been over ten years since the end of the trilogy and in ten years the state of cinema has undergone a major change. To meet the state fund current cinema and audience tastes goes "Scream 4 " to return at a formula that already showed signs of exhaustion in his third installment. Just to repeat schemes had not been enough. 
Beyond becoming another fatal fourth issue (not yet forgive or Mclaine Indy), "Scream 4 " back to Woodsboro to transcend the usual self-reference of the series and have fun with metacine. Movie fan than most, "Scream 4 " analyzes the U.S. terror has filled the rooms during his absence for use as an excuse for his return. Remakes, snuffs, marathons trash, reboots, prequels, are new terms that Craven's film is appropriate to resurrect Ghostface, Sydney Prescott and company in a modernized context. What comes after we already know by heart, thumping sound, beautiful blonde throats slit and sheriffs that never arrive. The same constant, if anyone missed them, but even more funny and carefree. 
" Scream 4" is far from being a good movie, but at least Craven and Williamson did not return to the screen for no apparent reason. Fans of the saga the cheer, fans of the horror genre it will pipe the rest of the stalls for more of the same but adapted to modern times. 
Actually " Source Code" maintains some continuity with the debut of Jones, again a small classic science fiction story where a guy (Jake Gyllenhaal) has just been immersed in a unfamiliar and has been dragged through the system. While " Source " adds another element to their debut, a bit of action, some Hitchcockian suspense, enough plot "whodunit" and a brief dose of romance (with the lovely Michelle Monaghan's character) that will delight not only the lover of science fiction but the uninitiated viewer.
Jones 
very cleverly develops the framework of "Source Code", capturing the attention of the viewer with a direct start and enigmatic, accurately and promptly introduced lines of dialogue explaining the story (learn, Nolan), and putting on the table all their cards (passengers on a train and a few hidden object) with which repeatedly tinkering. Among this story repeated in the wagon train directly related to the action and suspense, Jones stands in the background your favorite genre, science fiction, with the scientific and military presence on which the story originates.
Echoes of "12 Monkeys " by Philip K. Dick, mirages of " Innerspace" and more visible to "Groundhog Day " come together to the delight of the public who find in "Source Code " a highly entertaining, unpretentious and a beautiful ending to make the second work of Jones in one of these small samples of fantastic film occasionally it is nice to find. Duncan Jones's career, waiting for a major project, is one of the most gratifying news of recent cinema. See it.
"12 Angry Men" and moral tension in four walls "
" Dog Day Afternoon "; nerve seventies
"Network, an unforgiving world," the power of television
"Verdict" trial rehabilitation
"Serpico" corruption in the body
"Murder on the Orient Express", guess who
"The Death Trap" theatrical entertainment
2.5 million euros collected in a single day, equivalent to 325,000 spectators gathered in a room opening day for a total of 8.12 million in the debut weekend of "Torrente 4 " on the card. To reach these dizzying figures It has taken 10 million euros (a clearly profitable) a couple of stressful weeks of promotion to Segura, the small share of the film in a large number of "buddies" in the world of celebrity, an unwarranted use of 3D a dose of least effort in writing the script.
With " Torrente 4: Lethal Crisis " Santiago Segura again confirmed as the highly intelligent and bold type that is, to which he rightly recognizes the merit of creating a character who has been caricaturing Spain become an icon of his own country, but whose success blindness gradually deprived us the most lucid Segura we met in the first two installments for a surrender advantage of his own creature, knowing the guarantee of success without any other sacrifice than merely promotional and commercial.
without reaching the lowest level of the third film where the director and showed signs of exhaustion in the formula, "Torrente 4; Lethal Crisis" returns to deprive us of those grotesque and funny missions José Luis Torrente so well together (Javier Cámara and Gabino Diego) that made the coarse humor and political incorrectness with parody "Cani" jamesbondiana their best weapons. This Torrente in times of crisis remains in force it is incorrect (Moors jokes, handicapped or South American immigrants are among the most acidic and incisive film) due to the increasingly easy targets provided by the society, multiplied ad nauseam the uncouth humor and mostly show a high creative laziness when surround the character more than a mere succession of cameos own trash culture "Telecinco" (from Risto to Bethlehem via Esteban and Maria Patiño Ana Obregon).
Segura is wrong to ask a comedy produced but lawful claim a minimal narrative structure. For its lack of plot, its lack of interest in the secondary characters or simply the inability to give prominence to the antagonist (the singer Francisco, Pepe Navarro folded!) May be most convenient to not consider "Torrente" as an exercise film, much as a couple of winks moviegoers try to believe otherwise, but as a phenomenon that has transcended the cinema and use the big screen as a vehicle to reach their huge legion of fans. Observed figures, there Torrente for awhile. At least while Segura motivation other than that of record at the box office.
Beginning with the increasingly mystical The Tree of Life "(posted above) long project of Terrence Malick's rare, that focusing on the life of a family of the 50's reflect on the origin of the universe today. An intriguing argument which stars Sean Penn and Brad Pitt, whose original lineup and includes a visual collage that raises even more concern was the tape of Malick.
No less suggestive is the teaser poster of another heavyweight today's cinema. The Pedro Almodovar Thierry Jonquet fits in "The Skin I live " where the great obsession with the human aspect and a bit of vengeance by a plastic surgeon (Antonio Banderas) is open to the facts that tells Jonquet in the novel "Tarantula" and on which Almodóvar seems to have come very freely. The poster-like cover of book "Natural" in GBS causes us anxiety to know more about the exciting new project of Calzada de Calatrava.
is what has won the Oscar, that allows you to be one image of a teaser poster. This is what happened to Penelope Cruz, star of an individual poster of the fourth installment of "Pirates of the Caribbean " and Natalie Portman, whose face is leading two blockbuster first row, " Thor" and "Your Higness. "
If left us stunned recent trailer of "Super 8 " no less surprise us leads the new lineup of "Super 8 ," the movie "Spielberg's style" has been removed from the manga guru JJ Abrams ("Lost ") under the production of King Midas of Hollywood. Knowing Abrams, sure that this poster is some clue to the mysterious invasion that raises the film, but as much as turn his head did not find anything.
is true that after seeing the trailer of the new Woody Allen's "Midnight in Paris " one no longer has a sense of deja vu, "which, typography aside, not its final lineup, which mixes" The Starry Night "by Van Gogh with the city of Paris and Owen Wilson, a curious mixture, do not you think?.
We closed block and open the Cover. Total Film goes back several decades in its special edition in April to offer three covers vintage (at Esquire and Life) with the protagonists of " X-Men: Class Fist" was the new look Patrol X orchestrated by Matthew Vaughn ("Stardust t") and brings together some of the most promising of Hollywood (Michael Fassbender, January Jones, Jennifer Lawrence, Nicholas Hoult, etc.)
Because this "Piranha 3D "Supposed excesses and offal as a long time since we saw in the movie popping, something that extreme neatness and correctness that the cinema has been experiencing for years had been relegated to the background too.
Aja recovers organs and breasts and shows them in broad daylight, recreates the deadly potential of the characters being introduced (one-dimensional, as stipulated in fees) and stops its members sectional planes. At the same time the Frenchman dominated the times and shows their great talent for genre film and / or entertainment, exploiting the possibilities of a simple and silly argument as a party on the beach perfect body and high decibels.
" Piranha 3D" is a joke well brought. Dura what to take and has what it must have. A prologue with homage to Richard Dreyfuss and "Shark , a development with equal prominence for piranhas and human recreational use of 3D, an excellent choice of side (from Elizabeth Shue to Christopher Lloyd mismismo through the inevitable Eli Roth), a "carnage" very funny and gore where Gregg Nicotero and Howard Berger and a climax look final fast and direct.
Aja has set a hilarious gore under the mask of an eighties remake that has little to do with the original, but fans of the genre it thank you for your thug and referential status. Already preparing a sequel in which we wish and hope that the censor will not watch again.
completely Ignoring gender that has taken advantage of the possibilities of this issue, "Never leave me " approaches the subject from a position romantic and beautiful, showing a dystopian framework where the delicate and unusual the lyrical replace the gray world and often apocalyptic with which film and literature have approached these future imperfect.
Like a film by Joe Wright is concerned (it is impossible not to see reflected the director of "Pride and Prejudice "Or" expiation n "in the title), the director Mark Romanek opted for the beauty and softness in the staging to emphasize the love story starring three-way three young promises of Hollywood, Carey Mulligan, Andrew Garfield (next Spiderman) and Keira Knightley, in the absence of the many possibilities that the narrative offered when 
dissect the genetic component of the story. There would be no objection in this regard, as Kazuo Ishiguro's novel on which part highlights precisely the bucolic tone, if it were not Romanek's film fails in its main bet specifically romantic, resulting "I never leave " cold aseptic film where the lack of any study on humans custom is joined by the absence of soul in his characters, passion in relevant situations.
This inability of emotion, combined with the languid tone of the story and no interest in Alex Garland (writer) and Romanek by at least portray the reasons that society dystopian (the character of Sally Hawkins, only able to ask questions, go away by magic) make "Never leave me "Flawed and unremarkable in a story where the characters never empathize with the most likely misplaced, viewer, which is why we will continue thinking of" replicants "and not" caregivers "or" donor "when what is spoken is in Custom beings who fight for love.
