Hirishiolo

Jumper Every age has the own super-men. To difference of the classics heroes of the Planet, the young Jumpers are of uncontrolled nature ("not are nothing of prohibited"), solitary ("game better alone") and use their exceptional powers in order to make the beautiful life. If they join, is only for live alone from the common threat - generational and full of catholic fondamentalism - represented from the Champions: warriors adults in bourgeois who operate in one schism, heir of the Inquisizione, convinced of having the task protect the Earth. In the construction of new cinematographic mythology from nearly 100 million dollars (in obvious truths not therefore, to part authentic the mixed resumptions in location and theatres of rest), the cues come from two novels of Steven Gould (omonimo "the Jumper" and "Reflex"). Visually the debit is instead in the comparisons of "Matrix": to the supervision of the visual effects there is in fact Joel Hynek that, deepening the job carried out in the film of the Wachowski siblings, has used various blots some from taken fixed with variable stopper in order to resume the action in sequence and to realize sfocati effects and extends to you, a motion-control complex and accurately coreografato, old system "stop and action" and 5-6 controfigure of the brace of Jumpers. With the idea of bottom to render the perspective of the teletrasporto subjective and to obtain therefore a greater involvement of the public. To said of the producers the collected ideas and the material during the working they have made to emerge the hypothesis of one trilogy. Perhaps it is for that the director Doug Liman (risen to the notoriety with "The Bourne Identity", first understood it of the saga) in already striminzita history little interest leaves of the crucial points is confused and unsolved, to mo' of holes. As those space-thunderstorms cross to you from the protagonists.

The Believer Herny Bean, the director of "The believer", seems that the plan of "The Believer" brooded gives beyond twenty years. Dangerous an ambitious and difficult plan and also approvals the topics deals in the film and their unavoidable implications to you. We say endured that vent' planning years have give birth a film a lot interesting and a lot very realized. "The believer" is one of those films that, in spite of the gravity of the arguments deal to you, never do not make you to detach the attention from the screen thanks to the novellistic dowries of the director. "The believer" is a hard film like a fist to the sour stomach and like one spremuta to the vitriol. It is turned with the machine always in motion to the limit of the annoyance, with inquadrature that often cut the faces of the actors to half of the forehead, with light foggy hour hour scarna as a paper from adorns to you grown mouldy. The world converses is urticanti hard sandstones ("is a Jewish disease") that they do not leave some dim light of compiacenza the spectator. It converses exceptional, always rich of contained and always cargos of it means to you skillfully recites from actors all authors to you of a superlativa test. Actors who do not leave escape to good will smiles while sputano the atrocious racist and anti-semitic ideologies. Yes because "The believer" tells the history, true, of Danny Balint, optimally interpreted from the young person Ryan hard and dry Gosling how much intense and dramatic, Hebrew one of nazi birth but for vocation. It is the history of the great contradiction that is born from the alive ones and originates them intelligence of the Danny young person, when during the lessons of the Talmudic school, it discovers and it reveals to masters and students the contradictions, or for less the those that to he they appear such, of its religion until the unavoidable escape from atmospheres of its people. Danny Balint is the most intelligent boy and also much cultured one, equipped of great comunicativa and a sure magnetic fascination. It has a strong and nervous body like its ideas. It enters to make part of the neofascisti groups Americans until landing in one risen of organization, than work to the limits of the legality, than sight to reaffirm principles, sadly you notice, like superiority of the race Ariane and final solution. Here it will meet the heads of this group, between which we find a Theresa Russel rigid and essential like a Sfinge of rock and its daughter (Summer Phoenix," The faculty") an exceptional, cruel, infantile personage, strongly attracted from the person of Danny, as a child can is it with animaletto without one a leg. The end is ineluttabile and written, as the history of the people of Israel, Danny will reach the term of its existential and ideological distance catching a glimpse the only one of the possible solutions in "a null one without aim".

Cloverfield You suffer badly from sea? Hated the room by hand? Then been to the wide one from Cloverfield, history of a group of friends that are searching the woman loved from one of them, in one New besieged nocturnal York from a gigantic and frightening monster. All the travel is documented from the digital video camera that one of them has in hand and that goodbye festivity would be served in order to resume one. The idea begins them of the film was good, the invasion from part of a monster disowned told from a point of view much partial one, from only an visual one, that one of a group of persons who try to escape, but the history loses interest soon, why the history becomes less and less credible. Instead trying the escape the protagonists throw themselves towards the monster in order to catch up a friend imprisoned in her apartment, converse that they accompany the travel are to say little, the protagonists from normal human beings transform themselves soon in rising of superman, succeeding to go up 57 plans on foot,, attack to you in the dusk from monster orribles they react. But they are not nothing to comparison of the digital room them that she resumes the history, the battery are inexhaustible, are indestructible, have the nocturnal vision and one clearness of incredible image... Sure these can be considerations superfluous in a film that it wants to only amuse, to entertain, nevertheless it is a sin that has not been attempted to more realize a cured history, because the action scenes are made much good, the beginning of their escape and the attack to the bridge leaves without breath. Optimal also the choice of the times, the start is slow, but it introduces the personages well, in order then to pass to a phrenetic action convulsa and, then newly the quiet action in order to be surprised itself in way still more unexpected. Perfect instead the promotion of the film, J.J. Abrams has made every so often to decrease one coltre smoky around all the plan, launch some message sibillino approximately the content of the history. The strategy has worked therefore well that in the first week end of programming American the film has embedded 48 million dollars in 4 days.

As far as along a man it can fight the dusk, until finding them within of himself" with this ideal incipit the third party understood it of the saga is opened centralized on the adventures of "tessiragnatele of more famous quarter" of the comic strips: Spider Man.For "Spider-man 3" we find again a cast artistic and technical practically the same, with one articulater weft but much and complex one regarding the understood one them previous. in the moment of greater grace nella life of Peter Parker, alias Spider Man, given gives it always increasing popularity and a happiness renewed with Mary Jane to which it wants to ask to marry him, throws down on the Earth a small how much threatening meteorit from which outside black substance exits one. In the meantime: Harry is decided to place the fine word to its dispute against Peter, guilty, second him, of heve been killed the father; and a petty thief of quart' order in order to escape to a pursuit with the police remains victim of a molecular experiment that renders it... of sand! When Peter discovers that the Man Sand other is not that the true assassin of ihis uncle Very, decides to resort to the black substance that in the meantime, has introduced in his house: draft of a simbionte averse that renders it more fort and aggressive, joining he as a new one was dressed. In order to help the young hero but, soon the same alien will ask in exchange a price that Peter will not be disposed to pay: his moral integrity... Gotico Pamphlet of the forgiveness and the search of an inner equilibrium. The topic of the double , in the world of the comic strips Americans, always has been a return that, every so often, it resorted in the pages of several the cartacei heroes. The examples are innumerevoli: the latent madness of Bat-Man; the red kryptonite ones of Superman; the grey and intelligent version of Hulk; the madness omicida of Iron Man; and obviously also Spider-Man with black dressed its. It seems just that nobody is successful to go away to the logic for which all at once, in the life of the young hero, the germ of the vendict and the rancor is pulled down (just like a meteorite from the sky) that suggest the possibility to it to use the own powers for personal scopes. In order to make that, Sam Raimi frescoes a painting of colossal dimensions, characterized from gotiche tonalities, and heading up, much more up than how much it has not made for the two understood them previous ones. "Spider-Man 3" puts in scene a ballet formed from five wefts apparently distinguished, but all centralized on several aspects of Peter Parker: we have the relationship between he and Mary Jane; the arrival of Gwen Stacy; the history of the Man Sand; the attack of the simbionte; and obviously the yield of the accounts between Peter and Harry Osborn. Much meat to the fire that but, also if at times in breathlessness, Raimi succeeds not to make to burn in the cauldron of the emotions. Wide modifying (much than how much it had more not made previously) the weft originates them of the comic strip nearly, and reaching totally former-novo solutions, Sam Raimi it astonishes and it gets passionate manifacturing the show, at the same time, with an amount of special effects (the Sabbia Man and Venom in action is worth alone the price of the ticket) that they make to think, once again, that more better it cannot be made. Only note negative, data just from the note amount that Raimi decides to insert on its pentagramma, is the feeling, to times, to make to sure passages, or carried out novellistic, that they seem aame without the just breath. Such negative feeling, however, not mine sure the show: only, in its kind and not, for amount and quality. "Spider-Man 3" is an other visual jewel that joins by now to the long list of tito them features from the comic strips escapes in the last years. Supported saldamente from a cast engaged, this time, to interpret parts more therefore not discounted like in the previous ones understood them (Tobey best Maguire and Frank James), and signed from the visionaria sensibility of a Raimi that succeeds to render the same film a "dressed black one", a double quantity negative, of the second understood it, the film is revealed to be true and just a film of author. Perhaps not the best one of saga (for the reasons already sayings over), but probably, of the three, that more intimately "Raimiano". Splendid. The curiosity: "In a scene we see, finally, Stan Lee, the historical creator of Spider Man, to speak just with the masked super-hero. What it says to it is, for we, the phrase of the film."

The Simpson - the film Who does not know the Simpson or it has not at least seen one aimed, even involuntarily, a lot probably has passed last to the eighteen years in one cavern, "under under the sea" (a lot in order to cite the unforgettable nose-dive on the sexual harassments) or the moon. The yellow family of antiheroes is by now imaginary integrating part of our television one and not, their series have been passages on the small screen tens, if not hundred of times, and who loves them has followed their adventures without never to get tired itself of the retorts. The own characteristic of that it has been defined from the Time "the best television series of the twentieth century" consists in the being be an extraordinary vehicle of culture POP the Simpson in beyond 400 heading of life has , rielaborated aall which has happened in the cinema, the television and our contemporanity tout court. A single nose-dive of the Simpson collects in powerful and imperceptible way the past, the present and in all probability the future of the television. It is not a case that "The movie" is opened just with Homer that takes in turn we, the public accorso in knows them to see something that he could see in more comfortable and economic way in the emergency of the domestic walls. That he constitutes the fundamental kernel of a experiment of this type. Like transposing a television product making it to become cinematographic. How ago the 4:3 of miniums episode of Grattachecca and Fighetto to explode in the epicit? of one popolato panoramic screen 2:35:1 of personages, landscapes and comic situations? To answer to this question has been the job part that more has engaged the professionalities behind the scenes of such product. Therefore they have been studied various inquadrature, they have been introduced plans sequence "more you burn yourself" and more wide breath regarding the limited television frame and naturally has been prepared one scene in a position to holding the rhythm for one altogether advanced duration to the three traditional episodes. The result is obvious. It will be much difficult one that a fan does not amuse itself of forehead to the stupidity of Homer, the sentenziosit? of Marge and the carnevalate ones of Bart. Lisa moreover is engaged in one spassosa taken in turn of To Gore and its conferences then become film in "one Truth". Perhaps it gets passionate to it to you stricter will be able to object that of "spiritual awakenings" of Homer ce they have been some (you see the episode of the cursed chili peppers) and that the domestic crises have been explored and examined in depth until the improbable one. The extraordinary one of the Simpson but is not in introducing topics already faces but in rivisitar them to you with new spirit accompanying them with one new dose of wit. The weft (also smiling) of forehead to the show is of the ininfluente rest. Worthy of praise, once a lot, the doppiatori of the Simpson that in all they have these years not made us to mourn neanche for a second the voices originates them.

Epic Movie By now we must surrender to the evidence: the demential comic kind lives of own life and, unfortunately, with it turns out to you most insufficient. They are ended the years de "the crazier airplane of the world" or "Junior Frankenstein" in which struck and the gag they were studied a precise one second, diabolic, creative mind, hour the demential comic films go simply to "free wheel": without outlines, and this would be the minimum; without ideas; and without humour in a continuous one (and to say true alarming) the cerebral decline. Us a depressing show is found again therefore of forehead in which, with the pretest ridicoliz famous films and of happening, is ended in order ridicolize if same to the inside of one longest, interminable, parody sequence without sense. E' this the case of "Epic movie": another badly succeeded of a hundred of film and television programs, all throws in one same novellistic cauldron to you, without neither head neither tail, left to cook slow on flames of the null one. Four orphans gain a ticket prize for the chocolate factory of Willie Wonka. L?, in order to escape to the threats of the pastry cook, ends in order to shelter itself in a closet to whose inside hides the wonderful world of "Gnarnia" (with the G). Unfortunately but, the four sventurati fall in the sight of the witch White *BLEEP*... Nevertheless the curriculum of this "Epic movie" promised well: to the rudder two talents of the comic cinema like Jason Friedberg and Aaron Seltzer that has all'.attivo films which "Spy and leaves to spy on" and Scary movie ". But unfortunately null it is successful to the two authors, manifacturing a film that seems (and probably it it is also...) not reasoned, the gag and the struck ones null minimally have not constructed and end always in one free volgarit? representing peti, doubles quantity senses squallidi and immotivate scenes splatter; and turned of haste, the direction is nearly completely absent and the only effort that ago is that one to copy registici reasons of other films. The presence of starlette the Carmen Electra does not help to increase the moral: if it thought to throw again its beautiful personage with commedia a comic one, will have to forget. "Epic movie" not ago to laugh, is this for a comic film is a beautiful limit. Perhaps I do not know where it will go to end the commedia-demential one with the time, but seen the last films of the sort we would have to begin to alarm to us, screaming to nearly the total extinction of one "cinematographic race".

Hitman Outbreaks, skulls breaks : here to you Agent 47. Completely bare and with the code to bars tatous on the nape - easy ironies would be wasted, therefore we abstain ourselves deliberately - our hero born from the omonimous videogame of the Eidos Interactive, adapted here for the great screen from the direction of Xavier Gens. Face not to disappoint the lovers of the cinema in which the single superman it runs alone against all, Timothy Olyphant interprets impassible the murderous professional fugitive from the consul of all the globe. I interlace here introduced, that it satisfies gaps of the videogiocabile weft withinserts taken of weight from the television film "Dark Angel" targato Fox, us extension initially infancy of one young machine in order to kill like this: trained like a soldatino, 47 repress emotions and affections on a commission basis growing like effective killer, without porsi other questions that those concerning objective to pull down compensation. When, as often happens in the systems narrated you of the tradition, the subject in issue is placed to the center of a sly embedded macchination and in games of being able larger than he, here parr? its ennobled in getting rid of the police enforcements of average Europe and to make outside the cattivoni, ring-establish the order to suon of mitragliate. Exclusively the fan of the game they will only and know to establish with certainty how much fidelity is to the system originates them and to I tread of the true Agent: the common ones died them that instead approcciassero to the film as to a whichever action-movie made up of Uzi and corpses in the baggage car they will have instead to estimate it exclusively based on the introduced scenes - without to place excessive attention to converse little credible ridicules , but enjoying rather the totally prepared. Already the premises are clearly familiar: the system has created a monster, but then deciding for reasons of pure interest to unravel itself some. The stilemi of kind there are all, to lack indeed they are instead just mordant and an equilibrium of tone that allows allo watching to take sul to the algid evolutions dell' impassible sicario serious, intrenched for an average hour and behind the stoic mask of a guerriero devout person alla mission and solo to that one. Perhaps platonically joined to a dry Russian beauty (Olga Kurylenko), in order of the clich? misogino of woman in difficulty, the personage extension the incongruences that move the critics from the troop of adolescent hard and pure (comprised between the 15 and 35 years, admit it) that of it they follow the gesta armed of joypad: the game does not preview some sottotrama romantica, therefore this attempt to sweeten it donandogli a conscience awakening thanks to the occhioni from the Olyphant protagonist squeaks not little with the presumed ferocity originates them. The fact that the protagonist remains asexual and that habitu? the Diesel Vin has put us the moneies but not makes it, then, smile. We ask ourselves because.

A Time for dance hall and also for this year is returned from the holidays to step of dance. The protagonist of this film is in fact a dancer of re-enters, first destined to the cinema of Peter Gilbert. Jules with her friend of the Sam heart, dances since she was child . And it is just this that it wants to continue to make, to dance, and over every thing to enter to the famous Julliard School di New York. A talent, an iron discipline and the garnishments of teaching its always and those dictate to you from the red film "Scarpette", seem to have marked the way of Jules. But the fate the reservoir an unexpected destiny and very more tragic. The physical examination of ruotine necessary in order to participate to the competition of the Julliard diagnostic one disease much serious . While the cures that are forced to face consume them slowly the forces slowly, Jules is approached the own intimate dimension leaving that the notion of ' tempo' acquires new and the deepest one meant. Sam remains next, shadow friend always, melancholic introvert and who through the vicissitudini of the friend will succeed to catch a glimpse and to resolve its personal contrasts. The thinnest thread this history, than is inspired to of the true facts developing but through one inconsistent scenario. The two thematic ones of the film that they would want main, the disease finishes them and the depth of the friendship, forgiveness in insipidity of all the film that they give "Will be famous" to "Flashdance" travels over again the history of the cinema of the sort, without to forget the professional sighs of love and aspirations. Ballets dream to you or are executed interrupt the distance of this adventure from the taste tragic but without never to add null if not ulterior trouble, leaving to intuire that features only of a way rather discounted in order to fill up empty of the scenario, accompanied from one rather heterogenous the sonorous column. Between the two protagonists it is Larisa Oleynik, in the cloth of Jules, the most measured and intense, in spite of the difficulty of the role. Bitter and painful smiles that succeed to affect, emphasizing but al same time, the total lack of artistic personality of Sam, interpreted from one Shiri Appleby incapable to let out its personage from the discounted stereotype of the young person and problematic adolescent.

A beautiful mind It for a long time abandons the gladiator cloth to you and forgets those to you about the former soldier, then expert agent in rapes and redeems, Russel Crowe returns to the composition roles and once again as it was for "Insider" receives one nomination to the Oscar. Directed from Ron Howard, Crowe interprets the difficult life of a mathematical genius prize Nobel John Forbes Nash Admitted Jr.. in 1947 with a scholarship to the specialization course post bachelor in mathematics of the exclusive University of Princeton, Nash literally is obsessed from an only thought: to find an idea truly originates them. Although to the inside of the mathematics department there is a great competitiveness, Nash if it takes care some concentrated com' is not on its only purpose. To single 22 years, after to have sovvertited, the game theory of Adam Smith, father of the modern economy, John Nash becomes the star rising of the "mathematical new", much to look at itself offered to the place of investigator and university professor . But the university engagements and the plan top secret of decode of some codes secrets, give to him from governmental agent William Parcher, quickly lead the young genius to the schizophrenia. Interpretation undoubtedly extraordinary, that one of Crowe, although at all it is not supported from a direction if it does not originate them, at least lively. To part the comprehensible moment of tension of the discovery of the own disease, the rest of the history although its exceptionalit,travels rather on obvious railroads, in which the intensity of the recitation of the protagonists, nobody excluded, it does not succeed to raise of the fates. The fight learns of Nash against its disease and the crash between reason and madness that it will not have never really fine, are deal to you like short and dispel moments to us of the life of a man from the exceptional dowries. The control that Nash succeeded to having with the single aid of the own force of will on the personages who its sick mind continued to maintain lives, is reduced to little images and solo the intense participation of Crowe at times succeeds to be involved. An extraordinary history of courage and love, supported from an indestructible force of will comes therefore reduced to a flat and banal story from the moving end.

Halloween - The beginning To expose to the rifaciment of "Halloween-La night of the witches", directed in the 1978 from the master of the fear John Carpenter taking inspiration from "Psycho" (1960) of Alfred Hitchcock, "the thing from an other world" (1951) of the coupled Christian Niby-Howard Hawks and the first films of Dario Silver, is sure an enterprise crowds that to the eclectic Rob Zombie (to the century Robert Bartleh Cummings) only could come in mind, after the resolutions "the house of the thousand bodies" (the 2003) and "house of devil" (2005).Is an enterprise crowds because the vicissitude of the indistructible serial killer masked Michael Myers, fugitive from the lunatic asylum fifteen years after the homicide of the sister, completed in tender age, in order to dedicate itself to the killing of the population of Haddonfield during the night that it to the film gives to the title, not only represents the highest caught up artistic summit from the director of "1997: Escape from New York "(1981), but, generatrix of seven sequel and infinity of imitations beginning from" Friday 13 "(1980), has been not little times classified like better film horror of the history of the cinema. In truth, but, this new "Halloween", than it of 1978 proposes itself at the same time like those and remake of the title, seems to reach also from fourth and from fifth understood it of the series, much to resume some by now grown interpreter Danielle Harris ("Daylight-Trappola in the tunnel"), here in the cloth of Annie Brackett, friend of the protagonist Scout Taylor-Compton ("Zombies-La vendetta of the innocents") that it replaces instead it originates them Jamie Lee Curtis. Only two of the names that go to enrich the greedyst one cast constituted from famous faces of the kind cinema, from Richard Lynch ("Invasion USA") to Brad Dourif ("murderous Doll"), passing for Udo Kier ("Suspiria"), Danny Trejo ("From the sunset to the dawn") and Ken Foree ("Zombi"), but without to forget not even Tom Towles ("Henry-Pioggia about blood") and Clint Howard ("the tastes about the terror"), brother of the famous Ron director. Not to mention Malcolm McDowell ("mechanical Orange"), engaged not to make to mourn vanish the Donald Pleasence in the garments of mythical dottor the Samuel Loomis, to the inside of beyond 100 minuteren of vision that, considering the remarkable presence of sharpens knives to you, can calmly associate to one true and own arm to double quantity cut ended between the hands of the director. In fact, from the point of view of the seriale product, the backstage that has contributed to the transformation of the small Michael, son of a stripper cohabiting with the violent companion, in a feracious assassin, turns out interesting sure, but just all these details end in order to eliminate that sense of mystery and restlessness who had characterized the prototype and, in a generalized manner, the figure of the "masked monster", much to render it more human to our eyes, depriving it in good supernatural part of its fascinating nature. Of the rest, like already pointed out, it is mainly of first part of celluloid that we are speaking, therefore to null would be served to realize one faithful copy of the film of Carpenter or nth, the banal one sequel. The general impression, but, is that one to assist to elaborating that it too much grants to space to the history of the Myers (the succeeded part more of with, between the other), binding the remake true and just to little minuteren of vision pulls to you via in a hurry and that they are remembered for more because of too much the fantistic moments of homicide, jeweled from optimal effects splatter and, above all, from incredibly a realistic yield of the violence. Elaborating that in all probability it will divide is fan that the ordinary spectators, but that, strongly also of the characterizations of Daeg Faerch ("Freakshow") and Tyler Mane ("X-Men") within and outside the white woman mask, it remains to of over of the average, much to continue it makes us to number Zombie between the best new levers of the cinema horror.

AMERICAN GANGSTERWork at gangster's movies can be very dangerous given the illustrious history and the even more illustrious predecessors. Although it is another sacred monster of contemporary cinema as Ridley Scott. The English director not resist the temptation and it exploits the scene by Frank Lucas, a black province transplanted to Harlem, which in the'70s became the biggest drug trafficker in New York, supplanting the primacy of the "families" that until then had the absolute dominion on illegal traffic. Frank's philosophy was simple and successful: selling drugs in the middle of the best price. And he goes far in Viet-Nam to buy low priced huge quantities of heroin. On the other side of the fence, to counter he in his activities, there is Richie Roberts, a policeman as obstinate ready to everyone while to carry out his mission. Following the footsteps of other great storytellers of mafia film(Coppola and Scorsese at all) in "American Gangster" is favored ethics on the plot and written by Steven Zellian ( "Shindler's List", "Hannibal") is addressed on the methods and motivations of the characters protagonists of the film, describing us their psychological profiles focusing their delusions, fears, frustrations and tic. To tell the true story of Frank Scott and Richie Roberts, and to grasp the nuances more stowed, and then, Scott relies on two players from the great people like Denzel Washington and Russell Crowe (with which the English director turns his third film) , which can characterize their characters with skill and acumen. Frank is smart, shrewd, careful not to commit the slightest mistake, ambitious and taut with himself to the redemption from a life of poverty . Equipped with a strong sense of family (but what Mafia is not?), is capable of establishing profitable relationships with anyone. Richie is sloppy , isolated from his colleagues, unable to engage in a relationship. The comparison between the two, who would not know for three quarters of the film, is probably the best of the work. Merged by a stubborn character and pervicace, the synthesis of their personalities then represent the final solution of their events. Having said that, however, one can not help but feel silenced "already seen" (little or nothing adds to what already knew how to live a malavitoso and what is its purpose nine times out of ten), but above all we love "Those good guys," he lacks the poetry of that sauce prepared in a cell in a prison ol'epopea enclosed in a bar sussurrata in the dim light of a study elegantly furnished and could depend on the content of the life of a man.

I AM LEGENDThe novel that gives the title to the film, written by Richard Matheson and mythical circulated by our shares with the title "vampires", dates back to 1954, but the first to stay only on Earth inside the big screen, sought by evil beings equipped with zombies features was the unforgettable splendid Vincent Price in "The Last Man on Earth", which, ten years later signed by Ubaldo Ragona and Sidney Salkow , ended even inspire masterpiece "Night of the Living Dead". Unless we take into consideration "28 2003 by Danny Boyle obviously taking account of the ideas behind the work of Matheson, we can safely say that Boris Sagal was the last director in charge of a transposition film official the successful "1975: White Eyes on the planet Earth", interpreted in 1971 by Charlton Heston and the script which seem to have drawn the scriptwriters Mark Protosevich ( "Poseidon") and Akiva Goldsman ( "The Da Vinci Code") in order to obtain the script on which to build this "I am Legend", directed by Francis Lawrence that former some time ago, not exactly memorable "Constantine". And it is the former "Prince of Bel Air" Will Smith to replace Price and Heston in the role of the brilliant scientist that fight the virus which has reduced New York City, and probably the entire world, a ghost metropolis populated only in ' overshadowed by aggressive infected. But, beyond the fact that the choice of an actor of color tends to encourage more study of a certain hidden meaning on the strong link between intolerance and violence (with a quote from Bob Marley), Lawrence does not seem to succeed in the to recall that sense of desolation human effectively emphasized by the two previous film versions, which are not aligned even the unexpected epilogue devoid of hope, with more attention to the typical luxury pack of blockbuster of the third millennium, which deserves to be recognized especially beautiful photography Andrew Lesnie (the trilogy "The Lord of the Rings") and as well scenes of Naomi Shohan ( "Training day"). So nice, in some part so boring, in some part photocopy of some great film

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Hi!The last film I saw is I am Legend with Will Smith!Is a nice film...too slow in some parts...It's a film not for people that are scared from monsters !Bye!