[go: up one dir, main page]

    Calendario delle usciteI migliori 250 filmI film più popolariEsplora film per genereCampione d’incassiOrari e bigliettiNotizie sui filmFilm indiani in evidenza
    Cosa c’è in TV e in streamingLe migliori 250 serieLe serie più popolariEsplora serie per genereNotizie TV
    Cosa guardareTrailer più recentiOriginali IMDbPreferiti IMDbIn evidenza su IMDbGuida all'intrattenimento per la famigliaPodcast IMDb
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthSTARmeter AwardsAwards CentralFestival CentralTutti gli eventi
    Nato oggiCelebrità più popolariNotizie sulle celebrità
    Centro assistenzaZona contributoriSondaggi
Per i professionisti del settore
  • Lingua
  • Completamente supportata
  • English (United States)
    Parzialmente supportata
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Lista Video
Accedi
  • Completamente supportata
  • English (United States)
    Parzialmente supportata
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Usa l'app
Immagine del profilo di jedi-jones

jedi-jones

Iscritto in data nov 2005
Ti diamo il benvenuto nel nuovo profilo
I nostri aggiornamenti sono ancora in fase di sviluppo. Sebbene la versione precedente del profilo non sia più accessibile, stiamo lavorando attivamente ai miglioramenti e alcune delle funzionalità mancanti torneranno presto! Non perderti il loro ritorno. Nel frattempo, l’analisi delle valutazioni è ancora disponibile sulle nostre app iOS e Android, che si trovano nella pagina del profilo. Per visualizzare la tua distribuzione delle valutazioni per anno e genere, fai riferimento alla nostra nuova Guida di aiuto.

Distintivi4

Per sapere come ottenere i badge, vai a pagina di aiuto per i badge.
Scopri i badge

Valutazioni127

Valutazione di jedi-jones
Superman
7,61
Superman
Aquaman e il regno perduto
5,68
Aquaman e il regno perduto
Rebel Moon - Parte 1: figlia del fuoco
5,610
Rebel Moon - Parte 1: figlia del fuoco
Indiana Jones e il quadrante del destino
6,56
Indiana Jones e il quadrante del destino
The Suicide Squad - Missione suicida
7,21
The Suicide Squad - Missione suicida
Wonder Woman
7,310
Wonder Woman
Joker
8,39
Joker
Il cavaliere oscuro
9,08
Il cavaliere oscuro
Zack Snyder's Justice League
7,910
Zack Snyder's Justice League
L'uomo d'acciaio
7,18
L'uomo d'acciaio
Black Panther: Wakanda Forever
6,66
Black Panther: Wakanda Forever
Black Adam
6,22
Black Adam
365!
8,410
365!
Spider-Man: No Way Home
8,25
Spider-Man: No Way Home
Matrix Resurrections
5,67
Matrix Resurrections
West Side Story
7,110
West Side Story
Dentro la notizia
7,310
Dentro la notizia
Ghostbusters: Legacy
7,08
Ghostbusters: Legacy
Black Widow
6,68
Black Widow
Scappo dalla città - La vita, l'amore e le vacche
6,89
Scappo dalla città - La vita, l'amore e le vacche
Corto circuito
6,67
Corto circuito
Episodio datato 12 aprile 1995
8,010
Episodio datato 12 aprile 1995
Una pazza giornata di vacanza
7,89
Una pazza giornata di vacanza
Indiana Jones and the Temple of Doom/The Natural
10
Indiana Jones and the Temple of Doom/The Natural
The Harlem Globetrotters on Gilligan's Island
4,36
The Harlem Globetrotters on Gilligan's Island

Recensioni13

Valutazione di jedi-jones
Indiana Jones e il quadrante del destino

Indiana Jones e il quadrante del destino

6,5
6
  • 30 giu 2023
  • Indiana Jones Dials A for Adventure but Is the Call Answered?

    I'm a lifelong Indiana Jones fanguy who has seen every movie in the series during their original theatrical runs. Seeing each of the original three movies, Raiders of the Lost Ark, Temple of Doom and Last Crusade changed my life in some way. The original gave me a basic template at a young age that helped me understand what a movie was supposed to be. The second set a new standard for how much action and excitement one movie could have. And the third showed me just how satisfying a movie could be when you've spent years anticipating it and it successfully delivers on all of your expectations. I even found a lot to enjoy in Crystal Skull, even though it was not as magical as the originals. Like all the Indy movies, it was still aiming higher than most blockbusters do. Even it missed the mark in many ways, I still admired its attempt.

    Every previous Indiana Jones movie was masterminded by the legendary filmmakers and friends, writer/producer George Lucas and director Steven Spielberg. My big concern going into this new episode, Indiana Jones and the Dial of Destiny, was that for the first time, a new writer/director, James Mangold, was taking over the series. Would he try to reimagine and reinvent the franchise, or would he try, and perhaps fail, to recreate the spirit of the originals? As it turns out, Mangold tried very hard to recreate the spirit of the originals. Too hard, in fact. Dial of Destiny is one of those movies best described as an "entertaining mess." This film tries to throw in everything that it thinks an Indiana Jones fan would want to see. This includes treasure hunts in dark caves, extended chase scenes on land, sea and air, ancient riddles, mysterious puzzles, magic artifacts, international travel, dastardly villains, femme fatales, creepy creatures, gruesome deaths, witty banter, heartfelt character moments, hats, guns and whips. In that sense, Mangold delivers everything an Indiana Jones fan could ever want to see. But there's weakness in the connective tissue that tries to stitch all of these money moments together. It feels like all of these compulsory elements were written out randomly on notecards first, after which the writers tried to come up with a plot, any plot, to string them all together.

    That may have been an impossible task. Dial of Destiny is both literally and figuratively all over the place. Too much happens in this movie too fast. The pacing is frequently frantic. The logic teeters on the threadbare. We're not always sure how and why we went from point A to point B, or what the shifting motivations of the various characters are. The movie lacks the same level of comic relief that helped the rest of the Indiana Jones series smooth away some of its rougher, harder edges. It takes everything rather seriously, despite the events here being some of the more absurd and ridiculous in the series.

    On a more fundamental level, I can't figure out what this movie is ABOUT, aside from the aforementioned giving Indiana Jones fans all the things they want to see, and keeping the franchise going as a commercial enterprise. This is a movie about the other Indiana Jones movies, not about any intrinsic meaning or purpose of its own. Spielberg said in an interview that it's a really good "Indiana Jones" movie...but is it a really good film, that stands on its own, outside the context of the Indy series? Not really. It would be a stretch to call the other Indiana Jones movies "message" movies, but they paid enough attention to essential story values that we felt uplifted by the emotional progress Indiana Jones made throughout the course of his adventures. I can't figure out what Dial of Destiny is trying to say about the Indiana Jones character, if anything.

    Given that the story is little more than a framework on which to showcase the action and adventure, this movie must be judged on the quality of its individual scenes and set pieces. This is not a boring movie. It feels like it has more non-stop action than any of the previous Indiana Jones movies. The excitement level of all of this is relatively high, but the scenes never really feel assembled out of the tight clockwork structure that Spielberg built the action with in the previous Indy movies. A lot of people are running, riding, driving, flying, crashing, jumping, punching and shooting, but all of this feels a little more random than is typical for the series. The chases and fights don't always build up anticipation and suspense regarding what's going to happen next, and they don't necessarily lead to a satisfying conclusion. They just flood the screen with activity, and end when enough people have died or gotten away.

    At a certain point, I decided that the movie was uneven enough that it was going to need to have an exceptional finale to justify its existence. And the good news is, it achieves that. The denouement of Dial of Destiny is creative, intriguing and wondrous in a way that the rest of the movie isn't. I wish we had seen a lot more of that originality and imagination throughout the film. The screenplay should have been scrapped and rewritten as a full-length expansion on what happens in the climax.

    Out of all the actors, there is one who emerges completely unscathed in reputation amidst all of the chaos, and that is Mads Mikkelsen. He is the archetypal Nazi from central casting that the Indiana Jones series has been looking for since day one, and the best villain the series has ever had. His cruel, ominous epithets are delivered with an understated intensity through a crooked smile and a piercing glower that owns the screen every second he's on it. He correctly never makes evil seductive, but he certainly makes it compelling. If you've seen Mads before in other movies but never quite found him memorable enough to recognize later, this is the movie that will make you remember him.

    The movie's other most important new character, Helena Shaw, struggles to rise above the obvious ambitions the franchise has for her. She's very clearly been given all of the characteristics that she needs in order to potentially inherit the series from Harrison Ford as its new lead, including having a sidekick of her own. (The awkward, overstuffed nature of Dial of Destiny is perhaps never more evident than when the story layers on multiple sidekicks like Russian nesting dolls.) The only real cringe-inducing writing in the movie comes when Helena outwits Indiana Jones on various matters, and he misses clues that he never would've overlooked in the previous movies, just so we can be shown how brilliant this new Helena character is supposed to be. This is the same energy we got from Star Wars: The Force Awakens, when the young woman Rey teaches the veteran Han Solo how his own ship the Millennium Falcon works. Helena is a diverse collection of off-the-shelf character traits, but I'm not sure if she ever feels like a real character. It doesn't help that her motivations seem to constantly be shifting in order to service the wild plot turns of the movie. Is she a femme fatale, a plucky heroine or a hard-boiled cynic? I didn't walk away with a sense of how she truly feels about anything, and definitely not WHY she feels that way. I wouldn't know how to write The Further Adventures of Helena Shaw, because I don't understand what Helena really wants or values in life. Phoebe Waller-Bridge's acting doesn't help. She's unable to bring any clarity to this conflicted character. Like the rest of the movie, her performance is all over the map.

    Finally, we come to series star Harrison Ford, who is promoting this movie as Indy's final adventure. Harrison has made a late-stage career resurgence out of reviving his classic franchises, including Star Wars, Blade Runner and Indiana Jones, twice. Whatever the reception has been to these movies, he's never been considered anything but an asset to them. That tradition continues here. With Ford now at age 80, Dial of Destiny abandons any pretense of hiding how much Indy has aged, which is probably for the best. Ford's face has never looked craggier, but his screen presence is no less commanding than it was in his younger days. He's aged into a new phase of movie stardom as effortlessly as Clint Eastwood did. The movie's opening sequence uses digital de-aging to try and recreate the Raiders-era Indiana Jones. While that's an intriguing idea, the technology hasn't been perfected yet, and this scene goes on a lot longer than my suspension of disbelief was able to. I enjoyed watching Indy at his current age more. There's balance in Ford's performance, not just grumpiness and weariness, but vulnerability and curiosity too. One casualty of Ford's age is that we don't get a real two-fisted brawl with a big bruiser of a villain like we did in all the other Indy movies. He spends a lot more time driving vehicles in chase scenes than he does engaging in fisticuffs. But everything Ford does in this movie is done well, and this feels like the genuine Indiana Jones in every scene.

    Ultimately, I was glad to see Harrison Ford back in the saddle as Indy for his advertised one last ride. Dial of Destiny is not an embarrassment to the series, and doesn't tarnish what came before (unless you're a fan of Mutt Williams, who is written out of the series pretty decisively here). The movie provides entertainment that will hit the spot for most Indiana Jones fans, even though they will be precisely the people that can recognize what the movie is missing, and why it's one of the lesser entries in the franchise. I enjoyed it enough that I wish the curtain wasn't closing on Indiana Jones just yet. I'd like to see him again, but with less noise and distraction getting in the way of Indy's natural charm, likability and humanity.
    Black Adam

    Black Adam

    6,2
    2
  • 2 nov 2022
  • The Adam Bomb Takes Superhero Movies to an Eve of Destruction

    Black Adam is one of the sloppiest, clumsiest, most incompetent superhero films ever made. It's fitting that the man who produced it, Walter Hamada, left the studio and his position as head of DC Films the week it was released. Rarely do we get justice in Hollywood for the many creative disasters they put out, but justice was served here. This is the worst film to come out under the DC Comics banner in the last ten years.

    This movie thinks that superheroes are about costumes, powers, action and special effects, not about plot, character, dialogue, relationships or meaningful themes. Black Adam lays the visual spectacle on so thick that, after a while, the viewer becomes numb to it and the screen looks like so much gobbledygook. The movie, already way over-budgeted at $195 million for such an obscure comic book character, seems to have caked on so much CGI that they ran out of money before the end. The film concludes with an embarrassing, clunky action climax that looks like a stiff, poorly programmed video game scene.

    Black Adam becomes a lost cause much sooner than that though. The film gets off on the wrong foot and never regains its footing. To explain who the Black Adam character is, the movie gives us yet another one of those long-winded introduction scenes where a narrator tells us "the story so far." This isn't what cinema is designed to do. We're supposed to be able to observe a story through scenes acted out by characters, not by an invisible narrator giving us an historical lecture. There is nothing in this introduction that couldn't have been explained by actual characters actually talking in the movie.

    The introduction doesn't play fair with the audience either. Near the end of the movie, we get yet another cheap storytelling gimmick, the "everything you thought you knew was wrong" scene. We are told that what the narrator told us in the beginning was all a lie, or something. The gimmick is executed in such a hamfisted way that I have no real idea what they were trying to say, other than that they seem to have faked us out on some minor details in the introduction. This is a cheap screenplay trick that is way past its sell-by date. There is no reason to bamboozle the audience by purposely telling a story in an obtuse fashion. A filmmaker's job is to explain things efficiently and with clarity, not to put up artificial roadblocks to us simply understanding what's going on. A fantasy movie is complex enough as it is. They should not make it any more complicated for us.

    At least they try to give Black Adam some kind of origin story. That's more than they do for the four other superheroes fighting each other for screen time in this movie. Superhero origin movies exist for a reason, and that is so we don't have to learn everything about where these people come from and why they do what they do via one awkward dialogue exchange. Most of the audience has never heard of Hawkman, Dr. Fate, Cyclone or Atom Smasher, and almost none of the audience has any idea what their origins are. I was almost sure Hawkman came from another planet before this movie, but here he simply seems to have borrowed Falcon's mechanical wings from over in the Marvel Cinematic Universe. Atom Smasher also seems to have taken his origin story and powers on loan from Marvel's Ant-Man. Cyclone supposedly harnesses the power of the wind, like X-Men's Storm, but all she seems to do here is momentarily turn into a blurry special effect. The performances of these three actors do absolutely nothing to flesh out the depth that the screenplay fails to provide. They are one-note, with no emotional range whatsoever. Pierce Brosnan brings a bit more texture to Dr. Fate, who we learn has a helmet of alien origin that lets him do a bunch of random, unexplained things. Brosnan gives us one of cinema's rare gray-haired superheroes, and brings a wistful weariness to the character that is endearing. But there are too many characters in this movie. Cyclone and Atom Smasher in particular serve no purpose and could've easily been written out.

    Black Adam himself, played by Dwayne Johnson, shows some signs of star power peeking through the impenetrable morass of CGI carnage on display here. He underplays his delivery, which is the right choice for a character who is already overwhelming the senses with repetitive, mind-numbing violence. He gets some chuckles with the old "stranger in a strange land" routine, as a character who is brought into an unfamiliar world. The most effective relationship in the movie is between Black Adam and a child, the son of a freedom fighter who is trying to sway Black Adam to join her revolution. The child has studied superhero comic books, which in the DC film universe appear to be non-fiction, and tries to train Black Adam on how to be a superhero. These scenes give us one sign of recognizable human behavior in the film, but they are scarce.

    The rest of the movie is filled with plot points that are undeveloped and just don't work. Hawkman and Dr. Fate talk about having a long history of working together, but that doesn't do us any good when we've never been given the chance to see how their relationship developed before the events of this movie. Their words have no weight behind them. Hawkman preaches a message of anti-violence in between brutally beating other characters and knocking down buildings. This begs a question I saw someone pose recently, how noble is a no-killing policy if it doesn't preclude you from maiming, crippling and giving people traumatic brain injuries? The freedom-fighting woman is so singularly focused on launching her revolution that her crusade becomes exhausting and irritating to watch. Doesn't she have any other interests or hobbies? As if the movie doesn't have enough going on, we get the old Braveheart scene where the townspeople are inspired to take their freedom back. This only adds more confusion as to what the movie is actually trying to be about. The villain is astonishingly underwritten. Again the movie thinks that a few lines of expository dialogue are a substitute for actually fleshing out a character through genuine dramatic scenes. The leader of the Suicide Squad makes an appearance, but now she seems to be controlling Hawkman, who isn't a criminal at all. How? The movie doesn't explain. Hawkman is opposed to killing, but seems to become more open to it in the end. It's hard to tell if that's the lesson the movie wishes to impart or not. The attitude of the other characters to Black Adam seems to change by the end, but it's not clear why.

    Black Adam represents an extreme low point in the canon of DC films. This is a movie that has no respect for its genre or for its audience. It has no sense of the basic storytelling structure that goes into making an engaging, involving, memorable film. The superhero genre has no future if this is the kind of empty, mindless, meaningless slugfest that becomes its standard bearer. Black Adam ends with a brief epilogue that reminds us of earlier, much better films in the genre that still had heart and meaning. The glimmer of hope this memory provides feels hollow, though, after suffering through two hours of a hopeless, artless, mindless gesture.
    West Side Story

    West Side Story

    7,1
    10
  • 21 dic 2021
  • Masterful Filmmaking Technique Makes an Old Tale Feel New Again

    I feel like an even bigger Steven Spielberg fan today than I ever was before. West Side Story, along with Spielberg's previous film Ready Player One, are some of the only movies I've seen in recent years that made me want to go and see them again the very next day. The genre and the story aren't the point so much as the pure, raw filmmaking style. The framing of the shots, the motion of the camera and the timing of the editing just make these movies an incredible joy to watch. The actors hit the right notes, the stories are well-constructed and, in West Side Story, the songs sound as good as ever, but as examples of the cinematic artform, these movies feel vibrant and alive in ways that few other movies do.

    I saw the original 1961 West Side Story one time before, in high school in the 1990s. I think it was in Spanish class. I also saw My Fair Lady in English class, so maybe our faculty was just big musical fans. Lots of things stayed with me about West Side Story, but especially the song "Tonight." I thought that was pure magic, one of the best love songs ever done. There were certainly elements that felt dated about the movie even back then. No one could mistake it for a 1980s movie, like some of us might have thought Willy Wonka was (yet another musical I first saw in school!). So when I heard Spielberg was remaking West Side Story, I was very excited to see it. A story filled with drama, romance, violence, comedy and great music, updated to modern film sensibilities by one of my favorite directors sounded like a slam dunk.

    Seeing it in Dolby Cinema, my high expectations were met. The movie is a visual feast, one of the rare ones that isn't obviously dependent on CGI. The leads, Ansel Elgort and Rachel Zegler, bring just the right sense of optimism and naivete to their doomed romance. They also deliver the best singing in the movie, that truly surpasses what's in the original film. Mike Faist is a surprising standout as Riff, a character I can't even remember from the 1961 version. Physically, he couldn't look more right for the part. He also brings depth and subtlety to the role that gives a sense of the tortured soul underneath his aggressive exterior. He deserves a Best Supporting Actor Oscar nomination (he's earned 4 with 1 win from critics groups so far).

    I think the new Anita and Bernardo are just on par for their roles. Neither seem to have the same electricity firing them up that the 1961 actors did. Hence, the "America" number feels like one of the few that doesn't measure up to the 1961 movie. The actors don't seem to bring the same bite to all those cutting back-and-forth remarks. The "Anybodys" character seems to be one of the most noteworthy modernizations in the movie, as she now represents a very modern idea of a gender-neutral character, rather than the old tomboy stereotype of the original. But the problem with this character is that the actor is one of the oldest in the main cast. It made more sense to have a young teenager tagging along and trying to join a street gang than a near 30-year-old. This version of the character loses some of that cute comic charm.

    Almost all of the songs in the movie are so revitalized that I felt like I was hearing them for the first time. Most of the movie feels like the new, definitive film adaptation of the play. "Tonight," and its reprise in a later medley, are magnificent and powerful. The way the characters are shot through the fire escape grates during the duet adds a level of visual poetry that's absent from the 1961 film. The new choreography for "Officer Krupke" makes that song even more hilarious. I'm more impressed seeing the filmmakers make visual magic happen on a small set like that than out on the city streets. It takes more creativity to make things look interesting on camera under those tighter limitations. Zegler gets the innocence of her character just right for "I Feel Pretty." Elgort completely holds command of the screen for his solos "Something's Coming" and "Maria." I think the dancing is wisely deemphasized throughout the movie in favor of what might be better termed "stylized movement." That makes it feel more relatable and modern, as opposed to an old time Busby Berkeley affair. There is dancing in the scene set at an actual dance, of course, and that looks terrific.

    The dark themes in the story didn't stop me from leaving the theater feeling satisfied, full of emotion and humming the songs. When I listened to the songs online later, though, I was struck with a serious craving to see the visuals again. The visual imagination put into the film is what makes the 1961 version completely pale in comparison. This is one of the best-looking films that Spielberg has ever made. The theatricality of the material has freed Spielberg up to create grand, stylized imagery, in a way that wouldn't be possible in a traditional narrative film. Meanwhile, his natural inclination for authenticity has compelled him to work with a certain level of restraint. This makes for the best possible motivation, to use every cinematic technique possible to make a realistic city appear more stunning and breathtaking than it ever could to someone just walking through it in real life. I don't know who asked for this movie, or if it made sense to make, but we should all be grateful that it did get made. Spielberg has taken something old and dated and made it feel newer and fresher than most of the formula franchise films that are filling multiplexes today.
    Visualizza tutte le recensioni

    Sondaggi effettuati di recente

    30 sondaggi totali effettuati
    Face-Off: "Gadot as Wonder Woman" vs. "Robbie as Harley Quinn"
    Ha impiegato 8 mar 2023
    Gal Gadot in Batman v Superman: Dawn of Justice (2016)
    Costume Face-Off: Different Versions of Batman
    Ha impiegato 8 mag 2022
    Christian Bale in Batman Begins (2005)
    'Dawn of Justice' Costume Face-Off: Batman vs Wonder Woman vs Superman
    Ha impiegato 8 mag 2022
    Ben Affleck in Batman v Superman: Dawn of Justice (2016)
    Face-Off : Tobey Maguire Vs. Andrew Garfield
    Ha impiegato 25 lug 2019
    Tobey Maguire
    Spider-man vs. Spider-man vs. Spider-man?
    Ha impiegato 25 lug 2019
    Tobey Maguire

    Visti di recente

    Abilita i cookie del browser per utilizzare questa funzione. Maggiori informazioni.
    Scarica l'app IMDb
    Accedi per avere maggiore accessoAccedi per avere maggiore accesso
    Segui IMDb sui social
    Scarica l'app IMDb
    Per Android e iOS
    Scarica l'app IMDb
    • Aiuto
    • Indice del sito
    • IMDbPro
    • Box Office Mojo
    • Prendi in licenza i dati di IMDb
    • Sala stampa
    • Pubblicità
    • Lavoro
    • Condizioni d'uso
    • Informativa sulla privacy
    • Your Ads Privacy Choices
    IMDb, una società Amazon

    © 1990-2025 by IMDb.com, Inc.