Ms. V
abr 1999 se unió
Te damos la bienvenida a nuevo perfil
Nuestras actualizaciones aún están en desarrollo. Si bien la versión anterior de el perfil ya no está disponible, estamos trabajando activamente en mejoras, ¡y algunas de las funciones que faltan regresarán pronto! Mantente al tanto para su regreso. Mientras tanto, el análisis de calificaciones sigue disponible en nuestras aplicaciones para iOS y Android, en la página de perfil. Para ver la distribución de tus calificaciones por año y género, consulta nuestra nueva Guía de ayuda.
Distintivos2
Para saber cómo ganar distintivos, ve a página de ayuda de distintivos.
Reseñas10
Clasificación de Ms. V
What a movie experience I had last evening, seeing Talk To Her, Almodovar's recent offering for which he is up for a best-director Academy Award.
Seeing this fine film, I know why now.
It was clearly a masterpiece, masterworks from a master of the craft. The lushness, the richness of the film in color--and black-and-white--lent the film to a fine authenticity which is so badly lacking in many films today. It was as if he redefined the buddy flick genre, taking it somewhere completely different and in an elevated greater direction. Two men, one a nurse, the other a writer, meet up first in a theater during a ballet recital sitting next to each other, only to meet later in a hospital where women they each care deeply about are each in comas fighting for their respective lives. The way Almodovar set this up was a great hand-tipper as to what would be in this one.
If I may digress, it was not so much the women being downplayed--they NEVER are in the Almodovar films I have seen--but rather as it is the volume being turned up LOUDLY on the men here. It is male bonding from a different perspective, as the two women they love--one a ballerina with an angelic face, the other a bullfighter with a handsomely androgynous profile framing her female beauty--bring them together unexpectedly. But when they do come together, it is, in itself, a thing of beauty--as the rest of the film itself is.
I even enjoyed the B&W silent film in the midst which was very much in keeping of Almodovar's excellence. And the meshing of many art forms--dance, bullfighting, film, writing, photography, music--all draw you in with a presence which has you not only caring about the characters, but also having them stay with you long after the film ends.
Whather or not Almodovar will win Best Director remains to be seen as of this writing. However, I shall say this: THIS IS A DOUBLTESS MASTERWORK OF A MASTERPIECE FROM A MASTER DIRECTOR!
And I know when that is so: refering to a human being in that vernacular is not something I do with any kind of regularity.
Seeing this fine film, I know why now.
It was clearly a masterpiece, masterworks from a master of the craft. The lushness, the richness of the film in color--and black-and-white--lent the film to a fine authenticity which is so badly lacking in many films today. It was as if he redefined the buddy flick genre, taking it somewhere completely different and in an elevated greater direction. Two men, one a nurse, the other a writer, meet up first in a theater during a ballet recital sitting next to each other, only to meet later in a hospital where women they each care deeply about are each in comas fighting for their respective lives. The way Almodovar set this up was a great hand-tipper as to what would be in this one.
If I may digress, it was not so much the women being downplayed--they NEVER are in the Almodovar films I have seen--but rather as it is the volume being turned up LOUDLY on the men here. It is male bonding from a different perspective, as the two women they love--one a ballerina with an angelic face, the other a bullfighter with a handsomely androgynous profile framing her female beauty--bring them together unexpectedly. But when they do come together, it is, in itself, a thing of beauty--as the rest of the film itself is.
I even enjoyed the B&W silent film in the midst which was very much in keeping of Almodovar's excellence. And the meshing of many art forms--dance, bullfighting, film, writing, photography, music--all draw you in with a presence which has you not only caring about the characters, but also having them stay with you long after the film ends.
Whather or not Almodovar will win Best Director remains to be seen as of this writing. However, I shall say this: THIS IS A DOUBLTESS MASTERWORK OF A MASTERPIECE FROM A MASTER DIRECTOR!
And I know when that is so: refering to a human being in that vernacular is not something I do with any kind of regularity.
Spike Lee strikes again!!!!!!!! Just as he did with She's Gotta Have It, Do The Right Thing and Malcolm X, Spike goes beyond the jugular and tries to make us all take notice. And it appears as if he has succeeded. I know he has with me.
Great start with Damon Wayans' opening narration (great use of this mostly-misused Wayans brother's actual super talents) setting the stage of his life he was in as he began to lay out the film before us. And Jada Pinkett-Smith was a fine voice of contentious reason, never letting up from start-to-finish as well as seeing the truth of what was really happening all around everyone. And Michael Rappaport was fine in embodying a latter-day white Negro (as a white person who partakes in black culture with his talk, lingo, interests, passions as well as actually marrying black, as he disclosed of doing in this role), not unlike the white male who was part of the Mau Maus either. And then, there was Tommy Davidson (talented like Wayans in the afore-mentioned vernacular) and Savion Glover (who can act as well as dance superbly; GREAT CHOREOGRAPHY), who go from poor street performers to the hottest commodity on television as a result. In Wayans' original intents backfiring on him, the monster is out of control and regrets run rampant, turning the film from laugh-out-loud funny to stunningly-dead serious as the film wears on.
If this was Spike's intent, to show us one thing in the beginning and turn it into something else altogether different at the end, he more than succeeded. In the process, he serves up an indictment on our society with regard to the price society as a whole not only pays on racism, but success as well. When these issues bring on the conflict they knowingly can, it creates hard feelings which can lead to the destructiveness this film eventually presented. Though on a lesser scale in She's Gotta Have it, the downward defection on Do The Right Thing, Malcolm X (even knowing how that one would end) and (YES!) Summer Of Sam is no less impressing with regard to how Spike wants us to stand up and take notice about how badly our differences can lead to further distrust and misunderstanding where there indeed needs to be better trust and understanding. In bringing this out uncompromisingly, Spike succeeds in once again making folks take heed where heed does not want to be taken. That may well be a factor with regard to whether or not this film is nominated for the awards it deserves to be nominated for. (A multi-win storm is befitting a film of this stature, not limited to, but including: any Best Actress award (Pinkett-Smith); any Best Actor Awards for Wayans, Glover or Davidson; Best Director (Spike deserves it); and....BEST PICTRE!!!) It was also great to hear some fresh Stevie Wonder songs in this one; befittingly relevant as Stevie always is!!!!!
Like American Beauty, which held up a collective mirror to some of the hypocrisies this country takes for granted, Bamboozled follows suit as well in a major way. May this film be seen in that same venue as well. For all that it is and it has done, it certainly does deserve the comparison.
Great start with Damon Wayans' opening narration (great use of this mostly-misused Wayans brother's actual super talents) setting the stage of his life he was in as he began to lay out the film before us. And Jada Pinkett-Smith was a fine voice of contentious reason, never letting up from start-to-finish as well as seeing the truth of what was really happening all around everyone. And Michael Rappaport was fine in embodying a latter-day white Negro (as a white person who partakes in black culture with his talk, lingo, interests, passions as well as actually marrying black, as he disclosed of doing in this role), not unlike the white male who was part of the Mau Maus either. And then, there was Tommy Davidson (talented like Wayans in the afore-mentioned vernacular) and Savion Glover (who can act as well as dance superbly; GREAT CHOREOGRAPHY), who go from poor street performers to the hottest commodity on television as a result. In Wayans' original intents backfiring on him, the monster is out of control and regrets run rampant, turning the film from laugh-out-loud funny to stunningly-dead serious as the film wears on.
If this was Spike's intent, to show us one thing in the beginning and turn it into something else altogether different at the end, he more than succeeded. In the process, he serves up an indictment on our society with regard to the price society as a whole not only pays on racism, but success as well. When these issues bring on the conflict they knowingly can, it creates hard feelings which can lead to the destructiveness this film eventually presented. Though on a lesser scale in She's Gotta Have it, the downward defection on Do The Right Thing, Malcolm X (even knowing how that one would end) and (YES!) Summer Of Sam is no less impressing with regard to how Spike wants us to stand up and take notice about how badly our differences can lead to further distrust and misunderstanding where there indeed needs to be better trust and understanding. In bringing this out uncompromisingly, Spike succeeds in once again making folks take heed where heed does not want to be taken. That may well be a factor with regard to whether or not this film is nominated for the awards it deserves to be nominated for. (A multi-win storm is befitting a film of this stature, not limited to, but including: any Best Actress award (Pinkett-Smith); any Best Actor Awards for Wayans, Glover or Davidson; Best Director (Spike deserves it); and....BEST PICTRE!!!) It was also great to hear some fresh Stevie Wonder songs in this one; befittingly relevant as Stevie always is!!!!!
Like American Beauty, which held up a collective mirror to some of the hypocrisies this country takes for granted, Bamboozled follows suit as well in a major way. May this film be seen in that same venue as well. For all that it is and it has done, it certainly does deserve the comparison.