bijin_chick
Entrou em mai. 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.
Selos2
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Avaliações10
Classificação de bijin_chick
Two main reasons to see "Close Escape": Dick Wei and Yukari Oshima. If you're a fan of either one, this is a must-see.
Dick Wei, cast in his usual bad guy role, actually brings a considerable amount of charm to his ruthless businessman character; there are a few brief glimpses of the nice guy Wei reportedly was offscreen. Of course, it wouldn't be a Dick Wei performance without some astonishingly great kicks. The makers of "Close Escape" clearly realized this too, and they give Wei ample opportunity to be the badass we all know and love.
Yukari Oshima, meanwhile, very nearly matches Wei kick for kick; I dare say their brutal showdown at the end betters Cynthia Rothrock's fight with Wei in "Yes, Madam!"(Sorry Cynthia!) There's a brief sparring match set in a harbor, between Wei and Oshima, that is simply beautiful to watch. On the acting front, she brings a good amount of charm and even some depth to her role as the film's femme fatale. Watching this film, it is easy to understand why Oshima inspires the fanatical devotion she does.
As for the rest of the film, it is primarily a silly revenge plot involving some stolen diamonds. "Close Escape" won't win any awards for screenplay, but the plot is fairly basic and easy to follow, and serviceably gets us from Fight A to Fight B. Max Mok and Philip Kwok, portraying the two main characters, are better actors than you might expect from such low-budget fare. They too get their share of cool moves during the film's final anarchic showdown.
Having said all this, "Close Escape" was quite visibly made on the cheap; it lacks the polish of a good Corey Yuen or Sammo Hung film. Nevertheless the talent of its performers, both as fighters and actors, does make the film quite enjoyable. Additionally, although "Close Escape" is cheap, I am happy to report that it avoids the sleaze and exploitation that so often accompany low-budget films.
Bottom line: If you're not into fight scenes, skip this one. But if you're like me and you love a good kickfest - particularly involving Wei or Oshima - "Close Escape" is a forgotten gem.
Dick Wei, cast in his usual bad guy role, actually brings a considerable amount of charm to his ruthless businessman character; there are a few brief glimpses of the nice guy Wei reportedly was offscreen. Of course, it wouldn't be a Dick Wei performance without some astonishingly great kicks. The makers of "Close Escape" clearly realized this too, and they give Wei ample opportunity to be the badass we all know and love.
Yukari Oshima, meanwhile, very nearly matches Wei kick for kick; I dare say their brutal showdown at the end betters Cynthia Rothrock's fight with Wei in "Yes, Madam!"(Sorry Cynthia!) There's a brief sparring match set in a harbor, between Wei and Oshima, that is simply beautiful to watch. On the acting front, she brings a good amount of charm and even some depth to her role as the film's femme fatale. Watching this film, it is easy to understand why Oshima inspires the fanatical devotion she does.
As for the rest of the film, it is primarily a silly revenge plot involving some stolen diamonds. "Close Escape" won't win any awards for screenplay, but the plot is fairly basic and easy to follow, and serviceably gets us from Fight A to Fight B. Max Mok and Philip Kwok, portraying the two main characters, are better actors than you might expect from such low-budget fare. They too get their share of cool moves during the film's final anarchic showdown.
Having said all this, "Close Escape" was quite visibly made on the cheap; it lacks the polish of a good Corey Yuen or Sammo Hung film. Nevertheless the talent of its performers, both as fighters and actors, does make the film quite enjoyable. Additionally, although "Close Escape" is cheap, I am happy to report that it avoids the sleaze and exploitation that so often accompany low-budget films.
Bottom line: If you're not into fight scenes, skip this one. But if you're like me and you love a good kickfest - particularly involving Wei or Oshima - "Close Escape" is a forgotten gem.
A slow, rich movie. Though it lags in places, the three lead performances are indelibly written in my memory. And the great jazz soundtrack and warm colors made this movie go down like a glass of bourbon.
Embodying the archetypal difficult genius, Emmet Ray is an almost cartoonishly dislikable guy. But Sean Penn keeps him just this side of sympathetic; we loathe his actions, we curse his self-destructiveness, and yet we're compelled to keep watching in the increasingly futile hope he'll turn himself around. His last scenes are heartrending.
As Hattie, Samantha Morton strikes a perfect, almost Chaplinesque, balance of comedy and tragedy. The line separating the two is razor-thin; she dances gracefully upon it. I could say more, but perhaps appropriately, it's difficult to find words that capture the beauty of her silent performance. Half the joy is in watching her reactions naturally unfold anyway.
Like Penn, Uma Thurman portrays a pretty unlikeable character. Her Blanche is overly intellectual, questions incessantly and is in some ways just as emotionally alienated as Emmett. Though her character is grating at first (particularly in contrast to Morton), Thurman does not shrink from the less flattering aspects of her character. It's a brave performance in a thankless role.
Woody Allen has constructed a thoughtful meditation on the nature of artistry. Not on celebrity -- we all know how that film turned out -- but on the rights and responsibilities of the true artist. Emmett, Hattie and Blanche represent the axis of artists, fans and critics respectively. As their relationships play out -- naturally, inexorably and poignantly -- the viewer gets a rare treat: a film that plucks at the mind and at the heart as gracefully as Emmett picking his guitar strings.
Embodying the archetypal difficult genius, Emmet Ray is an almost cartoonishly dislikable guy. But Sean Penn keeps him just this side of sympathetic; we loathe his actions, we curse his self-destructiveness, and yet we're compelled to keep watching in the increasingly futile hope he'll turn himself around. His last scenes are heartrending.
As Hattie, Samantha Morton strikes a perfect, almost Chaplinesque, balance of comedy and tragedy. The line separating the two is razor-thin; she dances gracefully upon it. I could say more, but perhaps appropriately, it's difficult to find words that capture the beauty of her silent performance. Half the joy is in watching her reactions naturally unfold anyway.
Like Penn, Uma Thurman portrays a pretty unlikeable character. Her Blanche is overly intellectual, questions incessantly and is in some ways just as emotionally alienated as Emmett. Though her character is grating at first (particularly in contrast to Morton), Thurman does not shrink from the less flattering aspects of her character. It's a brave performance in a thankless role.
Woody Allen has constructed a thoughtful meditation on the nature of artistry. Not on celebrity -- we all know how that film turned out -- but on the rights and responsibilities of the true artist. Emmett, Hattie and Blanche represent the axis of artists, fans and critics respectively. As their relationships play out -- naturally, inexorably and poignantly -- the viewer gets a rare treat: a film that plucks at the mind and at the heart as gracefully as Emmett picking his guitar strings.
Watching "K-19: The Widowmaker" was a frustrating experience. Despite some extremely chilling moments, a neat look at propaganda and concepts of loyalty, the movie drags too much to be considered a complete success. Nonetheless, it's a lot smarter than your average "blockbuster," and Bigelow does succeed in capturing a sense of panicked claustrophobia (one of the hallmarks of the submarine movie, and it's done very well here).
Ironically, the "Mutiny on the Bounty" plot -- with Neeson and Ford vying for control -- is probably the least exciting part of the film, probably because we've seen it in so many other films. These are two powerful, interesting and authoritative actors, but their conflict feels stale. There's no sense of cat-and-mouse or one-upmanship; rather, it's like watching two elk butt heads. We're ready to move on a lot sooner than the film does.
The nuclear core meltdown plot is easily the more interesting story. If you can sit through the first act, this sequence is well worth the wait. It recalls "The Red Badge of Courage" in its exploration of cowardice and bravery. Peter Sarsgaard almost steals the movie as the young, untested officer suddenly confronted with the prospect of a horrible death. His reaction will probably ring far more true than most viewers would care to admit.
It is in these moments that K-19 flirts with greatness. Unfortunately, it's as if the screenwriter and director didn't trust the nuclear reactor story to carry the film, and added in the battle-of-the-wills subplot -- which in turn torpedoes the film, no pun intended.
The cast also struggles with on-and-off Russian accents, which deals another blow to the film. I wish they'd handled the language concept better because the accents are seriously distracting. The collective weakness of the accents recalls Costner in "Robin Hood: Prince of Thieves," a charge it pains me to make. Nonetheless, the accents are not the worst problem of the film and you tend to forget about them by the time the great stuff starts happening in the second half.
As for the performances, Ford is a good presence, and I have to admire him for taking on such an atypical role for him. Vostikov is a strict taskmaster, but Ford keeps him from slipping into caricature. Neeson is a good counterpoint, with a face that seems made for humanistic characters, and his interactions with the crew bespeak a paternal tenderness (indeed, he provides much of the film's humanity). Sarsgaard, nearly unrecognizable from his roles in "Boys Don't Cry" and "Garden State," performs yet another great disappearing act.
Overall, it seems the filmmakers' hearts (and minds) were in the right place, but the execution just wasn't as great as it could have been. Still, the film's got a brain and some claustrophobically intense sequences. It's worth checking out.
Ironically, the "Mutiny on the Bounty" plot -- with Neeson and Ford vying for control -- is probably the least exciting part of the film, probably because we've seen it in so many other films. These are two powerful, interesting and authoritative actors, but their conflict feels stale. There's no sense of cat-and-mouse or one-upmanship; rather, it's like watching two elk butt heads. We're ready to move on a lot sooner than the film does.
The nuclear core meltdown plot is easily the more interesting story. If you can sit through the first act, this sequence is well worth the wait. It recalls "The Red Badge of Courage" in its exploration of cowardice and bravery. Peter Sarsgaard almost steals the movie as the young, untested officer suddenly confronted with the prospect of a horrible death. His reaction will probably ring far more true than most viewers would care to admit.
It is in these moments that K-19 flirts with greatness. Unfortunately, it's as if the screenwriter and director didn't trust the nuclear reactor story to carry the film, and added in the battle-of-the-wills subplot -- which in turn torpedoes the film, no pun intended.
The cast also struggles with on-and-off Russian accents, which deals another blow to the film. I wish they'd handled the language concept better because the accents are seriously distracting. The collective weakness of the accents recalls Costner in "Robin Hood: Prince of Thieves," a charge it pains me to make. Nonetheless, the accents are not the worst problem of the film and you tend to forget about them by the time the great stuff starts happening in the second half.
As for the performances, Ford is a good presence, and I have to admire him for taking on such an atypical role for him. Vostikov is a strict taskmaster, but Ford keeps him from slipping into caricature. Neeson is a good counterpoint, with a face that seems made for humanistic characters, and his interactions with the crew bespeak a paternal tenderness (indeed, he provides much of the film's humanity). Sarsgaard, nearly unrecognizable from his roles in "Boys Don't Cry" and "Garden State," performs yet another great disappearing act.
Overall, it seems the filmmakers' hearts (and minds) were in the right place, but the execution just wasn't as great as it could have been. Still, the film's got a brain and some claustrophobically intense sequences. It's worth checking out.