Movie

There are always more differences than resemblances between a remake and the original film upon which the remake is based. The reason may be that a remake is always tempting and gives a director the chance to show his version of the story, in one's own directorial style.

Edmond Fleg and George Enescu created through text and music, in an oratorical work with multiple challenges for the choir, as well as with prominent soloistic arias, created when a little intense, when voluminous, at the same time with a profound main role, the history of Oedipus, starting with his birth and ending with his death. There is however, a difference, apparently of reduced proportions at the start, but taking into consideration its temporal origin, which is, in either case, essential.

Everybody knows Tarantino likes bad movies. And everybody is wrong. It's true, though, that he likes to mock bad movies. In his scripts, sometimes his characters talk about obscure cinematographic delights, while himself, asked to name his all time favourite movies, will mix the known wit the little seen...

I don't know how much the director David Mackenzie likes to impress his listeners in a conversation. It's clearer, though, how much he likes to impress his audience, in showing them how skilful he can be, at any risk. The beginning of his Spread is obviously histrionic: Ashton Kutcher's cool monologue, added to serious rock'n'roll riffs (the wonderful Duke Spirit tune, ‘This Ship Was Made To Last') is continued by a very complex shot of a man and a woman walking into a club.

George Enescu Festival 2009 - positive aspects from Romania
The 19th edition of the festival of Romanian music that took place between August 30th and September 26th.

You cannot do otherwise but suspect the distributors of Two Lovers of having a great deal of intuition in releasing the film in the United States in the beginning of 2009; anyway, this late release worked better for the film than the initial screening at Cannes, in 2008.

Claude Miller nu a fost nicicând un preferat al criticilor de film. Din acest punct de vedere, nu este singurul care vine din „vechea generaţie", cea care i-a văzut la lucru pe adoraţii Truffaut, Godard sau Resnais, dar care s-a izbit de un climat critic mai puţin entuziast din anii 70 încoace.

Times have changed for the action movies, some nostalgic may think while watching the main titles for Tony Scott's remake, The Taking of Pelham 123. While the 1974 The Taking of Pelham One Two Three, directed by Joseph Sargent, kicks off with a funky jazz tune, perfect as a captatio benevolentiae, and shows nothing for a few minutes except the names in the cast, white on black, Tony Scott starts with a fragmentary, almost chaotic portrait of the daily New York...

It suits the film critics to shelter a habitual cynical alter ego, waiting for the eventual mistake of an acknowledged director. It happened earlier this year regarding David Fincher's movie, The Curious Case of Benjamin Button, and the same goes for Stephen Frears' latest movie, Chéri (whose title in Romanian, for the audience's sake, was changed to The Courtesan).

Under the soap-opera title given for Easy Virtue's release in Romania, Secrets from the Past, one can find in fact a remake of one of Hitchcock's early films. An inpatient poster reader could easily skip this information.