newma_nbway
ene 2001 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.
Reseñas4
Clasificación de newma_nbway
British director Danny Boyle (of TRAINSPOTTING and 28 DAYS LATER, among others) apparently wants to become the master of all genres. He stretches into the sci-fi territory with SUNSHINE, an on-the-surface brother to 2001: A SPACE ODYSSEY and other intellectual science fiction films. Yet in an effort to appeal to as many sci-fi fans as possible, plot twists taken in the last half of the film propel it to a whole different, disappointing level. When all is said and done, it goes from a thought-provoking metaphorical study piece to a mash-up of a monster movie and Agatha Christie in Space.
The film starts off fascinatingly; Boyle's touch for visuals has never been more apparent than it is here. Each frame gleams with a polished coldness, only enhanced by the blinding rays of the sun that peek around every corner. The alienation on board the ship all feels familiar; the crew are nameless faces that, though ably played by its cast, could easily have been recruited from other films. There's even an unemotional computer that they hold conversations with. But while the film is not novel in that respect, its impact is not lessened. Several compelling arguments are made about faith, humanity and the limits of survival. Even as the film nears it close, it manages to retain some of these themes.
The major downfall of the film is its second half, when it enters the same horror-movie aspect that played so well in Boyle's earlier film 28 DAYS LATER. The characters are killed off one by one, and it is soon discovered that there is GASP! An unknown person on board. While the suspense sequences that follow this are filmed with gusto, and are indeed frightening, it is a marked difference from the quiet meditation of the first part of the film. It's as if Boyle and writer Alex Garland knew a great deal of sci-fi fans were going to be put off by the lack of action, and were attempting to make the film as marketable as possible. While this is bound to please some, it turns the film into an unfortunately shallow mash-up of two conflicting sci-fi subgenres: the intellectual and the thriller.
Read more at http://newmanscorner.blogspot.com
The film starts off fascinatingly; Boyle's touch for visuals has never been more apparent than it is here. Each frame gleams with a polished coldness, only enhanced by the blinding rays of the sun that peek around every corner. The alienation on board the ship all feels familiar; the crew are nameless faces that, though ably played by its cast, could easily have been recruited from other films. There's even an unemotional computer that they hold conversations with. But while the film is not novel in that respect, its impact is not lessened. Several compelling arguments are made about faith, humanity and the limits of survival. Even as the film nears it close, it manages to retain some of these themes.
The major downfall of the film is its second half, when it enters the same horror-movie aspect that played so well in Boyle's earlier film 28 DAYS LATER. The characters are killed off one by one, and it is soon discovered that there is GASP! An unknown person on board. While the suspense sequences that follow this are filmed with gusto, and are indeed frightening, it is a marked difference from the quiet meditation of the first part of the film. It's as if Boyle and writer Alex Garland knew a great deal of sci-fi fans were going to be put off by the lack of action, and were attempting to make the film as marketable as possible. While this is bound to please some, it turns the film into an unfortunately shallow mash-up of two conflicting sci-fi subgenres: the intellectual and the thriller.
Read more at http://newmanscorner.blogspot.com
It's the event 18 years in the making. For lifelong fans of "The Simpsons" on TV, this could very well be the event of the year. Yet the negative word that has haunted the film from day one is the noticeable decline in quality over the past few years. Would the team be able to fight this and successfully expand the show into 90 minutes of pure Simpsons magic, or would it merely be a longer retread of recent episodes? The answer lies somewhere in between; while it by no means reaches the comedic heights of the series' early years, THE SIMPSONS MOVIE is an enjoyable, laugh-filled film that passes by in no time and leaves the viewer satisfied.
The film format and PG-13 rating have allowed for many "shock" laughs, the most effective of which is used quite early in the film. It's a joke that's bound to upset the parents; for a brief moment, we are reminded of the edgier days when the Simpsons team was called on for public apologies. But the formula of joke after joke begins to falter; the film begins to drag near its middle, the gags become repetitive and more typical of recent episodes. When the jokes fail (more often than not, they are the jokes used in the many previews; by now, they've lost their humor), the film seems to die a bit. While the pace picks up as the film reaches its finale, it never quite recreates the edgy joy the writers clearly felt when they weren't restrained to a plot. The film also attempts a number of large action sequences, poking fun at the summer blockbuster while trying to gain some excitement in its own right. These become a mixed blessing; the expanded, almost epic scope is neat for a while, but the film only comes alive when it returns to the suburban-level comedy it knows best.
What is quite surprising about this film is the level of honesty and seriousness it portrays. Unlike other comedies of its type, "The Simpsons" has always seemed earnest, especially when it concerns Homer and Marge. But here they break new ground; a videotaped monologue by Marge halfway through the film may be the most dramatic thing they've ever attempted, and it pays off. In those few moments, THE SIMPSONS MOVIE becomes truly dramatic, almost heartbreaking. It was a risky move to implement such a dramatic element in such a film, yet it is a complete triumph.
The film never reaches the heights of the series as a whole; there are no instantly classic lines, and the filmmakers struggle to create a thoroughly involving 90-minute film, but it is far from a disaster. Actually, the greatest achievement here may be the further characterization of the dynamic Simpson family themselves. Moments of brilliance early in the film show why the Simpsons have lasted all these years, and the rest of the film is solid enough to make THE SIMPSONS MOVIE a successful TV-to-film transfer.
Read more at http://newmanscorner.blogspot.com
The film format and PG-13 rating have allowed for many "shock" laughs, the most effective of which is used quite early in the film. It's a joke that's bound to upset the parents; for a brief moment, we are reminded of the edgier days when the Simpsons team was called on for public apologies. But the formula of joke after joke begins to falter; the film begins to drag near its middle, the gags become repetitive and more typical of recent episodes. When the jokes fail (more often than not, they are the jokes used in the many previews; by now, they've lost their humor), the film seems to die a bit. While the pace picks up as the film reaches its finale, it never quite recreates the edgy joy the writers clearly felt when they weren't restrained to a plot. The film also attempts a number of large action sequences, poking fun at the summer blockbuster while trying to gain some excitement in its own right. These become a mixed blessing; the expanded, almost epic scope is neat for a while, but the film only comes alive when it returns to the suburban-level comedy it knows best.
What is quite surprising about this film is the level of honesty and seriousness it portrays. Unlike other comedies of its type, "The Simpsons" has always seemed earnest, especially when it concerns Homer and Marge. But here they break new ground; a videotaped monologue by Marge halfway through the film may be the most dramatic thing they've ever attempted, and it pays off. In those few moments, THE SIMPSONS MOVIE becomes truly dramatic, almost heartbreaking. It was a risky move to implement such a dramatic element in such a film, yet it is a complete triumph.
The film never reaches the heights of the series as a whole; there are no instantly classic lines, and the filmmakers struggle to create a thoroughly involving 90-minute film, but it is far from a disaster. Actually, the greatest achievement here may be the further characterization of the dynamic Simpson family themselves. Moments of brilliance early in the film show why the Simpsons have lasted all these years, and the rest of the film is solid enough to make THE SIMPSONS MOVIE a successful TV-to-film transfer.
Read more at http://newmanscorner.blogspot.com
Obviously a big-budget, flashy musical remake of a John Waters film is never going to be as subversive or as comically edgy as its predecessors, but one of the good things about HAIRSPRAY is that it never intends to be. It fully embraces the cheesy, over-the-top aspect of a movie musical from frame one, a trait that most other current films of its type try to avoid. In a welcome change from the summer drudgery of explosions and CGI, this film is a pure feel-good crowd pleaser where excitement and energy rise above all.
Everyone in the cast gives able performances; even Travolta who, in drag and a fat suit, seems at first off-putting, beginning a one-joke "hey I'm a man in a dress!" performance, quickly grows into his own as Edna does, becoming the most crowd-pleasing character by the film's end. It's a pleasure to see a former GREASE-r returning to what made him famous, but Travolta proves surprisingly agile in the comedy department, especially during his song and dance numbers.
The real enjoyment here, however, and the truly great performances are given by the younger members of the cast. Every single teenager in the film, from the leads to the chorus boy in the back of the room are injected with an unshakable, undeniable energy that reaches through the screen and captivates the viewer. This rings true especially for the film's two major finds: newcomers Nikki Blonsky and Elijah Kelly. Both of them have that instant star quality, a charisma and charm that make them instantly likable. Kelly displays simply astounding singing and dancing skills, while Blonsky easily carries the entire film of her shoulders, becoming the heart and soul of the movie with one hip thrust.
HAIRSPRAY has nothing much to offer besides two hours of entertainment and escapism, but it offers it in spades. It is a pure joy to watch from beginning to end and a welcome change of pace from the big-budget action film that surround its release. Yes, it's a musical and yes, it's over-the-top, but the audience is sold on that point from the first moment Tracy opens her mouth and the audience cannot help but be sucked in.
Everyone in the cast gives able performances; even Travolta who, in drag and a fat suit, seems at first off-putting, beginning a one-joke "hey I'm a man in a dress!" performance, quickly grows into his own as Edna does, becoming the most crowd-pleasing character by the film's end. It's a pleasure to see a former GREASE-r returning to what made him famous, but Travolta proves surprisingly agile in the comedy department, especially during his song and dance numbers.
The real enjoyment here, however, and the truly great performances are given by the younger members of the cast. Every single teenager in the film, from the leads to the chorus boy in the back of the room are injected with an unshakable, undeniable energy that reaches through the screen and captivates the viewer. This rings true especially for the film's two major finds: newcomers Nikki Blonsky and Elijah Kelly. Both of them have that instant star quality, a charisma and charm that make them instantly likable. Kelly displays simply astounding singing and dancing skills, while Blonsky easily carries the entire film of her shoulders, becoming the heart and soul of the movie with one hip thrust.
HAIRSPRAY has nothing much to offer besides two hours of entertainment and escapism, but it offers it in spades. It is a pure joy to watch from beginning to end and a welcome change of pace from the big-budget action film that surround its release. Yes, it's a musical and yes, it's over-the-top, but the audience is sold on that point from the first moment Tracy opens her mouth and the audience cannot help but be sucked in.