Inches_72
Entrou em dez. de 2003
Bem-vindo(a) ao novo perfil
Nossas atualizações ainda estão em desenvolvimento. Embora a versão anterior do perfil não esteja mais acessível, estamos trabalhando ativamente em melhorias, e alguns dos recursos ausentes retornarão em breve! Fique atento ao retorno deles. Enquanto isso, Análise de Classificação ainda está disponível em nossos aplicativos iOS e Android, encontrados na página de perfil. Para visualizar suas Distribuições de Classificação por ano e gênero, consulte nossa nova Guia de ajuda.
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Classificação de Inches_72
I went into Shyamalan's latest offering with a fair number of preconceived notions based on having seen his previous 'big three' of 'The Sixth Sense', 'Unbreakable', and 'Signs'. That is, I was expecting to see a twist, to jump in my chair once or twice, and to be treated to some wonderful cinematography. Shyamalan's 'The Village' fits that description exactly, except, unlike 'Signs' or 'The Sixth Sense' I wasn't left muttering 'wow' as the credits rolled. Instead I was shaking my head and wondering 'why?'
But I'm getting ahead of myself. Shyamalan's abilities as a director are wonderfully displayed in this film. The opening montage, detailing village life to a beautiful violin solo, set the scene better than any ten minute prologue could. In rapid succession we meet the key characters in the film, with the exception of Bryce Dallas Howard's Ivy, who is introduced a little later. We see Joaquin Phoenix being grim and thoughtful, we see William Hurt mourning the death of a friend's seven year old son, and we see Adrien Brody laughing irreverently at the aforementioned funeral. Straight away Shyamalan makes it clear who is who, and saves us the trouble of awkward introductions. For those who like the hard and fast style of 'The Sixth Sense', you're in for disappointment, however. Shyamalan goes back to the 'good old days', with the first third of the film surprisingly devoid of any suspense or fear. Rather, he takes the time to introduce his audience to the world in which the movie will take place- with only subtle allusions to 'those who we do not speak of'. By doing all of this, Shyamalan makes us care when the village is suddenly threatened. Too often directors throw us in at the deep end and expect us to care. Mel Gibson's 'The Passion of the Christ' springs to mind, here.
This first third is, surprisingly, quite gripping. You care when Sigourney Weaver tells her son, Joaquin about her past. You laugh (somewhat inappropriately) at the actions of a masterfully played mentally deficient character (Adrien Brody again proves his flexibility).
It is the final portion of the movie that leaves a somewhat bitter taste in my mouth. While there are moments that make you cringe or even leap a little, it all seems a little underplayed. Since we've all been there before, we're all waiting for that inevitable twist. Likewise, we're so used to his customary 'scares' that when they come, they feel just a little less scary than they were in his previous films. Maybe we're outgrowing his style, or maybe he's just running out of ways to have music build to a crescendo and then punctuate it with a loud sound.
There are some magical moments in the film, don't get me wrong, but they're few a far between- as Shyamalan tries in vain to keep too many characters, a setting the audience isn't used to (that of the early 19th century), and his own mythology together. When the twist comes, unfortunately, most of us had already got it. When it comes, you're left a little disappointed. It just felt as if Shyamalan was trying too damn hard to come up with something, and as quickly as you see it, he just forgets it ever happens.
If the film has a redeeming feature, it is the quality of the acting and the marvelous cinematography. Adrien Brody and Bryce Dallas Howard are show-stealing. While Brody plays a mentally deficient character with a remarkable blend of sincerity and humour, Howard's debut performance simply melts your heart. Joaquin Phoenix and William Hurt, however, deliver substandard performances for actors of their caliber. This is partially the fault of Shyamalan's script, but the entire time I struggled to figure out what emotion the two were trying to express. Sometimes it's obvious, but, and this is especially true in Hurt's case, sometimes it just seems like yelling for yelling's sake.
If you're expecting to be scared senseless, 'The Village' may prove a waste of time for you. Get some cash and rent the original 'Dawn of the Dead' or even 'Signs'. If you want to see some wonderful cinematics and some solid acting, go along, but don't expect to be blown out of your seats. 'The Village' is Shyamalan gradually taming the beast that is his writing, and, sadly, it is nowhere near as fearsome as those that went before. Worth a look, certainly, but in the end, it's not going to satisfy nearly as much as some of his earlier films did.
But I'm getting ahead of myself. Shyamalan's abilities as a director are wonderfully displayed in this film. The opening montage, detailing village life to a beautiful violin solo, set the scene better than any ten minute prologue could. In rapid succession we meet the key characters in the film, with the exception of Bryce Dallas Howard's Ivy, who is introduced a little later. We see Joaquin Phoenix being grim and thoughtful, we see William Hurt mourning the death of a friend's seven year old son, and we see Adrien Brody laughing irreverently at the aforementioned funeral. Straight away Shyamalan makes it clear who is who, and saves us the trouble of awkward introductions. For those who like the hard and fast style of 'The Sixth Sense', you're in for disappointment, however. Shyamalan goes back to the 'good old days', with the first third of the film surprisingly devoid of any suspense or fear. Rather, he takes the time to introduce his audience to the world in which the movie will take place- with only subtle allusions to 'those who we do not speak of'. By doing all of this, Shyamalan makes us care when the village is suddenly threatened. Too often directors throw us in at the deep end and expect us to care. Mel Gibson's 'The Passion of the Christ' springs to mind, here.
This first third is, surprisingly, quite gripping. You care when Sigourney Weaver tells her son, Joaquin about her past. You laugh (somewhat inappropriately) at the actions of a masterfully played mentally deficient character (Adrien Brody again proves his flexibility).
It is the final portion of the movie that leaves a somewhat bitter taste in my mouth. While there are moments that make you cringe or even leap a little, it all seems a little underplayed. Since we've all been there before, we're all waiting for that inevitable twist. Likewise, we're so used to his customary 'scares' that when they come, they feel just a little less scary than they were in his previous films. Maybe we're outgrowing his style, or maybe he's just running out of ways to have music build to a crescendo and then punctuate it with a loud sound.
There are some magical moments in the film, don't get me wrong, but they're few a far between- as Shyamalan tries in vain to keep too many characters, a setting the audience isn't used to (that of the early 19th century), and his own mythology together. When the twist comes, unfortunately, most of us had already got it. When it comes, you're left a little disappointed. It just felt as if Shyamalan was trying too damn hard to come up with something, and as quickly as you see it, he just forgets it ever happens.
If the film has a redeeming feature, it is the quality of the acting and the marvelous cinematography. Adrien Brody and Bryce Dallas Howard are show-stealing. While Brody plays a mentally deficient character with a remarkable blend of sincerity and humour, Howard's debut performance simply melts your heart. Joaquin Phoenix and William Hurt, however, deliver substandard performances for actors of their caliber. This is partially the fault of Shyamalan's script, but the entire time I struggled to figure out what emotion the two were trying to express. Sometimes it's obvious, but, and this is especially true in Hurt's case, sometimes it just seems like yelling for yelling's sake.
If you're expecting to be scared senseless, 'The Village' may prove a waste of time for you. Get some cash and rent the original 'Dawn of the Dead' or even 'Signs'. If you want to see some wonderful cinematics and some solid acting, go along, but don't expect to be blown out of your seats. 'The Village' is Shyamalan gradually taming the beast that is his writing, and, sadly, it is nowhere near as fearsome as those that went before. Worth a look, certainly, but in the end, it's not going to satisfy nearly as much as some of his earlier films did.
Let's face it, no one will rent '100 Women' with the high hope that it's going to be an unforgettable and revolutionary look at love and comedy. If you want that- go out and rent something like Love, Actually or Intolerable Cruelty.
I saw '100 Women' before I saw its predecessor '100 Girls'. I seem to be in the minority when I say that I preferred this version. Whilst the storylines are similar, we're not forced to tolerate the smarmy overacting of of Jonathon Tucker. Whilst '100 Girls' does have a far better know cast, I find that it was more enjoyable to see a movie where you didn't associate the female cast with movies they'd previously done. Erin Bartlett is a relative unknown, and incredibly beautiful. Some of her scenes with Chad Donella are just plain sweet.
The real highlights of the movie are the philosophical discussions on women and masculinity held by Sam (Donella) and his disgusting cousin Holden (Steve Monroe). Viewers of the first movie will have heard it all before, but I found Monroe's grossness far more amusing and far less disturbing than James DeBello's.
That, and some of the downright sweet and romantic stuff that goes on, makes 100 Women a different, more intellectual look at an often overdone genre. Jennifer Morrison is wonderfully sweet, Donella delightfully screwed up, and every female characterisation provides a different view on the fairer sex. Maybe not a flattering one, but a view all the same.
Worth a look if you feel like being cheered up about love and life- but don't rent or buy it expecting to be forever changed. It's just a fun movie.
My Rank: 7 out of 10 stars
I saw '100 Women' before I saw its predecessor '100 Girls'. I seem to be in the minority when I say that I preferred this version. Whilst the storylines are similar, we're not forced to tolerate the smarmy overacting of of Jonathon Tucker. Whilst '100 Girls' does have a far better know cast, I find that it was more enjoyable to see a movie where you didn't associate the female cast with movies they'd previously done. Erin Bartlett is a relative unknown, and incredibly beautiful. Some of her scenes with Chad Donella are just plain sweet.
The real highlights of the movie are the philosophical discussions on women and masculinity held by Sam (Donella) and his disgusting cousin Holden (Steve Monroe). Viewers of the first movie will have heard it all before, but I found Monroe's grossness far more amusing and far less disturbing than James DeBello's.
That, and some of the downright sweet and romantic stuff that goes on, makes 100 Women a different, more intellectual look at an often overdone genre. Jennifer Morrison is wonderfully sweet, Donella delightfully screwed up, and every female characterisation provides a different view on the fairer sex. Maybe not a flattering one, but a view all the same.
Worth a look if you feel like being cheered up about love and life- but don't rent or buy it expecting to be forever changed. It's just a fun movie.
My Rank: 7 out of 10 stars
Sheesh, if I have to read one more review of this movie that says 'it isn't realistic', I am going to go postal.
Right off the bat, I don't know why anyone would go into a movie called 'Super Troopers' and involving a comedy group called Broken Lizard and expect it to be a frank and realistic portrayal of the Vermont police service. Whilst the state police and highway patrol are both central agencies in the movie, they are portrayed more as college frats than as authority figures.
When I first saw this movie I was a little apprehensive, too often a comedy with a good preview is sadly little more than that- a good preview with eighty five minutes of crap packed around the good bits. Super Troopers starts a little slow, but it picks up, and soon you're laughing at every second or third scene. The thing that makes Super Troopers work as a comedy is the different levels and styles of comedy you see in it. While my sixteen year old brother is most amused by Fava's violent outbursts and crude language, I found more amusement in the witty quips of Ramathorne and the wonderful acting by Bryan Cox as a drunken highway patrol chief. His performance as a drunk is the finest I've ever seen in a movie. Reminded me of countless drunken nights at college.
Now, this film won't suit everyone, obviously. There are a lot of sexual allusions and a lot of foul language that may offend some people. But, for the most part, it's one of those movies that we need more of. It's innocent (in that it doesn't deal with any real issues), funny, and it has (I shudder at using the cliched expression) 'heart'. You can tell that all of Broken Lizard, as well as the other cast members, had an immense amount of fun filming the film. While the director and writer also plays a role, he doesn't pull a Tarantino and make himself out to be anything more special than the other cast members. That said, he is probably the strongest member of Broken Lizard when it comes to acting and line delivery.
The entire cast, down to the redneck cops and Ramathorne's live-in girlfriend are played well, but it is the 'Super Troopers' that really dominate the show.
See If You Liked: American Pie, Not Another Teen Movie, and Scary Movie. Strengths: Lots of different comedic styles, some classic one-liners ('Who wants a moustache ride' and 'You crapped on my heart' are both great). Weaknesses: Flimsy plot. But who really cares.
My Rating: 8 out of 10
Right off the bat, I don't know why anyone would go into a movie called 'Super Troopers' and involving a comedy group called Broken Lizard and expect it to be a frank and realistic portrayal of the Vermont police service. Whilst the state police and highway patrol are both central agencies in the movie, they are portrayed more as college frats than as authority figures.
When I first saw this movie I was a little apprehensive, too often a comedy with a good preview is sadly little more than that- a good preview with eighty five minutes of crap packed around the good bits. Super Troopers starts a little slow, but it picks up, and soon you're laughing at every second or third scene. The thing that makes Super Troopers work as a comedy is the different levels and styles of comedy you see in it. While my sixteen year old brother is most amused by Fava's violent outbursts and crude language, I found more amusement in the witty quips of Ramathorne and the wonderful acting by Bryan Cox as a drunken highway patrol chief. His performance as a drunk is the finest I've ever seen in a movie. Reminded me of countless drunken nights at college.
Now, this film won't suit everyone, obviously. There are a lot of sexual allusions and a lot of foul language that may offend some people. But, for the most part, it's one of those movies that we need more of. It's innocent (in that it doesn't deal with any real issues), funny, and it has (I shudder at using the cliched expression) 'heart'. You can tell that all of Broken Lizard, as well as the other cast members, had an immense amount of fun filming the film. While the director and writer also plays a role, he doesn't pull a Tarantino and make himself out to be anything more special than the other cast members. That said, he is probably the strongest member of Broken Lizard when it comes to acting and line delivery.
The entire cast, down to the redneck cops and Ramathorne's live-in girlfriend are played well, but it is the 'Super Troopers' that really dominate the show.
See If You Liked: American Pie, Not Another Teen Movie, and Scary Movie. Strengths: Lots of different comedic styles, some classic one-liners ('Who wants a moustache ride' and 'You crapped on my heart' are both great). Weaknesses: Flimsy plot. But who really cares.
My Rating: 8 out of 10