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Tron legacy

There apparently was in the 80s, a film produced by Disney Studios, which had a technological revolution: Tron, the first feature film to use computer imaging to design a building, fully virtual world! Although we have escaped at the time, today we find her offspring: Tron inheritance.

The story chronicles the reunion of Sam ( Garett Heldund ) with his father Kevin Flynn (Jeff Bridges ), a designer of genius locked up for 27 years in the virtual world he created. Passing through a hatch located in the false floor of an arcade game, Sam arrived in a world marked by white and red neon. No time to breathe, he's captured by four mermaids dressed with mechanical movements and swung into an arena where curious characters shapers clash by throwing Frisbees Glow in the cheers of an ecstatic crowd. Sat doing well, he knock out the pixel, all the characters he faces are indeed computer programs disguised in human form. Sat believed then recognize his father in the guise of the program Clu 2.0. It is the Avatar program's cantankerous father ... Rescued by Quorra ( Olivia Wilde, the number 13 by Dr. House), digital goddess, he will finally find her father, a kind of hermit who hears the sound of clouds in a psychedelic universe (he is suspected of having eaten too many mushrooms).

Three things strike in memory Tron made by the novice Joseph Kosinksi and produced once again by Disney. The first, the visual world, entirely light, neon white mark out roads and costumes, are evil for their redder colors and the background of this universe of straight lines is a black jays opaque turning blue coldness of death. The care taken in these sets, costumes, bikes and futuristic vehicles is a source of satisfaction to the eye. Special effects that have been entrusted to Digital Domain of James Cameron are reflective of the structural envelope of the film successful. After the eye, the ear that is marked by a soundtrack composed entirely by Daft Punk (also appearing behind the decks at a nervous sequence of the film). If it prints the film's atmosphere of constant dramatic tension, it also has the disadvantage to be a little loud and give the feature the appearance of a large clip tribute to DJ duo. The third thing is that captures the low scenario. The ambitious scope of the shape, energy, money spent (not less than 13 million just for the costumes) have been detrimental to the bottom. It's so square it becomes a little jerk. Passing the fact that there is an esoteric fantasy Matrix where one retreats into his own inventions, the peak of the plot seeing confront the designer and his program is despairing of formality banality. Attempts to infuse emotion into the frame are equally futile.

There is not really a revolution with this legacy Tron. The visual effects are stunning, almost monochromatic envelope is just as, even though it's hard to imagine a computer circuit, there is a vertical, linear figures, curves and straight lines rather startling . However, it is necessary to make a good movie, the correlation of two concepts, the combination of substance and form united in a single expression. While the story itself is often an excuse to create but then it becomes a handicap as it ridicules a little formal demonstration. Would that the vision of the cultural heritage of Flynn condensed into a row of books or aged by the time the original myth of the genesis through apple which looks at his reflection Clu 2.0, both of scriptwriting are really indicative of the false memory universal digital obliged to have the founding events of humanity that fragmented view.

Released in France: 09/02/2011

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* * Lord of The WB

The least we can say is that WB the Lord is not complacent and that a film is not necessarily going to silence criticism and controversy about Travellers and their presupposed mania pilferage. Jean-Charles Hue was adopted by a group of Yenish, a community of travelers. And having done some documentaries on them, he wanted to go further and propose a feature referred to the border between documentary and fiction.

The hero of this profoundly original film are not actors, what are the family members Dorkel living in caravans, call the parking place and spend most of their time roasting sausages on grills fortune. At the heart of that community standards, the law runs Loved buckshot or for duels. Here we expose its power by spinning the wheels of a BMW that has inevitably fly. Frederick Dorkel , the story's central character is a petty criminal in 'scarface' respected by the community. He steals cars, calls everyone "my buddy," dream of having a gun, and parley with his wife to see if has the right to be pissed with the guys in the back of the trailer. He leads a gypsy life right in the photograph, encrusted in a dull and rigid reality. One evening, Frederick visited by an angel, a white light and intense invades the screen to appear. A white dog breed pitbull is entrusted to him by the angel that he initially wanted to remove rust. Fred decides to turn to God, something quite natural for a Yenish who lives surrounded by a religious fervor preached by ex-convicts.

Jean-Charles Hue has affection for the characters of his film, none of them is a professional actor. He must somehow cope with their lack of vocation. If Fred has the necessary stature, charisma also his cousins, his brothers and parents, not really. If the scenario confronts faith in the reality of a life based on the cycle of theft, its spiritual significance is approached with a little too lightly or naivete. The realism of the documentary aspect is successful despite the difficulty of understanding all the dialogue (but could have been the caption without label), the symbolic aspect of fiction, the appearance of the angel the figure of the Redeemer whose purity dog's white coat is opposite to what is known pit bulls, the WB's black top, immaculate one of the end ... all that is coarser, more borrowing, more academic too. No offense to photograph racy, always in search of a saturation of the frame and an overflow of the shadows and reflections on puddles of oil and rust mirrors of time.

The violence of the Lord WB is religious. Frederick can fundamentally change despite the call of faith. His environment, his friends, his family did not want to see evolve. Religion brings the drama because it fits with too much life, presence and artificial breaks taboos and achievements, it requires a lot of sacrifices to happen. The film Jean-Charles Hue is furious worth atypical but too rough in his direction of actors to be really attractive. One might be to believe in the middle of a story of striptease in which a group identified X has tamed the camera to point to forget it and decided to play to represent his lifestyle at the best price exaggeration. An episode of striptease mystical and rare as some were.

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Roads to Freedom * * Tony and Angele

Since Master & Commander, Peter Weir director of Circle of Dead Poets and The Truman Show quite discretely. It took more than seven years he returns to directing with Roads to Freedom , adapted from a novel by Slawomir Rawicz telling the true story of prisoners released from a gulag in Siberia and traveling over 10,000 kilometers on foot across the Russian tundra, the Gobi desert, the plains of Mongolia and the Himalayas to finally find freedom in a country not a communist.

The film begins with a prologue in which a man Janusz (Jim Sturgess ), Polish, was accused of espionage by the Russian army and convinced of guilt by the testimony of his own wife. He was then found in a camp for convicts that Stalin used to flourish in the '40s. The first part of the feature, devoted to life in the camp, quickly shipped. It goes fast the different groups, those who rule and those who suffer, it is understandable that we find a jumble of foreigners, Russian, Polish and a series of political prisoners (the Gentiles) who alongside those of common law (the wicked). In a jiffy, through an opening in the barbed wire encircling the gulag, an unidentified group of convicts escaping. It will take several minutes to understand that the group consists both directed by Peter Weir favors the most famous of them, Jim Sturgess (the brain of the adventure), Ed Harris (Patriarch American) who literally eats the screen with his craggy face and Colin Farrell (the villain common prisoner). We're desperately looking Viggo Mortensen no he is not one. One of the prisoners do not spend the night in the blizzard and was buried in haste, so they were 7.

For more than two hours, the camera will follow the journey of these men. But the story is mostly an excuse for the director. What he wants is to produce a report in National Geographic (for political reasons and logistics, the film was finally shot in Bulgaria, Morocco and India). Therefore he asked his players to walk again and again, the scenery changes and they continue walking. Without talking too much because prisoners have learned to be silent. While Weir introduces a woman (Saoirse Ronan ) in the adventure. A little tenderness in this world of brutes and dialogue (the women speak is known). The natural scenery in succession as a plank Thorgal . We recognize that it took the film crew considerable energy to capture the magnitude of these areas but unfortunately the character of this epic adventure is sorely lacking. None of the characters is already sufficiently studied, it learns about them as fragmented bits, condemned to always move forward, we do not see hardly ever take the time being, they eventually fail thick. Apart from a few dust storms or snow, nothing happens to them, no burst in the frame, no suspense, no real genius to film nature Nor, one imagines Terrence Malick among these biotopes ... We finally found the time long and tiresome adventure. The most amazing is that we do even more surprising character of this incredible adventure, courage is shown by these men, conditions of animal survival (including Weir tries to make parallelism easier with a pack of wolves), so we strongly focuses on the sensation of thirst, the state advanced decomposition of their feet on the pure plastic in spite of any depth.

Bypassing the classical extreme of staging is impossible, as it is difficult to appreciate the music pressed, the inconsistency of English in a Russian gulag (there is a breakaway in the U.S. then everyone speaks English), low scores of players with ridiculous prices for Colin Farrell who is beyond any buffoonery when he speaks English with a Russian accent. The crossing to freedom leaves us puzzled and numb.

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Angela and Tony is the first feature film by Alix Delaporte . This romance is like a thousand others is also the first film producer, main actors and a good part of the team. For this single reason, it deserves a visit. We sometimes forget the time and energy that cost a movie, so imagine a bunch of novices have combined their desires to achieve this tragedy requires a certain respect.

From the first scene, we learn that Angela (Clotilde Hesme ) uses his ass to achieve his ends, to know how to get a toy. This toy is for her son that she has not seen for two years. It is also the way the director told us that this is a woman mechanical, instinctive and immature too. And when she answered an ad from a fisherman seeking love, is the momentum that is instinctual. Getting married to get her son back, not only. Be in the action too, the emergency room. Tony (Greg Gadebois ), the fisherman, who lives with his mother and spends his time between turbot, sole and flounder is a good man, straight and lonely. More measured Angela, it's going to tame before surrendering her.

The camera of Alix Delaporte sticks closer to Clotilde Hesme , long stem wind, face stiff and nervous. Cast members are also carried by all this pain expression. France, a country where no one laughed more. This excess of serious beating down a little film whose photograph was largely bright, burning through boat trips between grimpettes and cyclists. Constant movement to avoid falling. In parallel, a social drama is tied, fishermen set fire to bigots and dump their scales front of the prefecture. A simple scene described the violence of trade, CRS air puppet buffeted by circumstances. CRS are bad actors.

However, it was hard to follow about the director. Is it other than to tell a story of impossible love (between Laurel and Hardy in the words of one of the actors) made feasible by the patience and compassion, brought about largely by the desire of a man who wants to believe that one can love him unreservedly, and it is wrong of course but everyone cares as long as it satisfies them. Apart from this exercise apprehension of brutality in love, Angela and Tony described the lack, absence, the social struggle of a people, orphan of a charismatic leader, a lot of things that fall into the background of a postcard Marine with romantic accents. Worn by players inspired and honest which stands Gregory Gadebois flawless from start to finish, the film fishing by his description of the characters a little too linear. Because of its lack of ambition and formal screenplay, it reaches its limit ... The tell a story without real issue.

Released in Belgium: 02/02/2011

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Gnomeo and Juliet

Under the bold title Gnomeo and Juliet, Kelly Asbury ( Shrek 2) chose to adapt the tragedy of William Shakespeare , you guessed it the original title, by transposing his legendary love story in English gardens, where the heroes are garden gnomes.
It took some courage and a certain madness to make an animation of a myth to images, but changing the Capulets and the Montagues in porcelain figures inexpressive is practically heresy.

First animated film produced by Touchstone, the film still belongs to the house that Disney is no longer a wacky project. Galvanized by his experience on the Lion King, Elton John the brave is even credited in the credits of the dual role of executive producer and composer of the soundtrack.

How to add flavor to a legendary drama without it lends itself to ridicule? First, raise the flag in a preamble in which a garden gnome warns of lack of originality of the story already seen a hundred times but we promise that this time it will be different. Not really. Taking the concept of Toy Story who imagines a life independent of the toy away from the eyes of man, Kelly Asbury animates his garden gnomes from a life of its own fueled by the rivalry between neighbors. At night, clandestine missions are organized to go to rot the garden next door and sometimes organized racing lawnmower to emphasize the supremacy of one family to another. In the midst of this hatred secular Gnomeo Juliet falls madly in love he meets in a vacant lot ... The war is obviously going rage as to prevent the idyll before rewriting the history of that dear William, also took party in the heart of the plot (in the form of a statue) as to justify it.

visual level, it's pretty ugly. The staging is making little inventiveness and originality in comparison to what we recently have seen in animated films. The characters are hollow except the dwarf string that is finally more in line with the principle of this ersatz cartoon relatively common. It is not far from thinking that this cartoon in brilliant relief (China properly cleaned) has won a monopoly on bad taste and is not ready to let go. Well obviously it is for children, yet he has no argument for him that can feed the imagination of younger and it is mostly devoid of humor. Reinvest as much in the classics that inspired Asbury and his team (Toy Story and Up to the scene of the house neglected), as they have, despite their intention daring, surfed the wave of a sterile modernity, that of computer animation, stories and tales diverted ridiculed and infinite scam 3D.

Released in France and Belgium: 16/02/2011

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127 Hours *

127 hours is the time it took to Aron Ralston decide to amputate the arm that was crushed and pinned under a rock. Welcoming the universal impact of this incident, Danny Boyle chose to adapt the autobiography of the young engineer under stallonien mountaineer 'Louder than a rock '. New challenge for the British director, or rather back to basics, because if we forget for a moment the gigantic sets, namely immortal canyons, slots real evil in which man has been caught in a trap, we find the atmosphere behind closed doors of his early films and the principle of confinement and loneliness that emanated from Trainspotting, Shallow Grave and A Life Less Ordinary .

James Franco is charged with the incarnate courage of heroes. But it all starts well. Usual split screen which divides the screen into three columns from the generic. Split screen no justification except the rhythm probably because the node staging is certainly this one. How then give rhythm to a story confined to a crater 80 cm wide and four meters deep. Watch Buried perhaps? Or condense most of the physical virtuosity of the realization in the first twenty minutes, first in film history, having two directors of photography on the shoot. Music donf, preparation of the backpack's perfect climber (thin hand does not reach the Swiss Army knife yet it touches the bottom of the cabinet): carabiners, water, snacks and camera to shoot! All there. Boyle makes fart plans, it connects serious James on his moutain bike slalom in the rocks of Utah. Cool, he falls over after two chicks sprawled on the floor laughing. This proves that it is a hedonist. It is also asexual as Christopher McCandless (the hero of Into The Wild), which excites him is the nature, the great empty land. The time to do three dives in a pool recalling the Beach and the adventurer left alone to his fate.

The accident occurred away from the world, far, far away from any sign of life other than the flight of a raven melancholy and the infinite paths mechanical ants. Ralston is trapped, a prisoner's arm, he screams in fear before changing his mind. He has his equipment in front of him, suspended above the ground, water bottle, a watch, a camera, not really sharp knife ... In As time their own little dramas to the solitary life after another: drop his knife, returned with a branch of wood wedged between the toes. But trouble lurks, then Boyle's account focuses on the sensation of thirst quickly strangles her with Ralston and Ralston it extracts from its canyon through his delusions, his visions of the future where a woman and a child watching the slow survive. The hallucinations are linked together, they restore the speed but fail to frame all the desperate look of reality. Ralston films himself while talking to his parents, single dummy taken on the wall of the fall. The sensation of thirst is obviously very difficult to make much more than the smallness of the coffin Buried. Boyle pushes it a little too far by unloading his camera in the pit and making him do the opposite to the trunk of Ralston and landed on a bottle of Gatorade. Ultimate product placement of a giant commercial for the drink refreshing.

Therefore we expect the fall, we know that from the beginning, namely mutilation saving. Particularly painful to imagine, this epic humanist and completed in a relatively incredible sentimental halo where Ralston miles down the road with his bloody stump before you get help and escape from the Moab Canyon by helicopter. Boyle and plagiarize the end of Schindler's List by inviting to church heroic Ralston himself and his wife sat on a couch and laying down the camera as if to emphasize the realism of a realization the intimate solitude.

Released in France: Belgium Released 23/02/2011
: 16/02/2011

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Poupoupidou

From the first sequence of the film, we understand that the director Gerald Hustache Mathieu a qu'avéré leaning more to the series Twin Peaks . On a slippery road lined with snowy pines, David Rousseau (Jean-Paul Rouve ) alias Dale Cooper parks his car in front of the sign indicating the town of Mouthe, a corn of Franche-Comte which has just been murdered Candice Lecoeur ( Sophie Quinton ) aka Laura Palmer, a starlet local who thought he was Marilyn. Like the mysterious heroine of the series of David Lynch , the latter is found dead blue from the cold. The superimposition of the sequences is almost bewildering plagiarism. Laura Palmer was found beside a stream, here she discovered under a thick blanket of snow. David Rousseau as Dale Cooper will stay in a local hotel, and pay close attention to the murder of the blonde oxidized not because it is part of the FBI but because he seeks the idea of a book, c is a writer of thrillers and taciturn, not really welcoming, but mysterious Gothic is the receptionist of the hotel says.

After making history as a remake of Twin Peaks, Gerald Hustache Mathieu chooses to compare his story and that of Marilyn's life. The writer investigator will then find a lot of evidence relevant to approximate the life of Candice to that of the singer-actress. They are both born on January 1 st June balance of the dressing area. They married a sportsman, fell in love with a writer, have been the mistress of a President and as well as do his brother. The course of the plot is obviously dazzling originality screenplay. Candice Marilyn-she really took sleeping pills or a political conspiracy has he silenced? With so much suspense as an episode of Colombo, the resolution of this case we mythic second per second will be issued at the end of the film with reinforcement details. This episode has obviously no interest in policing as it is directly inspired by the disappearance of Marilyn and is conducted with no voltage screenplay.

Curiously inspired by the services of three pieces that the male sex regular hours to see blossom on the screen and exudes a sweet perfume necrophilia Poupoupidou, the price of the most nerdy of the year (he nearly called The Mysteries of Mouthe recall in passing that Twin Peaks had been translated in France by Twin Peaks), could be the surprise early in the year had he not tried to reproduce the atmosphere of a series that beats at all levels and it does had not taken to thread the circumstances of the death of Marilyn known to almost everyone. In addition, the soundtrack to eye on the standards of the American dream takes a little break too, covering the jalopy rides Rouvas who is struggling to exist in his character outside the grimace of dislike. Remains a sense that we could relate to charm, mainly concentrated at the beginning of the film when it was then that opening doors and touch of genres.

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Black Swan *****

could sometimes imagine that he will falter or go astray but not Darren Aronofsky remains one of the greatest contemporary directors and Black Swan is its new masterpiece. Interfere his camera behind the scenes of New York City Ballet, he will explore the intimate drama of the quest for perfection, tu schizophrenia, self-mutilation, incest and erotic descent into hell of a dancer. The sweep across the genres with amazing dexterity: drama, thriller, horror, all mixed together, linked in a staged brilliant and fascinating that it would not go unscathed.

While the dancer Beth (Wynona Rider ) is thanked for his loyal service in the troupe, the choreographer Thomas Leroy (Vincent Cassel ) presents the new creation Ballet, Swan Lake. Auditions for the lead role of Queen of the Swans started. Nina (Natalie Portman ), ambitious dancer and a perfectionist, would do everything to become the dual swan, white and black. Unfortunately, his fragility, his innocence leave Thomas Leroy skeptical. He says it is unable to let go, to get lost and do happen from uncontrolled personality. Putting it in competition with Lilly ( Mila Kunis), a young dancer released and manipulative, he hopes to overcome her frigidity Nina expressive and become the black swan.

In Black Swan , Aronofsky revisits one of his favorite themes, that of the deconstruction of identity by the destruction body as in Requiem for a Dream which the characters sink into the router or torturing their bodies in where The Wrestler Rourke , the old wrestler, pushes the limits of endurance by winning events and masochistic punishment. Here, Nina, by his desire for perfection, she will also enter into a destructive circle. Insidiously, distilled with a view to multiple interpretations, the director troublemaker on the schizophrenic personality of its star dancer. Hallucinating or really being transformed, Nina becomes what is expected of her. She mutilates his body, cut his nails, the tears, vomit, and is locked up in his room as his box to watch the stranger in the mirror reflection. And as in the novel The Picture of Dorian Gray of Oscar Wilde, the issue is murderous or suicidal.

is simply amazing to witness such mastery, Aronofsky equals Shinning of that inspired Kubrick to evoke the madness and loss of bearings. It also approximates Lynch and Mulholland Drive in a love scene between Natalie Portman and Mila Kunis to the dramatic intensity much greater than that which united Naomi Watts and Laura Harring . If the atmosphere Black Swan has nothing to envy these two masterpieces, it is still Cronenberg that comes closest, of course, resuming the theme of metamorphosis of Kafka in this Fly , but also the split personality to the test in Dead Ringers and Spider , then close the wounds of those of Beth Holly Hunter in Crash . Sum of all these strange influences, a major component alone Black Swan enters the pantheon of cinema.

So we can certainly always blamed his mirror effects, ubiquitous, some scenes a bit predictable as those of the bathtub but his desire to stick closer to his actress, just phenomenal, in a scene makes his virtuoso partitions anecdotal. After a breathtaking visual crescendo and a demented narrative tension, Natalie Portman reached perfection, the research that her character with so much pain. Always on the edge, breaking it absorbs the excess of his role with amazing finesse. Grandiose scenes turns fast and indecent, the metamorphosis of the swan tumbled whipped successive sequence plan to get out of the nightclub, the fight in the dressing room. Everyone reached the summit.

Worn by a revamped music and Tchaikovsky's sublime , Black Swan is one of those rare movies that we want to see at the end credits, as wonderful as him each of the figures in this demonic dance involving human test of its own ambition.

Released in France: Belgium Released 09/02/2011
: 02/03/2011

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The Speech of a King (The King's Speech) The Green Hornet

Poor George VI ( Colin Firth) who overwhelmed by a terrible stutter had to climb on the throne following the abdication of his brother Edward VII (Guy Pearce ) party romp with a married woman. Worse the growing influence of radio in the UK homes condemned to mumble a speech intended to boost the morale of the population at dawn World War II and the other side of the Channel, Hitler did not handle this kind of speech problems. But how? Her loving and devoted wife, Queen Elizabeth (Helena Bonham Carter ), then uses his power to find a speech therapist can make the speech intelligible to the man he is not the laughingstock of the British colonies. This man, Lionel Logue (Geoffrey Rush ), she will discover in the basement of a slum and his manners are deeply familiar to displease him, but he seems to be the one to find words that can be happen to those of her husband.

This true story has been put on screen by Tom Hooper , author of The Damned United noticed and already inspired by everything related to the crown by providing the primary role of Elizabeth I in a homonymous TV series. The first thing that surprises during the first minutes of the film The Speech of a King is the visual world of Hooper. Overly refined, the opposite of glamorous royal palaces, he displays a splendid outlook reminiscent Citizen Kane. The shots are amazing, sometimes completely contrary to what one might expect and visibly committed to honoring the cons-diving. It is obviously there to mark the subject's allegiance to his king, but its bid was more than that, it creates an identity that relieves some of the dramatic scenario. Moreover, the whole point of the story tends to rebalance the concept of devotion. Logue will constantly seek to place themselves on an equal footing with the king. According to him, stuttering has a psychological source from Bertie (that's how this comedian called king), it took root in childhood with bullying his brother and of course through the uncompromising face of her late father, King George V ( Michael Gambon). Therefore, it must install a climate of trust and equality with him to achieve as any good therapist to break the insidious chain of repression.

Nominated in many categories at the Oscars and Golden Globes including Best Film, The Speech of a king bears a smell a bit old Disney, the world of good feelings when courage must always prevail and friendship, love and patience be his devoted servants. A story that is good for the battered soul of men and reminds them in times of crisis, a good speech always paternalistic appease the wrath of a long murmur of admiration. Despite this aspect of the marshmallow staging that the climax of the film dubbed into the scene of the speech and the camera will sanctify Hooper national unity by capturing all classes of the population in unison with the voice range by transistors, the film offers players a wonderful forum for their talent. Colin Firth, already shining in A Single Man Tom Ford of , here portrays a king with a dual degree of depth. It has more affinity with the stuttering since it is the third film where he uses, resisting the lure of caricature, a hesitant diction. Half of the cast, straight out of an episode of Harry Potter excels in declaiming a text musically impeccable and tensioned as replicas of the vocal cords. Unfortunately everything is too smooth to soften a heavy old-fashioned political correctness, it lacks a good dose of irreverence to be a great movie. Colin Firth'm screaming insults the dictionary before each speech to relax, his irreverence will just smile.

Released in France: 02/02/2011
Released in Belgium: 23/02/2011

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** ***

Michel Gondry finally bitten the apple of the blockbuster. Its know-how would he be devoured by the requirements of U.S. producers chilly? No! In adapting The Green Hornet (the Green Hornet), a television series of the 60s telling the crazy adventures of a super hero duo with Bruce Lee in interpreting the role of Kaito, specialist in martial arts, French director has largely cooled recently sealed a kind by an overdose of philosophy of darkness.

The history of this fake superhero played by Seth Rogen (also credited as co-writer), devoid of any power and remained resolutely, decked a teammate brilliant, gifted inventor and expert double kick in the face, is simply orgasmic! The staging of Gondry, decidedly more conventional than his previous films, brilliantly combines comedy and action. Each scene is full of diversions, creative sequences in purely destructive and washed gangrene of all digital. The cast had yet nothing promising, the unknown Jay Chou in the role of Kaito, the insipid Cameron Diaz , comedian Seth Rogen apathetic which is added the awesome multi-linguist Christoph Waltz already work in Inglorious Bastards. Well, contrary to expectations, this little world is doing the honors, aftershocks felt good, monologues corrosive, second degree, references by legions ... with the exception of a 3D as ridiculous as boring ( he will explain to the designers of these hideous glasses that those who are already must constantly readjust them on their noses and the dual contact produces a greenhouse effect causing inevitable itself an unpleasant fog), the story follows a devilishly childish pleasure.

Because that's what it is. A bunch of kids having fun to go to war as we once did in our apartments by creating lawsuits cars on the sofas of the lounge and when we could suddenly decide to put a rouste our best friend just to test our abilities . Gondry and his gang realize this fantasy knights and more of the guilty pleasure destruction of the environment that we were strictly forbidden. As it is nice to finally see a bit of realism in these worlds where usually formatted only the bad guys spitting blood. We can not imagine the number of civilians who have taken the bombs dropped indiscriminately by the tunes of the two cars zozos masked and yet all those crushed by the crane, the ends of the building and striking the screen Carlings .

the exception of a second party running out of steam just before the grand finale and a sketch of the relationship between the two men that does not, nothing is thrown into this work resolutely unconventional and dynamic.

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Fire **

Fire, the fourth feature film by director Denis Villeneuve tells the catharsis of two children after the death of their mother. They receive from the hands of notary two letters to give to a father they thought was dead and a brother they never knew existed. Despite the misgivings of his brother, Jean (Melissa Desormeaux-Poulin ) is undertaking a trip to the Middle East to fulfill the last wishes of his mother. The history of this last it gradually reassemble the puzzle plunge into the horror that she was far from suspecting and making it happen in the light is its own genesis and her brother that she will expose the raw flesh of the past.

From the first sequence of the film, carried by the song 'You and Whose Army ' of Radiohead's camera discovers Denis Villeneuve idling a room where children are frightened by warriors shaved, the blue glow that exists in the room we understand they are promised to be enrolled in a fight they know only the thud of bombs. One of these children is the son of Nawal Marwan ( Lubna Azabal), a young Christian fell in love with a Muslim man killed before his eyes and whose child has been snatched at birth because she had shamed on the family. The film will alternate these lyrical scenes in the heart of a bias mixed, combining a more realistic capture to tell this to Jane and her brother Simon. The alternation of moods is consistent with the wishes of a director who has set his story in a geographic area indefinitely. Although be done repeatedly referring to a period between 60 and 70 years, the past Nawal reconstructed over an investigation that involved a desire to give only limited references to the viewer. The conflict we are talking about religious groups that face them and whose shares s'enchâssant games like retaliation, not temporality. It is undermining the Middle East for decades, here and nobody is accusing anyone tried. It is a story reinvented so that it becomes universal.

This concern with the dialectic of universality of speech start of construction in the film by Denis Villeneuve is also behind the constant attention of the viewer look at the image of two children, a track of reasoning that is often apparent in a line as temporal and geographical. Unfortunately, it will also be a vector of disillusionment, that of waiting until the unspeakable happen, since the force of beating around the bush, we finally understand the substance and by revealing it gradually erodes the value first aroused by the film. The infallible demonstration of Denis Villeneuve believes that human beings because they hate the dump were broken at the root, and not corrupt because they are inherently evil nature embraces the idealism of Rousseau . It gives the film a scope humanist educate audiences but skeptical supporters Hobbes or Freud who had defended the principle of the need for aggression.

This does not remove much of the linearity of a narrative that unfolds in the manner of a slow and sadistic murder by stabbing successive destroy the veil of illusion. Puzzle itself, raises Fire heart when his face takes shape. Following the path of Jeanne, we relive the past of his mother, a woman whose courage, commitment to military had reason to silence her own demons. It is revealing what has long been suspected because of this way of focusing the story on its resolution, which includes the final thought of Villeneuve: every act involved in a prolonged cycle of hate that which exposes hoping to wash away the wounds deeper. The idea that there is a form of redemption, as suggested by the last shot of the film, is also ideal incongruous here.

Fire will still come, and not always for the right reasons, not to leave us no escape. The path taken by children Marwal we do with them, in the midst of these deserts of parentage which one carries the stigma. Adapted from the play by Wajdi Mouawad, Fire captures the throat. The interpretation of broken Lubna Azabal gives it a strength that would be beyond the real regret that we can really lyrical and relevant insights that appear only rarely in the staging had been abandoned in profit of the reconstruction of a Mosaic purely mathematical and sensationalist.

From Fat Legs Too Thin Legs

The evaluation of teachers by students and teaching Education

As many my colleagues, Thursday, January 6, 2011, I received in my e-mail message signed " sawt ettalaba " (voice students). It is evaluation of teachers and some university administration officials made by a large group of students from the University Sidi Mohamed Ben Abdellah Fes.
Suffice to say that this is a first that will not go as a letter in the mail! I can imagine the controversy and outcry that this initiative will result in faculty!
The rating of teachers by their students or their students is a practice well established in the educational world Anglo-Saxon. In the French educational policy which operates in the direction of greater autonomy of academic institutions, this measure is not widely known but a breakthrough in some universities. In France, the website very controversial note2be.com lets students record their professors directly online!
A priori, the student evaluation of teachers is a just reward. So far the teacher unilaterally evaluates the work of the student. Why not consider the reciprocity of such an assessment? It would have the merit of allowing the teacher to perceive the flaws in his teaching and so to question.
careful reading of this evaluation reveals that he received is not a numerical rating but a purely binary decision if not Manichean: Teachers are divided into "good" or "bad". This assessment is limited to only appoint two teachers per department! Why ignore the others? A teacher writes all its students!
At this level of relativity, it is a good idea to raise the issue of objective criteria that underlie the distinction good / bad. For example, a teacher who notes sternly but in all fairness is it good or bad? Another that notes with great generosity and occurs once during her two and it is good or bad?
should first student survey to find out exactly what they mean by good or bad teacher. In this regard, some might use the outcome of a thesis published on the issue of representations of the teacher "ideal" .
To overcome imperfect subjective evaluation of the bipolar scale, it seems necessary to place it on a set of clear criteria that would apply to all teachers : attendance or absenteeism , clarity, authority Scientific, availability, equity notes, motivation ... etc..
This should lead to a broad rubric that we must distribute to all students of a given class. Arises here because the problem of representation: students consulted in the current evaluation are they representative of all students involved in a particular course?
In foreign universities that allow students to record their teachers, that the administration gets all the rating sheets completed by students. From these data, it becomes easy assign an average rating to the teacher and therefore to congratulate him and encourage him, blaming him or remove him ... We do not here in our Moroccan university system!