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The Informant (USA 2009)

A film by Steven Soderbergh. With Matt Damon, Scott Bakula, Joel McHale, Melanie Lynskey, Frank Welker.

"This story is based on real events.
The characters and situations are, however, been mixed.
And the dialogue have been adapted. Get this!"

Sodeberg's new film, a survivor from the toils of the work on Che Guevara, is likely several times to disorient the viewer. The narrative structure of the film in fact, can trace that of the same star in this true story in the U.S.. Marc Whitacre has been, in fact, a real case of U.S. financial and judicial reports of the nineties. Originally enlisted as a collaborator by the FBI in an investigation for fraud involving his own food company, in a few years Marc has come to be a con man and an inveterate liar. Happily married, rich and gratified by their chief, Marc could not, apparently, no interest in bringing to light the fraudulent strategies that his company put in place, worldwide, for monitoring of the derivatives of maize. Yet he himself propose the FBI as a collaborator, 007 a kind of hard, triggering a series of events that led him how he planned to become president of the company but directly in a federal cell. Marc, played by Matt Damon just bald and fattened to 13 pounds, invents characters, falsify documents, builds an intricate system of lies intended, however, to fall down miserably.

What appears to the protagonist as a kind of game, at one point seems to completely escape his control, to show its many identities: on the odd collaborator of justice, a hero fighting against a corrupt capitalism, with the author turn of a massive fraud by several million dollars. The film then departs immediately from a simple complaint, following the narrative together is the same mark, in a sort of continuous dialogue with the viewer, allowing us to come into direct contact with the reasoning of a sick man.

Sodebergh choose the tone of light comedy, with the constant movement of the boundary between truth and falsehood, always in pursuit of the delusion of a character evolving and unable to keep quiet.

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Cinema Saved from the South - A book by Rita

The Italian cinema is to be saved. Rita Picchi asks whether the role of savior will be covered by our South. Provocative question that at the end of this book published by Kurumuny remains deliberately without a definitive answer.
Rita Peaks theater critic and author, thinks that in his passionate work on the possible future of our film industry by choosing the vantage point of some southern writers. Through thematic analysis of the characters, such as rubies, Winspeare, Roberta Torre, and others, Rita Peaks offers a sort of journey back, but always with an eye to the future, to the origins of a cinematic approach to the South and the ethnographer Ernesto De Martino thematic contribution to Italian cinema. If
is true, as the director Cecilia Mangini in the introduction, that the cinema was a "constantly renewed through feedback of the real," a window on the contemporary and the opportunity for a critical comparison with the sometimes bumpy path of our society, Rita Peaks offers a rediscovery of this role. Too often, we as spectators tried in recent years a greater distance between the themes and characters on the screen and our daily lives. Scrolling titles produced in recent years is easy to see that, although made with a good quality Italian films basically talking about a country that does not exist. They say mostly love stories, starring young milf in distress, confused, on average, wealthy and struggling with their own little world and their life problems. Without great ideals, the policy gradient background, cinema Italian has given us stories painless, unable to upset or offend anyone, but rather peacefully mingle with each other. Goffredo Fofi wrote twenty years ago instead of "the cinema is more vital than in the countries in which the contradictions are explosive, especially in the South." For a film so distracted was offset by a suburban cinema, far from the capitals of the big screen, and by virtue of this distance is able to catch the contradictions of existence. "Perhaps, writes Rita Peak, this art should find a way to make it come alive. Contaminated with the moods, often with unpleasant body odors, smelly, and the gaps in mind, the sudden short circuit: a portion of irrationality unsustainable and the courage to really dirty hands. "

It 's a movie, one told by Rita Peak, which feeds on a South as a place of roots and soul, a place still able to disturb the vision, serving as a look at more real. It 's a film steeped in anthropological studies of Ernesto De Martino, driven by scientific rigor and civic passion. And by that same desire for nonconformity that led some young filmmakers in the fifties and sixties, groped in the story of the South of the great economic and social changes of the so-called economic boom, with the same air of controversy and with the same passion civil. The above examples are many, Stendal by Cecilia Mangini, documentary reconstruction of a dirge, to anthropological films inspired by Luigi Di Gianni.

The need therefore, if want to save the Italian cinema, is to move away from conventional patterns and predetermined, rediscovering the roots of cultural anthropology and not unsurprisingly, are common directors also far apart over the years. Rita Picchi does it for example emphasizing the link, and thematic areas, which is between the Gianfranco Mingozzi's documentary "La Taranta" and Edward Winspeare author of "pinched" and "Blood alive."

the end the author does not dissolve the doubt, we'll see if the screen will find that strength and that courage, if the authors of our cinema will produce films uneducated, ill-thinking, politically incorrect, but absolutely necessary. What is certain however that the South will still be a great opportunity for those who will be brave and curious eyes.

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We should all those who ask why after 2000 years of its birth still talk of Christ. The answer is immediate: there is no human response to the many questions of meaning ( who we are, where we come from, where we go ). Someone has likened human existence to a person who wakes up in the middle of the night and finds himself on a train travel: do not know where it started and where it is going. He knows that at some point imboccherà a gallery from which they will return. If we talk about Jesus, if we look at his work, if the character reference point for the computation of time, if he who is restless, bewildering, disarm the minds and hearts of believers and atheists fascinates many the reason is one: is the only that he returned alive from the gallery. On the basis of this comes the search for meaning and not because we came up with something that was convenient to have.

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Peaks Ice Age 3 - Dawn of the Dinosaurs (USA 2009)

Directed by Carlos Saldanha. With Ray Romano, John Leguizamo, Denis Leary, Simon Pegg, Queen Latifah, Lee Ryan, Massimo Giuliani.

"Once I fell in love,
was a banana, I decided to marry her

There was great expectation (including receipts) for the third episode of the Ice Age. And waiting the public and critics on the whole are not disappointed.
The plan chosen does not shine particularly for originality, but obviously the formula works so well that you do not change: the narrative structure, in the best tradition of the animated film of recent times, is based on finding a character by his comrades . In this case the protagonist is Sid, the sloth bungler who was kidnapped by a giant, and apparently very ferocious Tyrannosaurus Rex. Mannie and Ellie are going to have their baby and this seems to upset the balance of the pack, especially for Diego the saber-tooth tiger, which now begins to feel too old and mollaccione and Sid, who, in an attempt to create its own family stealing some eggs, sets in motion the mechanism of film narrative. Failed because Mannie and Ellie the woolly mammoth, Diego, along with the inseparable possums Crash and Eddie, safe and sound to find their friend? Of course! And above all, like any self-respecting edifying end, the adventure will strengthen their team spirit, their friendship and the desire to help in times of difficulty. Despite the differences between herd members, their desires and fears, is to prevail then the desire to work within their own family. Ice Age 3 is fully in a reassuring narrative scheme, sinning in a sense of repetitiveness and excessive references to and quotations other animated films. The search for Sid in a strange world and threatening, for example, suggests the adventures of Nemo's father, to name just one. In short, the feeling "warm soup" is dangerously around the corner.
Of course, there are the hilarious, the entr'actes squirrel Scrat, the acorn always in pursuit of love and this time, arrive on time to raise the pace at times when the plot slows down. Just as there are in general the most exquisite moments of action, with car chases, tumbles, surprised, rely in large part to the "direction" of the character of Buck, a ferret adventurer who is the real news the saga. Left for too long in the dangerous underground world of dinosaurs, Buck, as a kind of novel Captain Ahab, has devoted her life to pursue his Moby Dick, a giant dinosaur, white and very bad. Your contribution will be crucial in saving Sid, and even give the audience moments of pure action. Too much love of the hazard, the late Buck chose to continue living in his world, still chasing his nightmares.

Disappointing the 3D version. Except in a few moments, does not add much to the vision and made only seem to attract the public and justify the charge that they charge merchants for the eye.