FRAMES CINEMA

Tag: paul rudd

  • Recensione Death of a Unicorn – Come (non) cucinare un unicorno

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    Se c’è un filone che il Cinema contemporaneo non si è (ancora) stancato di proporre in tutte le salse, è quella macrocategoria che si può riassumere come “l’élite passata alla graticola in chiave pop”. Che sia il culto della celebrità e le storture mediatiche/culturali che la alimentano, la concezione aristocratica dell’arte o uno scabroso racconto gotico di lotta (civile) di classe, ci piace vedere i privilegiati soffrire nei modi più stravaganti e creativi. In Death of a Unicorn, il debutto alla regia di Alex Scharfman, è lo sfruttamento della natura che i ricchi perseguono, ciechi delle possibili, devastanti conseguenze. Perché, come ci mostrano i vari capitoli di Jurassic Park dal 1993 a oggi, la natura si ribella all’avidità o all’ambizione di meschini uomini miopi, con conseguenze nefaste per tutti. Soprattutto se, a punirci, sono creature eccezionali come i tirannosauri resuscitati nel parco di John Hammond. O una coppia di unicorni vendicativi.

    Papparsi i ricchi

    L’avvocato da poco vedovo Elliot (Paul Rudd) investe per sbaglio un piccolo unicorno, mentre lui e la figlia Ridley (Jenna Ortega) viaggiano in macchina diretti a un week-end nella magione dei datori di lavoro di lui. Nonostante un goffo tentativo iniziale di occultare il puledro, ben presto le proprietà farmaceutiche della creatura vengono alla luce, e i ricchissimi Leopold non perdono tempo a cercare di sfruttarle per i loro benestanti clienti. Peccato che questi unicorni non siano solo le magiche creature simbolo di innocenza e bontà che tanta letteratura fantastica e filmografia hanno ritratto nei decenni. Richiamati dalla morte del piccolo, i genitori accorrono: la loro vendetta sarà particolarmente sanguinolenta, mentre Ridley sperimenta un contatto psichico con le creature che potrebbe essere la chiave per aggiustare le cose.

    Sulla trama non diremo di più; non solo per evitare spoiler ma anche perché, se siete già navigati del genere, Death of a Unicorn non si sposta molto più in là di quanto il trailer, o anche solo i primi venti-venticinque minuti di film, non lascino già suggerire. Stessa cosa per i protagonisti, che instradano il cast nei binari di una versione appena meno approfondita dei loro personaggi tipici – Paul Rudd un succedaneo più smidollato del padre di famiglia benintenzionato che ha fatto la sua fortuna negli ultimi anni con il MCU, Jenna Ortega l’adolescente anticonformista che potrebbe interpretare anche a occhi chiusi -. Per un storia tradizionale che dovrebbe farci detestare la famiglia di privilegiati, il personaggio più divertente e memorabile è proprio l’imbelle nepo baby interpretato da Will Poulter, che dell’unicorno scopre ben presto un uso più ricreativo. Poche le ragioni per provare qualsiasi cosa per ciascuno di loro, se non il ruolo che il film assegna loro fin dall’inizio.

    Brodo (di unicorno) riscaldato

    Death of a Unicorn è una creatura strana tanto quanto quella al centro della scena. Inclassificabile thriller-horror fantastico con incursioni nella commedia nera, la premessa di creature leggendarie e fiabesche divenute terrificanti macchine di morte è, se non originalissima – tra Winnie the Pooh e Mickey Mouse ci stanno costruendo un intero pseudo-franchise di serie B sui beniamini d’infanzia in chiave horror splatter -, potenzialmente gustosa per chi è in cerca di un po’ di divertimento anarchico o vorrebbe passare un paio d’ore tra sangue in CGI versato nei modi più truculenti e creativi. Entrambe occasioni che Death of a Unicorn coglie a metà, e in modo non troppo convinto. Il film di Alex Scharfman è un banchetto di buone intenzioni preriscaldate, di potenziale scenico che il film stesso rigetta in favore di un timido intrattenimento non troppo spaventoso e neppure particolarmente creativo.

    Fin troppo woke o non abbastanza? Al di là degli inevitabili slogan dell’adolescente socialmente consapevole, ribelle e tormentata da una recente perdita, inevitabile voce della ragione (inevitabilmente mai ascoltata, fino a quando non è troppo tardi), la parabola sull’estrema cannibalizzazione della natura che instaura non affonda mai del tutto i denti sui suoi -attualissimi- temi. 

    Il divertimento non manca, ma il fantastico è altrove, l’horror pure. Se l’unicorno di Alex Scharfman non sarà del tutto esanime, procede a un trotto mai davvero convinto.

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    Valentino Feltrin,
    Redattore.

  • Recensione Ghostbusters Minaccia Glaciale – La maledizione dei sequel

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    Ghostbusters – Minaccia Glaciale (Frozen Empire nel titolo originale) è il quarto capitolo del celebre franchise (il reboot diretto da Paul Feig nel 2016 non si considera parte del canone) nonché il sequel diretto di Legacy (Afterlife), uscito nel 2021.

    Diretto questa volta da Gil Kenan, il nuovo film riporta lo spettatore dove tutto era iniziato: nella vecchia caserma dei vigili del fuoco di Manhattan, dove ora si è stabilita Callie (Carrie Coon) insieme a Gary (Paul Rudd) e i figli, interpretati da McKenna Grace e Fin Wolfhard.  La famiglia porta avanti l’attività degli acchiappafantasmi, minacciata dallo storico rivale Walter  Peck, che nel frattempo è diventato sindaco della città e ha quindi l’autorità per far sequestrare la caserma. Ray (Dan Aykroyd)  intanto, aiutato dal giovane Podcast, colleziona manufatti posseduti. Entra così in possesso di una misteriosa sfera di ottone: dato che potrebbe trattarsi di una trappola apotropaica, Winston (Ernie Hudson) in seguito la porta nel suo laboratorio. Qui una squadra di ricercatori sta lavorando a un macchinario sperimentale in grado di separare gli spiriti da oggetti e corpi umani. Ci troviamo a seguire due indagini parallele, una dentro il laboratorio e una fuori, quest’ultima portata avanti da Phoebe, Ray e Podcast. Ritroviamo tutte le icone dei primi film, dalla Ecto-1 a Slimer fino alla colonna sonora,  insieme a dinamiche nuove come quella dello scontro tra Phoebe ormai adolescente e la sua famiglia, o quelle tra gli acchiappafantasmi “nuovi” e i “vecchi”.

    Inserire personaggi nuovi, in aggiunta a quelli già apparsi in Legacy, ciascuno con il proprio background, è un’arma a doppio taglio. Da una parte poteva servire a sostenere gli sviluppi nella narrazione e ad arricchirla, come nel caso di Nadeem (Kumail Nandjani): grazie al maestro del fuoco si esplora una versione più mitologica e ancestrale del paranormale, il personaggio inoltre funziona abbastanza bene nella dinamica generale. L’antagonista introdotto attraverso questa linea del racconto, il dio-fantasma Garraka, costituisce una delle parti più interessanti della storia. Dall’altra parte l’espansione di un universo andrebbe pianificata nei dettagli per evitare l’effetto di affollamento e confusione, che qui purtroppo si avverte fin dalle prime scene.

    La pellicola punta sulla quantità di personaggi e sottotrame, e ancora di più sull’evidente operazione nostalgia che ha guidato sia la scelta delle musiche che l’introduzione ed alcune battute estremamente autoreferenziali. Si tratta di strategie che funzionano in quanto abbellimenti, ma che non possono sostituire una sceneggiatura solida. Questo è il primo problema che si nota: una sceneggiatura banale, che lascia la sensazione di essere stata preparata in fretta.

    Tuttavia il problema che a nostro avviso pesa di più sulla mancata riuscita dell’operazione non è tanto la prevedibilità della trama, che si potrebbe tranquillamente accettare, trattandosi di un film pensato per essere puro svago; quanto la scarsità proprio di elementi di intrattenimento. Gran parte della pellicola è dedicata a dialoghi tra i protagonisti o a racconti che si protraggono più del necessario, appesantendo il ritmo e finendo per diluire anche l’effetto dei momenti comici, questi ultimi mai particolarmente incisivi. L’azione si concentra quasi del tutto nei minuti iniziali e poi nell’ultima mezz’ora, anche questa inframezzata da siparietti che, anziché stemperare l’adrenalina del momento, la affossano completamente.

    Si cerca di ampliare, e quindi prolungare nel tempo, un franchise che partiva da presupposti relativamente semplici, e che avrebbe quindi bisogno di più elaborazione per giustificare l’avere più di un sequel. Minaccia Glaciale può meritare una visione da parte dei fan più affezionati, ma non è all’altezza dell’esperienza che ha cercato di riprodurre. Al momento circolano speculazioni su un quinto capitolo ma la notizia non è confermata.

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    Federica Rossi,
    Redattrice.