En period of partials, where my illegally fat, unlawfully hedonic and anticonstitutionnellement epicureans habits are relegated to the background in favour of my illegally emetic, unlawfully long and anticonstitutionnellement exhausting revisions, I tell myself that my life is sad. Then I look at THE FIRES OF ANGER. And I realize, in light of those of others, that my life is not all the same not so sad, and that, even if it’s been a long time that I haven’t written, I’m always so focused on the emphasis astronomically and unreasonably disproportionate. And then there’s Christian Bale. And I’m love Christian Bale, of course. As a person who respects himself. So in the end, I’m not so sad. No. I’m still just the same vile and égomaniaque character. It was just long that I was proven, that’s all.
Yes, my useless and annoying introductions are also always the same. You don’t change a winning team. Speaking team, so let’s start by the casting (the transitions rotten, laborious, and enforced have not left the ship not more).We could extend on the quality of the distribution, or make more simple and summary the strength of the casting by this question : afford the luxury of having Forest Whitaker in the second role, is it not an index and a proof of talent ?
What do you prefer ? Well, since it is me who decides, we will still talk about it. If you are of another opinion, or that my slick query has already convinced, skip a paragraph.
Christian Bale, Casey Affleck, Woody Harrelson, Forest Whitaker, Willem Dafoe, Sam Shepard… good, good, Good. Of course, all are perfect. Casey Affleck, oh-so-manly eroticized in devil brawler scarred by the war, Woody Harrelson sweating of tough and dry madness, passing through a magnetic Christian Bale, the film can thus already largely relying on these strengths. All the more that all of them are perfect. Each embodies in its own way a lost, forgotten in the deep America. The difference of their characters and the heterogeneity of their characters merge into a more universal, which are intended to reach a more global. Their personal destinies are in reality the same : we are witnessing their battle in a world where they don’t have a place to try all the same to do so. Here, in this universe which has not spared, who has taken, wrung out and destroyed. And each embodies a facet of the deep America, lonely and frustrating. If Christian Bale attends to present to us the average american non-dream is greater than that of working in the same factory as his father and as Casey Affleck shows us the aspect of the life of the military, Woody Harrelson thrives and succeeds brilliantly to take us to the depths of the mountains where order and law are not the same.
![[critique] LES BRASIERS DE LA COLÈRE](http://penelopethemovie.com/wp-content/uploads/2018/08/critique-les-brasiers-de-la-col-re-2.jpg)
The film, in fact, is a dive visceral in the depths of the company to better explore and reveal the intricacies and the impact that it has on people. As mentioned above, we see the lives of these americans holed up in their mountains, where law and order are made up not by the police but by the local crime boss. The life of the city is also decrypted. See Christian Bale and Casey Affleck scramble to try to get out in this small town where everyone knows each other, and who has nothing else to propose that multiple similar housing developments randomly interspersed around local plants, is a major part of the film. And one of its strengths. The movie is, in fact, for his study of the impact of the society on the population (and of course, its negative impact). The film is then a gentle descent to the underworld in which the company plays the role of fundamental lever. Oppressive, stifling, cruel, dry and fatal it extends its baneful reign as, and ends by gently wrap tender inhumanity of the protagonists, the better to accompany it, slowly, to asphyxiation deadly, but sure. Her grasp is firmer in the course of time, thanks to the vise formed by his arms, which shake with each story, since she feeds on the unhappiness progressive of other.
One of the aspects the most striking feature of the film is then the multiplicity of the forms of violence it presents. First, this social violence that contributes to the inexorable moral decline and physical actors. Be rejected, do not feel out of place, to have nothing and do not even have the prospect of improvement is a weight fierce and a psychological impact heavy even less curable than an open wound. When one has lost everything and the nothing, how far can we go ? When on, no matter what we do, nothing moves, nothing changes, why continue ? The film is socially very violent and address a good slap painful by its installation slow and deep within the mind of the viewer. Violence is never frontal but is discovered, think. The evidence for the role and the fate of Christian Bale takes us to drift for nearly two hours.
However, it was with Casey Affleck a transition to the violence more direct. It remains a part of violence psychological trauma of soldiers that lead to violence more concrete in the course of fighting illegal. It is the transition and the midpoint between Christian Bale and Woody Harrelson that it presents to us only one side of raw and savage violence.
“Scott Cooper knows how to alternate the moments of sentimental, violent, or simply empty to always find out the correctness of hardware which then serves as the best idea.”
Then of course I present this film as violent. But this violence is bearable and brought it through to completion. Witness this mind-blowing and striking scene of introduction that sets the scene just Woody Harrelson doing what he knows best : violence. But the staging of the work managed to distance themselves and show the cruelty that is emerging in multiple forms in the course of the film : not unbearable as a film of torture, not fun like a Tarantino film, but just presented here as necessary. The violence is an integral part of the casting and is only a logical consequence from the destruction of the destinies that it entails and the only way to which turn to when the one will eventually be surpassed that it is.
And Scott Cooper is the necessary genius of the staging to better serve its purpose. He knows how to alternate the moments of sentimental, violent, or simply empty to always find out the correctness of hardware which then serves as the best idea. The film is based on a rate as controlled, slow, efficient, and sprinkled with moments of shards. Conductor of the orchestra, he introduces us to the life on a pace to near perfection by its veracity. Also, it is necessary to congratulate her technical qualities of developers that are just promises for the future. Evidenced by two situations which leave you open-mouthed : the first, when Christian Bale enters the home of Woody Harrelson, and the second being the start of the final scene where Christian Bale, gun in hand, tending his trap.
And to finish off the achievement, I said just that the whole is beautifully wrapped by a musical theme, very fair, sticking perfectly to the universe, and for a long time haunting.
So why be so ecstatic if this is to put only 8/10 ? Because I’m a cunt etc etc, we are sure, already been there, and I can only acquiesce in, but this time, in addition to, it is because something bothers me. This something is the end of the film. The work switches to the effect of the chronic social powerful to run vengeance and impact then the overall quality of the film. Finally, I found. My father does not agree and support me because it fits into a certain logic in the face of such social violence and its weight that it sits heavily on the shoulders of each. It is not wrong, and it deserves debate, but I am recovering literary and I no longer have the force to align of the lines.
Already as the previous ones were not great…
• Achievement : Scott Cooper
• Screenplay : Brad Ingelsby, Scott Cooper
• Main actors : Christian Bale, Woody Harrelson, Casey Affleck, Sam Shepard, Willem Dafoe, Forest Whitaker
• Country of origin : United States
• Released : January 15, 2014
• Duration : 1h54mn
• Distributor : Metropolitan FilmExport
• Synopsis : >In Braddock, a working-class suburb american, the thing of which it inherits from its parents, it is misery. Like his father, Russell Baze works at the factory, but his younger brother Rodney decided to join the army, hoping to get better. However, after four difficult missions in Iraq, Rodney returned broken emotionally and physically. When a dirty trick sends Russell in prison, his younger brother tries to survive by betting at the races and selling in boxing bouts. In debt up to the neck, Rodney finds himself involved in the dubious activities of Harlan DeGroat, a local crime boss sociopathic and vicious. Shortly after the release of Russell, Rodney disappears. To try to save it, Russell will face DeGroat and his gang. He is not afraid. He knows what to do. And he’s going to do, out of love for his brother, for his family, because it is just. And so what if it may cost him his life.