The US-Mexico border has always inspired filmmakers all genres. For his first feature film, the British Gareth Edwards has thought a NASA probe crashed into the Mexican jungle, releasing particles of earth form extra-Use ground. Six years later the country became a war zone deserted, populated by monstrous creatures. Two Americans will try to reach the border crossing this territory devastated.
The cinema of science fiction is a fertile ground to discuss the current problems faced by both countries, starting with immigration. This is an original form that Gareth Edwards portrayed this phenomenon, taking on aliens who are victims of male violence. If this political aspect is less present than in the recent District 9 , realization, she comes close substantially. Even documentary style, even anchoring contemporary. But contrary to the movie by Neil Blomkamp, Gareth Edwards never yield to the bidding action movie or lambda. For 1:30, it installs a special atmosphere, but when danger threatens constantly caught by history that the two protagonists live. A "love story" rather unusual that makes sense as and when the extra-LAND appear.
If we have enough talent and tricks in his bag, one can make a feature ultra-realistic budget without having Pharaohs. With less than a million dollars in his pocket (in other words a Panouillé for a feature film of this ilk) the director has managed the miracle of creating a world entirely plausible that helps to identify many of the characters. Critters in the background, carcasses of planes and boats, devastated city, Gareth Edwards has managed, through a meticulous minimalism, a play on the outfield and compensate for its lack of an amazing creativity. Caught in this adventure with an uncertain outcome, the viewer is thrown, tossed between toned and intimate film monsters.
Monsters may disappoint fans of the genre, frustrated by the lack of action and rhythm sawtooth. Others will welcome a work that footprint cross roads before ending on a poetic note, a coupling as strange as beautiful. Gareth Edwards is a filmmaker to follow. We only fear that he may one day catch up with the Hollywood juggernaut, like so many others before him.
Robert Rodriguez, he comes to offer his fans what they wanted. After the diptych Grindhouse co-directed with his friend Tarantino, he gives Danny Trejo, eternal second knife that accesses finally to the top of the podium, the role of policeman avenger, a follower of the machete, severed heads and viscera exploited. A guy should not try too hard, being targeted by a corrupt senator Texan, a follower of zero tolerance and quick to loose his dogs when his political projects become upset. Not to mention a vengeful blind flicquette and incorruptible.
We laugh at this spectacle of Grand Guignol assumed after the end. If the vintage side eyeing to Z series of the 70 so beloved Rodriguez, the film also surprising it is, speaks of migration flows at the border between Mexico and the United States, in its way, of course, uncomplicated and unadorned. The security policy takes a nasty hit as everyone Machete sends his enemies. Sometimes jubilant, the film becomes infatuated with a casting unlikely, Steven Seagal as master of swords Don Johnson cop rotten, not to mention De Niro crooked politician.
Too long, repetitive, pleasure the first sequence is decreasing and the accumulated clichés become bored. The film may lack the fragrance of freedom its models, a déconnade a little too controlled to be totally honest. Gore, vulgar parody Machete will not frustrate fans of the genre. But disappoint those who expected a little more.
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