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K-20: THE FIEND WITH TWENTY FACES

29 Mar

K-20 The Fiend With Twenty Faces

Note: The following post contains no significant advances of the plot or the end of the film.

K-20 is a 2008 Japanese film directed by Shimako Sato based on the So Kitamura Novel: Kaijin Nijū Mensō Den. Yes indeed, It’s not the latest premiere, but worths review it when the dissemination of East Asian Cinema is not wide in the West, so is very possible that many people had not the chance to watch it yet.

K-20 is a fiction story located in Japan in the late 40’s, a Japan where World War II never happened and in which the society is in a deep extreme inequality, of this situation arises a very particular thief, a sort of Robin Hood the police have failed to apprehend and named Kaijin-20 by his ability to change appearance and be unrecognizable every time he attacks. K-20 now has a new target and to achieve it will use as a decoy to Heikichi Endo a circus acrobat that will have to face many obstacles in order to be able to escape from the problems in which is immersed because of the thief.

Takeshi Kaneshiro 2 K-20 The Fiend With Twenty Faces

The story is quite entertaining and rich in elements, has excellent and not exaggerate tints of humor that remember a lot the manga or the anime, Added to that the frame is filled with adventures that keep the viewer in tune and attentive to the action sequences, these latest are quite attractive since the parkour is the channel for its development: both in the fight  and persecution scenes the famed discipline makes presence and adds a touch of reality to the presented fiction. On the other hand is a detective story charged with enigma and clichés that makes reminiscent of the mystery cinema of old-times, as well in this multitude of components there is a critical factor to social inequality, towards the indifference that has the powerful people over the needs of their neighbor.

 Takeshi Kaneshiro K-20 The Fiend With Twenty Faces

Takeshi Kaneshiro gives life to Heikichi Endo, with the usual angel that characterizes him the actor achieves an excellent interpretation of a naive and simple man who by force of necessity must find within himself the strength and the ability to overcome adversity, thus suffers a pseudo-transformation in which Kaneshiro provides strength to his character without allowing him to abandon his innate goodness. Takako Matsu plays the role of Yoko Hashiba a high class woman completely underestimated by all those who surround her that is desperate to know the life out of her bubble and live different things, Matsu achieves a tender, foolish and humorous character. Toru Nakamura has the role of a man with a flat and cold personality as the detective in charge of persecuting K-20, Nakamura performs to perfection a necessary low profile to his character.

Takako Matsu Takeshi Kaneshiro K-20 The Fiend With Twenty Faces

The locations, the ambience and visual effects are completely structured, designed and attractive: constantly take the viewer to disparate realities such as wealth and poverty, the real and the imaginary, the old and the modern. Excellent.

 Toru Nakamura Takeshi Kaneshiro K-20 The Fiend With Twenty Faces

Like you expected Zerorojo recommends it: K-20 The Fiend With Twenty Faces is a film that brings together many elements but is not overloaded, is quite entertaining for what is suitable for all kind of viewers and leads us to a reflection about the productions that are doing in the east: a cinema full of creativity and attractiveness that has few or nothing to envy to the Hollywood creations.

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K-20: THE FIEND WITH TWENTY FACES

29 Mar

K-20 The Fiend With Twenty Faces

Nota: El siguiente post no contiene avances significativos de la trama ni del final de la película.

K-20 es un film japonés de 2008 dirigido por Shimako Sato y basado en la novela de So Kitamura: Kaijin Nijū Mensō Den. Si, en efecto, no es el último estreno, pero vale la pena reseñarlo en tanto la difusión del cine asiático no es muy amplia en occidente y es muy posible que muchas personas aún no hayan tenido la oportunidad de verla.

K-20 es una historia de ficción que se sitúa en Japón a finales de los 40, un Japón en el que nunca ha ocurrido la segunda guerra mundial y en el que la sociedad está sumida en una desigualdad extrema, de esta situación surge un ladrón muy particular, una suerte de Robin Hood al que la policía no ha podido apresar y que denomina Kaijin-20 por su facilidad para cambiar de aspecto y hacerse irreconocible cada vez que ataca, ahora K-20 tiene un nuevo objetivo y para conseguirlo usará como señuelo a Endo Heikichi un acróbata de circo que tendrá que afrontar múltiples obstáculos para poder escapar de los problemas en los que se ve envuelto a causa del ladrón.

Takeshi Kaneshiro 2 K-20 The Fiend With Twenty Faces

La historia es bastante amena, entretenida y rica en elementos, tiene excelentes tintes de humor sobre los que no exagera y que recuerdan mucho al manga o al anime, sumado a ello la trama está repleta de aventuras que mantienen al espectador en sintonía y atento a las secuencias de acción, estas últimas son bastante atractivas pues el parkour es el canal para su desarrollo: tanto en las escenas de pelea como de persecución la afamada disciplina hace presencia y da un toque de realidad a la ficción presenciada. Por otro lado es una historia policiaca cargada de misterios y clichés que recuerdan al cine de misterio de antaño, así mismo en esta multitud de componentes hay un factor crítico hacia la desigualdad social, hacia la indiferencia que tiene la gente con poder respecto las necesidades del prójimo y de igual forma hace hincapié sobre cómo puede influir o no el dinero sobre la felicidad y los comportamientos de las personas.

 Takeshi Kaneshiro K-20 The Fiend With Twenty Faces

Takeshi Kaneshiro da vida a Heikichi Endo, con el acostumbrado ángel que lo caracteriza el actor logra una interpretación excelente de un hombre ingenuo y sencillo que a fuerza de necesidad debe encontrar dentro de sí la fuerza y la destreza para vencer las adversidades, así pues sufre una pseudo-transformación en la que Kaneshiro brinda fortaleza al personaje sin permitirle abandonar su bondad nata. Entre los estelares se encuentra Takako Matsu en el rol de Yoko Hashiba una mujer de clase alta completamente subestimada por todos los que la rodean que se encuentra desesperada por conocer la vida fuera de su burbuja  y por vivir cosas diferentes, Matsu logra un personaje tierno, atontando y cómico. Toru Nakamura tiene el papel del detective encargado de perseguir a K-20 un hombre con personalidad bastante plana y fría, Nakamura logra a la perfección dar un necesario bajo perfil a su personaje.

Takako Matsu Takeshi Kaneshiro K-20 The Fiend With Twenty Faces

Las locaciones, la ambientación y efectos visuales, son completamente estructurados, pensados y atractivos: llevan al espectador constantemente a realidades dispares como la riqueza y la pobreza, a lo real y lo ficticio, a lo antiguo y a lo moderno. Excelente.

Toru Nakamura Takeshi Kaneshiro K-20 The Fiend With Twenty Faces

Como es de esperarse Zerorojo la recomienda: K-20 The Fiend With Twenty Faces es una película que logra unir muchos elementos sin ser recargada, es bastante entretenida por lo que es apta para todo tipo de público y nos lleva a una reflexión sobre las producciones que están haciendo en oriente: Un cine lleno de creatividad y atractivo que poco o nada tiene que envidiar a las creaciones de Hollywood.

THE PAPERBOY

18 Feb

The-Paperboy-2012Note: The following post contains no significant advances of the plot or the end of the film.

The Paperboy is a 2012 film adapted from the eponymous book of Pete Dexter and directed by Lee Daniels also known for his work in Precious. The Paperboy is the fruitful meeting of several stories: The James brothers are investigating irregularities on data in the legal process that led to Hillary Van Wetter to prison, with the aid of the extroverted Charlotte Bless who convinced of the innocence of Van Wetter will help the brothers sharing details of the process with the intention to set him free, and in this way marry him. In the course of the investigation, the James brothers will discover that the path to the truth can be severe and quite painful.

The-Paperboy

The story is stunning full of surprises and harsh details, to be fair, if you could define it in one word it would be this: brutal. The relationships among the characters are deep and filled with an evident mystery, even so, the events are not predictable or common nature. The plot explores the human attitudes motivated by interest, madness, love, sadism and even, given the time in which it’s carried out, treats superficially the issue of racism.

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The performances are indeed remarkable and surprising, the actors who always you see in the role of sexual symbols are now humans that exude low instincts in each one of their lines. Zerorojo is not the first nor the last to highlight the performance of Nicole Kidman and qualify it of magnanimous: in her role as Charlotte Bless exceeds her own standard of perfect doll and brings us a sensual, sexual woman without  subterfuges and satieted of the underworld. McConaughey performs a good role although at times lacks of strength he could communicate the sadness of his character. It’s amazing to see Zac Efron in a film of this court his role although devoid of the necessary emotions for a visceral story as this goes ahead, it’s probably not the time for Efron to share center stage with stars such as Kidman and McConaughey. John Cusack is convincing in the skin of Van Wetter, succeeds in overcoming unfortunate roles throughout his career and finally can interpret for real to another person besides himself. To highlight the performance of Macy Gray excellent story-teller.

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The colors of the film are exquisite, they have very appropriate tints for the scenario, the time and the wardrobe, at times shows up a filter that recalls the lomographic Diana F, however when the plot gets crude you can observe an abrupt change to high contrasts and a more relaxed camera tracking, less concerned with the composition.

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The Paperboy is a quite strong film, its attractive lies in the performances and photography more than in its story. Zerorojo recommends it, has a no predictable end and an appreciable crudeness, is rude and precisely for this reason can touch sensitive fibers of the viewer.

THE WORDS

12 Dec

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Note: The following post contains no significant advances of the plot or the end of the film.

 

Brian Klugman and Lee Sternthal presents us the words, a movie with a fairly innovative narrative line, starring Bradley Cooper, Dennis Quaid and Jeremy Irons (very interesting). Tells the story…no, it’s difficult to say it has a single story but, in a basic line, could be said that tells the story of Rory an aspiring writer who is looking to publish his first novel but the success is elusive, finally when the triumph arrives…not necessarily will be due to his own words.

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The tape is quite pleasant, has a narrative like “story within the story” that makes it fun and interesting, the performances are good, but in general there is a flaw (Zerorojo still not identified) that does not allow the viewer to connect to the drama included in the plot… perhaps it may be due to there’s not enough time to examine the characters, as happens in movies such as The Red Violin. Viewers have the last word about this.

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The change of colors marks determinately the change of narration, going from neutrals to the blues passing by the sepia, this gives a lot of interest to the composition and photography, as well as the soundtrack, composed by Marcelo Zarvos: music emphatic but soft.

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It is difficult to recommend this film, not because its history is bad, nor its actors, it’s difficult because it could be more intense, the argument is for this purpose, and still it’s not. However, is more productive to watch The Words than any teen-movie, that’s for sure. So to not divagate,  Zerorojo recommends it, ¿why? Because you don’t get bored, amuses and also attempts to be fresh through his narrative.

WE NEED TO TALK ABOUT KEVIN

10 Dec

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Note: The following post contains no significant advances of the plot or the end of the film.

The Scottish director Lynne Ramsay makes the adaptation to film We Need To Talk About Kevin eponymous book written by the American Lionel Shriver. It’s natural not to connect with the people, not to rely on them, not believing them, however, when all this is felt by a child things change: Eve struggles to connect with his son Kevin, makes all the efforts of a mother by loving and educate him, but Kevin only gives her rejection and evil natural-born apparently, in these circumstances he grows and becomes a human being difficult to decipher, when Eve discovers the true scope of Kevin, may be too late.44692000001_1252993297001_we-need-to-talk-about-kevin-osc-t

The film has good photography, such, that only with images the story could be understood. The symbology of the color is present all the time, an aspect that gives more character to the scenes. There are various locations that are especially responsible to mark the times: past and present.

cannes-2011-3-clips-de-we-need-to-talk-about-kevinThe performances are very good Tilda Swinton expresses perfectly the commotion that causes her the relationship with her child, the impotence and frustration of not being in control of the situation. John C. Reilly gives us a role that has already learned: a good and conciliator man that wants to give reason to all, in the meantime Ezra Miller begins to shore up his nascent career with this dense and full of character role.

we-need-to-talk-about-kevin-movie-poster-600x300Zerorojo recommends this family and social horror drama, not only due to the complexity of the story, also because it shows realities that for many of us are not familiar. Perhaps in some way explains the emergence of certain macabre minds that by moments have paralyzed the world with their sinister acts. Has points of reflection: it does not go in vain, the situation that has arisen in the movie certainly can leave the viewers questioning themselves one or two issues…most of all the importance that parents agree on the education of their children.