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Eclipse

David Slade

Come lasciava sperare il trailer, “Eclipse” di David Slade (ben sceneggiato da Melissa Rosenberg) è il primo film della serie “Twilight” che si possa considerare abbastanza buono. Per il terzo capitolo della vicenda di Bella ed Edward la produzione ha avuto l'intelligenza di assumere un regista capace - e in più, esperto di vampiri (ha diretto il notevole “30 giorni di buio”). Slade per la prima volta introduce un'autentica nota horror in questa saga di buoni sentimenti.
In “Eclipse” Victoria, la nemica fissa di Bella e del clan Cullen (però l'interprete è cambiata), crea un esercito di vampiri newborn (il doppiaggio italiano ha “neonati”, che è corretto ma ha connotazioni sbagliate), che Vampires are stronger than normal. The previous films did not conceal the fierce vampire, but they treated her awkwardly ("Twilight") or subdued ("New Moon"), but here we find the appropriate touch left, both in the description of the army of bloodsuckers is three interesting flashback: the attack of an eighteenth-century vampire and his partner to the tribe of werewolves, the story of Rosalie, raped and abandoned dying, had returned as a vampire for revenge (beautiful appearance at his trembling head rapists, dressed as a bride, with a fierce smile), the story of Jasper, Confederate Army officer and then a fearsome vampire Mexican lieutenant.
Slade sa dirigere gli attori: vuoi grazie a lui, vuoi per la maggiore esperienza, sono migliori che in passato non solo Robert Pattinson ma anche la limitata Kristen Stewart. Il terzo incomodo Taylor Lautner (Jacob) tende un po' troppo a lavorare esibendo i pettorali, alla Victor Mature, ma non è facile per un uomo - né per un licantropo - trovarsi a suo agio nella parte di “seconda scelta”; comunque, il film riesce perfino (sembrava impossibile) a raggiungere un tono di verità nella descrizione del triangolo amoroso. Fra gli interpreti secondari, da citare specialmente Jackson Rathbone (Jasper), Ashley Greene (Alice), e naturalmente Dakota Fanning, che concentra nella sua raffigurazione di Jane tutta la crudele superiorità Volturi.
A higher budget has allowed an improvement of the special effects (the scene of Jacob caressing Bella turned into a wolf is very credible). The fitting of Art Jones and Nancy Richardson is effective: see for example the sharp break from the gloomy speech by Rosalie bloodthirsty onslaught of vampire Victoria in a group of human beings, or the energy to chase scene Victoria by Cullen. The final battle, where two groups of vampires, werewolves, one of which is allied to, collide, in parallel with the mounting battle between Edward and Victoria in the mountains, reaches a dramatic tension that was missing from the series (the final battle of "Twilight" it was ridiculous). Particularly affected the beautiful vampire newborn Bree, a frightened young girl, and perfect the menacing solemnity final arrival of the Volturi.
Of course the film does not neglect the emotional aspect, and a photograph of Javier Aguirresarobe here you grant unabashedly romantic tone. The problem which plagues Bella is no longer whether to marry or before the first bite themselves, but if you lose your virginity before or after marriage. That is, the underlying moral dilemma to books and films in the series (where the vampirization "stands for" sexual intercourse) hours, introduced the topic of marriage comes out of the metaphor: the loss of virginity as content becomes metaphorical parallel theme. Very funny
- But not without logic: after all has more than 100 years - the Puritanism of Edward, rejecting premarital sex and even makes his proposal so nicely "antediluvian" (Bella dixit): "Isabella Swan ... grant me the extraordinary honor of being my wife? ". Along the movies, entr'actes nose-against-nose between Edward and Jacob lead rivals a pleasant note (but not for the three main characters). Cursed monogamy, one might say, and Bella always seems about to say, but this story is located by definition on the side of "let's do not, then nothing. If you learn something ANICA Bella Blake by Laurell K. Hamilton would be better for her - But it would be more "Twilight," right?

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The Hole

Joe Dante

E 'annoyed just reading a title like "The Hole - In 3D" unnatural cross between history and the device, like the old "Totò in color." But the discrete film by Joe Dante might have some justification in the current vogue of three-dimensional film, "The Hole" is one of those that best use the illusion of space expansion, which is the only (tenuous) evidence of interest 3D, rather than hurl objects at the audience like the last "Final Destination". Applies to everyday scenes such as the dialogue iniziale fra il giovane Dane e sua madre; vale tanto più quando l'amplificazione dello spazio è usato ai fini della suspense: quando i due fratelli cominciano a gettare sonde e oggetti nel misterioso buco senza fondo scoperto in cantina, la mdp si concede anche il controcampo da dentro la galleria, e il 3D esaltando la distanza aumenta l'effetto.
A guardare la produzione horror americana, metà dell'umanità è costituita da madri sole e squattrinate con due figli o figlie (di cui uno/una invariabilmente rompipalle), che traslocano in una casa infestata. Qui i fratelli Dane e Lucas trovano il buco, con una botola bloccata da lucchetti; tolti quelli, a tener ferma la botola non bastano neanche i chiodi. Il guaio è che cominciano Left out of it entities: the materialisation of the worst fears of those who are attacked. Nothing is absolutely terrifying, however, not only for the reduction of child and adolescent protagonists in the world, "The Hole" is admittedly a kids' movie, the equivalent of literary production called "young adults". From modern
good guys, who do not confide in their parents even if they were under threat from man wolf, the brothers say nothing to a mother, however, distracted and join forces with neighbors daughter, Julie, to do something without knowing what . Here Joe Dante introduces a touch of humor - keep an eye on the three hole "armed" with helmets sports baseball and pot lids as shields - that's cool, though little in keeping with a film devoid of humorous tone (but note the humor citazionistico - Dante us wallowing in "The Howling" - baptized in a glove factory Orlac) .
The script by Mark L. Smith does not shine for originality. Stephen King may demand the rights: the setting reminiscent of "It" on a small scale; King The doll is very evil which attacks the small Lucas (but when it is shipped to disintegrate into the fan is pure "Gremlins"), as well as the cop- zombies. The figure is the most successful girl ghost. His way of jerky does not seem to depend simply on the fact that limps because he has one shoe, and when we see it as an insect to crawl back into the hole, raises disturbing echoes of "Ju-on: The Grudge" Shimizu.
The best scene of "The Hole" when Julie is an old roller coaster climbs to meet the girl in ruins: it was her best friend and she was a child, for fear had left her to die in an accident (where c 'is a ghost there is always a sin?). "You've become great, Julie -" I know. I'm sorry. " The grim dialogue between a child and teenager desperate spectrum crushed by remorse, lying side by side on the edge of the void is greater than all the rest the film. Moreover, the visual solution
bolder is another. When Dane (warning, spoiler!) Flows into the hole to save the kidnapped little brother, faces his own secret fear: that of the father, who beat them cruelly (to be picky, you smell of Stephen King here). He finds himself in a house that is oddly distorted the way the hole plays her unconscious - or vice versa - and Dante build the house in terms of pure "Caligari", namely the total strain space that takes its name from the classic expressionist " Das Kabinett des Dr. Caligari. " Although the reconstruction gives rise to a conflict not unlike many other horror (the ghost that feeds on your fears is defeated if the super), cinephilia Dante is met - and perhaps that of the spectator.