Clave: Omega

De Clave: Omega me atrajo ese póster norteamericano totalmente genial, sin saber qué esperar. Y puedo entender por qué la última película de Sam Peckinpah es tan controvertida. Se nota ligeramente el caos de producción que acompañó al rodaje, pero aun así me gustó. El guion y las gradaciones de la trama funcionan, la música de Lalo Schifrin es divertida y el reparto es muy interesante. John Hurt se supera a sí mismo, Craig T. Nelson sorprende y el, por otra parte, e insólitamente, eml excéntrico Dennis Hopper está en el papel más rebuscado. Y una vez que llegó la acción típica de Peckinpah con planos a cámara lenta, no pude apartar los ojos y me recordó al estilo de Michael Mann. Por supuesto, Clave: Omega podría haber sido una película aún mejor (solo podemos imaginar cómo habría sido si el director no hubiera sido despedido antes de que se cortara la película), pero sigue siendo un thriller interesante que merece más atención en mi opinión. Como obra final de un gran director, no hay de qué avergonzarse. (12.09.2018)

Sam Peckinpah's farewell to (not only) the film world was quite successful. Despite the fact that the subject matter of The Osterman Weekend really seems like a revelation in relation to his previous work, the result is in many ways a typical Peckinpah film. I liked the plot, the unpredictable atmosphere of the "pulling of the strings" was properly thick, Rutger Hauer was top-notch, as was John Hurt and others... Yet the highlight - actually several highlights - of the film are the (story and non-story, twists and non-twists, paranoia and non-paranoia) action scenes. The director didn't let himself be shamed by creating a top-notch car chase and a duel with a baseball bat that made sure that I didn’t blink even once. What about the end of the film? It was more than good. I think that Sam Peckinpah has very skilfully translated for us what Robert Ludlum wanted to say. And not just on the level of a deathly ill, drink and drug-addled man. (10.12.2013)

“The truth is just a lie that hasn’t been found out." Peckinpah’s last picture is kind of weird. Apart from his “trademark" slow-motion sequences, nothing else here contains his signature. The fact that he chose to adapt this political espionage novel by Robert Ludlum is fairly surprising. However B-movie standard it might be today, at the time of its release the cast was still quality. Although none of them gives a star performance. And, as usual, he is in a role that just makes up the numbers. Up until the scene in front of the refrigerator, this is basically a good, regular movie, but no miracle. But then it becomes sort of... Sort of weird. And the guaranteed to irritate, incredibly badly used typical eighties music wrecks the overall impression. The overall impression I get is rather puzzling. A sort of B-movie that isn’t a B-movie at all. The Osterman Weekend is neither good, bad or even average. Nothing that you would remember or go back to watch again, while still it leaves some impression on you. It’s simply weird. (04.01.2008)