JohnDeSando
Entrou em out. de 2001
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Selos3
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Classificação de JohnDeSando
"Your planet is marked for death." Silver Surfer (Julia Garner)
Finally, a super hero film I fully enjoy-Fantastic Four: First Steps. Overarching the entire adventure is the motif of family centrality, one most superhero films aspire to, but it surely comes home here. Mr. Fantastic (Pedro Pascal) and Invisible Woman Sue Storm (Vanessa Kirby) are with child, the object of Galactus (Ralph Ineson), a planet gobbler who would save earth if it gives up the baby.
The movie is a simple one that without cellphones and computers (set in 1960) relies on the actors and script to draw us in to the adventure and their characters. While the graphics are ancient, the characters are alive with spirit and bravery.
Kirby's Mrs. Richards reminds us of her 24-min childbirth scene in her Oscar-nominated Pieces of a Woman when she fights zero-gravity in a black hole to give birth to Franklin, the baby desired by bad boy Galactus. The opening shot of her on the commode testing for pregnancy is a part of the film's enduring commitment to realism despite the '60's space age ambience.
Pascal's TV triumphs in The Mandalorian and The Last of Us prepare us for the heroic role here of devoted husband and dad-no wonder he's been tagged on the Internet as "Daddy." This couple is the most romantic twosome in recent film history that can also kick serious butt when necessary.
This spirit of family love pervades The Fantastic Four: First Steps in hot-headed Johnny Storm (Joseph Quinn), the blazing hero Human Torch and brother of Sue Storm, who can fall for Galactus's enforcer, Silver Surfer, while willing to sacrifice himself to the bad ones to save the planet. Johnny's best friend, Ben Grim (Ebon Moss-Bachrach), brings to life loving humanity even though he's a pile of rocks.
Surfer is one of the most intriguing bad girls in all the canon, covered in form-fitting silver with not a small echo of the robot in Metropolis. As in life itself, she is one whose motives are ambivalent and changeable and therefore fascinating.
Nicely integrated in the family motif is the sometimes-ambivalent populace, who expect F4 to save them yet eventually realize giving up the baby is unacceptable. The adventure's emphasis on cooperation to survive has been done before but not as warmly in the face of annihilation.
For an end of summer, the whole family could enjoy in an air-conditioned theater and plush seats, I offer no more, other than all of us joining this super-hero family and its warm humanity.
"Whatever life throws at us, we'll face it together, as a family." Sue Storm.
Finally, a super hero film I fully enjoy-Fantastic Four: First Steps. Overarching the entire adventure is the motif of family centrality, one most superhero films aspire to, but it surely comes home here. Mr. Fantastic (Pedro Pascal) and Invisible Woman Sue Storm (Vanessa Kirby) are with child, the object of Galactus (Ralph Ineson), a planet gobbler who would save earth if it gives up the baby.
The movie is a simple one that without cellphones and computers (set in 1960) relies on the actors and script to draw us in to the adventure and their characters. While the graphics are ancient, the characters are alive with spirit and bravery.
Kirby's Mrs. Richards reminds us of her 24-min childbirth scene in her Oscar-nominated Pieces of a Woman when she fights zero-gravity in a black hole to give birth to Franklin, the baby desired by bad boy Galactus. The opening shot of her on the commode testing for pregnancy is a part of the film's enduring commitment to realism despite the '60's space age ambience.
Pascal's TV triumphs in The Mandalorian and The Last of Us prepare us for the heroic role here of devoted husband and dad-no wonder he's been tagged on the Internet as "Daddy." This couple is the most romantic twosome in recent film history that can also kick serious butt when necessary.
This spirit of family love pervades The Fantastic Four: First Steps in hot-headed Johnny Storm (Joseph Quinn), the blazing hero Human Torch and brother of Sue Storm, who can fall for Galactus's enforcer, Silver Surfer, while willing to sacrifice himself to the bad ones to save the planet. Johnny's best friend, Ben Grim (Ebon Moss-Bachrach), brings to life loving humanity even though he's a pile of rocks.
Surfer is one of the most intriguing bad girls in all the canon, covered in form-fitting silver with not a small echo of the robot in Metropolis. As in life itself, she is one whose motives are ambivalent and changeable and therefore fascinating.
Nicely integrated in the family motif is the sometimes-ambivalent populace, who expect F4 to save them yet eventually realize giving up the baby is unacceptable. The adventure's emphasis on cooperation to survive has been done before but not as warmly in the face of annihilation.
For an end of summer, the whole family could enjoy in an air-conditioned theater and plush seats, I offer no more, other than all of us joining this super-hero family and its warm humanity.
"Whatever life throws at us, we'll face it together, as a family." Sue Storm.
"Survival is a long shot!" Dr. Henry Loomis (Jonathan Bailey)
Jurassic World: Rebirth is framed to be forgotten, a concoction meant to please the whole family and certainly not discerning film-literate folk. The plot is simple, the characters underdeveloped, and the dinos less impressive than ever. With a family trying to survive a seafaring school of dinos and a raging Rex, enough home-centered action should make it an enjoyable actioner for low summer expectations.
The lead mercenary advisor on the rambling search for dino DNA is Zora, played by Scarlett Johansson as if she has a much better script to go to in a much better movie but probably not a better salary, which was purported to be around $20 million when she made Black Widow. If she has more than 2 lines at one time, I can't remember. She mostly minds resident scientist, Dr. Henry Loomis, who is as stereotypically out of it as you'd suspect, but a quick learner.
They are seeking dino blood samples to use for human medicine to curb heart disease. In that regard, Jurassic World: Rebirth redeems itself by abjuring the usual lust for profit to do something for mankind, at least supposedly even though chief capitalist rep, Martin (Rupert Friend), has a portfolio worth multiples of Johansson's salary to make sure his company becomes super wealthy from the expedition. That Martin may be dino meal seems a given under the immutable blockbuster formula laws.
The little family that gets connected to the original team is as forgettable as the film itself, slowing down action to focus on their petty squabbles that do little to advance even the humanistic plodding subplot. Only when Johansson and former right-hand mercenary, Duncan (Mahershala Ali), exchange does the script match the talent of the two real movie stars.
The cinematography, less crisp and less realistic than previous iterations, as if Canadian fires were plaguing the filming, is fuzzy, and at times less impressive than the dino movies of the early 20th century, making it almost found footage but not nearly as interesting. Alexande Desplat's John-Williams-derived score gives impetus to the action while reminding us of the great Jurassic movies of yore.
Jurassic World: Rebirth is an action film nowhere near the expertise of a Mission Impossible, but a pleasant air-conditioned amusement through the heat of summer. Where, oh, where, are Sam Neill, Laura Dern, Jeff Goldblum, and their scripts?
Jurassic World: Rebirth is framed to be forgotten, a concoction meant to please the whole family and certainly not discerning film-literate folk. The plot is simple, the characters underdeveloped, and the dinos less impressive than ever. With a family trying to survive a seafaring school of dinos and a raging Rex, enough home-centered action should make it an enjoyable actioner for low summer expectations.
The lead mercenary advisor on the rambling search for dino DNA is Zora, played by Scarlett Johansson as if she has a much better script to go to in a much better movie but probably not a better salary, which was purported to be around $20 million when she made Black Widow. If she has more than 2 lines at one time, I can't remember. She mostly minds resident scientist, Dr. Henry Loomis, who is as stereotypically out of it as you'd suspect, but a quick learner.
They are seeking dino blood samples to use for human medicine to curb heart disease. In that regard, Jurassic World: Rebirth redeems itself by abjuring the usual lust for profit to do something for mankind, at least supposedly even though chief capitalist rep, Martin (Rupert Friend), has a portfolio worth multiples of Johansson's salary to make sure his company becomes super wealthy from the expedition. That Martin may be dino meal seems a given under the immutable blockbuster formula laws.
The little family that gets connected to the original team is as forgettable as the film itself, slowing down action to focus on their petty squabbles that do little to advance even the humanistic plodding subplot. Only when Johansson and former right-hand mercenary, Duncan (Mahershala Ali), exchange does the script match the talent of the two real movie stars.
The cinematography, less crisp and less realistic than previous iterations, as if Canadian fires were plaguing the filming, is fuzzy, and at times less impressive than the dino movies of the early 20th century, making it almost found footage but not nearly as interesting. Alexande Desplat's John-Williams-derived score gives impetus to the action while reminding us of the great Jurassic movies of yore.
Jurassic World: Rebirth is an action film nowhere near the expertise of a Mission Impossible, but a pleasant air-conditioned amusement through the heat of summer. Where, oh, where, are Sam Neill, Laura Dern, Jeff Goldblum, and their scripts?
Will the current Joseph Kosinski F1: The Movie clobber the successful Frankenheimer Grand Prix (1966), Ron Howard's Rush (2013), or Mihael Mann's Ferrari (2024) ---I don't think so, but it can stand with them as one heck of a fine racing movie with performances to match the quality of those other three. The director of the Cruise missile, Top Gu: Maverick, shows the great directors a thing or two about up close and personal in and out of a costly Formula 1 racing car.
When lead Brad Pitt as Sonny Hayse is behind the wheel as an aging racer coming back for one more run (yes, clichés abound as in most not quite first-rate stories), Kosinski is superior to his rivals by pasting in real footage from Formula 1 races that include people in the stands along with the super-charged tracks. Help along the way comes from numerous cameras mounted on the cars to give 360-degree coverage of Pitt and his rival Joshua Pearce (Damon Idris) inside and out and small helmet cams to completely immerse us in the experience.
Such technical bravado is what American cinema does so well-transporting us from the plush chairs to the cramped compartment of a multi-million-dollar machine and racer. Besides the visual delights that include Pitt's well-wrought 60-year-old body, Kerry Condon brings just the right underplayed romance as the feisty chief architect of the car and Javier Bardem as Pitt's old racing rival. It all works as summer fare that provides you with air conditioning and action in weather that is usually as blasted hot as the engines on the screen.
For a more intense collaboration with the stars, Kosinski and crew pay little attention to other rival drivers as Pitt and Pearce race around the world, leaving us with our stars and the plot centered around their team work, the inescapable ingredient of success. Better than its cinematic rivals, F1 lets us experience the rivalry and eventual brotherhood at which American filmmaking and its stories excel.
When lead Brad Pitt as Sonny Hayse is behind the wheel as an aging racer coming back for one more run (yes, clichés abound as in most not quite first-rate stories), Kosinski is superior to his rivals by pasting in real footage from Formula 1 races that include people in the stands along with the super-charged tracks. Help along the way comes from numerous cameras mounted on the cars to give 360-degree coverage of Pitt and his rival Joshua Pearce (Damon Idris) inside and out and small helmet cams to completely immerse us in the experience.
Such technical bravado is what American cinema does so well-transporting us from the plush chairs to the cramped compartment of a multi-million-dollar machine and racer. Besides the visual delights that include Pitt's well-wrought 60-year-old body, Kerry Condon brings just the right underplayed romance as the feisty chief architect of the car and Javier Bardem as Pitt's old racing rival. It all works as summer fare that provides you with air conditioning and action in weather that is usually as blasted hot as the engines on the screen.
For a more intense collaboration with the stars, Kosinski and crew pay little attention to other rival drivers as Pitt and Pearce race around the world, leaving us with our stars and the plot centered around their team work, the inescapable ingredient of success. Better than its cinematic rivals, F1 lets us experience the rivalry and eventual brotherhood at which American filmmaking and its stories excel.