GOYA 2009: THE ALEX'S BEST MOVIE

It is of ready type a speech as that is marked Alex de la Iglesia realized in the president's role of the Academy in his first intervention in the gala of the Goya. In contrast to his predecessors in the charge, Of the Church it did self-criticism, lowered the smokes of the union (“Waste time that union” was pronouncing later Buenafuente) and it did harangue to work for the sake of the Spanish movies, which was indicated like responsible of his successes and for the first time like culprit of his defeats.

He was a firm, convinced speech and enthusiast, adjectives that reflected during the whole ceremony in the face Of the Church, the same face of the director the day of the premiere of his movie. His movie was, in this occasion, the Awards Goya, the biggest (and more criticized) tool of promotion of the Spanish movies, and the true thing is that the spectacle worked with the precision of his best prizewinners; the event was provided with a good prologue, the most finished development where comedy, musical and exciting drama were going of the hand and an included final plot draft. And quite they without advertizing interruptions.

Well led by Andreu Buenafuente, which left several cutting pearls in the shape of pleasantries (“Missis minister, not down to greet it, because I am scared to lower things ahead his”), the ceremony was lively and very agile. There was elegance and star-system (Pé and Bardem were, Amenabar, Almodóvar, Peace Vega), the habitual achievement mistakes polished off, the television transmission won with the voice in off of Toni Garrido who made up the times died in the collection of awards and the elaborated assemblies were entertained and opportune. The proper gala turned into the star of the night, ahead of his nominated movies.
The awards share-out fitted to the waited with the victory of the prison “Cell 211” of Daniel Monzón and the applause and technical recognition to “Agora“ of Alejandro Amenabar. Only the Goya to Marta Etura and Alberto Amman (couple in “Cell 211”) supposed something of surprise, the first one for his scarce role, the second one for nicking the award from Pablo Pineda, winner of the Conch from Better Actor in San Sebastian for “I Also”. Eight Goyas went to the shop windows of “Cell 211” including those of the Better Director for Monsoon and Better Actor for Luis Tosar and seven "obstructionists" were for “Agora“. The third one in discord was the Argentinian “The Secret of his eyes”, probably the most round of all all that were nominated, rewarded by two Goyas.

Before the competition absence in the battle for the awards, the emotion doses came for other flanks. The Goya of Honor to Antonio Mercero was like a Haberdasher's own movie; a humor pinch, much of humanity, and a strong contrast with the pain and the illness. The presence and the words of his children, the visit of Alex de la Iglesia to the hearth of the director of “The Cabin” and his small speech they caused the same conflicting sensation of happiness, tenderness and grief that were leaving some of his movies and series of television and made to weep for the whole respectable, Big included Wyoming.
Up to this moment the gala was wasting satisfaction and harmony like few ones (his television hearing exceeded 4,5 million spectators), but there was missing a final morello cherry that they were in charge of presenting with big sense of humor the Sardá and Andreu. Pedro, the proud producer of La Mancha, the most universal film maker of our movies, that one that it pushed back to the Academy repeatedly, was hiding for several hours in a hotel room to do presence act in the last award of the night signing the peace with the Academy for astonishment of all the presents. The insistence of Of the Church was the one that led Almodovar to forgetting old quarrels and appearing in scene providing of unit and well-being to our movies. Precisely the same insistence that has managed to make the best ceremony of the Goya of all his history. The insistence that is synonymous of the illusion and the effort of those that the president of the Academy was speaking in his monologue. The insistence that leads to the Spanish movies for the good way.

To see list of winners here

AVATARIZADOS

Forget you of the disguises of pitufo or of William Wallace of "Braveheart". If we want to paint of blue the best thing to ourselves the fact is that it belongs to Na'Vi. Now they all want to be Na'Vi and live in Pandora. Something they will have these blue bugs to flood the network and that personages of both fame and Javier Bardem, Michael Jackson, Sayid Jarrah or Stanley Kubrick have achieved his own bluish reply.
The gallery is long and it has no waste. See it.

THE HIGHWAY; THE LAST TRIP

The world has been bothered staying only an infinite thread of asphalt and the hope of an ocean. Everything has got lost, even the values. There does not stay anything about what we knew and the memory of the real thing is an unbearable load for which it would be convenient to die.
The human being has stopped being a human being. The suicide is the option. The survival is only the consequence of the only intact instinct, the paternal protection. That's why Viggo Mortensen there is I decide to prolong his existence in extinction times. For sacrifice, for atonement, for the responsibility of the cover.
The story of John Hillcoat is of an unconditional loyalty to the novel of Cormac Mcarthy, hence this adaptation is a work loaded with unfertility and pain, with scarce cinematographic authorizations. “The highway” is distressing to eyes of the spectator, but his universe is so dazzling as impeccable it is the scale of gray colors of the twilight photo of Javier Aguirresarrobe. In his crushing description of the most nearby thing that the earthly thing of the infernal thing can be, "The Highway" manages to turn us into stowaways of his trip. A trip in which we would never like to be immersed but in which the power of the movies is capable of introducing us.
Secretly, only accompanied by the smell of ash and the sound of the wind "The Road" it forces us to pass that the ragged father and son protagonists experiencing the fan of unsuspected sensations that provokes to find a bunker full of meal in which we might remain to live, one marries where to be able to take a shower, an inhuman cellar and a few dismal strangers whom to distrust.

" The Highway ", sobría, faithful, scrupulous in all his facets (from the dedicated interpretations of Mortensen, Duvall or the child Smith McPhee up to the photo of Aguirresorrabe or the music of Nick Cave y Warren Ellis) turns out to be extremely uncomfortable for his grade perfection in the exhibition of an existence arid and devastated, capable of disturbing the most imperturbable even if it takes the option to be moderated in his moments of more extreme violence. They will be able to correct it of cold or innacesible although also it contains the suggestion and seduction of the big works that makes her indelible. Just it is necessary to decide if we want to go on so hard journey with the only and intangible reward of finding the interior fire or remaining in the comfortable world that we all know. Torrent Damages S03E08 I Look Like Frankenstein now

QUALIFICATIONS TO THE LIMIT

We are not going to discover at this point the caprices of those that devote themselves to put name to the movies that are released in our country. We have wanted only, owing to the premiere of the last movie led by Mel Gibson, to do an inventory of great, great qualifications that contain the word "to" "the" and "limit" in his multiple versions. Two of the favorite words of our managers of translating freely the movies along with other additions like "In the point of view" or "pair Goes of..."
Between them "Lives to the limit" ("Whole Eclipses") of the Dutch director Agniezska Holland, "To The Limit" ("Bringing out the dead") of Martin Scorsese, "At the edge of the truth" ("Changing Lanes) with Samuel L. Jackson, "Betting on the limit" ("Two for the money"), "At the edge of The risk" ("Maximum Risk) of Ringo Lam or the current one "To The Limit" ("Edge of darkness") with the Gibson good one, between many others that not siquieran appear here.
Of course none of these movies contain "to the limit" in his Anglo-Saxon original title. When will we respect the original qualifications?

SUSIE SALMON THAT YOU ARE IN THE SKIES

To speak about the death from a complaisant and coloring optics needs big tact quantities and bears the risk of turning out to be grotesque. This is something that Javier Fesser did, at the edge of the abyss, with “Way“ or that vehicle for the splendor of one for then in heyday, Robin Williams, called “Beyond the sleep” of disastrous reception.
The adaptation of the very well-read novel of Alice Sebold, “From my sky”, was proposing precisely this dilemma, although, in hands of Peter Jackson it was looking like a more trustworthy and promising project from what in the beginning it could result, especially if we were bringing to the memory the last one although distant melodrama of the director neozelandes, “Celestial creatures”, with that “From my sky” he could keep small similarities.
But Peter Jackson of that tape that was discovering for the movies Kate Winslet, is not the same Peter Jackson who has taken this novel as an option. In all this time, Jackson has turned into one of the big film directors spectacle, into a renovator of the visual aspect of the seventh art and into a guy used to products mastodónticos (the trilogy of “The Lord of the Rings”, the new version of “King Kong“) where to amaze at sight receives so much importance like narrating a history.
It is the aptitude acquired by Jackson to it not control herself visually the one that loses to this history of life, death and family, in that painful human moments intermingle with excessive plastic frenzies.
Departing from a devastating premise as it is the murder on the part of a pederast of a 14-year-old girl, “The lovely bones” is the history of a crime, of the distressing matrimonial coexistence with the suspense of a disappearance and of the search of the person in charge of all the damage. Quite narrated from the celestial point of view of the victim, Susie Salmon (Saoirse Ronan).
In this risky confluence between ground and sky, Jackson appears like a good chronicler of the earthly thing and a bad executor of the ethereal thing obstructing his excellent work at the time of presenting and developing the personage of the killer neighbor (personified with big wise move for Stanley Tucci) or of handling the facts that make a detour to the crime, by means of the introduction of superfluous images, sometimes ridiculous and more proper than a fund of office of Windows, which are all those in which young Susie Salmon looks from high at the events.
Too many minutes he uses Jackson in showing his successful one (although of doubtful taste) Eden, something that it will end up by harming to the exhibition of other subplots like the one that alludes to flagging relation between the parents of Susie Salmon (a few desaprovechadísimos Mark Whalberg and Rachel Weisz) or the irruption of the grandmother of the family (Susan Sarandon) and his relation with the small daughter of the family.
Although Jackson does not stop with “The Lovely Bones” being a producer with big sense of the entertainment, if that commits his first big blot since it turned into the director of the first line. Perhaps now let's understand because this movie suffered numerous debts in his premiere and diverse swaying in his artistic team.

GOLDEN WEEKEND

A servant does not remember an edition of the awards Oscar at a level of so debatable quality between the nominated movies. Probably the presence of 10 instead of 5 movies candidates allows the step of movies that had never imagined to be in the competition (District 9, The Blind Side), capable of increasing the sensation of bad cinematographic harvest between the movies of this edition of the Oscars.
Well: and what matters?, the Oscars always shine themselves and offer us one night where to love, to remember, to applaud or to criticize to the movies and to the stars that shape the seventh art.
If of something it serves that the nominated movies throw so many doubts in this edition it is in the emotion of the share-out of awards, that other years at this point were already sung. It happened with “Slumdog Millionaire“, with “it is not a country for old men” or with “Million Dollar Baby”. We already knew that they were going or could win. This year does not happen this way.
“Incarnation“ is the most popular tape of the history of cinema, the visual revolution of three dimensions, the esperadísima new movie of the “king of the world” James Cameron and the winner of the golden Balloons. Achievements that him are insufficient to a movie too much centred on his technical and extremely fragile aspect on his well-worn history. This implies that neither his script, nor his actors have obtained nomination.
“In Hostile Earth” of Kathryn Bigelow it has swept in the awards of the criticism and largely of the unions but it proves to be insecure before the titanic threat of the movie of the blue bugs. Also in the last days the illegal maneuver of reception of votes on the part of one of his producers when the period to vote still was closed can have hurt to his possibilities of award.
And let's not discard “Damned Bastards” winner of the award to the best share-out in the Actors' union, an award that usually coincides with the winner of the Oscar to the Best Movie and to which, the change in the system of vote of this category (the called “preferential vote” for which the candidates are ordained for punctuations) can play in his favor.
Between the big unknown of the night different find that will prepare the ceremony;
- Will gain Meryl Streep his third oscar in his 16 nomination?
- Will be capable “The Secret of his eyes” of snatching the award from foreign movie to “The white tape”?
- How will fit Alec Baldwin and Steve Martin as teachers of ceremonies?
- Will Sandra Bullock obtain his valued statuette in which it is one of the candidacies (Better Actress) more opened of the night?
- Will “Up“ achieve a new award for the Pixar shop windows?
- Will be lacked the delivery of the honorific awards and the interpretation of the nominated songs?
- Will Tarantino be able to do to himself with his second Oscar like scriptwriter or on contrary he will be Mark Boal for “In hostile ground” who the cat takes to the water?
- Will the Spanish animated short triumph “The lady and the death”?
To go out of doubts, from “The Seventh Sky” we invite you to the wireless transmission that directly we will realize from Nova Onda radio and where the best of this house will join during one night to narrate everything what happens in the gala.
Our transmission will begin to 01:00 hours with a previous one, where we will analyze all the necessary aspects to confront the ceremony, to pass to the transmission from 02:30 hours approximately.
As the night will be long we promise to be entertained just as instructive, do not be going to be that a cabezadita plays the past bad one to us. We are sure that our transmission will guarantee moments of sleep accumulated in the morning immediately later to the gala.
You can listen to us across http://www.novaonda.net/ or in 101.9 FM if you are in grounds of Albacete.
And to finish we do not want to break with the tradition of this blog, which every year chooses his winners. Not to that we think that will win, but for those that we had voted in case of being Academicians.
Better movie: Damned Bastard the Better director: Quentin Tarantino for "Damned bastards" Better actor: Colin Firth for "A bachelor" Better actress: Tortoiseshell Mulligan for "An education" Better secondary actor: Christoph Waltz for "Damned bastards" Better secondary actress: Vera Farmiga for "Up in the air" Better original script: Damned bastards Mejor adapted script: Up in the air Mejor sound-track: Michael Giacchino for Better "Up" cartoon: "Fantastic Mr. Fox" Better foreign movie: "The secret of his eyes"

82 EDITION OSCAR: INCARNATION PLAYED IN HOSTILE EARTH

If the quality of the movies nominated in 82 edition of the Oscars was questionable, it it was not less his ceremony commanded with scarce presence by the duo formed by Steve Martin and Alec Baldwin.
There are years in which the gala enjoys originality and freshness (see the edition of 2009 with Hugh Jackman singing and dancing for enjoyment of the personnel) and others (the majority), in which the tedium and the length take possession of the holiday. In the delivery number 82 the latter case happened. There was lacked something of visual, this spectacle which “Incarnation“ was enjoying, something of tension, of which he knows very much “In hostile ground”, and one more pinch of absence of complexes like the one that Tarantino shows in “Damned Bastards”, three movies that were accumulating a major number of candidacies.
Hours before the ceremony something was already smelling badly; Neil Patrick Harris (Barney Stinson) entrusted to open the gala with a musical number, was remaining without partner of dance (Martin Short), they were withdrawing his presenter's role of an award from Sacha Baron Magician for fear of the that could offend with his pranks the very same James Cameron and Sandra Bullock it was obtaining the not one, but two awards Razzie to the worst actress. Also the theories of the specialists began being dismantled in awards that they were indicating that the awards share-out could provide emotion and surprises. In addition and apparently for questions of time of the gala, we might not even console ourselves with the emotive moment of the honorific Oscar, although if of a posthumous homage to John Hughes that not big of the movies as Paul Newman they had.
The renewal did not work therefore (or regression) of the category of Better Movie, with 10 nominated ones instead of 5 and everything happened according to the stipulated script, without option to which our favorite (it was already the Tarantino tape, or animated "Up") could give the stroke.
This way Kathryn Bigelow was obtaining the first feminine Oscar to the Better Director, curiously hours before the International Day of the Woman was celebrated, getting carried away it for more illness to his ex-husband, almighty James Cameron. The result was tenístico; 6 to 3 in favor of “In hostile ground” in his clash with merely visual "Incarnation". The movie on the adrenaline of the soldier on Iraqi area was hanging the most important medals; Movie, the Director, Original script or Assembly while the tape of the tribe of blue color saw his plastic facet rewarded with the Oscars to Better Visual Effects, Better Artistic Direction and the inexplicable one to Better Photo.
As for the awards to the actors, always entrusted to give glamor to the event, the factor surprise did not work either. Jeff Bridges was gathering his statuette after disputing it in five occasions, the secondary Mo'nique ("Precious") and Christoph Waltz (“Damned Bastards”) had the Oscars in his pocket from hacía months and Sandra Bullock was crowning his glorious year with the Oscar to Better Actress, who was making more of one perplexed.
The most just awards of the night corresponded to categories where they had the quintento of nominated movies so much or more level than the queens of the category of Better Movie. This way, the tape of Pixar, “Up“ was done by the award to cartoon ahead of qualifications as the most entertaining “Fantastic Mr. Fox” or the dark one “The worlds of Coraline”, as well as also it was achieving that of better original music and “The Secret of his eyes” was giving to Argentina the second Oscar of his history in a hard battle with movies like “The white tape” of Michael Haneke or the praised one “A prophet” of Jacques Audiard.
Christopher Nolan, Terrence Malick, Tim Burton or David Fincher will be those who put the sauce to the Oscars of next year. They do not have difficult to improve to this edition number 82 which harvest and delivery of awards will not go down precisely in history.