brosseauphilippe
Entrou em jul. de 2021
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Avaliações92
Classificação de brosseauphilippe
This film, directed by horror film expert James Wan, is very successful because it quite simply manages to reach my expectations, it scared me, startled me and made me anxious. The scenario is original even if the background (the haunted house, the possession) has already been presented in the cinema time and time again, James Wan has succeeded in making it a separate film by renewing the genre, which is a very good thing .
The pace is very well managed, we don't get bored at all because we are passionate about the story and we simply wonder how it will end and speaking of the ending, it is excellent and above all quite unexpected. The special effects and especially the makeup are very well done, as is the soundtrack which is excellent and which contributes a lot to the film because it is distressing and really makes you uncomfortable, it is one of those excellent soundtracks which stick to horror films such as "The Exorcist" or "Jaws".
As for the actors, they are very good, especially Patrick Wilson and Ty Simpkins who both give us very good performances. In summary, "Insidious" is a very good horror film that has a lot of good things that make it unique in its genre. 8/10.
The pace is very well managed, we don't get bored at all because we are passionate about the story and we simply wonder how it will end and speaking of the ending, it is excellent and above all quite unexpected. The special effects and especially the makeup are very well done, as is the soundtrack which is excellent and which contributes a lot to the film because it is distressing and really makes you uncomfortable, it is one of those excellent soundtracks which stick to horror films such as "The Exorcist" or "Jaws".
As for the actors, they are very good, especially Patrick Wilson and Ty Simpkins who both give us very good performances. In summary, "Insidious" is a very good horror film that has a lot of good things that make it unique in its genre. 8/10.
Belonging to a generation more lulled by Sergio Leone's "Dollar Trilogy" than by films with John Wayne, I have only seen a few westerns featuring Native Americans and the filmography of John Ford, big name of the genre, remains quite mysterious to me since I have only seen "The Searchers", "The Man who Shot Liberty Valence" and "The Prisoner of Shark Island" by him.
But unlike a classic western, Scott Cooper, for his fourth production, signs a beautiful twilight fresco in the form of a road movie which deals as much with the uprooting suffered by the different tribes in favor of the appropriation of land by American settlers as the need to return to live his last hours in his native land or the mutual respect between two enemy warriors.
A film without bias, fairly neutral in its treatment of characters which brilliantly undermines the traditional image of the cowboy by showing both violence and wisdom full of ambiguities. A sober, accessible but impeccable, rich staging, very beautiful photography.
Between a Christian Bale who is still so magnificently monolithic, a Wes Studi who is still so charismatic, with haughty pride, and a Rosamund Pike who is increasingly convincing in her complex, deep roles and without forgetting a new nervous, disturbing performance from Ben Foster, a casting truly imposing and actors superbly directed.
Halfway between the lyricism of "Dances with Wolves" and the harshness of Clint Eastwood's film "Unforgiven", a feature film both very modern in its subject matter and loaded with references. A great feeling for a powerful story. 8/10.
But unlike a classic western, Scott Cooper, for his fourth production, signs a beautiful twilight fresco in the form of a road movie which deals as much with the uprooting suffered by the different tribes in favor of the appropriation of land by American settlers as the need to return to live his last hours in his native land or the mutual respect between two enemy warriors.
A film without bias, fairly neutral in its treatment of characters which brilliantly undermines the traditional image of the cowboy by showing both violence and wisdom full of ambiguities. A sober, accessible but impeccable, rich staging, very beautiful photography.
Between a Christian Bale who is still so magnificently monolithic, a Wes Studi who is still so charismatic, with haughty pride, and a Rosamund Pike who is increasingly convincing in her complex, deep roles and without forgetting a new nervous, disturbing performance from Ben Foster, a casting truly imposing and actors superbly directed.
Halfway between the lyricism of "Dances with Wolves" and the harshness of Clint Eastwood's film "Unforgiven", a feature film both very modern in its subject matter and loaded with references. A great feeling for a powerful story. 8/10.
I would like to curb the defenders of the film who criticize certain fans of the book (including me) for not liking the film due to sordid details that are not adapted. I remind you that it is not enough to have a pleasant atmosphere, nice gags, and beautiful images to make a good film.
Certainly, visually it is very beautiful, enough to overshadow the previous film. But we need a good adaptation of the scenario, and here I remind everyone: What is the scenario of this 6th HP? Students dominated by their romantic and pivotal impulses, and a darky teenager who spends his school year (and the film) on a cupboard (Oh, an apple! Oh, a bird!).
Without forgetting the quest for Horcruxes, reduced to two memories to show that the attractive Tom Riddle already had an exaggeratedly evil look. Damn, where is the psychology of one of the scariest villains of the 21st century (in books)?
Don't come and talk to me about the time constraints, because as far as toast is concerned, Yates is the king, between the pointless destruction of a bridge (out of respect for 2 unfortunate lines in the book where this attack is mentioned ) and the destruction of the burrow (well, a lot of destruction), which in addition to lacking coherence, is probably the most poorly constructed action scene of the entire saga.
What remains in all this is the humor (respectful of the book, or not) which makes the 6th year of Harry Potter not so unpleasant, a final battle omitted to leave room for that of the last film. Well, it's pleasant but disappointing, and what's certain is that it's far from preparing the ground for the final confrontation. 4/10.
Certainly, visually it is very beautiful, enough to overshadow the previous film. But we need a good adaptation of the scenario, and here I remind everyone: What is the scenario of this 6th HP? Students dominated by their romantic and pivotal impulses, and a darky teenager who spends his school year (and the film) on a cupboard (Oh, an apple! Oh, a bird!).
Without forgetting the quest for Horcruxes, reduced to two memories to show that the attractive Tom Riddle already had an exaggeratedly evil look. Damn, where is the psychology of one of the scariest villains of the 21st century (in books)?
Don't come and talk to me about the time constraints, because as far as toast is concerned, Yates is the king, between the pointless destruction of a bridge (out of respect for 2 unfortunate lines in the book where this attack is mentioned ) and the destruction of the burrow (well, a lot of destruction), which in addition to lacking coherence, is probably the most poorly constructed action scene of the entire saga.
What remains in all this is the humor (respectful of the book, or not) which makes the 6th year of Harry Potter not so unpleasant, a final battle omitted to leave room for that of the last film. Well, it's pleasant but disappointing, and what's certain is that it's far from preparing the ground for the final confrontation. 4/10.