Malasaña 32 (2020), by Albert Pintó – Criticism

The film begins and develops poorly and concludes by consuming a typical, monotonous and boring audiovisual product.

There is no 32 Manuela Malasaña street in Madrid (it only reaches 30), nor will the new Albert Pintó movie exist in our memory. Director of Kill god (2017), that juicy and funny fiction that he created with Caye Casas, now disappoints in his new horror proposal, Malasaña 32.

This time alone in the chair of direction and with several promises behind the script and inspired by a true story happened in the seventies, all hopes played in favor of Pintó, who should offer us something terrifying at the same time as nostalgic. In the prologue, although frightening, the poor seams of the genre with more clichés of the cinema are already discovered. The house (or, in this case, the floor) damn, a marble rolls alone and mysteriously reaches the feet of an old woman with a very bad thorn … Ah shit, here we go again.

The neighborhood itself offers many elements for a good horror tape, however, we see virtually nothing interesting outside the damn floor.

The film is committed to its cast, something
unknown. In that family of people who move to the big city they recognize
interesting characters, the neighborhood is full of life, buildings so tall
keep secrets different from those of a lonely farm and both parents and
Children handle how they can adapt in their new home. In so much land of
opportunities the only one that stands out is the young actress Begoña Vargas. I recognize
a good and promising professional, knows how to behave and prostrate before
supernatural and his ability to work a good leading role was interviewed.
However, the film is about the scares, they occupy the big screen and
they hinder the unbridled rhythm too much.

As a Madrilenian, I can say that I have seen Malasaña flats the same or more terrifying than that of the film. The neighborhood itself offers (even today) many elements for a good horror tape, however, we see virtually nothing interesting outside the damn floor. The most used resource is that of the sounds of the time: an old telephone, a metronome, an old rocking chair, an electrical system of the year of the polka, etc. The other technical moves for good public fright are repetitive and somewhat boring.

As for the narrative there is little that
rescue. The decisions of the protagonists are incredibly stupid (no
I explain how they can stay alone for so long and knowing, in addition, the
evil circumstances of the place), and wake up that laugh of shame
alien in many scenes that shouldn't be funny at all. The only good
Surprise is the participation of Concha Velasco towards the end of the story. By
Of course, she alone could not rescue the little value behind; the
film begins and develops poorly and concludes by consuming an audiovisual product
Typical, monotonous and boring.


Synopsis Manolo and Candela settle in the Madrid neighborhood of Malasaña, with their three children and grandfather Fermín. They leave the town behind in search of the prosperity that seems to offer them the capital of a country that is in full transition. But there is something that the Olmedo family does not know: in the house they have bought, they are not alone …
country Spain
Address Albert Painted
Script Ramón Campos, Gema R. Neira, Salvador S. Molina, David Orea
Distribution Begoña Vargas, Iván Marcos, Bea Segura, Sergio Castellanos, José Luis de Madariaga, Iván Renedo, Javier Botet, María Ballesteros, Rosa Álvarez
Gender Terror
Premiere 01/17/2020

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[elcineenlasombra.com]