Sunday, November 15, 2009

'2012', Roland Emmerith

As always happens when approaching the provided date of end of the world by any religion or ancient civilization, the American film industry creates a movie about this.

And we know that Hollywood spends millions for showing the most spectacular special effects. If a plane has to pass through the head of a needle, Hollywood does, and if a car has to pass through a big building with dozens of plants that is collapsing, Hollywood does, if is necessary to ignore the laws of physics , Hollywood does. So are these films: many effects, many of topics, but little realism and originality. And better not to enter in geological issues that make the movie even more unlikely.

This time, the American hero is the character played by John Cusack, a normal American, divorced, trying to spend more time with their children, no job too stable, but able to move land, sea and air (I say this not only in figuratively) to save his family. I didn't believe his character neither the rest of the cast.

In addition, 2012 offers cinema's first black president of the United States: Danny Glover is the image of Barack Obama. And, yes, I know that Hollywood does not care if the president is a Democrat, Republican, black or white. The president of the Great Nation always, always, always have to be a great patriot would do anything for the good of his citizens. God bless America!

As entertainment, 2012 works (the effects, you know), but it's not a great movie. I thing this film is a futuristic reinvention of the Flood with high budget but little logic.

Tuesday, November 10, 2009

'The lost symbol', Dan Brown

Dan Brown returns to the literature with his star character, Robert Langdon, a specialist in symbology. His mentor, Peter Solomon has called him from Washington to do the opening speech of an event organized on Capitol Hill. But when Langdon goes there, he discovers that there is no such event, that Peter is not who has contacted him and that the only thing that Langdon find is an amputated hand full of tattoos that invite him to join in a select ancient age group. If Langdon wants to see Peter, he has to decipher a series of codes and finds the secret door that asks the kidnapper of his friend.

The lost symbol is in line with The Da Vinci Code and Angels & Demons. Readers who didn't believe that Langdon could walk through the Louvre won't accept do it for the Capitol (in theory, one of the most secure buildings in the world). Those who were bored with his previous books will be too with it. But surely, the stalwarts of Brown, who does not question anything about this author tells them, continue to enjoy because the style of The lost symbol is similar than the previous novels. Here, Langdom is persecuted by police because they believe he's suspicious of something, he finds clues in a State building that he must decipher (Louvre, the Vatican and now the Capitol), is a creed involved (in this case, the Masons), Langdon has the support of a female figure and even turns to be a foray into the unknown aspects of science.

Here, the latter case deals Katherine, sister of Peter, who is conducting secret experiments based on no ethical science that humans are capable of modifying the matter with the mind, so that thoughts can change the world physical. The keys to making are in the past.

About what Robert Langdon and Dan Brown are capable, I will leave to readers. He has written more of the same (good for his fans, not so good for his detractors).