“EL EXORCISTA: CREYENTES” (“The EXORCIST: THE BELIEVER”)
Film is a unique and independent service to others of its class, like an autonomous and individual animal, whether thought of by others or of the same species. Therefore, they must be appreciated, analyzed or considered in their airy and meaningful form, without comparing them with others, so that the observation of them can be considered and fair, as any zoologist would do with any component of a particular fauna to determine their defects and damages. .based on its own procedure. “The Exorcist: Crientes” is easy to understand, it can be seen as an inevitable point of comparison with its predecessor, which not only broke the time or generational barrier (50 years have passed since its appearance) for its innovator – some would say: avant-garde” – usage in it horror stories have not yet been explored in using cinematic storytelling outside of its genre to explore deep themes of socio-culture, metaphysics, theology and existentialism through a plot that is essentially a very broad intra-family drama with a monstrous mask. So what follows will not be easy, as you demonstrated in El Hereje (1977) with its delusional anthropological gods, or the despicable but very drinkable third part of Legion (1990), orchestrated by the novelist and creator of the original text William Peter Blatty (Preludes and the TV series we we will forget because of the historical inconsistency of the saga, which requires explaining/reproducing/expanding what should not be said). Since we live in the apogee of post-postmodernism, I know the language of the Internet as “legasequelas”, and it is difficult to peacefully stop someone who still has a bouquet of that many dollars. Just like one of the modern specialists on this side, producer, actor and director David Gordon Green (the new Halloween trilogy, another series next to the one that gives them eternal disappointment), is the author of the new Demonic Poses trilogy, reasoned ADN which is close to the steps of Pazuzu, an evil demon prone to using children’s bodies for his own purposes. Now this demon will never return until innocent people appear in the form of teenagers with a completely different life. The idea is to arm the melodrama with parallel plots about pleasing the fathers of these little girls. In the first, and most importantly, we meet an African-American photographer named Victor (Leslie Odom Jr.), who lost his embarrassed wife during the terrible crisis in Tahiti 13 years ago when he visited that epoch-making country. The baby survived, as required by the current norms of the North American Standard Guide, in order to ennoble the image of the father and win our sympathy. A little girl, Angela (Lydia Jewett), is away from her mother, so she decides to enter the old forest with her best friend Catherine (Olivia O’Neill) to summon her through a controversial ritual, no séances or anything. . Both are missing, just like their suffering fathers. In three days we will appear again, not remembering anyone from the past. It is to be hoped that those who are unwell begin to manifest themselves accordingly Angela and Catherine, adopting extranya and then blasphemous behavior as Angela brutally attacks her father and Catherine, a member of the religious community, blaspheming in a statement. dominant. Through exhaustive medical tests, Victor makes it clear that he should resort to alternative methods. After discovering a book written by Chris McNeil (Ellen Burstyn), Regan’s (Linda Blair) mother, and the original film’s main characters, he decides to consult her and then engage her in a double-take because Pazuzu has reclaimed both little girls’ children by syncing his inner organs to such an extent that what happens to one equally affects the other. To confront the devil, the film returns to various warriors of faith: among the desperate Catholic priest there is a Presbyterian pastor (Raphael Sbarge), an exotic or look-alike priest (Okwi Okpokwasili) and a sweet nurse intending to become Monja (Ann Dowd), all old people or members of the community were concerned about the well-being of the girls. The climax is revealed unexpectedly (hellish voices, flashing lights, constant drooling and vomiting, levitations, etc.), but with a big flaw: it follows the style of its producer, the dubious Jason Blum and his studio Blumhouse, in terms of the aesthetics and tone of the episode. reproducing what we saw in his productions such as “El Conjuro” and other similar works. The film reveals the limited abilities of director Green, who works well in independent comedy but lacks a penchant for creating horror in supernatural scenes such as this. Because of this, and the recurring appearances of key characters from previous films that guarantee immediate creative output, The Exorcist: Creed makes anyone feel skeptical of any intention of immortalizing a horror classic.
“NADI PODRA SALVARTE” (“NO ONE WILL SAVE YOU”) – STAR+
In his book War of the Worlds, writer H.G. Wells plans an interplanetary invasion of a planet at the forefront of rays. There is a very interesting chapter in which the main character takes refuge with a priest in a church near the Asolonians of England. This fragment of the novel is dedicated to a global alien cataclysm, designed to resolve purely human and psychological tension. Director Brian Duffield (Love and Monsters) intends to write something similar with his minimalist alien invasion story Nadi Kan Salvarte, which in this case allows him to build a sci-fi drama with terrifying adhesion from the first line. if not for certain shortcomings in the development of the narrative and a recursion that ends in knowing more words than a sentence: the belt is full of dialogues, so they are reduced to 8 words skipped along the entire length.
The protagonist attacks Brynn (Kaitlyn Dever), a young girl who lives a lonely life at her little girl’s house outside the forest, which leads to a small community affair. She avoids contact with her inhabitants to such an extent that she exposes some, in particular, to traumatic trauma from a past event, which is not revealed until the climactic moment of the belt to add dramatic tension, but which affects the one who was her best friend. As a child, a girl called Mod for a person who writes papers according to the ancient custom (paper and pen). One night, Brynn heard a noise at home and found the stranger making the classic face of a blinding alien; he fights him and wins, but this will only be the beginning of a night of battle in which he will have to face a series of invaders similar in form to the moments in his past that forced him to become a hermit. With its help, director Duffield strives to give the character completeness, while in a narrative context, silence increases the tension in the scenes with aliens, and also symbolizes the main character’s sense of separation and discomfort with the world around her. rodea. Thus, in this context, the use of continuous silence is most likely not a well-planned narrative strategy, but rather an argumentative bagatelle that loses effectiveness according to the meaning of the assumption, both the character emotionally and psychologically, such as the intrusion in Yes. Once the essentials of trauma and forgiveness become apparent, the plot takes on a cliché-tautology format where excellent atmosphere, Dever’s impressive performance and a wonderful sense of suspense do little to overcome the story’s narrative excess. . “Nadi Podra Salvarte” is about a talented director who is still looking for a guy who will strengthen his recognition, because the appearance of “Encuentros Cercanos del Tercer Tipo” with “Señales” does not register it.
Correo: corte-yqueda@hotmail.com
