What The Strongest Thin Wood

5 films that marked 2010 (Part 1)

An article found in its natural environment, http://geekmehard.blogspot.com

A top staff again since having been exiled a year abroad, I missed many of the films and have seen nothing of French in the lot ...
My apologies for my presence of Avatar in the top of last year, we all make mistakes (as long as somebody recognizes). Unfortunately I got caught off guard by the time and have not had time to do a full top, suddenly you start with the first 5 and then we'll finish next time.


1 - The Social Network (David Fincher)
Now we have seen is to the obvious and palpable. But at the time, announce a film about Facebook, it was like to bring forward the start of construction of a film about Monopoly (planned in Tree Hill) we saw little utility. Except with screenwriter Aaron Sorkin (The West Wing ) and David Fincher at the helm of the project, hard not to monitor the matter closely. Half
only surprise, the result is brilliant.

Where we follow Mark Zuckerberg, antisocial geek, plotting revenge against the world. Enhanced by the staging of David Fincher discreet, the website is growing as that fratricidal duels and taken power sneaky punctuate the hidden history of Facebook. Amazed by a model which would be equal (Justin Timberlake, perfect creator of Napster), Mark Zuckerberg continues to crush his opponents and social relations, plunges headlong into the code and continues to conquer the world, galvanized by Site numbers and the trials that fall, he treats with contempt enjoyable.
The film deploys a really incredible amount of information, and the flashbacks in the narrative does not make life easy but the film is still readable and understandable despite his pace. The Social Network is an unstoppable success in terms of storytelling, editing and cutting, covered by scary music of Trent Reznor and Atticus Ross. David Fincher has recreated the time and managed to make the film more contemporary, a perfect reflection of our times.

By creating a social network made in his image, Zuckerberg has paradoxically isolated individuals from one another, absorbed by a site almighty knowing all across the world. And hindsight is elected, with a few years late, Person of the Year by Time magazine.

2 - Inception (Christopher Nolan)

The gap continues to widen between genuine love of the movie crying and dissidents to farce, but it is clear that the film Christopher Nolan talked about in the large widths. With its dizzying
scenario with multiple plans interfere with each other, his staging Dante (sometimes muddled in conflict management), and actors including Tom Hardy forks and Joseph Gordon-Levitt, Inception s' is proposed from the start as a blockbuster able to gather critical and public. Designed as a total experience through plans to reality until far into the dreams and borrowed the concept of limbo to Christianity, Nolan enlisted the services of a world very competent package and creates a story of hackers memory on mission for a last big . Easy, behind it, to get away.

Implicitly, there are the martial score by Hans Zimmer and James Newton Howard; precipitation in the adventures and sometimes unspoken air of inconsistencies embedded in the information ... ultimately, it is more the omnipotence of Nolan (also his megalomania) on the project and the way he hammered us truths that hinder, and can be let go after a 50-minute final scene thwarting the expectations of the viewer.



3 - Scott Pilgrim vs.. The World (Edgar Wright)
We've already talked a lot this year, criticism of the film pretty Edgar Wright is in Wide Screen . The story of Scott Pilgrim, Ramona wanker rocker enamored of Flowers, has unfortunately not found its way to the public, but at least it into our hearts (which is a start). Ultimate
border between cinema and video games, the film confuses continually weaves plot clear and perfectly framed despite its concepts dicey, and sees himself more with the best soundtrack for a moment since, Beck assistant testing a little left of the group Sex Bomb-Omb, with Scott as the leader.

Track Reading: Youth in Revolt to see echoed Scott Pilgrim where Michael Cera plays his role as troubled teen forever. Pros: an alter-ego sociopath French, Portia Doubleday in Lolita, not comfortable supporting roles (Ray Liotta, Steve Buscemi, Zach Galifianakis) and a pinch of arrogance and amorality in total contradiction with the charming idea that we can take the kid ..

4 - Shutter Island (Martin Scorsese) Scorsese
The new is not flawless but its rigorous use of seasoned actors allows him to create the event with considerable ease . Adapted from the novel by Dennis Lehane, Shutter Island send two police officers in a mental trap, a prison where isolated tracks resolutions abound. Interspersed with flashbacks of a beauty out of proportion (painful memories colorimetry almost saturated), this heart-wrenching, real movie, and ends abruptly, clinically, and left knees.
Special mention to Mark Ruffalo a bit histrionic, Ben Kingsley and Michelle Williams, whom they believed she would never return.
Initiating an ordeal that eventually returning "from beyond the grave" in Inception , Leonardo DiCaprio definitely needed as the tragic figure of this year in the cinema.

5 - Bad Lieutenant - Port of Call: New Orleans (Werner Herzog)

After years of playing the movies without apparently flabbergasted no producer told him to stop, Nicolas Cage has finally found someone that could counterbalance this craziness and this excess rising in him. The German director Werner Herzog, director of Fitzcarraldo and a bunch of films deviant resumed name film by Abel Ferrara, who claims he wants to hear it has not seen and undertakes to 'do not a remake but a reinterpretation, with little excuse, Eva Mendes, Val Kilmer (burned out), Michael Shannon (everywhere and always great) and turned Nic Cage.
In New Orleans trying to get back on their feet, good detective work to solve some surveys, will tax the drug dealers, scheming with others and find some solace in the arms of a prostitute. What happens there is sometimes anecdotal, but the composition for the perfect shot of Nicolas Cage is a revelation, a relief. It mixes the blues (literally), hallucinatory visions and seeking redemption in the sweaty bayous one feels close.
The view of animals, unreported, is surreal and sudden implacable logic when you start in place of character, in perpetual sync with what is happening around him. With its heady blues smothered, the sequences are singing a tune Funeral murky and moist, relays of police who do not know where he argues.

You can find here the Russian version of the poster , which sells a completely different movie ...


soon for more!

Headphoneby Referee Fifa

The stage nags: 2010 in three films

An article found in its natural environment, http://geekmehard.blogspot.com

In the list of guilty pleasures this year, we can find Piranha 3D like the clique movie mercenaries, calibrated to the suicide operation. And among The A-Team , The Expendables and The Losers There was plenty to do.


With his big raises and Zoë Saldana, The Losers is the worst, yet with enough basic equipment consisting puisqu'adapté a comic book super tight Digle signed Andy and Jock. Unable to properly play between a first degree unwelcome (gasp dead children) and a story badly frigged, Sylvain White, director (?) Of Steppin ' and a direct-to-video adventure prosecutor Remember You Did Last Summer, does eventually accumulating some nice pictures agglomerated into a giant clip. The pride is made to the couple Saldana / Dean Morgan, especially in a scene from a stick in a hotel room, punctuated by The Kills, a perfect example of the vanity of the firm.
glancing often toward the B series (Zoë and his rocket launcher, a good idea if any), despite its budget frica, The Losers waiting in vain that his script takes off in enquiller scenes and stupid the meeting of tough guys. Not much to save at the end of projection, if not some nice shots that is due to the presence of Jeffrey Dean Morgan, and Chris Evans sucks less than usual.



The buzz of the year was generated by Stallone, back in favor in recent years since Rambo 4 where part of the Burmese military junta passed through a grinder. The Expendables with and his band of past glories (has-been?) Is a return to the 80 with which we grew up we were promised. It is clear that there is no misrepresentation of the product despite a fairly strange feature where hostilities seem really start until the end of film. The only three female roles in the film are reduced to the prototype stage, expressed only in a monosyllabic. Finally, we do ask that they play a walking cliché: the slut Mickey Rourke (infamous), that of Jason Statham and finally, the contact of the team, only a bit role developed by passing the redemption of Stallone ( who do not consume, lord). A few private jokes

the careers of three major (Schwarzenegger, Stallone, Bruce Willis) arouse interest, once stifled by a very brutal violent rose up crescendo.
It has its behalf with chestnuts end of term, physical grabbed that seem to be very bad, scraping when not even the unpleasant impression of watching an upgraded version of Street Fighter, Kylie Minogue least, not credible Sergeant Batista in Dexter more.



In my opinion, the best movie of the lot remains The A-Team , adapted from the eponymous series with our pleased afternoon kids. Under the guise of an adaptation of a TV series, Joe Carnahan (Narc ) makes a movie where tacticians in place of impossible missions are mounted in parallel with a pleasing spectacle. And between missions all the more strained than the other (And perfectly regressive, evidenced by the control tank at high altitude), his humor and his contagious stages of pure comedy (Bradley Cooper and his banter trapping a journalist, Sharlto Copley pilot frapadingue) The A-Team is very remains strong and effective throughout. Until we come out of nowhere a bad guy in the background particularly surly engaging in a shootout in downtown, real tense moment leak straight out of the corners of Narc.

Ultimately, the film is harmless, the ersatz Mr. T. sorry but makes the whole rest of the cast is in tune with these versions of renewed characters they loved, making the walk back to the nostalgia balloons. The last task is the lowest but we spent a great time to see Liam Neeson chewing his cigar. And damn, Bradley Cooper is canon.

In Public Masterbation

Happy Birthday Rourou Rashid and his son Alaa

big kisses and Belgian Boucetta

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Thank you dear Roly ...

For your best wishes on the occasion of my birthday and that of Ala, the done kiss me on my cheeks really warmed the heart ....
May the new year bring you joy and happiness ....

Trestle Table Seating

For the 1st time Christmas is over by the fireplace in my house

For the best of my grandchildren and Dax Kiarra.




Preparations by Lindy's mom Kiarra and Dax and my son Alaa

Návod Na Komboskini

Feeling Of Fullness Mucus Stool

Kiarra my little girl and her turtle Ganden ... I offer a

Scales my turtle they look like to me?

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Pointitia


to enjoy your holiday New Year with family and ami'es' from Roly

Ovulation Ache In Thigh

Warming up ... Merry Christmas 2010

picture of our fireplace chimney plug tonight Roly by my friend, on the occasion of preparing and decorating the Christmas tree is decorated especially for her and more by Lindy and son Alaa.

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Happy holidays to everyone, that happiness and joy lade especially love be with you ...

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Rico and Roly


Roly My friend Rico and the squirrel in my son Alaa home.

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Thank you dear ISO

Thank you dear Iso
Thanks for responding personally to my mail although collective with images that do not open and made me this simple sentence but rich in friendship
lot of happiness for you to share with family ... Not to mention the squirrel!
heartfelt thanks to you and everyone who is considered the wishes of my father's Christmas although I am a Muslim, although we recognize the true and good friends with these emails they say idiotically collective good in the trash.

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Nasnous My cat .... Check

My cat Nasnous presentation also on my Flickr stream to see my comments here flickr'amis: Good
visit

Sunflower Field North Shore Waialua Oahu

Roly .... Welcome dear friend.


December 16 Today we went to the airport to welcome our dear Roly.
from left to right in the background: My son Mohamed, Semi my cousin, my fiance and his son Alaa Canadian Lindy.En foreground my wife Leila, Roly and me.

How Far Can A Man Ejaculate

Scott Pilgrim - Output cine in France which is pitiful

While Scott Pilgrim continues its merry way to France this week with the publication of Volume 4 (of 6), the film adaptation of the comic by Bryan Lee O ' Malley finally deigns to point his nose in French cinemas ... technical output for any shabby with a record of 4 rooms in Paris!
Here, one can legitimately wonder the fate of the film between an output postponed at least twice by the distributor, the total lack of promotion and the fact that the U.S. is already available Blu-Ray/DVD (and I'm not talking about the copy that runs on internet) ...

is Edgar Wright, who has to face not only the film has picked up yet cool this summer in the U.S. (released in front of The Expendables Stallone), but nobody talks about it more and the film initially targeted for this summer released in December against Machete and the latest Disney, Rapunzel . Scott Pilgrim out so late could retrospectively convince distributors the marketer destined for a public type Kick Ass (which "card" with more than 500 00 entries), then no, it just needs to console himself for having avoided the direct-to-DVD.

In any case, Scott Pilgrim Vs the World is clearly part of the film will be remembered this year, suddenly we quickdraw criticism of the era, published in widescreen .
(and I'm not forcing anyone to see VF, if you follow me ...)

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States places Burton in 2010, look at Alice

(A short article exhumed from the darkness of my unfinished drafts)

Lost in his own ambitions (Sweeney Todd and his incessant shouting) and projects jawbreakers uncontrolled, Tim Burton made the mouth since 2003 and a Big Fish buying it just prior to the ignominy and opening his cross.
In fact, it has totally lost the copyright to the meanders of the 2000s: If we can recognize a little courage befitting a teen he was traumatized, the films have little to do with the personality of troubled author. Between Planet of the Apes (remake of the studio), an adaptation of a classic tale ( Charlie and the Chocolate ) and the musical, if the scope is more extensive, the result is even more appalling when we grew up with the gothic romance of Edward Scissorhands .
And while the Museum of Modern Art (MoMA) in New York earlier this year presented a retrospective exhibition on the author, one can legitimately ask whether we can talk about Tim Burton in the past.

Actually, the guy is still standing and if, in Hollywood land, it takes far less to go to the door, Burton is still there thanks to his fandom more alive than ever and even Renewed: With the facelift Charlie and the Chocolate helping all kids have taken on the bandwagon by touting a new hero. Addressing another classic of English literature, Burton takes his tics and flaws we conventionally to tell the story of a girl more alert than the average, sinking suddenly full of fairy tale.

If his singular choice, Tim Burton is constantly evolving and embracing finally here the 100% digital (the opposite of its original movies, so), he could add the services of persons of good taste that could better guide. For the man who celebrated the Z series of the past ( Ed Wood) and made an emotional tribute to the Hammer films, another British institution, with Sleepy Hollow, had committed a rape in good standing of our retinas with a Willy Wonka braillers and braille and outrageous, before renewing the experience with Sweeney Todd and added all-digital post-production.
Continuing in the momentum, a priori, there is no incentive to trust the digital exploding at every corner of plane in Alice. With its jumble of colors and details seem to exist only to fill the frame until the explosion, the film threatens to collapse at any moment and did not return above the splendor of the first handmade Film Burbank little genius: with too much stuff with this technology, Burton loses just the plastic beauty and wonder that made his leg.
Damn, looking back, one begins to realize that the same guy probably has more bad films to his credit as well. Of questioning as we would have less often.


With his adaptation of Roald Dahl's novel (where it is allowed to dip into Charlie and the Great Glass Elevator, novel-suite), Tim Burton seems ready to tackle the monument of Lewis Carroll popularized more by the animated Disney Studios (1951!). And naturally, as the man plunged his hand into the novel successor to Alice, Through the Looking Glass, to find a resurgence of entertainment: as the first beauty to finally see Alice live movie is seen quickly erased by succession of adventures that are already known.

And where the pleasure of seeing a traditional film extricate himself from all cases was a pleasure almost enjoyable, it can quickly grow tired of hiding some digital stunts misery. Between the events now added his usual falls and other additions for dusting the myth that adds nothing exciting, nothing attractive. Too much indulging in lust a gigantic budget, the 2010 version of Alice immediately lose all my heart to work.


But where the project is catching up is definitely in its cast, and if we can move quickly on Johnny Depp, grime excessively winded and ensuring the show, the revelation of the film is Mia Wasikowska, a perfect debutante. Bright, Alice Burton has this mix of logic and common sense, this charming naivete that makes us dive head first into the burrow. The film rests entirely on her and her character, torn by its conventional obligations girl, and what dictates the situation completely wacky in which she finds herself trapped.
Ultimately, the film is held by it and relies on its charming stubbornness to go beyond appearances. As a backdrop rises gradually a semblance of conventional narrative pattern but actually taking where our hero will face his demons and take the appropriate responsibilities. The brutal reality is that whatever makes Burton, we end up completely contrefoutre issues going to focus only on Alice, a character filled with a humanity that radiates shattering the screen.


Going to ape his movies and not anxious to renew at casting, Burton hired him as usual his wife as queen of heart (inflate the head of Helena Bonham Carter, a dicey bet) and gives it a role perfectly nasty in the standard of what to expect: abject, neither more nor less. Anne Hathaway, she distanced himself from his small role in a pirouette in perfect running gag, and increased its role pastiche of white queen while casual candor ...
Officer characters resuscitated by the modern 3D, the film unfolds its issues with the usual heavy-handed but sometimes touches the singular success thanks the story of Lewis Carroll classic, rearranged in the background with this question readjusting the points of view: What if Alice had been here before, but had forgotten his visit?
really matter, ultimately, the ins and outs of the thing. By his relentless bustle, Tim Burton, filmmaker not really convincing, wonderful touches he tries to resurrect from many movies. Completely overwhelmed by the 3D which he uses only as a technical demo for the fun and throwing things in the face of his audience, the film loses its depth by incessant need to show off the view (the majority of characters are unfortunately just ugly) but succeeds in extremis to box despite the beautiful scenes from all-too clicking (the final scene, Narnia-esque as hell yet saved). It is paradoxically in its cons-productivity arises some details, some nice things to save.

It is clear from the sitting leached, tired of having taken so much without really enjoyed the trip. And above all, convinced that he attended a carnival of bad taste, but with the strange sensation of having had a good time.

Make My Wedding Framed Seat Chart

Output drive: KICK-ASS, Matthew Vaughn

An article found in its natural environment, http://geekmehard.blogspot.com

Kick Ass , a cry from the heart that screams out of the meeting. Yet another superhero movie for some, iconoclastic independent project for others, Kick-Ass has from the beginning of its publication in the U.S., the wind in their sails.
Easy, when the foundation of the project were Mark Millar and John Romita Jr., missed two superstars of the comics by Mark Millar has signed with Marvel Civil War crossover , then project the most guts of the publishing house after which Captain America is killed, leaving orphaned long gallery of Marvel characters. It is also the man behind Wanted at Top Cow (unsuitable for film, we talk about here ) and the miniseries Old Man Logan Wolverine in which a retired wanders in a post-apocalyptic America. In terms of reputation, John Romita Jr. has nothing to envy of its perennial association with Marvel, where he designed Spider-Man continuously for years. The artist to feature very square, chain projects and is never stingy with executives simply beautiful, making it very popular with fans.

Announced at great fanfare, produced independently with the means they have at their disposal (Millar published in the pages of comics list of comic shops that have supported them), Kick-Ass # 1 out early 2008 and immediately a hit. It is good to be called Millar and Romita Jr. at this time. At the time of the second issue, while racing, there is talk of a film, the rights of the comics about to be sold short, it's madness, and especially a bang magnificent destination all potential artists who intend to succeed. With its new characters and its plot so simple that it becomes perfect (and if you, in your filth normality, decided to become a superhero), Mark Millar let the ink flow and composed with his friend late John Romita Jr., called home Marvel to sign a few arcs of Spider-Man comes out then (and still) paced three issues per month (called the bow back New Ways to Die in Amazing Spider-Man # 568 and been published in France).

It was only in March 2010 that was released on 8th and last edition of the first arc Kick-Ass , barely a month before the film, shot in parallel and based on the comic book - with some differences. We have not seen closer collaboration between two such different media: left to push the envelope, the U.S. hardcover compiling episodes 1-8 of Kick-Ass fate at the same time as the movie, and it is paid the luxury of showing it to the screen in one of his last footage - you guessed it - set in a comic shop. The circle is complete.

Kick-Ass # 8: I, not you.

* Some spoilers below for those who have not seen the film - and some indications on the many differences with the comics *


impossible not to succumb to the lure charmer Kick Ass from its first moments: music exciting mat (Prodigy), close to the comic storytelling with inlay of BD mark time, and above all, great work on making colorful photography to possible component with a shadow resembling a successful inking of the characters. The very fact that the external packaging of Kick-Ass is an undeniable beauty, fashioning a green-haired for a film backfiring.
Very quickly, Kick-Ass finds its legitimacy in multiple references by its context comic-book movie , produced independently, supervised by its creators and leaving a landscape destroyed by film adaptations of comics called adult eyeing the side of the tragedy (The Dark Knight ), sometimes bombastic ( Watchmen) and weighed down with endless variations. Distancing himself happily into the problem pertaining to the real most banal Kick-Ass timely for us to paste a good frigged with the awkwardness of the first (which makes bleeding)

Torn between teen- gritty comedy and film superhero, Kick-Ass is a major asset in the actor Aaron Johnson, playing Dave Lizewski, a bit rebellious teen lambda by his plight. Far from Tobey Maguire who ended up being bland in Spider-Man , dug up again for the geek camp Kick-Ass is nice to see even the scenario focuses less on his procrastination than does Sam Raimi with his characters; Geeks are the heroes of the most anticipated movies this simple contradiction: no one suspects them, making them capable of anything. As if the polite indifference (or not) that gives them pushed them to rush on the paths of adversity to finally have something against which to react. In the case of Kick-Ass is an opportunity not to miss.

In fan-boy convinced aware of the weight of his elders, Matthew Vaughn insidiously takes over the course of the superhero as friendly all universes, Spider-Man , applying its codes generously dusted by Sam Raimi: Geographically , with home hero, clearly located in Queens as the refuge that was home to Aunt May to Peter Parker. From the halls of high school, racketeering, pretty girls to ignorance ice we find ourselves in a field marked off the bat Later, even the scene of the first flight (jumping between buildings) which is incorporated in its entirety, except that Kick-Ass poses its problems from its generic : Our hero has not been bitten by a radioactive spider, is not flying armor custom made (follow the gaze), has no magical powers: It's just a teenager embarked on a suicidal trip and that has everything to lose by playing sly devils in suits. Thereupon, the film is not afraid to be ridiculous in costumes and punchlines of morons.

If Mark Millar
is primarily a wise guy who knows how to play skillfully codes free comics to shock, he developed an interest in about Kick-Ass (the comics) constantly questioning the role of voyeur of his readers: impulse see his hero being beaten, the writer responded by making a series of outrages worse thereafter. Millar constantly provokes his audience with his geek-friendly picks , and is even fully integrate the concept of comics in his book with the back-story Big Daddy, absolutely shocking and criticizing the excesses non-standard.

If the film is a freedom your fantasy by its independent status (frica, do not push), the craziest comics is not found in the film of Vaughn. Curiously, the film presents some situations brightest comics for rework sauce blockbuster U.S.: pushed to its limits, the film is subjected to the whims of decency and try to find the best casual humor, otherwise a disturbing violence treated as a joke (SPOILER : Among the significant changes, note the relationship between Dave and his "girlfriend", the motivations of Big Daddy and the final climax, off-topic).
Ultimately, the most troublesome is its fundamental tone breaks between fun of discovery (the wanderings of Kick-Ass, apprentice vigilante) and horror of reality. But embedded in his clanking soundtrack and fun calling it now, his humor sometimes ill-posed and artistic demands, the film loses sight of its narrator, the hero himself, embarked on his adventure (intelligence scenario, the young Kick Ass-American Beauty quote to evoke the narrative effect beyond the grave). Despite the time limit, Vaughn and prevents its assembly to ask an atmosphere beneficial to the subtlety needed to capture the changes of tone of his characters about what they live. This is particularly unfortunate that Figures have known what it takes to raise the emotional quotient of the film, the girlfriend of (betrayed) Hit Girl (manipulated), not to mention kick-ass from stage to that of hero apprentice vigilant hardcore, completing the film in an apology glaucous similar behavior but difficult to imitate.

trying too hard to make time to catch her in his fury to the reference amount and its patchwork with varying degrees of success, Matthew Vaughn is trying to do Tarantino (the climax is its use of a theme Leone) but is found more often to the Guy Ritchie - not a penny in for subtle its assembly, the effects of style and his tendency to always try to add a quickfire film from beginning to end, despite its comfortable 2 hours of footage. From baston youtubee badly filmed as dispensing with the terms of relaying information to spectators last gasps of Hit Girl deified by the camera (the black and white shots in slow motion), the framework is gradually filled with a package of fireworks not necessarily required and that little by little they work.
However, Kick-Ass remains a complete entertainment and quite well managed in its excess, calling for better result. The other change

awkward with the implementation in this new medium is the simple fact that Kick-Ass as a character is seen pushed to murder. In cold blood for revenge and put an end to history. With this simple change, the young Dave Lizewski here loses all humanity and prevents the return to normal of his character, trapped in his role as avenger and especially fugitive, forced to live with the weight of guilt that Peter Parler could bear. Ideologically, the film's ending is a real problem, dropping the psychologies of each and desperate to get away from the horror comics. The film then takes his ease with a second degree fun, defuses all the questions generated by the original script by Mark Millar, and embraces the excess specific film, influenced by the comic-book: one is surprised to realize that comics become more credible than a movie, so that a BD is limited only the imagination of its writer and illustrator of his drawings (in terms of simplicity devilishly effective Kick Ass # 8 arises there).
Visibly uncomfortable with his "only" 30 million dollar budget, the film is lost in a close battle on semi-articulated, glorifying violence pre-teen and almost ridiculous in his commitment to do too loser any credibility previously accumulated. At the last surge of violence in a tower of Manhattan, one is tempted to excuse himself from the film, ultimately defusing film every effort to bring us back to normality of the real (remember, the initial purpose of the film ) and its brutal confrontation with the world.


The twist of the comics (Red Mist is the son of the villain to kill), impossible to regain status in the film without taking the public for fools, forcing the script to rethink this element in the including it calmly in his narrative, as the bias of each film and leads also in sequence more or less necessary (the warehouse), blowing up the film we all make nice gallery Tronches not possible and completely British Film: Mark Strong in between big final boss level and Jason Flemyng in valet the unfortunate fate is a part of the regulars Guy Ritchie (pal Matthew Vaughn) who type embedded, and provide a stamp of absolute coolness feature.

not find better than Nicolas Cage Camp Big Daddy. Simply because after disastrous career where he played with more or less credible a hero saving the setting, or at least trying to do (Alex Proyas castrate the current path in Predictions ), the actor has taken on an empathic just perfect. Tired, his hair still a mess and wearing a cardigan old father, Nicolas Cage is in the role of Big Daddy one last burst of heroism misplaced in disturbed guy looking to do well by enrolling her daughter in a war who do not watch. Propriety
film and new audiences (just crazy geek) force, the scenario lightens the truth about the back story of Big Daddy, making everyone on earth Kick-Ass # 7 ... The film loses in ferocity but biting offers beautiful moments of bravery to her character failed, anti-hero and beautiful wreck losing battle.
Its very touching relationship with his daughter, Chloe Moretz, is one of the successful points of the film. Stealing the show with his role as Hit Girl, the actress is downright impressive, ornately between language (the word "cunt " impossible to go to the movies in 2010 is well represented) and cuts in good standing for the next subversive film. The first scene showing the father and daughter foreshadowed color, with a complicity with the side edge literally vigilant animating the dynamic duo echoing directly to Batman and Robin, and more expeditious.


short, successful challenge for Matthew Vaughn, who at the time the ship landed during X-Men 3 , address the finger to the industry and gets the license for Marvel to reboot everything and staging X-Men First Class next year. Kick Ass 2 is already announced for release in 2012, the time that Mark Millar looks at the second arc of the comics, John Romita Jr. and astounds us once again of his features so precise (the film already greets through a scene drawn by him, in addition to portraits painted by Nicolas Cage).
Matthew Vaughn continued his career little worried after the British gangster movie ( Layer Cake with Daniel Craig before 007) and the magnificent Stardust, fairy tale adapted from a novel by Neil Gaiman, with Claire Danes in the role of a star.

Until then, the mantra is simple: SHUT UP. KICK ASS.


- The first volume of Kick-Ass was released in France last March at Panini Comics, compiles the first 4 numbers and costs 11 €. The scam calling for a Volume 2 at the same price which should not really decide French readers to throw it, especially if they have already seen the movie ...
- The hardcover cost him U.S. $ 25 and compiles the whole arc, consisting of 8 numbers. It is in English is required.