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"Frozen River" Courtney Hunt

Behind the passage between legality and criminality on the part of ordinary people, good people, there's always the money. Or rather the lack of money. A family to feed, bills to pay, the refrigerator fill.
behind a mother trying to feed their children, there is always the lack of a husband. Maybe dead, maybe you ran off with a younger, perhaps in hiding.
Behind a lonely girl hiding something and trying to get by, there is always a young son, who can not keep, which can not grow and even from afar, quietly.
And in this film, there is a good person to the crime, whether a mother with dependent children, is a girl who can not help the mother. The finish then capitel alone.

acclaimed at the Sundance Film Festival, the first feature from Courtney Hunt seems to have been frozen, like that river of ice that the two protagonists must constantly cross. Frozen in a story seen before, that does not overheat, which gives the public a few emotions.
The first part is excellent, well built, with the protagonist who decides to continue this dangerous game which ended up by chance. The search for her husband leads her to discover something else, not only friendship but an escape from everyday life.
That 's what happens after that is not convincing and not emotion. The dangerous game at the end turns out not so dangerous. The two rotagoniste are never really involved in trafficking, they really put themselves into trouble. Even the inadvertent abandonment of a newborn baby in the middle of the ice and the anguish of killing him does not stand out so powerfully. It almost seems that does not give us anything or not much at the end of the vision.
Children, especially the 15-year-old, is virtually useless. In addition to risk setting fire to the house does nothing. Even disobeys his mother. It is not looking for trouble, nor to the contrary, do something positive. If her scenes had been cut during assembly, would not change anything.

Sometimes the Sundance Film Festival valito take some corner. "Frozen River" is still a film well shot, with an ever-present effect of the documentary (which seems the only way to shoot an independent film), but had to go deeper into the folds of noir and make each other stronger conflict a compelling, but too frozen, Melissa Leo.

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"American History X Tony Kaye

published in "www.filmedvd.it"

history of racism? History
sociological impact of Nazism? History
impact of the company diverted the youth of today?
American history?
American History X is all that and something more. The debut of Tony Kaye is mostly a story of rebirth. Death and rebirth. Of redemption.
Derek dies. As a young man, a boy falls into a black hole of violence, hatred, racism, omnipotence. Derek as a human being no longer exists. Like a fallen angel falls to hell. A hell without color, without life, where the only prerogative is to remove, kill, delete everything that is not a vision of life which he outlined.

The film has a clear structure in three parts, if we unfold the story in chronological order in which the events take place. This, one of Derek's death is the first part. Hell.
Purgatory, the second phase of this journey of redemption and rebirth that is the story of Derek is the prison where the soul of his fallen angel takes self-awareness and the world. Derek comes back to life, including who he is, understands what he has done, including especially those who are his companions and what is the blind hatred and absurd to whom he paid attention until now. Derek redeems himself, not only legally, but also psychologically.
Now, in such a movie, the third part, that of returning home, the one where the color back to fill the frame, should reflect the Paradise, but American History X is not too realistic to know that in Paradise Earth does not exist. And so the sins committed by Derek can not be fully purged and the tragedy it would mark a life, reminding him forever when he died.

American History X "was the victim at the time of a strong contrast between Kaye and the production that was imposed on the very neo-director who had to give up the decision-making power of the final-cut. So in the final product is difficult to distinguish between what is really the result of the director and what they have been imposed by production. We do not know, for example, who bears the burden of narrative structure and the decision to split film, half black and half white in color, or mix the order of events. In both cases, however, anyone who is responsible, I feel that I need to congratulate you on your choice. As already mentioned the B / W or color is to indicate the two different lives of Derek, one before and one after the redemption, after purgatory. The order of events, in which we see first from the Nazi past of the protagonist, then the state of his redeemed, and finally the most important element, The key aspect of the film, which is the prison. The risk was so strong that a smooth transition between the old and the new Derek Derek is completely opposed to each other spoofing of results if the events of the prison did not have enough strength and conviction to explain the mutation. The risk, however, the course has paid off. What happens in prison, Derek is not only credible, but "right." In the sense that is now stuck in this crazy project of hatred and revenge that is racism. Executioner now finds himself a victim. Victim of his own "brothers". This slap in the face of reality leads him to see everything with more clarity (this is still the transition to color). A blow so strong that even if not experienced first hand, manages to convince his brother to make the right choice is to abandon that road. But as has been said, there is heaven on earth and it's too late. For one who comes back to life, someone leaves forever. This is American history, one with a capital X.

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" No Country for Old Men "by Joel and Ethan Coen

Here we go again. It happens all the time (or almost) that there is going to talk about a movie based on a novel. Of a film inspired by a work letteraria.Ogni time jumping out of the dilemma. You can talk about an adaptation without considering the original work? You can judge a film without having read the novel?
Obviously the answer can not be unique for every film. In some cases even becomes useless, as the works of Stanley Kubrick that all adjustments are almost as many literary works. But the genius of Kubrick and his unique conception of cinema, each film makes absolutely independent of the literary source in effect making original stories. In other cases it is only right to also dwell on the novel and see how the story was carried on the screen.
One such film is "No Country for Old Men," based on the novel by Cormac McCarthy, one of the best adaptations of recent years. The Coens brought to the screen in a as close as possible, almost scientific, all the tension, all the charm and all the wonderful dialogues McCarthy amplifying the beauty through their undoubted talent.

Many of those who have read the book by the Pulitzer Prize American may think that the work of the Coen was easy. Even more if you wanted to stay true to the book. You do not even have had to commit much to write dialogue and to create characters. It was all in the pages of McCarthy. But things are not so simple. Why is one thing to the written page, the story in words and quite another thing and tell the same story, the same scene, the same box on the screen. Meanwhile, it is necessary to select, divide what needs to be maintained by what the screen will not work. We must carve. And in this the two brothers of Minneapolis were fantastic, showing great mastery of the structure and rules of narrative cinema, film knowing grasp of situations, adapting them where appropriate to the needs filmic and removing dead branches (for the film of course) that would were too many, if not harmful to the growth of the organism-film.
The other difficulty is to transform a scene from Cormac McCarthy in a scene of the Coen Brothers. "No Country for Old Men" although not born from an original is in effect a work of Coen, in fact it is probably the sum of all their work, their extraordinary ability to use the medium of film at 360 ° to create what is as close as possible to the concept of myth. The Coens' work can be seen as a modeling job, almost like clay artisans who shape a three-dimensional figure so far existed only on paper in the form of sketches. A character like that of Anton Chigurh, the killer with the compressed air cylinder (McCarthy's idea) that the Coen THE killer shape for excellence in giving them sheer folly. The haircut is perfect Bardem, saddled with a grotesque element of the grotesque character who has nothing. Because of its apparent buffoonery, violence Chigurh is even more savage and more terrifying. The stage presence of this character has no equal. When he enters the scene, it seems to assist the entrance of Darth Vader. You do not know what to expect, but you know you will not be anything positive.

The way the Coens use the "unseen" (I am a very few deaths occurring on the screen, it often arrives on site after the fact), the suspense, tension, through a slow pace that makes the story at the same glacial time, meticulous and adapted for reflection. The glacial and meticulousness with which Chigurh and Llewelyn flee and chase and the reflection of the man too old to keep pace with a world no longer suitable for people like him. Sheriff Bell, narrator and moralizing, is our involvement with the no country for old man where we feel out of place.
The sequence of the motel, the dialogue between Chigurh and the gas station, the flight of Moss being chased by the dog (a picture of breathtaking), the dream of Bell are dozens of scenes of absolute perfection, giving the film an aura by masterpiece. The perfect expression of "No Country for Old Men" the dream final of the sheriff, summary of contrast between old and new. In the darkness and the cold that has plunged the world, those who grew up in is back, still lost. But somewhere, perhaps in our past (the father) can still find a light to guide the journey. And that "And then I woke up" it falls back in a moment in everyday life. Magistral.

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The 100 persons who have influenced fashion over the last century the new craze

Zimbio's, famed American web portal, has ranked the 100 people who influence and are influenced fashion and the fashion of the last century. quassifica course to draw this, reference is made to a number of factors and how to dress, how to wear a head. Constraints regarding what we can actually afford to wear, what is acceptable social behavior and how it is perceived by others a sense of fashion.
appear in this ranking than those who create and have created clothes, designers, even those who have worn and how popular they are celebritis actors / actresses or singers, presenters tv. will be cited in this table those who have significantly influenced the way we dress, we all borrowed ideas or fashions, from precursors like the same artists or designers. may seem incomplete without this ranking to Zimbio's to many readers, though in different ways.



In this list of fashion influences not only appear when the creators and the precursors of a fashion brand or a style, but those who have distinguished themselves in time and nuances.

If I add a little known controversy, we see very much that this ranking was drawn up by patriotic Americans, have a little look ... CCIA: /

1. Levi Strauss

2. Hubert de Givenchy

3. Coco Chanel

4. Louis Vuitton
5.
David Bowie 6. Claire McCardell
7. Eileen Ford
8. Elvis Presley
9. Yves St. Laurent
10. Max Factor
11. Karl Lagerfeld
12. Andy Warhol
13. Richard Avedon
14. John Galliano
15. Yohji Yamamoto
16. Salvatore Ferragamo
17. Vivienne Westwood
18. Bob Dylan
19. Marc Jacobs
20. Mary Quant
21. Anna Wintour
22. Vidal Sassoon
23. Jane Fonda
24. Hedi Slimane
25. James Bond
26. Mae West
27. Giorgio Armani
28. Harry Winston
29. Madonna
30. Diane Von Furstenburg
31. Michael Jackson
32. Donatella Versace
33. Louis Réard
34. Dolce & Gabbana
35. Tom Ford
36. Kate Moss
37. Jean Paul Gaultier
38. Barbie
39. Edith Head
40. Miuccia Prada
41. Chuck Taylor
42. Oleg Cassini
43. Calvin Klein
44. Kevyn Aucoin
45. Kurt Cobain
46. Charles F. Worth
47. Ralph Lauren
48. Vera Wang
49. Marilyn Monroe
50. Annie Leibovitz
51. Farrah Fawcett
52. Janie Bryant
53. Keith Richards
54. Herminie Cadolle
55. Rowland Hussey Macy
56. Andre 3000
57. Takashi Murakami
58. Grace Jones
59. Twiggy
60. Bettie Page
61. Mario Testino
62. Princess Diana
63. Cher
64. Sailor Jerry
65. Herb Ritts
66. Christian Louboutin
67. James Dean
68. Beverly Johnson
69. Emilio Pucci
70. Carrie Donovan
71. Annie Hall
72. Issey Miyake
73. Joey Ramone
74. Alexis Carrington
75. Grace Kelly
76. Janis Joplin
77. Donald and Doris Fisher
78. Daisy Duke
79. Michael Jordan
80. Patricia Field
81. Robert Smith
82. Gwen Stefani
83. Louise Brooks
84. David LaChappelle
85. Astrid Kircherr
86. David Yurman
87. Mary Pickford
88. Amy Heckerling
89. Anjelica Huston
90. Jacob the Jeweler
91. Richard Blackwell
92. Tyra Banks
93. Dov Charney
94. Irene Castle
95. Yuko Shimizu
96. Thom Browne
97. Chris McMillan
98. Eddie Plein
99. Rachel Zoe
100. Anna Nicole Smith