Ralph against the Internet, a salesman, and a portrait of the first man on the moon.
The fifty years of Apollo 11 continue to show the interest and fascination that the human species continues to have with space exploration. These celebrations always bring to the screen countless works that always reveal something more to the lovers.
Not being a documentary, but reporting the life of Neil Armstrong, The First Man on the Moon is Pedro Martins’ proposal this Sunday. The film is signed by Damien Chazelle (Whiplash, La La Land) and is an interesting window into man’s life as long as they realize that the director is focused on that Apollo 11 team member – before, during and (briefly) after the film. schooling.
First you can see Filipe Urriça’s words about Ralph vs Internet. Like The First Man on the Moon, filmmakers Phil Johnston and Rich Moore recently debuted on TVCine 1, the perfect excuse for the crew member to discuss what the movie is worth and what the Disney message is.
Continuing to review Alambique Filmes’ box dedicated to director Asghar Farhadi, Marco Gomes saw The Seller during these past few days. It is once again an important film, as underlined by Oscar’s award for best foreign language film. The team member claims, however, that there is some “progressive loss of congruence”.
Filipe Urriça, Ralph vs The Internet (TVCine 1)
Wreck-it Ralph is a very interesting movie and a pleasant surprise of creativity, where video game characters have come to life in an arcade engine room. The sequel Ralph Breaks the Internet loses much with the original, missing that je ne sais quoi that marked the first movie.
Ralph and Vanellope are best friends, neighbors and can see each other every day after a long day while the arcade machines are on. While the big guy has agreed to being confined to a daily routine in a game where he plays the villain of his game, little Vanellope has bigger ambitions. The small but skilled car driver wants to be in a big people’s game, allowing her the freedom to drive she never had at Sugar Rush.
When a Wi-Fi connection is installed in the games room, Vanellope discovers that there is a game that fills her void in her life. However, this will may jeopardize the friendship with Ralph. Unsure of himself, Ralph, who has never had many friends, conveys this negative feeling, which turns out to be the determining factor in the evolution of the friendship between Ralph and Vanellope.
The message that Disney wants to convey is about friendship, which depends not only on the distance between two friends, but on the trust nurtured by the two friends. Sometimes this message gets lost in the ambition of the little driver, who shows what happens when dreams follow without looking at the possible consequences. It’s not a bad movie, but there are much better deals in the Disney catalog.
Marco Gomes, The Seller (DVD)
The box that Alambique Filmes dedicated to Asghar Farhadi closes with the latest movie at the time of the release of the set on the market, The Vendor (2016), originally titled Forushande, but the post has now been held by Everyone Knows, which opened. the 2018 edition of the Cannes Film Festival, though, coming only this year to the commercial projection circuit.
Again giving Iran the Oscar for best foreign language film, despite this fact, denotes The Seller the empathic, if not public, erosion of the expert criticism that his path has had in the post A Breakup (2011), of course in the reception of the work premiered here last February.
Clear case of differentiated assessment with and without framing, leaving more aridly in this last situation, puts to the Seller’s face the artificialism of the conceptual premise defended by Farhadi when, in the miscegenation between effort of taking it beyond and inflating it with the unpublished one. the ostensibly far-fetched exercise attempt at the head was the parallel, criss-cross staging of Arthur Miller’s The Death of the Traveling Clerk.
By erecting, or willingly, redefining a subgenre, a dramatic thriller, the price to be paid by the director is high, the progressive loss of congruence based on the shock of its elements because many of them are unreasonable, such as the concerns of reliability with the real. and narrative manipulation to amplify avenues of suspicion and prolong the effect of tension on the viewer.
Pedro Martins, The First Man on the Moon (TVCine 1)
If there is anything that can be written about Damien Chazelle’s career so far, it hasn’t been making the same movie twice. After Whiplash and La La Land, the director signed The First Man on the Moon, a film that premiered in 2018 in theaters and yesterday went through the TVCine 1 grid.
As the title makes it easy to see, it is a film that reviews the life of Neil Armstrong (Ryan Gosling), recounting the preparation until he sits at Apollo 11’s command, showing a bit of the current voyage and feats of the moon trip and, later, about the time the astronauts spent in quarantine.
Illustrating numerous aspects of Armstrong’s life, ranging from his life as a test pilot, to the loss of his daughter with pneumonia to the reunion with his wife, Janet Armstrong (Claire Foy) in the end, in fact, one of the most dramatic scenes. exciting ideas from every proposal. Another remarkable moment is the arrival on the lunar surface, taking the viewer by the grandeur of the scene as if it were a vacuum, but also by the importance of the moment itself.
First Man on the Moon doesn’t want to be a documentary. Chazelle has had a lot of fuss about anticipating excitement, especially noticeable with the use and abuse of the metallic sounds during the various illustrated flights. The director is aware that the viewer knows what went very well and what went very bad in reality, so these hooks were needed so that interest would not be lost.
And the truth is that it works. Watching the movie is knowing how the missions ended, but that is obviously not the same as seeing the same movie twice. It is immensely helpful for Gosling to bring a focused Armstrong to life practically detached from anything but the arrival of the moon, something perfectly mirrored in the goodbyes before leaving home for what could well be the last time.
To better appreciate The First Man on the Moon, one must then understand that Chazelle is interested in portraying Armstrong and not in the space program as a whole, even though various moments of the preparation and discontent that the investment of so much money has caused are illustrated. Buzz Aldrin (Corey Stoll) and Michael Collins (Lukas Haas) appear, but this is not a movie about their deeds.