PittsburghFilmCritic
Entrou em nov. de 2010
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Classificação de PittsburghFilmCritic
Drive isn't about action. It isn't about blood, fighting, sex, drugs, or even, driving
This new "Action/Thriller" movie is an artistic endeavor showcasing a general blueprint intellectually analogous to that of most Quentin Tarantino movies.
The film's composition is a fascinating interpretation of film noir and unlike most action recent action movies does not take advantage of new technology for intense, fiery action scenes. Conversely, the film takes advantage of long takes in which movements and conversations are slowly, rhythmically paced; actors are often allowed to react in real time without cuts. With exquisite cinematography and a disconcerting electronica, dream-like score coupled with shockingly brutal and explicit scenes of violence, this film works to invoke the cinematic ideals showcased in Quentin Tarantino classics like Kill Bill, and Pulp Fiction with one notable exception – Drive has virtually no dialogue.
Director Nicolas Refn (of not much else) takes an overly ambitious step by excluding dialogue from the film, and, although the silences emphasize the impressive cinematographic qualities of the film, these noiseless moments make the viewing experience alienating and awkward for the viewers. The movie's quiet nature is augmented by the fact that the movie's protagonist, Ryan Gosling, is a nameless mechanic/movie stunt- car driving/robbery getaway driver is monosyllabic for the entirety of the film. Furthermore, the equally whispery co-star, Carey Mulligan, plays a relatively small, nearly forgettable role in the film.
The other key misleading point about the movie is that the main character, the driver, doesn't really, well drive. Just as Quentin Tarantino applied the theory in his lesser-known, car-chase slasher Death Proof, Refn's Drive revolves around the idea more than the character himself. In both movies, characters live and breathe in these environments – their cars serving merely as tools. However, Death Proof showcased an intense driving scene riddled with the special- effects, action-laden shots viewers have come to know. With Drive, however, viewers will come to remember the essence of the silent, artistically portrayed driver – not the machines, or even the ways in which he commandeers them.
For most Quentin Tarantino films, this disturbingly graphic, nauseatingly artistic film should be a satisfactory respite from the 21st century, Killer Elite action films that have recently roared into theaters. However, for viewers looking for more stimulating, exciting, and thrilling viewing experiences this movie isn't worth the ticket price.
The film's composition is a fascinating interpretation of film noir and unlike most action recent action movies does not take advantage of new technology for intense, fiery action scenes. Conversely, the film takes advantage of long takes in which movements and conversations are slowly, rhythmically paced; actors are often allowed to react in real time without cuts. With exquisite cinematography and a disconcerting electronica, dream-like score coupled with shockingly brutal and explicit scenes of violence, this film works to invoke the cinematic ideals showcased in Quentin Tarantino classics like Kill Bill, and Pulp Fiction with one notable exception – Drive has virtually no dialogue.
Director Nicolas Refn (of not much else) takes an overly ambitious step by excluding dialogue from the film, and, although the silences emphasize the impressive cinematographic qualities of the film, these noiseless moments make the viewing experience alienating and awkward for the viewers. The movie's quiet nature is augmented by the fact that the movie's protagonist, Ryan Gosling, is a nameless mechanic/movie stunt- car driving/robbery getaway driver is monosyllabic for the entirety of the film. Furthermore, the equally whispery co-star, Carey Mulligan, plays a relatively small, nearly forgettable role in the film.
The other key misleading point about the movie is that the main character, the driver, doesn't really, well drive. Just as Quentin Tarantino applied the theory in his lesser-known, car-chase slasher Death Proof, Refn's Drive revolves around the idea more than the character himself. In both movies, characters live and breathe in these environments – their cars serving merely as tools. However, Death Proof showcased an intense driving scene riddled with the special- effects, action-laden shots viewers have come to know. With Drive, however, viewers will come to remember the essence of the silent, artistically portrayed driver – not the machines, or even the ways in which he commandeers them.
For most Quentin Tarantino films, this disturbingly graphic, nauseatingly artistic film should be a satisfactory respite from the 21st century, Killer Elite action films that have recently roared into theaters. However, for viewers looking for more stimulating, exciting, and thrilling viewing experiences this movie isn't worth the ticket price.
Just Go With It, or just go without it – it really doesn't matter. The romantic comedy, Just Go With It starring Adam Sandler, Jennifer Aniston, and Brooklyn Decker was a truly average movie.
The movie was extremely predictable and it had about as many bland jokes as it did funny. Jennifer Aniston did a typically mediocre job acting and Brooklyn Decker's big-screen debut proved to be nothing special. Surprisingly enough, Adam Sandler did a fairly good job – although he was extremely convincing in a few of the more serious and emotional scenes, he tended to return to his typical man-boy humor routine in an effort to get some cheap laughs. The plot of the movie has undoubtedly overdone – a guy with an attractive long time female friend whose good looks are hidden by a myriad of easy to fix factors meets a stunning woman and attempts to woo her, only to realize his feelings for his friend. To make matters worse, the movie is presented in an unrealistic fashion – Adam Sandler appears as an unattractive compulsive liar who easily wins the hearts of two stunning and seemingly flawless women.
Despite these glaring flaws in the movie, Just Go With It did not go without some redeeming qualities. It had a couple of scenes that were laugh-out-loud funny, and a number of other scenes that were quite amusing. Furthermore, the movie's serious moments actually had substance – which was, considering the cast, entirely unexpected. Sandler easily made the transition from humorous to serious and skillfully portrayed a sensitive man who was great with children and was desperate for love. The movie also managed to keep the clichéd plot somewhat fresh with several surprising plot twists and amusingly unrelated scenes.
All things considered, I would recommend renting Just Go With It on a night when you don't feel like watching anything heavy. It is an average movie worth watching for a few laughs, but it doesn't offer much more.
The movie was extremely predictable and it had about as many bland jokes as it did funny. Jennifer Aniston did a typically mediocre job acting and Brooklyn Decker's big-screen debut proved to be nothing special. Surprisingly enough, Adam Sandler did a fairly good job – although he was extremely convincing in a few of the more serious and emotional scenes, he tended to return to his typical man-boy humor routine in an effort to get some cheap laughs. The plot of the movie has undoubtedly overdone – a guy with an attractive long time female friend whose good looks are hidden by a myriad of easy to fix factors meets a stunning woman and attempts to woo her, only to realize his feelings for his friend. To make matters worse, the movie is presented in an unrealistic fashion – Adam Sandler appears as an unattractive compulsive liar who easily wins the hearts of two stunning and seemingly flawless women.
Despite these glaring flaws in the movie, Just Go With It did not go without some redeeming qualities. It had a couple of scenes that were laugh-out-loud funny, and a number of other scenes that were quite amusing. Furthermore, the movie's serious moments actually had substance – which was, considering the cast, entirely unexpected. Sandler easily made the transition from humorous to serious and skillfully portrayed a sensitive man who was great with children and was desperate for love. The movie also managed to keep the clichéd plot somewhat fresh with several surprising plot twists and amusingly unrelated scenes.
All things considered, I would recommend renting Just Go With It on a night when you don't feel like watching anything heavy. It is an average movie worth watching for a few laughs, but it doesn't offer much more.
Despite the success of the original X-Men movie trilogy (2000-2006), based on the failure of X-Men Origins: Wolverine, the new X-Men movie, X-Men: First Class, which arrived in theaters Friday, had most comic book-turned-movie fans uneasy. Furthermore, the mediocrity of the first Fantastic Four movie, Thor, and Superman Returns, make the creation of a successful superhero coming-of-age/beginnings film seem impossible.
However, the 132 minute X-Men: First Class proves that super hero movies are far from finished. Boasting spectacular acting performances by James McAvoy, Michael Fassbender and Jennifer Lawrence, an incredible script, and stunning visuals, this movie is one of the first must-see movies of the 2011 summer.
X-Men: First Class also manages to succeed where the other aforementioned comic book movies failed – it is action-packed and thrilling. The movie is reminiscent of the sensational 2008 superhero movie, The Dark Knight in its fast-paced yet digestible storyline – X- Men: First Class brilliantly traces each characters physical, emotional, and mental development in the movie, while simultaneously showing the viewer each characters motivation, past, and, to an extent, future. These moments of development play pivotal roles in the film, but they are integrated into the main action of the plot, so the movie doesn't have the now common feelings of slowness and transition associated with character development.
Moreover, the movie is strong enough to stand alone – meaning that the viewer doesn't need to have seen the previous X-Men movies to understand and enjoy this one. However, the director, Matthew Vaughn, makes sure to drop plenty of subtle jokes (including a brilliant cameo from one of the actors in the earlier movies) to keep the more intimate fans satisfied. The movie doesn't stay as true to the comic books as many of the more obsessed fans would like to see, and to that, I simply say, stop going to the movies to watch books. If you want to see something that closely follows the original plot line, curl up at home, alone, in bed, with your snuggie and apple juice, and read your precious comic books.
However, the 132 minute X-Men: First Class proves that super hero movies are far from finished. Boasting spectacular acting performances by James McAvoy, Michael Fassbender and Jennifer Lawrence, an incredible script, and stunning visuals, this movie is one of the first must-see movies of the 2011 summer.
X-Men: First Class also manages to succeed where the other aforementioned comic book movies failed – it is action-packed and thrilling. The movie is reminiscent of the sensational 2008 superhero movie, The Dark Knight in its fast-paced yet digestible storyline – X- Men: First Class brilliantly traces each characters physical, emotional, and mental development in the movie, while simultaneously showing the viewer each characters motivation, past, and, to an extent, future. These moments of development play pivotal roles in the film, but they are integrated into the main action of the plot, so the movie doesn't have the now common feelings of slowness and transition associated with character development.
Moreover, the movie is strong enough to stand alone – meaning that the viewer doesn't need to have seen the previous X-Men movies to understand and enjoy this one. However, the director, Matthew Vaughn, makes sure to drop plenty of subtle jokes (including a brilliant cameo from one of the actors in the earlier movies) to keep the more intimate fans satisfied. The movie doesn't stay as true to the comic books as many of the more obsessed fans would like to see, and to that, I simply say, stop going to the movies to watch books. If you want to see something that closely follows the original plot line, curl up at home, alone, in bed, with your snuggie and apple juice, and read your precious comic books.