The Legend of Zelda Timeline... Revealed? - Wii News at IGN
click link above if you'd like
to know what i'm basing this response on:
In terms of the paradigm of planes involving the legend of ZELDA, the one and only that seems to be latent, even to be the skeleton of the series is the one that follows scenario B. why? simple, it's the one that's subsequent of the actual events that transpired in front of the camera, monitor, video game's reality.
we the players, see it come true and, as a result of the physical final fight against GANON, the triumph, and ultimately LINK's physical reward given by zelda; although zelda's gift is a paradox on its own that raises many other questions; among many that may rise, we have the most important one that leaves us wondering even after the game ends:
was that what link's heart really desired? was that what zelda longed?
but the theory remains hypothetical, since scenario B deals with the actual physicality of Hyrule's own reality, which is what we. or at least, what NINTENDO allows us to see regardless of what we could've contemplated. the reward is of a physical nature: returning to link those lost 7 years, make him relieve and grow in his own pace and enjoy the skipped childhood life.
Scenarios A and C, without jumping too much into detail because all i want is to point which one is the skeleton, are more of an etherial even conditional fabric.
they failed to exist on its own without basing its foundation on a conditional time shift event. they are never presented, or at least so far to us the spectators, in any physical form like a video game or even a side story in its own universe. Both happen outside of what we witness or live through link. i might even dare to say that where scenario B is the physical form of zelda's reality, scenario A and C are like the soul and mind of it. they exist without a corporal script or manifesto. they are part of the universe that is shattered in different planes by the omnipresence of the WHAT IF.
Connected to OCARINA OF TIME, scenario A is the what if link would have never awaken from his slumber? what if ganon managed to create other realities to assure his own existence, given the abundance of his new godly powers: the piece of the triforce of power? what if ganon managed to destroy the temple of time, in order to never allow link's spirit to return?
In the same manner scenario C deals with the rhetoric idea of what if link, after saving hyrule and being rewarded by zelda, never returns to his actual time or space? what if he gets lost in the time continuum? what if link is returned to the kokiri forest and in fact manages to live a normal life unaware of the events that are happening outside?
therefore scenario A and C are existing in the same zelda universe, but in different planes respectively; they are the outcomes of different metaphysical occurrences, as in not inside or shown on any actual game. Scenario B becomes the actual solid link to the game's own and original reality before the disruption begins in Ocarina of time.
Wednesday, December 21, 2011
Monday, December 19, 2011
My top 10 bad news of the year
The year 2011 hasn't ended yet but so far, im able to name and point my 10 most disagreeable news of 2011. By all means, these topics provided discomfort and a certain level of awareness from my own subjectivity;they don't mean that they were the worst either:
The impending booming of the kardashian trash show. Needless to say, why do the world needs to make these women even richer than they already are for being nothing and doing nothing? It beats me why the world watches and follows the ecstatic and stagnant lives of these people.
The tyranny of apple. Scared of competition, apple put itself in bad eyes before countless of consumers over the year for its insanity to sue everything and everyone over trivial and generic details, and everyone that proved to be a rising competitor. Many speculated that its next target was gonna be mother nature for using a shape and name that they claimed invented, the apple.
Nintendo's void to maintain its hardcore fans satisfied. After years of top popularity and sales, Nintendo's wii begun to lose momentum and interest. Mostly based on its obsession to cater family casual gaming to the new masses that sought the wii as a good distraction. At the end, the distraction lasted for so long and the new masses moved on to the next big thing, xbox kinnect. The only people that stood by Nintendo are the hard core gamers that embraced the wii since its release date (where everyone else was still skeptical about the new motion control system.) unfortunately, those same people were the same ones that Nintendo neglected for so long. It added more fuel to the fire, when nintendo refused to bring more hard core games to the states, and the absence of its biggest promised stars.
The death of a rising old school soul muse, Amy whinehouse: her early departure brought grievance to many, to the music world in general. She opened up the door to many out of the main stream artists to pursue and stick to their individual styles and be honest to their music.
The beheaded of a Saudi woman that's accused of witchcraft: this one in particular provided such a level of shock for its archaic inhumane and not tolerable occurrence. How come there are governments that tolerate and even accept such acts? It doesn't matter what country or religion you're in people. How dare you accuse and execute someone with ridiculous charges of witchcraft? Would you have enjoyed being accused of the same chargers hundred years ago because your religion was not considered the religion of the catholic church? No. Now a day, it would've been a global genocide.
Pain on the rising sun land. It seems that Japan was the target of mayor disaster. The scope of the tragedy was not really even matched by the frequency of events that seemed to happen one after the other. Many even dare to say that the potent earthquake was no match for the amount of destruction that the following tsunami caused on the land; country side and small providences in particular were almost completely washed away by the waters of an invading sea. The pain of its people, specially the poor and working class had no rest. Houses, cars, and lives were lost in such a short time.
Occupy Wall street protesters martyrdom. What else can be said about this that the media hasn't covered crystal clear? The fact that the motivational movement inspired billions around the state to walk out and march for a good cause is not in question. What shattered many hearts and ideals was the witnessing of how authorities handled the peaceful protests was the shocking and almost disturbing factor.
The legacy of a publicly opened jerk, ill mannered individual, and that after death is turned into an iconic symbol for polishing and making more accessible a technology that already existed. I give him merits, but not to the point of making him a cultural icon. Specially if he had no recollection of helping back society or the less fortunate: not even going into detail for having complete knowledge of the hard labor imposed on young workers, children even, of his factories in Asia.
The many misfired theories of the end of the world: this year was marked with several false or over indulged prophecies regarding the arrival of the apocalypse. From the internet to Mayan's calendar, people have gathered theories that involved a numeric sequence that's mathematically readen that predicts the exact day and time of the upcoming doom. I seriously do not know about that one, since the man formulating these hypothesis have missed multiple times on his own predictions or frantic fanaticism. The calendar mayan on the other hand, it evokes a certain level of curiosity that leaves you thinking.
Two very close tragic losses. One of a relative that left in pain and mourn a beloved cousin and her three children. then shortly after, the sad death of a former coworker that was a given time a great and close friend. It is sad to see young people leaving this world in abrupt manners, but it is even heart breaking to let them go. Cheers to you pastor and you beloved bailey. Always Hoping that the new year brings to all loved ones and friends more joy than pain.
The impending booming of the kardashian trash show. Needless to say, why do the world needs to make these women even richer than they already are for being nothing and doing nothing? It beats me why the world watches and follows the ecstatic and stagnant lives of these people.
The tyranny of apple. Scared of competition, apple put itself in bad eyes before countless of consumers over the year for its insanity to sue everything and everyone over trivial and generic details, and everyone that proved to be a rising competitor. Many speculated that its next target was gonna be mother nature for using a shape and name that they claimed invented, the apple.
Nintendo's void to maintain its hardcore fans satisfied. After years of top popularity and sales, Nintendo's wii begun to lose momentum and interest. Mostly based on its obsession to cater family casual gaming to the new masses that sought the wii as a good distraction. At the end, the distraction lasted for so long and the new masses moved on to the next big thing, xbox kinnect. The only people that stood by Nintendo are the hard core gamers that embraced the wii since its release date (where everyone else was still skeptical about the new motion control system.) unfortunately, those same people were the same ones that Nintendo neglected for so long. It added more fuel to the fire, when nintendo refused to bring more hard core games to the states, and the absence of its biggest promised stars.
The death of a rising old school soul muse, Amy whinehouse: her early departure brought grievance to many, to the music world in general. She opened up the door to many out of the main stream artists to pursue and stick to their individual styles and be honest to their music.
The beheaded of a Saudi woman that's accused of witchcraft: this one in particular provided such a level of shock for its archaic inhumane and not tolerable occurrence. How come there are governments that tolerate and even accept such acts? It doesn't matter what country or religion you're in people. How dare you accuse and execute someone with ridiculous charges of witchcraft? Would you have enjoyed being accused of the same chargers hundred years ago because your religion was not considered the religion of the catholic church? No. Now a day, it would've been a global genocide.
Pain on the rising sun land. It seems that Japan was the target of mayor disaster. The scope of the tragedy was not really even matched by the frequency of events that seemed to happen one after the other. Many even dare to say that the potent earthquake was no match for the amount of destruction that the following tsunami caused on the land; country side and small providences in particular were almost completely washed away by the waters of an invading sea. The pain of its people, specially the poor and working class had no rest. Houses, cars, and lives were lost in such a short time.
Occupy Wall street protesters martyrdom. What else can be said about this that the media hasn't covered crystal clear? The fact that the motivational movement inspired billions around the state to walk out and march for a good cause is not in question. What shattered many hearts and ideals was the witnessing of how authorities handled the peaceful protests was the shocking and almost disturbing factor.
The legacy of a publicly opened jerk, ill mannered individual, and that after death is turned into an iconic symbol for polishing and making more accessible a technology that already existed. I give him merits, but not to the point of making him a cultural icon. Specially if he had no recollection of helping back society or the less fortunate: not even going into detail for having complete knowledge of the hard labor imposed on young workers, children even, of his factories in Asia.
The many misfired theories of the end of the world: this year was marked with several false or over indulged prophecies regarding the arrival of the apocalypse. From the internet to Mayan's calendar, people have gathered theories that involved a numeric sequence that's mathematically readen that predicts the exact day and time of the upcoming doom. I seriously do not know about that one, since the man formulating these hypothesis have missed multiple times on his own predictions or frantic fanaticism. The calendar mayan on the other hand, it evokes a certain level of curiosity that leaves you thinking.
Two very close tragic losses. One of a relative that left in pain and mourn a beloved cousin and her three children. then shortly after, the sad death of a former coworker that was a given time a great and close friend. It is sad to see young people leaving this world in abrupt manners, but it is even heart breaking to let them go. Cheers to you pastor and you beloved bailey. Always Hoping that the new year brings to all loved ones and friends more joy than pain.
Tuesday, December 13, 2011
From MY WEEK WITH MARILYN
What we get, it's a subtle and heart felt genuine non sexual affair that reaches the borders of innocence. Sex is an idea not a fact outside the camera: sensuality is at every corner, but the notion of sexuality is an abstract submerged in an alluring and beautiful portrait.
Eddie redmayne plays Colin clark, the protagonist, whose perspective gives a fair amount of highlights during his employment in the production of the british film THE PRINCE AND THE SHOWGIRL; which is always the case of subjective stories to retell experiences that are seen through the own narrator's point of view. In most cases, those stories are always tainted or colored by the narrator's memories. We don't get the details or most intimate bits: the narrative at points seems to play in colin's own favor, and some parts are as credible as filling in the blanks of a quasi surreal nonfictional story. Nevertheless, the ambience of the film is inviting and relevant on every turn due to the amazing acting of Michelle Williams, redmayne, and a prominent supporting role by Judy dench.
My week with marilyn prevails as a coming of age experience. Its richness in characters adds color to a would be sad fairy tale. By any means, the film is far from being a sad/moody affair. It's in fact full of laughs and radiance. The characters are sympathetic and nonlinear.
It's always a joy to see the amazing one on one scenes between marilyn and colin that one only wishes that their one week affair could've turned diffrently in real life. There's a certain level of sadness that springs from the realisation of what comes next historically speaking for each character. The film wastes no time in telling us their outcomes, except from a couple of text descriptions, cause it emphasizes on what was hidden inside the pages of a young Colin's journal.
Michelle Williams gives shine to the character like no other could've had: her performance is astounding and simply mesmerizing in a way that flashes a spell on you and makes you relieve Marilyn again. Ebert suggests that the film is a homage to what Marilyn Monroe was and continues to signify: a devotion of a peculiar admiration for beauty, sensuality, sex appeal and innocence that altogether equal Marilyn Monroe, the icon.
If this is what Simon Curtis, director, was going for, then it remarkably triumphed. It's a story of a young man tackling his dreams that by chance meets and shares an unforgettable week with Ms Monroe. He shares with the public a glimpse of a juxtaposed woman that stole breaths away publicly as the most famous bombshell of the 1950s, and yet it yielded frailty and a charming child like innocence up close that only few were aware of.
Wednesday, November 16, 2011
on gods of the arena: beneath the mask
gods of the arena: beneath the mask. an episode full of intensity and twists and turns, more twists that turn darker and darker. among them is the sudden infatuation between melitta and gannicus, who at an earlier episode were forced to entertain the rich by having a sexual display. nothing could've stopped the ever building lunacy of tullius, and the silently menacing conception of batiatus conspiring against his too moralist father. the episode was of grief for the death of gaia, who brought spark and allure to the show so far, and the mourning of lucretia that claims blood on behalf of her beloved only friend. it is true that the house of batiatus walls were built in blood and sacrifice, but its columns are concrete efforts coming alone from lucretia's devotion and unwilling offering of her friend.
Wednesday, September 28, 2011
on SPARTACUS:GREAT AND UNFORTUNATE THINGS
on SPARTACUS:GREAT AND UNFORTUNATE THINGS. it's not by fighting/ winning on behalf of his master that spartacus seeks consolation because of the murder of his wife, the only link remained to his former free life, but to serve justice to an innocent; behind THE HOUSE OF BATIATUS walls only the strong endure. "the boy was to weak to be here" says cruxious on notice of petrious death. "not all of us can be strong" a young maid replies. without a lover to defend his death, it's spartacus who takes vengeance. was it a rage coming from a hurt man mourning the death of his wife, or the purity of humanity that still lingers in him?
Saturday, August 27, 2011
on dexter's everything is illuminated
DEXTER: EVERYTHING IS ILLUMINATED shines as the best episode so far in season 5. where the shocking aftermath of MYBAD didn't quite paid off to the dramatic urgency needed, ILLUMINATED puts in perspective the protogee teacher relationship between dexter and Lummen: the episode plays with her increasing ill formed obsession and the realization that there's truth in her clouded judgement. "there are some experiences so powerful that change your DNA" dexter. the episode also has one of the funniest moments of the show provided towards the end by masuka's twisted-explicit-explanation-visuals of the two murders.
Monday, June 20, 2011
on super 8
Latest Spielberg production claims to be a nostalgic slide of a vision that a younger Spielberg himself envisioned and explored during his early, and to my opinion the peak years of his career.
SUPER 8 comes across as a collection of slides pertaining to different time periods where the remembrance is a tribute of cumulative work: a photoesque Montage linked by a narrative that revisits an early style that ultimately goes no where but back to the nostalgia left by the same lost style.
Don't get me wrong, I enjoyed the film quite a lot, more than I'd like to admit; but the film feels scrambled, turned into a mechanical homage that aimes at many, but bullseyes at none. From the initial invokation of the GOONIES til the ET, gone wild and on steroid, climatic conclusion, the film felt like a mixture of everything that Spielberg has succeeded doing in the past: sense of adventure, brotherhood in the face of crisis, aparatic explosions, community, collective fear and horror.
To my taste, the film is a cinematic resume that pitches important works of Spielberg's career without caring for a coherent narrative.
SUPER 8 comes across as a collection of slides pertaining to different time periods where the remembrance is a tribute of cumulative work: a photoesque Montage linked by a narrative that revisits an early style that ultimately goes no where but back to the nostalgia left by the same lost style.
Don't get me wrong, I enjoyed the film quite a lot, more than I'd like to admit; but the film feels scrambled, turned into a mechanical homage that aimes at many, but bullseyes at none. From the initial invokation of the GOONIES til the ET, gone wild and on steroid, climatic conclusion, the film felt like a mixture of everything that Spielberg has succeeded doing in the past: sense of adventure, brotherhood in the face of crisis, aparatic explosions, community, collective fear and horror.
To my taste, the film is a cinematic resume that pitches important works of Spielberg's career without caring for a coherent narrative.
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Friday, May 6, 2011
I wanna love again
I wanna feel warm and cherish the amazing feeling of love; even if it's a mental estate that lasts for so long, it sure is extraordinary.
No one can deny that having the privilege to love is incalculable. Even if It's a one way venue like most of the times, it still blissful.
No one can deny that having the privilege to love is incalculable. Even if It's a one way venue like most of the times, it still blissful.
Published with Blogger-droid v1.6.8
Tuesday, March 8, 2011
stellar snubs
The OSCARs ended, and the academy clossed the list of its nominees and awarded its winners. I'm happy that this year was broader in terms of genre, style, and budget; we had blockbuster films like INCEPTION and last minute rare gems like THE KIDS ARE ALRIGHT and THE KING'S SPEECH. It's really pleasing to see how Hollywood is making an effort to include variety each year. Unfortunately, the academy couldn't have finalized a list of nominees without leaving out plenty of talent that for some weird voting fashion couldn't fit in among the contenders. To my disappointment, some of my very own favorites did not even make the cut nor get the recognition that such nomination represents. Talents like TOM HARDY in INCEPTION, TILDA SWINTON in I AM LOVE, CHLOE MORETZ in both KICK ASS/LET ME IN, and ARMIE HAMMER in THE SOCIAL NETWORK were left incredibly unnamed; through out 2010, they received such critical and audience acclaim for the amazing job that literally stole and continues stealing the spotlight, whenever they are on scene.
The support that TOM HARDY brings to INCEPTION is simply a joy. When he's introduced, we're right away presented with one of the most interesting, suave-ly played, and yet minimalistic characterization on recent screen. Hardy's character seems simple: direct, playful, charming, with expertise, one dimmentional, and easily identifiable as loyal. But the quality lies in the caliber of Hardy's performance; he inadvertently gives us an amazing JAMES BONDesque incarnation that breathes certain similarities but with a freshness and appeal that complement the cast in any level. Here's to you Hardy, in my opinion you're among the best supporting actors of the year.
I AM LOVE is a story about an aristocratic housewife that for years has dedicated her life to serve her family: a foreigner resident in Italy around the turn of the millennium. Through TILDA SWINTON's character, we get a glimpse in the life of the rich, charismatic, and powerful family that's strengthen by tradition and continuity. In fact, the sense of continuity is such a strong theme in the film that any matter that seems to rock or even alter the everyday life of the family seems like a threat. And if you've seen the film, SWINTON's relinquish to absolute passion becomes that unwilling, over the years dormant, and unthinkable threat for the dynasty. SWINTON is an actress that exudes sensuality without falling into the mundane. She delivers one of the most amazing portrayal without considering that she had to learn Italian with a Russian accent; SWINTON is already one of the best leading actresses of 2010.
Few young actors make such prominent and striking performances without going over board but by providing the right amount of credibility and life to its characters; in the case of ARMIE HAMMER in THE SOCIAL NETWORK, he gives us two characters that outstand with subtly and charisma. They're in fact the antagonist/victimized force in the film. twin brothers that differ from each other like ATHENA differs from ARES:one is the diplomatic strategic face of war, while the other one is the sheer passion to confront and destroy. Before THE SOCIAL NETWORK, I had no idea of who ARMAND HAMMER the actor was. It took me a long while in the film to discover that both characters were one sole actor. The acknowledgement blew me away because of the brilliance and royal treat that is watching HAMMER two timing act. You can read my previous blog on THE SOCIAL NETWORK where I talk more about HAMMER'S performance: a best supporting actor, in my opinion.
No other actress received as much positive buzz online, verbally, and on paper as last year's revelation CHLOE MORETZ. She became an immediate sensation in KICK ASS where she performed an aggressive ninja like trained vigilante: her arsenal of brutal kicks, punches, slices, and even R rated dialogue impulsed her to the front on one of the year's most gruesome and bizarrely satisfying comic-action films. KICK ASS reminds me plenty of WATCHMEN another film based on self proclaimed super heroes/ vigilantes that confront crime in a brutally close to reality without super powers world. The biggest difference is that KICK ASS is inhabited by adolescents that seek to change society for a better good. MORETZ introduction is literally a purple hurricane of kicks and swords. She is in fact the real deal where the protagonist is a wannabe trainee. I felt shocked and yet compelled by MORETZ performance in KICK ASS that I couldn't believe how much brute energy was coming from this young character. Aside from the highest level of violence found in recent teen action flicks, KICK ASS pushed and punched the envelope in teen comic action drama; where MORETZ is the centrifugal force behind it.
But later that year, MORETZ put aside her mask and cold purple raging nature to give us an even more perplexing performance in LET ME IN. The vampire horror flick came out in a time where girls and vampires have only one association, TWILIGHT. The expectations were not greater than your next vampire B rated film, but as already stated on her previous work, MORETZ overexceeds any conventional role. LET ME IN proves to be a true surprise cinematographically and in character drama: this contempo interpretation of the Swedish LET THE RIGHT ONE IN completely pushes the envelop in terms of overall performance. It's critically superior to its predecessor. MORETZ contribution of both tender and lethal nature is remarkably moving. The creepy scenario of a more than platonic first time romance for both protagonists is more in touch with human nature than any love/forbidden affair in recent films. Needless to say, it puts many teen-adult on screen romances to shame. LET ME IN shines with a splendor that engulfs its viewer in a tale of a lonely predator that kills for survival and yearns for an unknown life otherwise of her own. MORETZ simply tackles with assertion the complexity of the character, and the result is one of the most fascinating vampire portrayal in years. To me, CHLOE MORETZ is already a best actress Oscar winner that sets the standard high for kids performances in film.
The support that TOM HARDY brings to INCEPTION is simply a joy. When he's introduced, we're right away presented with one of the most interesting, suave-ly played, and yet minimalistic characterization on recent screen. Hardy's character seems simple: direct, playful, charming, with expertise, one dimmentional, and easily identifiable as loyal. But the quality lies in the caliber of Hardy's performance; he inadvertently gives us an amazing JAMES BONDesque incarnation that breathes certain similarities but with a freshness and appeal that complement the cast in any level. Here's to you Hardy, in my opinion you're among the best supporting actors of the year.
I AM LOVE is a story about an aristocratic housewife that for years has dedicated her life to serve her family: a foreigner resident in Italy around the turn of the millennium. Through TILDA SWINTON's character, we get a glimpse in the life of the rich, charismatic, and powerful family that's strengthen by tradition and continuity. In fact, the sense of continuity is such a strong theme in the film that any matter that seems to rock or even alter the everyday life of the family seems like a threat. And if you've seen the film, SWINTON's relinquish to absolute passion becomes that unwilling, over the years dormant, and unthinkable threat for the dynasty. SWINTON is an actress that exudes sensuality without falling into the mundane. She delivers one of the most amazing portrayal without considering that she had to learn Italian with a Russian accent; SWINTON is already one of the best leading actresses of 2010.
Few young actors make such prominent and striking performances without going over board but by providing the right amount of credibility and life to its characters; in the case of ARMIE HAMMER in THE SOCIAL NETWORK, he gives us two characters that outstand with subtly and charisma. They're in fact the antagonist/victimized force in the film. twin brothers that differ from each other like ATHENA differs from ARES:one is the diplomatic strategic face of war, while the other one is the sheer passion to confront and destroy. Before THE SOCIAL NETWORK, I had no idea of who ARMAND HAMMER the actor was. It took me a long while in the film to discover that both characters were one sole actor. The acknowledgement blew me away because of the brilliance and royal treat that is watching HAMMER two timing act. You can read my previous blog on THE SOCIAL NETWORK where I talk more about HAMMER'S performance: a best supporting actor, in my opinion.
No other actress received as much positive buzz online, verbally, and on paper as last year's revelation CHLOE MORETZ. She became an immediate sensation in KICK ASS where she performed an aggressive ninja like trained vigilante: her arsenal of brutal kicks, punches, slices, and even R rated dialogue impulsed her to the front on one of the year's most gruesome and bizarrely satisfying comic-action films. KICK ASS reminds me plenty of WATCHMEN another film based on self proclaimed super heroes/ vigilantes that confront crime in a brutally close to reality without super powers world. The biggest difference is that KICK ASS is inhabited by adolescents that seek to change society for a better good. MORETZ introduction is literally a purple hurricane of kicks and swords. She is in fact the real deal where the protagonist is a wannabe trainee. I felt shocked and yet compelled by MORETZ performance in KICK ASS that I couldn't believe how much brute energy was coming from this young character. Aside from the highest level of violence found in recent teen action flicks, KICK ASS pushed and punched the envelope in teen comic action drama; where MORETZ is the centrifugal force behind it.
But later that year, MORETZ put aside her mask and cold purple raging nature to give us an even more perplexing performance in LET ME IN. The vampire horror flick came out in a time where girls and vampires have only one association, TWILIGHT. The expectations were not greater than your next vampire B rated film, but as already stated on her previous work, MORETZ overexceeds any conventional role. LET ME IN proves to be a true surprise cinematographically and in character drama: this contempo interpretation of the Swedish LET THE RIGHT ONE IN completely pushes the envelop in terms of overall performance. It's critically superior to its predecessor. MORETZ contribution of both tender and lethal nature is remarkably moving. The creepy scenario of a more than platonic first time romance for both protagonists is more in touch with human nature than any love/forbidden affair in recent films. Needless to say, it puts many teen-adult on screen romances to shame. LET ME IN shines with a splendor that engulfs its viewer in a tale of a lonely predator that kills for survival and yearns for an unknown life otherwise of her own. MORETZ simply tackles with assertion the complexity of the character, and the result is one of the most fascinating vampire portrayal in years. To me, CHLOE MORETZ is already a best actress Oscar winner that sets the standard high for kids performances in film.
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