eddie_baggins
Entrou em dez. de 2005
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Far from perfect and far too long, the flaws in James Cameron's third Avatar outing, Fire and Ash are there for all to see and in reality, far from surprising but as per his first two multi-billion dollar outings Cameron's latest visual feast is still a fun and entertaining blockbuster that deserves to put bums on cinema seats.
Arriving 16 years after Cameron's original Dances with Wolves courtesy of the Blue Man Group box office behemoth dropped into the big screen world, Ash continues on with the pattern the legendary filmmaker set in place with his 3D extravaganza and if anyone is expecting Ash to deliver in the unexpected, they should temper expectations in a major way and learn to just enjoy the ride.
In a world that seems to find things easier to hate rather than like, Ash could become a bit of a punching bag for those wanting to bemoan the fact Cameron hasn't tried to rewrite the rulebook here but the same naysayers are probably just as likely to have enjoyed the likes of Harry Potter, Lord of the Rings, Star Wars or Marvel's plethora of big screen outings, all franchises and brands that have stuck to what works for better and worse and managed to enthral millions of cinemagoers across the decades.
Kicking off right where The Way of Water finished, Ash finds Sam Worthington's Jake Sully and Zoe Saldaña's Neytiri struggling to maintain their edge and freedom in the face of growing adversity, adversity that includes their continued battle with Stephen Lang's Quaritch and new adversary Varang, solid new addition Oona Chaplin who brings a fierceness to her fire queen.
To call Ash's narrative barebones basic would be perfectly acceptable, even kind in many facets and it's a shame that Cameron and his fellow screenwriters Amanda Silver and Rick Jaffa haven't managed to fix the series weakish script work but if people can move past the fact it's always likely the original Avatar was an outlier in regards to it's all round winning ways, Ash much like its predecessor provides much in the way of cinematic joys and spectacle.
While failing to maximise the addition of the new fire clan led by Varang, who appears set to become the films secondary focus only to be overshadowed by the presence of Quaritch and the impressive performance of Chaplin, Ash still does a lot of things very well including a great opening stretch featuring wind traders and the increasingly stunning special effects work that brings Pandora to life in mesmerising ways, especially in the intended 3D format.
Releasing at a time and place in movie history where many big-scale films have failed to reach the audience they had hoped for, there's much lying on the shoulders of Cameron and his Na'vi friends to bring joy to the Hollywood universe and cinema chains around the globe, while it's very unlikely that Ash will reach the highs of Avatar or Way of Water, there's enough here to suggest audiences will be happy with what they see and spread the word, encouraging others to make the effort to get back out and partake in the big-screen experience.
Having listened to Cameron's recent commentary regarding his future plans for the Avatar cinematic space there's a high chance we may have seen the last of a Cameron lead Avatar feature and if that's the case, we can be thankful Cameron did so much for the medium he loves even if he never managed to recapture the lightning in a bottle magic he did with his 2009 launch.
Final Say -
Walking a familiar path and dancing to the same beat that's been danced too before, Avatar: Fire and Ash isn't able to reach grand heights but as a fun and visually outstanding big screen spectacle, Cameron proves he is still king.
3 1/2 helpful vines out of 5.
Arriving 16 years after Cameron's original Dances with Wolves courtesy of the Blue Man Group box office behemoth dropped into the big screen world, Ash continues on with the pattern the legendary filmmaker set in place with his 3D extravaganza and if anyone is expecting Ash to deliver in the unexpected, they should temper expectations in a major way and learn to just enjoy the ride.
In a world that seems to find things easier to hate rather than like, Ash could become a bit of a punching bag for those wanting to bemoan the fact Cameron hasn't tried to rewrite the rulebook here but the same naysayers are probably just as likely to have enjoyed the likes of Harry Potter, Lord of the Rings, Star Wars or Marvel's plethora of big screen outings, all franchises and brands that have stuck to what works for better and worse and managed to enthral millions of cinemagoers across the decades.
Kicking off right where The Way of Water finished, Ash finds Sam Worthington's Jake Sully and Zoe Saldaña's Neytiri struggling to maintain their edge and freedom in the face of growing adversity, adversity that includes their continued battle with Stephen Lang's Quaritch and new adversary Varang, solid new addition Oona Chaplin who brings a fierceness to her fire queen.
To call Ash's narrative barebones basic would be perfectly acceptable, even kind in many facets and it's a shame that Cameron and his fellow screenwriters Amanda Silver and Rick Jaffa haven't managed to fix the series weakish script work but if people can move past the fact it's always likely the original Avatar was an outlier in regards to it's all round winning ways, Ash much like its predecessor provides much in the way of cinematic joys and spectacle.
While failing to maximise the addition of the new fire clan led by Varang, who appears set to become the films secondary focus only to be overshadowed by the presence of Quaritch and the impressive performance of Chaplin, Ash still does a lot of things very well including a great opening stretch featuring wind traders and the increasingly stunning special effects work that brings Pandora to life in mesmerising ways, especially in the intended 3D format.
Releasing at a time and place in movie history where many big-scale films have failed to reach the audience they had hoped for, there's much lying on the shoulders of Cameron and his Na'vi friends to bring joy to the Hollywood universe and cinema chains around the globe, while it's very unlikely that Ash will reach the highs of Avatar or Way of Water, there's enough here to suggest audiences will be happy with what they see and spread the word, encouraging others to make the effort to get back out and partake in the big-screen experience.
Having listened to Cameron's recent commentary regarding his future plans for the Avatar cinematic space there's a high chance we may have seen the last of a Cameron lead Avatar feature and if that's the case, we can be thankful Cameron did so much for the medium he loves even if he never managed to recapture the lightning in a bottle magic he did with his 2009 launch.
Final Say -
Walking a familiar path and dancing to the same beat that's been danced too before, Avatar: Fire and Ash isn't able to reach grand heights but as a fun and visually outstanding big screen spectacle, Cameron proves he is still king.
3 1/2 helpful vines out of 5.
Rian Johnson's third Knives Out venture since first launching theatrically in 2019, before moving into a partnership with Netflix for the second outing Glass Onion in 2022, Wake Up Dead Man acts as another excuse for Johnson to channel his modern-day Agatha Christie alongside Daniel Craig's thickly accented private investigator Benoit Blanc.
Clocking in just under two and a half hours in runtime, Dead Man has a lot to say and a lot to do and even bravely shuns Blanc for an extended period in its early half, where Josh O'Connor's boxer turned priest Fr. Jud Duplenticy finds himself preaching in a small American town, leading him to be embroiled in the mysterious murder of Josh Brolin's intense Mons. Jefferson Wicks.
Again overloading his Blanc affair with a star-studded cast that includes industry veterans like Thomas Haden Church, Jeremy Renner and Glenn Close as well as rising stars such as Aussie ex-pat Cailee Spaeny and Daryl McCormack, Johnson is clearly having a lot of fun here and Dead Man is a fun film for the most part, even if it drags at times in its indulgent length but while entertaining, this third Knives Out venture does show signs of wear and tear raising the question of Johnson and Netflix doing the right thing and having a longer break between drinks.
Enlivened by Josh O'Connor's brilliant central turn with some notably fun performances from a bearded Brolin and another fun turn from Craig, there's some great components found within Dead Man and it's always a good time investigating and offering up your theories on culprits as a viewer for this type of mystery offering but there's a lot of arguably unneeded additions to Johnson's tale and a large portion of the supporting cast feel as though their wasted in roles that are never fleshed out or given the time to shine like you might expect.
When weighed up against the first Knives Out (still the best in my opinion) and its enjoyable sequel, films that allowed the likes of Edward Norton, Chris Evans, Jamie Lee Curtis or Janelle Monáe to really shine, Dead Man doesn't get a lot out of its key plays such as Renner, Church, Andrew Scott, Mila Kunis, Washington or Spaeny (who has shown so much previously in features Civil War and Alien: Romulus) and you wonder if Johnson has tried to do too much with what's at his disposal, rather than focusing in on the basics.
Taking a downturn in its comedic stakes, even if Brolin brings in some great moments of levity and laugh out loud scenes, Dead Man threatens to unleash a masterclass of genre mash ups and character interactions on us as viewers but the potential of this is never realised and you're left with a film that's enjoyable and eminently watchable but instantly forgettable, leaving Blanc with work to do in the future should he be called back into action for another go around of murder, intrigue and Cats cassettes.
Final Say -
A perfectly fun time filler that also showcases the continued growth of Mr. Potential New James Bond James O'Connor, Wake Up Dead Man acts as a decent new addition to the Knives Out cannon but also one that is beginning to show signs of wear and tear.
3 "rocket ships" out of 5.
Clocking in just under two and a half hours in runtime, Dead Man has a lot to say and a lot to do and even bravely shuns Blanc for an extended period in its early half, where Josh O'Connor's boxer turned priest Fr. Jud Duplenticy finds himself preaching in a small American town, leading him to be embroiled in the mysterious murder of Josh Brolin's intense Mons. Jefferson Wicks.
Again overloading his Blanc affair with a star-studded cast that includes industry veterans like Thomas Haden Church, Jeremy Renner and Glenn Close as well as rising stars such as Aussie ex-pat Cailee Spaeny and Daryl McCormack, Johnson is clearly having a lot of fun here and Dead Man is a fun film for the most part, even if it drags at times in its indulgent length but while entertaining, this third Knives Out venture does show signs of wear and tear raising the question of Johnson and Netflix doing the right thing and having a longer break between drinks.
Enlivened by Josh O'Connor's brilliant central turn with some notably fun performances from a bearded Brolin and another fun turn from Craig, there's some great components found within Dead Man and it's always a good time investigating and offering up your theories on culprits as a viewer for this type of mystery offering but there's a lot of arguably unneeded additions to Johnson's tale and a large portion of the supporting cast feel as though their wasted in roles that are never fleshed out or given the time to shine like you might expect.
When weighed up against the first Knives Out (still the best in my opinion) and its enjoyable sequel, films that allowed the likes of Edward Norton, Chris Evans, Jamie Lee Curtis or Janelle Monáe to really shine, Dead Man doesn't get a lot out of its key plays such as Renner, Church, Andrew Scott, Mila Kunis, Washington or Spaeny (who has shown so much previously in features Civil War and Alien: Romulus) and you wonder if Johnson has tried to do too much with what's at his disposal, rather than focusing in on the basics.
Taking a downturn in its comedic stakes, even if Brolin brings in some great moments of levity and laugh out loud scenes, Dead Man threatens to unleash a masterclass of genre mash ups and character interactions on us as viewers but the potential of this is never realised and you're left with a film that's enjoyable and eminently watchable but instantly forgettable, leaving Blanc with work to do in the future should he be called back into action for another go around of murder, intrigue and Cats cassettes.
Final Say -
A perfectly fun time filler that also showcases the continued growth of Mr. Potential New James Bond James O'Connor, Wake Up Dead Man acts as a decent new addition to the Knives Out cannon but also one that is beginning to show signs of wear and tear.
3 "rocket ships" out of 5.
The perfect example of a perfectly decent drama that at one stage in history might have drawn fairly large crowds to the multiplex, think films in the ilk of The King's Speech or Bridge of Spies, James Vanderbilt's Nuremberg overcome modest reviews to strike a chord with audiences on its way to becoming a minor success for the one time Spider-Man scribe and his studio.
Gathering together a stacked cast of talented leads and supporting players, led notably by an on-form Russell Crowe as notorious Nazi figure Hermann Göring and enlisting the help of Oscar nominated cinematographer Dariusz Wolski to bring his film to life, Vanderbilt covers a lot of ground in his World War 2 epic that focuses in on the events leading up to the infamous Nuremberg trials of 1946.
Turning its attention to build itself around the uneasy friendship between Göring and Rami Malek's American psychiatrist Douglas Kelley as well as segments of Michael Shannon's lawyer Justice Robert H. Jackson who was put in charge of proceedings against Göring and his fellow Nazi higher ups, Nuremberg shines a light on an incredible moment in history and gives us lots to ponder even if it's never able to take that leap from being solid all round to something akin to a must-see.
Never dull, moving along and covering off a lot of ground in its screentime, one of the issues that holds Nuremberg back is the distracting turn from Malek who continues to struggle since his Oscar glory courtesy of Bohemian Rhapsody.
When pitted against the likes of Crowe, who finally seems to care after a few years of cheque collecting, Shannon and Mad Man key player John Slattery, Malek's intense and even at times awkward performance is all over the shop and after showcasing so much in cult TV series Mr. Robot indie affairs like The Master and Short Term 12, Malek's long-term future as a Hollywood leading man must surely be coming in question.
In such a pivotal role, you can sense just what might have been had Malek's turn as the flawed yet determined Kelley been casted differently, quite potentially sparking the film into a whole other cinematic zone but as it stands, he acts as a weight to Vanderbilt's film that allows it to only go so far with no amount of support elsewhere able to pick up the slack.
Far from the most notable film/show made about the Nuremberg trial or the history leading up to it, Nuremberg is still a fine expose of what occurred during this unprecedented time in human history that in this day and age acts as a sad reminder to just what can happen if we choose to ignore the patterns of human behaviours and treatments one towards another.
Final Say -
Not able to take the leap from good to great, Nuremberg is a well-made drama aimed at the mature audience and thanks to a collection of solid supporting turns that combine well with an on-form Russell Crowe, James Vanderbilt's historical epic will likely find a large audience on home format over the coming months.
3 1/2 magic tricks out of 5.
Gathering together a stacked cast of talented leads and supporting players, led notably by an on-form Russell Crowe as notorious Nazi figure Hermann Göring and enlisting the help of Oscar nominated cinematographer Dariusz Wolski to bring his film to life, Vanderbilt covers a lot of ground in his World War 2 epic that focuses in on the events leading up to the infamous Nuremberg trials of 1946.
Turning its attention to build itself around the uneasy friendship between Göring and Rami Malek's American psychiatrist Douglas Kelley as well as segments of Michael Shannon's lawyer Justice Robert H. Jackson who was put in charge of proceedings against Göring and his fellow Nazi higher ups, Nuremberg shines a light on an incredible moment in history and gives us lots to ponder even if it's never able to take that leap from being solid all round to something akin to a must-see.
Never dull, moving along and covering off a lot of ground in its screentime, one of the issues that holds Nuremberg back is the distracting turn from Malek who continues to struggle since his Oscar glory courtesy of Bohemian Rhapsody.
When pitted against the likes of Crowe, who finally seems to care after a few years of cheque collecting, Shannon and Mad Man key player John Slattery, Malek's intense and even at times awkward performance is all over the shop and after showcasing so much in cult TV series Mr. Robot indie affairs like The Master and Short Term 12, Malek's long-term future as a Hollywood leading man must surely be coming in question.
In such a pivotal role, you can sense just what might have been had Malek's turn as the flawed yet determined Kelley been casted differently, quite potentially sparking the film into a whole other cinematic zone but as it stands, he acts as a weight to Vanderbilt's film that allows it to only go so far with no amount of support elsewhere able to pick up the slack.
Far from the most notable film/show made about the Nuremberg trial or the history leading up to it, Nuremberg is still a fine expose of what occurred during this unprecedented time in human history that in this day and age acts as a sad reminder to just what can happen if we choose to ignore the patterns of human behaviours and treatments one towards another.
Final Say -
Not able to take the leap from good to great, Nuremberg is a well-made drama aimed at the mature audience and thanks to a collection of solid supporting turns that combine well with an on-form Russell Crowe, James Vanderbilt's historical epic will likely find a large audience on home format over the coming months.
3 1/2 magic tricks out of 5.
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