joker-4
sep 2000 se unió
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Distintivos5
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Calificaciones2.5 k
Clasificación de joker-4
Reseñas158
Clasificación de joker-4
Colorful and fun. Energic, hopeful, and (yes, of course!) political. James Gunn's Superman is truly a comicbook movie that is perfectly suited for the 2020s.
Superman is wonderfully cast with David Corenswet who proudly wears the cape; Nicholas Hoult is all bald-headed 1%er rage; Rachel Brosnahan brings class and charm to everyone's favorite reporter.
And yet, this Superman is also a little too much. Too many characters (for instance: what was the deal with the character who makes a cameo at the end with Krypto? Absolutely confusing and totally unnecessary). Too much convenience (pocket universes?). Remember? This movie is called Superman not "Justice Gang" (huge geek props for the naming of "Lordtech Field", though). As a result, there is simply not enough of witty Lois and Clark/Superman time or dialogue. In fact, there is almost no Lois Lane solo time, which feels like a huge disservice for both the character and actress.
Luthor is evil for evil's sake with no true understanding of his need. Even the perversion of Jor El's message seems out of place. Gunn wants to go all punk rock - and for the most part he does - but a bunch of his minor beats are terribly out of tune.
However, Gunn wonderfully succeeds in properly elevating the Superman character, making him noble, inspiring, and all together human. Superman 2025 is not the best Superman but is worthy of applause.
Superman is wonderfully cast with David Corenswet who proudly wears the cape; Nicholas Hoult is all bald-headed 1%er rage; Rachel Brosnahan brings class and charm to everyone's favorite reporter.
And yet, this Superman is also a little too much. Too many characters (for instance: what was the deal with the character who makes a cameo at the end with Krypto? Absolutely confusing and totally unnecessary). Too much convenience (pocket universes?). Remember? This movie is called Superman not "Justice Gang" (huge geek props for the naming of "Lordtech Field", though). As a result, there is simply not enough of witty Lois and Clark/Superman time or dialogue. In fact, there is almost no Lois Lane solo time, which feels like a huge disservice for both the character and actress.
Luthor is evil for evil's sake with no true understanding of his need. Even the perversion of Jor El's message seems out of place. Gunn wants to go all punk rock - and for the most part he does - but a bunch of his minor beats are terribly out of tune.
However, Gunn wonderfully succeeds in properly elevating the Superman character, making him noble, inspiring, and all together human. Superman 2025 is not the best Superman but is worthy of applause.
Kathryn Bigelow's first film doesn't sparkle, it bleeds. This ain't The Lost Boys. No slick hair, no boardwalk saxophones. These vampires don't care about being cool and having fun; these vamps are all about feeding, surviving, and leaving wreckage in their wake. Near Dark is a feral, filthy road trip soaked in dust, blood, and nihilism.
Lance Henriksen is incredibly menacing with his silent, gravelly voice. And Bill Paxton? He's the chaos engine, laughing through the carnage. Jenette Goldstein rounds out this unofficial Aliens reunion, and if you catch a passing-by marquee, you know Bigelow was giving her crew a nod. There's something twistedly domestic about this vampire crew, this sick parody of a family, but it's darkly mirrored by Adrian Pasdar's Caleb and his real, terrified, deeply human one. The movie digs into that bond in a complex and even ironic way.
Near Dark has no gothic castles, no neon boulevards. Just flat, Oklahoma highways, gas stations, motels, dusy Kansas fields, and the long, brutal wait for sunrise. Bigelow makes her movie ugly in the best possible way. Near Dark doesn't glamorize the night - it drags you through it, kicks dirt in your face, and leaves you wondering why anyone would want to live forever.
This is a cool, different vampire movie that is totally built for multiple views. Near Dark is gritty, stylish, and pure Gen X cool. And somehow, under all the carnage and dust, the boy still gets the girl.
Lance Henriksen is incredibly menacing with his silent, gravelly voice. And Bill Paxton? He's the chaos engine, laughing through the carnage. Jenette Goldstein rounds out this unofficial Aliens reunion, and if you catch a passing-by marquee, you know Bigelow was giving her crew a nod. There's something twistedly domestic about this vampire crew, this sick parody of a family, but it's darkly mirrored by Adrian Pasdar's Caleb and his real, terrified, deeply human one. The movie digs into that bond in a complex and even ironic way.
Near Dark has no gothic castles, no neon boulevards. Just flat, Oklahoma highways, gas stations, motels, dusy Kansas fields, and the long, brutal wait for sunrise. Bigelow makes her movie ugly in the best possible way. Near Dark doesn't glamorize the night - it drags you through it, kicks dirt in your face, and leaves you wondering why anyone would want to live forever.
This is a cool, different vampire movie that is totally built for multiple views. Near Dark is gritty, stylish, and pure Gen X cool. And somehow, under all the carnage and dust, the boy still gets the girl.
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