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The mystique is intact. Whether dodging gunfire impossible or escaping brutal explosions, Bruce Willis zafar makes fart of not only their personal style more dramatic, but a Hollywood hero worship, as their historic character survives.
In Die Hard 4.0 John McClane faces the new century with its classic role of recurrent loser. As usual, a fortuitous circumstance puts in place unless specified. Old John, with his eternal cowboy picture of annoying, it's up to cope with a select group of hackers who suddenly and systematically begin to take control of the nation over the Internet. What can he know of hackers and computer networks? Nothing, of course. That's what your partner buddy Matt l Farre, McClane the logical opposite: young, nerdy and afraid. This perfectly balanced society passes a course full of situations -stunning action scenes of the tunnel and jet-truck chase, round out a good movie genre.
The idea of \u200b\u200btechnology as a form of threat is typical of American paranoia. The bad, suggestively called Gabriel, is an obsessive hacker who once said the terrorist apocalypse. Ignored, was fired from the same government where he worked and deleted from the system, and now is your chance for revenge. To his credit, his omnipotent power over the technology, which is enough to dominate the entire nation. Against him, of course: the craft McClane, who with the help of computer genius of his partner, struggles to put things back in order, leaving behind a parade of chaos and destruction designed to stimulate more than just popcorn consumption.

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McClane John Rambo, the perfect movie naked

As a child I imagined the perfect movie had to be something more or less like a type appears in the middle of a sort of war (well, without giving any kind of explanation) and has to kill them all.

End Well, looks like the new Rambo movie is on that side.



other words: child but effective.

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back on track with Half Naked, a British short film he had seen some months ago and reedescubrí on YouTube.

resolution I liked the whole story with only ideas visually, the short has no dialogue and is voiced with incidental music.

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Middle Of donuts and environmental disasters


Homer is too stupid: that's the lingering taste not only after seeing the movie of The Simpsons, but the common denominator of the last five or six seasons of the series. But the only thing. Because after all has an original grace and classic at the same time, however brief.

As the dynamics of its versions TV will always give parallel stories, in this sense the film is generous, opening a series of antagonisms that arise small dramas: Man vs. Environment, Father vs. Son, Wife vs. Spouse vs. State. People. And all against Homer. A Homer, again, is listed as the worst kind of idiot product of narcissistic selfishness, without looking that kind of stupidity good that you can install in that sort of creative madness and delirium. A gift that brings instant: when Marge suggests he has a quick mind to wander facility (comparable to the time of an old chapter in which, influenced by the posters he saw on the street, Homer begins to see his family as circus clowns.)

The Simpsons have always sought, through irony, make social messages. It is not new: in the beginning of the new century, one of the issues most wanted Groening to express passes through our relationship with the environment (as is the only "failure" argument, this line of the plot is suggestively unfinished) . But one message that stands out a lot, sometimes crudely, is the selfishness of man for man. Back Homer: his excessive self-interest threat to the community, his family and finally himself. Chaplin's almost time to mourn the father Simpson, before an inner journey give one of the best audiovisual sequences in the history of the cartoon family. Bart

deserves a special mention. Is the character who, despite the film version look in unusual sensitivity, it achieves the desired effect: to provoke. Bart breaks the mold, it is surprising, advances the tribulations of the family to the absolute limits. Upgrade to The Simpsons and does not disappoint, true to its nature as it always fall off.

What else? A secondary story to the tone of smooth, nostalgic role of Flanders, Marge, in his usual boundary between the break and forgiveness. And the lovable cast of residents of Springfield, who would like to share that would exceed reasonable length of a film that, like a donut , is classic, round and juicy ... but it leaves us wanting a little more.