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Homecoming J. Morgan Freeman (USA - 2009)

First love is never forgotten. Or at least do not forget Shelby (Mischa Burton) who in order to get her ex comes to segregate in a home of his new flame making them suffer the pains of hell.

second round of the director of American Psycho 2 that wink through repeated Misery hits the mark achieving results rather than surprising. Mischa Burton after the interesting (and unfinished) Walled In acquire self-confidence and belief in its own contexts actorial purely dramatic and intelligently takes a test more mature at a subliminal level, trapped in the balance between the memory of a feeling lost and now infungibile - repeated ad libitum Spread across the dusts of turntables, memories and photos - and the madness that leads her to seize the one who covets her ex, clinging and segregation in the bed of death. Incattivita and crazy-eyed and lost kinskeggia great. What a sight! In morphology Homecoming born with a plurality of facets. It 's a love story, is a treatise on revenge, is the staging of the sacred - which is inevitable - more morbid jealousy arising from seeing their man in the hands of another woman, reversing roles and motives of motivational Boxing Helena (what has been unjustly massacred Lynch movie? Going Home.) Sandsiana of memory.

Homecoming suffers the same defects that had clipped the wings of this interesting project that is called American Psycho II . A slasher canon, but he placed his fate solely on the acting of the protagonist (an intense Mila Kunis ) able to overcome the shortcomings of the work. If there is a problem here, too, is the inability to be able to create scenes that really conquer the viewer. It is a good story, well told with lots of capital appreciation but can not go further. A sort of emotional potential would be wasted to say. To be fair, compared to the sequel of the movie with Christian Bale , here there are also some improvements from the technical point of view: very foggy winter photograph, a constant sense perceptually tension, a pace that rarely falls in intensity and a sparring partner all respect ( Jessica Stroup). Homecoming right away is destined to become a cult, at least for fans of the actress, here at his best and perhaps test free of room for improvement, because its perfect. It demonstrates how to know how to create characters tormented by a rare , credibility is not realistic for all. The company is really only possible for those who through the torment and the pain of the character who unifies us is the past, enjoying each and every variety of despair, I could handle, pass and trap knowledgeable in ethereal characters that perpetuate their existence in human memory . And I am reminded of Klaus Kinski or to an extent Minor, Paul Naschy while more recently members of the notorious 'genius and recklessness' are housed in Misha Burton and Lindsay Lohan (unmatched dual role it the name of my Murderess ) contend that the record of admissions to psychiatric clinics. Misha Burton Klaus Kinski as .

bad the movie world is full of them. Of evil for which the symbiosis between men and presaged the artistic alter ego even in minor films recovering and the same inner instability there is only the Polish actor. Death smiled murderer, can revive a dead woman for love? , The hand that feeds Death , Nosferatu in Venice, Paganini without resorting to the usual four or five most resonant films. Psychopathic personalities, unsettling, afflicted that come to life outside of the screen, perhaps the result of his past twenty-six spent in a mental hospital, having had a morbid passion (unpaid) for a nurse twenty-four years older than him. The dialogue in the final between Kinski and the doll in The Hand that feeds death, manages to dispel any doubt about how he could juggle his excesses sank in the mechanisms of fiction. E 'Kinski man through and through, with his haunted eyes affected by the last laugh. The life that is transformed to conquer territory apparent moments of meta-cinema. Catharsis or cinema or simply life that can not exist without it. And with the proper proportions this also occurs in Homecoming and wanting no small thing.

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Frankenstein and the Monster from Hell by Terence Fisher (UK - 1974) Doll Graveyard

The young Simon Helder (Shane Briant) is a surgeon, rival of the infamous deeds dell'arcinoto Baron Victor Frankenstein (Peter Cushing), now believed dead and buried. Through the manuscripts of the latter, profane tombs and conducts bizarre experiments at autopsy inconclusive and repellant order to extract from his mice organs such as heart, brain, limbs to create an artificial being. But a blitz of local police in the laboratory where such amenities ideavano behind tip from an old drunk, causing the arrest and imprisonment for witchcraft in the new surgeon in a criminal asylum. Interned just find that the mad scientist Victor Frankenstein is still in life under the pseudonym of Carl Victor and has never abandoned his inhuman experiments. In addition, the attending physician of the asylum and he is assigned full powers and responsibilities. Guinea pigs of its abominable intentions? The patients of the asylum .

I never exceeded the veneration towards uncontrolled movies hammer. Characterized by distinctive pervading but also by disastrous scenarios with prologues blunt, closed too short and barely sketched characters, I was never allowed to throw too much in praise. Take the famous of Dracula Terence Fisher . Film that has placed the seed of his success in the pillars of the horror film world ( Christoper Lee, Peter Chushing ) but that did not planning to script the first few minutes not impressed the slightest credibility to his characters, vehicles to and by not forgetting to give Harker ever so bland the necessary importance to enable it to be a key pawn in the continuation of the story. It creates the most basic assumptions of the danger and multipercettivi and consequently those appendages of the threat (the count), it all ends with the smell of fake, in fact, stuffed. To no avail to object that is a film of fifty years ago (also FW Murnau's Nosferatu has been through the spring but has never bowed to coarseness of the first order). The film is incomplete, incomplete, by underestimating. Definitely better, and with fewer resources, will Jesus Franco giving to posterity a transposition respectful, and flashes dream extraordinary visual inventiveness, or - and stay in theme - Alan Gibson, combining present-day reality of the metropolis and Victorian classicism of the time lost in what is the best vampire Count on the transposition of Hammer: Dracula 1972 Strikes Back. You could write an essay on the flaws of the film in question but the exception that proves the rule and tries to overcome the corrosion mechanisms of the production is just English and Frankenstein Monster From Hell ( of Frankenstein and the Monster ' hell for the native market DVD) filmed in Britain in the '70s, a sort of precursor to subrogation Lynchie elephant man the creature of the mad Baron. The Inhuman experiments that surround the freak - here a beast covered with hair look like it was such an angry ape - its been to make the genetic changes due to the massive amounts of drugs by the ruthless scientist iniettategli his master and decreed the mad momentum towards the tracks of his darkest and most introspective side: that of a new puppet victim of manipulation, sad, sad intended victim to uncontrolled experiments for the advancement of science. Forget the standard icon Hammer & Universal two meters high and bolts glued to his temples. The deviation from the main matrix of the creature created by Mary Shelley makes the film Terence Fisher pioneering a range that allowed very little innovation. The remaining charges but are always the same: beautiful royal hues never so dark, monster to turn executioner / victim of the situation and masterful acting dell'inossidabile icon, in this case a beautiful Peter Cushing. You do not even begrudge scenes - at the time - high-impact, note the transfusion of brains and eyes gouged out by patients. Final unusual for once let it be to drop the curtain of suspense, rather than inability.

Review Salvatore Mennea .

Cover of the DVD cover of the Italian Eagle Pictures and vhs Riviera.

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