The Festival de Cannes has always demonstrated its selective heterodoxy and its breadth of criterion by offering frequently exhausting samples of most exotic cinematographies on planet, preferably Asian. Which doesn't make us forget about American cinema, which, when it's good, is unbeatable. That's how it's been since first night of Times. But a few years ago, this fundamental cinematography has betrayed Cannes by using Venice Festival as its launching platform in Europe. I'm talking about author's cinema, of people trying to print ir creative stamp on what y do. I imagine that desertion of great American names makes Cannes forget ir elitism and settle for programming out of Han Solo contest: A Star Wars story a product designed only to burst all lockers in universe. The quality is expendable, it is enough with marketing and enormous demand that exists of its creature.More information
- So is unnecessary ' Solo: a Star Wars story '
The Disney House has been proposed to squeeze to bone everything that refers to galactic war and now tries to tell us in anor trilogy (I've lost count of how many go) what happened in life of Han Solo before George Lucas introduced us more than 40 Years at start of saga. Unlike so many parishioners engaged in eternal battle between rebels and empire, this gives me nothing pleasing since return of Jedi. My head hurts every time professional obligation forces me to swallow sequels and sequels. I want original magic to reappear again, but re is no way. All se films are made by same computer, regardless of who directs m. Han Solo: A History of Star Wars, firm Ron Howard, someone accustomed to success and author of Da Vinci code, one of most unpresentable and horrific films I have endured. Nothing here has been squeezed out of brain to present twenty Han Solo. Everything is mechanical, routine, apparatus, only thing surprising is that it uses a photograph so dark in adventures that pretend to be luminous.
And what does it narrate? For initiation way of very young Han Solo, someone who will come to acquire category of legend in his fight against empire. Luke Skywalker and Princess Leia still do not appear, but roots of friendship between Solo and Chewbacca and Lando Calrissian. We'll also meet Kira, Han Solo's first girlfriend. But characters matter little. What interests m is action and this is dizzying, plagued by persecutions and fights that have shown us a thousand times, absolute protagonism of special effects. There is not a shred of soul, of sense of adventure, of emotion. And, of course, it's impossible for you to forget that Han Solo's character is exclusive property of Harrison Ford. Alden Ehrenreich does not give size as much as lad strives.
Under Silver Lake is directed by David Robert Mitchell, author of It follows, a horror film that I have not seen and that have lofty things. I can't confirm that talent in this intrigue in City of Angels blatantly inspired in world of David Lynch. Everything is exoteric, repetitive, absurd and vainly surreal in this modernez that follows anguished footsteps of a man who seeks traces of woman who fascinated him. There are sects, fanzines, dog killers, gurus, youth prostitution, allegories, Design falls, video art, useless suspense. It pretends to be eccentric and disturbing, but only dismisses emptiness and imposting.