Our heroes
face an anti vampire group and a new supernatural menace.
I really
wonder hoe watches this series. Clearly the producers think that the viewers
are all into this “random ridiculous sex scenes put everywhere” thing because
now instead of one per episode we have at least two, if not three. Even the big
bad of the season get his power almost literally from kinky sex.
Maybe
somebody somewhere find all this exciting but, for me, it’s still all
incredibly campy even if even I must concede that they somehow corrected their
aim and that there are at least a couple of nice ideas in there.
The pacing
is still terrible, the first half of the season is nigh unwatchable with the
main plotlines advancing at a sluggish rate. Thankfully al the buildup leads
somewhere and the final showdown is actually engaging and fast paced.
I still don’t
understand the role of many characters, we spent an incredible amount of time
following Jason Stackhouse around and his plot goes literally nowhere.
At least
they understood which are the breakout characters so we get more of the
flamboyant Lafayette, even if he is much toned down, and much more of Eric
Northman who is wonderfully amoral and inhuman.
Still not recommended viewing but is getting
better.
In the near
future boxing robots are all the rage.
Basically
this is Rocky all over again, this time with robots instead of human beings. Now
I understand that the idea sound terrible but in reality is awesome. First we
have to remember that it has been years since we had a full blown Rocky style
boxing movie, and by the way this is at least a new film and not one of those
dreadful remakes that Hollywood insist at throwing in our direction. Moreover I
still remember Rocky fights were never really that realistic or we would have
never got that endless jokes about rocky fighting against a Robocop or an Alien
(Which are by the way the seeds from whom after a few years was born Predator).
The fights
are wonderful if unoriginal. They really lifted everything from Rocky. The
underdog robot is an old sparring partner model created to absorb an incredible
amount of punishment, the champion robot is named Zeus, and basically
everything comes straight from Stallone’s classic. I must admit that even
knowing practically how everything was going due to me still remembering the
original I got really excited and involved in them, they really managed to copy
the primal energy that made Rocky such an entertaining experience.
On the
other side where the robots are cleverly designed to create an engaging
experience sadly the human side of the movie is lacking. It’s not the actors
fault, Jackman is still an extremely talented actor able to really connect with
the audience, Evangeline Lily is likable and managed to rekindle the spark of
the first seasons of Lost while the boy actor, Dakota Goyo, gave it all in his
performance, probably aided by some of the best lines in the movie.
The real
problem is the Jackman character, Charlie Kenton, is simply too unlikable. I
understand that this is supposed to be a father son story where the absentee
father becomes a better person and reconnect with his son(Which by the way is
lifted straight from another Stallone vehicle “Over the Top”) but in the first
half of the movie he is simply too much of an idiot, the utter stupidity of his
actions were cringe worthy and in a movie like this, where we are supposed to
get behind the hero and suffer vicariously with him a so great dissonance is
not a good thing.
I also
smell some hasty rewrite with Evangeline Lily character, Bailey, who after a
long introduction is reduced to the role of “Fiancée who watches from afar and
cheers at our heroes”. This is really notable where her supposed specialty, she
should be the robot expert, is taken over by an eleven years old high on too
much soda intake.
In the end
this is not a perfect movie but the fights, and the ending, are so good that
they make it worthy a trip to the cinema.
The target
of the investigations is again the Barksdale organization while the shadowy
world of local politics is introduced.
Notionally
this season should be about politics but I must say that here they didn’t
achieve the amazing results of the first two season, we don’t really understand
what it’s all about apart from a generic impression of “It’s complicated” and “They’ll
try to swindle you”. The writing is still amazing of course; it just does a
worse job at explaining the subject.
Spiritually
this is more a sequel to the first season, we go back to drug trafficking and
the Barksdale whose plotlines come to a thunderous conclusion.
Overall the
show is still very realistic and maybe a bit bleak, the effort to diminish the
crime and help the underclass are actively sabotaged and stopped by the higher
ups in the system. Even the cop hero, McNulty, is actually a moron ready to
work behind his colleagues backs to get what he wants. This is noteworthy; here
we have peoples, real human beings who do things, who make mistakes, dictated
not by plot necessity like in so many other shows. Their mistakes are dictated
by their nature, by what they are.
This is
also an extremely cinematic show, there are thousands of moments where the
storytelling is so elegant, so sophisticated.
This is
really must see TV, for the first time I feel like I’m watching a 60 hour long
movie and not the usual stuff stitched together just to get to the end of the
season.
A dangerous
psychopath wants to kidnap the son of a famous actor.
At first
glance this should be a very interesting concept. In one side there is a
classic Koontz villain while on the other there is a young boy and the chief of
security who must protect him. We can envision a lot of preparation, cat and
mouse action sequences and a sprinkle of “the crazy lives of very wealthy
persons”.
Sadly for
the author this wasn’t enough and so after not even fifty pages he starts a
completely different story about ghosts and various other random things. Now
this is not bad per se, often having two parallel plot lines can enrich a book
and make it smarter without making it too complicated but here this trick doesn’t
work.
See the
ghost storyline completely eclipse the kidnapping one. Not only it takes more
space, it becomes literally a deus ex machina because virtually all the
important actions are made by an all powerful supernatural being.
This is a
shame, the villain is stock Koontz psychopath but the author actually manages
to make him interesting and so I would have liked to see him acting in a real
plot instead of the obvious and bad developed one that the author created.
Koontz
remains a crafty writer but this book is one of his least inspired efforts.
The reboot
of Prince of Persia was a really interesting experiment. Like many things it
was derided by the “Hardcore” for being of all things, too easy. See if during
one of the incredibly acrobatic set pieces that compose the game you did a
mistake instead of dying horribly and starting again from the beginning of the
level you were endlessly saved by your companion, princess Elika, who
transported you back to the beginning of the sequence. Of course we casual
breathed a sigh of relief and had much more fun this way.
I wonder if
someone high up decided to listen to the haters, the game was clearly intended
to have a sequel but, years later, we are still waiting and to satiate my
thirst of wall running I had to download the expansion of the original game.
Story wise
it happens at the end of the main game and it depicts the escape of our heroes
from the resurrected god of darkness. Graphically is still gorgeous, it runs on
the scimitar engine, the same of Assassin’s creed, but it use cell shading to
give the world an incredible hand drawn feeling. It’s astonishing how ahead of the
curve it remained after three years.
There is
not a real innovation in this expansion, no new graphics or new enemies, only a
new power plate for us to play with. Probably if I downloaded it right after
finishing the game I would have been annoyed by this but after a couple of years
going back to the familiar mechanics mixed up in those new stages has been
really fun.
Only one
gripe remain, like in the main storyline it’s not really about free
exploration, there is only one way to go from point A to point B. The game even
leaves scratch marks on the intended route (which if we stop a moment to think
about it is hilarious, apparently in this lost city wall running is so common
that it left scratching on the walls). This means that the whole game is mainly
push the buttons in the right order to arrive to the other side. I understand
why they’ve done this, is hard enough to program one spectacular acrobatic
sequence, doing a couple different sequences for every single spot would have
strained too much programming work power, but it left me slightly dissatisfied.
When the main hero is so nimble is annoying to be so limited in our movements.
A steampunk
reimagining of the classic Alexander Dumas novel.
Right now,
in the darkest corner of the internet, so called “movie fans” are moaning about
this one. They say that the plot is stupid, that is historically inaccurate,
that it doesn’t use Dumas dialogue and a lot of very bad things. Maybe technically
they are right but factually they couldn’t be more wrong.
This is a
blockbuster in the purest sense of the world. It’s pure, dumb, adulterated fun.
Basically
Paul Anderson, known as the mind behind the Resident Evil Franchise, took “The
three Musketeers” and added cool stuff, just for the sake of it. The namesake
musketeers aren’t simple swashbucklers here; they are for all intent and
purpose a three, and then four, man army, the Justice League of the seventeen
century. They even come with added super gadgets like underwater ninja suits.
And this is
only the beginning, because the director felt the need to add Air ships. Now of
course we all know that it doesn’t make any sense, even Anderson know, the
point is that they are cool and they give us one of the most entertaining set
piece in the last few months. Probably because he doesn’t have to pretend that
this is all really dramatic and serious like in the Resident Evil franchise
here the director managed to create action pieces that are fun and lively.
I saw it in 3D and I must commend it, it's the best 3D in quite a while, not that terrible post production stuff, it's the real deal and it added a lot to our experience.
Another thing
noteworthy is how among all the steampunk stuff the movie is actually fairly
faithful to the spirit of the original. The original ideas are all still there,
the musketeers’ personalities, the basic plot, everything is still there. I
prefer something like this, where they get the spirit of an age and even manage
to get a surprising number of details right to the pretentious “real story”
attempt when Hollywood pretend to give us the truth behind the legend.
The
dialogue is silly but in a fun and lively way, all the leads certainly aren’t
actor studio material but they enjoy an easy chemistry. The surprise hit is
Orlando Bloom, not only he plays an improbable moustache twirling villain, he
even manages to walk the fine line between farce and epic without falling to
either side. I would have never thought that I would have said that but I quite
enjoyed his performance.
Sp in the
end if you want to have fun come and see this one and don’t underestimate the craftsmanship
in doing a fun dumb movie, in a summer that gave us Green Lantern and countless
other boring superheroes this must be indeed much harder than it looks.
The gang of
maverick detectives is back but now they are tackling a new case on the docks
of Baltimore.
The show
runners of this series certainly got a lot of courage. They already got a very
big cast and complex plotting but instead of backpedalling they add an entirely
new layer to their construction.
This layer
is the dock area with his workers, led by Dockers union leader Frank Sobotka,
and a scary smuggling organization. They don’t’ forget the Barskdale drug
dealing organization, not at all, we continue to follow the events in the “pit”,
in the local prison and everywhere they unfold.
This is
brilliant stuff. They highlight the interconnections of all the various vices
of a big city, how they are all complex problems that eschew simple solutions.
On the other
side I’m watching this stuff all in a row; I can’t imagine how hard it can be
for the average viewer who sees only one episode per week. I find it hard to
keep track of two dozen main characters so it doesn’t surprise me that the wire
never got better rating. This is not serial TV; this is a twelve part movie.
I still don’t
k now if this is the best serial ever but certainly it got the best writing.
An anthropomorphic
wombat battles undead pirates in the far future.
Ratchet
& Clank descend from an illustrious tradition. There was a time where a
console line up was composed primarily of game like this one, with bright primary
colors, cartoony graphics, some platforming and some fighting.
Before
playing this one, thank you Sony for your welcome back gift, I didn’t realize
that apart from Nintendo land I can’t think of any other game that continues in
this tradition. This is a shame, I can still remember countless hours playing with
Mario and his ilk but evidently First Person Shooters need even more shelf
space.
Moving to
the game itself I must confess that it doesn’t live up to his forebears. Maybe
I’m getting too old but the humor and the anthropomorphic characters are simply
not engaging for me.
The graphics
are certainly nice but the game play is so and so.
Mainly half
of the time is devoted to puzzles and platforming sequences, nothing too hard
and certainly enjoyable stuff. Our hero is literally armed with a futuristic
spanner which he can use to interact with various objects in a not very intuitive
way.
The other
half of the time is occupied with fighting the undead pirates. I didn’t like it
very much, honestly it wasn’t very entertaining, it felt like a chore that I
had to go trough to progress in the game.
The game is
very short, only 4 hours, and honestly not very good, I imagine that if you
want this kind of stuff you need to buy a Wii.
A group of
mossad agent captures a Nazi war criminal in 1966 but in 1997 an unspoken truth
about that episode comes back to haunt them.
The premise
and the early execution of this movie are wonderful. The whole flashback
sequence in Berlin is very good filmmaking, tense and gripping. The action sequences
where they abduct the Nazi and try to smuggle him to Israel are very good and
engaging managing to convey a sense of urgency missing from most of the big blockbusters.
This Nazi
war criminal, practically Mengele in all but name, is practically a devil in
human guise. His dialogue is very well written and extremely unsettling. There
is a whole masterful long sequence where our heroes are increasingly psyched
out just by having him around and talking to them.
Then the
movie sadly fizzles out. The whole present day part is unconvincing and sub par
in regard to the Berlin sequence. It just looks like they didn’t really know
how to end the story in an engaging way and not even Helen Mirren is able to
sell me a fight sequence between a lady in her sixties and an octogenarian, it’s
just wrong.
This is a
shame because even if I must admit that the ending fits thematically with the
rest of the movie I left the cinema feeling like it was all a big missed
occasion. The cast is very strong with a nice distinction for Jessica Chastain
who is establishing herself as a lady to watch and solid turns from everybody
else apart from Sam Worthington who clearly struggles to convey Vulnerable.
A police
operation against drug trade with all his implications.
This is
supposed to be the best series ever. I don’t know yet but after one season I
can attest that is extremely good stuff.
Basically
is one long story that last 13 episodes. It kinda makes sense, if we think
about it for a moment in real life nobody solves a murder in 45 minutes.
Realism is
the key, gone are the super sexy policemen of NCIS with their infinite
resources, in are real life detectives who are still waiting for a computer and
must fight a whole system that doesn’t want them to succeed. On the other side
there is an honest depiction of drug trafficking that instead of setting
everything in black and white actually manages to convey the humanity of all
the characters.
This
succeeds thanks to a incredible good writing, I still can’t say if it’s the
best one but certainly is the best written. The creators, David Simon and Ed Burns,
are an ex crime journalist and an ex Homicide detective and bring an unprecedented
level of realism. Later in the series they even recruited famous crime
novelists like for example Dennis Lehane.
Lately I’ve
been watching some episodes of CSI and, boy, does it look old and silly in
comparison to this one. Is like watching real life unfold.
The only
caveat against it is that being a whole long story is not good for casual
viewing, you should start from the beginning and never miss an episode, even
better, rent the DVD, you’ll thank me.
Cole
MacGrath acquires superpowers and must decide what to do with them.
Infamous is
a frustrating game, it get so many things wrong that it’s difficult to
appreciate the good stuff.
This
superhero has been created specifically for the game and so there is a nice
amount of freedom on choosing how to develop him. Every single action influences
his karma and makes him more good or more evil. Sadly the AI of the civilian is
terrible, in every single fight I got some civilian who blindly walked into the
line of fire so I quickly stopped caring about that.
This is an
open world game, you are basically free to roam the city and do stuff, the game
system even randomly generate things to do like armed robberies and stuff like
that, nothing really that interesting I must say but I imagine that fan of that
kind of stuff will be delighted. There is also a good amount of side missions.
Probably this is what I appreciated most because they are all extremely varied
and never boring. After each side mission you liberate a sector of the city.
The actual game
play is so and so. The city is entirely climbable, Assassin’s Creed style, but
the climbing is too arcade and unrealistic. It boils down to a lot of jumping
around while trying to find ledges. This is not bad per se, the problem is that
they didn’t implement it very well, a lot of obvious ledges aren’t climbable and
this was annoying. Moreover our hero is strangely attracted by ledges and walls
so I often jumped somewhere only to find myself attached to a wall halfway
trough.
Your powers
are electricity based, there is a fair number of long range attacks which to be
fair are nicely implemented but simply didn’t worked very well for me. On the
other side there was the possibility of going hand to hand with the enemies
which was more to my tastes. This is another thing that this game got right,
there were a lot of choices on how to do things and complete the missions.
Sadly on this regards a couple of main quest act like bottlenecks because in
them you are literally obliged to use some specific power to progress the
story.
The
graphics are bleak and generally not well polished. The city was simply not
interesting at all to explore and the game was plagued by a lot of minor glitches
like enemies stuck in walls and stuff like that.
The story
was mildly interesting, there are a couple of nice plot twists but It was never
really that gripping, probably the main problem is that all characters were
really unlikeable, not even the sidekick.
In the end
there are a lot of nice ideas but playing trough it felt too much like real work
and so I can’t advice doing it.
House is a
wonderful and very important series. It actually created a trend in TV and film
writing, without him no mentalist, no lie to me, not even Guy Ritchie’s
Sherlock Holmes.
The problem
lies in the fact that the same characteristics that made him so endearing make
him incredibly difficult to manage in the long run.
House at
his heart is power trip for all us viewers. He knows everything but we never
see him studying, he basically does and says whatever he wants and at his workplaces
he only works when he is in the mood for it, hint very rarely. The problem lies
in the fact that the keep us viewers entertained they had to up the ante all
the time.
So House,
with the passing of the seasons, became increasingly more childish and petty doing
flamboyant and extravagant things just for the sake of it. While this is
certainly fun it strains our suspension of disbelief to the breaking point, see
if I received from somebody just a tenth of what the so called house “friends”
received from him I would have in the least punched him and probably called the
police.
Honestly I
think that the producers of the show realize this but they are literally
between a rock and a hard place. House by itself must be a terribly difficult
series to write, burning ideas at an alarming rate, 23 episodes this year. This
year they also had to face some executive meddling, they planned a multi
episodes arc with House on the road which should have at least provided us with
something different but Fox axed it and so they had to go back to the drawing
board.
This season
they actually tried a step in the right direction with a romance between House
and Cuddy. The idea was certainly nice, even if the execution was still lacking
because as usual nobody had the guts to slap House out of his childish antics.
Sadly here they faced the large side of their viewership that regrets any hint
of House “going soft” and so went back to the old “Vicodin fueled” status quo.
The ending
went beyond silly. I don’t want to spoiler things too much, let’s just say that
it didn’t make any sense and that house went beyond crazy all the way to
criminal.
Is still
entertaining but if it’s true that it’ll end next year I must say that it’s
certainly the right moment.
A Victorian
governess relationship with her tormented employer.
Jane Eyre
is one of those stories that while terribly important and avant-garde in their
time hasn’t aged really well. Under the shape of a classic Victorian romance it
delivered social commentary and a very early form of feminism. The problem is
that that feminism and the whole romance, with his throbbing chests and weeping
eyes, looks dated by today standard. We can intellectually understand that for
a Victorian young lady Jane Eyre is incredibly advanced but we can’t help but
grow restless watching her taking literally forever to develop her
relationship.
Having said
that, Bronte dialogue is still light years better than the standard faire that
is offered by her modern counterparts. It is sophisticated in a way that modern
filmmakers shy away from, probably fearing that the average moviegoer wouldn’t
understand it.
The background
is wonderful. TV tropes call this kind of stuff, Scenery porn and I think that
this is an apt description. The costume setting is picture perfect and the English
countryside is filmed in a gorgeous way. It was really a pleasure just watching
the snow falling on the thatched roof of her house.
The cast is
good but they cat in a strangely stilted way, there is an overall feeling of
playacting, of “We are not really these characters we are just playing them.
This artificiality is not unpleasant per se but it limits the film scope
somewhat.
In the end
we couldn’t immerse ourselves in the story but we certainly enjoyed the
experience.
The fourth
chapter of the epic fantasy series “A song of ice and fire”. The war of the
five kings ended but the aftermath is still bloody and full of intrigue.
It’s 2011, “A
dance with Dragons” the fifth book of the series has just came out, I can hear
you asking “Why I’m reading the old one?”.
It
basically boils down to two things, opportunity and time. See I’m human and so
like everybody else I can get all hyped up by the next new shiny thing, be it a
video game, a book or a movie, but some time ago I realized that this is silly.
Sleeping in front of the shop to have the chance to pay full price for
something is stupid, we are not talking about food, it will not get soured or
bad after a while, and I’ll have the same experience as the guy who is holding
it proudly while it’s still fresh from the press.
A lot of
times passed between those books and there is a big movement among fans that
want to see the end of the story as soon as possible. I don’t agree with them,
I want to see the best possible story. I know that we are all worried that
Martin pulls a Robert Jordan on us and dies before completing the series I
still prefer the best possible ending to a shop list of all the plot points and
their relevant endings.
On the other
side is pretty obvious that tale has expanded enormously from the original
plan, clearly all the political intrigue should have occupied much less space,
but this is the nature of art, sometimes it start in a direction but then goes
somewhere else on his own volition and till this remain such an interesting
lecture it can take all the time in the world.
Talking about
the book I can say that I greatly enjoyed it. Due to space constraint this
contains only half of the characters, mainly it covers the south Westeros
setting but this didn’t annoy me at all. Of course I missed Tyrion and Daenerys
but a lot of interesting stuff was going on. Luckily Martin still manages to
hold a thousand plots in mid air like a consummated jester.
A seemingly
normal guy falls in love with a prostitute. Together they battle the mob.
My
Tarantino related quest wasn’t really finished with Jackie Brown. I had
completed everything that he directed but not everything that he has written.
See after Reservoir Dogs but before Pulp Fiction he sold this screenplay to
Tony Scott, brother of the more famous Ridley.
This is an
excellent movie, first of all because it’s really original. It goes in a lot of
unexpected directions and is such a powerful experience that it had us on the
edge of the couch wondering what would happen next all the time. A lot of
things, like a couple of random Val Kilmer Elvis apparitions are left
unexplained but I don’t complain, the main plot threads are tied nicely and
explaining the oddities would have probably made them banal.
With all
his originality at his heart this is Tarantino wet dream. The protagonist is a
film buff and comic book guy who meet a gorgeous girl and start living an hard
boiled version of his own life. I’m not saying that this is bad per se, only
pointing what this is all about.
The supporting
cast his incredible, Gary Oldman and Cristopher Walken in the same movie?
Playing two different bad guys? You don’t really need anything else to create a
must see experience.
The father
of a child affected by a rare disease actually starts a biotech company to
develop a cure.
Ah, the
ever lovable sub genre of extraordinary stuff done by parents to save their
sick children.
As a tear
jerkin, oh my god those kids are sick, movie it kinda works. Is based on a true
story, which always adds gravitas, and the kids on the wheelchair are certainly
heart rending. Is the other half, the interesting one, that doesn’t really work.
See when
the movie shift from the family matters to the “lets develop a cure” stuff it
becomes confused. Our heroes face many problems but we don’t really understand
them. The only clear point is that the doctor is very antisocial and that if he
had a better personality everything would be much easier.
That’s a
problem, they substituted the actual problems that they weren’t able to explain,
with fictional problem which are simply much less interesting.
A part from
that the movie got decent pacing and solid work from everybody involved.
Harrison ford plays yet another time the person with no social skills which he
did so much better in Morning Glory and Cowboys and Aliens while Brendan Fraser
and Keri Russel deliver all the angsty stuff.
There is
the seed of a good movie here, shame that they couldn’t build on it.
A flight
attendant is the center of a complicated caper between the cops and an arm
dealer.
My quest to
see every single Tarantino movie is finally completed with this one. Many
consider it his worst movie and, after seeing it, I must add my voice to the chorus.
Is not like
it is that bad but is neither particularly good, his many problems drags him
down too much.
At his core
it is a long homage to the blaxploitation genre. What is blaxploitation you
ask? That implied question is the main problem of the movie. See, Blaxploitation
means black exploitation and therefore is all about the sensationalization of
the culture and identity of the American black people. The soundtracks are
mainly composed by funky music while the stories depict pimps, prostitutes, gangsters
and others “Exploitative” elements. It had a lot of success during the 70s
mainly among the same black people it “exploited”.
The main
problem is that, while I can recognize easily the blaxploitation elements they
means nothing to me on an emotional level because I didn’t live in that age and
place. This is the big limit of a citation or an homage when is done wrong, it
can please the film buff who nods his head smiling because “He gets it” but in
the end it needs to stand on his own legs, to work in the movie on a narrative
or at least on an instinctive level.
Sadly this
is the case of “Jackie Brown”, there is a truckload of homages and stuff which
is so overwhelming that all the narrative goes in circles for the first 60
minutes while the big heist is planned. The actual execution of the heist is
fun, smartly shot on different timeframes but in the end is too little and too
late to save the movie.
There is a
mole at the very top of the MI5 and is up to retired spy George Smiley the task
of discovering his identity.
This is not
a movie for the faint of heart or the easily distracted. The plot is extremely
complicated. Of course is possible to follow the movie without paying too much
attention to the details but the point of a movie like this is to pay attention,
to scrutinize closely everyone while trying to guess who is the aforementioned
mole and here we have a movie that actually reward this, a movie where every
tiny detail makes sense in the end. This is a movie for the thinking man.
Luckily
this movie is not simply a very big puzzle. The director, Tomas Alfredson of “Let
the right one in” fame, actually crafts a very good cinematic experience. Many
shots are really interesting, we spy conversations from behind a window, we
follow the path of a document in the cavernous halls of the MI5 head office,
every single frame is interesting and engaging. Considering how this story is
so complicated and convoluted this is really noteworthy.
This is also
a period piece, set in 1974 in the middle of the cold war, and every detail is
lovingly recreated. The author of the original book, John le Carre, was a real British
spy, and after a while we get sucked in an atmosphere of paranoia and suspect.
The cast is
impressive and reads like a Who’s who of the best talent around; John Hurt,
Colin Firth, Tom Hardy, but above everybody else is a towering performance from
Gary Oldman. Smiley is a very difficult role. A taciturn man, he speaks for the
first time 20 minutes in the movie, he raises is voice only once and so there
is no space for the usual histrionics that are normally the highlight of a performance.
Here instead Oldman succeeds in being more expressive by saying less, every
word that he speaks is loaded with meaning and implications.
A must see
experience, if somebody says that he understood the real identity of the mole
in the first 5 minutes you should punch him.
