During the Second World War, Polish resistance fighters are a bit of money hiding in the sewers of the Jewish people. When the pressure is increasingly felt, they must choose to continue to help these people or report them to authorities.



Year after year, feature films about the holocaust are flooding the market, so that the viewer does not forget this horrible tragedy. The views change from place to place and country, but one thing remains: the needless deaths of innocent men and women and an insatiable quest for freedom when the daily chaos embraces.

“In Darkness” follows this logic in a conventional manner by treating his subject. Academic reading is still sincere, vigorous and poignant, both at the staging clever at times and in terms of the devotion of his characters. Distribution without spot serves a scenario sometimes too demonstrator who is nevertheless studded with set pieces and heavy dramatic scenes that make the pulse beat faster.

After a long but eloquent introduction, it is difficult to resist the call of the dark. A game of cat and mouse takes place in the underground and the consequences are often unpleasant for the survivors. Prosecution of these (very) long term, taking place for nearly two and a half hours will sometimes want repetitive and redundant, the impact of the demonstration is not less than terrible.



More interested in the facts and the description of a given environment in the study of characters, “In Darkness” succeeds where the popular “Europa, Europa” in the same filmmaker Agnieszka Holland failed: to keep away from generally Manichean stereotyping. It is perhaps not enough to worry about “separation” at the Oscars, but it’s enough to get a great moment of cinema.

Arrietty is a Chapardeuse, an elf who lives in a house with his mother and father. The day it is seen by Shawn, a young man who has heart disease, his life will be changed forever.

As luck would have it often. It took the show in Japan in summer 2010, it is only now that “Arrietty – The small world of petty thieves” out on North American screens, courtesy of Walt Disney. The same weekend that “In Darkness”, the Polish film nominated for an Oscar when people decide to hide in the underground during World War II. Without playing the game of comparisons, we must admit that this quest for freedom is unique to the two hero’s opus.



Voluntarily more childish, the first feature film directed by Hiromasa Yonebayashi (and which, in this chapter, appears better take place that his colleague Goro Miyazaki whose “Tales of Earthsea” left little enduring memories) account on a script written by the great Hayao Miyazaki. Just as he did with his previous and excellent “Ponyo”, the father of Japanese animation updates an old tale, this time above “The Borrowers” of writer English Mary Norton, who has been already adapted a few times before (including a version featuring John Goodman). This story takes the concerns of the Japanese master, namely the protection of nature and cohabitation between all the species of the Earth. A lesson of tolerance, mutual assistance and sharing is also proposed, as sometimes a little too much reinforced by the father of Arrietty sanctimonious speeches.

A bit like the unforgettable “My Neighbor Totoro” and “Spirited Away”, the imagination is in power. Young moviegoers will enjoy going to see what else is at their feet, exploring the foundations of an old house. Without being exceptional, the images remain pleasant to watch and the music of Cecile Corbel enchants the ear. Strangely, several English songs overhang a little syrupy pace and interest. It would be surprising if they appear in the original story as it is not uncommon to witness several changes in size when Japanese animation is transposed to the U.S.



Rooted in the same tradition as “Kiki”, “Arrietty – The small world of petty thieves” is a naive and simple test that combines humor, action, drama and a lot of wonder. During the most majestic moments, one feels the poetry and melancholy arising from conversations between Arrietty and Shawn. If only those moments of grace were more numerous, there would have been a marvel of animation. However, it will be satisfied and that is something a high class entertainment, which will brighten just about anyone.

For Laura (Stephanie Sigman), to escape Mexican-through Poverty has beauty contest. Her stark reminder to the daily order. A few hours after a shoot, she is kidnapped by drug traffickers who force her to take part in their activities…



Joins reality fiction. The Mexico regularly covers the news for its rate of violence that is sweeping both on its own people on the tourists. Organized crime leads to wide and drug trafficking is the most lucrative industry of the country. Based on a fact, director Gerardo Naranjo proposes an odyssey through hell that leave insensitive person.

The guide to the depths of the Tartare is led by the incredible Stephanie Sigman. It is all the scenes, making strong impression with its glowing beauty, her eyes who know how to communicate the emotion and its set of unusual vigour. It is the sun which cools, seeking to take her place in a universe without rule or law, a chaos where corruption leads the ball. It is not only an innocent victim, but a pawn on a cruel grand chessboard, a consciousness that is eroding slowly but surely, to a point of no return. This character that evolves and that sacrifices made so get out the story of his Manichean. Especially in more delicate scenes where the relationship between the heroine and her abductor become blurred.



Staged way alert, subject to of spectacular action scenes, “Miss Bala” fits perfectly free electron status. Director tends to lengthen his scenes giving soul to the themes and characters, without so far play tight. On the contrary, in the image of his cousins “Elite Squad: The Enemy Within” and “Carancho”, effort likely to please all audiences, offering a more inescapable nightmare, whose darkness would haunt for a long time.

The war is testing people who love. Especially when it comes to people who are from different cultural communities. Danijel (Goran Kostic, an unlikely mix of Daniel Craig and Christopher Eccleston) and Ajla (Zana Marjanovic, very beautiful) will learn it their costs while the Bosnia and Herzegovina is divided by an internal conflict.



Selected for the Golden Globes earlier this year in the category of best foreign film, “In the Land of Blood and Honey” is a debut that does not lack conviction. Angelina Jolie explores a subject rarely used in films (the exceptions being the solid “Welcome to Sarajevo” by Michael Winter bottom, the Oscar-winning “No Man’s Land” by Danis Tanovic … and the almost complete filmography of Emir Kusturica) by using excellent actors. Its realization is assured, its position is clearly identifiable and some epic turns while the Greek tragedy.

The new filmmaker however tends to butter thick. His story is sometimes heavy, supported and very demonstrator, wanted to react to any price showing maximum violence, blood and rape. Yes, the film does war is not just to be kind, but the works of the genre tend to be much more subtle. Here, the tricks of manipulation are visible, and if all shall not pay in demagoguery as did “The RAID”, the tone is clearly simplistic, sometimes sensational.

This is when the stage director focuses on its hero she comes to think outside the box. Relations between dominant and dominated the two main characters are ambiguous, sometimes reminiscent of those of the unforgettable “The Night Porter” by Liliana Cavani. There’s love and desire, but also dependency, alienation (on an individual, but also social and cultural) that marks the mind and gives a notably unhealthy to this great show.



Not preventing paint too many subjects at the same time as is often the case in the first achievements, “In the Land of Blood and Honey” still is pushing tested themes, to speak a bit differently from a conflict which celebrates its 20th anniversary this year.

The “Red Tails” are these African-American pilots who fought in Italy during WWII. Despite the prejudices, they became heroes, being recognized for their many achievements in flight.



The father of “Star Wars” has been always a big fan of air combat and it’s been a year that seeks to collect enough money to tell this story in film. He finally arrived, but left the chair to achieve the newcomer Anthony Hemingway, settling for a role of executive producer. A decision which can only disappoint, especially given the great talent of the creator of “THX 1138″ and “American Graffiti”.

Maybe it doubted itself that the scenario was not at the height. The story is messy in every sense, by vibrating the fiber heroic and patriotic leaving the subtlety to tip-off. It follows several characters at once, never taking the time to develop properly, other than the most hackneyed cliches (there is the alcoholic, the lover, the young first, etc…). The actors may play with sincerity (Terrence Howard still displays his natural charisma, Cuba Gooding Jr. in the economy means leaving his pipe to do all the work for him), except that they must face the facts: the narrative is not to develop them.

It is almost normal to never worry about their fate. They may be in love, injury or death, their fate leaves completely of ice. This sentiment is reflected in the dramatic clashes. The tension is almost not felt. There is not this intensity of life and death that makes all the difference. If the work of the filmmaker in action scenes is more than satisfactory, cannot be said at the most quiet moments. Stage is often uncertain, particularly in a sometimes clumsy editing where the molten lack of finishing. The pleasant soundtrack well muscular and powerful Terence Blanchard compensates somewhat for these weaknesses.



Less romantic than the large marshmallow “Miracle at St. Anna” Spike Lee’s “Red Tails “still going off about it, proving to be a video game more than a way to showcase the unsung heroes. By dint of simplifying important issues, we are left with a completely distorted skeleton that does not even taste to open a history book to learn more. We must not blame the moviegoers prefer “The Help” slices of lives imperfect but vastly superior.

Following a car accident, Paige (Rachel McAdams) has completely forgotten her husband Leo (Channing Tatum). She remembers her parents (Sam Neil and Jessica Lange) and her former lover (Scott Speedman), but not her husband. The latter will find it impossible for the memory, because she knows that the future of her marriage is at stake…



Valentine knocks on the door. While waiting for the funny “This Means War” with Reese Witherspoon which opens next week and swimming in the same waters, “The Vow” will certainly be an output raced on the day of the feast of love. Yet there is nothing really enticing menu.

Generally competent each of their side, Rachel McAdams and Channing Tatum did not form a very exciting couple. The two performers appear switched off, on automatic pilot, offering the minimum instead of being the sexiest couple in the beginning of this year. Maybe it’s the blandness of their characters or little credible dialogue that afflict, but the duo sometimes seems to be bored. It is a little better on the beautiful secondary distribution has yet as some scenes to assert.

Since all about McAdams and Tatum and they are not the heart to beat faster, director Michael Sucsy can not perform miracles, as he had done on the bubbly TV movie “Grey Gardens.” His staging is acceptable, his musical choices are consequential (The National, The Cure), and except that this trifle is inspired by a true story quickly hit a wall.



It will therefore not blame the gentlemen to opt instead for the action film “Safe House”. Returning home, they can always go rent the endearing “While You Were Sleeping” with Sandra Bullock who has several similarities with “The Vow” but that is simply better. For a meditation on the past and his life choices will require ironing.

The lucky ones invited by stores Target the projection of a unique extract from the last installment of the Twilight saga which will be released on November 14, no longer have the scoop of this viewing. Because the video now circulating on the internet! And if it says little short excerpt, it nevertheless allows us to wait another few months. Tells us that this extract? One thing is sure, if one has not read the books, we do not understand it. Then summarize and explain.



Bella reads a word, seems sad. Edward sympathizes and offers to take a bath (!). He then goes on a not very nice monologue in which he accused of underestimating Bella but eventually it welcomes the surprise every time. Kiss. Twilightienne song. Edward is then proposed to go run the bath water while Bella grabbed the letter, concerned or even a little irritated. She finally found the book comes from the page that was used to write the letter.



That’s it, you’ve missed? With the clarification, it is better. So, be aware that the word was written by Alice, who saw the Volturi come to Forks, and was thus run away leaving behind that word. Here you are, that you enlighten?

Images are mixed, temporality explodes, the waltz of the symbols is felt and a stream of light hits the face of the viewer. The first minutes of the new feature film by Lynne Ramsay is like a nightmare. A horror movie scary and disturb not far from the exercise in style and approach that borrowing Roman Polanski in its infancy. The moviegoer is the head of the poor Eva (Tilda Swinton) and its actions do not seem to make sense.



Gradually, the story quiet, adopting a tone more linear. Eva has trouble with her son Kevin, he is still a baby or adolescence. Her husband (John C. Reilly) notices nothing, just like the rest of their entourage. The atmosphere that was hitherto gloomy embraces a somewhat sinister black humor, which is laughter. The stuffing was nice to spread a little too long, markers are fragmented. So, it is particularly difficult to predict whether the final logic sweeps like a freight train, carrying away everything in its path.

Dividing the audience at Cannes last May, “We Need to Talk About Kevin” bears the mark of a true filmmaker, a missing link between Sofia Coppola and David Lynch. Lynne Ramsay is distinguished by daring the lot, going further than others. And if this new work is not as dazzling as his previous “Morven Callar,” it is disturbing enough to disturb and upset for a long time. Especially when the stunning musical score by Jonny Greenwood (Radiohead, to whom we owe also the unforgettable music of “There Will Be Blood”) takes over your life. Especially as stage director is able to bring Tilda Swinton to new heights. The actress is simply stunning in this enigmatic role and not necessarily friendly. And to think that his game is not even nominated for an Oscar … at his side, John c. Reilly provides as in “Carnage” and the young Ezra Miller may be the Damien (emblematic figure of “The Omen”) of the new millennium.



A little too beautified at times, still not going after his themes (disability-parental child drift kings, etc…), “We Need to Talk About Kevin” remains an intriguing and unsettling work, which fascinates more and more, to give goose bumps at the very end. When the emotion sweeps in the home straight, nothing can prevent it. And that’s good.

Contrary to what one might think, Director Catherine Hardwicke did not fell in love Twilight script at the first reading. It was even the opposite. So it is not stingy in harsh words about the first version that has been submitted. In a recent interview with Vulture, Thirteen Director explains that at a dinner, the minds of Summit Entertainment he gave five versions of the screenplay for the first film.



“Each of these scripts was afraid” she said. “Oh, God, what they feared. “But then why have agreed to carry out bad scripts? Simply because that love story between Bella and Edward it was interested. “I thought the script was horrible, but I have searched on the Internet and I thought, OK, it is based on a book that people tend to love. There must be something. Then I read the book and I thought that he very well described this feeling of being crazy love. And I thought, this is the kind of great challenge, to see if, as a filmmaker, I could make you feel that this crazy Vertigo”. It must also be remembered that it had required the right to rewrite the script in its entirety. In your opinion, is it received?

It seems unnecessary to Star Wars, or the war of stars. This “space opera” has been so successful around the world; it would be unlikely to imagine that someone could miss.



If there is one film that could be expected in 3D, this is probably Star Wars. No need to do a review of the movie. Whether we like it or not Star Wars it is obvious that the movie has nothing to prove. However, by viewing the 3D version, one wonders if this output was really necessary. If it is sure it will delight the biggest fans, it is not certain that the majority will be won over by this reissue. It is true that the task was not easy. The first part was at the base, absolutely not intended to be shot in 3D one day. And it shows. Despite the hard work of the team of George Lucas, the 3D does not add much. Worse, it reveals even the defects generated images; leaving most often appear fuzzy characters on screen.



Then, everything is not to throw. Including the aquatic stage, where Jar Jar Binks leads our heroes in his secret town, is quite breathtaking. The race on Tatooine, which was highly anticipated, is also very successful. However this is very little compared to the set of the film. The output of Stars Wars in 3D, which will extend from 2012 to 2017, looks therefore more a marketing project, to a project that will revolutionize the cinema. However, as mentioned, if the 3D effect is not much to the film, it does remove any similarly nothing to show that offers Star Wars, and pleased to see or review this historical saga.