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2008/06/22 at 12:00am

Indiana Jones and the Kingdom of the Crystal Skull

06.22.2008 | By |

Rated: PG-13 for adventure action and violence.
Release Date: 2008-05-22
Starring: David Koepp, George Lucas
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.indianajones.com/intl/es/teaser/

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Indiana Jones and the Kingdom of the Crystal Skull

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2008/06/19 at 12:00am

Get Smart

06.19.2008 | By |

Rated: PG-13 for some rude humor, action violence and language.
Release Date: 2008-06-20
Starring: Tom J. Astle, Matt Ember
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: www.getsmartmovie.com

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Get Smart
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2008/06/17 at 12:00am

Forgetting Sarah Marshall

06.17.2008 | By |

Rated: R for sexual content, nudity and strong language.
Release Date: 2008-04-18
Starring: Jason Segel
Director(s):
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Film Genre:
Country: USA
Official Website: http://www.forgettingsarahmarshall.com/

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Forgetting Sarah Marshall

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2008/06/15 at 12:00am

The Life Before Her Eyes

06.15.2008 | By |

Rated: R for violent and disturbing content, language and brief drug use.
Release Date: 2008-04-18
Starring: Emil Stern
Director(s):
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Film Genre:
Country: USA
Official Website: http://www.lifebeforehereyes.com/

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2008/06/15 at 12:00am

The Chronicles of Narnia: Prince Caspian

06.15.2008 | By |

Rated: PG for epic battle action and violence.
Release Date: 2008-05-16
Starring: Andrew Adamson, Christopher Markus
Director(s):
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Film Genre:
Country: UK, USA
Official Website: http://www.disney.es/FilmesDisney/narnia/

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The Chronicles of Narnia: Prince Caspian

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2008/06/13 at 12:00am

Dr. Seuss' Horton Hears A Who?

06.13.2008 | By |

Rated: G
Release Date: 2008-03-14
Starring: Ken Daurio, Cinco Paul
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Country: USA
Official Website: http://www.horton.es/

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Dr. Seuss' Horton Hears A Who?

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2008/06/12 at 12:00am

John Leguizamo curses up a storm in Spanish

06.12.2008 | By |

John Leguizamo curses up a storm in Spanish

John Leguizamo is in 6 films this year alone (Paraiso Travel, The Take, The Babysitters, The Happening, Righteous Kill and Nothing Like the Holidays) and another 4 for ’09. We had the chance to converse with the indefatigable actor at the ‘The Happening’ in New York about his desire to work in another Colombian film (Love in the Time of Cholera, Paraiso Travel), and which Latino filmmaker he’d like to invest his efforts with in the future.

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2008/06/07 at 12:00am

CJ7

06.7.2008 | By |

Rated: PG for strong language.
Release Date: 2008-03-07
Starring: Stephen Chow, Chi Keung Fung, Vincent Kok, Sandy Shaw, Kan-Cheung Tsang
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Film Genre:
Country: Hong Kong
Official Website: http://www.sonyclassics.com/cj7/

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2007/07/30 at 12:00am

El Cantante

07.30.2007 | By |

Rated: R for drug use, pervasive language and some sexuality
Release Date: 2007-08-03
Starring: Leon Ichaso
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.elcantante.net/index_beta.html

Go to our film page

El Cantante

La película titulada “El Cantante”, sobre la vida del cantante y pionero de la salsa Héctor Lavoe y protagonizada por Marc Anthony, abre con una toma de la cara de Jennifer Lopez, quien hace de su esposa, Puchi.

Inmediatamente se nota el problema con esta película. Y sinceramente me da muchísima pena reportar que “El Cantante” es un desastre.

Me parece a mí que hace solamente cinco años o hasta menos, una película como ésta no podía haber existido. Vamos, ¿un proyecto prestigioso de Hollywood, sobre la vida de un salsero puertorriqueño mayormente desconocido para los americanos, protagonizada por un artista puertorriqueño mayormente desconocido a los americanos, con un elenco entero de actores hispanos, con alrededor de un 25% del diálogo, más la letra de las canciones de Lavoe, en español…y hasta con el título en español? ¿Y esto va a salir en los mega-cines y los centros comerciales de todo los Estados Unidos? ¡Esto es una maravilla!

Y si bien los hispanos en general hemos esperado este estreno con gran anticipación, más aún los públicos de mi Puerto Rico, donde cineastas boricuas llevan años dedicándose a crear y cultivar un nuevo cine puertorriqueño. El estreno de cada proyecto nuevo creado por puertorriqueños viene acompañado de gran publicidad y atención en la isla; incluso la gente se anima cuando un actor puertorriqueño encarna un papel, no importa cuán secundario, en una película grande de Hollywood, como ha sido el caso recientemente con actores como Amaury Nolasco en “Transformers” y Armando Riesco en “World Trade Center.” Se le extiende siempre la invitación a Hollywood para rodar sus cámaras en el trasfondo de la isla, y los públicos puertorriqueños se lanzan a ver cualquier película americana filmada localmente, simplemente por ver a Puerto Rico en la pantalla gigante. Añoramos que el cine sea plenamente una parte del patrimonio cultural de nuestro país.

Obviamente la comunidad hispana en los Estados Unidos se ha dado a respetar, y Hollywood se ha tomado un riesgo en el malabarismo de crear una película para públicos americanos que no deje de parecer auténtica para los hispanos; pero “El Cantante” decepcionará a todo el mundo por igual.

Los problemas de los que sufre esta película son muchos y variados, pero en primer plano está el hecho sencillo de que esta película, “El Cantante,” resulta no ser sobre el cantante; la historia gira en todo momento alrededor del personaje de Puchi, la esposa realizada por Jennifer Lopez, quien también sirvió de productora ejecutiva. Puchi narra los sucesos de la vida de Lavoe en una entrevista, proveyéndonos al público el punto de entrada al cuento. Pero la táctica narrativa, filmada en blanco y negro, fracasa porque se torna más importante que las escenas de la vida de Lavoe. En vez de esta técnica iluminar y enriquecer las escenas dramáticas, como debería ser el efecto, las escenas dramáticas sólo sirven como breves episodios demostrando lo que Puchi nos cuenta. Demasiadas veces durante el curso del filme, un momento poderoso y cargado se interrumpe para regresar al estudio donde Puchi nos cuenta lo que sucedió después. Muchas otras veces, la trama ni siquiera alcanza el momento poderoso que debería; escenas terminan repentinamente, fallando en explorar los conflictos que establecen. Por ejemplo, una escena comienza con Puchi entrando al apartamento lujoso donde vive con Lavoe, quien está sentado en el sofá sin hablar. Cuando ella lo saluda y le cuenta que le ha traído cena de casa de su hermana, él se pone de pie y la acusa de estar con otro hombre. Y termina la escena. Fíjense que no comienza con Lavoe sólo, sospechando de Puchi y enfureciéndose, como uno se imagina que debería ser el caso en una película sobre Lavoe. Y claro, apenas se ha establecido de qué trata la escena – Lavoe se enfrenta a Puchi por sospecho de adulterio – cuando de repente acaba sin contar más nada. Eso no es una escena, es meramente el comienzo de una escena; carece de medio y fin. ¿Tiene razón Lavoe en su sospecha, o es paranoia? ¿Qué pasa después? En otra escena, la pareja pelea a gritos de nuevo por el supuesto adulterio, y Puchi le promete a Lavoe que se va a acostar con varios hombres para hacerle valer las sospechas. ¡Fuerte! De repente cortamos a Lavoe y Puchi juntos y alegres en Puerto Rico. ¿Pero qué sucedió con el adulterio? ¿Y cuánto tiempo ha pasado, meses? ¿Semanas? ¿O es el día siguiente? No sabemos.

La película salta y se tropieza de este modo continuamente, tratando a la mayoría de las escenas como si fueran meramente los puntos clave para resumir una historia, y no la totalidad de la historia como tal – o sea, un corto o un adelanto, como uno vería en el cine antes de otra película, pero durando dos horas. La ascendencia musical de Lavoe sucede en mas que tres escenas: lo vemos cantando baladas en el Viejo San Juan con su papá, que le advierte que no se mude a Nueva York; luego está caminando en Nueva York, donde conoce a quien será su mejor amigo y ve por primera vez a su futura esposa Puchi; y finalmente acabamos con él cantando en un club en el Bronx, donde se le acercan Willie Colón y Fania Records a ofrecerle un contrato, con solo la indicación a través de un subtítulo que han transcurrido “varios meses.” No llegamos a ver la primera vez que Lavoe se para frente a un micrófono; no vemos cómo logra entrar al mundo de la música profesional. En ningún momento se toca en su proceso creativo, ni se explora la pasión que Lavoe debió haber sentido por la música y la compulsión artística por crear; peor, esta película ni siquiera indica si él escribía la letra de sus propias canciones. El encuentro entre Lavoe y Colón (John Ortiz, un excelente actor hispano que se queda sin mucho que hacer aquí) tiene todo el cliché de ser un gran momento para el futuro de la música porque estos dos crearán algo monumental juntos…pero falta la sustancia. En ningún momento vemos los retos, las dificultades y la gloria de crear arte innovadora.

Varias figuras del mundo de la salsa y de la familia de Lavoe ya han criticado a “El Cantante” por enfocarse demasiado en la drogadicción; dada la ausencia total de cualquier otro tema en la vida del personaje en esta película, estoy de acuerdo. Es un factor muy importante en el que hay que tocar, es cierto, pero no es lo único de que se trató su vida y su carrera. Honestamente, sólo llegamos a ver a Lavoe usando drogas, en su relación con Puchi y cantando (que no es lo mismo que decir creando música).

Ahora, hace falta aclarar que Marc Anthony hace un trabajo excelente; actúa muy bien, y por supuesto, las escenas musicales son excepcionales (aunque el intento de crear subtítulos animados para las canciones en español cae pesado y no funciona). Ver a un artista tan talentoso como Marc Anthony haciendo de un sonero legendario como Héctor Lavoe es un encanto; ¿quién más en el mundo del cine y la música es capaz de hacer este papel, actuando y cantando tan bien? Y viceversa, ¿qué otro papel basado en una figura real sería más apto para Marc Anthony encarnar? Es un ejemplo insólito de un actor coincidiendo con un rol tan precisamente que tal vez no ha de repetirse jamás en el futuro del cine puertorriqueño – por lo menos hasta que se filme la vida de Vico-C protagonizada por Residente Calle 13. Sin embargo, Marc Anthony no aparece mucho en “El Cantante”…y de las escenas en que sí aparece, no hay ni una sola que no esté enfocada en Jennifer Lopez, que pretende robarse la película entera. Incluso en las escenas en que ella no aparece, siempre acaba figurando su personaje, y a menudo en momentos intensamente dramáticos que le deberían de haber pertenecido a Marc Anthony. Cuando a Lavoe le informan que tiene SIDA, su primera pregunta al doctor es por la salud de Puchi. Cuando Lavoe intenta suicidarse, cortamos inmediatamente a Puchi narrando las consecuencias de su caída desde el balcón de un hotel, convirtiendo un suceso trágico y horrible en un episodio chistoso al describir como rebotó. Y cuando Lavoe se entera que su hijo se ha muerto, la noticia le llega a través de Puchi, que se trastorna con gritos y llantos melodramáticos, subiendo a la tarima de un club y quitándole el micrófono y el foco; lo simbólico hecho explícito.

Pero el personaje de Puchi que forma el centro de la película ni siquiera es un personaje agradable. Puchi es egoísta, facilita la drogadicción de Lavoe y le miente a sus entrevistadores. Cuando Lavoe sospecha que ella tiene amantes, no se indica si es verdad o no; uno puede suponer que no, porque al personaje lo pintan como una fuente de apoyo y estabilidad para su marido. Sin embargo, no siempre le puede ofrecer esa estabilidad, y ya la hemos visto decirle al entrevistador que nunca usó drogas mientras estaba con Lavoe, lo cual sabemos que no es cierto porque la vemos usando drogas. Pero tampoco el tema es uno totalmente trágico, en el cual Puchi y el público aprecian que ella le hizo daño mientras pretendía ayudarlo; simplemente, la película no sabe en qué pie está parada, y si ese es el caso y Puchi es una influencia dañina en la vida de Lavoe, entonces parece una arrogante que vivió la vida entera sin percatarse.

Las películas biográficas no necesariamente deben ser totalmente fieles a la realidad; a menudo en el género se combinan personajes, se condensan eventos para facilitar la narración y enaltecer el impacto dramático, etc. Lo importante en una película biográfica exitosa es que se capture la esencia de la figura histórica a quien representa: la verdad emocional de su carácter; los retos que sobrepuso en el curso de su vida y su carrera; la inspiración que lo conllevó a crear su arte, a obrar sus descubrimientos científicos, a ser un gran líder político o militar. “El Cantante” falla en ambos criterios. No solamente no existe un relato fiel a la vida del Lavoe verdadero, quien estuvo casado dos veces, tuvo más de un hijo y llegó a dejar la heroína por un tiempo antes de volver a caer en ella; tampoco se pinta el retrato de un Héctor Lavoe destilado, concentrado y dramatizado. En “El Cantante” sólo ha de hallarse el cuentecito inconsecuente de una mujer sumamente desagradable y su marido, un salsero cualquiera que se destruyó la vida.

La falla de esta película es trágica; no honra el legado artístico de Héctor Lavoe. Y no representa lo que nosotros los hispanos somos capaces de crear. Muchos hispanos citan las palabras del cubano José Martí para defender lo nuestro: “El vino, de plátano. Y si sale agrio, ¡es nuestro vino!” Pero ese no tiene que ser el caso, y no hay que contentarse con la mediocridad. Héctor Lavoe demostró lo bien que se puede hacer; Marc Anthony lo demuestra. Nuestro vino está BUENÍSIMO.

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Rated: PG-13 for violence and intense sequences of action.
Release Date: 2007-08-03
Starring: Tony Gilroy, Tom Stoppard, Scott Burns, Paul Attanasio
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Official Website: http://thebourneultimatum.com/

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The Bourne Ultimatum

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