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Re: Glass (M. Night Shyamalan, 2019)
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Glass (M. Night Shyamalan, 2019)
Del Twitter de Angel Sala. En general figuras críticas de cierta relevancia de por aquí hablan maravillas, mientras que en USA se la cargan. Lo de siempre, vamos.
Como afirma @ManuYanezM, fascinante discurso ideológico de @GlassPelicula. Ese grito en favor de la verdad, de lo sobrenatural, de no descartar lo imposible y revelarlo. Y es tb un discurso en favor del género, de explicar nuestro tiempo y la realidad a través de lo imaginario.
Glass is a complex, brave and brilliant movie about the power of fantasy and the quest for truth. Awesome. Very proud for you preview in @sitgesfestival in October. Thanks Master!!!!!
Y Jorge Loser deja caer:
"Hay dos clases de villanos: está el villano soldado, que combate al héroe con sus manos, y está la verdadera amenaza, el brillante y malvado archienemigo que combate al héroe con su mente". Shyamalan contándonos #GLASS hace casi 20 años.
Por otro lado, el citado Manu Yanez:
De las múltiples películas que alberga la extraordinaria #Glass de Shyamalan, la que más me ha emocionado es el manifiesto político contra los que "no quieren que sepamos la verdad" y en favor de aquellos hermanados por la fe en lo extraordinario. #TeamShyamalan
Y Xavi Serra:
Que no us enganyin: GLASS no és una pel·lícula de superherois, sinó una indagació sobre el concepte de superheroi. El gran combat del film és la pugna entre raó i fe. I en el fons, Shyamalan parla de la seva manera d'entendre el cinema. En resum: gran pel·lícula, plena d'idees.
Al final será masterpiece, verás tú . Este mamón virtuoso es un autor que hace lo que le da la gana. Ser contemporaneo suyo es todo un lujo.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Glass (M. Night Shyamalan, 2019)
Claro, ahora me lo explico: gente que entra buscando una cosa (ya me han razonado varios que si las dos entregas anteriores han servido para presentar y desarrollar al universo y sus personajes, en esta por fuerza se ha de abandonar el ritmo moroso y centrarse en LAS TORTAS), y resulta que se encuentran con cine de autor que te hace PENSAR. Con pensamientos así antes de entrar a la sala, no me extrañan las críticas negativas.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Glass (M. Night Shyamalan, 2019)
El comentario de Xavi Serra me ha hecho babear un poquito. Superheroes en un contexto realista, o al menos individuos que creen ser más que meros humanos (fe), y gente que, anclada en ese mismo contexto, opina que son enfermos mentales, que eso no es posible que exista, cómo la magia y demás (razón).
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Glass (M. Night Shyamalan, 2019)
Sigo con el twitter de Angel Sala:
Glass: Modélica secuela al mismo tiempo de Múltiple y El protegido que se convierte en una de las cumbres de la filmografía de Shyamalan. Primero porque el autor es valiente en llevar su método narrativo y visual al limite, sin conjugar modas ni concesiones comerciales.
Glass: Los personajes dibujan su historia mediante el diálogo, el retrato psicológico y se interrelacionan conjugando claves visuales con un dominio magistral del (extremo)primer creando el camino para un Climax final derivado de la propia narrativa del comic.
Glass: la eficacia con la que Shyamalan continúa la historia de los tres protagonistas (Dunn, Glass y los múltiples personajes de McAvoy)siendo coherente con los filmes anteriores e introduciendo nuevos caminos narrativos con Taylor Joy, Sarah Paulson y Treat Clark.
Glass: una de esas películas extrañas hoy en dia donde la autoría no se fija desde posicionamiento de exhibicionismo estéril sino en la.planificacion y lo narrativo, que convierte a Shyamalan en una rara avis solo comparable a los mejores clásicos.
Glass: una película que trata el tema de los superhéroes desde lo íntimo tanto en su concepto como en lo formal (atención en la forma de rodar la acción), desde lo psicológico hasta lo global, creando arcos tanto mitológicos como metalingusiticos entre cine y comic.
Glass es, en definitiva, magnífica, poderosa, inteligente, única y extremadamente innovadora así como valiente. Otro triunfo para ese Shyamalan renacido que el listisimo Jason Blum ha colocado de nuevo en el Olimpo de los grandes del fantástico actual y el cine en general.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Glass (M. Night Shyamalan, 2019)
El proximo 18 de Enero se edita el trabajo de Wes Dylan Thordson para Glass (e incluye elementos musicales de El Protegido de JNH)
https://itunes.apple.com/us/album/gl...ack/1449208243
Re: Glass (M. Night Shyamalan, 2019)
Cada vez estoy mas hot. 1 semana que se va a hacer larguisima.
Desde hace años llevo una doble vida. De dia trabajo pero despues mi
corazon y mi adrenalina se disparan. Al verme jamas pensarias que puedo
moverme a velocidades increibles. Correr mas rapido. Saltar mas alto. Llegar
mas lejos... Y, aunque he sobrepasado los limites, yo si puedo decir que
he vivido.
Re: Glass (M. Night Shyamalan, 2019)
Se me pasó también por la cabeza. Segurísimo que van por ahí los tiros.Iniciado por Branagh/Doyle
Re: Glass (M. Night Shyamalan, 2019)
Dice mi mujer que de Taylor Joy en Split el hindú saca el mismo ORO que de Joel Osment en El Sexto Sentido.
La verdad es que la chiquilla está increíble (¡22 años!). Hace bromas y se lo pasa bomba, cómo debe ser a su edad.
¿Fundamos el club de fans?
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Glass (M. Night Shyamalan, 2019)
Split made some 30 times its budget, and so Shyamalan has delivered Glass, which unites David, Elijah, and the many-headed Kevin (dubbed “The Horde”), to face off against one another in a crossover that no one could have predicted. The result is a ponderously ambitious project that’s bound to infuriate all but Shyamalan’s most devoted fans, a 129-minute treatise on the nature of comic-book heroism and America’s seemingly unending fascination with these damaged champions. It’s a film that sometimes plays more as a rambling ted Talk than as a straightforward thriller. But, in this case, I admired Shyamalan’s overreach, even as the auteur laid meta-textual twist atop twist in the movie’s giddily loopy ending.
So why did I enjoy it so much? For one thing, I appreciate the sheer brashness of Shyamalan’s storytelling, which swirls the mythmaking inherent in characters such as David with the emotional scars borne by orphaned characters such as Superman. If Incredibles 2 was Brad Bird reckoning with America’s superhero obsession, Glass is Shyamalan taking up that mantle and coming away with the observation that, though these heroes might be “broken,” they’re also singular. The director clearly sees them as objects of daily fascination for a country looking to escape the mundane wherever it can; he’s just trying to understand why.
Uyuyuyuy. Jojojojo
Última edición por Branagh/Doyle; 12/01/2019 a las 00:18
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Glass (M. Night Shyamalan, 2019)
Otra, muy dura:
Glass is so tragically misguided, so bereft of character that it may be a sign that perhaps The Visit was a fluke. Maybe the Shyamalan who struck gold 20 years ago never came back after he parted ways with Disney over story notes given for Lady in the Water. With Glass, which proves that he indeed shouldn’t have returned to the world of Unbreakable, he entirely loses sight of his characters, his skewed balance of compassion and malice, his quirky dialogue and the real reasons (not just the plot twists) that he became a household name in the first place. For years we all thought that Shyamalan had lost his storytelling mojo. But now it appears that he may have lost his empathy and compassion. And if that is the case, he may have lost me as well.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Glass (M. Night Shyamalan, 2019)
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