Word: filmã
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...schedule, but we had to improvise,” Cuarón said. The shooting faced both heavy rains and sweltering summer heat. “Every single day we had to improvise something. We all had a lot of fun doing it.” One of the film??s most memorable moments is the corny but endearing opening tune. The audience is greeted by García Bernal’s character, Tato, crooning a Spanish cover of Cheap Trick’s “I Want You to Want Me,” complete...
...recovering from back surgery—her philosophy touched every part of Johnson’s project. The footage of Delaney-Smith’s speeches on the Lavietes Pavilion sideline, coaches and players’ soft-spoken remarks in front of the camera, and the film??s own status as the artist’s fledgling idea all contribute to a short but affecting project.“If you ‘act as if,’ it becomes a reality,” Delaney-Smith said.—Staff writer Emily W. Cunningham...
...hands his favorite piece of Russian literature to his romantic interest and explains that the author later went insane and committed suicide. While the rest of the principle characters act with egocentric ingratitude for what they have, Joel stands firm as the unlikely moral bedrock of the story.In the film??s attempt to bridge adult drama with juvenile comedy, its one unequivocal success is the versatile soundtrack. The movie implies a setting in the 80s with a single shot of Reagan on a television screen, but period choice seems merely an arbitrary excuse to pepper the film with...
...wife, multi-instrumentalist Régine Chassagne, gets some face time too—during which she never seems quite hinged, exactly. But for the most part, unless you really know the band members coming in, they remain mostly anonymous, faceless.That’s not entirely the film??s fault; it’s also the band’s. After Arcade Fire’s debut release, “Funeral,” appeared in 2004, music bloggerati instantly elevated the group to the indie pantheon. They did so because of the music, and when...
...which manifests itself in aggression far more intense than that exhibited by their undead counterparts. At the “throw-in-the-towel” phase, the survivors risk death to escape their confines; in the process, they attempt to kill as many zombies as possible. At the film??s conclusion, the remaining characters are “rescued” by some government agency or army.Schlozman suggests that what makes the zombie genre so alluring is not just its fantastical elements, but also its ability to question the human experience. Zombie movies, he says, confront...