जिस समय पृथ्वी पर एलियन ट्राइपॉड लड़ाकू मशीनों द्वारा हमला किया जाता है, इस साई फ़ाई एक्शन फ़िल्म में एक परिवार जीवित रहने के लिए लड़ता है.जिस समय पृथ्वी पर एलियन ट्राइपॉड लड़ाकू मशीनों द्वारा हमला किया जाता है, इस साई फ़ाई एक्शन फ़िल्म में एक परिवार जीवित रहने के लिए लड़ता है.जिस समय पृथ्वी पर एलियन ट्राइपॉड लड़ाकू मशीनों द्वारा हमला किया जाता है, इस साई फ़ाई एक्शन फ़िल्म में एक परिवार जीवित रहने के लिए लड़ता है.
- निर्देशक
- लेखक
- स्टार
- 3 ऑस्कर के लिए नामांकित
- 16 जीत और कुल 49 नामांकन
Yul Vazquez
- Julio
- (as Yul Vázquez)
Camillia Monet
- News Producer
- (as Camillia Sanes)
फ़ीचर्ड समीक्षाएं
I love the book and overall theme of the movie but Tom Cruise acting is annoying which is probably because he had to work with 2 most annoying kid actors ever seen on the film.
I mean almost every scene is ruined by hysterical yelling of the 3 main characters. Little girl is the worst but Tom and his movie son are not far behind.
I mean it's watchable but by the middle of the movie I was hoping aliens will take them down so we don't have to suffer this atrocity of acting
I mean it's watchable but by the middle of the movie I was hoping aliens will take them down so we don't have to suffer this atrocity of acting
What Spielberg, Cruise, and Koepp accomplish here in the first two acts is nothing short of revolutionary. They've made a big-budget summer blockbuster about massive destruction and action that manages to studiously avoid every cliché and expectation of such films. It stays resolutely on the characters' points of view, showing us almost nothing they don't see, even to the point of coming tantalizingly close to a raging battle, then avoiding showing it. It keeps its focus on character instead of spectacle. The "hero" of the piece remains decidedly unheroic, wanting only to escape, and trying to talk others out of fighting back. The purpose of every piece of action is to frighten and disturb rather than thrill, making ingenious use of familiar 9/11 imagery. At the end of the second act, it is hands-down the best alien invasion film ever made, and perhaps one of the best sci-films of all time.
Then something strange happens. The filmmakers lose their nerve, and remember that this is an extremely expensive summer film financed by two studios. Or perhaps it was the fact that it stars Tom Cruise, who up to this point has spent almost two hours doing nothing but run for his life. Suddenly, and tragically, the film changes, violating not only its carefully established tone, but its own internal logic. Suddenly, Cruise begins to act like a hero, and summer action clichés force their way into the story like a worm into an apple. The transition is jarring, and it creates a serious disconnect from the story.
While it's true that Wells' original ending creates a problem for a movie, here they try to remain faithful to it, while still shoehorning moments of triumph into the conclusion. Unfortunately, these moments come off as alternately false, unbelievable, and meaningless, since it isn't mankind that defeats the invaders in the end.
Is it recommendable? Well, I suppose that depends on what kind of viewer you are. If you feel that 75% brilliant material overshadows the 25% that falls apart, then you'll enjoy it. If, however, you're the kind of viewer who feels that the final impression a movie makes is its ultimate stamp on your memory, you may be in for a crushing disappointment. On the other hand, if you're the kind of viewer who just likes the cliché of the boom-boom summer action spectacle, you're likely to be bored and frustrated with the first two acts, and only engage in the end. It is confused about what audience it's trying to reach, and consequently, isn't likely to satisfy any of them.
Then something strange happens. The filmmakers lose their nerve, and remember that this is an extremely expensive summer film financed by two studios. Or perhaps it was the fact that it stars Tom Cruise, who up to this point has spent almost two hours doing nothing but run for his life. Suddenly, and tragically, the film changes, violating not only its carefully established tone, but its own internal logic. Suddenly, Cruise begins to act like a hero, and summer action clichés force their way into the story like a worm into an apple. The transition is jarring, and it creates a serious disconnect from the story.
While it's true that Wells' original ending creates a problem for a movie, here they try to remain faithful to it, while still shoehorning moments of triumph into the conclusion. Unfortunately, these moments come off as alternately false, unbelievable, and meaningless, since it isn't mankind that defeats the invaders in the end.
Is it recommendable? Well, I suppose that depends on what kind of viewer you are. If you feel that 75% brilliant material overshadows the 25% that falls apart, then you'll enjoy it. If, however, you're the kind of viewer who feels that the final impression a movie makes is its ultimate stamp on your memory, you may be in for a crushing disappointment. On the other hand, if you're the kind of viewer who just likes the cliché of the boom-boom summer action spectacle, you're likely to be bored and frustrated with the first two acts, and only engage in the end. It is confused about what audience it's trying to reach, and consequently, isn't likely to satisfy any of them.
I've never seen such petulant spoiled- rotten kids. The world is ending, and they scream and whine about every little detail. The older boy is the worst, he wants to fight the invaders...who have forcefields that can block ballistic missiles. These kids need a good spanking.
The Martians devouring those brats and spraying their remains all over the place would've redeemed this mediocre effort.
Aliens bury their ships underground. I'd like to know who came up with that nonsense. Like Humans who build tunnels and huge mines would never stumble on to these gigantic tripod machines. Spielberg what were you thinking?
The Martians devouring those brats and spraying their remains all over the place would've redeemed this mediocre effort.
Aliens bury their ships underground. I'd like to know who came up with that nonsense. Like Humans who build tunnels and huge mines would never stumble on to these gigantic tripod machines. Spielberg what were you thinking?
This remake of the 1956 classic has some stirring moments, especially the ferry crossing in upstate New York at Athens. But, just like those original Star Trek episodes with annoying children, this is film too is burndened with a truly annoying pestilence portrayed by the very young Dakota Fanning, who certainly has matured into an interesting actor. Here, however, she shrieks, shrieks louder, and shrieks loudly again and again.
We know that Tom Cruise's character will live, and there will be many dead before the aliens perish, but the many thoughtless moments from start to finish make one wonder what sort of pacing Steven Spielberg had in mind.
Tim Robbin's skills are wasted in his role as a grizzled resistance fighter.
The film closes with a totally pointless and cheesy cameo by Gene Barry and Anne Robinson, who played the major characters in the the 1956 film.
We know that Tom Cruise's character will live, and there will be many dead before the aliens perish, but the many thoughtless moments from start to finish make one wonder what sort of pacing Steven Spielberg had in mind.
Tim Robbin's skills are wasted in his role as a grizzled resistance fighter.
The film closes with a totally pointless and cheesy cameo by Gene Barry and Anne Robinson, who played the major characters in the the 1956 film.
Ray Ferrier (Tom Cruise) is a divorced father with daughter Rachel (Dakota Fanning) and angry teenager Robbie (Justin Chatwin). Then a strange storm appears with numerous intense lightning. Suddenly machines rise out of the ground to destroy mankind.
Director Steven Spielberg uses all his tech skills to create great CGI of this H.G. Wells vision. It looks great. There are great individual scenes like the train. Tom Cruise is good as a father looking out for his family. But a couple of things keep coming back to nag at me. The kids are a bit too much to take. I'm willing to take Dakota Fanning screaming at everything, but I can't take the annoying rebellious teen. The constant fighting with the father is so petty and so childish. The family melodrama just diminishes the scale of the movie. Then there is the change of the origins of the alien machines. It is simply a stupid idea from Spielberg to be different. There is no reason for it. Worst it makes the movie questionable. And the blood idea just adds to the silliness of the story. These are changes for the sake of changing without improving anything.
Director Steven Spielberg uses all his tech skills to create great CGI of this H.G. Wells vision. It looks great. There are great individual scenes like the train. Tom Cruise is good as a father looking out for his family. But a couple of things keep coming back to nag at me. The kids are a bit too much to take. I'm willing to take Dakota Fanning screaming at everything, but I can't take the annoying rebellious teen. The constant fighting with the father is so petty and so childish. The family melodrama just diminishes the scale of the movie. Then there is the change of the origins of the alien machines. It is simply a stupid idea from Spielberg to be different. There is no reason for it. Worst it makes the movie questionable. And the blood idea just adds to the silliness of the story. These are changes for the sake of changing without improving anything.
क्या आपको पता है
- ट्रिवियाWhen the aliens are investigating the junk in the basement, one of them plays with a bicycle wheel. This is a reference to the original book; the main character observes that, with all the advanced technology the aliens possess, they do not use any wheels, and wonders if the alien life form had skipped the invention of the wheel.
- गूफ़(at around 25 mins) A camera is seen filming the alien despite all electronics being disabled earlier in the film.
- भाव
Robbie Ferrier: What is it? Is it terrorists?
Ray Ferrier: These came from some place else.
Robbie Ferrier: What do you mean, like, Europe?
Ray Ferrier: No, Robbie, not like Europe!
- क्रेज़ी क्रेडिटThere are no opening credits after the title is shown.
- इसके अलावा अन्य वर्जनFor the U.S. theatrical release, the Paramount logo appeared before the Dreamworks logo at the beginning of the film, and the poster credits said, "Paramount Pictures and Dreamworks Pictures present." Since the U.S. version's home video/DVD rights are owned by Dreamworks, the Dreamworks logo at the beginning of the movie appears before the Paramount logo, and the back of the box's cover art says, "Dreamworks Pictures and Paramount Pictures present." In the European version, the original order of the logos and studio names is preserved (and the DVD is released by Paramount).
- कनेक्शनEdited into The Arrivals (2008)
- साउंडट्रैकFlatline
by Jeffrey Scott Harber, Jayce Alexander Basques, William Peng & Drew Dehaven Hall
Performed by Aphasia
Courtesy of Luke Eddins at Luke Hits and Joint Venture Recordings
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- आधिकारिक साइटें
- भाषा
- इस रूप में भी जाना जाता है
- Prapanncala Yud'Dham
- फ़िल्माने की जगहें
- JF Kennedy Blvd., बेयोन, न्यू जर्सी, यूएसए(Ray's house - soundstage)
- उत्पादन कंपनियां
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- बजट
- $13,20,00,000(अनुमानित)
- US और कनाडा में सकल
- $23,42,80,354
- US और कनाडा में पहले सप्ताह में कुल कमाई
- $6,48,78,725
- 3 जुल॰ 2005
- दुनिया भर में सकल
- $60,38,73,504
- चलने की अवधि1 घंटा 57 मिनट
- रंग
- ध्वनि मिश्रण
- पक्ष अनुपात
- 1.85 : 1
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