Submarine

In 1951 Holden Caulfield a devenit vocea a nenumarator adolescenti, portretizandu-le ca nimeni altul alienarea, frustrarile, descoperirea ineficientelor lumii adultilor si prezentand realitatea prin viziunea lor mult mai matura decat cea a unui copil, dar totusi prea idealizata pentru a functiona. 50 de ani mai tarziu, adolescenti nesiguri din lumea intreaga si-au gasit noi voci in protagonistii filmelor indie care au iesit constant in ultimii ani, de la Ellen Page in Juno la Paul Dano in Little Miss Sunshine, aceste personaje au fost scrise sa fie instant iubite cu excentricitatile lor, dialogul rapid si neprententios, umorul matur si plin de referinte pop, viziunea cinica si nihilista, exagerata si neiertatoare. Desi un adolescent care sa aiba farmecul lui Juno nu ar fi usor de gasit in aceasta realitate, aceste personaje le-au oferit adolescentilor ceea ce aveau nevoie mai mult, mesajul ca e ok sa fii diferit.
Prin debutul sau Submarine, regizorul Richard Ayoade a reusit o lovitura de maestru, creand un personaj care combina cele doua elemente, veridicitatea din romanul lui Salinger si farmecul excentric al filmelor indie.

Most people think of themselves as individuals

Scott Pilgrim vs. The World

2010 seems to be wanting to be remembered as the year we all felt nostalgic about the ’80s: “The A-Team” movie came out, “Hot-Tub Time Machine” literally took us back to the eighties, Stallone decided to go back to the patented eighties action film formula and made “The Expendables” and even got some our childhood heroes to be in it (for no other reason than to be in it and give our nostalgia bone a good rattle), fuck! even the new “Predators” is closer to the first one than the nineties one was. And now Scott Pilgrim, a film so riddled with ’80 pop culture references and overall feel you are a bit confused when you see somebody using a mobile phone.
A quirky, indie action-romcom by Edgar Wright, the guy who brought us “Hot Fuzz” and “Shaun of the Dead” with indie-king Michael Cera.
Scott Pilgrim is a slacker, a bassist in an unknown band, who falls in love with the girl of his dream (literally), but finds out that in order to be with her, he must fight her seven evil exes.
Described by Wright as a musical in which everyone breaks out into fighting instead of singing, the film creates its own world, which is more in tune with Street Fighter than the real world; people get thrown hundreds of feet without getting hurt, characters sorta have super-powers, things such as huge glowing hammers and flaming swords fit into pockets. The ‘80s videogame theme runs throughout the film, and works really well once (and if) you get used to it.
Indie films have come to power over the last few years, and Scott Pilgrim shows what one of those films looks like if there is a bigger budget, you either embrace the weirdness and love it, or you remain a traditionalist who cannot accept that people just turn into coins once they are defeated, who need at least some logic even in fantasy and sci-fi, and then you will hate it.


And now just to fuck with you: