I Can Quit Whenever I Want Movie Review
- Modernistic Producciones attempt to replicate the box office success of the Italian picture show I Can Quit Whenever I Want with a Spanish remake directed by Carlos Therón
Carlos Santos, David Verdaguer and Ernesto Sevilla in I Can Quit Whenever I Want
Under the command of Fernando Bovaira, who has produced films on behalf of Alejandro Amenábar (Agora[+ come across too:
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picture show profile ] , The Others) and Mexican managing director, Alejandro González Iñárritu (Biutiful[+ see also:
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motion picture contour ]), Mod Producciones has rather cleverly accomplished certain levels of success which have later on contributed towards the production of riskier (or costlier) artistic propositions. In association with Telecinco Cinema, the team are at present looking to pull off a similar coup with I Can Quit Whenever I Want[+ see also:
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film contour ], another film which promises raucous belly laughs and unadulterated fun. Directed by Carlos Therón (who has already put his name to comedies such every bit Fuga de cerebros ii[+ encounter also:
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film profile ] and It'south For Your Own Good[+ encounter also:
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film profile ]), the motion-picture show is a Spanish version of the Italian blockbuster of the same name, I Can Quit Whenever I Want[+ run into also:
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interview: Sydney Sibilia
movie profile ].
Indeed, Italy does seem to exist establishing itself equally something of a motion picture "laboratory" whose formulae tin can be successfully transposed on the other side of the Mediterranean coast: Álex de la Iglesia earned far college sums with his Perfect Strangers[+ see also:
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picture profile ] remake (20.7 meg euros) than he did with his more personal, auteur films. But time volition tell whether I Tin can Quit Whenever I Want tin obtain like box role results, and whether it will consequence in a series of films, as happened with the original version on the Italian peninsula where three moving-picture show sequels take already been released.
Scriptwriters Cristóbal Garrido and Adolfo Valor were responsible for taking the original transalpine version of the film and adapting information technology to the Hispanic world, cutting downwards the number or changing the sex of central characters here and there. But the basic premise is the same: a handful of college professors discover their way out of fiscal insecurity by dealing constructed drugs to young adults. In this respect, I Can Quit Whenever I Want could be said to be a distant cousin of Breaking Bad, the American series to which the film pays tribute at diverse points in the script. It's a blackness one-act, both untamed and uncomplicated, which makes light of the financial crisis and the loss of prestige that university titles ordinarily beget in the workplace, but which also ensures that viewers who don't accept quite and so many artistic pretensions are having only as much fun as the actors.
Featuring amid the latter are David Verdaguer (the favoured actor of Carlos Marqués-Marcet who is making a happy return to comedy – and who provides us with a delightfully delusional Dead Poets Order moment – following a brief incursion into genre picture palace with No culpes al karma de lo que te pasa por gilipollas[+ meet also:
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movie contour ]), Ernesto Sevilla (one of the best Spanish comics around, who fabricated usa roar with laughter in Campamento Flipy[+ run into also:
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picture show profile ]) and Carlos Santos, which is surprising given the diametrically opposed part he previously played in political thrillerSmoke and Mirrors[+ see also:
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interview: Alberto Rodríguez
film profile ], directed by Alberto Rodríguez (worth a mention at this point is his memorable and psychotropic musical number singing and dancing the Eighties hit Sarà perché ti amo past Italian pop group Ricchi e Poveri).
By their side at this acid-fuelled political party are Cristina Castaño (who previously appeared in the TV series Cuerpo de élite and in comedies such as Bajo el mismo techo[+ encounter also:
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picture profile ]), Miren Ibarguren (Bomb Scared[+ run into as well:
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film profile ]) and finally Ernesto Alterio in an ambiguous, manipulative role. The combination of their performances, together with a musical score which is commensurate with the high experienced past the characters, photography that'due south steeped in stratospheric colours - much forth the lines of The Hangover - and the pic's frenetic editing all outcome in a cartoon of sorts, which is full of excesses; an inconsistent, guilty pleasure.
Lo dejo cuando quiera is produced past Mod Producciones and Telecinco Cinema, with the support of Movistar + and Mediaset España. International sales are managed by Filmax while Sony Pictures Entertainment Iberia are set to distribute the film in Castilian cinemas from 12 Apr.
(Translated from Castilian)
Source: https://cineuropa.org/en/newsdetail/370699/
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