The Ip Man is a film that deals with the life of a martial arts teacher thrylikoteron all time, the famous Yip Man. The name was linked to modernization, to enrich and widely beloved martial art of Wing Chun, one of the best in my opinion, along with Jeet Kune Do, which was founded by Bruce Lee, a student of Grand Master Man. The film is psefdoviografiki, ie very little of what actually happened tells the teacher Man, but that does not play particularly important because its role is clearly symbolic. The story focuses on the life of Man just before and during WWII.

For a long time, all of us are bombarded by television from various political figures and celebrities with inane statements of style “condemn violence” etc. without specifying why they should or should not be exercised violence and in which situations.

The Ip Man is a film about self-defense, the only type of violence should not only allow but also to use it on any aggressor expects to harm us, whether in person, or class, or nation. In the center stands the myth of Yip Man, dressed in all the known characteristics of the “superman reluctantly” that de facto obliged to use his abilities to restore social stability. From the first minutes we see the characteristic ease with which it crushes a local teacher, demonstrating the virtues and superiority of the art of Wing Chun.

Although it is obvious that the real Man is undefeated as a fighter, stubbornly refusing to create his own school, turning knowledge into wealth method, while the behavior is quite disciplined without the slightest trace allazoneias for his abilities. Because society is a jungle but the Man called again and again to use his powers, protecting your family and compatriots from all forms of aggression.

The strength and number of opponents of the great teacher constantly escalates in the film, converting it into a symbol of Man cultivated and revolutionary soul of the Chinese people. Change fighters listosymmorites and finally, the relentless Japanese army boot attempt to break the morale of the Chinese people but the “Superman» Man standing steadfast among them, mincing spearheading the enemies and the activation of his countrymen.

Essentially, the Man is the “mold” in which solidifies the dignity and the revolutionary spirit of one of the oldest peoples of the world. The film includes maximum pleasure for the discerning cinema. Fans of kung fu films will enjoy a long series of blistering action sequences and merciless wood, epic conflicts covering all tastes, from two people to fight with dozens of rivals clash.

The connoisseurs of the art of Wing Chun to press the button several times to rewind knob in the effort to study and enjoy each technique using the Man, techniques that know their workouts like I know I watched numerous documentaries Afytos for Wing Chun. From the basic Chi Sao technique until the wooden stick, the Man swaps techniques with the speed of lightning, breaking heads, feet and hands. Following the traditional approach of most patriotic kung fu films from the Mecca species, Hong Kong, the evil is primarily due to the Japanese militarists, illustrated throughout the cruel splendor to the Chinese people threaten with extinction. Their opponent, the Man, not just the action body and the body epanastatikotitas of ordinary people who learn the martial art and clash mercilessly with a “herd” losing bodies that try to steal their trouble, in one of the best scenes of the film. Interpretative area beloved star of Hong Kong, Donnie Yen (Hero, Blade 2 and many Asian protagonist in “Diamonds”) gives his best, punching everyone in comfort when you need yet, externalized the serenity and grandeur of the interior world of Man, prerequisites for building a robust character and not a caricature in which we are accustomed American adventures. Word of mouth Yen, the Man come out with phrases rarely hear of “supermen” of Western culture, a characteristic response to a alitirio who tries to offend, saying he feared his wife: “there are men who fear their wives, only men who respect them. ”

At his side Yen, Simon Yam is that most know him from the passage in American blockbusters – Lara Croft Tomb Raider: The Cradle of Life – but connoisseurs of Asian cinema to have enjoyed countless adventures with a top in my opinion the masterpiece Bullet in the Head of John Woo.

Jake Sully (Sam Worthington) in front of his avatar.
Under the command of Dr. Grace Augustine ( Sigourney Weaver ), Jake goes in the avatar body on an expedition to Pandora, but it is separated from his group. Left to their own scientists admit that Jake is no chance of surviving one, but he finds help from the Na’vi Neytiri ( Zoe Saldana ), which leads him to the settlement of their tribe Omaticaya. The Omaticaya Dr. Augustine had already made contact, which is why some of them speak English. between his avatar and his real body alternately Jake learns to know and understand the customs and the Na’vi and report to the RDA and Col. Quaritch report. In particular, the Omaticaya Jake move to leave their home village on and around the tree, because among them there is the greatest concentration Unobtainiums. Remain because the Na’vis want, Col. Quaritch’s armed force against them, and Jake finds himself caught in the middle.  Neytiri (Zoe Saldana) teaches Jake the life of the Na’vi.
Criticism:
After “Terminator,” “Aliens,” “The Abyss,” “Terminator 2″ and “True Lies” and its about success “Titanic” were in the past 12 years, nothing new from James Cameron , just a TV series and three undersea documentaries . He is now with the movie “Avatar – Pandora departure to” finally back. The “Avatar” he has developed before “Titanic”, but it could implement only with the current computer technology and its own technical developments. length segments of the film are shot with the performance-capture method, so that both facial expression and movements of the actors were caught in the studio shoot. These data were then converted by the animation team at Weta Digital (“The Lord of the Rings”, “District 9″) in CGI characters. It worked really well. see much of the worlds and creatures that emerged from the computer, from realistic – if you’ve got used to the colors and the slightly animated comic like nature of the humanoids. In some places it is easy to make real recordings were mixed with computer effects, for example, when getting off on Pandora or in the first round in the avatar’s body. But only the smooth skin of wolf animals is really disturbing.
Selfridge (Giovanni Ribisi) and Dr. Augustine (Sigourney Weaver) disagree.

The current trend, the movie appears both in 2D and in 3D, and so is the 3D craze continues to strengthen. What in “Ice Age 3″ is working well in the action film “Avatar” a little more difficult. By the time you get used to but the 3D perception, but in fast and complex movements (in the picture or the camera itself), blurred vision. As fascinating 3D is so frustrating it is in “Avatar.” In addition, the animation of “Ice Age 3″ deep completely sharp. In “Avatar” levels are frequently blurred. This is an ordinary cinematic means to draw attention to a focal plane (eg a face). In 3D, this is extremely disturbing, however. In the natural life you’re accustomed to admire the view. Where the attention of management works fine in 2D, you feel the blur in 3D “Avatar” patronized.

Col. Quaritch (Stephen Lang) …
The adventure and the battle for Pandora are all 161 minutes long, but the history and effects captivate enough so that one would not once look at the clock. Cameron’s dramaturgy is really succeeded as well in his other films. The world of Pandora, the flying Hallelujah Mountains, the night bright rain forests are fantastic visions. For the sci-fi genre is the natural affinity of the Na’vi extraordinary. The human greed, which is responsible for the destruction of nature, many species of animals and primitive peoples has destroyed. It denounces “Avatar” and reminds us of our conquest history. The real war in “Avatar” is one against the idea that love of nature is the same as primitive and technical progress must be done at the expense of our livelihoods. In this respect, “Avatar,” a plea for the destruction of our earth to halt and to learn from the environmental or sustainability of natural earthly peoples. To convey this, uses Cameron rather esoteric images. The seizure of the avatar body, he explains, however, neuronal-technical. Awareness is created for him by nerve networks. A spiritual concept of soul was the director, producer and writer Cameron seems to be too archaic.

In other words, the ‘gringo’ who wants to see the film will be forced to read subtitles for 84 minutes, a task that definitely scare many, including radical conservatives who refuse to pay to see a story that takes place in Mexico (but was filmed in California), whose characters are almost all there (although several of whom were born here interpreted) and severely questioning the discriminatory policies of ‘gringo’ (although he laughs too many clichés of Latin America).

Furthermore, although the work of Ferrell rarely have spectacular displays of production (we are thinking of his most effective, as “Step Brothers” and “Anchorman”), this new film is intentionally cheap-looking B-series that embarrass other sectors, and rests heavily on the use of cardboard sets, continuity errors, camera and even a surprising truncated ‘animatronic’.

Of course, it is not that Ferrell has suddenly decided to get some orders from third world filmmakers without resources, in fact, screenwriter Andrew Steele and director Matt Piedmont (both very white and very American) decided to do so to pay him a mocking tribute to telenovelas, Mexican cinema of the 60 and the ‘spaghetti western’. We do not know if the large audience will understand this joke essential, but for us it is a film that, first, worth seeing because of his passionate sense of risk, is not evident if one looks only at its argument (s say, the story of a Mexican rancher Ferrell-who falls for a beautiful woman – Genesis Rodriguez – who is both his brother’s girlfriend – Diego Luna – who finds himself in shady dealings that relate to the dangerous mobster “Oz” – Gael Garcia Bernal .

Nor are we sure that the ‘Anglo’ come to understand the other jokes, which often require a specific cultural knowledge and they call even more attention because they were created by an ‘American’ (who was no doubt Latino advisors .) To test, just one example: during the scene where the character played by Genesis Rodriguez house, the musical framework is provided by “El Puma”, a singer who will be recognized only in a comprehensive manner by Hispanics, and is also the father of this Venezuelan actress.

“House of my father” has countless similar details to the viewer versed in these conflicts, and it is likely that the fact it serves the same to laugh with many more eager than the unknown, but the wider audience is not necessarily abandoned , as evidenced by both the use of Ferrell as the vibrant rendition of the original (completely in Spanish) by the popular Christina Aguilera . But this does not ensure either the unconditional applause of our community, because, basically, this is an “art film in Spanish American,” as someone already mentioned there.

And, to get academic, is one of the largest film production with use of metalanguage we have seen, not only as it relates to film and television genres listed above, but because, as Diego Luna told us in this interview , created “characters in the characters” in the sense that leading his cast to step into the shoes of lousy actors and grandiloquent to provide key interpretation based on the style of melodrama.

On that side, one can not help but marvel at the way in which Ferrell takes on the challenge; see him talking (and singing!) In our language with such passion, seriousness and conviction during the first scenes was enough to arouse our deepest laughter. But neither can ignore the performance of Luna and Garcia Bernal (ie, the celebrity couple “Y Tu Mama Tambien”), who also make clear that greatly enjoyed shooting, used their initial experiences in the ‘box stupid ‘and their own talents as comedians to build a’ narcos’, in the midst of his deep stereotypes (that of smoking two cigarettes Gael at once, that of Diego employs a forced accent), are the most entertaining and convincing.

How could we forget the presence of the legendary Pedro Armendariz Jr ., who plays Ferrell’s father and Luna, and he played here last paper of his prolific life with commendable dignity?

Of course, a trick like this (the locals call ‘gimmick’) could be spent quickly, so that the filmmakers will add a background narrative of a plot that some might question (the implementation of ‘other’ story about Mexican drug traffickers, after of ” Hell , “” Saving Private Perez “and” My Bullet “), but in addition to being novel for the simple fact that it is an American creation, serves to introduce numerous comments on the responsibility of the consumer on this side the border in the drug problem (and even to question the very questionable DEA, through an arrogant and corrupt character is played brilliantly by Nick Offerman ).

Like any risky film and novel, “House of my father” has imperfections that go beyond intentional. Although one is Latino, not all jokes are effective, understandable, and there are times when you do not understand if what is being meant to be funny, hallucinogenic or reflective, making it sometimes feel that, despite its brevity , the film is a sort of ‘sketch’ extended (which makes sense when you know that both Steele and Piedmont from the ranks of the irreverent “Saturday Night Live”).

In addition, the climax, which depends too much on “Scarface”, without neglecting the Latin touches, could have been more original. But we doubt that this is a valuable tape which should be supported, although uncertainty about the effectiveness of the proposal has been made that is released in large numbers, so you have to scroll down a bit to appreciate it if you do not live in neighborhoods where the exhibit (which, however, are many, at least in Southern California).

The structure based on bifurcated paths manages layers as reflective mirrors, which always seeks the semantic association of both sheets, often from the effect of investment. On the one hand, in an unspecified location in Spain we have an isosceles triangle made up of a woman, Luisa (an expressive Pilar Lopez de Ayala), his son and in the end, as their weight is secondary, a priest, Father Antonio ( Daniel Brühl) who try to unravel what happens between them. The character who gravitates between two types of assumptions and applying deductive logic here analytically is not the protagonist but moves aside. Same pattern applies to the other bone, set in London, where time and space is realized, consisting of a father, John Farrow (Clive Owen a less bright than at other times), a daughter and wife, Sue, who holds the same role as the priest, but in this case the character is treated with less care, forcing the viewer antipathy. Sue intrusion in the close bond that develops between parent and daughter as they share the same frightening experience for the harassment of a faceless being, exactly what happens in Spain, is at issue in terms invasive, unlike the Father Antonio, which will come into action to help. The negativity poured in via Sue acts as deterrent for the viewer to continue staying in the phantasmagoric, like a hook. It therefore appears that the unreal aspect will dominate and be imposed on the real sphere, both diegetic space as in the film.

This blurring of the boundaries where it dominates the space of the unconscious and there is a detachment from the immediate reality, increased the weight of the transcendent, symbolized by religion, slowly graduating to an exposure to and detonation of the doctrines of Todorov, in the end only one of two options is valid. So the film is releasing ballast lead to generic mental processes, defining the contours of the subjective. Uncertainty, under the drapery of the horror film, when the value is finiquita allegorical weight gains on the screen and the film is decanted into the direction where the man who finds the truth in itself.

But this journey, suggestive in its parent and its scaffolding mechanism fails when imposing the intensification of sensation to hit with shrapnel, accusing stranded repetitive overloading the film in its own virtuosity emphatic. It’s a show of surface tension force imposed on the senses knock. Fresnadillo says it’s not a horror movie and it’s not about fear is epidermal, automated and drowned in his own formal exhibition in desultory use of clichés, which then will be repudiated in a hypocritical operation as before not hesitate to use them for their stylistic ostentation. The director wants to transcend the mold on which he builds his film to tell us that Intruders is a film that meets their personal concerns. But we would have preferred that the violation of the codes had not smelled damp squib.There is more to do the tiresome way of integrating the inclusions reference, as if they were tics of contemporary cinema from Dark Water (2002) in The Sixth Sense (The Sixth Sense, 1999), not to mention the unnecessary humorous demystification of the Exorcist (The exorcist, 1973), which is justified narratively as a time of congestion, but its operation to implement it reveals the character of swallowing: first I use it and then spit.And to make matters worse, this game ends up conjuring totally unsatisfactory, as the seams are discovered and shows that it has always played fair, demonstrating its ineffectiveness when choosing a way of telling complex, where both formal effort plot becomes totally ineffective for failing to finish him off.

The hunt is on and I hear all the action fans of the ”old school” crying already widely, because you ask yourself the enjoyment of the Safe House, is whether director DanielEspinosa wanted to make his own Bourne 4, or whether the last collaborations by DenzelWashington and his house and Hofregisseur Tony Scott has studied intensively and evenif Denzel Washington came with a whole cornucopia of Tony Scott’s recommendations in terms of action directed to the set. Be that as it may, Safe House is now one of the bestTony Scott films, Tony Scott has never turned. Accordingly, the camera zoomed in andwiggled it is a joy. The colors are extremely manipulated and rank between earthy andbright complementary colors, plus there is hectic whip pan and everything was properlystored on grainy film (I can already hear the lamentations * whether the crummy picture quality * laughing at Amazon). The result is incredibly dynamic, fast, frantic and incrediblyalive and in its effect directly. What, above all the gritty and pretty brutal action benefitsthat do downright crude, especially in the fight scenes even hurt the audience. The rest of the action consists of powerful and reality trimmed shootouts, explosions, and a heftynumber of chases on foot and by car, each developing enormous force. And despite theloose camera work amazingly clear!

Action in respect Espinosa definitely makes things right and also condemned the Abfeiern of Denzel Washington’s mistaken him well out of hand. The works finally back so unapproachable and indestructible as Men of War, and was rarely put in cool scene.Even the initially somewhat unusual style will never decrease the coolness factor of Washington. But also like Reynolds in his role. What is also not a big deal anyway because that pretty good script makes a point of slipping never vorausschaubare tracks in character development. So some nice twists are possible as well as the fact that the characters do not have to be bent to suit the momentary events. And this is from Matt Tobin and never a buddy movie trailer. Both remain in their attitude to each other always ambivalent. They have respect for each other, they are friends but never know what is pumping properly exciting dynamic in the constellation of characters Matt / Tobin. The movie focuses too much on something they both, at the expense of which is very strong playing, but a little goes away acting Support Castes. Vera Farmiga was called, whose beautiful facade is never quite see through, and Brendan Gleeson, which one would still benefit from Vera can take back to not so much sit up on suspicion of type casting.Completely evaporate down to doing the final scene, unfortunately, Sam Shepard, who also plays well, but has no meaning for the film. The more massive is because Robert Patrick, who clearly touched with gray and a little prissy gedickt are CIA agents, and early on for a couple of pretty cynical moments, provides escape in which the intelligence of the world if their Abgewichstheit not really good.

This is a very important subject of safe house and drives to some extent, the act of self strong. This is whipped forward by Daniel Espinosa with one exception, consistently and at high speed and almost never loses itself in addition to theaters or other harmful voltage of naughtiness. But once he gives the otherwise tightly held reins to clear out of hand. In this section, and Matt Tobin separated and suddenly the film falls into a strange hole. Neither understood the reason for this separation (viewed purely from the logic ago) nor why Espinosa installs here at once gefühlsduselige trip to Matt and his girlfriend, who is well and happy anyway would have a firmer handling of the action must sacrifice. The reason, as Tobin and Matt together again has also constructed pretty, but from then SafeHouse runs properly again round and controlled directly on the hard, brutal and surprisingly unspectacular (forth from the scene values) Showdown at which the hard 70soutliers, and almost reminiscent of an intimate confrontation mutated Mano a Mano.

In short, Safe House, an exciting Strip has become the means to come up with a few twists amid the continuous chase, great actor musters, the coolest Washington ascends for years and thanks to feverish look in the middle of the stomach suggests (The wobble camera but also the biggest criticism of most his audience.). Unfortunately Espinosa lose a little here and there to look for his story and actually very straighte he sacrifices the strong playing some minor characters to the very – but really charming – mutual spying by Reynolds and Washington. The result is an intelligent action thriller that works only in the final act of unintentionally funny, because here the abgefeierte “Enthüllungsakt” bad acts naive. All the more so since before Espinosa intelligence agencies in the world has so demonized much that you feel as a spectator hardly like that presented in the way something could be done. Although, the media, too Guttenberg and Wulff have brought down …

The film is set in London in 1950, and this is not a minor detail: the tone that the director is trying to impose evocative of that era, not only real, but to that of Hollywood. That was where I was full of great love stories where the female lead character really was, and suffered and was suffering for love.

Arguably The Deep Blue Sea, is a tribute to that era, and maybe so, you can appreciate more.

The story centralizes Hester ( Rachel Weisz ) and a love triangle that includes her husband, William ( Simon Russell Beale ), a judge, fairly wealthy, older, and her lover Freddy ( Tom Hiddleston ), a pilot who knew how to fight World War II. When William learns of the affair, touched in his pride he asks Hester to leave, and does not want to see anymore, but also not willing to give him a divorce.

The scene that opens the movie, enhanced by the score and stunning violin solo is pretty much the best in the film. Almost 10 minutes where the music and flashbacks tell us the current state of Hester, his marriage, as he met Freddy, because he is about to commit suicide.

William is able to give love, comfort and security, and Freddy adventure and passion. From here on, what history suggests, is to find an answer to one of the great unknowns of human beings: that is love? as worth fighting for? to where we are willing to go?

The pace is slow, sometimes too slow, and although I understand the purpose of the director, evoking an era, I do not work out. The actors met, and make the best of his papers but not enough. The start is at times almost theatrical, minimalist.

“Hope is a good thing, maybe the best of things, and no good thing ever so.”

It is not always life goes in a controlled manner. And if it sometimes does, can lead to strict regulations in most drastic cases, result in one’s life appears on Earth as a giant-sized prison with free-run in which they live long must linger, without even a prospect of parole. Fortunately, this feeling is not the rule. What is certain is only that – like so much – the equivalent features, which the output logic, it maintains, however, applies exactly to the opposite situation: namely, how the case is supported if the jail really comes into your life, it is now determined? plane that bank manager Andy Dufresne happens (Tim Robbins, ” High Fidelity “[2000]), as a circumstantial process his life as he knew it, changed utterly. The damning indictment: double murder of his wife and her lover. Although Dufresne again and again protested his innocence, he is ultimately convicted and twice to life imprisonment in the notorious prison of Shawshank convicted in Maine. So Andy is immediately behind thick walls in a highly regulated, to repentance and rehabilitation targeting life again, which ever the same, only a gray day of brutal encounters with sinister inmates and tyrannical guards is broken. But to the astonishment of his surroundings Andy falls neither melancholy nor the barbarism that seem to determine contradictory and yet connected to the prison life. Rather wears his kind and professional knowledge for initial hurdles to the strained relationship between him, his fellow prisoners and the strict guards to dampen somewhat, as he begins to act for the otherwise imperious prison staff as a tax and investment advisors. While Andy brings back so its a bit old reality, he kept at the same time its most valuable asset: hope. A hope that is so self-evident, so confident that our comrades Red (Morgan Freeman, ” Batman Begins “[2005]), which, in time, Andy’s closest friend and most important point of reference in Shawshank has become gradually begins his own existence to reconsider. But for months of deliberation become years of years of thinking eventually decades – moments in which the prisoner the time runs literally through the aging fingers like Andy the dust of the stones he alters lovingly in his “spare time” to small figures. While it is certain that some of these figures in time a chess game for his friend Red adorn want, is the Andy intended role in the cruel game with the condemnation and the sending to Shawshank took its beginning, and formed an entirely new life for the former bank manager but not yet finally determined …

Hope and hopelessness are the two pillars, the foundation of Stephen King ‘s prison drama “THE CONVICTED” ( “The Shawshank Redemption” ), another exception in the otherwise so horror-heavy-looking body of work represents the writer. This shows that King is able to captivate just with his characters and the mediation of the great human values. As in ” Stand By Me “, that amendment, the 1986 Rob Reiner awakened to life on screen, or later in” The Green Mile “in 1999 also by Frank Darabont (” The Fog “[2007]), a film, it focuses is targeted toward the inner demons with which his characters are struggling. Actually, his own pure horror stories from this basic concept are not excluded, but show the outward manifestations of these demons usually very cruel, brutal, fantastic. As adapted here, the amendment clarifies that real life may be cruel enough and contain enough real monsters to us one or two showers to hunt down the spine. Darabont does so very well advised to stick closely to the literary model and to preserve their narrative, just as it is in large part responsible for the credible characters. King served in it that is the stylistic device of the narrator (in this case Red), which tells the story of another, making it the author is able to provide from the detailed description of deep insights into the human psyche of the character, without However, to demystify it completely. So the viewers are separate for the vision, but not on calls when it comes to the back literally in the dark, the cell relaxed feelings of the protagonists in a clearer light. But even after 137 minutes of intense observation impressive game by Morgan Freeman (Oscar-nominiert!) and Tim Robbins are still not all the characters in question answered questions, so a little bit of the complete decoding of the Secret Files Red / Andy our own imagination is reserved.

What the figures generally applies, applies to Andy in particular: given the unflinching portrayal of brutal prison life, it is up to the viewers as well as Andy’s fellow prisoners, at least partly a mystery, as Andy could spell the memory of his old life and – more importantly – to keep the hope of one day return to this point. Many another fellow sufferer finds such a prospect as a little less pleasant. And here the outstanding plays “THE CONVICTED” finally made ​​its major strength of the template, respectively. On one side is the one that your way is no longer after discharge in the real world, because it allows him known life – the only one with which he finds himself capable as after such a long time in prison institutionalized man – behind the heavy walls behind. In contrast, hangs out on the other side of the honorable, who must find their way into a system to settle in the small-time crooks cell to cell with hardened criminals their sentences, at first, and the dubious craft only learned properly. Since the latter is specifically to ensure, in later life to enable freedom, is so clearly on closer inspection, what the film – neatly packaged – in addition to a dying heart story of a lifelong friendship basically also want to be: a quiet, yet expressive critique of American justice system. “The funny thing is – on the outside, I was an honest man, straight as an arrow. I had to come to prison to be a crook. ” , presents Andy with amusement. A small set, has even greater consequences. Consequences that reverberate like a few years in Shawshank , and the film with his moving story itself. A story of how life can become, under certain circumstances, the life of the prison and the prison. And as sometimes an extraordinary man manages to ward off this fate with constancy and strong heart …

Driss ( Omar Sy ) is pissed off. Actually, he does not want at all to an interview, but he needs the cancellation of the employment office to prove that he is looking for work. He tells the paraplegic Philippe ( Francois Cluzet ) directly plainly. It ordered him to be back for the next day – to pick up the cancellation, which Driss think it so. But Philippe is positively impressed by the young man who comes from the lowest social class. He is the only candidate with the wheelchair-bound as human and not from above, viewed as a patient. And as Philippe, who has a considerable fortune and influence, usually gets what he wants, he puts himself in the head, set Driss. Since this was put out by his stepmother on the road, fits Philippe’s offer that Driss can live in the house (and even has a private bath), too perfect, as that it could reject it.

But the start of the employment relationship is bumpy. Driss has no education and learning are reluctant to supply the necessary things Philippe. He is also distracted by Philippe Secretary Magalie ( Audrey Fleurot ). But Philippe must adapt. Because Driss not only clarifies the (false) behavior of the neighbors park in their own way, he also chooses the sports car a lot better when he is chauffeured Philippe. Gradually, Driss is one of the peculiarities of his employer … And he does this under the arms, as it is about the first encounter with a pen pal …

Starts at the beginning of cinema in 2012 in Germany, a film that inspired more than 20 million French people. And anyone who sees him, knows why. Omar Sy and Francois Cluzet make their figures represent an authenticity that is rarely seen there. The writers and directors Olivier Nakache and Eric Toledano have managed to let the humor that is pervasive in almost all scenes are never at the expense of the characters that represent the respective social classes. If, for example, Driss Philippe pushes the food into the eye, not his mouth as it can move towards the fork, then we laugh with them and not about the disability. Other elements in turn be sent oversubscription drawn into the absurd, and thus deprived of their hardness (eg, the hot water on the legs). approximately While two storylines to Driss’ development and Philippe’s pen pal constitute the central theme of the film were all minor characters sent with just much detail satisfied that they fit into the basic message of the film, and complement. The diversity and acceptance among individuals are ubiquitous both by the performance of each supporting cast still further emphasized. It should be emphasized, especially Anne Le Ny , in the role of housekeeper, Yvonne has any sympathy on their side.

Here Everything fits together perfectly: At a magnificent actor’s performance are an ideally matched music selection, careful, well-measured action components (eg in the chase at the beginning), casually strewn erotic and sometimes unusual camera perspectives, empathize with the viewers on the effect of paragliding can . “Quite the best of friends” leaves the audience with a satisfied smile. Thus, this film ranks not only among the ranks of successful, modern, French films such as “The wonderful world of Amelie” or “Welcome to the Sticks” decision, but he even sits down at the head of this group. Of the Kino makes the first until the last minute fun and conveys a message that young and old understand: Accept one another, like her since, and thus permits the emergence of true friendships – regardless of race, age, disability, orientations, religions, etc. .! “Quite the best of friends” is the first film Cineclub Tip of the Year 2012!

The completion of this magnificent journey through a fictional world that seems sometimes more real than ours for comparable time period begins with a flashback, which the first meeting of the ring and Gollum ( Andy S erkis group). At the present time, King Theoden ( Bernard Hill ), the Battle of Helm’s Deep through the intervention of Gandalf ( Ian McKellen ) and the Rohirrim prepare to win and make the next strategic moves of Sauron. Because Sauron is weakened, but still far from defeated, were his Uruk-Hai in Helm’s Deep but only its troops from Isengard , which his main army in Mordor is still completely intact. Sauron sends a large portion of these forces from Minas Morgul gene Gondor . The last bastion of Osgiliath against the “White City” of Minas Tirith is by the troops of Mordor , which the leader of the Nazgûl , the Witch King of Angmar are cited, completely overwhelmed. The Steward of Gondor , a frail man named Denethor ( John Noble ), is the fate of his empire after the death of his son Boromir ( Sean Bean ) apparently do not care and do not even attempt to defend the city. King Théoden rallies his troops out of all his lands to Gondor to assist in this time.

Frodo ( Elijah Wood ) and Sam ( Sean Astin ) and Gollum are however still on the way to Mount Doom to destroy the ring for good. But Gollum followed their own plans: he drives a wedge between Frodo and Sam and tried by the help of a certain “you” again to enter into possession of the ring. Frodo is getting weaker while the burden of the ring he is to continue, so he is more dependent on the help and the assistance of his companions.

Director and screenwriter Peter Jackson fills the finale of his saga with both an epic force in the war scenes, as fully and with beautiful views, so you could cut out of this film is a tourist promotional video. Jackson knows this particular magenumdrehendes “Before the battle” feeling to produce excellent, whether by the thunderous clouds in the distance on the horizon, the stamping and shouting of the Orcs, quickly approaching, the wind felt cold or just the silence in a big city. The Battle of Minas Tirith, as Sam is already in ” The Fellowship ” , said a “real eye-opener” and a lot of monumental and larger than that of Helm’s Deep. When tens of thousands of Orcs, countless catapults, drum-beating and three meters wide trolls advance ten meters high Mumakil and the biggest battering ram in film history, one can as a non-expert on the template does not help to hold their breath and hoping that the characters somehow survive all this madness. Because they grow in the course of the story to the viewers get to your heart. Probably why everyone in the auditorium sat there sobbing, as Sam showed everyone what true friendship and carried Frodo on his back.

The characters continue to be spun without stopping, then developed Aragorn ( Viggo Mortensen ), becoming the protagonist of the film, which can also be seen on the covers of the three films. Even Gandalf again gets a larger role and demonstrated his skills as a military leader and strategist and warrior Gimli ( John Rhys-Davies ) and Legolas ( Orlando Bloom ) to develop a strong friendship bond with each other. All performers make this their work away simply superb, especially Viggo Mortensen delivers a fantastic leader. Was he in ” The Fellowship “even with the power of Sean Bean to fight, he is here this at least as good. John Rhys-Davies loosens again the mood with his comments and grimaces, but it has Orlando Bloom a little less screen time than before. Miranda Otto as Eowyn gets a little more important role than in the predecessor, where they only had the task to run behind Aragorn. The actors Ber nard Hill and Karl Urban , who embody the types of serious mine supply, also from an excellent performance and Andy Serkis as Gollum is just as awesome as ever, which is the real star of the film. But Elijah Wood and Sean Astin make a good impression. Especially Sean Astin Sam is very caring and thoughtful dar. As a viewer you can buy it from that role perfectly and feels so well with him. Unlike Elijah Wood , this has to do once again nothing more than to be in total agony, what annoys gradually after three films. Samwise Gamgee anyway is basically the main character, because only by his fidelity and loyalty ultimately the entire adventure was over. He also has heroic qualities which are perhaps due to his profession recognized as a gardener and his chubby appearance immediately. He brings up the courage to be alone to oppose the spider “Shelob” and enter the tower, to Frodo to escape from the clutches of the orcs. He also sat down always fully aware of the threat posed by Gollum. Friendship is the most important virtue for Sam, he would not hesitate at any time to sacrifice himself for his friends, which evokes the courage and protective instincts in him and the reason is. Christopher Lee , however, was completely removed from the film, although the scenes had already been filmed. This is very unfortunate, especially since he has played its role awesome and the scenes were not too many. In the Extended Edition, they are included again.

The time line of history, however, Peter Jackson changed for the good of dramaturgy emerges Thus, in the novels, for example, the spider “Shelob” already in ” The Two Towers “on, Denethor falls not down the cliff, but burns in the crypt and Elendil sword is forged in the first volume again. But these are only small changes and assist in the creation of suspense and emotion.

The soundtrack was, as it was in ” The Two Towers “, a few pieces by Howard Shore expanded and underline, as in the predecessors of all possible situations just perfect. With heavy drums, when the orcs advance, with violins, when the riders of Rohan dash into the enemy masses, with small flutes, when the little hobbits are seen. The variety of instruments like the violin, the dulcimer, the cimbalom, the celesta, the pan and the wooden flute or the drum and the anvil produce the feeling that Middle Earth is actually a real world. With their own cultures and languages. And just different music.

Here again, the film visually absolute top class. The effects are simply fantastic and off-the-scenes simply breathtaking. This part is again offering more show value than its predecessor, such as the ” White City “, Minas Morgul , or simply the Mount Doom in the final. The ground battles are choreographed again excellent, the makeup artist working at the highest level of the 26,000 extras and create a sense of battle as never before in the history of cinema. Here, one must also WETA Workshop praise, who produced nearly 20,000 items for the film, all the different costumes designed the different fractions and tailor that Gollum animated, the built in miniature of Minas Tirith, Minas Morgul and Barad-Dur and the computer animated and much more.