fha-2
oct 2000 se unió
Te damos la bienvenida a nuevo perfil
Nuestras actualizaciones aún están en desarrollo. Si bien la versión anterior de el perfil ya no está disponible, estamos trabajando activamente en mejoras, ¡y algunas de las funciones que faltan regresarán pronto! Mantente al tanto para su regreso. Mientras tanto, el análisis de calificaciones sigue disponible en nuestras aplicaciones para iOS y Android, en la página de perfil. Para ver la distribución de tus calificaciones por año y género, consulta nuestra nueva Guía de ayuda.
Distintivos2
Para saber cómo ganar distintivos, ve a página de ayuda de distintivos.
Reseñas31
Clasificación de fha-2
When you take time out to see a movie, it is always a great blessing when the film is cleverly written, seamlessly executed, and wonderfully acted. Such is the experience you take home when viewing "The Upside of Anger".
One might have described the genre as a classic melodrama years ago when the term was used to characterize family dramas where women struggled with their situation or gave voice to once- repressed desires. However, I would describe it as a comedy-drama with a wonderful mix of characters, plot, and extraordinary flow.
Galvanized by a wonderful and clever script, and stimulated by truly incredible performances by Joan Allen and Kevin Costner, "Upside of Anger" is a welcome and inspired account of a family struggling with the unexpected abandonment by the father of four girls. Writer/director Mike Binder deserves all the tribute the fans and critics will likely bestow upon him for this superbly rendered comedic drama, which is at once traditional and iconoclastic as well as absorbing and entertaining, as it is essentially human. It is a perfect blend of humor and sadness, consistent with real people that anyone can identify with. Each character is uniquely and expertly developed into several complex layers, each of which is interesting in its own right.
The tale commences when the alcoholic matriarch of a well to do Detroit family discerns that her husband has abandoned her thus leaving her to raise four determined daughters, all of who are in various stages of young adulthood. She feels lost being on her own, without any obvious means of support. Her angry, drunken rants fuel her already combative parenting style, and the story kicks off its comical meandering through a complex familial matrix when Costner, as a middle-aged, quirky yet real and perfectly lovable neighbor, makes a play for her attention. Mike Binder, who also is the director of this film, skillfully plays a character that at first you have to laugh at, later despise, and finally sympathize with as well as laugh at once more. The supporting cast, which includes Erika Christensen, Evan Rachel Wood, Keri Russell, and Alicia Witt, skillfully facilitate this exquisite interpretation of a family's emotional transformation to become one of the most pleasurable and surprisingly unpredictable romantic dramas I have seen in a very long time.
This clever and rare comedy should not be missed. Although the average American film-goer may be disappointed with it's absence of car chases and gratuitous violence, the fine quality of the acting and the superb story may ultimately speak to the culturally deprived and vacuous mentalities that may hopefully mature and broaden their fertile minds.
One might have described the genre as a classic melodrama years ago when the term was used to characterize family dramas where women struggled with their situation or gave voice to once- repressed desires. However, I would describe it as a comedy-drama with a wonderful mix of characters, plot, and extraordinary flow.
Galvanized by a wonderful and clever script, and stimulated by truly incredible performances by Joan Allen and Kevin Costner, "Upside of Anger" is a welcome and inspired account of a family struggling with the unexpected abandonment by the father of four girls. Writer/director Mike Binder deserves all the tribute the fans and critics will likely bestow upon him for this superbly rendered comedic drama, which is at once traditional and iconoclastic as well as absorbing and entertaining, as it is essentially human. It is a perfect blend of humor and sadness, consistent with real people that anyone can identify with. Each character is uniquely and expertly developed into several complex layers, each of which is interesting in its own right.
The tale commences when the alcoholic matriarch of a well to do Detroit family discerns that her husband has abandoned her thus leaving her to raise four determined daughters, all of who are in various stages of young adulthood. She feels lost being on her own, without any obvious means of support. Her angry, drunken rants fuel her already combative parenting style, and the story kicks off its comical meandering through a complex familial matrix when Costner, as a middle-aged, quirky yet real and perfectly lovable neighbor, makes a play for her attention. Mike Binder, who also is the director of this film, skillfully plays a character that at first you have to laugh at, later despise, and finally sympathize with as well as laugh at once more. The supporting cast, which includes Erika Christensen, Evan Rachel Wood, Keri Russell, and Alicia Witt, skillfully facilitate this exquisite interpretation of a family's emotional transformation to become one of the most pleasurable and surprisingly unpredictable romantic dramas I have seen in a very long time.
This clever and rare comedy should not be missed. Although the average American film-goer may be disappointed with it's absence of car chases and gratuitous violence, the fine quality of the acting and the superb story may ultimately speak to the culturally deprived and vacuous mentalities that may hopefully mature and broaden their fertile minds.
In this half crime thriller and half surprisingly comical buddy pix, Michael Mann's "Collateral" smashes full-bore through LA in one night of murder and mayhem. Tom Cruise stars as Vincent, a cold-blooded hitman who picks Jamie Foxx s cab as his vehicle for the night to slaughter five would-be witnesses scheduled to testify in an upcoming Drug King Pin's trial. The highly talented Michael Mann (Heat, The Insider, The Last of the Mohicans) brings to the screen one tight-fisted, yet highly implausible crime thriller that delivers generous doses of high-end action amidst compelling character moments. Foxx plays an aimless, yet intelligent and kind-hearted, young cab driver named Max. Max becomes increasingly anxious as the bodies begin piling up, while the police are just beginning to pick up the crime's scent.
Plot wise, the story is highly unlikely and implausible, yet Mann and screenwriter Stuart Beattie manage to elevate the material beyond simplistic gimmickry. Vincent promises Max 700 dollars to be his wheelman while he dispatches his victims one-by-one. It does not take a genius to figure out that Max is most likely doomed once Vincent's dirty little mission is accomplished. This is the backbone of the tension and terror that runs throughout the film. Although it has a formulaic finale involving a lot of running through deserted office buildings and streets, a subway train, and some really bad shooting of a supposed expert hitman.
Mechanically, the film seems to have been shot mostly on digital video, yet maintaining a starkly striking style. Collateral is fascinating to watch, notwithstanding the killings and far-fetched gunplay. Cruise seems to be really relishing his Bad Guy role that you cannot seem to resist watching his every move. He is quietly evil, yet he is infinitely fascinating and peculiarly likable. Collateral is not exactly profound or even a novel crime story. However, it is remarkably satisfying and thrilling.
It is great to see an action fantasy so mature and refined during this summer's goofy spectacles and mindless dramas. This is a fun and good-looking movie, with a strangely haunting and original concept. It has the cast to pull it off and a talented director doing his part to carry the theme to an electrifying new level.
Plot wise, the story is highly unlikely and implausible, yet Mann and screenwriter Stuart Beattie manage to elevate the material beyond simplistic gimmickry. Vincent promises Max 700 dollars to be his wheelman while he dispatches his victims one-by-one. It does not take a genius to figure out that Max is most likely doomed once Vincent's dirty little mission is accomplished. This is the backbone of the tension and terror that runs throughout the film. Although it has a formulaic finale involving a lot of running through deserted office buildings and streets, a subway train, and some really bad shooting of a supposed expert hitman.
Mechanically, the film seems to have been shot mostly on digital video, yet maintaining a starkly striking style. Collateral is fascinating to watch, notwithstanding the killings and far-fetched gunplay. Cruise seems to be really relishing his Bad Guy role that you cannot seem to resist watching his every move. He is quietly evil, yet he is infinitely fascinating and peculiarly likable. Collateral is not exactly profound or even a novel crime story. However, it is remarkably satisfying and thrilling.
It is great to see an action fantasy so mature and refined during this summer's goofy spectacles and mindless dramas. This is a fun and good-looking movie, with a strangely haunting and original concept. It has the cast to pull it off and a talented director doing his part to carry the theme to an electrifying new level.
At first glance this supposed late nineteenth century village seems picture perfect--a handful of Villagers living harmoniously in an idyllic setting. However, this close-knit community lives with the frightening belief that a race of frightening creatures resides in the woods surrounding their village.
The sanctity of 'The Village' is held in constant check by a sort of an unwritten treaty with the creatures referred to by the townspeople as 'Those We Don't Speak Of.' The villagers live in a state of constant fear of the evil and foreboding force that lurks outside their tranquil settlement. So terrified are the people that no one dares venture beyond 'The Village' perimeter into the darkness of the woods.
Despite the advice of his elders, a curious and determined Lucius Hunt (JOAQUIN PHOENIX) has a burning desire to step beyond the boundaries of the town into the unknown to bring back supplies and medicine from neighboring villages. Town leader, Edward Walker (WILLIAM HURT) warns Lucius of the danger beyond the town's outskirts, and Lucius' mother, Alice Hunt (SIGOURNEY WEAVER) begs him to stay at home and spare himself the greed and desires that exist in the outside world.
Lucius' strength and courage is matched only by Ivy Walker (BRYCE DALLAS HOWARD), a beautiful and mesmerizing young blind woman with a profound wisdom well beyond her years. Her fearless nature and gift-like perceptions are beyond anything Lucius has ever known. Both Lucius and the mischievous village idiot, Noah Percy (ADRIEN BRODY) admire Ivy passionately, though her heart only has room for one of them. Her devotion eventually leads her down a tortured forbidden path where terrifying truths are revealed and sudden violence plays out its fearful hand. The so-called truce between 'The Village' and the creatures seems to be ending and the ominous presence of the unknown force ultimately boils over into chaos for the town. And so, the story begins to unfold.
Brilliantly directed by M. Night Shyamalan, this haunting saga's music and direction sends terrifying chills and conjures up horrifying images waiting at every turn only to turn out as ordinary events or things. Much like his previous movie, 'Sixth Sense', Shyamalan has a knack for creating tension and fear without having to produce a terrifying giant lizard such as in 'Jurassic Park' to justify the terror.
The fear and respect given to these unseen creatures seems analogous to what early man must have gone through as beliefs were formed as the result of real and/or imagined forces that ultimately set up certain behaviors that were thought to placate these forces. In 'The Village', the people learned to avoid the color red and would go about destroying any red plants. Occasionally a slaughtered animal was left at the edge of the Village to appease the creatures. They learned to wear certain colors they were led to believe would keep the creatures away. Essentially, the effect was to create an artificial religion that may have ultimately bloomed into a fully formed and organized faith, much like island natives who worshiped and sacrificed animals and people to volcano gods in order to appease them.
The acting was superior to most films, however, nowhere near the level of an Academy Award. The film is to be admired for its ability to keep you terrified and involved; however, after a while it became quite wearisome when no bogeymen appeared to justify all that uproar and tension. Once the plot unfolded, it held many surprises, although somewhat implausible. Basically a fairy tale, the 'Village' is worthy of attendance as long as there is plenty of popcorn available to dispel the tension of two hours of fright.
The sanctity of 'The Village' is held in constant check by a sort of an unwritten treaty with the creatures referred to by the townspeople as 'Those We Don't Speak Of.' The villagers live in a state of constant fear of the evil and foreboding force that lurks outside their tranquil settlement. So terrified are the people that no one dares venture beyond 'The Village' perimeter into the darkness of the woods.
Despite the advice of his elders, a curious and determined Lucius Hunt (JOAQUIN PHOENIX) has a burning desire to step beyond the boundaries of the town into the unknown to bring back supplies and medicine from neighboring villages. Town leader, Edward Walker (WILLIAM HURT) warns Lucius of the danger beyond the town's outskirts, and Lucius' mother, Alice Hunt (SIGOURNEY WEAVER) begs him to stay at home and spare himself the greed and desires that exist in the outside world.
Lucius' strength and courage is matched only by Ivy Walker (BRYCE DALLAS HOWARD), a beautiful and mesmerizing young blind woman with a profound wisdom well beyond her years. Her fearless nature and gift-like perceptions are beyond anything Lucius has ever known. Both Lucius and the mischievous village idiot, Noah Percy (ADRIEN BRODY) admire Ivy passionately, though her heart only has room for one of them. Her devotion eventually leads her down a tortured forbidden path where terrifying truths are revealed and sudden violence plays out its fearful hand. The so-called truce between 'The Village' and the creatures seems to be ending and the ominous presence of the unknown force ultimately boils over into chaos for the town. And so, the story begins to unfold.
Brilliantly directed by M. Night Shyamalan, this haunting saga's music and direction sends terrifying chills and conjures up horrifying images waiting at every turn only to turn out as ordinary events or things. Much like his previous movie, 'Sixth Sense', Shyamalan has a knack for creating tension and fear without having to produce a terrifying giant lizard such as in 'Jurassic Park' to justify the terror.
The fear and respect given to these unseen creatures seems analogous to what early man must have gone through as beliefs were formed as the result of real and/or imagined forces that ultimately set up certain behaviors that were thought to placate these forces. In 'The Village', the people learned to avoid the color red and would go about destroying any red plants. Occasionally a slaughtered animal was left at the edge of the Village to appease the creatures. They learned to wear certain colors they were led to believe would keep the creatures away. Essentially, the effect was to create an artificial religion that may have ultimately bloomed into a fully formed and organized faith, much like island natives who worshiped and sacrificed animals and people to volcano gods in order to appease them.
The acting was superior to most films, however, nowhere near the level of an Academy Award. The film is to be admired for its ability to keep you terrified and involved; however, after a while it became quite wearisome when no bogeymen appeared to justify all that uproar and tension. Once the plot unfolded, it held many surprises, although somewhat implausible. Basically a fairy tale, the 'Village' is worthy of attendance as long as there is plenty of popcorn available to dispel the tension of two hours of fright.