Buenas noticias para los estudiantes de idiomas, especialmente del inglés, ya que en el senado se ha aprobado una moción que promoverá la emisión de películas y productos audiovisuales en cine y televisión, pero en versión original y con subtítulos. (más…)
La marca de indumentaria Lacoste también se ha sumado a la estética de publicidades “vintage” o “retro” con este último comercial. Si bien la estética está muy cuidada, ¿qué os parece? (más…)
Tomb Raider, es considerada una de las franquicias de videojuegos más exitosas del mundo. En este 2011, el videojuego dará un giro, haciendo mucho más real a su heroína, Lara Croft. (más…)
Watch from between your fingers, or hide under the seat: James Franco plays a mountain climber with an awful decision to make when his arm gets trapped under an enormous boulder. This true story, directed by Danny Boyle, has had cinema audiences wincing, yelping, moaning and rocking back and forth in distress.
The King’s Speech
Awards bait it may be, but this movie is carried off with terrific panache. Colin Firth plays the unhappy George VI in 1930s Britain, crucified with shame at his stammer; Geoffrey Rush is Leonard Logue, the outspoken Australian speech therapist who is the only man who can help. Helena Bonham Carter is Queen Elizabeth (to be known, decades later, as the Queen Mother).
There’s over the top, really over the top – and then there’s this. Darren Aronofsky’s delirious movie-melodrama stars Natalie Portman, giving the performance of her career as Nina, the young ballerina given a crack at the lead role in Swan Lake, and suffering a breakdown in the process. Aronofsky’s movie has a queasy, Polanskian shiver, with shades of Repulsion and Rosemary’s Baby.
The Portuguese Nun
A demanding, slow-moving arthouse film. Eugène Green’s stylised work features a French actress, in Lisbon to shoot a movie, who becomes intrigued by a kneeling nun. Like José Luis Guerin’s In the City of Sylvia or Miguel Gomes’s Our Beloved Month of August, The Portuguese Nun avoids the traditional filmic tempo in favour of something static and contemplative.
Nicole Kidman and Aaron Eckhart star in what audiences have found to be a challenging, left-field drama about a couple whose young son is killed in a car accident. Kidman plays Becca, a stay-at-home mum; Eckhart is her husband Howie. They react to the tragedy in radically different ways.
It takes nerve to remake Henry Hathaway’s legendary 1969 western, starring the John “The Duke” Wayne – but Joel and Ethan Cohen have made a characteristically insouciant attempt. This time, it’s Jeff Bridges wearing the iconic eye-patch – really, no other casting was possible. The Coens have become known for interspersing their more serious work with lighter fare, and this could be one such – but anything by the Coens is a must-see.
Countdown to Zero
This could be the horror film of the year, or perhaps the decade. Lucy Walker’s documentary reopens a taboo subject that many (wrongly) think is now a non-issue: the threat of nuclear explosion from terrorists, or from a “Strangelove” accident. Walker has nailed down some A-list talking-head interviews, including Mikhail Gorbachev and Tony Blair – who, remarkably, appears to rediscover his youthful radicalism, and calls for a zero-nuke world.
Le Quattro Volte
Since being unveiled last year at Cannes, this delightful film has won hearts and minds everywhere it has been shown. Composed of long, wordless shots, it’s set in Calabria, where an old shepherd lives. Michelangelo Frammartino’s camera follows the area’s inhabitants, who are mainly animals, which give some lively performances.
Tinker Tailor Soldier Spy
Tomas Alfredson, director of the modern vampire classic Let the Right One In, is an interesting choice to direct this dark tale. John Le Carré’s spy drama – turned into a 1970s TV classic by the BBC, starring Alec Guinness – is now revived with Gary Oldman in the role of George Smiley, the enigmatic intelligence chief brought out of retirement to root out a Soviet mole, and reopen some emotional wounds.