, here, is a character that wakes fear and pity. The computer animation for scenes of action is normally like to animate creatures, but here, not out of tune, something that however much you try to almost always does, but covertly with the exception of big productions where the effects engulf a large percentage of the budget. To make matters worse, I personally consider it the cinema of the future ... Can we bring back to life to defunct cinematic stars?, "Give new records to physically away from the role players?, Only time will tell, but clearly did not happen to be a genre rather than be seen when it is built firmly or it will be a rare occasional billboard. Beowulf
While people here in the street just know the story and only you know the name thanks to this aberrant Christopher Lambert movie of the same title, Beowulf is an Anglo-Saxon epic poem written around the eighth century and of comparable importance to the Song of mine Cid in Spain or The Song of Roland in France. Robert Zemeckis has brought the story more faithful to the fiasco of Lambert, but interpreted by digital actors, but with meat and bone. This is the main attraction in a film that entertains but was somewhat insipid, with the feeling that monopolizes the story action with two big battles at the beginning and at the end of the function. The poem went through the hands of screenwriters Neil Gaiman (also author of works like the Sandman comics) and Roger Avary (Silent Hill, Pulp Fiction) that have proposed ending the gaps in the poem and move it to the big screen a complete history and adapted to the film viewer, and so, manage to complete what, who knows, has been lost over time oral tradition of the original poem. The story not only speaks of great battles with supernatural creatures, with a violence-free action is not explicit, but also the inner demons. Male victims of their passions and flaws that end up killing in life and condemning them and those around them. Beowulf is a human character, as it is defined at one point "Remind me not as a king or a hero, but as a man, fallible and imperfect," though a hero, when we contemplate that we realize is not the archetypal hero classic, has very human flaws that stand out more than his virtues as a warrior. Undoubtedly, the most attractive of this production is the kind of filming, for years, failed Final Fantasy The Spirits Within (2001) , already predicted the arrival of a new animation film computer, and now, 6 years later, Robert Zemeckis, who already use this technique in Polar Express (2004), returns to the fray with technology renewed. Now do not try a Christmas story for children, but an epic story with violence and suggestive scenes. Unlike the production of Final Fantasy, Beowulf moves to digital actors to the world of pixels, and actors, Anthony Hopkins, Angelina Jolie, Robin Wright Penn, Ray Winstone and John Malkovich. All covered with monkeys and sensors were moved from a cold room with motion capture to the 5th century Denmark. They highlighted the simplicity of the production and agility to roll, then, free of makeup, costumes or repeat shots from different angles, they made the scenes acting freely and pulls. The effect on the big screen is noticeable, and the actors are easily recognizable, even some improved (Ray Winstone is fantastic commented that being turned into a blond hero 1.95 and athletic body, when it measured 1.55 and budding belly), and their performances are convincing to be reflected in animate beings, but lacking in real life or not?. This technology allows you to create great battles and heroic impossible and costly real picture, only to Grendel would have needed a puppet of four meters and computer animation, and of course, devoid of interpretation, here, is a character that wakes fear and pity. The computer animation for scenes of action is normally like to animate creatures, but here, not out of tune, something that however much you try to almost always does, but covertly with the exception of big productions where the effects engulf a large percentage of the budget. To make matters worse, I personally consider it the cinema of the future ... Can we bring back to life to defunct cinematic stars?, "Give new records to physically away from the role players?, Only time will tell, but clearly did not happen to be a genre rather than be seen when it is built firmly or it will be a rare occasional billboard. Beowulf Beowulf (2007)
Director: Robert Zemeckis
Guion: Roger Avary and Neil Gaiman
Cast: Ray Winstone (Beowulf), Robin Wright Penn (Wealthow), Angelina Jolie (Grendel's mother)
Producer: Paramount Pictures, Shangri -La Entertainment
Length: 113 min .
Country: USA
7 / 10
Shoot'em up, I end all too familiar in the world of video games, roughly equivalent to "Shoot everything" and could not be a more appropriate title. Almost from the first minute, Clive Owen is dedicated to fire at anything that moves with improbable stunts and a devilish aim. It soon becomes clear that this film does not move to show a realistic action to put the willies in a consistent history of conspiracies, and if by some exaggerations that do not really think not putting a lot of imagination in a script that is a mere excuse to make shootings move from one warehouse to an abandoned house, a bedroom (this scene is fantastic) or in full free fall. But that's not the goal, as it moves further into the action comedy is a movie to enjoy and laugh at the character of Owen chuleria when to shoot and act in his character, a drifter serious acid hates almost everything. Owen plays the character with ease, and is supported by two other large, Paul Giamatti, as the villain of the moment, someone meticulous precision that makes the perfect counterpoint to the always splendid Owen and Monica Bellucci in the role of a prostitute is pulled into the adventure to feed the small (to envy). It might be that the writer was fortunate or the presence of these actors is to not judge a letter with the same brush, that being objective, surely television series starring actors with a smaller budget, had not been so much fun. So you know, Shoot'em up is pure entertainment that is not taken seriously or herself, but no one can say that is bad, simply not credible. And between you and me, I like the style you have here Owen protect the child than in the Children of Men. 
Frank Oz, best known for his work as a puppeteer with Jim Henson and the creator of Yoda, who as director gives us a comedy of English airs, you can remember Love Actually and Four Weddings and a Funeral, but it is a entertaining mixture of humor and simple English, American humor, including some that another passenger eschatological and black humor that starts with this mix we smile. The film takes the tragic backdrop of a funeral to show the bickering among family and friends and serve as a guide for a series of gags and crazy situations, sprinkled with hallucinogenic substances and politically incorrect connection to tap the still more absurd story exacerbating the poor son of late that looks like it will not prevent the burial of his father will become a circus, while he has to deal with personal issues of being in the shadow of his brother, a renowned novelist and not having enough money to buy a house with his wife. The actors, most of them British, are brilliant in their performances, noting simply for the role of the character, Alan Tudyk, the interpretation of gestures is one of the most will make us laugh and enjoy this comedy. No one can say that Death at a Funeral, is comedy of the year, but surely, is above the average of what we usually offer the billboard, exceeding by far, in my opinion, the recent Superbad. without having to constantly resort to sex, or profanity and behavior chuleria thugs, Death at a Funeral, on merit get more fun and more work than this and other American comedies that ultimately end up resorting to the typical round nut to loosen the moral of friendship or love, here comes the moral of last words, but it goes completely unnoticed ... well, I took another, careful self-medication. 
The teen comedy this year has a name, Superbad. This production comes from the makers of the brilliant "40 Year Old Virgin" is put into relief the most disadvantaged sector of American institutions, those kids who do not wet and want to be popular and flirting. This sexual desire and was reflected in "American Pie", but the protagonists of this film are even more mediocre and not talking about normal youth, but the so-called freaks who are always mockery of the most popular. We have Evan, without charisma that is carried away by his companion, Seth, Superbad is an authentic obsessed with male attributes and increase the number of pickups and powders. And Foggell, a scrawny that would take all collejas at any school in the free world. The best are the two side with more weight on the number of gags, a couple of police officers that have no waste. While some industry critics is determined to highlight it, personally, does not revolutionize the genre and offers nothing new, but fun, with ever more fun than others. And although in the end we witness a situation that really could have turned around to rarely seen comedy, stays in the foreseeable. 
certainly can not be fetched at the time of making a monster movie. Until this year I thought I had seen almost everything, snakes, dogs, sharks, piranhas, tents mutants, spiders, etc ... but all had in common, they were predators to a greater or lesser extent. Jonathan King's gamble is delusional and is successful, the genus laugh. While many deem it horror movie, make no mistake, they are sheep, and never, repeat never, a sheep may influence terror in the viewer (the usual stuff, sure if we were in the shoes of the characters would not say what same), even though the sheep ARE tearing a poor humans, in our face draw a face of jocularity. The film parody so rare monster film villains of all life is nothing new except for very peculiar "monsters" have the tycoon who endanger others by the benefits, the scientist who creates monsters welcomes it, the hero (which have little if ovinofobia) who must overcome their fears and overcome, the brave and courageous friend, the girl who eventually falls in love, the helpless little old lady that has, etc ... But that if, although little infuse terror, the film gives us a few doses of gore, but I said, see a sheep ripping the guts of someone, for some strange reason, the subconscious, does not cause anything in me that hilarity. 
Twelve years after McClane for responding to Simon Grubber in Die Hard 3. Revenge, the poor agent, at 52 years old, is forced to work overtime, and that way. Bruce Willis returns to one of his best characters, but unfortunately, the direction of Len Wiseman and Bomback script makes you lose identity. In the McTiernan's first film, McClane was noted for his humanity, a police officer like everything else that goes beyond the situation and he must draw his courage to survive, a vulnerable person who suffers and which we see limping and losing strength after hours of intense battle. The aftermath followed the same trend, although it gave a more dramatic look, especially in the last. In Die Hard 4.0 does not have that. While retaining many features of McClane, sardonic, witty edge with an innate ability to piss off the evil by the walkie-talkie, dirty shirt and of course, Yipikaiyei bastard. contemplate a character of exceptional ability, and more when compared with their wins in the previous paper. Here, the character of Willis is capable of fighting and being hit by an athlete who tumbarian unabated whatsoever, except in personal hygiene, and only at the end, we see him fall, as if all accumulated in the film will arrive at once. Although Wiseman has remained faithful aspects, such as a terrorist attack as part of a complex plan with a target more mundane, or the above verbiage McClane, the product has gotten fantastic level of current movies, explosions, chases and action impossible including villains, femmes fatales acrobats and shockproof, and that has weighed on a classic film like Die Hard . Willis gives the size again playing our favorite cop, but their counterparts met, are overshadowed by its precedents, Justin Long as Hacker wins, becomes the funny fellow, frightened, but if I remember with Samuel L. Jackson, like Zeus, what we see as the typical brat that serves as a target for the hero and other cool stuff from the bad attacks. And for this, Thomas Gabriel gets no fear or distrust, in contrast to the brothers Grubber, is a typical villain who strives to look as bad and look very bad, but you sense that you are going to rain blows in As has the hero face to face. To remember the appearance in the story of a young Lucy McClane (Mary Elizabeth Winstead), heir to the stubborn and hard character of his father and Kevin Smith doing what gives you best of geek. In this case of a thirty with balding living in your "command center" (a common basement), surrounded by figures of Star Wars. 
Second part of the movie Grindhouse, the first part has already been mentioned, 
The game makes good use of the power of next generation consoles, without going to exploit it fully. And although at first it aims to be a shooter more soon give us the surprise. We have a very short arms, pistols and compact submachine guns shoot two-handed the classic shotgun, an AK-47 and M-16 semiautomatic rifle, but that pales next to the power of darkness, real innovation compared to other shooter's. When you activate this power, we can see in the dark and are wrapped in an aura of shadow creatures and tentacles snake around us, and to demonstrate different skills that will expand as we move forward. We launch and manage a serpent creatures to explore the terrain, attacking your enemies away. A tentacle with which to beat and take things can throw objects at our rivals, or even more brutal, beaded and throw. Firearms that are fed by the dark. Creating a black hole absorbs everything that is not This anchored to the ground. We may also invoke a "dark, demonic entities with very little bad blood and black humor that will follow our orders, to attack our enemies, slaying and stabbing mercilessly. Needless to say, as you might imagine, these powers can only be developed in dark or dimly lit areas, which drives us to destroy bulbs and lamps to fully develop these powers, and that melee have to lose face to numerous hordes of gangsters that plague us. Moreover, the game adds little to the genre, except of that power. The story hooks, as well as the characters, and these are their biggest asset against technically superior to other games. 
what happened in the modern film industry was inevitable. In 19 seasons, more than 400 chapters, a movie was a matter of time. Although it is also true that the Simpsons are no longer at its best, continue to attract viewers and has a legion of hardcore fans, but the spark of the first season has been lost in the latter. And that's what we have in this film, a long chapter in accordance with the scripts of the last seasons, perhaps an attempt to revitalize the Simpsons (which in view of their conditions of practice, television legend, not necessary) , as expected in a project, which according to its leaders was being gestated in a while, has been unsuccessful, not bored, but to quote Homer Simpson "Who is the saps who pay to see something you might see on television? ". The movie is not bad and entertaining, but suffers from too many freedoms, as representative icons are reversed; Homer Moe hits the bar in the whole movie, Bart, does not just pranks worth remembered, is suffering from a rare approach to Flanders and Lisa, is stunned by the love making little show of his intellect, and even the Itchy & Scratchy episode is rather simple to which we are accustomed. All this affects the image, and though we have the Simpson family as always, their actions make us doubt whether it is the same as the TV (apart from the supreme folly of Homer, in pogresion constant). In addition we have a pretty story poor, that is an excuse to weave a gag after another, sometimes without any logic, but no less funny. The animation has been cleaned, and total disregard to the first teaser, using computer animation for the film, to give it a magnificent and epic, that impresses, but does not hide its shortcomings. 
When he was about to carry out the Transformers project, disbelief spread among many film buffs and fans biting nails to the blight that this director, considered by many to be one of the worst, he might do, even to receive death threats. Shortly a bit of information came with a dropper. When the first designs of the most classic robots screamed to the sky, as project managers naturally wanted to give an air of realism away from the simple and stuffy designs of the series and toys. When they began to appear the first trailers, the expectation grew, in fact, the Transformers, winning moving and striking the complicated machinery. 
picked by Danny Boyle, director of the former, 28 days later, and free to create your own movie, the Tenerife Juan Carlos Fresnadillo offers an apocalyptic film which is in the survival of the human race. 28 weeks is closer to an apocalyptic action film that even horror movie, and why there are chilling moments. The beginning seems unbeatable, but at first come to doubt if I had the wrong room, the staging of the survivors sitting quietly and wearing an almost normal life collides with the brutality and debauchery that occurs minutes, with a magnificent flat Don's run pursued by two dozen rabid infected. It's interesting the perspective shown, little seen so far, and is the reconstruction of a world devastated, like to say the incredible London flat empty, as in the previous one, with a tight military security, which, as will be shown ineffective when overflow the echos. Some people will not avoid seeing a parallel between this film and the real world, around the actions of the military and their apparent stupidity and brutality, that, I leave to personal issues and their own criteria. For my part, as I said, I liked that detail of realism in the reconstruction, which gives an interesting perspective, even details that escape the eye of the beholder outside. Restocking begins Isle of Dog, an island in the middle of the Thames, and to be provided by bridges, is supposed to be easy to control both to reject external attack to contain it within. And if the military decision may seem cruel and maladjusted, without wishing to sound callous, it is somewhat logical, as we talk about a virus that has killed how many?, Does the 60 ", is the 70?, The" 85% of the British population of the island?, and prevent the spread of dangerous viruses require a harsh response, which creates a terrifying levels of destruction, with Napalm or FAE (Fuel-Air Explosion) sweeping the streets, losing control bunker cameras for the attack or gas clouds close in on the protagonists. So, again, we have the metaphor of the men, the healthy, are as dangerous as or more than those infected, as was with Boyle's film. But here, fortunately, that danger has more logical reasoning than simple sexual desire of soldiers upset in the English countryside. 
Two years ago the first part of 
As an anecdote, James Cameron , Is planning a film adaptation, using the latest computer techniques to make a movie in 3D. It is expected, hopefully that for 2009/2010 made the film, has postponed his latest project Avatar 
finally closes the pirates trilogy that started with an excellent adventure film, based on an attraction, which appeared in 2003 with The Curse of the Black Pearl. The success was overwhelming and of course not, overlooked the creation of a trilogy, that after letting us halfway in 
Under the title as inappropriate and illogical (I wonder where would be thinking the dealer) comes the sequel The Hills Have Eyes 
"Third and final time? delivery of the most iconic of the factory Marvel. Sam Raimi as we warned in previous deliveries, returns to delight us with an interesting balance between a history of superheroes with human soul. Large and spectacular battles deep and painful conflict with personal stories. On this occasion, in a still larger, we see the rise and fall of Spiderman / Peter Parker. His best friend wants to kill, the murderer of his Uncle Ben has managed to escape, their romance is in crisis and a new photographer threatens to overshadow him, all this truncated a promising start where we see a Peter who seems to have succeeded in stabilizing their lives. Indeed, the history is inflated note, three villains in the function with a surprising twist ending I think too many villains for a production that tries to be serious, and it shows in the wrong balance of enemies to speak below. There are too many filler scenes, many minutes perfectly obviables nothing added to the main plot; mention apart from the embarrassing spectacle of street dancing. As for the characters, Tobey Maguire is just dull playing to Spiderman, but when he pulls out his darker side to be possessed by the symbiote, get good times. Sublime bar scene, where Peter repeats what has previously hinted that MJ hated being eclipsed by Spiderman, this time it is Peter in his workplace. Kirsten Dunst paper also highlights a sometimes sad and repellent, with Mary Jane at times more concerned about herself that Parker's sentiments. As with previous releases, the villains are the ones that stand out, except for a pathetic Eddie Brock. James Franco gets the best critical playing Harry Osborn, getting a strange duality between the amnesiac and sympathetic friend of Peter and the shadowy and Machiavellian heir Green Goblin. His face gets an uneasy feeling profiling may be facing a dangerous psychopath. Haden Church, meets as the Sandman, a man who describes himself as "I'm not bad, I just had bad luck" and we really do believe (although the story is fairly sappy and not properly exploited .) Certainly the worst Eddie Brock, love to enjoy the worst dialogues, although its counterpart with powers, Venom, makes us forget their stupid interpretation and journalist Peter rival. I can not forget Bruce Campbell cameo 
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