The writer – New film critic

film critic

The Writer (Roman Polanski, 2010) – What about the “suspense” dialog settings lately? When did these great directors like Scorsese and Polanski decide to shape their films after a Kevin Smith party? Usually when writing “reveal” in a scenario, it is a camera address, it is not a general principle of dialogue. Lately I’ve seen a lot of this trend. First, it took Shutter Island to a stop, then the trend appeared in the flame and Citron out of Denmark (see my review), and is now infected with Roman Polanski in his famous “thriller” The Ghost Writer. In all these films, the main elements of the plot will spread their dramatic and effective formation, fall into the mouths of the characters with a specificity demanding that I can imagine (and witness) to leave the theater scratched his head, saying ” What?” The great amount of information provided to us with a spoon makes us wonder if we are slipping something we do not expect, and when “the great revelation” takes a full hour to implement it feels like never held, and we wonder if we have it lost. Unfortunately, we did not. No one can wake up. It’s a cliché to write a good thriller “keeps guessing.” These films “still know”, so do the anti-suspense? Perhaps this time I will clean my pallet and satisfy my desire longing, with the projection of the tenant.

The writer refers to the unnamed protagonist played by Ewan MacGregor, who is dedicated to helping publish the memoirs of Adam Lang, a surrogate for Tony Blair, who is locked in Cape Cod to escape the anti-war protesters afflicting home. The ghost is trying to replace another writer who has recently covered a beach with his lungs sea water. Like Lang and his new partner to start work, charges were filed by the International Criminal Court, accusing Lang to assist the CIA to carry out the acts of torture on the secret flights they took Hatherton, a substitute for Halliburton. Lang’s team is in full defense and discusses its strategic options, leading to the conclusion that they must remain in the United States to avoid the CPI.

As fun, fun, beautiful Lang-child Pierce Brosnan has never been so good, and has never been more divided. The choice of cast above the table is brilliant, especially Jim Belushi as imperative American edition editor, and Kim Cattrall, his assistant and Mrs. Lang intimidating and composed. There is no category of Best Cast Oscar, but casting director Fiona Weir deserves some kind of award.

Polanski demonstrates his impressive talent management control part with such precision that no detail is without prior notice. However, the details are very mundane. The film suffers from a lack of motivation and lack of transportation. The ghost of itself does not care enough; All you want is to get your paycheck, and hold on to a bottle of whiskey in the afternoon. He decides he does not want to investigate, while Polanski turns the investigation into a completely insane wish to check out how to run a set of Mercedes navigation panel. Later, ridiculously, the ghost discovers crucial information by conducting a Google search. Later, it is said what “discovered” Robert Rycart, an important political opponent of Lang, and is very surprised by the news. Apparently Rycart is not very competent to technology.

The problem is not just how we provide information to us, but also what those details. Once we connect the dots (or rather, the dots connected to us in slow motion), we left nothing solid to hang the hat on. Before the revelation (long and slow) reveals, we knew that there were murky business between the British government and the United States government and the previous ghost writer was probably killed to cover a deep corruption that he discovered in his investigation. After the revelation (long and slow), we know that there were shady relations between the British and American governments and the previous ghost writer was probably dead to cover deeper corruption, but now we know that there are two “bad” ones are . Plot bets are quite low.

Perhaps The writer mocks the genre thriller with a high and postmodern perspective. As the construction energy lost no suspense, Polanski has many opportunities for them to dry and ironic jokes with a wink and a wink to the public. If there was tension, these jokes could dissipate. But there really is not, so it’s really distractions. MacGregor is a charmer and carries the film well enough, with the participation of the audience whenever the opportunity is offered. Similarly, the irony mixed with the literalness of the plot makes the film a great “look and an ironic wink” to the thriller genre? This movie is a roller coaster bigger than the simple twist of effective game of suspense? Maybe (I’ll let you decide for yourself). Polanski deals with issues of exile and the problem that can bring personal charm, which, like those of you who do not live in a hole, can testify for the last 30 years, are perhaps notions that weigh on the mind of the director. On the other hand, the plot could be read as a criticism of the Bush and Blair regimes and how they ran foreign policy. Ultimately, however, the message policy is quite low. Lang is allowed to make an undisputed “Come On Get Real” defense in the fight against terrorism, so the problem gets hit the background while we focus on the less interesting topic to solve the fate of our young ghostwriter.

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