Musiczine - The coal of the year: worse films of 2021
Like every year, here we go on to detail the films that have most visited us with its viewing.Yes, we agree, there are very worse titles (or not), but these five in particular, given the unquestionable expectations that the renown of their respective authors binds, they have left our mouths as open as the field of vision of Leticia Sabater.Thus, this season the cinematographic coal, by order of horror to horror honoris cause, we will give it to:
5th) Don't look up, by Adam McKay
Note: 0.5
The arrogance converted into style.McKay, it is true, has been signing his brilliance as a specialized scripts warp in imposing an acidic, uncomfortable and very documented look on certain aspects of contemporary society.The great bet and vice are a good sample of that healthy viciousness against the usuals of neoliberalism, but also of the trend by its creator to verbiage that does not take the discomfort of hiding the sagacity that knows that it treasures, to the doctorate doura, to the verbiage point about the "I", that is, at, at many times, confuse what should be a cinematic dialogue with a medication prospect or with an article in a specialized magazine.
All that propensity to the self -absorbed loquacity explodes in an excessive way in this monument to the total absence of substitutes, comedimiento and modesty that is this you do not look up.In the same way that all the characters of this garbancera farce pass the movie seeing a comet that is going to crash against the earth, this vain catastrophe like the pedroch on a New Year's Eve with the Igartiburu kidnapped by Ramón García could also intuite notIt would take to arrive.McKay goes from arrogant comet who wanted to give the world a parable about foolish humans that no Bible has previously included.Gives the impression that he does not know that the book of Apocalypse is already written.
Do not look up does not hide at any time that her only virtue is a superiority that only laughs.In this swarm of first figures the most is absolutely less.The film is believed to be one of the Marx brothers at the peak at night in the opera and is not worth a copy of a program on the end of Carlos Latre's world for the end of the year.Do not look up gives the impression that the twelve grapes are eaten, but the first quarter is already choking.What a tired movie.
4th) Spencer, by Pablo Larraín
Note: 0.4
Spencer's core problem is not caused by the fact that Larraín has not taken the discomfort of dispensing with his wisdom regarding the biopic gender decidingsurrender to the established and hateful fee of, for example, the iron lady, of Phyllida Lloyd.No, this is not so, much less.His last work again conveys that same proceeding of scrutinies, but all of him towards a global hue different from the one employed in the semblance of Jackie Kennedy
Returning to demonstrate that he is a filmmaker who does not disgust at risk, Larraín conceives an analysis of the circumstances that motivated the escape to the borrowed destiny that had to improvise for his own survival the Discola daughter -inoverwhelmed, from the beginning, by that demanding declaration of scathing principles that is the call of the farce.A decision, of course, tender, but that the author of The Club is not that he goes out of his hands, but that the tip completepremise
As a result of this blushing, grotesque claudication of tone, the film becomes a machacón soliloquy, with grace of "or" made to clean canuto, aesthetically ugly, denied in its incessant return to the known, and, for more barbarism,Symbology splashed as subtle as a torreznos headband or glass shoes for Cinderelor the horrific dinner sequence with pearl collar accident deserve to move on to the anthology of what should have been discarded.
The recidivism in converting the protagonist (a Kristen Stewart, must be recognized, perfect in its mission) in a caged bird, in a discordant and misunderstood note, in innocence among insensitive, it seems typical of a vignette of the hello.Spencer Reazuma Visigod.The best, without a doubt, the actress chosen for the brief appearance of Camila Parker.For me that is Esperanza Aguirre.
3rd) The Gucci house, by Ridley Scott
Note: 0.3
The film starts with a sequence in which the events that occurred on March 27, one995, in Milan, are described, just before his murderer of Mauricio Gucci the bullets that would end his life.When this is going to happen, a long flashback begins that tries.From the moment they crossed their lives during an exclusive party to the absolute marriage debacle that forced him to ask her a divorce that she never knew.
Luxury romance, love photonovela, mischievous story, ambitions, hidden plots and blood betrayals, the Gucci house does not know how to be at the height of that nest of bloody affective flutters, fundamentally because Scott is neglected at all times of something fundamental: striveFor the proposal, the dramatic likelihood required by this type of narrative boilers.
As can be deduced from reviewing the judicial events referred to previously or from the magnitude of the public renown of the family nucleus that brings together the most important characters of the film, it goes without saying that the dramatic possibilities generated by both, in principle, they seem numerous numbers.Scott, a reputed specialist in this, opts for the least hardworking.
The Gucci house is a strenuous superficiality that.Nor bets on a radical interference in the affective, ambitious and manipulatory fierceness that defines the behavior of a couple between Mauricio and Patricia, in the sharp and destabilizing style of what with such material could have completed, for example, a Roman Polanski;nor is it decided to draw a meticulous choral story focused on the boom and fall of an economic empire that did not know how to cushion or face the accumulation of excesses and arbitrariness sponsored by the new generations of the owner family.
If neither or the other, the film seems precipitated as a parade of models not rehearsed.A narrative vector hinders the other.The film wobbles, does not know how to walk with high heel shoes on which he intends to exhibit.Instead of a shocking catwalk, it does not take time to show its status as a market for weight to weight.In addition, Scott insists on privileging a tone of television, superficializer and grosssituations (all the appearances of Lady Gaga from the fall of her character).From so much Italianizing accent, the actors seem all folded by Meryl Streep.Lady Gaga, at times, it is not known if he is playing the daughter -in -daughter.The movie is a nipple that nobody wanted to teach.
2nd) The last duel, by Ridley Scott
Note: 0.2
Based on real events, the film moves us to France of the fourteenth century to try to address a detailed and polyphonic analysis about a fact that occurred in Paris on December 29, one386.That day hundreds of Parisians and neighbors close to surround.The winner won the dispute because God had required it.The defeated lost his judgment and life.That day they faced the gentleman Jean de Carouges, a Norman military gentleman, and Jaques Le Gris, a squire, ancient companion of his battles.The first accused the second of having raped Marguerite, his wife, taking advantage of the fact that he was alone in his castle.
The particularity by which the film intends.We do not face a linear review of what happened, but based on the idea that we are in front of a trial (the first scene describes the preparations and the beginning of the first set), the viewer is offered the versions of the threeinvolved in him.Thus, the film is divided into three segments.Each of them is starring the voice that manages it.Obviously the facts will suffer not a few variations, because the point of view that Impele is different and is conditioned by the need to assert the truth of its version.
The memory of Akira Kurosawa's rashomon seems inescapable.Of course, unfortunate.If in the masterpiece of the Japanese teacher, the polyphony of voices involved in the central fact narrated contributed a aguerrida and bloody dramatic and scenic complexity to the advance of the plotreiteration, to stagnant redundancy, to insubstantial and predictable variation.The change of point of view does not cause any revealing tension, does not recompose or convulse the main enigma, but abounds expected and, therefore, unproductive argumentation.
This is so, because the film was born with the sentence made.Everything rides on the back of a Manichaeism of embarrassing condescension that nothing dares to promote itself from the designed unidirectional monolithism.The written material (mainly the first two parts) commits the awkwardness of reiterating events without the slight nuance between them contradict each other to cause a suspense and an anguish that make it rise above the mere exposure of known details.The alleged complexity of the three -voices narrative support is converted into stressed unique thinking.The shameful insert ("the truth") through which the third story shows samples of the rough prevarication from which the hint to three non -parallel bands is conceived.
If we add that Ridley Scott shows that the medieval stories are not flour of their sack, as happened in that thickery annealed and baked with wet matches called the kingdom of heaven, we can agree, then, that thejoy becomes precooked and smelling of decomposed Romanesque.The castles feel the creator of Alien, the 8th passenger, like a dragon a chute of fire extinguishers.
With the exception of the final fight, that, yes, it is staged with the claw, the enton and the brutality necessary, the staging, perhaps excessively paid to the winter magnetism of a production design of the landscape landscapes Asaz Lucidor, succumbs to aRayana vulgarity in the grotesque when, for example, sexual scenes are framed: that one does not know if Matt Damon is the copulatory male or is the Andrés Pajares of the magic league.He had to wait for the Gucci house to see if Ridley Scott took respite to his predilection with the torture foals.As such, the last duel was modelic.To our misfortune, the Gucci house too.Ridley, in the second year Covid has turned out to be a very murderous virus.DESCASA THE 2022, PLEASE.
onest) Worst 202one film: parallel mothers, by Pedro Almodóvar
Note: 0.one
Parallel mothers is not the consequence required of fineness, elegance, to the measurement understood as fertility convened in its previous human voice.On the contrary, to disappoint those who had housed the possibility of a return to the creative intensity of everything about my mother, it is proposed as the absolute catharsis of that abusive bankruptcy towards self -complacency.It seems made with the Themomix.It is not that I have done it without disheveled, it is that it has made no hair to move.There is no air.Does not travel any breeze.From so much pampering, for not pray.
The film is constituted as the most evident and frontal reflection that the author of speak with it has proposed on one of the thematic corpus for him, without a doubt, preferred, preferred.This is the issue of motherhood.Transversal in practically all of his works and stages as director, motherhood as a conditioning faculty, as a cause of excessive difficulties, while, ultimately, germ of their creative needs as a screenwriter.Around the maternal-filial ties, Almodóvar's cinema has been returning again and again, making that genealogical space an umbilical compartment from which not a few meanders and narrative segments..
In the present work, the substantial difference, the deepening purpose that, in theory, distinguishes it is that such a sign of identity is proposed as a central element.The film revolves around the random encounter between two women in the hospital room where they are about to give birth to their respective babies.The description of the respective circumstances of each one, the ostensibly dissimilar mode in which both will assume the challenge of two unexpected pregnancies will become the dramatic nucleus from which the script will develop the story.The vision of motherhood, of course, will be far from being idyllic.A narrative vericueto of Cariz Morrocotuda and Aspaventically Folletinesco will try to enable a transcendental leap to the proposed dissertation.
There are two insurmountable pitfalls that at no time knows how to overcome or the orchestrated direction for the envy, nor the written material on which it should be used.As for the direction, we return to place ourselves in front of an Almodóvar who wants to be neat and evidence romo, which is wanted and fall into languor, which is wanted to be refined and glimpse hieratic.Knowing that every good melodrama is due to a delicate framework of screams and whispers, the creator of broken hugs advocates in his last works for a silence that, of excessive pure, condemns the future of their images to the cold, stagnation androutine.Parallel mothers, it hurts to verify it, it is a film with the recited, imposed and plastic soul.A mere shower of characters for a spot of design furniture, which seems to be confused staging with Marketing from Ikea.
On the other hand, in terms of the script, in addition to the poor depth with which the central crux is dispatched, it causes more than blushing, the attempt to attach to the central plot a narrative fringe that brings to this the matter of historical memory In our country.The clash between the self -absorbed dramatic universe characteristic of the author and the effort made by attaching such a precarlly political nature is not at all harmonious.
The Almodovarian device repels that complaint claim claiming, and, sadly, leaves this convert into unassumable frayed, in a disappointment, in degraded filling.The formal stylization (away from any realistic eagerness) and the photonoveavelera love so consubstantial to its particular grammar, a priori, are difficult protocols to square with those demanded by a cinema of clear and necessary historical or social vocation.Parallel mothers is the wasteland, infumable and denatured proof of that inconvenience.Almodóvar is nothing more than his own white mark.Having demonstrated years ago it is a brave homemade ham broth, now it seems very comfortable in a tetrabrik of a landowner.Parallel mothers is chicken broth made with piolin chromos.
