Straw Dogs (2011)

In Straw Dogs, both stubbornly faithful and still soft around the edges, better represents the model of Sam Peckinpah's 1971 film Incendiary while they are subtle ways more acceptable its controversial material. If Peckinpah was originally a board with rusty nails rotten, Rod Lurie is remaking something closer to a Louisville slugger well sculpted, two of them violent blunt, but the most twisted and disgusting the other a matter of degree that is much to mitigate the impact of this modern adaptation of the novel by Gordon Williams Site Trencher's Farm.

Only the most short story turns his predecessor, Lurie history of Hollywood screenwriter (James Marsden) and his wife cake (Kate Bosworth), which moved its headquarters from anywhere Mississippi in the summer of solitary work and relaxation, only to find that the local and particular, burly her ex-boyfriend (Alexander Skarsgard) and his redneck friends, is disgusting and models for her and her husband milquetoast again. As before, the neighbor is a caustic examination of masculinity, but in spite of Lurie well composed and taut direction, the changes in the sap of its material to provoke the authorities, although these differences are much less likely to affect its box-office capabilities such as graphic and repulsive, abuse and revenge story.

Straw Dogs is still a snap struggle between conflicting versions of masculinity, with Wimpy wordsmith David Sumner (Marsden) in the corner, and strapping hunter and carpenter Charlie (Skarsgard) in the other. Lurie makes distinctions between the ways both large (framing the face of David with the muscular arms of Charlie) and small (David writes about the distant battle of Leningrad in 1943, while the inhabitants to provide for soldiers dead) than all the excitement building for an inevitable confrontation, in which masculinity is inaugurated as inherently stupid, brutal and destructive.

Straw Dogs (2011)

To reach this final means sustainable tinderbox threatening crowd hillbilly cartoons highlighted the volatility usually a lot of James Woods' psycho-alpha, and a subplot involving a sexual predator SimpleTable (Dominic Purcell), whose objective is to introduce and represent climatic showdown, along with impotence and intimidation nebbish David virility Charlie, the third aspect of crazy diverted from the trinity of movie masculinity. The problem, however, is that despite the suggestions of many contradictions and narrative Lurie Marsden game performance, weak internal and external David is never completely repulsive, and Charlie is the man very attractive model to exude real country risk, the results are easier to swallow a good vs. evil dynamic that has not Peckinpah condemnation is fundamental to all his characters.

With still can not fend for themselves or their beauty, David's wife Amy had short blonde (Bosworth), progress and Lurie Mrs. Charlie alternative after making his predecessor for the typing of the cowardice of David as the reason for the Amy possible contamination of well during the infamous rape scene, almost recreated here, is also complicit in encouraging female character and wanting to male violence. Fidelity in theory should give the dogs a straw fuel energy, but as with the management of Lurie, who is assured and cunning, the procedure often feels too soft and safe, pushing against the ugliness, but refusing to wallowing in the stomach chaotic history. Despite finishing in a conflagration baptized in blood, which completes the transformation of David into a real fear "man", the visceral ick is not in this new version is that the complexity of many minds (some might say that the confusion ) original Peckinpah. Through its urban front

Rural-tensions and more heroic figure of David Lurie is a simplified version of the small but significant ways, summed up the disappointment when the main characters was brutally explain the importance (and thus to flow at any time a fascinating mystery), the title the film.