The article was published in the July 29 issue of The Video comment Letter, our weekly weekly newsletter with initial criticism and video notes. Sign in to Letter Pano.
The past (M. Night Shyamalan, 2021). Photo Courtesy of Phobymo / Universal Pictures
I wanted to see The past for simple, silly that I too am old (ish). To be honest I want to see how things go. The past, after all, is based on the ideas he has developed Journey, a video whose base of “dangerous grandparents” affects a small number of large toys. While this is a very difficult age, I do not regret it. We in the past do not find much in the way of filming, in addition Love and the smattering of British theater, so I looked forward to seeing what M. Night Shyamalan, the crooked king, would do with his recent escape room, where a group of people found themselves trapped on a beach that surprised the secret side of advancing age. Is there a way out? And, sooner or later the machine, how can anyone run their weak body? Could there be a time machine?
The preparation is as follows: three families living in a high-rise apartment are brought to a secret beach on what is promised a day trip, and what a day! The aging process is about two years per hour, which is very fast to see the scars turn into scars, but so slowly that it takes several years of beach time before anyone realizes that children’s clothing has been in good condition. The effects of time only occur on “stem cells,” a vague and vague description, which means that people grow old without eating regularly. Still, I wondered how it would be possible for me to grow old and lose my mind without even knowing it. Can the children feel the emotions of children in their new adult bodies? Do the girls bathe? What happens when you see a horrible death toll, many of which have nothing to do with aging, within 12 hours? In the presence of video they stay too long for every question that arises, someone yells that they have found another corpse, and the camera shakes.
As it turns out, there aren’t many seniors in the film. The only person eligible for AARP to walk on the beach: Agnes (Kathleen Chalfant), who has no lines to beg her dog to stay. (Poor dog; not to mention the increased risks of rapid aging.) He is accompanied by his son Charles (Rufus Sewell), his wife Chrystal (Abbey Lee), and their 6-year-old daughter Kara. . The naughty kids are Cappas’ respectful puppets: parents Prisca (Vicky Krieps) and Guy (Gael García Bernal), who grow old with a few fine wrinkles, and their children, Trent aged 6 and 11 – Maddox. Well-known retirees are rapper Mid-Sized Sedan (Aaron Pierre), Therapist Patricia (Nikki Rise-Bird), and nurse Jarin (Ken Leung).
Although apparently by one component, the videoWhat he loves most is Trent, who angers, whose locks look suspicious as directors. Played by four different actors, he is very old, but he does not seem to be concerned about his body changes. The past is not as vulnerable to the dangers of old age as other people’s aging bodies are to Trent: all the ways in which adults, especially his parents, fail. In Shyamalan films, adults leave children in need of protection. Essentially Trent does not grow, even when he is older. Sadly, if there is someone in the careless video, and when the parent leaves, no one can come in.
Not surprisingly, the coastal population was soon divided. Shyamalan for a long time had a misconception about collection, and for him, groups of dissenters talk about transmission (What’s Happening), fraud (Journey, Root), and confusion (Divide). When Maddox happily sees the Mid-Sized Sedan leaning against the rocks, his father tells him not to bother; the moment clearly describes the Shyamalan secessionist world. The filmmaker has ordered that they have a real family to deal with a strange invasion, invasion of vegetation, or an aging beach. When the most connected part falls, there is nothing left to hold.
With a variety of colors, well-known, The past it is a disturbing, cooked-in-the-world parable that emerges unexpectedly from the plague. Go back inside, it seems to be whispering. But on a hot July night, I was attracted to a large crowd of young people who came to the theater. It was great to sit outside and watch a big, silly movie. As he turned to Shyamalani, someone jumped up and started clapping. “My man!” She cried appreciatively on the screen, her mask under her chin. I tried to compare him on The past beach, enjoying every escape attempt and the proud pride of a father in his son’s T-ball game. But the image did not work, not because it was so stupid, but because of such a zeal it had no place in Shyamalan’s strange and cruel place.
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