Ocho apellidos vascos

The fact that we can play with the most extreme topics homelands identities (Andalusian and Basque) no one should be shocked or put the outcry indicates much of our maturity as a nation (no matter who). Well, I correct: the fact that we can play and derision and mockery of the topics on the Basques and Basque nationalism, no one should be shocked or put the outcry, indicates much the degree of standardization of certain issues before open sores were always willing to bleed. And I make this correction because the Andalusians have always been a source of banter and nothing ever happened.

For this reason, the approach of "Ocho apellidos vascos" is brave, is timely and is opportunistic.

Surely this is one of the main reasons that the Spanish have been flocking in a mass almost unprecedented theaters to see this product sponsored by Tele 5. Along with the successful release date That (between Oscar and summer blockbusters) and the brutal and exemplary marketing campaign, which I applaud and celebrate. That's all I can conclude from this nonsense, much to my regret.

I always say and I repeat that from "the dark pleasure of watching bad movies and enjoy them," and always insist that "we must not forget that the main purpose of film is to entertain." I say and I stand. The problem is that "Ocho apellidos vascos" is not bad enough, nor sufficiently geek, not crazy enough to be a "Bad Movie" (as Sharknado or Xanadu or Condemor). And unfortunately it is not entertaining enough to forgive their mediocrity (always from my point of view).

That is precisely the word that best defines "Mediocrity". It is painfully mediocre. It is simple, not easy. It is impersonal and worst: it is done reluctantly. The movie works because the interest, not original (remove an element of your environment and place in a completely alien and hostile is one of the basic arguments in comedy since the cinema is cinema), but which explained at first. but all the other elements just fit, or do not at all. The entire film is a sheer drop from a promising start to a shameful end, through all the "comic" situations manual and all the hackneyed topics sitcom.

But yes, I know, "all the stories are already told." You're absolutely right, but they are still have some ways, not original, but convincing.

And back to the main issue of much patriotic film (and many foreign): the script. Most managers confuse the argument with the script. The argument is the approach, the script, the development. There is an interesting approach, albeit clumsily presented, and at the inability (or unwillingness) of its director to develop a convincing (or crazily convincing) way takes refuge in a tangle of beginner, which does not know how to get out, although all intuit (and fear) from the beginning how he will do it: using force without lubricant.

What saves this product is the total collapse monologue speaker Dani Rovira, with his inspired monologues and brash, and Karra Elejalde giving life the only believable character in the whole story.

But it hurts me to think that this is what the public is waiting to fill the Spanish cinema halls. It hurts to think that film too, as almost all spheres of power, is in the hands of the mediocre. And it hurts me to think that they are the by-products like this that are going to save the Spanish film of water that it's been submerged by itself.

Stealing a quote: "It's not the same make films that make movies"

inspired by piensaencines