fantasyescapist
may 2005 se unió
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Distintivos4
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Clasificación de fantasyescapist
... however, third time lucky for the female supporting character in Selina Kyle, who is played surprisingly pitch-perfect by Hathaway. A nuanced anti-hero, she plays her as a complex woman who has rancorous feelings towards the privileged, enjoys the part of her selfish version of Robin Hood and will avert danger if she can but always has an element of redemption just under all the cunning and resentment.
Hardy, who's just been reduced to only conveying emotion through his eyes (as most of his face is covered by a mask),is very good as Bane, but the posh Sean Connery accent (much like the much maligned Batvoice in TDK) is unintentionally amusing at points, like the voice of a Saturday morning cartoon villain.
Bale wavers between being very good (particularly when he's displaying darker emotions) to affected is certain places (in stance and open-mouthed and set jaw looks). Caine does give homilies again(script flaw) but is also notably sympathetic and poignant, Oldman's great and natural as always, Cotillard gives an unctuous performance and Levitt's convincing as, (initially), a rookie cop. Only notably bad acting is near the beginning on the plane from a minor character.
The characters are pretty well-drawn but some of the dialogue, particularly when meant to be funny or important can come across as forced and portentous.
At nearly three hours my legs did nearly go to sleep, yet this film had narrative gaps (despite the generous running time) which was odd. Plot was never dull but it did seem like the last threat to Gotham was a bit over-egged and banal, really even if it did give some good set-pieces. Also, for something as seemingly realistic as this presents itself as being, there was some things that went beyond suspension of disbelief that if it was tonally different wouldn't have bothered me.
It's shot well and looks very good, but the hand-to-hand combat is sometimes torpid, but other action has suitable momentum and excitement and doesn't feel like watching a lagging video.
The score did mostly fit whatever scenes it was enhancing but I felt the previous ones had more impact in some emotional scenes.
Overall: A meandering epic with various characters to juggle, but doesn't quite hit the heights Begins and TDK did due to issues I had with plot contrivances, certain dialogue and maybe a sense of obligation to see the character off that lacked the sense of peril it should've had by Nolan. I suppose not enough felt like it was at stake unlike the other two, personally.
Worthwhile and again the sheer temerity of some of the nihilistic ideas of a revolution are commendable and hardly a terrible end to the trilogy, but I did feel it could've been executed better as a whole.
Hardy, who's just been reduced to only conveying emotion through his eyes (as most of his face is covered by a mask),is very good as Bane, but the posh Sean Connery accent (much like the much maligned Batvoice in TDK) is unintentionally amusing at points, like the voice of a Saturday morning cartoon villain.
Bale wavers between being very good (particularly when he's displaying darker emotions) to affected is certain places (in stance and open-mouthed and set jaw looks). Caine does give homilies again(script flaw) but is also notably sympathetic and poignant, Oldman's great and natural as always, Cotillard gives an unctuous performance and Levitt's convincing as, (initially), a rookie cop. Only notably bad acting is near the beginning on the plane from a minor character.
The characters are pretty well-drawn but some of the dialogue, particularly when meant to be funny or important can come across as forced and portentous.
At nearly three hours my legs did nearly go to sleep, yet this film had narrative gaps (despite the generous running time) which was odd. Plot was never dull but it did seem like the last threat to Gotham was a bit over-egged and banal, really even if it did give some good set-pieces. Also, for something as seemingly realistic as this presents itself as being, there was some things that went beyond suspension of disbelief that if it was tonally different wouldn't have bothered me.
It's shot well and looks very good, but the hand-to-hand combat is sometimes torpid, but other action has suitable momentum and excitement and doesn't feel like watching a lagging video.
The score did mostly fit whatever scenes it was enhancing but I felt the previous ones had more impact in some emotional scenes.
Overall: A meandering epic with various characters to juggle, but doesn't quite hit the heights Begins and TDK did due to issues I had with plot contrivances, certain dialogue and maybe a sense of obligation to see the character off that lacked the sense of peril it should've had by Nolan. I suppose not enough felt like it was at stake unlike the other two, personally.
Worthwhile and again the sheer temerity of some of the nihilistic ideas of a revolution are commendable and hardly a terrible end to the trilogy, but I did feel it could've been executed better as a whole.
Saw this yesterday and enjoyed it, with its effortless voice acting, compelling characters, good dialogue, realistically rendered backgrounds convincing, character animation blurring the line between animated and human and a fitting score but the title implies something bold, which it doesn't quite deliver on.
The headstrong Merida defying her mum's wishes for betrothal to follow her own path is one element of gutsiness, but as the film progresses, it becomes an amalgamation of various past Disney (or wannabe-Disney) films and somewhat of Dreamworks as well.
Overall: I do like that the mother-daughter relationship is the heart of the conflict, but the way it was executed is pretty trite, if entertaining and invovling, so in a way it makes a titular promise it doesn't exactly follow though like Pixar got scared and reverted to formulaic plotting.
Still an 'original' story (as in not stated to be based on pre-existing material) and an interesting, sometimes funny and well animated one, just not the fresh, daring film advertised. There's a stinger gag after the credits-6.6/10
The headstrong Merida defying her mum's wishes for betrothal to follow her own path is one element of gutsiness, but as the film progresses, it becomes an amalgamation of various past Disney (or wannabe-Disney) films and somewhat of Dreamworks as well.
Overall: I do like that the mother-daughter relationship is the heart of the conflict, but the way it was executed is pretty trite, if entertaining and invovling, so in a way it makes a titular promise it doesn't exactly follow though like Pixar got scared and reverted to formulaic plotting.
Still an 'original' story (as in not stated to be based on pre-existing material) and an interesting, sometimes funny and well animated one, just not the fresh, daring film advertised. There's a stinger gag after the credits-6.6/10
Premiering on BBC2 over the Christmas period, I decided to catch-up with it even if I disliked the look of it from the trailer over two years ago. My first impressions were wrong.
Freeman plays his hassled teacher role straight (and very believably) so it's up to Wooton to be the clownish man-child, providing most of the laughs although Freeman has hilariously great 'WTF?' expressions in reaction to his co-star's antics. Ferris is the head, who's like the typical didactic staff member, who just wants to keep everything under control. Carr plays an exaggerated version of himself as a critic, Jensen is sweet as Freeman's ex, Watkin's plays his role broadly, pretty much a panto villain and the kids are alright, with the smallest boy stealing the show at nearly every opportunity. Those who remember Britain's Got Talent from the first series will spot some familiar faces.
The pacing is pretty good and it never felt plodding anywhere, so kudos for the editing - some shots could've been a bit longer, so I could've appreciated a scene more. It does have a very televisual look, as I said and the two primary schools must be the smallest I've ever seen as apart from the main two classes, the schools look pretty empty, so maybe they couldn't they afford extras? The plot is predictable, it had some some manipulatively mawkish scenes (although one main one actually did make me cry as the actor's voice faltered while he was talking) and it did go beyond 'suspension of disbelief' for the ending, but with that exclamation mark in the title, this was always going to be a festive farce, not to be taken too seriously.
The songs remind me of the cheerful exuberance some of Brittania High's songs had, so the Christmas primary school version of that is what the original music reminded me of. I didn't dislike any and would consider buying the OST.
Overall: When the laughs come, it delivers and it had a high laugh count, for me. The drama side isn't so great and feels contrived due to clunky writing. Some of the youngsters have good comic timing and are actually pretty natural when they aren't looking lost/gurning in a scene. But, like Teachers main focus, this about the adults and the kids are just ancillary members. In tone, it's sort of like a spin-off Waterloo Road - The Primary Nativity. It zips along nicely, has a joyful, likable soundtrack and although it had no real reason to be released in cinemas, it's better than I thought it would be and will become an annual watch in my home - 6/10.
Freeman plays his hassled teacher role straight (and very believably) so it's up to Wooton to be the clownish man-child, providing most of the laughs although Freeman has hilariously great 'WTF?' expressions in reaction to his co-star's antics. Ferris is the head, who's like the typical didactic staff member, who just wants to keep everything under control. Carr plays an exaggerated version of himself as a critic, Jensen is sweet as Freeman's ex, Watkin's plays his role broadly, pretty much a panto villain and the kids are alright, with the smallest boy stealing the show at nearly every opportunity. Those who remember Britain's Got Talent from the first series will spot some familiar faces.
The pacing is pretty good and it never felt plodding anywhere, so kudos for the editing - some shots could've been a bit longer, so I could've appreciated a scene more. It does have a very televisual look, as I said and the two primary schools must be the smallest I've ever seen as apart from the main two classes, the schools look pretty empty, so maybe they couldn't they afford extras? The plot is predictable, it had some some manipulatively mawkish scenes (although one main one actually did make me cry as the actor's voice faltered while he was talking) and it did go beyond 'suspension of disbelief' for the ending, but with that exclamation mark in the title, this was always going to be a festive farce, not to be taken too seriously.
The songs remind me of the cheerful exuberance some of Brittania High's songs had, so the Christmas primary school version of that is what the original music reminded me of. I didn't dislike any and would consider buying the OST.
Overall: When the laughs come, it delivers and it had a high laugh count, for me. The drama side isn't so great and feels contrived due to clunky writing. Some of the youngsters have good comic timing and are actually pretty natural when they aren't looking lost/gurning in a scene. But, like Teachers main focus, this about the adults and the kids are just ancillary members. In tone, it's sort of like a spin-off Waterloo Road - The Primary Nativity. It zips along nicely, has a joyful, likable soundtrack and although it had no real reason to be released in cinemas, it's better than I thought it would be and will become an annual watch in my home - 6/10.
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