I FEEL PRETTY

Amy Schumer is the shit. Loud and clear. She has perfect timing, clean-cut delivery, immediate chemistry and a fearless voice. And that’s only in her solo acts. Movies —be it alongside Goldie Hawn, Aidy Bryant or LeBron friggin’ James— have proven to be a vehicle she naturally steals, serving her as a platform to speak a necessary truth. In this case, self-acceptance being power.

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“I’m beautiful!!” exclaims —a reminiscent of Madeline Ashton— Renee Bennett, much to Tasha’s (former SNL cast member Sasheer Zamata) confusion

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LOVE, SIMON

The Guardian is wrong to deem Love, Simon (2018) “perky, clean-cut and unashamedly accessible.” It is also imbued with fearless originality, infectious idealism and the right dose of cheesy. The Greg Berlanti-directed teen roomcom is a necessary production that shines a light on the awkwardness, shame, fear, unexpected support and ultimate relief that defines the coming out process. Nick Robinson is a young Jacob Tremblay in the making. Or old? You get it: that name won’t go away anytime soon.

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Simon (centre left) and friends Nick, Abby and Leah

This sweet (teen romcom) production would have made many gay men who took bullets as youngsters proud.

 

REPORT

🔢  Extensión: FCE 140-190, CAE 220-260, CPE 280-320

👥  Registro: formal

✏  Enfoque: semipersonal

💯  Truco: expresión formal y gramática potente

ESTRUCTURA


Introduction:  expresamos el objetivo del informe incluyendo los datos que nos piden.

The aim of this report is to explain both the causes of my department staff’s complaints and what they feel could be done to improve the current situation.

Body: explicamos las cosas que nos han pedido, dividiéndolas en apartados con puntos. Redactado también se acepta, pero es un distintivo de su registro así que mejor ponerlos.

Personnel’s grievances

• Stationery material is not fully covered: despite this being a publicity agency, staff can only print black and white documents. Thereby, should someone need to print, photocopy or scan a full colour image, they will need to pay for it themselves.

• Excessive heat: the air conditioning has been out of order for two months, which not only makes workers tire faster, but also the atmosphere more tense in turn.

Proposed solutions

• Perceive higher salaries and be paid for extra hours. Most workers having little children to care for and whose expenses they have to cover, they find it outrageous that their wage is conspicuously scant and many hours they work are not remunerated, either.

• Fixing the air conditioner and installing vended water machines: as they reported, it should be essential that the former unit be repaired as soon as possible in order to favour a pleasant office ambiance.

Conclusion: decimos que esperamos haber respondido bien al informe y que este sirva para 

Hoping this report satisfies your request, may these suggestions benefit both the company and its employees.

Ejemplos al final de la entrada.

Report (ver en PDF)

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Proficiency report

🎯  La diferencia entre el 9 y el 10: frases hechas, ejemplos originales y “not only”.

📞  Si quieres más apuntes, contáctame para clases.

THE POST

Streep. Hanks. Spielberg. Oscar? Please. Frances is better off in Missouri. With two nods  (for Queen Meryl and the movie) after leading the pack at the Globes, this intrepid and alarmingly uncanny account that exposes the massive cover-up of government secrets spanning three decades has gained access to both critics’ pads and viewers’ hearts.

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Ben Bradlee (Tom Hanks) and Katharine Graham (Meryl Streep)

Set in 1971’s Washington D.C., this six-time Golden Globe contender shines a spotlight on the unflinching quest for truth led by the iconic newspaper’s publisher and editor, Katharine Graham and Ben Bradlee. Facing imprisonment and likely, the end of their careers, she must decide to green-light the publication of the renowned Pentagon Papers. As you will remember from the beginning of this paragraph, the early 70s were still very much a man’s world, and despite having earned every millimeter of ink, the honorable publisher was often talked over or underestimated.

Left to make the paramount decision of whether to unmask a corrupt Nixon administration and be personally singled out –it leaving an indelible stain on the paper’s reputation she so fought hard to safeguard– Kay eventually authorizes the move and all hell was loose… for the better.

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Kay gives a discerning look to one of his (male) colleagues

Writing about how Meryl Streep excels herself over and over forces me to edit all my previews reviews. Because in this movie, we see a bold yet cautious, groundbreaking but unassuming, discreet but lauded protagonist who is her own person. None of her previous characters –Miranda, Clarissa, Jane, Francesca, Donna, Madeline or even Margaret– bear resemblance to her because she makes the movie. She builds the narrative with all the tiny gestures, looks, sighs and postures we fans take such enormous pleasure in, and that, in a nutshell, explain the power of Meryl Streep’s presence.

Another reason her Kay Graham feels so real and urgent is the real life performer’s journalistic moment last year: after calling out the absolute lack of compassion and decency of the current administration while risking her own 45-year-old golden reputation, Meryl warned that “violence invites violence” and asked to support the Committee of Journalists to “safeguard the truth.” Her real-life principles and sheer grit and grace made her the obvious choice, and we’re infinitely grateful.

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The lady makes the decisions

Hanks, on his part, is brilliant as the potty-mouthed, forward-thinking editor Ben Bradlee. His performance has been deemed one of his recent best and makes his fifth collaboration with Spielberg an enormously enjoyable one. The supporting cast (TV blue-eyed kids Odenkirk and Paulson) cunningly serve as the narrative’s supporters, voicing the comments of surprise and admiration we movie-goers hold in our minds as we watch. Costumes are on absolute point, and the script… well, the script deserves another paragraph (keep reading!).

Written by first-time screenwriters Liz Hannah and Josh Singer, the theme of the prom tour has been “2017 was the year to make this movie.” “Treason,” “collusion,” “delegitimization of the press…” All the key terms are discreetly wrapped, seamlessly drawing the parallels between two corrupt, silencing and unwanted administrations where groundbreaking change is painfully desired – you get a car for guessing that. (I know, I’m Gemini.) So, now time’s up on gender inequality, let’s keep working to ensure time’s up on not having consequences of a dangerous President’s actions.

Get yourself queen-sized popcorn and go see this movie today. A masterfully portrayed account about truth, justice, equality and guts. It’s a great one.

Genre: Drama.

Original release: January 12, 2018.

Country: United States.

Awards: 6 Golden Globe nominations.

Grade: A++

All images are taken from Google.

 

NOELIA L.

Oftentimes, we go to the cinema for mere escapism, to be transported to a galaxy far, far away and immerse ourselves in the lives of others, but today it is about Kathryn Bigelow’s award-winning crime drama Detroit.

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Not only isn’t this film really about pain, it also overcomes the social temptation to make it about the emotional duress experienced by African-Americans during the riots of the late 1960s. It is only barely about the Algiers Motel Incident, in which three innocent black men were murdered and several others were assaulted and humiliated by three white police officers.

The duality of appearance is a significant theme of Detroit, with heroes in street clothes and villains often wearing a badge or military rank. But the reversal of our expectations isn’t as simple as the metaphorical if not literal expression of black and white. The cast is cohesive and honest; their performances are creating with authenticity and driven by a cause bigger than personal rewards.

Given the setting of the film, the music is incredible too –– and yet even the alluring sounds of our favourite Motown hits are sounded with a profoundity and bitterness, as it provides a sad contrast to what we’re seeing played out in front of us.

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Detroit is an important and thoughtful history reminder if not an outright lesson from fifty years ago. And in these times of Black Lives Matter and countless videos of police abusing and killing black men, it feels sadly prescient.

Genre: Crime drama.

Director: Kathryn Bigelow.

Original release: August 4, 2017.

Country: United States.

Awards: 4 NACP Image Award nominations.

Grade: A

All images are taken from Google.

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

Raw, dark, human nature at its most natural. Whether it wins big or not (and much to  us ‘The Post’ fans’ disappointment, it might) Martin McDonagh’s latest hit has undoubtedly seduced both critics and moviegoers.

Set in the southern city of Ebbing, Missouri, this visceral punch in the gut sees McDormand as a weatherbeaten, toughest among tough woman who has lost her daughter to rape. Infuriated as the passive Police unit only lets time pass, she rents three billboards demanding to know why and as sadly expected, she only causes stirring among neighbors.

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Oscar winner Frances McDormand (Mildred Hayes) and the three controversial billboards

McDormand is stellar as Mildred Hayes, conveying the sheer pain such an event causes, especially when played out so absolutely publicly. She’s not the only one to receive a Globe, though, as her “favorite cowboys” Sam Rockwell and Woody Harrelson were also awarded and nominated respectively.

DETROIT

Guest-written by CAE candidate Noelia Lezameta

Oftentimes, we go to the cinema for mere escapism, to be transported to a galaxy far, far away and immerse ourselves in the lives of others, but today it is about Kathryn Bigelow’s award-winning crime drama Detroit.

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John Boyega as officer Dismukes

Not only isn’t this film really about pain, it also overcomes the social temptation to make it about the emotional duress experienced by African-Americans during the riots of the late 1960s. It is only barely about the Algiers Motel Incident, in which three innocent black men were murdered and several others were assaulted and humiliated by three white police officers.

The duality of appearance is a significant theme of Detroit, with heroes in street clothes and villains often wearing a badge or military rank. But the reversal of our expectations isn’t as simple as the metaphorical if not literal expression of black and white. The cast is cohesive and honest; their performances are creating with authenticity and driven by a cause bigger than personal rewards.

Given the setting of the film, the music is incredible too –– and yet even the alluring sounds of our favourite Motown hits are sounded with a profoundity and bitterness, as it provides a sad contrast to what we’re seeing played out in front of us.

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Riots break out to the fear of Detroit’s African Americans

Detroit is an important and thoughtful history reminder if not an outright lesson from fifty years ago. And in these times of Black Lives Matter and countless videos of police abusing and killing black men, it feels sadly prescient.

Genre: Crime drama.

Director: Kathryn Bigelow.

Original release: August 4, 2017.

Country: United States.

Awards: 4 NACP Image Award nominations.

Grade: A

All images are taken from Google.