Buried ( Buried , 2010, Rodrigo Cortés)
should be credited to the great Rodrigo Cortés with at least two daring unexpected: first, to create a fable pre-economic crisis demiurges / supervillains absolutely visionary call Contestant (2007) and the second is to look at the script by Chris Sparling something like an authorial discourse.
This film is a virtuoso exercise set in a scenario in which the battle of Ryan Reynolds with thousands of voices becomes dead clever thriller with humor and love that intensify set to its most horrific, but also a kind of interesting comments on what the media called collateral damage (glorious euphemism for casualties): absolute distance from the socio-political climate, the ineffectiveness of security forces, unsentimental despair by the villain, a company that treats him as a significant economic loss and possible murder resolve bureaucratic and legal terms a conviction unmoved, and so on. Cortes seems to trust all the tools of his film and editing work is incredibly effective, quick cuts for the moments of shock, for crossings dream and others.
VICTIMS Placing the foreground, a prodigious Ryan Reynolds, many of these effects may be minor, but just think of the sadness of its end and the admirable fact that Cortés reinvents the cinema show with an address does not seem to stop about an imaginative planning and that seems to bring a vibrant account of anxiety and dangerous times of the minimum scenario reconstruction.: it is true that Hitchcock, one of the possible formal models of this thriller by the September piece of Tarantino in Kill Bill vol. 2 (2004) or Castaway (2000), was always a moralist's busiest human being while Cortes seems determined to make us notice the boundless connotations of a system doomed to entropy and impotence. The glorious dead end subject to the viewer to the lies of a world that neither he nor his character come to understand. Any glimmer of understanding may mean a fatal surprise, spurious.
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