UPSIDE DOWN *

2sur5 Released in Russia and Canada in summer 2012, Upside Down should arrive in the U.S. and France in spring 2013. A strange and aberrant disposition strategy by retailers, especially as the film is visible on the internet. Available in HD for a few days, it will probably have been discovered by the majority of moviegoers before its theatrical release on 17 April, copies of streaming quality and easy to boot. Deliberate sabotage or ill-treatment filter and pragmatic and neglect to-end? Could indicate an attempted seduction paradoxical a way to limit the damage by seeking to justify a failure by some commercial and artistic wanderings quick to make a "legend", a genesis for this incredible sweet turnip which will exit the transvestism in film-sick.
.
Upside Down movie might look like SF-road of the future: functional, opulent, tasteless, he deserves to be broadcast in all areas of transit, the only contexts where everyone can revel in a stew pyrotechnic and dripping, without grievance drought at work because this fury placid accompanying the movement. In short, this is a movie to watch between two doors in a hallway metaphor, there it will make sense and will have its place.
;
From one end to the other, the film is in the pathos dazed and continuous overload (there are not 20 seconds at a time when our ears are in peace), romanticizing everything and most especially Benin, the how to pop a clip delighted with the nursery. All this emphasis artificial prevents any emotion emerge, but also blocks any attachment, any affect for the object. Flatness and vapidity of its contrast with the exploration of its potential indecent universe, its worlds physically but reversed its more technical.
.
True to its history (Northeast, The Cloud), Juan Solanas (known for his movies rather "humanitarian") wants to glorify in a kind of ironic Eden and blue. But his approach is too demonstrative and padlocked and only desecrate every moment, adding to the point of disgust from the first quarter d'heures. Especially the aesthetic splendor (the principle of both worlds mirrors the very original photograph) only decorate a scenario of a great conformism. The viewer is to skim a world drunk on the graphics, sorry conceptually, the laborious human and undrinkable intellectually. Or when buildings are Labyrinth loincloth luxury product and sanitized after all very straight forward. Strangely, it was comical in its several aspects, only time he finds humility and consistency, Upside Down clings most strongly.
.
From reconnection and corporate restructuring Transworld show gains in intensity. Despite the misery of his writing and the ridiculous, see the vulgarity of his emotional outpourings, Upside Down begins to gain some heat (perhaps by dint wear nervous because of across the emptiness is mistaken by hysteria hollow and quite disturbing assembly) we feel consumed immediately but at least the program is finally functional. Although very subtle, the experience becomes enjoyable and the strange charm of Kirsten Dunst can flirt with this coveted grandiloquence. At its best, the film thus reaches his true vocation, like a mash The Fountain, eroded and artificial. We still go out quite dismayed if a brilliant mess.
Overall Rating 40