robert-642
mar 2005 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.
Reseñas26
Clasificación de robert-642
What was the director thinking of when he didn't include a single sheep? There are always sheep in Scottish films. If the budget did not extend to buying a few sheep he should have hired some stuffed sheep. I'm sure the local farmers would have been happy to oblige.
The film. Ah yes. Sean Harris. Now why did casting select him? He is one of the few actors who should be given sub-titles. His enunciation - what there is of it - is truly appalling and rather than being sinister he becomes comical. A stereotype left over from the 1950's villain films. He's the same character as in the Borgias. Oh dear! The film failed because it pushed the action envelope to nonsensical extremes. There was hardly any character development for the viewer to identify or empathise with. It should be re-named - Five Go Climbing.
No doubt, in time it will become a cult film like the banal Wicker Man.
Leave action films to those who really know how to make them.
The film. Ah yes. Sean Harris. Now why did casting select him? He is one of the few actors who should be given sub-titles. His enunciation - what there is of it - is truly appalling and rather than being sinister he becomes comical. A stereotype left over from the 1950's villain films. He's the same character as in the Borgias. Oh dear! The film failed because it pushed the action envelope to nonsensical extremes. There was hardly any character development for the viewer to identify or empathise with. It should be re-named - Five Go Climbing.
No doubt, in time it will become a cult film like the banal Wicker Man.
Leave action films to those who really know how to make them.
Is it a coincidence that Ms. Tautou is named Émilie (sounds like Amélie)? Is it a coincidence that she has the same gamin-tomboy look with her cropped hair as Amelie? Somehow I think it is intentional.
Alas, where the similarities to Amélie are evident they are the only thing they have in common. Unfortunately one similarity that is glaringly missing is the sheer energy of Ms. Tautou's' former director and mentor, Jean-Pierre Jeunet. Whereas Jeunet is like a brightly illuminated comet hurtling through the sky, Pierre Salvadori's style is more akin to a slow moving iceberg. And that is what the film is - an iceberg.
Nearly all good romantic comedies have some essential ingredients: energy, dynamism, warmth, identifiable characters, quick-fire humour and empathy - think Bridget Jones, Notting Hill et al,. Sadly none of these ingredients are present. Not even the exceptional Nathalie Baye is able to drag this film from the doldrums. It is nothing more than a montage of scenes where very little happens or engages the viewer. Clearly Sami Bouajila did his best but his forte is serious drama and that's where he should stay.
The one shining light in the film is Judith Chemla. With her very expressive face and mannerisms she has a promising future.
It is quite sad that Ms. Tautou has concentrated on 'glamour' films since leaving Jeunet - "Coco Before Channel", "Priceless". At heart she is an exceptional comedy actor. Regretfully Salvadori is not the director who can direct and showcase her talents. Unless she wants to stay on the periphery of French cinema Ms. Tautou needs to ask herself how best can she deploy her many talents.
Alas, where the similarities to Amélie are evident they are the only thing they have in common. Unfortunately one similarity that is glaringly missing is the sheer energy of Ms. Tautou's' former director and mentor, Jean-Pierre Jeunet. Whereas Jeunet is like a brightly illuminated comet hurtling through the sky, Pierre Salvadori's style is more akin to a slow moving iceberg. And that is what the film is - an iceberg.
Nearly all good romantic comedies have some essential ingredients: energy, dynamism, warmth, identifiable characters, quick-fire humour and empathy - think Bridget Jones, Notting Hill et al,. Sadly none of these ingredients are present. Not even the exceptional Nathalie Baye is able to drag this film from the doldrums. It is nothing more than a montage of scenes where very little happens or engages the viewer. Clearly Sami Bouajila did his best but his forte is serious drama and that's where he should stay.
The one shining light in the film is Judith Chemla. With her very expressive face and mannerisms she has a promising future.
It is quite sad that Ms. Tautou has concentrated on 'glamour' films since leaving Jeunet - "Coco Before Channel", "Priceless". At heart she is an exceptional comedy actor. Regretfully Salvadori is not the director who can direct and showcase her talents. Unless she wants to stay on the periphery of French cinema Ms. Tautou needs to ask herself how best can she deploy her many talents.
Contemplative? Meditative? Oh do be serious please! You can use those terms about that wonderful film: Spring, Summer Autumn and Winter but not this pretentious little film.
If you are watching it on DVD you should first watch the Director interview so as to avoid thinking it is a series of still life shots. I mean to say Mr. Director, I have never seen a shot of a tree from the ground that seems to last forever. Nor have I seen the sky before in all my life so thank you for giving us a shot that lasted about half an hour. Pretty clouds, now that's what I call imaginative cinema. I am also grateful that you didn't tell us what the old man was putting in the large pan. Nor did you tell us what happened to the kid goat or what the old man was putting into the glass of water. Hmmm...maybe a clever mystery film and I've missed something? As for the ant walking across the old man's face. Well I never! I didn't know that I was supposed to see the face as being representative of the ant's landscape. You had me wondering whether you thought that up after you filmed the shot or did you have a specially trained ant that followed your directions? I am also indebted to you for all the charcoal shots. I think I counted about twenty all being the same. I wished you had done more in order for me to appreciate the abstract quality of burnt wood.
And those snow scenes. They didn't make sense. Nothing happened, they seemed like an after thought. Had you cut them out you could have re-titled the film Tre Volte and saved us a little bit of viewing time. In fact you could have cut everything out apart from the wonderful goats and the manic dog and then you could have called it Una Volte.
Thank you for making a film that has made me think. I am glad that the dog won the Palm Dog award. I hope you gave him some biscuits.
If you are watching it on DVD you should first watch the Director interview so as to avoid thinking it is a series of still life shots. I mean to say Mr. Director, I have never seen a shot of a tree from the ground that seems to last forever. Nor have I seen the sky before in all my life so thank you for giving us a shot that lasted about half an hour. Pretty clouds, now that's what I call imaginative cinema. I am also grateful that you didn't tell us what the old man was putting in the large pan. Nor did you tell us what happened to the kid goat or what the old man was putting into the glass of water. Hmmm...maybe a clever mystery film and I've missed something? As for the ant walking across the old man's face. Well I never! I didn't know that I was supposed to see the face as being representative of the ant's landscape. You had me wondering whether you thought that up after you filmed the shot or did you have a specially trained ant that followed your directions? I am also indebted to you for all the charcoal shots. I think I counted about twenty all being the same. I wished you had done more in order for me to appreciate the abstract quality of burnt wood.
And those snow scenes. They didn't make sense. Nothing happened, they seemed like an after thought. Had you cut them out you could have re-titled the film Tre Volte and saved us a little bit of viewing time. In fact you could have cut everything out apart from the wonderful goats and the manic dog and then you could have called it Una Volte.
Thank you for making a film that has made me think. I am glad that the dog won the Palm Dog award. I hope you gave him some biscuits.