History Of Sanitary Towels

12 (review)



12 (2007)
of Nikita Mikhalkov with Nikita Mikhalkov , Viktor Verzhbitsky

12 (the title is named after the date of 'event is narrated by the number of jurors) is an adaptation of the film Lumet '57' Angry Men ': a jury meets to decide on a seemingly simple case, but one instill in all other the seed of doubt. Mikhalov readjusts the fact all set in Russia and as an apparent culprit putting a Chechen accused of murdering his stepfather, an ex-soldier on leave.
The film is part of the fairly recent trend in new Russian cinema, made internationally famous by 'The Guardian of the Night', which apparently has little to do with this, being an action - fantasy very commercial. But if we compare the difference for these two movies with a Russian classic vein, which runs from to Sokurov Tarkovsky , there will seem clearer analogies. The style is dry, it loses all the lyrical side and the mounting is very fast, becoming frantic scenes action and the slowness, the dwell on the detail that made famous the two directors mentioned above were forgotten in favor of a film more accessible to the general public. 12 finds here its most important point, and in bringing this way of making films in a genre not only commercial but also copyright. For the rest of the reality there is little to say in turn each of the 12 jurors tell their story more or less, to reach a final non-obvious, but perhaps a bit 'far from our mentality to be understood. The recitations are generally good, the pace at times suffers from the annoying interruption of flashback and two and a half hours are not small (remember that the entire film is set in a gym), but overall the work is more than adequate and there are known particularly painful. Discounting the situation in Chechnya can not fully compensate for the lack of originality, but not one has the feeling of 'already seen', if you are interested in the evolution of Russian cinema, is a must .
Rating: 7.5

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In the Valley of Elah (review)



In the Valley of Elah (2007) by Paul Haggis
with Tommy Lee Jones, Charlize Theron

Hank (Tommy Lee Jones ), old war veteran, he received a phone call from the military base where he was service of his son and learns that he disappeared a few days after returning from Iraq. Here begins the search, which will bring Hank to discover that his son has made a brutal end on American soil.

Paul Haggis, Crash test after the bad-Physical Contact, corrects the shot and manages to create a decent product, at least in appearance. The installation of the film is very classic, and here we can find is probably the biggest flaw of the film is the reason for the improvement of Haggis. It 'so obvious that we are facing one of the most overvalued in recent times, if you manage to create something here to meet the expectations had to barricade themselves behind a structure such as cured simple and devoid of ideas. The heart of the film is not in structure, but the theme, then the war, the pain of having to fight the impossible and social reintegration. Here, too, could stand the criticism ('too easy', or something like that), and are not even completely wrong. The most striking element, however, Haggis takes the position in relation to issues dealing with: at first glance may seem to be a film that pleases everyone, pros and cons (the war), for a more depth, however we realize that Haggis has a very clear idea, in practice, the film's message is that war is not wrong, indeed, may even be right, it is the war in Iraq is wrong. The major criticisms of the film are moved to this position, warmongering, but perhaps it would be fairer to criticize the excessive rhetoric with which this thesis is supported. If Haggis had dared more, in the form and content, would probably work much worse than this, that having a very solid, though obvious, and good actors (Charlize Theron in part, with dark hair is really bad) manages to achieve sufficiency.
Rating: 6