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Film series: The Flight of the Conchords



New Zealand, yes, like The Lord of the Rings!. New Zealand, if you require little love. New Zealand, but farther away as Scotland. New Zealand, just 18 hours of flight. What had occurred New Zealand before 2001? What gave us that little island twice before Peter Jackson dared to take there filming The Lord of the Rings ? I remember nothing. And New Zealanders themselves seem to be aware of and take very little seriously themselves, or conversely, must hate Jemaine Clement and Bret McKenzie (who, incidentally, came out in The Return of the King as a companion Arwen). Who are these two characters? Well, Jemaine Clement and Bret Mackenzie, or what is, Flight of the Conchords. The four slogans that have since the beginning of the post are some of the hilarious messages that sell the New Zealand government tourism in their country. Or at least that would have us believe Bret and Jemaine, Jemaine and Bret, accompanied by the equally brilliant Murray, probably the worst band representative (and deputy cultural attache in New York New Zealand) in the entire history of mankind. The Conchords are two small ants that come to the big city is like thinking that all the people, but nothing more than ridicule someone. Because the feeling New Zealand is raised brilliantly, as they are the last monkey in everything and always the butt of jokes of Australians, or Dave, the geek who says that living with roommates, and not with their parents if they have photos him seem small and far, and claiming that New Zealand is a language that "speaks improvising, without a specific language." And yes, his prime minister is so dunce or more as the protagonists. If John Ford lived in our time working in television, and if you do a comedy, probably would The Flight of the Conchords by strong patriotic feelings he has.



What is Flight of the Conchords ? It is difficult to specify in a word, indeed, it is difficult to specify in a single sentence. You could say that going on (not) run a couple of amateur musicians who have decided to make the Americas and take them seriously. They have talent, are not attractive (at least without Art Garfunkel wig) and both share house, bedroom ... and at some point even a girlfriend. But let trouble apart and try to define how it goes. Bret is an innocent, guitarist, music also has interesting tasks, like building a bicycle helmet that resembles your hair. Jemaine is also a kind innocent, bassist, also is also very interesting tasks, such as ... Sleep? We are therefore faced with two guys who, separated, do not know how to behave, since we are talking about the same person. One could almost say that both have Asperger syndrome, because his ability to relate and empathize with the world is nonexistent except for themselves. I am convinced that if one cogiese a cold, the other will feel too. Two absolute losers who give concerts in elevators due to Murray Hewitt. The latter is essential to understand why we have two absolute losers as stars of the show. Work in a small office at the consulate in New Zealand, is manic and spent all his savings trying to get their kids in a position to give a concert (do not remember saying Central Park, but a downtown park ) and not to give them ideas and advice totally out of place.



And then there's Mel. Mel, as Kenneth on 30 Rock , is one of those minor characters with no apparent importance, but if we try to imagine the series without them we realize that not be the same. It's the big fan (rather than single fan) from Flight of the Conchords who collects all the merchandising that comes from them, which goes to all his concerts, which rings constantly with Bret and Jemaine and even reaches transvesting her husband to look like Bret. It is, in short, the classic hysterical fanatic he removes his shirt in the middle of a concert, and teaches her tits. And it's out there find the key to understanding Flight of the Conchords. A very small rock smaller. New Zealand rocking. With all the topics seen from the point most deviant, the groupies, drugs, alcohol, the damage to hotels, false social awareness, love songs (which will sing anthology Coco, Brett's first girlfriend) ... all It is here that ridicules a caustic rocker schemes. The spectral appearances of David Bowie, Art Garfunkel clown impersonators and classic rockers have here a hole, and without forgetting the little gems of each chapter: the songs. As if we plantasemos to a musical, at specified times, and without the wait, Bret and Jemaine breaks into a song that pays tribute to the different musical styles, from reggaeton (Do you write that?) The rock of Bowie, through ochentena music and synthesizers and rap which offends other rappers. With a choreography that blended genius and absurd in a gorgeous, and lyrics that would come from any academic mad musical, stimulating parentheses represent where talent is wasted and bad milk and uplifting Flight of the Conchords to the category of surreal madness. Bowie




Donovan


Visage


The Lord of the Rings


Bret all the rappers attacking


And my favorite, If You're Into It

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serial Film: Blood Red Riding Hood

television say that it takes many heads to the movies today would be commenting on the obvious and, despite the obvious that I love, not will commit. Today I finished to stand up to the Herculean epic saga that is Red Riding . And not that it is particularly long, or that has a medieval history or anything like that. Are only three chapters and a half hours each, but every minute is charged with a density which will use a comparative Jethro Tull: Thick as a brick . Y Red Riding is that plays the trick of pure film noir, that of "I've got you here ... But no!" largest known. But let's start at the beginning. What is Red Riding ? Adaptation of David Peace's novels from the Channel4 (eye, is not the BBC, if not the great channel that broadcasts The IT Crowd and that it was very disappointed last year with Dead Set) that form the tetralogy Red Riding , ie who have been upset one of the four that comprise, 1977. Directed by three different realizadorez: 1974, by Julian Jarrold; 1980, by James Marsh (whose documentary Man on Wire won the Oscar last year) and 1983 by Anand Tucker. Is indebted to the great American movies and English black detective genre and its plot, but completely isolated from it by their treatment at the visual and literary treatment. We are not in the brilliant (and vibrant) Dennis Lehane, but rather to the more dark and gloomy Fincher, that it was great to run before getting romantic epics. For if one were to use a movie to compare with this ambitious production may not have solutions, so it would have to mix two: Zodiac, the denser Fincher, obsessive student of the psychology of the characters, and Seven , the more cryptic Fincher, truculent and pessimistic that shook the theater 90. Good reference, but what meets the expectations?

To begin, I must say that Red Riding meets what is proposed: the viewer has to see the three parties which schoolgirl hooked on physics or chemistry. It is impossible not to watch the screen during that hour and a half just magnetic hard every episode. Hypnotism with which the directors illustrate the story (especially Marsh in the second part) makes everything before us to show us in a purely psychological, almost Freudian. Red Riding sinks into your subconscious by the intelligent use of photography and sound, is a movie meticulously led in its most technical. Never before had shown a more depressing England (not even in The Black Adder ), Yorkshire had never before shown so little as a human, so sickly, to live is to die a little each day. As Paul Schrader, the black film is a matter of style, almost a way of life, and from production has been made clear to the three directors. In the sites we visited, such as cities like Manchester or villages led by a chief chuloputas, we ran into darkest days that gray where the sun is more in demand than a job, and where opportunities to thrive happen to be police and not very honest. The three directors delve into the personality of his three successive players (Andrew Garfield's great discovery, Paddy Considine, David Morrissey) creating oppressive and depressing environments, small spaces where the protagonists are almost framed and this makes them stand still. And here we find one of the virtues of this remarkable trilogy distribution. Is English, no money back and the children have no role, ergo it had to have impeccable performances, but all with one thing in common: almost sickly inscrutable. All the actors are outstanding levels without diarrhea gestures to express emotions. Seeing the actors to move is all a treat, from the Mark Addy plump drinking while listening to his filthy apartment to a young Andrew Garfield smoking in a pub full of smoke as thick as a bowl of chocolate. And all without forgetting a feast for actors and spectators, cosets secondary characters well defined but appear only in the work, especially Bob Craven or John Daws. We therefore, an absolute exercise in style at all levels.



But Red Riding is not perfect, if not talk about something and the masterpiece of noir on television, and although this is a risky and courageous series, does not hold water because of various problems, all linked by the desire to be great like the confusing masterpieces written by the geniuses of the genre, especially Hammett. David Peace and screenwriter of the series looking to loop the loop with jumps particularly complex and prevent the viewer completely imbued with the powerful story that is contemplated. And, as I said before, it is difficult to look away to the lush staging that we are seeing, but this does not mean that you are understanding what is happening. Wisely, the series will raise in each of its episodes a crime McGuffin apparent. Characters know, guess or guess your intentions, and we move into plots and subplots that, in turn, branch off on, and every new character that brings some information appears to open a new path. In the first episode we go from a murder to a love story of three bands (trio would not say romantic because in Yorkshire there is no room for it) between the anti-heroic protagonist, the mother of a murdered and the murderer, also sensing that something about that young man young hustler named JB. But this increases in the second. Starring Paddy Considine and located in 1980, looks like we will see something related to this pseudo Northern Jack the Ripper to then finish giving a completely different turn and leaving the viewer with a sensción weird, since without us aware of what happens, the heart is going at breakneck speed by the brutal turn of script that comes in, literally the last minute of the episode. And when the third begins, one honestly will not know where the story. Apparently all connections are through 1974, the story of journalist Eddie Dunford, the plot is re-structured around the murderer of children, yet begins with most of the characters in 1980, especially the unpleasant Bob Craven (Sean Harris , seen in the first season of Ashes to ashes), and although everything seems to be really spinning and closed, we are reminded of some inevitable questions: Why did the character of BJ, secondary apparent in all the episodes, it is extremely important to the final and we know nothing him? Why do not we know nothing of the murderer? Why has so little weight in the main plot, although hint along the nearly 300 minutes of television? and, more importantly, why can not take you seriously out something where Pepón Nieto?



However, despite its shortcomings forgivable, Red Riding is an experience, for better and for wrong. Sorry I can not attach the trailer powerful, but insertion is disabled.

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Cell 211: the greatness of the genre

When you finish viewing Cell 211 and appears Directed by Daniel Monzon, the first thing that goes through your head is not as the film, or the monstrous creation of Luis Tosar, not even that nice feeling of having invested in an excellent 5 euros and 2 hours of your life. The first thing that crosses our mind is what is missing in Spain to make more movies like this, gender, daring, brave, capable of confront any foreign film and win. A lack of talent? Screenwriters "unable? "Producers who choose not to take risks and live on government subsidies to cover budget instead of creating an attractive product to the public? Server, unfortunately, is not the answer, but prefers the latter. But I focus on the film and I miss cheeky. Cell 211 might consider as the catharsis of this new wave of directors coming out of the audiovisual, heirs to the tradition of Amenábar, to make a genre film can move the American conception of the show for a more patriotic (lack of money c'mon). More ( Night of the Sunflowers ) or less luck ( Backwoods , King of the Mountain , 3 days , Alatriste), in recent years have tried to do something different, and was someone who tried to approach the patriotic mainstream cinema for years with irregular but curious Heart of the Warrior, and then with Kovak Box tried to approach a mixture of film and the fateful Hitchcockian demiurge who controls the languiano protagonist's fate (Lang), but without much luck. Aware of his limitations as a director, a good craftsman but too inconsistent to consider him a great director, Monsoon created here, usually in collaboration with writer Alex de la Iglesia, a tight script in its main aspects, which languishes only in minor details, small traps and springs that do not weigh down the bottom of the film , in addition to a distribution is highly irregular, if not bad, but if they had been polishing could have done Cell 211 one of the best masterpieces worldwide cinema has seen in years. And, without abandoning the code of prison movies, being a movie that contains all the keys (good) of the genre, this film knows how to be challenging given and no patch of tributes, with his own universe, both argument as purely visual level, where the work of Monzón, except at times, is brilliant, and where the literary and technical combination results in a thriller that borders overwhelming between the psychological and pure suspense and hard without ever leaving what appears to be the main idea of \u200b\u200bthe film: public charge against the estate and the double standards of the welfare society.


The foreground of the film and shows us where we are going to hell inside. The owner of the cell that gives its name to the tape and cut the veins, without preventing violence in the foreground, shows Monsoon the slow suicide of a man who could no longer tolerate even slower death which was being placed in that earthly hell that is prison in Zamora. Start playing your cards and bring the viewer into a mental pulse that takes you to get into the game of cat and mouse that carries the film constantly in a tightrope walking exercise reminiscent of Kafka, however, also interesting to District 9 , we chronicled the loss of identity of an ordinary man. And if we referred to the destination before playing the protagonist in Kovak Box, we must turn to the influence of Fritz Lang in this film. What forces the protagonist, an irregular Alberto Ammann, going a day before starting work, rather than stay with his pregnant wife at home? What compels him to go to, life chances, hitting by pure chance by a stone falling from the ceiling and put in the slums end 211, an almost cursed, instead of being taken to the infirmary? Appearance. The script raises throughout the film, the transformation of character through her appearance, a resource that might be obvious but is used excellently. When his wife asks why he has to go a day earlier, he replies that he wants to make a good impression, perhaps the good cop, honest and unafraid. She replied "Do not take anything," referring to behave as it is with them when they are naked in bed after making love, where he openly shows as it is, he confesses all her fears, and who do not understand she is with him, a mere functionary, choosing the man you want. The importance of appearance re-establish when the riot broke out, and removed everything that he joins the civilized world (mobile, engagement ring, etc ...) after it is taken directly to the lower zone, the dining room , to meet the devil in the pit of hell Malamadre asked to undress, which is displayed as it is, he takes off his clothes nice guy, and once seen, you are asked to dress again, but John never gets to wear the clothes completely. Begins his descent into hell through a terrifying transformation marked by violence. As if it were an antihero eastwoodiano, "Pantera" as inmates call Juan, his life is marked by violence until everything explodes and ends become one over the enclosure. John is fearful when he is naked, and the man with fear acts through violence. The film is constantly maintained the thesis that man is evil by nature, simply stripped of its accessories: the objects that humanize and give it look politically correct. Once that has been stripped of them, act by instinct (which he complains Malamadre: "The next time you act for yourself, I'll cut you," as if he were the brains of the prison and only his head could leave plans) and leave your side anarchic flow and bestial. The cell 211 and the god of that prison, Malamadre a Tosar who created English Joker seems to have done its job: crazy the owner and lead to the end.

The other pillar on which rests the great script is the government, and how this is handled with society through politics: lies. At a time when the crisis deepens More than ever, our great president after being denied the crisis until it exploded in his face, the economy minister said he sees improvement comes when soon reach the 4 million unemployed. That feeling of vulnerability of the English society lies exercised by politicians is masterfully captured on tape: the negotiations are in their hands, and play and manipulate men and want. When Helen called to the jail to see how John, his partner says it's great but you can not talk, and conversely when John wants to talk to his wife the same way, Almansa, sent by the ministry, tells Malamadre only four injured, when the total number to 25. The lie also extends to the play of identities and appearances that seem to have all the characters except for prisoners and the two characters closer to John and Elena Malamadre. If all officers are labeled as liars and manipulators, not least the men are working for them "inside": Apache, as is revealed at first, is a confidant, and John is invented that disguise a murderer to go unnoticed between real criminals. This is a ploy to try to win the game, a web of lies (without intention of referring to the work of Ridley Scott) who, ironically, leaves the prisoners as the only honest men are of animals that are not nothing and are shown as they are, and so the deal from the top: his only request is accepted the shrimp, bait to get distracted prey. We also have some cowardly officers, as the warden of the jail, unable to give the order to attack because it involves a lot of pressure for him, and Bernardo, a man incapable of coping, such as when to stop Utrilla (a loose Resines) while beating a sick prisoner, or able to escape leaving a rookie in the middle of a riot. These, refugees in their superior physical position (the control tower from which all movement and view the animals as the animal almost as the villain Zaroff known better), play their particular game of chess with the only man in prison who actually works with the head and not an animal: Malamadre. And within that heading appears a chip that did not have one: ETA prisoners, and spilled a shocking conclusion: mass murderers have more privileges than anyone else. In prison there are classes, and the lives of these murderers is more valid than other murderers (perhaps because, as Tosar, "You have proved yourself more murderer that everyone here ... yes, in the distance, bombs ... "). When you see someone dead and everyone thinks it is a ETA, the cops go crazy, but when he discovers that not one of them, the police seem to say, quietly, just another dead more. This chilling revelation raises political tension means so overwhelming and the last step of John until the total transformation in this animal, this monster who had hidden, and that leads to an ending that, like the film, devoid of any epic, because We have never seen a film that speaks of the greatness of their characters. On the contrary, Cell 211 is full of lies, violence and a harsh and overwhelming reality.

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Clough / Revie: The challenge of Lies



When I was a youngster, and football was my passion, and I started to get into the wonderful world of the Premiership, with his ball Mitre (mitiquísimo), its Manchester United sweeping, aggressive football and vibrant. I remember one Saturday afternoon, in which Anthony Yeboah Leeds United thrashed at home to Wimbledon always humble, and then went to the bookstore that was next to my house. There I saw a pocket book titled The 20 biggest clubs in Europe, and I bought it. Ojeándolo on the way home, saw how they talked of all monsters Sport: Real Madrid, Bayern Munich, Barcelona, \u200b\u200bMilan, Inter, Juventus, Liverpool ... until I stopped at one or sounded: Nottingham Forest. For me the name of that city would inevitably associated with Robin Hood and the sheriff, and I said sounded like a big team in Europe. I begin to read their file and the first thing that strikes me is what it says in their titles, two European Cups won in two consecutive years in the hands of his most legendary coach, Brian Clough, despite being a team without any tradition large, and from that moment became one of the greatest teams in English football, noting to do something different: the ground game and very important bands, eliminating the archaic system of play based on the direct style of the islands. Apart from this, Clough was an icon of British football for two decades, a character you hated or loved unconditionally since his controversial remarks were not average, costing him the dream of his life, train England, despite always heard his name for the job. He was known for his absolute hate relationship with Don Revie, master of the old school of British football, which Clough accused of training his players as if they were real criminals, as opposed to his playing style, clean and pragmatic. This is the point basis of The Damned United, in which Peter Morgan (who could be calling for new writer movie star, since it can almost be considered the author of his films, opening the debate on the authorship and planted others as Arriaga Kauffman), with his inseparable Michael Sheen returns to dissect something that seems to obsess so sick: the power and ambition, taking a similar pattern to his wonderful work in Frost / Nixon, the confrontation between two strong-willed personalities together against their will by a playful destination (the ball draw for the FA Cup).

And, if we stop to analyze the figures constructed by this solvent writer in his previous films, we can form a trilogy about characters in the shadow of power. Both The Queen and in the aforementioned review of the most controversial interview with American President Bush to share with The Damned United the role of a character subject to the other: both Elizabeth II as the ever popular Lady Di tiresome unable to David Frost to tame the power of Nixon phlebitic are cousins \u200b\u200bof the Shakespearean echoes Brian Clough, who always tried to overcome this wall that was the brilliant work of Don Revie at Leeds United for a contempt he did when they met and trained with the modest Clough Derby County. We are faced with the classic story of rise and fall of a character that could qualify as assassin (his attempt to dethrone Revie): egocentric, manic, obsessive, and arrogant. Brian Clough is more like a gangster or walshiano coppoliano turn extracted models of the epic Shakespearean betrayal and fall back to the classic football coach a small team of English: large brains, manipulative, cold, and a large counselor. Described with pinpoint accuracy, Morgan chooses to develop it through his relationship with his best friend and almost brother, Peter Taylor, who advised him on the signings and many suspect was the one who really built the greatness of the teams coached by Clough. Simbioide relationship between the two is raised almost as the friendship of two young lovers who whisper and criticize the teacher (the president), called on the phone while they eat and their wives because they throw the food anger cools them, two goofy obsessed with football and who can not live without each other. Therefore, due to immaturity and delusions of grandeur Clough fight the inevitable occurs and loss of sanity of the hero that leads to absolute decline when the desire for glory sought, meaning the kick-off of its loss identity. Child, whimsical, immaturity comes from his obsession with his enemy, coming to sacrifice the most important game in the history of Derby against Juventus to win at Leeds Revie (even arrives to pick up a striking scene from Frost / Nixon, as is the telephone call between them, and move here to know by mouth Revie Clough sunk to a Leeds boys disobey him because they still love their old Mr.). Hooper chooses to obscure the view of Mr. indeed, leaving abandoned after fighting with half a football, with Longsam, its chairman, and Peter Taylor, his trusty Sancho Panza of his quixotic adventure for those muddy fields of England deeper. Gangsteriano for his attempt to supplant the enemy and put yourself in their shoes, obviously failing. It is not therefore give a moralistic message, if not to speak of a quality that every day is more absent in the football world: loyalty.

And is that The Damned United is also the most accurate portrait of the world of football, the excitement of seeing a match, the coach's uncertainty about the outcome, the pressure of the step, the rush of football in the locker room and aisles to go out there and a romantic vision of that original idea of \u200b\u200bthis sport, now lost except for some: to win over anything. Revie and Clough, Clough and Revie, two such different styles for a single purpose: to lift titles. The film raises very indirect way, the debate of how football was happy before the arrival of television, the Bosman ruling, globalization sport, ultimately, money. Longsam, chairman of Derby County, is presented as the classic provincial Florentino Perez, obsessed with money and unable to pay attention to the team sports, humane treatment of others, causing the classic struggle of egos that ends with the breakup and defeat of both parties. Although in many instances, to show a condescending nothing Clough, is clearly the position taken by the director: the club is a family and as a parent coach is responsible for the welfare of their children. Played host to a finish and aged as Dave Mackay and he becomes the leader and soul of the team on the field, strengthens young talents such as McGovern and gives all her love. Protective of their players, the locker room almost as a sacred place at the time of the Derby (the director comes to wide angle to enlarge the tiny space) where consoles his players, motivating them and advises them, and Leeds, their arrival is shown as an invasion, the divas to have to live do not allow the entrance, as if it were a stepfather who came to take the place of his real father. It also portrays the loneliness better than any coach in bad times. Morgan's script both as competent but distant Hooper's work shines in the position to sink the show successful coach with great skill the rollercoaster that is football. 2 years ago when Juande Ramos left Sevilla's most successful ever existed for Tottenham, people thought I would make the jewish team in a winning machine to get a true idol, and less than a year later was get fired after the worst league start for a team that had spent a savage, yes, getting a big settlement. Clough destroys its principles to be chosen by the leaders of Leeds as a safe and eventually is unable to enter the domain of another, being fired and thus taking a fortune and, like the prodigal son, the ability to recognize their mistakes and take refuge next to the man he became a legend, Peter Taylor.