Saturday, February 26, 2011
Thursday, February 24, 2011
Injections For Hip Arthritis
Dia de Andalucia Rincon de la Aduana
Andalucía Day Celebration in the town Berriozar Navarra. 
Andalucía Day Celebration in the town Berriozar Navarra.
Tuesday, February 22, 2011
Older Ladie,s In Knickers
Superheroes Who can act for whom?
between participation and representation
film
Dr. Egon Deckard
In the interest of promoting debate on key issues of representation and participation has, I would like to link article by Mark Lawson for The Guardian and bring a little more about the subject.
The film has two aspects, both equally important to discuss this matter. On the one hand, is an industry in which equity of access regardless of race, creed, sexual orientation, disability, etc., should always be respected. On the other hand, the cinema as a product seeks to transport the viewer into a fictional world with a certain level of credibility with the real world. There are always elements of truth to be sacrificed for the sake of artistic necessity of the work, and the public receives. For example, in a story about Germans executed by Hollywood personalities, they speak English (as in the case of 'Valkyrie' , starring Tom Cruise).
This then presents difficulties when selecting an / a actor / actress to represent a particular character, for historical, geographical or narration require certain characteristics. Generally it seems right that a man is representing a male and a woman representing a female character, though not necessarily a requirement (remember Marlene McFly in the second installment of 'Back to the Future ')
But it becomes more complicated when we consider the representation of racialized content (costume dramas about slavery), or based on stereotypes (As the Westerns). In that case, what can you do? It is clear that many of the futuristic series of the 60s and 70s did not seem to take into account the possible future population growth, but maintained the concept of Anglo-Saxon racial dominance (see, for example, 'Logan's Run' ) but at least some works have tried to recognize (eg characters 'Predator 2' are all contemporary ethnic minorities in the U.S.).
In an interview with El Universal of Cartagena ( can read it here), Ruben Blades said he would not accept roles that denigrate the Latin. This shows that generally they seek to act on behalf of this ethnic group in Hollywood productions. So it seems strange, at least, to request from Johnny Depp to play the role of Tonto in the remake of 'The Lone Ranger. " Not the first time an actor representing a character from another ethnic group, but this is something that has been seen recently with bad eyes, be seen as an excuse to prevent people of different physical conditions have access to the few occasions when are relevant to the film. If all disabled characters are played by actors without a disability, what so many career options as an actor can have a person with disability?
Question on participation and representation in film, which is industry first, but the creator of social imagination, on the other, leads us to question these issues. There are several studies on the privileged representation of certain ethnic characters on television (see IZI) and is therefore not surprising that even the young Colombian indigenous meztizas or claim that they can never be as pretty as a princess, as they have blue eyes and long golden locks.
As the film seeks to represent the world in which it is registered, it also creates representations which mankind receives the impact of these works are compared. The absence of characters Indians, therefore, is an industry problem, which ignores the actors of these ethnic groups, but also creates a problem of representation for those who, seeing films, are represented by people who do not even belong to indigenous groups . To what extent can we take it that an actor can play a role of an underrepresented minority group?
Colombian director Victor Gaviria has been recognized for working with actors that represent stories from his own social environment, instead of being represented by people living in socio-economic conditions much better than theirs, and only represent for a short period. Again it is one the same question about the access they have the actors to their roles, and the impact this has on the collective representation.
is not an easy question to answer. The film, like any other creative industry, this hard evidence that duality of its workforce, and those images that make reference build collective identities. If the dream of a young Embera or Wayuu is to become a Hollywood actor Can you imagine what kind of roles they would come to be proposed?
I do not expect answers, just raise questions. The cinema is not only the spotlight of the awards Oscar. The film also helps us define who we are and who we are not. 
between participation and representation
film
Dr. Egon Deckard
In the interest of promoting debate on key issues of representation and participation has, I would like to link article by Mark Lawson for The Guardian and bring a little more about the subject.
The film has two aspects, both equally important to discuss this matter. On the one hand, is an industry in which equity of access regardless of race, creed, sexual orientation, disability, etc., should always be respected. On the other hand, the cinema as a product seeks to transport the viewer into a fictional world with a certain level of credibility with the real world. There are always elements of truth to be sacrificed for the sake of artistic necessity of the work, and the public receives. For example, in a story about Germans executed by Hollywood personalities, they speak English (as in the case of 'Valkyrie' , starring Tom Cruise).
This then presents difficulties when selecting an / a actor / actress to represent a particular character, for historical, geographical or narration require certain characteristics. Generally it seems right that a man is representing a male and a woman representing a female character, though not necessarily a requirement (remember Marlene McFly in the second installment of 'Back to the Future ')
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But it becomes more complicated when we consider the representation of racialized content (costume dramas about slavery), or based on stereotypes (As the Westerns). In that case, what can you do? It is clear that many of the futuristic series of the 60s and 70s did not seem to take into account the possible future population growth, but maintained the concept of Anglo-Saxon racial dominance (see, for example, 'Logan's Run' ) but at least some works have tried to recognize (eg characters 'Predator 2' are all contemporary ethnic minorities in the U.S.).
In an interview with El Universal of Cartagena ( can read it here), Ruben Blades said he would not accept roles that denigrate the Latin. This shows that generally they seek to act on behalf of this ethnic group in Hollywood productions. So it seems strange, at least, to request from Johnny Depp to play the role of Tonto in the remake of 'The Lone Ranger. " Not the first time an actor representing a character from another ethnic group, but this is something that has been seen recently with bad eyes, be seen as an excuse to prevent people of different physical conditions have access to the few occasions when are relevant to the film. If all disabled characters are played by actors without a disability, what so many career options as an actor can have a person with disability?
Question on participation and representation in film, which is industry first, but the creator of social imagination, on the other, leads us to question these issues. There are several studies on the privileged representation of certain ethnic characters on television (see IZI) and is therefore not surprising that even the young Colombian indigenous meztizas or claim that they can never be as pretty as a princess, as they have blue eyes and long golden locks.
As the film seeks to represent the world in which it is registered, it also creates representations which mankind receives the impact of these works are compared. The absence of characters Indians, therefore, is an industry problem, which ignores the actors of these ethnic groups, but also creates a problem of representation for those who, seeing films, are represented by people who do not even belong to indigenous groups . To what extent can we take it that an actor can play a role of an underrepresented minority group?
Colombian director Victor Gaviria has been recognized for working with actors that represent stories from his own social environment, instead of being represented by people living in socio-economic conditions much better than theirs, and only represent for a short period. Again it is one the same question about the access they have the actors to their roles, and the impact this has on the collective representation.
is not an easy question to answer. The film, like any other creative industry, this hard evidence that duality of its workforce, and those images that make reference build collective identities. If the dream of a young Embera or Wayuu is to become a Hollywood actor Can you imagine what kind of roles they would come to be proposed?
I do not expect answers, just raise questions. The cinema is not only the spotlight of the awards Oscar. The film also helps us define who we are and who we are not.
Wednesday, February 16, 2011
Denise Milani And Friends Wikipedia
parking 
Tuesday, February 15, 2011
Best Wood For Green Egg Table
New Tenant
Introducing the new Club Atletico Osasuna coach Jose Luis Mendilibar. 
Monday, February 14, 2011
Cupid Shuffle Written Instruction
seen from Hollywood's Oscar
By J. Potter
By J. Potter Oscars Viewed from Hollywood
Judge
something like the Academy Awards, which reaches its 83 edition, by the lights, the designers, the action sequences, the cheap laughs and unjustified or preconceived stories is to see the problem too close, getting into the same bag authentic works of art films, about this time according to my two companions, would be great on a bus trip along the highways of Colombia, but not in the historic night with the best film. So what's the problem? We split, and hopefully short because I want to talk about the films this year.
's start with those who speak out are not good films but good yields. Recognizing that in the top flight have been films like The Return of the King (2003), Titanic (1997) and Braveheart (1995), none of which helps me to the point you want to show poor quality due to its narrative, we also Terms od find Enderarment, James L. Brooks, Amadeus and One Flew Over the Cuckoo's Nest, both of Milos Forman, Annie Hall, Woody Allen, The Silence of the Lambs, Jonathan Demme, and Crash, by Paul Haggins, to name just a few in the last 30 years because if we would follow back to Casablanca, My Fair Lady, Gigi, West Side Story, In The Heat of the Night, Patton, The Sting and The Godfather, just to name a few cinematic masterpieces and let my colleagues something validity in his argument and not end the discussion in the second paragraph ... And by the way, what a coincidence, made by major studios in Hollywood.
is true that from this corner of Los Angeles are sometimes very successful unspeakable things, but so is that many of his films have earned a place in the Oscar nominees for justice and intrinsic quality. But okay, let the argument a bit 'anti-imperialist' lover's 'art film' against big business. Enter the nominees this year there are films such as Blue Valentine, Winter's Bone and The Kid Are All Right, made low parameters advocated by opponents of the Academy, as independent films, low budget and wonderful stories.
Finally the issue of directors, only with the intention of making clarification. From the producers of "blockbusters" only Steven Spielberg (Schindler's List and Saving Private Ryan) and James Cameron (Titanic) have won awards for Best Director. The rest we find names such as Frank Capra, John Ford, Billy Wilder, William Wyler, David Lean, Mike Nichols, Robert Redford, Bernardo Bertolucci, Sam Mendes, Roman Polanski, Ang Lee and Martin Scorsese, all characterized by their poor quality work and poor narrative.
Someone very wise I have for once told me that the film can not have opinions inquisitive, as the richness and variety of his art is impossible to reach universal consensus. But the fact that in the last 30 years, winning for best picture have raised four billion dollars and is recognized directors and actors who subscribe to The E True Hollywood Story, does not make the products recognized in this evening are second-hand materials.
might agree that the whole issue of 'Red Carpet', journalists who know little of film adorn his time on radio and television with nonsense and mafia behaviors in some studies, are a disgrace to the party . However what is recognized if there is a reference indicator and the quality of products made for the cinema in the world.
Ahora centrémonos en las películas nominadas para este año, en cualquiera de las categorías. Tengo que recomendarles primero mi favorita, The King’s Speech, de Tom Hopper con espectaculares actuaciones de Colin Firth, Geoffrey Rush y Helena Bonham Carter, que cuenta la historia del rey Jorge VI de Inglaterra que sin esperarlo tuvo que suceder a su hermano Eduardo VIII luego de que este renunciara para consumar su amor con la americana Wallis Simpson. Es un film perfecto en su tiempo, en el trascurrir de la narración, en las representaciones de los personajes, en su fotografía y sobretodo en su respeto histórico que, aunque el director took some dramatic license, make this work becomes a party to the club they belong to predecessors such as Patton, Gandhi, All the President's Men, All Quiet on the Western Front and Downfall.
Very close is The Black Swan, another masterpiece from Darren Aronofsky, which certainly will lead the next Wolverine, which included a Natalie Portman is a look inspired kaffkiana the glamorous world of classical ballet and above the legendary piece of Tchaikovsky's Swan Lake. Displays a hidden world behind the shoes and tutus, with wonderful shades of madness that make this a wonderful film and an instant classic.
I also recommend Biutiful, Alejandro González Iñárritu, The Kids Are All Right, by Lisa Cholodenko, and Winter's Bone, Alix Madigan and Anne Rosellini, who probably will not win any major categories, but they are films that worth seeing again and again.
is to be hoped that the liberal master narrative in the U.S., Aaron Sorkin, won for his work on The Social Network, Toy Story 3 maintains the dominance of Disney in the animation category and see who takes the prize side, which this year have a particular quality in all its interpretations, especially those of Christian Bale Geoffrey Rush, Melissa Leo, Hailee Steinfeld and Helena Bonham Carter.
is a night to recognize the best films, to witness his magic and keep the stuff that cable television has permeated the party.
Saturday, February 12, 2011
Friday, February 11, 2011
Ontario Licence Plates Colours
One down .. Welcome to my home
Egyptians celebrate in the streets of Pamplona Mubarak's resignation. 
Thursday, February 10, 2011
Tuesday, February 1, 2011
Women Wearing Girdles And Stockings
My favorite for the Oscar (final)
By: Alfred Eastwood
In the tonic that has raised my good friend Dr. Deckard, I raise my favorites in the main categories for the Oscars. Although as I said on several occasions, I really like these awards, we must be realistic and understand that each Oscar means a lot of potential millions for a movie and is a tribute to the film industry.
Speak then of each category:
Best Picture
Black Swan, The Fighter, Inception, The Kids Are All Right, The King's Speech, 127 Hours, The Social Network, Toy Story 3, True Grit, Winter's Bone
no doubt This year's selection is much better than previous years (especially the past in that the Academy only became Avatar and Hurt Locker). It is good quality movies mostly and I think the winner will be among Inception and Social Network. My favorite to win (being the most complete) is Inception, but I have to applaud the court including very independent films such as Black Swan and 127 hours.
Best Director for Black Swan Darren Aronofsky, David O. Russell for The Fighter, Tom Hooper for The King's Speech, David Fincher for The Social Network, Joel Coen and Ethan Coen for True Gift
I think more options is Fincher, who has not won even the award despite having run movies too award-winning, like The Curious Case of Benjamin Button, Seven and Fight Club. If Fincher does not win the prize, could be for Aronofski, which makes a great movie very intimate and copyright (which is precisely what is rewarded at the Oscars) or the Coen brothers, who already won for No Country for Old men (although his new film is definitely not his best work). If you win Russell and Hooper would be a great surprise.
Best Actor
Javier Bardem Biutiful, Jeff Bridges, True Grit, Jesse Eisenberg of The Social Network, Colin Firth by The King's Speech, James Franco by 127 Hours My favorite are Eisenberg, who does it so well that no note (as should happen with good performances, which are not enforced). Firth is also a big favorite and not desmerecería the award, succeeds in presenting a character as ambivalent between the authority and fear with great skill. Bridges repeat nomination and, practically, character. About our Latin American friends: Franco does a good job on the line suggests and Bardem's character not think I have good options in a Mexican film.
Actress
Annette Bening in The Kids Are All Right, Nicole Kidman for Rabbit Hole, Jennifer Lawrence for Winter's Bone, Natalie Portman by Black Swan, Michelle Williams by Blue Valentine
I think this is perhaps the most difficult category this year and is expected a close fight between Annette Bening, a great actress in Hollywood who still owes her award after being nominated and ready to win three times (for "American Beauty", "The Griffter" and "Being Julia") and Natalie Portman, who won this year's second Golden Globe and was nominated for an Oscar for "Closer" sin ganarlo, y que logra una magnífica interpretación en “Black Swan” con un personaje tan perfecto como oscuro (o perfectamente oscuro). Sorprende que Nicole Kidman no haya sonado mucho, no he visto su película pero algunos amigos me dicen que es su mejor papel; tal vez le están cobrando los muchos papeles malos que ha hecho en los últimos años.
Actor secundario: Christian Bale (The Fighter) – John Hawkes (Winter’s Bone) – Jeremy Renner (The Town) – Mark Ruffalo (Los chicos están bien) – Geoffrey Rush (El discurso del rey).
Christian Bale hace su mejor papel en esta película, realmente formidable, merece el premio por esta gran actuación. Geoffrey Rush's character is also highlighted, but it is not surprising, perhaps the best Australian actor of all time.
Supporting Actress: Amy Adams
(The Fighter) - Helena Bonham Carter (The king's speech) - Melissa Leo (The Fighter) - Hailee Steinfeld (True Grit) - Jacki Weaver (Animal Kingdom).
Amy Adams does a good role in The Fighter, a character very different from the princess tale "Enchanted" or retracted nun "Doubt," his character is strong, loud and rude, but unfortunately leaves very few minutes display to be memorable. His co-star, Melissa Leo, has better appearance and his performance is superb, I'd say she probably win, but my favorite is Hailee Steinfeld, who at 14 has the full weight of "True Gift" on his shoulders. However, Carter could win Bonhan also a sober person in the midst of composure required of a queen can not hide his pain. Best Foreign Film
Unfortunately I can not talk about my favorite category, because these films do not come to our country in time and sometimes fail. My experience tells me that among them may be the best film cinematically.
My favorite (I know you do not necessarily win) are:
Best Film of the Year: 'Source' ("Inception")
Best Director: David Fincher ('The network')
Best Leading Actor: Jesse Eisenberg ("The network")
Best Leading Actress: Natalie Portman ('black swan')
Best Supporting Actress: Hailee Steinfeld ("True Grit")
Best Supporting Actor: Christian Bale ('The Fighter')
Best animated film 'Toy Story 3' (Lee Unkrich)
Best adapted screenplay: 'social network' (Aaron Sorkin) Best screenplay
original'Origen '(Christopher Nolan)
Best Music: 'The network' (Trent Reznor and Atticus Ross)
Best Visual Effects: "Harry Potter and the Deathly Hallows. Part 1 '(' Harry Potter and the Deathly Hallows. Part 1 ')
Finally, some comments on the nominees: 127 Hours
A film too underground to win a prize. In my opinion, is what the Oscar sets in the list to pose as democratic and inclusive. James Franco's performance is good, but the role requires it, it does nothing beyond what the character suggests. Definitely not the best movie of Danny Boyle, but I value his return to simplicity, escaping from the blockbuster Slumdog Millionaire. Much of the film seems a chapter of proof of all or Survivor Man and is one of those cases in which the main virtue is the story that promotes the movie (you can see youtube videos of real Aron Ralston). Boyle is my favorite by far Shallow Graves (Graves at ground level). Social Network
While not the best film by David Fincher, "Social Network" is a great example of how to be creative with a single epic creation. The founding of Facebook could lead to a movie boring and predictable, which is exactly what is this story. Choosing point of view demands against Zuckerberg and his personality restless, desperate and selfish are successes that make a simple story a great movie. Apart from the great performance of Eisenberg (that makes it so well that it seems that he was acting), it is important to emphasize in a great soundtrack and a montage formidable. The characterization of the characters, also shows us a world where more than heroes and villains, only children who become millionaires and entrepreneurs overnight. Impressive, for example, that Justin Timberlake's character seems an old man full of experience and "tanning" in the business world at age 25. Like good movies, I liked the second time I saw her.
True Gift is a remarkable return of the Coen brothers with a classic western style with some touches of humor, but without the required dose of black humor that I miss in his last film. Jeff Bridges repeats the same character he did last year's winner and most of the other characters are a little bland, except for the girl, brilliantly played by Hailee Steinfeld, 14, that is what rescues this movie more western reflective style of Eastwood's Unforgiven and No Country for Old Men the Coen themselves. The pace of the film is dull and sometimes not well understood what you have to say.
Fighter The first thing you may think when you announced this film in theaters is that maybe it's a strange "Deja Vu" because in the past five years have already seen several fighters parading across the screen, as Mickey Rourke The Wrestler and Russell Crowe in Cinderella Man All three films had the same name in Colombia: "The Wrestler." The history of boxing in film is seductive and there are several memorable as Anthony Quinn in La Strada, the Rocky deStallone, Hilary Swank as Maggie in Million Dollar Baby and Raging Bull De Niro. What is so different this fighter? In the first instance, nothing. Again it is the story of a boy from a poor neighborhood coaching to get ahead and be world champion.
The interesting thing here is the love-hate-reproach admiration and jealousy that exists between him and his brother, an old boxing glory that looks a lot (in history) to our Pambelé. In short, the best of the story has a name: Christian Bale, unrecognizable physically and acting in the role of lovable loser, worthy of pity and affection. Whalberg's performance is good, as well as Amy Adams (Oscar-nominated), but the duo Bale-Leo (another nominee) who steals the applause.
The king's speech: Another good movie whose weight falls on the performances and a great story. The story is interesting dramatically by the great weight that the fact that the most important character of the world feel insecure. As I have said many times, a character is as interesting as its most vulnerable. The performance of Colin Firth and Helen Carter Bonhan is impeccable and reflect all the pomposity of the British royal family itself in the 30's revealing hints of personal feelings of love, fear and suffering. Geoffrey Rush makes a great paper, but no more than some of his best performances (of course, Shine).
Black Swan: movie is by far the most intimate of shows and I would say that one of the most holds that status in history recent awards. We could not expect less from Aronofski, an author interested in showing emotions and awaken feelings in viewers (as it does in Pi and Requiem for a Dream). The film is a virtual acid trip of a perfectionist mentality and somewhat unhinged Portman's character, who definitely carries all the weight of history. Her character is wonderful for their range of transformation and continuous analogy between the experience of the dancer and the work of Swan Lake which she stars.
can see comments on Inception and Toy Story 3 in www.jeronimorivera.com 
By: Alfred Eastwood
In the tonic that has raised my good friend Dr. Deckard, I raise my favorites in the main categories for the Oscars. Although as I said on several occasions, I really like these awards, we must be realistic and understand that each Oscar means a lot of potential millions for a movie and is a tribute to the film industry.
Speak then of each category:
Best Picture
Black Swan, The Fighter, Inception, The Kids Are All Right, The King's Speech, 127 Hours, The Social Network, Toy Story 3, True Grit, Winter's Bone
no doubt This year's selection is much better than previous years (especially the past in that the Academy only became Avatar and Hurt Locker). It is good quality movies mostly and I think the winner will be among Inception and Social Network. My favorite to win (being the most complete) is Inception, but I have to applaud the court including very independent films such as Black Swan and 127 hours.
Best Director for Black Swan Darren Aronofsky, David O. Russell for The Fighter, Tom Hooper for The King's Speech, David Fincher for The Social Network, Joel Coen and Ethan Coen for True Gift
I think more options is Fincher, who has not won even the award despite having run movies too award-winning, like The Curious Case of Benjamin Button, Seven and Fight Club. If Fincher does not win the prize, could be for Aronofski, which makes a great movie very intimate and copyright (which is precisely what is rewarded at the Oscars) or the Coen brothers, who already won for No Country for Old men (although his new film is definitely not his best work). If you win Russell and Hooper would be a great surprise.
Best Actor
Javier Bardem Biutiful, Jeff Bridges, True Grit, Jesse Eisenberg of The Social Network, Colin Firth by The King's Speech, James Franco by 127 Hours My favorite are Eisenberg, who does it so well that no note (as should happen with good performances, which are not enforced). Firth is also a big favorite and not desmerecería the award, succeeds in presenting a character as ambivalent between the authority and fear with great skill. Bridges repeat nomination and, practically, character. About our Latin American friends: Franco does a good job on the line suggests and Bardem's character not think I have good options in a Mexican film.
Actress
Annette Bening in The Kids Are All Right, Nicole Kidman for Rabbit Hole, Jennifer Lawrence for Winter's Bone, Natalie Portman by Black Swan, Michelle Williams by Blue Valentine
I think this is perhaps the most difficult category this year and is expected a close fight between Annette Bening, a great actress in Hollywood who still owes her award after being nominated and ready to win three times (for "American Beauty", "The Griffter" and "Being Julia") and Natalie Portman, who won this year's second Golden Globe and was nominated for an Oscar for "Closer" sin ganarlo, y que logra una magnífica interpretación en “Black Swan” con un personaje tan perfecto como oscuro (o perfectamente oscuro). Sorprende que Nicole Kidman no haya sonado mucho, no he visto su película pero algunos amigos me dicen que es su mejor papel; tal vez le están cobrando los muchos papeles malos que ha hecho en los últimos años.
Actor secundario: Christian Bale (The Fighter) – John Hawkes (Winter’s Bone) – Jeremy Renner (The Town) – Mark Ruffalo (Los chicos están bien) – Geoffrey Rush (El discurso del rey).
Christian Bale hace su mejor papel en esta película, realmente formidable, merece el premio por esta gran actuación. Geoffrey Rush's character is also highlighted, but it is not surprising, perhaps the best Australian actor of all time.
Supporting Actress: Amy Adams
(The Fighter) - Helena Bonham Carter (The king's speech) - Melissa Leo (The Fighter) - Hailee Steinfeld (True Grit) - Jacki Weaver (Animal Kingdom).
Amy Adams does a good role in The Fighter, a character very different from the princess tale "Enchanted" or retracted nun "Doubt," his character is strong, loud and rude, but unfortunately leaves very few minutes display to be memorable. His co-star, Melissa Leo, has better appearance and his performance is superb, I'd say she probably win, but my favorite is Hailee Steinfeld, who at 14 has the full weight of "True Gift" on his shoulders. However, Carter could win Bonhan also a sober person in the midst of composure required of a queen can not hide his pain. Best Foreign Film
Unfortunately I can not talk about my favorite category, because these films do not come to our country in time and sometimes fail. My experience tells me that among them may be the best film cinematically.
My favorite (I know you do not necessarily win) are:
Best Film of the Year: 'Source' ("Inception")
Best Director: David Fincher ('The network')
Best Leading Actor: Jesse Eisenberg ("The network")
Best Leading Actress: Natalie Portman ('black swan')
Best Supporting Actress: Hailee Steinfeld ("True Grit")
Best Supporting Actor: Christian Bale ('The Fighter')
Best animated film 'Toy Story 3' (Lee Unkrich)
Best adapted screenplay: 'social network' (Aaron Sorkin) Best screenplay
original'Origen '(Christopher Nolan)
Best Music: 'The network' (Trent Reznor and Atticus Ross)
Best Visual Effects: "Harry Potter and the Deathly Hallows. Part 1 '(' Harry Potter and the Deathly Hallows. Part 1 ')
Finally, some comments on the nominees: 127 Hours
A film too underground to win a prize. In my opinion, is what the Oscar sets in the list to pose as democratic and inclusive. James Franco's performance is good, but the role requires it, it does nothing beyond what the character suggests. Definitely not the best movie of Danny Boyle, but I value his return to simplicity, escaping from the blockbuster Slumdog Millionaire. Much of the film seems a chapter of proof of all or Survivor Man and is one of those cases in which the main virtue is the story that promotes the movie (you can see youtube videos of real Aron Ralston). Boyle is my favorite by far Shallow Graves (Graves at ground level). Social Network
While not the best film by David Fincher, "Social Network" is a great example of how to be creative with a single epic creation. The founding of Facebook could lead to a movie boring and predictable, which is exactly what is this story. Choosing point of view demands against Zuckerberg and his personality restless, desperate and selfish are successes that make a simple story a great movie. Apart from the great performance of Eisenberg (that makes it so well that it seems that he was acting), it is important to emphasize in a great soundtrack and a montage formidable. The characterization of the characters, also shows us a world where more than heroes and villains, only children who become millionaires and entrepreneurs overnight. Impressive, for example, that Justin Timberlake's character seems an old man full of experience and "tanning" in the business world at age 25. Like good movies, I liked the second time I saw her.
True Gift is a remarkable return of the Coen brothers with a classic western style with some touches of humor, but without the required dose of black humor that I miss in his last film. Jeff Bridges repeats the same character he did last year's winner and most of the other characters are a little bland, except for the girl, brilliantly played by Hailee Steinfeld, 14, that is what rescues this movie more western reflective style of Eastwood's Unforgiven and No Country for Old Men the Coen themselves. The pace of the film is dull and sometimes not well understood what you have to say.
Fighter The first thing you may think when you announced this film in theaters is that maybe it's a strange "Deja Vu" because in the past five years have already seen several fighters parading across the screen, as Mickey Rourke The Wrestler and Russell Crowe in Cinderella Man All three films had the same name in Colombia: "The Wrestler." The history of boxing in film is seductive and there are several memorable as Anthony Quinn in La Strada, the Rocky deStallone, Hilary Swank as Maggie in Million Dollar Baby and Raging Bull De Niro. What is so different this fighter? In the first instance, nothing. Again it is the story of a boy from a poor neighborhood coaching to get ahead and be world champion.
The interesting thing here is the love-hate-reproach admiration and jealousy that exists between him and his brother, an old boxing glory that looks a lot (in history) to our Pambelé. In short, the best of the story has a name: Christian Bale, unrecognizable physically and acting in the role of lovable loser, worthy of pity and affection. Whalberg's performance is good, as well as Amy Adams (Oscar-nominated), but the duo Bale-Leo (another nominee) who steals the applause.
The king's speech: Another good movie whose weight falls on the performances and a great story. The story is interesting dramatically by the great weight that the fact that the most important character of the world feel insecure. As I have said many times, a character is as interesting as its most vulnerable. The performance of Colin Firth and Helen Carter Bonhan is impeccable and reflect all the pomposity of the British royal family itself in the 30's revealing hints of personal feelings of love, fear and suffering. Geoffrey Rush makes a great paper, but no more than some of his best performances (of course, Shine).
Black Swan: movie is by far the most intimate of shows and I would say that one of the most holds that status in history recent awards. We could not expect less from Aronofski, an author interested in showing emotions and awaken feelings in viewers (as it does in Pi and Requiem for a Dream). The film is a virtual acid trip of a perfectionist mentality and somewhat unhinged Portman's character, who definitely carries all the weight of history. Her character is wonderful for their range of transformation and continuous analogy between the experience of the dancer and the work of Swan Lake which she stars.
can see comments on Inception and Toy Story 3 in www.jeronimorivera.com
How To Make Sailboat Invitations
Nominees: First Delivery
3dPelícula The three members have decided A brief review of the Oscar-nominated films that have had the opportunity to see. I begin this series with three films that talk a bit: The Social Network (Dir. David Fincher); Another Year (Dir. Mike Leigh); Tron: Legacy (Dir. Joseph Kosinski).
Before the beginning to tell me something I already know (that of the three films is only nominated for best film), otórgenme the benefit of the doubt. Thank you very much. Social Network
Nominated: Best Picture / Actor / Director / Edit / Original Music / Sound
First of all, this is not the story of how I think Facebook, or how they grew Facebook, or how Facebook is filled with silver, just like the movie Titanic (Dir. James Cameron) is not history of how a giant ship is sinking. No. Social Network is the story of the social relations of a character for whom to be important for the world serves to compensate for their inability to be relevant to a particular person. It's that simple. The characters satellites revolving around the main character makes us ask what is ready and how much sacrifice a person to receive the recognition they want. But as we guide the idea that Social Network Facebook is what the Titanic Titanic, you might have a chance to Oscar (Level of success: ++/++++)
The above topic demonstrates to us why it is difficult nominate the film for best supporting actor, as most are, the truth, tertiary to the story. Beyond that, it emphasizes why the nomination for best actor. Social Network depends, fundamentally, we believe, suffer, understand, detest, deplore and feel sorry for a single character. Having to be a great center of human absurdity, a less fun Sheldon, Jesse Eisenberg should try to convince us that he is this deplorable character. I think he does, and succeeds so well that so many do not like this movie. Support they receive this award and I see his chances very high, although people like you make King; sounds more glorious (+++/++++).
is not the best film by David Fincher, which gives option to get it, because rarely Oscar award for best film of a director. However, this film does not taste Noir Seven or Fight Club . There is also a great work and have its great moments (+/++++).
The interesting issue has merit in building tension when the truth is not. The scene of the rowing boat race is an excellent example of building intensity and rhythm in a movie, and worth using, for its brevity and metaphorical value to undergraduate students explain what these two elements. Beyond that, there's not much to say (++/++++).
Trent Reznor and Atticus Ross have created a soundtrack that really captures more about the digital world where there is Facebook than any other element of the film. Diegetic atmospheres electronic melodies product produce an artificial feeling about the same device. Your best bet, definitely (++++/++++).
Como si no fuera suficiente con la música que acompaña las imágenes, la construcción de espacios sonoros es igual de impresionante. La escena de la charla en el segundo piso de una discoteca ruidosa logra algo casi imposible: se siente el golpeteo rítmico del bajo, estallado para poner a vibrar al más tieso, y sin embargo se escucha la conversación perfectamente. Pero aunque es muy limpio y claro, no alcanza a tener la fuerza de su música (+++/++++).
Veredicto:
Mejor Banda Sonora / Mejor Sonido / quizás Mejor Actor
Another Year
Nominated: Best Original Screenplay
We used to see stories where the narrative is very traditional in some respects. A character falls from grace by chance and that unfortunately leaves accumulating merit to clearly display the values \u200b\u200bassociated with that to be correct in our societies (as Hitchcock would say). But when we tell the story simply, aging, and narrated as a single year in the life of a couple of simple events we are wonderful, and the passage of a year, which is identical to another, reminds us that we live life as a collection of stories. It's that simple is this excellent window into the experience of being alive, alone or with (+++/++++).
Verdict:
This award not win these stories. That's part of what happens in a year.
Tron: Legacy
Nominated: Best Sound Effects Editing
This category is much talk about this movie: not relevant script, even his appearance is as impressive as one would expect. It is a nice sequel, for those like us, as followers of worship, to continue the storytelling that are clearly recorded at the time. The effects sound are quite elaborate, and considering the investment in this product, you can not expect less. This category has much potential (+++/++++).
Verdict:
not convinced in any other way, but this one takes it. 
3dPelícula The three members have decided A brief review of the Oscar-nominated films that have had the opportunity to see. I begin this series with three films that talk a bit: The Social Network (Dir. David Fincher); Another Year (Dir. Mike Leigh); Tron: Legacy (Dir. Joseph Kosinski). Before the beginning to tell me something I already know (that of the three films is only nominated for best film), otórgenme the benefit of the doubt. Thank you very much. Social Network
Nominated: Best Picture / Actor / Director / Edit / Original Music / Sound
First of all, this is not the story of how I think Facebook, or how they grew Facebook, or how Facebook is filled with silver, just like the movie Titanic (Dir. James Cameron) is not history of how a giant ship is sinking. No. Social Network is the story of the social relations of a character for whom to be important for the world serves to compensate for their inability to be relevant to a particular person. It's that simple. The characters satellites revolving around the main character makes us ask what is ready and how much sacrifice a person to receive the recognition they want. But as we guide the idea that Social Network Facebook is what the Titanic Titanic, you might have a chance to Oscar (Level of success: ++/++++)
The above topic demonstrates to us why it is difficult nominate the film for best supporting actor, as most are, the truth, tertiary to the story. Beyond that, it emphasizes why the nomination for best actor. Social Network depends, fundamentally, we believe, suffer, understand, detest, deplore and feel sorry for a single character. Having to be a great center of human absurdity, a less fun Sheldon, Jesse Eisenberg should try to convince us that he is this deplorable character. I think he does, and succeeds so well that so many do not like this movie. Support they receive this award and I see his chances very high, although people like you make King; sounds more glorious (+++/++++).
is not the best film by David Fincher, which gives option to get it, because rarely Oscar award for best film of a director. However, this film does not taste Noir Seven or Fight Club . There is also a great work and have its great moments (+/++++).
The interesting issue has merit in building tension when the truth is not. The scene of the rowing boat race is an excellent example of building intensity and rhythm in a movie, and worth using, for its brevity and metaphorical value to undergraduate students explain what these two elements. Beyond that, there's not much to say (++/++++).
Trent Reznor and Atticus Ross have created a soundtrack that really captures more about the digital world where there is Facebook than any other element of the film. Diegetic atmospheres electronic melodies product produce an artificial feeling about the same device. Your best bet, definitely (++++/++++).
Como si no fuera suficiente con la música que acompaña las imágenes, la construcción de espacios sonoros es igual de impresionante. La escena de la charla en el segundo piso de una discoteca ruidosa logra algo casi imposible: se siente el golpeteo rítmico del bajo, estallado para poner a vibrar al más tieso, y sin embargo se escucha la conversación perfectamente. Pero aunque es muy limpio y claro, no alcanza a tener la fuerza de su música (+++/++++).
Veredicto:
Mejor Banda Sonora / Mejor Sonido / quizás Mejor Actor Another Year
Nominated: Best Original Screenplay
We used to see stories where the narrative is very traditional in some respects. A character falls from grace by chance and that unfortunately leaves accumulating merit to clearly display the values \u200b\u200bassociated with that to be correct in our societies (as Hitchcock would say). But when we tell the story simply, aging, and narrated as a single year in the life of a couple of simple events we are wonderful, and the passage of a year, which is identical to another, reminds us that we live life as a collection of stories. It's that simple is this excellent window into the experience of being alive, alone or with (+++/++++).
Verdict:
This award not win these stories. That's part of what happens in a year.
Tron: Legacy
Nominated: Best Sound Effects Editing
This category is much talk about this movie: not relevant script, even his appearance is as impressive as one would expect. It is a nice sequel, for those like us, as followers of worship, to continue the storytelling that are clearly recorded at the time. The effects sound are quite elaborate, and considering the investment in this product, you can not expect less. This category has much potential (+++/++++).
Verdict:
not convinced in any other way, but this one takes it.
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