The first night of judgment: the origins of the heart of darkness of America. L & # 39; Review



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The first night of judgment: the origins of the heart of darkness of America. L & # 39; Review

Between prequel and original story, the fourth chapter of the saga designed by James DeMonaco (here only writer) takes stock of all the franchise, including immersion in the township, violence Urban John Carpenter and, of course, the ghost by Donald Trump

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<p>  To lower the crime rate to less than one percent in the rest of the year, the new <strong> Founding Fathers of America </strong> (NFFA) perform a sociological experiment extreme: allow the aggression of a nation of <strong> to vent all its rage overnight </strong> within an isolated community, <strong> Staten Island </strong> in the presence of Manhattan. The germ of abomination and brutality spreads like a disease, with no possibility of control. Even the killings, after all, will go unpunished, in this <strong> bloody </strong> <strong>  catarsi </strong> charged with restoring the psychological calm … </p>
<p><strong>  Fourth chapter </strong> of the saga created by <strong> James De Monaco </strong> who wrote and directed the first three films to sculpt in this case the role of simple author of the script, <strong><em>  The first night of judgment </em></strong>   is yet another product developed under the watchful Aegean production of Blumhouse by <strong> Jason Blum </strong> one of the most vigilant and enlightened horror producers of today, able to create a factory as a result of Roger Corman's lesson and to impose surprising political cases such as <i> Scappa – Get Out </i></p>
<p><i>  The first night of judgment </i> is the prequel to an explicitly political filmic epic since day zero, finding, by chance, an excellent income, no sign negligible sensitivity, p always on & # 39; state of affairs. <strong> Gérard McMurray </strong> director of this fourth film, explains even more ghosts of accommodation, inevitably looking <strong> Donald Trump </strong> and the trauma of a <strong> America <em> black </em> orphaned by Obama </strong> and crushed by insecurity, violence, weapons in general. All in one night long stars and striped knives, with a young woman, <strong> Nya (Lex Scott Davis) </strong> trying to prevent her poor and peripheral neighborhood from being sucked into the devastation. </p>
<p>  The refrain of the Birth of a Nation <strong><em>  </em> </strong> a film archetype dating back to David Wark Griffith at the dawn of the history of cinema, returns here too, as in <em> Birth of a Nation </em> by Nate Parker, gathering witness to the best chapter of the saga according to the author, the Third <strong><em>  The Night of Judgment – Electoral Year </em></strong>   from 2016, directly listening to the elections that led to the flamboyant Tycoon at the White House in the night of November 11 (The film goes out rather eloquently on July 4, Independence Day.) <span clbad=

The result is another barbaric and even more mixed film that addresses the genre with great suburban and spectacular knowledge, insisting on the genesis of this crazy idea but also, in a metaphysematographic way and with a vague look at John Carpenter (l Nya's brother, Isaiah has the Halloween poster in the bedroom), on the latent forces at the base of the four chapters (the psychologist of Marisa Tomei creator of the project and new entry of the series, in this sense is full of idealism).

Love the latest film by Spike Lee, BlackKklansman The first night of the judgment is explicitly compared to the blaixploitation and the black subculture, transforming the film of B series into his most muscular conception possible a territory of outcasts and poverty, to be expelled from the social fabric condemned to anonymity, never recognized son of a distant and immemorial government.

The film does not add any additional implications to those already elaborated by the saga along a path made of four films, but has the merit of wearing the same. action in the news and news flow indiscriminately, and pay significant and symptomatic attention to the concept of the output, more than ever central to today's political debate to direct communication and consensus. We know something of these times, even in Italy, between ports to close and weak instincts to unleash.

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