FRAMES CINEMA

Tag: recensione

  • Recensione Il regno del pianeta delle scimmie – Un giorno magnifico

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    Cinque film, due serie tv, un remake ed una trilogia reboot: ad oggi il franchise de Il pianeta delle scimmie può essere facilmente definibile come il più longevo – senza contare il romanzo di Pierre Boulle da cui è stata presa ispirazione datato 1963 – con il primo capitolo che risale all’ormai lontano 1968, quasi sessant’anni fa. Divenuto fin da subito icona del cinema di fantascienza – anche chi non ha mai visto la pellicola oggi conosce la famosa sequenza della cavalcata sulla spiaggia con graduale scoperta della ormai distrutta statua della libertà – non si può di certo dire lo stesso dei sequel, contenitori di idee interessanti che non riuscirono però a bilanciare bene i propri intenti. Se lo stesso si può dire anche del bizzarro remake firmato Tim Burton del 2001, la trilogia partita nel 2011 con Rise Of The Planet Of The Apes diretto da Rupert Wyatt ed i due seguiti Dawn Of The Planet Of The Apes e War For The Planet Of The Apes con Matt Reeves alla regia riprese sapientemente numerosi elementi dei capitoli originali riscrivendoli ed adattandoli nella creazione di pellicole capaci di unire magistralmente tematiche profonde e varie con il grande respiro dei migliori blockbuster (nella puntata dedicata del podcast Strade Perdute potete trovare un corposo approfondimento proprio su questa trilogia).

    Dopo la fantastica chiusura sul finale di War, risultarono inevitabili all’annuncio di un nuovo capitolo i numerosi dubbi e la paura di uno snaturamento di quanto di buono fatto finora, sentimenti amplificati ulteriormente dalla notizia della mancanza di Matt Reeves al timone. Affidata la sceneggiatura a Josh Friedman e la regia a Wes Ball, a sette anni di distanza dall’ultimo capitolo la saga torna quindi sul grande schermo con Il regno del pianeta delle scimmie: saranno riusciti a mantenere alta l’asticella e a convincere nuovamente critica ma soprattutto i fan?

    The king is dead, long live the king!

    Diverse generazioni dopo la morte di Cesare, la pellicola ci introduce fin da subito il nuovo protagonista: Noa, giovane scimpanzé del Clan delle Aquile, è intento, assieme agli amici Anaya e Soona nella ricerca di uova d’aquila per poter attendere alla cerimonia di passaggio del giorno seguente, divenendo così un membro effettivo del clan. A causa della presenza di un Eco, nuovo nominativo utilizzato per indicare i nuovi (sub)umani, il suo villaggio diviene vittima dell’attacco di un misterioso plotone di scimmie mascherate ed armate di lance elettriche, che uccide il capovillaggio e rapisce tutti gli altri membri del clan. Scampato per miracolo alla morte, Noa parte quindi alla ricerca del proprio clan all’inseguimento di quei misteriosi guerrieri di cui conosce soltanto il motto: “Per Cesare”.

    Risulta fin dalla prima scena – lo splendido funerale notturno di Cesare – difficile associare la pellicola al tanto utilizzato in fase promozionale termine soft-reboot, in quanto, nonostante la decisione di spostare avanti gli eventi narrati di almeno trecento anni comporti l’inevitabile assenza di tutti i personaggi conosciuti in precedenza, il film si presenta in realtà come un vero e proprio sequel ricco di rimandi tutt’altro che velati agli eventi dei film precedenti. Se il protagonista ignora effettivamente l’epopea di Cesare per volontà degli anziani del villaggio di vivere in “isolamento” nella valle, lo stesso non si può certo dire del resto dei personaggi che il protagonista incontra lungo il cammino: a partire dal benevolo orangotango Raka, ultimo sopravvissuto di un ordine che si occupa di salvare i vecchi testi degli umani e di tramandare i veri insegnamenti di Cesare, travisati invece per i propri scopi dal tiranno Proximus Caesar –dal latino letteralmente “Prossimo Cesare” – che sfrutta l’iconografia dell’originale leader per tenere in scacco il suo regno.

    Interessante ruolo è invece riservato all’umana Nova, portatrice di un importante segreto e che si unirà a Noa nel suo viaggio per portare a termine il suo compito. Agendo quasi da parallelismo con la Nova vista in War – entrambe dai lunghi capelli biondi e i vitrei occhi blu – il personaggio riesce in realtà a presentare un’interessante riflessione sul rapporto umano-scimmia evolvendosi in maniera tutt’altro che banale su quale sia, a tutti gli effetti, la specie dominante – ed in questo il film gioca in più di un’occasione, con un paio di twist nel corso della pellicola e soprattutto un finale che presenta un interessante campo da gioco per un eventuale futuro della serie. Peccato invece per alcune tematiche che avrebbero potuto giovare di un ulteriore approfondimento – come la riflessione sulla crescita personale del protagonista, il suo rapporto con la sua amata, la volontà di Proximus di voler sfruttare la tecnologia umana per diventare sempre più forte ed intelligente anche a costo di dover soggiogare i suoi pari – e che vengono invece relegate a poche sequenze, sicuramente riuscite ma incapaci di competere con la forza delle pellicole precedenti.

    “Kurosawa con le scimmie”

    Forse un po’ pretenziosa la definizione usata da Friedman per definire la sua storia, rimane comunque il fatto che quel mix di road e revenge movie – simile ma non troppo a quanto visto in War – riesce nell’intento di accompagnare lo spettatore alla scoperta di un mondo magnifico fatto di panorami mozzafiato e personaggi tutto sommato interessanti. Grande merito nella costruzione dell’atmosfera va di certo alla ormai sinonimo di qualità Wētā FX che già aveva portato alla realizzazione dei precedenti capitoli e che qui schiaccia decisamente l’acceleratore soprattutto in alcune inquadrature strette sui volti dei personaggi principali da mozzare il fiato. Ottima anche la fotografia di Gyula Pados, già da diverso tempo collaboratrice di Ball e capace di creare davvero suggestivi sia nelle riprese diurne che notturne, sia nella fitta giungla del Clan delle Aquile che sulle rocciose spiagge del regno di Proximus, alla quale si affianca una fantastica regia da parte di Wes Ball, capace soprattutto di brillare nelle sequenze più movimentate sempre chiare e decifrabili – nonostante la grande quantità di cgi a schermo – ma soprattutto capaci di trasmettere la giusta dose di adrenalina che si si aspetta da un blockbuster di questo genere.

    Piccolo kudos anche al comparto attoriale, sia nella risicata componente umana retta da un’ottima Freya Allan capace di trasmettere molto anche senza l’utilizzo della parola ed un William H. Macy relegato ad un piccolo ruolo che avrebbe forse giovato di più spazio, ma soprattutto alla triade composta da Peter Macon, che riesce a dare carattere e voce a Raka rendendolo istantaneamente uno dei personaggi più iconici della saga, Kevin Durand nei panni del fantastico Proximus che incanta ma che avrebbe a sua volta giovato di maggiore screen time, dando un po’ quella sensazione di “villain sprecato” tipico di Casa Marvel, ma soprattutto dall’ottimo Owen Teague che come protagonista, pur non raggiungendo le vette del precedente Andy Serkis, comunque riesce a mettere in scena una prova eccellente, sia durante i dialoghi sia nelle sequenze in cui invece a prevalere è la recitazione del corpo.

    Conclusioni

    Il cambio di regia e di sceneggiatura non sembra aver portato alla disfatta della saga, che anzi con Il regno del pianeta delle scimmie apre nella giusta maniera una nuova storia con nuovi protagonisti e nuove vicende senza però dimenticare quanto venuto prima. Se sul fattore narrativo la pellicola si dimostra inevitabilmente inferiore soprattutto a Dawn e War, nella messa in scena non ha di certo invece nulla da invidiare con attori perfetti nei propri ruoli, cgi come sempre di altissimo livello ed una regia che dà il meglio di sé soprattutto nelle sequenze più adrenaliniche.

    Sembra quindi il caso di dirlo, per i fan della saga “Oggi è – davvero – un giorno magnifico!”

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    Mattia Bianconi,
    Redattore

  • Recensione L’Impero – Astronavi, mucche, cavalli e spade laser

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    Dopo essersi aggiudicato il Premio della Giuria alla 74ª edizione del Festival internazionale del cinema di Berlino, L’Empire di Bruno Dumont è approdato in anteprima nazionale alla 42a edizione del Bellaria film festival. Citato già nel titolo (L’Impero colpisce ancora), bersaglio del nuovo bizzarro film fantascientifico-parodistico del regista francese è il franchise di Guerre Stellari, ma in generale tutto il panorama contemporaneo dei blockbuster made in U.S.A, da Dune ai supereroi in calzamaglia.

    In un villaggio di pescatori lungo la costa francese si scatenano le prime avvisaglie di una battaglia intergalattica: gli abitanti locali non sanno che dietro ad alcune persone comuni si nascondono delle forze extraterrestri pronte a combattersi, il popolo degli “uno” e quello degli “zero”. La principessa dell’Impero degli “uno”, Jane (Anamaria Vartolomei), è in missione sulla terra per evitare che le forze oscure degli “zero” conquistino il mondo tramite l’erede di Freddy (Brandon Vlieghe), quest’ultimo figlio del pescatore Jony ma nato dall’unione tra un’umana e un extraterrestre.

    Il franchise di George Lucas è richiamato anche dai costumi, oltre che dalle astronavi

    L’Empire, ambientato nella Francia più rustica tanto cara alla filmografia di Dumont è quindi un mélange sfacciatamente rozzo (esattamente come i pescatori protagonisti, e quindi comprensibile) tra sci-fi e cinema agreste, terreno, di comunità, e il mix conserva il fascino di una provocazione (ahimé già) fuori dal tempo e al contempo costituisce un rovinoso autogol. Nel film ci sono tante idee, perlopiù interessanti, a partire dal world-building, che giustappone continuamente “alto” e “basso”, vale a dire il villaggio di pescatori con le astronavi aliene che – intuizione divertente – altro non sono che la Reggia di Caserta e una cattedrale gotica; le spade laser tagliano teste e la polizia incolpa l’Isis; al contrario dei principali blockbuster statunitensi può capitare che si faccia sesso randomicamente, in ogni momento e senza nemmeno troppi motivi (ammiccamento nemmeno troppo velato alle controverse storyline romantiche degli ultimi Star Wars, ma anche all’assenza d’erotismo in tutto il franchise della Marvel); la società è completamente polarizzata, e la contrapposizione senza alcuna sfumatura fra “uno” e “zero” può essere anche letta come l’appiattimento totale delle fazioni nemiche frequente tanto nelle saghe stellari quanto in quelle del MCU.

    L’astronave degli “zero”, vi ricorda qualcosa?

    Ma “uno” e “zero” sono anche i due gruppi in cui è destinata a polarizzarsi la critica di fronte a progetti estremi come L’Empire: la tesi citata anche più volte dallo stesso Dumont secondo cui il film possa costituire la “risposta europea” ai pop corn movie d’oltreoceano, anche nella sua palese provocazione, rischia comunque di scadere anche in un grossolano provincialismo, proprio in un periodo in cui il cinema europeo sembra essersi dimenticato dei blockbuster e in cui non avrebbe altro che imparare dai successi americani al botteghino (sì, anche di fronte a un fisiologico declino della progettualità dell’Mcu). È chiaro che la vena parodica serva anche da campanello d’allarme proprio per l’industria europea, ma il carico teorico del film si spegne presto, forse già dopo la prima mezz’ora, perché le gag si ripetono, i meccanismi sono farraginosi, e più che un manuale teorico sembra di sfogliare il libretto delle istruzioni con ancora tutti i pezzi da assemblare. Dopo Barbie anche L’Empire cita a più riprese i Monty Python e il loro Sacro Graal con le iconiche sequenze a cavallo, ma non sappiamo quanto sia conveniente per Dumont ricordarci il gruppo comico britannico, perché se pensiamo anche a un “gemello” come Balle Spaziali notiamo come la costante sia sempre stata il gusto del racconto cinematografico.

    Le truppe si preparano alla battaglia

    Autori come la compagnia di Terry Gilliam o Mel Brooks non si sono mai anteposti al racconto, sono sempre stati al servizio di una parodia sì dissacrante ma che – anche con i suoi parossismi, le sue giustapposizioni spiazzanti, le sue iperboli impossibili – ha sempre avuto il piacere di narrare una storia come punto fermo, guardando sempre al pubblico e mai con autoreferenzialità. La narrazione de L’Empire, al contrario, scricchiola perché ogni scena vuole essere teoria e la provocazione si disperde nel tedio della ripetizione e della riproposizione stolide, con un risultato di cui si percepisce l’intento ma che lascia perlopiù perplessi. Restiamo basiti soprattutto perché Dumont rischia di cadere nello stesso stereotipo di cinema agreste e provinciale europeo che lui stesso vorrebbe criticare, non capendo mai quanto strizzi l’occhio parodico al cinema di massa statunitense e quanto a quello nostrano, restando in una zona grigia che lascia tanti dubbi e pochi sorrisi. Resta qualche intuizione divertente, come le astronavi che sfrecciano sopra le barche dei pescatori, oppure l’imperatore degli “zero” e le masse amorfe che prima di atterrare sulla terra gridano “Apocalisse! Apocalisse!” con piglio infantile, ma sono piccole briciole all’interno di un calderone che smette di ribollire prestissimo e che, se probabilmente conquisterà i più indefessi seguaci della “politica degli autori”, lascerà la maggior parte del pubblico con un pugno di mosche; anzi, peggio, lascerà gli spettatori ancora con l’idea che l’unico modo possibile di fare blockbuster fantascientifici in europa sia quello de L’Empire. Speriamo che il futuro smentisca questa ipotesi, almeno significherebbe che la sirena d’allarme è arrivata alle produzioni europee.

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    Alberto Faggiotto,
    Redattore.

  • Il giardino delle vergini suicide – L’esordio di Sofia Coppola

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    Torna al cinema in questi giorni il film d’esordio di Sofia Coppola: Il giardino delle vergini suicide (The Virgin suicides), uscito per la prima volta nel 1999 negli USA e nel 2000 in Italia. Si tratta di un adattamento dell’omonimo romanzo di Jeffrey Eugenides (1993).

    Ci troviamo in Michigan, nella prima metà degli anni Settanta. Le sorelle Lisbon, Therese (Leslie Hayman), Bonnie (Chelsea Swain), Lux (Kirsten Dunst) e Cecilia (Hanna R. Hall) hanno una vita apparentemente perfetta e due genitori estremamente severi. Cecilia muore al secondo tentativo di suicidio, ma i genitori fanno in modo che il fatto venga trattato come un incidente. Quattro ragazzi del quartiere, nonché compagni di scuola delle sorelle, da quel giorno si rendono conto della vita isolata che conducono e diventano ossessionati dall’idea di indagare: prima passando più tempo con loro e poi, quando la madre le chiuderà in casa, cercando di comunicare attraverso la posta e i segnali dalla casa di fronte. Tutta la storia è raccontata in forma di flashback da uno di loro.

    L’ennui

    Il film è pervaso in maniera sottile da un’atmosfera malinconica, ma comunque abbastanza percepibile soprattutto nelle scene girate all’esterno, dove è più evidente un uso strumentale della fotografia. L’estetica che negli anni ha reso la cifra stilistica di Sofia Coppola qualcosa di riconosciuto e riconoscibile, tanto che lei stessa l’ha definita il suo personale female gaze, è già presente in questa pellicola. Dai colori opachi alla perfezione di acconciature e vestiti, questi ultimi marcatamente femminili e troppo infantili per l’età delle protagoniste, ogni immagine stride con la gravità dei fatti e le allusioni alla tragedia in corso. Le sorelle Lisbon rimangono composte e impassibili quasi in ogni momento, al punto che nemmeno il giorno in cui tornano a scuola dopo la morte di Cecilia appare diverso dagli altri. Il difetto che si può trovare a quest’opera prima è forse proprio uno sbilanciamento verso la rappresentazione di questa dissonanza, con una grande attenzione anche ai dettagli scenografici a scapito dei dialoghi, che non permette alla drammaticità dei fatti di emergere completamente. Le immagini, tra cui alcune sequenze che ricordano volutamente un videoclip musicale, sono accompagnate da una colonna sonora altrettanto sommessa e distaccata, quasi interamente costituita da un sottofondo ambient. L’album in questione era stato composto appositamente dal duo francese AIR, che la regista aveva contattato di persona, e venne poi pubblicato nel 2000 con l’etichetta discografica Source di Virgin Records.

    Dietro l’immagine

    Negli unici momenti in cui le sorelle vengono lasciate a loro stesse la patina eterea del racconto svanisce, in particolare dentro la casa o durante il ballo: scene nelle quali si comportano come adolescenti normali al pari delle loro controparti maschili. La parte più interessante di Virgin Suicides non è quindi la vicenda in sé quanto il fatto che le protagoniste non siano mai libere di raccontarla in prima persona. Così come a raccontarle come bambine che hanno bisogno di stretta sorveglianza sono i genitori, in particolare la madre, a renderle speciali agli occhi dei vicini e dei ragazzi è l’idolatria con la quale le osservano questi ultimi, idolatria che li tiene necessariamente a distanza. L’impossibilità di conoscerle aumenta a sua volta a dismisura il senso di mistero, ingigantendo ogni dettaglio che si riesce a racimolare fino a creare di fatto degli esseri mitologici.

    Il tentativo dei ragazzi di decifrare i loro segnali è fallimentare perché si ostina a partire dal presupposto di dover capire qualcosa di alieno. Alla fine non ignorano quello che è accaduto, al contrario della comunità intorno a loro, ma rimangono comunque spettatori esterni.

    La vera tragedia, in questo coming of age troncato a metà nel quale le storie d’amore restano a malapena abbozzate e metà dei personaggi scompare nel nulla, è il fatto che le protagoniste non siano protagoniste. Le sorelle Lisbon sono vittime delle narrazioni altrui, cercano nei loro coetanei una via di fuga e non la trovano, nonostante la grande attenzione riservatagli dagli stessi, poiché questi sono accecati da un fascinazione che non permette di ascoltare realmente.

    “Obviously, Doctor, you’ve never been a 13-year-old girl.” -Cecilia.

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    Federica Rossi,
    Redattrice.

  • Recensione Cuckoo – L’horror europeo con Hunter Schafer che tenta l’impossibile

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    Viene presentata per la prima volta nei 72 anni di storia del Trento Film Festival una pellicola horror: si tratta di Cuckoo, in uscita nelle sale italiane a partire dal 2 maggio.

    Il film si lega al leitmotiv del Festival, montagne e culture, attraverso le suggestive ambientazioni: siamo nelle alpi germaniche in una località turistica circondata da alberi dalle tonalità Twin Peaks-iane. Una strada di montagna solitaria è l’unico collegamento tra questo non-luogo austero e qualsiasi altro segno di civiltà. È in questo contesto che la protagonista (interpretata da Hunter Schafer) si ritrova costretta a passare la vacanza con suo padre e la sorellastra, la quale mostra da subito segni disturbanti di un possedimento da parte di una forza esteriore. Il signor König (interpretato da Dan Stevens), proprietario dell’hotel in cui è ambientata la vicenda, inizierà a manifestare un inquietante interesse per quest’ultima, risultando in un acceso confronto finale tra personaggi reali e non.

    Il film, di produzione tedesca, imita uno stile tutto americano di costruzione dell’horror: dagli attori in primis alla scelta della one-location, dalle rivelazioni man mano più orrificanti seminate per la trama alle vibes che ricordano Stranger Things ai suoi esordi, tutto è un tentativo di rimandare a un già visto e già fatto. La pellicola risulta un mediocre tentativo di unire il genere horror a uno stile aggrazziato iper-saturato, in una fallita imitazione di uno stile anni ottanta gradevole agli occhi capace di attrarre pubblico da un trailer, ma non di appassionarlo al mondo che tenta di costruire. La sceneggiatura, del resto, non regge il gioco, presentando non pochi buchi di trama e nessun guizzo creativo rispetto al genere, facendo cadere il film nel dimenticatoio. La sfida impossibile di imitare un prodotto americano ha un discreto successo, ma è quello stesso tentativo a farci chiedere se è questo il massimo a cui il cinema europeo può davvero ambire.

    Brillano invece le performance di Hunter Schafer, straziante senza risultare stuccevole, e Dan Stevens, che i panni dello pscicopatico sembrano essergli cuciti addosso.

    E poi, soprattutto, c’è un needle drop in crescendo che è la fine del mondo: Il Mio Prossimo Amore di Loretta Goggi fa da sottofondo alle scene finali del film, in un momento rallentato nel tempo che ricorda vagamente In Ginocchio da Te di Gianni Morandi in Parasite. C’è dunque un po’ d’Italia che fa sorridere e ci ricorda che siamo di fronte a una produzione non lontana dai nostri confini, e per cui andare tutto sommato fieri. Sono però queste meravigliose note a ricordarci che il potenziale era a portata di un’ottima sequenza, ma c’è stata troppa paura di osare, cadendo in una regia troppo “sicura”. E se c’è un genere su cui buttarsi, magari è proprio questo. Forse l’Europa dovrebbe tentare più innovazione e meno imitazione.

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    Lara Ioriatti,
    Redattrice.

  • Recensione The Fall Guy – Lo stuntman innamorato

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    The Fall Guy (2024) è l’ultimo film di David Leitch, che ritorna dopo l’ottimo risultato ottenuto con Bullet Train (2022), riproposizione pulp del genere action da lui tanto frequentato, che vede il ritorno sul grande schermo di Ryan Gosling dopo l’enorme successo dell’estate 2023 con Barbie di Greta Gerwig, affiancato anche questa volta da una co-star di eccezione: Emily Blunt.

    Il protagonista di The Fall Guy è uno stuntman di Hollywood, Colt Seavers (Ryan Gosling), che dopo un brutto infortunio sul lavoro torna sul set per un film la cui regia è curata da Jody Moreno (Emily Blunt), sua fiamma del passato, e che vede nel ruolo di protagonista Tom Ryder (Aaron Taylor-Johnson), con cui ha un rapporto attore – stunt-man di lunga data. La vicenda si complicherà quando Tom Ryder sparirà dalla circolazione mettendo in difficoltà il proseguire dei lavori sul set, e proprio Colt Seavers verrà incaricato di ritrovarlo, invischiandosi in un complotto più grande di lui.

    La figura dello stuntman è il centro gravitazionale dell’intero racconto, una figura che sembra essere tornata al centro dell’attenzione nel mondo del cinema, considerando anche lo splendido personaggio di Cliff Booth in C’era una volta a… Hollywood (Once Upon a Time in… Hollywood, 2019) di Quentin Tarantino. Lo stesso David Leitch è un ex stuntman, proprio come il suo socio Chad Stahelski, regista e ideatore della saga di John Wick, con cui ha creato una società di stunt-men. The Fall Guy è dichiaratamente un’ode a questa pericolosa professione, fondamentale per impreziosire i nostri film preferiti, ma alla quale non viene molto spesso dato il giusto credito. Di conseguenza si tratta di un film sul mondo del cinema, sui suoi retroscena, in cui il mondo del set è centrale e dove si lascia spazio a decine e decine di citazioni cinematografiche.

    In fondo, però, prima di essere un film action scoppiettante ad alto budget, esagerato, pieno di effetti speciali ed esplosioni, come solo David Leitch sa fare (bene), si tratta di una commedia romantica, proprio come Pretty Woman (Garry Marshall, 1990), Notting Hill (Roger Michell, 1999) e Love Actually (Richard Curtis, 2003), tutti film citati dai personaggi di The Fall Guy, in un continuo rimando meta-cinematografico in cui non solo si parla del mondo delle produzioni cinematografiche, ma del cinema stesso, nella sua totalità. La relazione tra Colt e Jody trova terreno fertile, con espliciti rimandi, nella storia del film che stanno girando e nelle dinamiche del set.

    Soffermiamoci un momento sul dualismo della figura di Ryan Gosling: capace di essere l’imperturbabile icona mascolina di film neo-noir del calibro di Drive (Nicolas Winding Refn, 2011), dove condivide con The Fall Guy la professione di stunt-man, o di Blade Runner 2049 (Denis Villeneuve, 2017) e, allo stesso tempo, presentandosi come icona comedy capace di decostruire il concetto e gli stereotipi relativi alla mascolinità: in Barbie di Greta Gerwig nei panni di Ken dovrà arrendersi alle sue fragilità e al dolore di un amore non corrisposto; in The Nice Guys (Shane Black, 2016), film che consigliamo caldamente di recuperare, è un investigatore privato imbranato, incapace, le cui intuizioni finiscono con l’essere più casuali che altro.

    Proprio questa natura comedy di Ryan Gosling emerge con dirompenza in The Fall Guy, e in alcune sequenze appare, nonostante le sue capacità fisiche tipiche del genere action, come l’opposto del “duro”, del maschio alfa. Iconica la sequenza di montaggio in cui Colt, seduto in macchina, ascolta All too well di Taylor Swift ricordando la sua passata storia d’amore con Jody e piangendo. Insomma, si tratta di un eroe non invincibile, con problemi di autostima, che riesce ad aprire il proprio cuore anche quando è doloroso farlo.

    Il film è inoltre caratterizzato da una forte attenzione dedicata all’elemento visivo, come durante la scazzottata ad una serata a tema fluo; in una sequenza viene fatto un uso dello split-screen a regola d’arte, pienamente inserito nelle dinamiche narrative del film; Colt indossa una giacca del suo primo film da stunt-man, Miami Vice, che sembra voler richiamare l’iconica giacca con lo scorpione di Drive. Perfettamente centrata la scelta delle musiche, con una sequenza al karaoke in cui Emily Blunt dimostra le sue doti canore, oltre alle ben evidenti doti da attrice co-protagonista capace di reggere il passo di un Ryan Gosling a briglie sciolte. Ottima anche la presenza di Aaron Taylor-Johnson, il vociferato nuovo 007, brillante stella in ascesa nel panorama hollywoodiano, che torna a collaborare con David Leitch dopo Bullet Train. Purtroppo The Fall Guy condivide con Bullet Train il più evidente tra i suoi difetti, ovvero una durata eccessiva, che se scremata a dovere avrebbe consegnato agli spettatori un film più ritmato e, forse, più incisivo.

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    Alessandro Corrao,
    Redattore.

  • Recensione Challengers – Lo sport come atto Voyeuristico

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    Inizialmente annunciato come film di apertura dell’ultima Mostra del Cinema di Venezia (sostituito, a causa dello sciopero di sceneggiatori ed attori allora in corso -https://framescinemawebzine.com/sag-aftra-sciopero/-, da Comandante -https://framescinemawebzine.com/recensione-comandante-venezia/- di Edoardo De Angelis), è finalmente uscito nelle sale l’atteso nuovo film di Luca Guadagnino. 

    Dopo essere “esploso” con Chiamami col tuo nome e dopo i successi (di critica, non di pubblico) di Suspiria e Bones and all, il regista si dedica al genere sportivo, e lo fa con un cast ridotto ma di tutto rispetto: Zendaya (Euphoria, Dune), Josh O’ Connor (The Crown, La terra di Dio, La Chimera) e Mike Faist (West Side Story). 

    Gli attori sono protagonisti di un triangolo amoroso sullo sfondo del mondo del tennis. Tashi (Zendaya) conosce i due migliori amici Art (Feist) e Patrick (O’ Connor) quando sono tutti e tre stelle nascenti dello sport. I due si dimostrano immediatamente interessati alla ragazza, e cominceranno a contendersela anche dopo che Tashi ha cominciato ad uscire con Patrick. Dopo un infortunio che le costa la carriera, Tashi diventa l’allenatrice e, successivamente, la moglie di Art. Tredici anni dopo il loro primo incontro, i due ex amici si scontreranno in un torneo di seconda categoria, riportando a galla tensioni mai sopite.

    Sin dagli albori, anche nei meno apprezzati Io sono l’amore, A bigger splash (e sì, anche in Melissa P.) il cinema di Guadagnino è stato un cinema segnato dalla fascinazione per i corpi. In Chiamami col tuo nome, il pretesto per puntare le telecamere su di essi era fornito dall’ambientazione estiva e dalla storia d’amore dei protagonisti; in Suspiria avevamo la convergenza tra mondo della danza e riti stregoneschi; in Bones and All il pretesto era quello del soggetto tabù del cannibalismo, col consumo della carne che diveniva, anche in questo caso, metafora del rapporto amoroso consumante tra i protagonisti.

    Il mondo dello sport si dimostra materia estremamente adatta allo sguardo del regista in quanto integralmente fondata sul corpo dell’atleta e la sua osservazione ossessiva (da parte del pubblico, di medici ed allenatori, dei media). Così, sin dalle primissime inquadrature che ci presentano i nostri giocatori, lo spettatore è sottoposto alla visione dei corpi (non a caso giovani e belli) dei protagonisti, scomposti in una serie di dettagli, nei muscoli in tensione e azione, nei volti sudati, ma anche nelle cicatrici e nelle ferite, nel ginocchio di Tashi che si disloca, nelle mani protese a chiedere o dare affetto. O ancora, nei corpi ripresi nella loro interezza mentre sono in movimento sul campo da gioco, a letto, o sulla pista da ballo.

    L’importanza, sia narrativa sia tematica, dello sport nella storia richiede, ovviamente, che la regia si adatti a rendere gli incontri sportivi il più adrenalinici possibili, obiettivo raggiunto per buona parte del film anche grazie ad alcuni interessanti accorgimenti, il più notevole dei quali è certamente la sequenza finale della partita “vista” attraverso la pallina da tennis.

    Lo sport è, in sé, un atto voyeuristico proprio come lo è il cinema, questa pare essere la tesi fondante di Challengers. Proprio come il cinema, dunque, non può prescindere da un elemento insito di erotismo, materializzato dalla relazione a tre dei protagonisti. Non è un caso, d’altronde, che Art e Patrick si innamorino di Tashi osservandola durante una partita di tennis, come non è un caso che probabilmente il momento in cui Tashi si innamora di entrambi (o meglio, del loro legame) sia un’occasione di puro voyeurismo. Sarà poi Tashi stessa a vocalizzare quello che è, sostanzialmente, il principio fondante di tutto il film: il tennis è una relazione.

    Art e Patrick, il cui match finale funge da fil rouge narrativo dell’intero film, sono i due estremi di questa relazione, che ruotano attorno al centro gravitazionale che è Tashi. Soprannominati “fuoco e ghiaccio” (non ci viene detto mai chi dei due sia chi, anche se non ci è difficile speculare e immaginare), i due amici sono tanto opposti nelle personalità quanto nelle relazioni con la donna. Art è, a modo suo, consciamente succube della moglie, mentre al contrario Patrick la sfida costantemente. Patrick viene più volte tacciato di immaturità perché percepito come meno “realizzato” in quanto adulto, rispetto ai due coniugi milionari, quando in verità è Art a cercare, anche abbastanza palesemente, un simulacro della figura materna in Tashi. 

    Tashi, da parte sua, sembra avere bisogno di entrambe queste figure nella sua vita, il “groupie” e il critico, oscillando tra l’uno e l’altro a seconda delle proprie necessità proprio come una pallina passa freneticamente da una parte all’altra del campo.

    Tuttavia, Guadagnino dimostra di conoscere la materia che sta trattando e le implicazioni insite nell’osservazione ossessiva di corpi sudati prevalentemente maschili tanto nello sport (il divario d’interesse tra sport di squadre maschili e femminili si sta livellando solo ultimamente) quanto in generi cinematografici fallocentrici. Una inconfondibile corrente bisessuale attraversa tutto il film, tipica certo del cinema di Guadagnino (pensiamo solo al personaggio di Elio in Chiamami col tuo nome, o al momento che Lee, sempre interpretato da Chalamet, condivide con un ragazzo per poter “sfamare” sé e la compagna Maren nel dramma cannibale Bones and all) ma figlia anche di una storia del cinema che nega veementemente l’interesse sessuale o amoroso in universi abitati prevalentemente (se non esclusivamente) da personaggi maschili che pure condividono connessioni emotive straordinariamente forti tra di loro. 

    Guadagnino non cade nella trappola. Se è vero che il tennis è una relazione, ne consegue che il match più importante, quello che apre e chiude il film, è anche quello nel quale si materializza la più importante connessione emotiva della storia: quella tra Art e Patrick.

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    Silvia Strambi,
    Redattrice.

  • Recensione Confidenza di Daniele Luchetti

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    La vertigine è metafora di precarietà, è timore di finire nel vuoto, è bisogno di agganciarsi alla realtà. Confidenza, il nuovo film di Daniele Luchetti, si muove proprio intorno a questo concetto: la paura di cadere, di gettare la maschera e farsi scoprire. Il regista, dopo La scuola (1995) e Lacci (2020), trae ispirazione per la terza volta da un romanzo di Domenico Starnone e scrive con Francesco Piccolo un thriller che oscilla tra l’inquietudine e l’angoscia.

    Pietro Vella (Elio Germano) è uno stimato insegnante di lettere che intraprende una relazione con la sua ex alunna Teresa (Federica Rossellini). La ragazza propone, per consolidare il loro legame, di raccontarsi reciprocamente un segreto inconfessabile. Dopo la fine del rapporto il protagonista sposa Nadia (Vittoria Puccini), ma vive costantemente in allarme, preoccupato che la sua confessione venga resa pubblica.

    Pietro è un individuo apparentemente mite, un docente molto amato dai suoi allievi, che tiene lezioni alternative e professa la pedagogia dell’affetto. Piano piano il personaggio viene spogliato mostrando la vera natura di quest’uomo, che teme di essere una persona ordinaria e cerca disperatamente di nascondere la sua mediocrità attraverso una silente sopraffazione del prossimo. Non è il segreto a tenere il professor Vella in apprensione per tutta la sua esistenza, è più il terrore che il suo io profondo si disveli improvvisamente. Germano ci restituisce perfettamente il dualismo che caratterizza il personaggio, confermando per la quarta occasione il sodalizio con il cineasta romano.

    Luchetti adopera una regia che àncora lo spettatore a una visione proiettata sull’attesa: la camera inquadra la strada dall’alto dei palazzi lasciandoci sospesi esattamente come il protagonista, in attesa dell’imminente e improvvisa caduta.

    Le immagini simboliche abbondano in ogni sequenza, quasi arrivando a sembrare didascaliche. Tutto è presagio di negatività e per tale ragione un’aria mortifera invade la quotidianità dei personaggi: i limoni ammuffiti continuamente inquadrati in dettaglio, il taglio su una mano a causa di un bicchiere rotto, i diversi modi attraverso i quali Pietro immagina la morte di Teresa. Le musiche, realizzate da Thom Yorke, contribuiscono a sigillare questa bolla di ansia e accompagnano in crescendo i momenti topici. L’amore e la paura camminano parallelamente e guidano in tempi alternati le vicissitudini di tutte le figure che compongono il mosaico di questo racconto. Vivere il presente diventa difficile a causa del passato che incombe e si insinua, non resta che nascondersi per non essere visti davvero.

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    Maria Cagnazzo,
    Redattrice.

  • Recensione Civil War – Non è una storia se non viene pubblicata

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    Come reagire a una terza decade di nuovo millennio in cui l’ipotesi storica di una terza guerra mondiale, anziché affievolirsi, diventa sempre più concreta? Al suo quinto film e nella produzione più costosa di A24 (50 milioni di dollari), Alex Garland sporca di sangue l’humus contemporaneo, lo impregna di violenza, lo decostruisce con l’ironia, e responsabilizza il ruolo dello spettatore ragionando sul reportage di guerra (e quindi sullo sguardo) come atto politico.

    Su sceneggiatura dello stesso Garland, Civil War narra di un futuro prossimo dove due candidati si contendono la presidenza della Casa Bianca mentre gli Stati Uniti sono stremati da una feroce guerra civile. Per strada si scatenano conflitti armati in cui poliziotti manganellano giornalisti e fucilano civili, New York è a corto d’acqua e sotto attacchi terroristici e le macerie del governo si scontrano con le forze Occidentali di Texas e California (Western Forces). La fotoreporter Lee Smith (Kirsten Dunst) e il giornalista Joel (Wagner Moura) decidono di intervistare il Presidente in carica trinceratosi nei palazzi di Capitol Hill: al viaggio attraverso le regioni dilaniate dalle atrocità belliche si aggiungeranno l’anziano giornalista Sammy (Stephen McKinley Henderson) e la giovane aspirante reporter Jessie (Cailee Spaeny), che vede in Lee un modello da seguire.

    Lee Smith è ormai depressa per gli orrori visti in passato

    “Non è una storia se non viene pubblicata”

    Esordisce con questa battuta il personaggio di Lee, che come nota subito l’attenta Jessie porta lo stesso nome di Lee Miller, la storica fotografa di guerra che documentò anche i campi di concentramento di Buchenwald e di Dachau. La dichiarazione è sia atto politico che sintesi di Civil War, perché il road movie (ancora non sappiamo quanto) distopico tra le fiamme e le esplosioni delle guerriglie armate è visto dalla prospettiva di coloro che non imbracciano un’arma ma che sono occhio testimoniale dell’esistenza del fucile: la macchina fotografica. Dispositivo forse ancora più significativo dei – e nei – conflitti, l’archivio memoriale grazie al quale la storia si fa Storia. Lee rischia la vita da anni e col passare del tempo ha perso la fede nella forza del giornalismo, ma non a tal punto da rifiutare un’ultima disperata corsa verso Washington in cerca della storia definitiva da raccontare. Jessie invece è giovane, un po’ inesperta ma con grandi speranze, non tanto nel futuro, ma nell’importanza del ruolo del fotoreporter. Perché rischiare la vita per uno scatto?

    Per tanti motivi, innanzitutto per un senso di responsabilità, etica e politica, ma anche per l’adrenalina del momento. Il personaggio di Kirsten Dunst ammonisce subito la giovane ragazza: il lavoro del giornalista di guerra è come una droga, l’assuefazione arriva presto, è difficile da gestire, e il gesto estremo è sempre dietro l’angolo. Dove posizionare lo sguardo? Come posizionarlo? Fin dove spingersi? Il ragionamento del regista passa anche attraverso i diversi punti di vista adottati all’interno del racconto, facendo talvolta diventare il motore della narrazione lo stesso obiettivo delle fotocamere dei personaggi. Se pochi mesi fa Jonathan Glazer aveva riflettuto sull’importanza e sull’etica dello sguardo lavorando per sottrazione, lasciando tutto al fuori campo, Garland per contrappasso gioca con lo staged, indaga il senso della rappresentazione immediata, del macabro carpe diem, del morbo per la documentazione istantanea, al contempo inquietante e adrenalinica, ma che si farà eterna.

    Un road movie attraverso l’inferno della guerra civile

    Realtà nuove, finzioni autentiche

    Venduto più come un action, in realtà il nuovo film di Garland (l’ultimo prima di una pausa dalla regia per concentrarsi sulle sceneggiature) è più un viaggio on the road per un’America che ha sprigionato tutti i suoi fantasmi: i soldati decidono chi salvare in base alla provenienza geografica (colpisce duro la scena con uno spietato Jesse Plemons), fazioni di civili cercano di evitare a tutti i costi la consapevolezza degli scontri recintandosi in ‘zone grigie’ isolate (le twilight zone), mentre i soldati non aspettano altro che scattarsi una foto con il corpo morto del Presidente, in un’immagine che è aperto riferimento alla celebre foto del corpo deceduto di Pablo Escobar con attorno le forze armate colombiane (quella scattata dall’agente della DEA Steve Murphy il 2 dicembre 1993). Garland sottolinea il valore iconografico degli scatti: la fotografia piuttosto che riprodurre la realtà, la riscrive, ci mostra cose che altrimenti non avremmo mai percepito, portando il ragionamento all’estremo potremmo dire che non sarebbero addirittura mai esistite. Se in teoria la fotografia riproduce la realtà, in pratica lavora sul modo che abbiamo di guardarla, in quanto nello scatto passato e presente si congiungono: “Io non posso mai negare che la cosa è stata là. Vi è una doppia posizione congiunta: di realtà e di passato” scriveva Roland Barthes in La camera chiara (1980). In virtù di ciò non è folle azzardare che Garland abbia pensato a Robert Capa e al suo ‘miliziano morente’, più volte richiamato nel film, l’immagine a cui è difficile non credere per il modo in cui ci viene mostrata, per il realismo sconvolgente dell’istante.

    “Milizano che muore” di Robert Capa, scattata nel 1936 durante la Guerra civile spagnola

    Eppure, nonostante lo scatto sia diventato l’icona del fotogiornalismo e l’incarnazione più autentica del potere della fotografia, porta con sé dubbi non risolvibili sulla sua autenticità. Una contraddizione? Affatto, se pensiamo che il linguaggio fotografico, così come quello cinematografico, hanno la rispettiva artisticità nel valore che le immagini assumono in un dato momento storico e nella loro capacità di produrre nuove realtà. Ed è proprio così che dobbiamo vedere le immagini distopiche di Civil War, ricostruite ma veridiche, impossibilmente verosimili, implausibilmente futuribili. Il clima teso e nefasto del film vede spesso le incursioni di canzoni completamente antitetiche e distese (bellissimo l’utilizzo di “Breakers Roar” di Sturgill Simpson) ma questo piglio decostruttivo ai limiti dell’ironia è comprensibile, forse addirittura necessario, per credere alla nuova realtà del film: d’altronde se quel mondo fosse il nostro, autentico e attuale, non ci sarebbe molto da ridere…

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    Alberto Faggiotto,
    Redattore.

  • Recensione Back to Black – La vita privata di Amy Winehouse

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    Il punto di partenza consigliato per scoprire la vita e la carriera di Amy Winehouse è Amy (2015) di Asif Kapadia, un folgorante documentario realizzato con materiale found footage, il miglior modo per raccontare dall’interno la sfortunata vita di Amy Winehouse, dalla sua ascesa irriverente e fuori dagli schemi al suo prematuro epilogo, il 23 luglio 2011, causato da abuso di alcol, droghe e da anni di bulimia non curata.

    Cosa può accadere se la regista di 50 sfumature di grigio (2015), Sam Taylor-Johnson, mette mano su del materiale così profondo e allo stesso tempo delicato? I problemi dei biopic contemporanei, sempre più frequenti in ambito hollywoodiano, sono la semplificazione, l’eccessiva mitizzazione, il trascurare le ombre dei personaggi presi in questione e, molto più spesso, il non riuscire a restituire l’anima dell’artista per via di una piattezza realizzativa, che rende un prodotto facilmente equiparabile all’altro.

    A colpire in Back To Black (2024) è la scelta del focus adottato nel racconto. La sceneggiatura di Matt Greenhalg, non perfetta, caratterizzata da semplificazioni e dialoghi non sempre pienamente centrati, ha un enorme punto di forza: mettere al centro del racconto non la carriera, ma la vita privata di Amy Winehouse, restituendo a pieno l’indole dell’artista londinese, non disposta a farsi plasmare dall’industria, non interessata alla carriera o alla fama, ma alla costante e infruttuosa ricerca di una vita serena, fatta d’amore, affetti e semplicità.

    I flash dei paparazzi che accecano Amy nel corso del film sono la rappresentazione grafica di una discesa della cantante verso meandri che non avrebbe mai voluto esplorare. Se da un lato si trova una ragazza dal talento innato e dalla voce inimitabile, che vede in sua nonna un modello da seguire, che ama il jazz e che dalla sua cameretta lascia trasudare il suo vissuto in canzoni destinate a rimanere eterne, dall’altro emerge tutta l’oscurità che la caratterizza: un rapporto disfunzionale di co-dipendenza con il fidanzato Blake, che la fa sprofondare nel vizio dell’alcolismo, cui si aggiungerà l’uso di sostanze, uniti a una bulimia di cui tutti sembrano consapevoli ma in merito alla quale nessuno sembra in grado di fare qualcosa per aiutarla.

    Il tentativo di entrare nella dimensione privata di Amy Winehouse (è questo che differenzia il film in questione dal documentario del 2015 citato all’inizio della recensione, la cui visione risulta complementare a quella di Back To Black per comprendere le varie sfaccettature dell’icona) a volte si traduce in quadretti abbozzati o in sequenze di montaggio musicale non incisive, altre volte, come nel caso della genesi della canzone Back to black, riesce a unire il dolore per il lutto della fine di una relazione e della morte di una persona cara in modo convincente. Costumi, trucco e parrucco risultano efficaci, soprattutto quando in preda alle sue crisi i costumi sono stropicciati e unti, i capelli non in piega e il trucco colato.

    L’attrice protagonista, Marisa Abela, non possiede fisicamente dei tratti capaci di replicare l’unicità del volto della cantante britannica, ma riesce comunque a dare giustizia allo spirito fuori dagli schemi della Winehouse, alle sue difficoltà e alla sua sofferenza. Il cast di contorno non spicca e alcune scelte di casting, come quella di Blake, interpretato da Jack O’Connell, non risultano pienamente centrate.

    Regia, fotografia e montaggio non riescono a spiccare o ad emergere in modo dirompente dagli standard di prodotti simili, e sembra troppo poco considerando l’esuberante lavoro di Baz Luhrmann nel suo film dedicato a Elvis, incapace di restituire pienamente, per esempio, la tossicodipendenza dell’artista, ma perfettamente in grado di imprimere una forte identità cinematografica nella realizzazione del racconto. Sono pochi gli sprazzi in cui la regia riesce a restituire la turbolenza della vita di Amy e della sua relazione con Blake, mentre, in generale, non deludono le sequenze dei concerti.

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    Alessandro Corrao,
    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.