Jason Reitman
Reitman writes a subject left for him to Como and Clooney. Clooney reads it, and accepts it.
If the Actor-director duo is integral to the success of a film, the film presented by the two Rome will no doubt have full support among the public (and if we think that the third replica festival organizers were forced to move "in the Air" in the largest room of the auditorium, at the expense of mediocre premiere of "Lang zai ji, is a sign that the success will be guaranteed).
Ryan Bingham is a man always in the air, charming, charismatic, with unshakable faith for their work that allows him to avoid most of the year the only thing that is close: the depressing return home, the which never feels necessary.
His is a profession that, at the time, for retaliation, is among the few not to suffer the burden of unemployment in the U.S.: Bingham, in fact, is paid for taking jobs to people is that no employee would ever meet.
disturb the tranquility of his life of money, success and constant trips to the country (in addition to its great goal: to reach 10 million miles) is an ambitious girl (Anna Kendrick) who proposes that the Director of ' company (the faithful Jason Bateman) a new method that ensures cost savings and working in the "firing" the personal Internet.
Freedom and objectives challenged, the encounter with a career woman (Vera Farmiga), which starts with an exhilarating approach to the absurd in a hotel bar and the rapprochement "forced" to the family that now considers him almost a stranger, put him in front of his utter lack of roots and bring attention to the possibility of change.
The film highlights the serious economic and financial problems plaguing the U.S. for a long time and the rest of the world (Reitman indicates that this is only one aspect of the film and that a theme should see "Capitalism" by Moore) but mainly focuses on the precariousness of human relationships, a "thin" Apology criticism of individualism which, in a world in constant communication with the distance to hit from every point of view, is now an established fact, and paradoxically, in particular, is a sort of defeat the American dream.
Reitman grew technically than Juno, but the perfection of the script, which collapses almost never in the long run can become tiresome (with people losing their jobs and are led to believe that it is better that way ... and some people believe !), although not the usual American comedy that anyone might expect.
Laughter and there are questions (please, do not in existence!)
be stressed, but out of curiosity, the presence of extras really fired in real life.
Good film, lots of applause, but despite having several consensus, will not have life as easy as it was in competition for the new "Juno."
Patrick Caruso
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