documentary images DELIVER U.S. FROM EVIL (Amy Berg, 2006) we discovered one of the most flagrant cases of pedophilia hidden by the leadership of the Catholic Church. Father O'Grady, all sincerity, confessed to the camera claims impulses that led him into exile, late, yes, their pastoral duties after a painful history fat maimed childhoods. There was little tabloid bait and a lot of sharp analysis of human meanness, perhaps more revealing to enjoy the highest levels under the church. DOUBT is a grotesque fiction that reality, unfortunately, present in the heart of societies that want cradle of progress and civilization. While it will not sediment as a cinematographic work, presumably to encourage the debate on the shaky pillars of morality underpinning the presence of the church in public life. 
But cinema is, it must be something more than a reflective pavement on which to deploy insured consumer thorny arguments. One can imagine the bottom of the drawing disturbing O'Grady also in the film of John Patrick Shanley, who adapted his own theater piece based on two leonine creatures called Meryl Streep and Philip Seymour Hoffman. The difference in bulk-there are other less visible, is in the ways it chooses to stage the fault, the engine of a story whose skeleton is no visual accommodation to match. Articulate objective facts abhorrent positions reveals a courage always useful to air and, where appropriate, accountability, honor the victims, to question the ethical and legal margins after which battleship. Another thing is the artistic ability 
with which to devise the material close to the scandalous, stuck to that fine line between criticism and morbidity. The director is committed to moderation and restraint, and focus on dialogue, with all its symbolism, its moralizing rhetoric, his irony-the warm pieces of the rigid review of the 50 American conservatism. Both decisions, the background and on packaging, imprison achieve the result and make it an exercise of filmed theater, apathetic, dull, as sober and aseptic invade mediocrity ends. Hoffman and Streep stand neck and face and verbiage habits, aided by a superb Amy Adams. Reveals the trio not only the mechanics dramatic structure, made of successive vis a vis that may be more effective on stage. It also serves as his talent for casting a product box office ranking television, unable to pass the minimum chill could guess the intentions and views of the complicated game of the stars involved.
is they who, with petroleum jelly, avoiding digging into the rough, spared the worst of the wrecks to last, not very memorable-spur to conscience. The wearing of robes and sacristy their meanness worthy of confession. 
The images that Stephen Daldry drip molding his new work classic look, which some savvy tildaría prices. Not move away from the right if the mime in the forms of masturbation exercises get stuck in creative, outside the chisel psychological and livelihood of the narrative. What goes beautifully with our attentive mind drift to areas of naked emotion, known fragile sentimental trapped in the warp of a text sober and without fanfare. One can imagine the literary material in a sturdy ride between two historical periods, past and present modulated with a love story out of the archetype that some commercial equipment spreads. It is that same commitment to make a prestige film that beat beneath the deceptive placidity of THE HOURS (2002), 
The film viewer is privileged at times to find on their way demonstrate a genuine concern for human beings, to understand it and enlarge it. Some titles go beyond the film merits count to encompass areas of ethics and hygiene emotional force off the table. It is a revealing process that does not support the fraud, springs from a honest perspective on that piece of reality and achieved, if possible, film and life interweave. One of the core issues in the tradition of cinema as a social mirror-labeling is one that challenges the foundation of any educational system as a sad barometer to push a social order full of gaps. This work shows a bunch of micro-universe from which to address the generational clashes, cultural immersion and the evils affective factors of an ethical code in constant danger. 
The miracle occurs when you reject the emotional makeup, that arsenal of resources for tears railroaded beaten track. When they flee the commonplace and explores the nuances, the bite of reality shines on its own, naked, more effective than ever the intellectual thrashing. CLASS head out samples of a genre chewed to death, did not appear to provide analysis flanks new school environment. Some have assumed unusual perspective Frenchman Laurent Cantet for his film lauded by critics demanding. At least a pinch of honesty may be sliced radiography in adolescence, their conflicts, their tremulous step from childhood to adulthood just defined. Following the trail 
dripping little film that attempts to describe not judge a thematic range as cyclical in nature, so prone to sensationalism prism. Cantet chamber listens to teachers and students, quietly, avoiding entering the treacherous moral condemnation or didacticism that often sprinkle the landscape visions Yankees: marginalization, family breakdown, idealistic exaltation of teaching professional, equipped with charisma, a catalyst for a change of attitude in his players hormonantes, even avoiding the rigidity of school rules. Lies the achievement of the film in the absence of moralizing, the garish lettering on the sensitive conscience of a gallery painting pleased to see how things wrong with schools and colleges, build the enclosures where the winners and frustrated the future. 
meets the objective is to witness a reality as multifaceted as it is disconcerting, a complex inventory requirements, strategies, solutions cast in terms of a constantly changing social context. French industry has given us a masterly example of cinema, wise and respectable, known to occupy a corner in the memory of the large mirrors of our time. Which is to register our own warehouse of contradictions and fears from an undeniable artistic stature. 
surprised the gulf from the rain of awards from some questionable titles and merits by which granted. So uneven terrain such as the festivals can sprout thorns copyright or emotional pieces of shrapnel. It may be grotesque and marvelous, but the honors did not do justice objective, irrefutable, without appeal, works discarded. If you scratch a little faded images of this sallow COUSCOUS will film there is little meat, but fat gorge prestige, the film provides little aftertaste but in theory means impregnated honest look at reality. 
