penfever
Entrou em set. de 2003
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Selos7
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Avaliações4
Classificação de penfever
This film is an un-put-downable train wreck of 1970s excess. Tragic inclusions include a young homosexual teenager, abused, bleeding and out of his gourd, being relentlessly mocked by those around him, a woman who makes it her business to preserve plaster trophies of the male member, and two young girls in a hypersexualized bit of exhibitionism for the benefit of the camera and anyone else who happens to be around.
Up there with the G.G. Allin documentary for the title of 'most disturbing slice of human existence'. It deserves to be seen (in my opinion), because people deserve to know that these types of people were (and are) out there. Great documentaries shed light in dark places. And the attitude of these people toward their lives and each other can certainly be described as dark.
Up there with the G.G. Allin documentary for the title of 'most disturbing slice of human existence'. It deserves to be seen (in my opinion), because people deserve to know that these types of people were (and are) out there. Great documentaries shed light in dark places. And the attitude of these people toward their lives and each other can certainly be described as dark.
I won't touch on the fact that an Asian is being played by Jim Sturgess.
I won't touch on Spacey's offhand comment that there's no way women could handle high-stakes gambling.
I won't explore the ramifications of the UTTER lack of chemistry between Sturgess and Bosworth. I will, however, quote Bosworth herself, saying that they both had to get dead drunk before their half-minute romantic exchange.
But I will say that montages are not an acceptable substitute for storytelling, nerds don't argue about "rounding errors" when they mathematically rate girls' attractiveness, and movies that purport to be based on true stories should NEVER mangle the facts the way 21 does.
I won't touch on Spacey's offhand comment that there's no way women could handle high-stakes gambling.
I won't explore the ramifications of the UTTER lack of chemistry between Sturgess and Bosworth. I will, however, quote Bosworth herself, saying that they both had to get dead drunk before their half-minute romantic exchange.
But I will say that montages are not an acceptable substitute for storytelling, nerds don't argue about "rounding errors" when they mathematically rate girls' attractiveness, and movies that purport to be based on true stories should NEVER mangle the facts the way 21 does.
Inspired by the minimalist theater-driven film-making of the period, Figures in a Landscape is much more interesting than its competition (Tomorrow, Losey's own "The Servant). Why? Because of the helicopter, of course!
Robert Shaw, always inspired, is here particularly so, all but frothing at the mouth as he drags his weary carcass over the mountains, from nowhere, to nowhere, until the endless desert itself seems more and more like a stage for their mad performance.
An inversion of the often static fare of the period that still displays serious acting chops. Recommended.
Robert Shaw, always inspired, is here particularly so, all but frothing at the mouth as he drags his weary carcass over the mountains, from nowhere, to nowhere, until the endless desert itself seems more and more like a stage for their mad performance.
An inversion of the often static fare of the period that still displays serious acting chops. Recommended.