a kid my family used to go every weekend to a cottage which my own grandparents. The classic old country house with some look really creepy and disturbing if you have an age apt to dream of monsters under the bed and ghosts of those noise-making blood-curdling you lids as you sheets to the head, regardless of the time of year. Among the innocent games I had with my cousins \u200b\u200bwere coming up to the second floor, where no one slept and whose bedrooms were used as store for old clothes and various utensils, and, seen from outside, scared, because, from time to time appeared some light on or the windows were open without, apparently, no one would. We were three or four children as young as eight or nine years climbing the stairs that diverged into two paths leading to doors. That brief moment on the stairs was the basic idea of \u200b\u200bpanic, looking up and seeing the doors seemed to open, once inside, not go out. That is, cinematically, stair climbing detective Arbogast in Psycho , slow and fraught with tension. Once there, trying to pass the as long as possible while our heart was going a mile a minute and the house seemed to groan, more a product of our suggestion that the furniture might be interested in scare. In the midst of darkness, not knowing whether that to what you topabas was a bed, or arm of a monster that went around, not knowing if the noise we heard was that of a pipe or a ghost that moved slowly us, tension and fear that we experienced was crescendo as we went into the darkness, until suddenly one came running and the others were still screaming in terror from the old stays until we saw a ray of light through the door ajar and went back to the family room safe. What I felt at that moment was pure terror, horror, fear suffocating in its purest conception, that grips you and you can not shake off, that fear can experience almost exclusively children, those with the capacity to dream both for good and for bad. In the film, that feeling had only while a ball coming down the unoccupied second floor the stairs hit like a hammer and a distressed and incredulous George C. Scott approached check it at the end of the ladder . Masterpieces of the genre or as or The Shining Seed the devil made me experience the feeling of fear, a fear that dominates you and leaves you immobile. With [REC] went back to that second floor, that impenetrable darkness, I again have nine years and think that under my bed might have something grabbed my foot in the middle of the night and dragged me with him.
tape not intended as a thesis, however much it is dressed in television documentary of those who may be on stale programs for the elderly such as Spain Direct is not intended as a tart critique of the television and flip through the morbid and unhealthy despite the famous "Do not stop recording with Angela tells camera, as if they pursue the shift Jesulín to ask about her great-aunt angina, anything can be interesting and then broadcast it even though everything was working around the nondescript two-night fire. A film that seeks to, almost exclusively, the pure entertainment of the viewer, let them go wrong based on something less than an hour and a half frantic and terrible in eighty minutes in which every action seems to be improvised by the ability of two directors who demonstrate a superlative command of film language, bringing terror to some heights to which until now had not been approached about being real as life itself, and may be the seed of a hybrid genre between the most suffocating terror and pure neo-realism, a genre where every drop of sweat and blood were hyperreal, where every gasp had been caused by a tangible terror, and where the suspense was in what can not be controlled, that inexplicable, going off the tangent of dark rooms, dramatic effects created by the sound, hands that rest on the shoulders of the players scared in the dark. Experimentation in a genre devoted to repeating the same clichés and five or six changes such topics from a peripheral to the American cinema (Asia in recent years), only to fall again in a loop, something that is never seen. Balagueró Plaza and have the freedom and unpredictability his big gun, placing his characters as real as the fear, in a controlled but seemingly more insecure at the same time, since we all fear that unknown, and this is usually always closer to what we have and that, therefore, less hope to change. A simple script with no traps nuisance to place characters in situations insurmountable, and profiled characters brilliant and consistent, with some surprising touches of humor that helps make everything more bearable, and the exercise of more virtuous and surprising direction in 2007 next to Zack Snyder in 300 , they take the film to a higher level the horror genre, making it a rare bird that mixture as little violence, suspense and action, and lead the viewer into a finale, showing the control their own competent film directors, and where, almost plagiarizing in his brilliant Fresnadillo 28 Weeks Later, and Demme in The Silence of the Lambs make night vision the best way to create a sense of confusion and fear with only guess the shapes, playing with the idea of \u200b\u200bfear caused by the unknown and what we can only feel. Plaza Balagueró and sign the best film their respective filmographies and gender in many years, and demonstrating to the rest of mediocre and English filmmakers weeping for a film that is good do not need a big budget, if not good ideas and work within what you have. As a child playing on a voluntary basis to be scared. Now I pay in a film to scare me ... yes, the difference is that now I get with someone who is nine.
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