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Fantastic Mr. Fox

Unusual cartoon light years away from the Disney production, but also very different from everything that we were accustomed to see represented with a technique classically designed for children. "
Mr. Fox lives with his wife, son-complex and non-integrated and nephew, writes a column in the local newspaper, but dreams of the golden days in which raided chicken coops, turkeys killed with one bite and gave free rein to his being wild animal. With a companion in adventure takes the life of illegally plundering, to irritate the three largest local breeders who join forces to exterminate all the local game. Fox should save the lives of his loved ones and neighbors ...
Adapted from a story by R. Dahl, the film drags a bit 'for the first half hour, but has some really innovative features the definition of these animals so little humanized (as they would eat the real wild animals, they run on the walls of the burrow in situations of stress) and no sugar. If with Shrek (the first, the sequels are horrible) are witnessing an ironic reversal of the topoi of the tale, here are the characters-even bad ones, or at least ambiguous-thinkers predators without any false sentimentality. Although not greatly love the graphic technique employed (stop motion), W. Anderson has put together an extremely interesting product, finished with a voice-delicious.

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Train de vie

"Why did you become the fool?" "Well, I wanted to be a rabbi, but the place was already occupied ..." Radu Mihaileanu masterpiece is full of jokes and witty withering. When
Slojme hears anti-Semitic persecution has a brilliant idea, crazy as only a madman can hope to have: moving to Palestine with all citizens, embarking on a fake deportation train. In the words of De André, behind every idiot there is a village, and each component of this composite universe excites us with its peculiarities: the rabbi and his son, a contracting gastritis, the beautiful and nasty, and the tailor. Transvestite
some neighbors from the Nazis, the train goes on a long journey of hope, guided by a driver and improvised by the desire for freedom and dignity.
The tragedy is inevitable, but full of irony that so poignantly elaborates Yiddish for centuries sadness and melancholy of a wandering people, and we ride on gently surreal and heartfelt affection.
Why tell the genocide through a long dream? Why this dream becomes a form in a rational concept of our personal memory engram instead of immobilizing a chain, the fairy tale, whose heart revolves around the question " who cares if God exists, there is the man? "allows us to answer that yes, there is the MAN, all capital, which is looked after, cared for, loved every day, except that memory allows us to do so, as our design-going-on the shoulders of giants who attempted a dream before us, even when they knew they could not succeed.

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Rapunzel

The new Disney cartoon is finally all'altessa expectations, tearing for various lengths of its predecessor The Princess and the Frog (see post about this).

Rapunzel was born thanks to a miraculous flower, whose properties are perpetuated in her golden hair, provided you do not ever cut them. An evil witch kidnaps her and borders on a high tower, posing as his mother, until one person is not scale the hermitage and is unable to reach her weapon of a pan-improper. Full of guilt, Rapunzel escapes to satisfy his thirst for knowledge, discovering so much life, new friends and his true origins, Eugene, the alluring villain from her face learns to love in the best traditions of fairy tales.

The mother-daughter relationship, as in a fake family relationship, is investigated with light and parodic intent in this age of parents and parents frequently, however, unconvincing.

finally found the sentient animals really succeeded, especially that Disney believed extinct since the time of Scuttle and Sebastian: the choice is between Maximus believes that the horse is a hound and the chameleon, which lives in the hair of the protagonist.

Quite well.

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The Man Who Would Be King

The Man Who Would Be King

India, 1882. The journalist Rudyard Kipling knows Daniel and Peachy, two former British soldiers, masons like him, who want to make a fortune through great scams. Their ultimate goal is the Kafiristan, intending to win first and then, once you got the power, plunder. To a misunderstanding, however, Daniel is believed the successor of Alexander the Great, the man who centuries earlier had come in that place and that the legend has become a deity. Invested with unlimited power from a country that believes a god, Daniel decides to follow the fate, but his dreams will not succeed.

There is a circularity it very clear The Man Who Would Be King , grounding the story from the relationship with the Myth and finally returns to the same to reveal the lies. Like all cinema John Huston, in fact, the substance placed on the field is that of two men trying to escape the fate imposed by the circumstances to find personal fulfillment, following its own rules, but that will only experience a failure that will reveal the substantial mismatches in the world. The dialectic with the myth is interesting, especially compared to the other great work directed by the same time, the man from the seven western halters, where the legend - Fordiani - gives the story legitimacy.

Here instead the two crooks who decide to favor that fate has offered them the paper deception, can only aim to maintain when the awareness of living a fiction and use the same materials and for purely selfish. In contrast, when Daniel decides to embrace the way down his status of gods, thus ending up in order to legitimize the same in the face of history, politics, religion and customs of the place, he is rejected by them. Huston undertaking an intelligent reflection on the meaning of things, expanding the system of references following the logic of concentric circles: the original novel becomes a tale that involves the same Rudyard Kipling as a witness, in accordance with the logic of the New Hollywood Seventies which aims to clarify the role of both When the narrator of the public to be thinking about the power of the narrative and thus open the gates unpublished metaphorical possibilities of the story. No coincidence that the film is rightly seen as a satire of colonialism, where the sharp lines of the two crooks el'arrivismo echoes the opportunistic nineteenth century the great powers, who hid their gold rushes behind the conviction to bring progress to the nations won (logic, however, far away, as evidenced by the pre-emptive wars of this century).

E ', however, especially interesting how the film articulates these discourses in relation to public expectations, generated from the knowledge of the stylistic genre. The Man Who Would Be King , in fact, never occurs for what is not: a classic adventure film from the matrix to the extent that apparently is due to a storyline direct and linear in its instances. The public, as is the case with Daniel during the crossing of glaciers or the monks who pass through the Kafiristan, is so extended in the role of the blind person who proceeds on his way, following the signs of identity for adventure: exotic locations, colorful characters, a couple of the characters but opposed by a strong camaraderie. The film works wonderfully from this point of view, thanks to the eye always curious director, which focuses on faces, on the creativity inherent in the chaos of the streets and always manages to get the optimum effect of every shot: does not seem weird to see so many steps in a model for future raids Spielberg Indiana Jones.

For the same reason the public sides with much to Daniel, the couple that the figure is certainly more romantic and prone to the fascinations of the legend, an easy prey of the possibilities offered by the lure of a shortcut "for power. In fact, the story does not deny it, Daniel is perfect for the role of god, show excellent attitudes to the ruling and it is right and fair in its judgments, as well as not a victim of prejudice. His hand could very possibly bring well-being in that place and that the film offers this lure of course, takes the viewer to reflect deeply on the borders (and the ambiguity) between colonialism and civilization.

But the story is clear in the firm bringing the perspective of looking at Peachy, which is no coincidence that the same will be the narrator: his cynical pragmatism, not at all prone to the lure of fate, but always firm in his conviction to perpetrate the deception until the same will produce individual wealth and not collective, allows him to always have that strong cross-disciplinary look that will not make mistakes. Huston extrinsic Michael Caine's character through his pessimism about the possibility of a palingenesis, in a world where individualism can only have hope of salvation. A film to be rediscovered, along with the excellent performance of the two actors Connery and Caine, chosen to replace Paul Newman and Robert Redford, the director had set as his first preference.

The Man Who Would Be King

(The Man Who Would Be King)

Director: John Huston

Screenplay: John Huston and Gladys Hill (novel The Man Who Would be King by Rudyard Kipling )

Source: US / GB, 1975

Length: 123 '

Card IMDB

Kipling's novel on Wikipedia

Trailer of the film (narrated by John Huston)

Joined
The Cinema of John Huston

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Frankenstein

God save the Queen, there has been an era when the English weather produced great wonders, like the famous story of the wife of Sir Percy Shelley.
Obsessed with the promise of omnipotence of natural knowledge, the Young Frankenstein creates the monster , being extra-ordinary, giving life to inanimate matter. The Creature, immediately denied and turned away, is wicked and cruel, aimed at the perpetrators of blasphemy ever new, the Creator, for his part, is incapable of pity and charity enough to melt the heart of the wicked criminal.
shining example of the gothic novel, puts his horrors in the magical land spiritualist Preromanticism very popular in English, but in the foundations of modern science fiction that raises major moral questions related to the progress and the constant human desire to replace the deity . In particular we find here a creator who condemns his creation to destruction for lack of love: Mary was complaining about the smallness of the human compared with the demands of Creation, but regarding the time of "light" in which he wrote, maybe you can also recognize in his writing not as a veiled indictment of the Church, which makes it evil man for his inability to train him and love him. A cornerstone of the genre literature.

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Paper Halloween: the interview!

Halloween Book: the interview!

Actually dates back to mid-November, but, even if late, I am pleased to report the interview with myself and edited by leading cause Cinefestival site for the book Halloween: Behind the mask of Michael Myers , released - I remember - at the end last October. In doing so of course I thank the site and especially the curator Carlo Griseri.

Interview Cause and George, author of 'Halloween, behind the mask of Michael Myers'

online:

Halloween: Behind the mask of Michael Myers

Michael Myers is not dead!

Halloween: a book on the Net

The rest of Halloween

Pirates Of The Caribbean Notes For Guitar -tabs

Shin Mazinger

Shin Mazinger

The brilliant scientist Juzo Kabuto, discoverer of photon energy, he built the giant robot Mazinger Z and gave it to his grandson Koji. Delivery is the night when the city of Atami, the site chosen to test the applications of new energy, is attacked by Dr. Hell, a scientist who came into possession of the secrets of the civilization of Mycenae and intends to use them to conquer the world. After the death of his grandfather, Koji is the help of the mysterious Nishikiori Tsubasa, Kurogane officially director of the House, but in fact fully involved in the murky past of the family Kabuto. The truth about the background that led to the construction of Mazinger and the history of Mycenaean will gradually float, interweaving the courageous fight against the enemies of Koji.

After many years it still affects the mythology of Mazinger is its ability to continue to develop and evoke his paradox, that the idea - apparently simple and straightforward - a story in which ' hero is the demon. The giant robot is in fact defined, since its first appearance, as a god and a devil, which is subjected to the will of its owner, who could either use it to help humanity or to subject. If the historical anime series of 1972 mitigates this concept by making the construction of the robot to the pressing need to address the troops Dr.Hell in the original manga it is expressed in its full strength, when Dr. Juzo Kabuto, a brilliant but mad scientist, Mazinger realized as a simple gift for her nephew, apparently motivated mostly by a sense of guilt for having made an orphan (his parents died during the experiments to synthesize the photon energy), perhaps even to gratify his ego. The fight against Hell, then, becomes more like incidental and daughter of the classic superhero concept that the hero must be a rival of equal size.

That awareness of the use of technology is a theme that recurs in many works of Japanese science fiction and then fold Nagai director more directly on a human as a guideline for exploring the light and shade of the human soul, who, precisely, leading Mazinga to be an instrument of justice but also of death, as when Koji, still inexperienced at the helm, he unleashed the fury causing apparent damage to those sought knowingly by mechanical monsters enemies.

series Shin Mazinger , built in 2009, starts right from the idea of \u200b\u200bparadox and amplifies it by working on multiple levels, aided by the fact that in the screenplay and directed by the talented sits Yasuhiro Imagawa (author of the masterpiece Giant Robot), the series explores once again the line between normality and monstrosity, but at the same time makes a theoretical discourse on the concepts of reconstruction and implementation of 1972 working on original material, but also cover the various derivations that 'idea has generated over time. The result is a series that, in presenting herself as "the true Mazinga" (Shin Mazinger, in fact) at the same time manages to be faithful to the idea nagaiana original but also very different and that, in general terms, it becomes a summary and analysis of the mythology created by the founder of the giant robots. Here is the storyline uses some concepts in the manga Mazinger Z (rereading of the robot through the perspective of the Greek myths), fishing stories from other children, even retrieves the prototype ever made (the Energer Z, the result of the various stages that led to the concept final) and uses a non-linear narrative, made up of flashbacks, plot twists, and continuing revelations about the secrets buried in the past, according to a formula that the public will associate more easily to the American serial story.

In this design, what remains central is the theme of identity as Shin Mazinger manages to be both a betrayal and a faithful implementation of the model, so the characters change for continuous changes of identity. They range from simple formulas (the disguise) to complex (treason), up to the most radical (the confusion between robotic and human nature, with the poignant character of Lorelei) and from time to time the story tends to cloak each figure a lack of clarity that makes it difficult to grasp the points of reference and roles. The open-mindedness is such that the nodal figures in the series so far considered are reduced to the role of contour, others were raised to new greatness are reworked (Baron Ashura) and stand instead of new characters (like Tsubasa Nishikiori and his minions overtime), while ' only figure that represents the principle detection and, therefore, solving mysteries, the inspector Ankokuji, it seems a sort of fish out of water. Imagawa is great in this challenge to bring the narrative level, playing with the very structure of the story, starting with a pilot who is a continual of and final flash-forward that we will never see, giving the whole an almost Dadaist lard.

The idea itself is still deeply nagaiana: the Japanese author, in fact, it is often noted for re-use of previously discarded ideas and from this point of view seems Imagawa continually dismantle and reassemble his universe, leaving emergence force iconographic, so often extolled paroxysmal (Mazinger becomes a sort of "rocket punch" Giant Punch the Big Bang), and ultimately manages to make the idea of \u200b\u200ba coherent mythology in its various endings and enrich of new elements. In this sense, the operation is certainly fascinating and dark tone and grandeur many episodes hit the mark.

From tonight on the satellite channel Man-Ga.

Mazinger - Z Edition: The Impact!

(Shin Mazinger: Shogeki! Z-Hen)

General Director and Screenplay: Yasuhiro Imagawa

Origin: Japan, 2009

Length: 26 episodes

Official Website Japanese

page series on the site of the channel Man-Ga

Excellent article by Mario A. Rumor

Wikipedia page

Card AnimeNewsNetwork

My article on trails Wild

's review of Anime Asteroid

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billion euros squandered by Italy on the front of the clean energy

addition to the debt that has accumulated Italy in the years 2008-9 to 1.5 million € per day (17 € per second) on delay of the Kyoto targets,

over the scandal of Cip6 ( born during the Andreotti government and the legislature introduced a measure in the magic word. ... the sources are encouraged " TREATED " or plants that use waste products or processes and that use " fossil fuel - hydrocarbons, organic waste "An agreement with oil companies to turn a cost, the disposal of refinery residues, in one take, and the incinerators, with the result that oil companies, refiners and producers of dirty energy have benefited over the past 9 years grants amounting to € 33 billion),

Italy risks squandering other 2.2 billion in the European Emissions Trading Scheme (EU-ETS).
(The carbon market is an administrative tool used to control emissions of pollutants and greenhouse gases at the international level by the monetary price of the same emissions and trade emission allowances between different states).
All because of the excessive generosity of the Italian Government to some large enterprises in our country. This is revealed by the report of the NGO Sandbag ETS in Italy.
are EUR 2.2 billion to buy foreign carbon credits that are subtracted to the decarbonization of the economy required national target by 2020. All the usual support for large companies. He says Sandbag, English NGO very active in controlling the emissions market, his complaint report what is wrong with the Italian management European Emissions Trading Scheme (EU-ETS) ... continuous Read more

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The Cinema of John Huston

The Cinema of John Huston

The retrospective the Torino Film Festival 2010 dedicated to John Huston, was an important time to celebrate a figure quite forgotten (just look at the scarcity of its titles on DVD) and is instead a key element in the transition from classical Hollywood to modern. It is no coincidence, in fact, already the announcement of the retrospective, the first comments were focused primarily on point out the weaknesses of the filmography of the author and the famous compromises artistic and production that led to controversial works as The Bible or Casino Royale .

Instead, as often happens, there is much more merit and should be given to Turin to have finished in this way on a journey that began under the direction of the house before and after Turigliatto-Vallan, was able to x-ray well the path beaten by American cinema through its history and the more recent past (the thought is of course addressed to the previous retrospectives on John Carpenter, George Romero, Walter Hill, Robert Aldrich to Nicholas Ray in 2009, but we must not forget also the tributes to Anthony Mann, Budd Boetticher and John Ford). Who has been a spectator in Turin in the last ten years, in short, could get an idea of \u200b\u200bthe much enlarged bodies that moved the American cinema throughout its history.

John Huston, then, is a figure in this process is the focus, director of genuinely two periods, able to score so much that Hollywood classic of the seventies and eighties. The most interesting aspect, however, is as already noted in his classic films were in modern reality. Not only the strength of the themes that often cross those compromises typical of commercial studio system, revealing a vision in black is not common for mass-market products. Just think of the wonderful parable of greed that is The Treasure of the Sierra Madre , the concentration of the magnificent obsessive Moby Dick. But also for purely stylistic and iconic. Huston was in fact great use of the actors, is seen as a symbolic body, authentic filmic signs that their presence was able to "communicate" more of the same stories that were involved, both as a flexible figure, to shape it . We think the sensitivity of Audrey Hepburn, turned in the problematic nature of the hybrid in the western The Unforgiven , or alcoholic Flynn all'Errol de The Roots of Heaven, cowardly character in the adventure genre that also gave him fame. And so gradually progressing to the discovery and use of acting talent to come, as John Hurt, Michael Caine, Sylvester Stallone.

But probably the ultimate Huston face remains that of Humphrey Bogart, the director uses an incredible wisdom, often using his iconic role in contrary to that narrative. It is a good example, Sam The mystery of the swords of hawk, as the tradition of the brilliant detective detective story, but also chiaroscuro figure, at ease among the intrigue of history and very little inclined to regret the death of his colleague from which the story unfolds . But still it is worth noting the use of the plaintiff in the above-mentioned The Treasure of the Sierra Madre, where he became the conduit for the deep pessimism that the director with respect to the possibilities of man to accept an ideal of sharing. The history of cinema and the American Society for Huston is made of individualism, of people who follow their own rules and that they are almost always misaligned with respect to their world, so that their stories are often walks of life along the road that will lead them to understand their discomfort and their congenital unhappiness (think of Toulouse Lautrec Moulin Rouge ).

As a result, Huston was also a theorist, a person aware of the capabilities inherent in the story in pictures and in fact, here lies the modernity of his films. Also in the works of the classical period, it follows a documentary style for the image, which is accompanied by a high voltage to the first floor, with characters who are one step away from applying directly to the camera, as it will be in the works maturity (Think of the incomparable The man from the seven halters ). All this without considering the work of composition, taking account of the author's pictorial past.

But this must not think of a director or staid leaning didactic burdens on the contrary, the size of Houston is ironic in light which often lets his subjects, the porosity of a film that knows how to bend at different instances and is often able to let leak even under dramatic irony. A figure indeed fascinated and curious about the possibilities offered by narrative contexts, so that sometimes the stories behind the workings of the film are no less grandiose than those that led to the final film. And sometimes it can also be unsettling in their contradiction: we animality of the aforementioned The Roots of Heaven, it seems that Huston wanted to continue to shoot in Africa and an elephant hunt ...! The exact opposite of what he wants his hero. Follow individual rules, in short, for he was not just a cinematic theme.

Interview with John Huston in 1982 (in English)

John Huston on IMDB

John Huston on Wikipedia

I Have Found A Lump On My Bottom

The other half of Paradise by Noel Barber Noel Barber

A young doctor of English origins is "shipped" on an island in the South Seas by a committee of doctors after London, to defend a jew merchant, killed for not determined force a Nazi sympathizer. Kit Masters assigned to the island of Koraloona Polynesian archipelago where, with the help of a Scottish physician, must test new treatments for frequent outbreaks of polio that occur on the island. Kit, sensitive topic, her sister was suffering from the same disease, threw heart and soul in search of a non-invasive treatment for the disease. Koraloona is light years away from the world it comes from and immediately captivates him with its slow pace, sunny beaches, the population simple and available. The island is an outpost of a small group of Westerners from various sources, here formed a little community in itself. Kit is immediately welcomed by the old colonel, the ladies of the bridge and enter the round of parties and receptions upscale island. Tiare know, the Koraloona princess named Jasmine cres in those candid and Louis falls in love with his daughter, Aleena sweet. The two young men they love, but to plot against their happiness is supertizione, the outbreak of World War II, epidemics and natural catastrifi. Aleena and Kit, however, are brave and determined and not miss them a good dose of luck. Tiare is in fact in possession of a great heritage, a rich collection of paintings by Gauguin, who is none other than her grandfather.

Despite the setbacks the rich heritage of history allows kit to build a large hospital on the island, a place where you can take care of the needy and seek refuge when every other place is not safe.

Rating: 5 / 5

Comments: Full credit for this happy combination of history, fantasy, art and mystery. Koraloona is in effect the other half of heaven, beautiful and cruel at the same time, a perfect metaphor for life and contemporary history. The story of Gauguin's legacy is an invention that enriches the narrative of images and gives the reader a solid background illustrations, relevant and fits perfectly.

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Hereafter

Hereafter

Three stories: Marie is a French journalist on vacation in the south-east Asia, when fully invested by the tidal wave that devastated the coasts of the region. Apparently dead, unable to return to life, but the experience marked the point of the push to investigate the afterlife.

George is an American worker, his character is very close because of its mysterious power that enables him, with a simple touch, feel otherworldly forces that gravitate around every living thing, the missing relatives and painful experiences of everyone buried in the past. A gift for many, a curse for him, from which the boy is now trying to get away despite the resistance of his brother, who sees the occasion a big business opportunity.

Marcus is an English child, tied his twin brother, but dies in a car accident. Ripped from the mother and social services entrusted to a new family, only Marcus tries to find a way to get in touch with his brother disappeared.

three fates, three completely different lives, but destined to intertwine.

E 'a film by latent forces that act (and promote) a context of opposing perspectives, this Hereafter : like when you highlight something to let the filter other hand, one starts from a premise to determine and unexpected consequences other than expected. It 's a movie about death or life? Substantially burdened by the weight of life of death, but at the same time released the same through a sharing of experiences and destinies.

Theme latter strongly Eastwood, although the matrix of the story and interest in the topic of "otherworldly" should be equitably shared with the production team of Spielberg / Kennedy / Marshall, or the personalities who have previously made and / or produced as a film Always , similar Hereafter in for being a part of a same path, but at the same time a distance: there, in fact, sharing death / life was a pretext to talk about the real presence in the element "fantasy." Here, the director is purely vitalistic, human dramas of real people are not (yet) ghosts, but that move in a border area where the meat may come into contact with the soul and the spirit is able to have fleeting visions of 'else / afterlife.

precisely these intervals, these points of contact which determines the film of course, going to build a long journey in stages between their different lives, but destined to come together, is one of the greatest strengths of the story. Definitely stand out above the moving personal stories that the film offers viewers a variety of sequences and exciting in their simplicity: just think of the tears that suddenly comes face to disrupt the otherwise orderly Melanie (Bryce Dallas Howard), a woman apparently strong and confident themselves and instantly falls in all certainty instead giving way to a very human frailty. Yet what is most interesting and impressive is the ability to draw that line and to overthrow all paths leading to other .

In this context it is surprising but not impossible (if you know the clarity of vision Eastwood) to note that the family, that Marcus is the absorbing element, instead becoming a disruptive force for George, beset by economic ambitions of his brother against him, the Similarly, the career that Marie tries to chase and eventually bend to his interests is another burden that the same George wants to shake off, pushing and running away when Marcus customers will recognize for seeing his image on a website. Eastwood, however, does not fall into the error of the game easy script and reversals of these prospects will not occur prior to any surprise, a narrative twist those in vogue at the moment. On the contrary, they serve mainly to highlight the changing nature of references, in contrast with the apparent concreteness of the real world, where then the only fixed points which, despite their rigidity, they are very elusive and can not be defined, are life and death.

The attempt to define these two extremes, therefore, determines the paradox of knowledge that can be done in a way neither rational nor emotional, but only through the experience of sharing a common path: and here we return once again to Gran Torino and Invictus, the physical gesture as a conduit for other people's knowledge of the universe. In the case that if George is more evident (touching an object of the deceased to get in contact), it is less clear, but stronger, at times when sharing is a factor entirely human. Reading a book as a gateway to the knowledge of two different people together and apart, or even the taste of food as a deputy to break through the inertia moment and foster a friendship that could possibly provide new paths to life. The balance is delicate and precarious, because the same gesture that marks the end of a distance (the handshake between George and Marie), however, may be also due to a sharp separation (Still George and Melanie) and is therefore treated in accordance with the characters and it raises some ingenuity in second-and excesses of the text. Pruned by the same, Hereafter is once again a film sincere and attentive to enhance the individual elements in the perspective provided by the largest overall design.

Hereafter

(ibid.)

Director: Clint Eastwood

Screenplay: Peter Morgan

Source: U.S. 2010

Length: 129 '

Official Website American

Site Italian

IMDB page

Trailer Original Trailer

Italian

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Best of 2010 - Books

final year of the advent of digital book, the ebook takes the upper hand on the books of paper ... (not that I continue to inebriate the smell of the paper) there is, from a literary point of view the crisis of our favorite novelists, who have given birth to works, or too advanced or too bestseller ... But something is moving, confirming recent (Elizabeth Strout), essays that read like novels (Jonathan Safran Foer and Dave Eggers), convincing debut (David Nicholls and Wells Tower) ... and so many disappointments (Auster, Cunningham, Robbins, Easton Ellis, Irving, Coe, etc.).

These are the ten books that I loved most in the past year.

1) Solar - Ian McEwan
2) Does Not Import - Jonathan Safran Foer
3) One Day - David Nicholls
4) Stay With Me - Elizabeth Strout
5) Sorry! Sorry! - Elizabeth Kelly
6) Zeitoun - Dave Eggers
7) Do not know your name - Joshua Ferris
8) All Burnt Everything Ravaged - Wells Tower
9) Chronic City - Jonathan Lethem
10) Richard Yates - Cold Spring Harbor

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Best of 2010 - Hard

Continue depressing the period of music. The Rock'n'roll seems really dead. Missing the top one is missing that group, giving the scene a fresh start in music we love. They may not be enough of those two albums as Arcade Fire and Antony And The Johnsons ... Confidently expect a miracle, others expect them to return fire to Nirvana again and breathe new life into the scene, in the meantime these albums the past year that have played more in my iPod, iPhone, iPad ...

1) Arcade Fire - The Suburbs
2) Antony And The Johnsons - Swanlights
3) Micah P. Hinson - And The Pioneer Saboteurs
4) The National - High Violet
5) Philip Selway - Familial
6) Fistula Of Mercy - As I Call You Down
7) Eels - Tomorrow Morning
8) The Coral - Butterfly House
9 ) Rufus Wainwright - All Days Are Night-Songs for Lulu
10) Belle & Sebastian - Write About Love

Can Statisitical Information Be Manipulated

Best of 2010 - Movies

A year that just ended for good films, some great, many blockbuster. The best movie of the year for myself Inception is without a doubt, an absolute masterpiece, followed by Avatar, another film that is already in history. Then all the others. Here's my personal ranking and good vision at all for 2011.

1) Inception - Christopher Nolan
2) Avatar - James Cameron
3) The Social Network - David Fincher
4) Shutter Island - Martin Scorsese
5) The Ghost Writer - Roman Polanski
6) Bright Star - Jane Campion
7) The Road - John Hillcoat
8) The Lovely Bones - Peter Jackson
9) Clouds - Jason Reitman
10) Wall Street, Money Never Sleeps - Oliver Stone

Cycling Shoes For Achilles

WWF Italy in a bowl

the environment, according to the WWF , ends with a nasty negative sign for our country. But worse for the environmental organization, is not so much the result of 2010 as the lack of prospects for 2011 and future years. More than a rejection is a real harsh criticism of national policies for sustainable development.

E 'contained in 2010 report released today by WWF. In the end the bad sight of the environmental administration, cuts to the Ministry of Environment, the choice to return to nuclear power, delays in implementation of the objectives of reducing greenhouse gases, as well as the serious crisis faced by the Italian parks and, in general, the country is threatened by urban sprawl on the one hand and, on 'another, lack of effective policies to protect ...... read and read everything

JPE 2010

Infinite Money Cheat Vba Mac Emerald

an author to be rediscovered

I stumbled upon by accident in its history: an exchange of old books with a friend and ended up in my hands the other half of paradise. As soon as I started reading I understand that you have received something in my library of must-see. Not only well written, with a rich vocabulary that does not belong to our times, unfortunately, but also exciting and never dull. So I got curious and took the order on Amazon is almost automatic. Result, I found all the books available in Italy by Noel Barber and I must say that even after the first rushed, I have before me a little treasure of experience.

Noel Barber, British writer and journalist, was born in 1909 and during his adventurous life was sent to the Daily Mail in most British colonies. From his experiences as repoter romantic and soul of the traveler of the past created some unforgettable novels. Barber died in 1988 after he miraculously survived a gunshot to the head during the Hungarian Revolution in 1956.

sent by his extraordinary experience in the hot zones of the planet were born novels published mostly in the Eighties.

alltra the middle of paradise

The daughters of Prince

The winds of fate

A woman of Cairo

Tanamera The days of farewell

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Tron: Legacy

Tron: Legacy

Some years after defeating the Master Control, Kevin Flynn has disappeared into thin air, leaving his son Sam. So while Encom became a giant computer programming, dismissing the dictates of his creator who dreamed of a future based on the sharing of information discovery, Sam refused to join the Board and he devoted himself to steal the new computer systems in order to place the Net One day, however, get a call from the office of Kevin: Sam must therefore retrace the footprints and find out what his father had found a parent before disappearing. So ends the virtual universe, governed by Clu, a program of the same shade Kevin, who has created the perfect system, and now dreams of invading our world. But it also needs the knowledge stored by the most illustrious prisoner of that world: Kevin Flynn. Father and son are thus united in the last mission.

The seeds of the future are buried in the past

(from Transformers: Beast Machines )

When Sam Flynn is made to enter the arena of the Motion-maze, he is given an interface to play: he wields it like a Star Wars lightsaber but that's not the right way. Suffice it to reiterate the link fleeting sequence of discontinuity with the logic that animated the first Lucasian Tron, the desire that this sequel has to make up the model, but at the same time be self-sufficient and even though later in the references to history stellar saga will not fail (the army of the Clone Clu reminiscent of Episode II), this ratio is always very "open" and in the odor of conflict, in the same manner in which the dichotomy CLU / Flynn is the story of an inner struggle between a conception as the progress of computerization ( Fordiani intended as a sharing of knowledge and benefits of arising therefrom) and a rather self-referential, as based on the discovery and phasing power (and inhuman) imperfections.

At this point the film plays its card more precise, when that can really break away from the logic melièsiana precursor and makes' altrodove a virtual universe "other", but a structure filigree that of humans. In fact, the two worlds, more than ever, seem to close in a perpetual dance of courtship and gradual mutual: the universe of humans to penetrate the secrets of the virtual world and share them in the name of transmatematicità that allows numbers to be architrave of the benefits of the world. Another sequence in this sense is enlightening: the prologue we see the graphic lines of the virtual universe shape our real world, where does the digital double by Jeff Bridges. The dialectic that the film brings into being between the two universes is therefore primarily visual medium over its predecessor, which drowned the world in shades of Tron acid which refers to the psychedelic culture, this time opting for a dark tone that seems borrowed from the residues of cyberpunk and often leaving a glimpse of the transparency of the walls, objects, even bodies that are traversed by the arena and shatters records in a riot of pixels.

Because of all these Tron : Legacy renews and enhances the pleasure of physical, visual immersion in a wonderful universe, but this time does not hide the concern of a world that is now fully in imagery created by the virtual logic and therefore no longer looks like a last frontier all'altrove, but as a reflection of the real world. For this time the logic is not only the exploration of the new universe, but rather that of the return to reality. The thrust, therefore, is oppositional to the model, there is a Master Control to be killed, but rather a program-owner who wants to go out and merge with the outside world, expanding its logic beyond the boundaries of the macrocosm.

The logic of the project is therefore no longer the antithesis, which is symbolized by the colors of opposing factions (orange for the bad guys, blue for "good"), but that synthesis of , and for this reason most of the story itself (however well thought out) are the individual sequences, or elements unique to their data, and the most important information. The best summary is in the body, that of Quorra, where just a simple tattoo on his arm to stand in the ISO and therefore the hope of salvation, that of course the more extraordinary iconic Jeff Bridges. The actor is among the few today could afford a total perversion of its character without harm to the mythology of the sagas in a place where you go, the young enthusiast and daredevil of the first Tron here becomes an individual reflective and dismissive, primarily dedicated meditation and can be credible because of the depth that its mythical image of course refers.

This dichotomy Kevin / Clu encompasses the beginning and the end of history, contradictions and choices that put the man in front of the crossroads of life and progress and the need to build a path based knowledge and the relationship with what was (Tron) and what will be (Sam). All in a rare show of visual beauty, lyrical and powerful thanks to the astounding music of Daft Punk and therefore repeats, but in a different way, the pleasure of sense of wonder. Do not miss: vintage started with Avatar ends in the best mo (n).

Tron: Legacy

(ibid.)

Director: Joseph Kosinski

Subject: Adam Horowitz, Edward Kitsis, Brian Klugman, Lee Sternthal (based on characters created by Steven Lisberger Bonnie and MacBird)

Writer: Adam Horowitz, Edward Kitsis

Source: U.S. 2010

Length: 127 '

Interview with Joseph Kosinski

Interview with Olivia Wilde

Interview with Jeff Bridges (in English)

IMDB page Official site

American

Official Website Italian

YouTube Channel Tron: Legacy

Teaser trailer test carried out in 2009

Focus on soundtracks of the series

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Tron