Trouble with the curve ***
Trouble with the Curve mixes tone Gran Torino with the romantic comedy. Clint Eastwood as always great. He announced that he was retiring and that's not acceptable. Clint Eastwood is one of the leading directors of our time, like it or not his style. But as an actor is also a must. And this film is shown again. In fact, without Eeastwood would be another thing altogether, because the main point for dramatic effect is a sort of variation of the character he played in Gran Torino. We both could have found perfectly located on a desktop melodrama cooked for the small screen such that some chains are programmed into the weekend reproach of intrepid viewers who dare to try their luck with such products.
What happens is that Eastwood also takes the most juice jokes leading to a script that is fairly safe when walking cynicism to the age of the character, but not so much when he gets to develop the romantic plot between the young protagonist's daughter and a suitor played by singer Justin Timberlake, who manages moderately well as expected but as heartthrob actor has a somewhat limited registration, except for that gesture to Quentin Tarantino sardonic employing every time his character has to smile and inevitably reminds me of Reservoir Dogs director explaining what the issue really mean Madonna's Like a Virgin, you know, that of Charles Bronson exerting great drill and such. Eastwood can kick a table and drop a swearword, you can let go of bullshit to a guy who packs a punch in a bar, or you can explain what Feng-sketchy style better than any other American film actor his generation. You have no competition. It is unique. A treasure for those who go to the movies and have fun waiting evade. And so it has been for decades, so that path above all works in your favor when composing characters like this, which inevitably have some topics, but also a lot of truth and a load mythical film history which comes in handy to decorate these old grumpy in the twilight of life trying to stay afloat in a world determined to pass over a mouse of computer. Eastwood is taking the luxury of doing what they could not do so drastically classical myth of action films like John Wayne, for example, is self-parody, laughs at his own image as Harry "Dirty" Callahan or any other tough guy who has played for the cameras. And in doing so, surprise: further enhances its image as an icon of tough guys, but at the same time is becoming closer, more human. An example: the beginning of this film, Eastwood talking angrily with his genitals in urination difficult morning as if he was saying the offender on duty what Dirty Harry said, "Go ahead, make my day."
Wayne took very seriously his role as cinematic icon to risk that game. Eastwood has no problem with that, as at the time did not risk breaking problem that same image by the way of romance starring in The Bridges of Madison and as in his directorial debut Play Misty for Me, also had no problem bring contrary to the personification of his action hero playing a radio announcer harassed and frightened by the pursuit of a disturbed follower. Only he can do those things and that we prove as above as endearing and fun nearby.
So it's not surprising that punch line be built around his image as "grumpy grandpa", which gave such good business results in Gran Torino and was well accepted by the public.
Guaranteed that formula, and highlighting the excellent chemistry that has the duo of Eastwood and Amy Adams, we must clarify that the weakest of the film is the love story completely predictable and bland that reviews all the topics of such frames and remaining footage to the really interesting history, which is the relationship of father and daughter.
Moreover, this relationship seems to be a gradual contagion topical air headed the romantic part of the plot, so as to try to justify the abandonment of the father carrying daughter in a flashback inks rather artificial, in visual as in the dramatic. Very forced. Almost as much as the end of candy, yet forgive him as viewers because the characters of father and daughter fall so well that we want to leave the whole matter and triumphant as possible. But that does not prevent the final twist of the plot sport itself, the duel between pitcher and batter is too obvious, artificial, zip, bringing out the worst and most melodramatic stories and legendary sports "film" that much like the average viewer in the film and in this case as well throw the politically tricky, rather than political correctness.
It must be said however that part of the plot device has going for maximum simplicity that applies to the construction of topics: the "villain" antagonist makes a comment ribald, off-color, on the relationship of father and daughter We can not tolerate him because it raises not only the incest taboo, but an attack on the old man's manhood hero, and automatically hate him. The brat aspiring baseball star is characterized as a typical high school bully (or in the case of youth team) smug aimed sleeping with the stars of Desperate Housewives because they say they are mature enough to be interested in mature women compared to the noble helping Latino that obeys his mother and takes care of her little brother. And with regard to the romantic story revolves around a fantasy paternalistic whereby the father looking for his daughter the best husband possible, which inevitably is someone of the same profession, or what is the same: a younger version himself. It is the candidate that you think can make her happy suitor against lawyer, would only serve to "keep".
These are all topics, but at the same time is a good exercise in audience manipulation argument following proven formulas for storytelling that basically the average viewer willingly accept, especially if developed with relative ease, as is the case in stunt.
So the film is perfectly defined by its title, is an entertaining dramatic effect with Clint Eastwood as always great. So even with its topics, this dramatic comedy is a good product, evasion uncomplicated.
Miguel Juan Payán
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