crappydoo
jun 2005 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.
Reseñas35
Clasificación de crappydoo
This is one of the finest films I have seen all year and I am certain that this film will stay with you for a long, long time.
Uncle Boonmee belongs to a category of films that harks back to the days of the invention of the moving image; when audience members were stunned in disbelief to see pictures and images in motion. The dawn of cinema came about as an experience and a work of art, much like a painting that people could experience and interpret how they liked. It is great to see film makers in todays commercial age still holding on to that vision and delivering the same.
The story, if there is one, is about the protagonist Boonmee who, close to the end of his current life, recollects how this one went by, with the help of ghosts and spirits of the forest where he lives. He has the ability to go back and forth into his past and future lives and relate his memories.
The movie, like other mood-pieces, can be fairly divisive with its audience. People who are not prepared for it will be left confounded whereas a small minority for whom the movie is made will leave the cinema stunned at the experience of it all. Therefore, this movie should rather be called an experience instead of a movie.
It is a little surprising that it won the Palm D'Or at Cannes, but not because it does not deserve it, but because it surprises me that the judges actually saw the beauty behind it. I say this one deserves the award more than the others did.
Uncle Boonmee belongs to a category of films that harks back to the days of the invention of the moving image; when audience members were stunned in disbelief to see pictures and images in motion. The dawn of cinema came about as an experience and a work of art, much like a painting that people could experience and interpret how they liked. It is great to see film makers in todays commercial age still holding on to that vision and delivering the same.
The story, if there is one, is about the protagonist Boonmee who, close to the end of his current life, recollects how this one went by, with the help of ghosts and spirits of the forest where he lives. He has the ability to go back and forth into his past and future lives and relate his memories.
The movie, like other mood-pieces, can be fairly divisive with its audience. People who are not prepared for it will be left confounded whereas a small minority for whom the movie is made will leave the cinema stunned at the experience of it all. Therefore, this movie should rather be called an experience instead of a movie.
It is a little surprising that it won the Palm D'Or at Cannes, but not because it does not deserve it, but because it surprises me that the judges actually saw the beauty behind it. I say this one deserves the award more than the others did.
Inside Job belongs to a genre of new documentaries, like The Cove, Dear Zachary and Bowling For Columbine, that are not only made to document the background of a phenomenon but also to encourage people to do something about it. Dividing itself into five sections of a 'report', the film looks at the background and effect of the recession and its effect on politics, the world, society, the economy, public welfare, education, the present and the near and distant future.
Inside Job is undeniably motivational and does well to extract the hypocrisies and selfishness of the main perpetrators and other persons linked with the crisis. Indside Job depicts the global financial from only one perspective and does not give due weighting to the alternate point of view. Of course, it does not help that the main protagonists involved in the entire affair are obviously missing from this documentary, a fact that is rubbed on to the audience time and again.
On the flip side, economics, being a head scratcher for several budding commerce students by nature, the spoken narrative of figures and key personnel could perhaps have been better explained with a clearer use of graphics. However since the film makers are not lecturers it would be too much to expect them to be aware of the concepts of pedagogy.
Well crafted and edited, Inside Job is a good introduction to the cause and effect of the financial crisis, it falls just short of being the definitive version. It is a good watch nevertheless and provides sufficient food for thought and plenty of opportunity for future cocktail party discussion.
Inside Job is undeniably motivational and does well to extract the hypocrisies and selfishness of the main perpetrators and other persons linked with the crisis. Indside Job depicts the global financial from only one perspective and does not give due weighting to the alternate point of view. Of course, it does not help that the main protagonists involved in the entire affair are obviously missing from this documentary, a fact that is rubbed on to the audience time and again.
On the flip side, economics, being a head scratcher for several budding commerce students by nature, the spoken narrative of figures and key personnel could perhaps have been better explained with a clearer use of graphics. However since the film makers are not lecturers it would be too much to expect them to be aware of the concepts of pedagogy.
Well crafted and edited, Inside Job is a good introduction to the cause and effect of the financial crisis, it falls just short of being the definitive version. It is a good watch nevertheless and provides sufficient food for thought and plenty of opportunity for future cocktail party discussion.
Pyaasa is a fairly unique Hindi movie. The story is reasonably complex and the direction and acting grounded in reality. However, calling this film a classic is an over-exaggeration.
One of the biggest problems with the movie is that it is difficult for the audience members to identify with the lead character. It is clear that the protagonist is chronically depressed; however the story indicates that this depression is rooted beyond his circumstances. However it does not investigate much in this direction.
Secondly. the story employs some cheap tactics to get out of tricky situations. Particular cases in point are the escape from the asylum, and his self-announcement through poetry on arrival. This shows a lack of imagination on the part of the story writer.
The story indicates female repression, through the characters of the mother, and the past girlfriend who accept the decisions of the male members of their family without question. This thread is also left hanging and is not investigated further.
The last big problem with the movie is that of hypocrisy. The film preaches human values of non-materialism and places them at a higher pedestal than others; however the film itself is designed to make money for the makers. This is clear in hindsight with the following development: when the director's next movie did not make money, he stopped directing movies completely.
Other than the direction and the story, the music and poetry in the film are very good. However poetry lovers would probably be better off reading a good book of poetry instead of looking for high quality literature in this movie. The songs, on the other hand, are considered to be all time classics in Indian cinema.
Lastly, the cinematography is excellent and there is beautiful use of light and shadows. So overall, it is a reasonably good film but certainly not a classic.
One of the biggest problems with the movie is that it is difficult for the audience members to identify with the lead character. It is clear that the protagonist is chronically depressed; however the story indicates that this depression is rooted beyond his circumstances. However it does not investigate much in this direction.
Secondly. the story employs some cheap tactics to get out of tricky situations. Particular cases in point are the escape from the asylum, and his self-announcement through poetry on arrival. This shows a lack of imagination on the part of the story writer.
The story indicates female repression, through the characters of the mother, and the past girlfriend who accept the decisions of the male members of their family without question. This thread is also left hanging and is not investigated further.
The last big problem with the movie is that of hypocrisy. The film preaches human values of non-materialism and places them at a higher pedestal than others; however the film itself is designed to make money for the makers. This is clear in hindsight with the following development: when the director's next movie did not make money, he stopped directing movies completely.
Other than the direction and the story, the music and poetry in the film are very good. However poetry lovers would probably be better off reading a good book of poetry instead of looking for high quality literature in this movie. The songs, on the other hand, are considered to be all time classics in Indian cinema.
Lastly, the cinematography is excellent and there is beautiful use of light and shadows. So overall, it is a reasonably good film but certainly not a classic.