cdemw
Entrou em jan. de 2006
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Selos2
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Avaliações5
Classificação de cdemw
The background on this film for me was that I spent ages trying to get hold of this film and then because of the remake it got aired (without fanfare) on ITV4 in the middle of the night. Well, it was worth the wait.
Michael Caine and Laurence Olivier feed off each other in these visceral performances, it was hard to judge who was better! It made me think of 'The Deer Hunter' where Chris Walken and Robert De Niro are so brilliantly cast against each other, or even Glengarry Glen Ross where the ensemble cast is truly peerless.
Caine's performance as Tindle is seminal, you can feel his hunger for a victory, to pull one over Olivier's snobby gentry. Similarly, the film is crackling with tension, down to Olivier's portrayal of Andrew Wyke - seething with arrogance, classism and as a symbol of the ever-declining bourgeoisie. What really impressed, however, was how funny the script managed to be without losing the drama, something that isn't easy to achieve.
The two performances, however, are not enough - it is Anthony Shaffer's subliminal screenplay, from his stage play, that is the glue that binds this together. The dialogue is fantastic throughout and doesn't falter, whilst Caine and Olivier deliver their lines and interactions completely naturally.
Cinematographically the film is excellently shot, with the insinuation of Wyke's plainly freaky marionettes and clutter as watching over the charade between Caine and Olivier. There is also a great score to accompany, adding to the thriller aspect of this piece.
I won't go over the plot because the only way to enjoy this film is to see it, all you need to know is it is a tale of jealous, competitiveness and revenge.
'Sleuth' is a master piece, it is witty and sharp and makes the viewer think, whilst Olivier and Caine chuck out performances that easily rank along the best they have done, before or after. So, to reiterate, it was completely worth the wait.
Michael Caine and Laurence Olivier feed off each other in these visceral performances, it was hard to judge who was better! It made me think of 'The Deer Hunter' where Chris Walken and Robert De Niro are so brilliantly cast against each other, or even Glengarry Glen Ross where the ensemble cast is truly peerless.
Caine's performance as Tindle is seminal, you can feel his hunger for a victory, to pull one over Olivier's snobby gentry. Similarly, the film is crackling with tension, down to Olivier's portrayal of Andrew Wyke - seething with arrogance, classism and as a symbol of the ever-declining bourgeoisie. What really impressed, however, was how funny the script managed to be without losing the drama, something that isn't easy to achieve.
The two performances, however, are not enough - it is Anthony Shaffer's subliminal screenplay, from his stage play, that is the glue that binds this together. The dialogue is fantastic throughout and doesn't falter, whilst Caine and Olivier deliver their lines and interactions completely naturally.
Cinematographically the film is excellently shot, with the insinuation of Wyke's plainly freaky marionettes and clutter as watching over the charade between Caine and Olivier. There is also a great score to accompany, adding to the thriller aspect of this piece.
I won't go over the plot because the only way to enjoy this film is to see it, all you need to know is it is a tale of jealous, competitiveness and revenge.
'Sleuth' is a master piece, it is witty and sharp and makes the viewer think, whilst Olivier and Caine chuck out performances that easily rank along the best they have done, before or after. So, to reiterate, it was completely worth the wait.
Let's be honest, with 'Good Luck Chuck' I wasn't expecting a high-brow comedy with a cutting critique on society. At the same time, I was expecting slightly more than just rude words and nudity. I was disappointed.
The starting sequence with young Chuck is amusing enough, the humour being in small children not understanding adult terminology - we've all been there - and setting up the plot of Chuck as someone unable to find love. As an adult, however, Chuck isn't particularly likable or dislikeable which is a slight problem: Dane Cook's character doesn't invoke any strong feelings either way.
Jessica Alba, as Cam, is undeniably beautiful and at least half of the ticket sales to this movie will be young men hoping to get a glimpse of her naked, or at least in her skimpies. Her comedy acting was adequate although the impression I got was that she was put in the film solely as eye-candy.
My main problem, however, is that this film isn't disgusting enough to be a gross-out comedy, it's not clever enough to rely on its dialogue and it's not fast-paced enough to be carried by the physical humour. It seems that the producers thought they'd get away with this film by putting more breasts in this than a KFC Family Bucket, and unless you're a 14 year old boy that's not really going to cut the mustard.
In the guise of a saviour and curse of the film is Dan Fogler as Stu as the comic relief. Whenever the dialogue might come close to meaningful he comes out with an obscure and filthy euphemism, which at first is funny but then weighs him down (in this film) as a one-trick pony.
Ultimately, don't go to see 'Good Luck Chuck' with high expectations, they're not going to be met. Take it as it is, don't question anything and you might just enjoy it - bubble-gum for the eyes. And if anything justifies it's existence, the scene over the closing credits was the only thing that had me laughing uncontrollably. An unremarkable film that will kill an hour and a half if you've got it spare, if not I'm sure you can think of better things to do.
The starting sequence with young Chuck is amusing enough, the humour being in small children not understanding adult terminology - we've all been there - and setting up the plot of Chuck as someone unable to find love. As an adult, however, Chuck isn't particularly likable or dislikeable which is a slight problem: Dane Cook's character doesn't invoke any strong feelings either way.
Jessica Alba, as Cam, is undeniably beautiful and at least half of the ticket sales to this movie will be young men hoping to get a glimpse of her naked, or at least in her skimpies. Her comedy acting was adequate although the impression I got was that she was put in the film solely as eye-candy.
My main problem, however, is that this film isn't disgusting enough to be a gross-out comedy, it's not clever enough to rely on its dialogue and it's not fast-paced enough to be carried by the physical humour. It seems that the producers thought they'd get away with this film by putting more breasts in this than a KFC Family Bucket, and unless you're a 14 year old boy that's not really going to cut the mustard.
In the guise of a saviour and curse of the film is Dan Fogler as Stu as the comic relief. Whenever the dialogue might come close to meaningful he comes out with an obscure and filthy euphemism, which at first is funny but then weighs him down (in this film) as a one-trick pony.
Ultimately, don't go to see 'Good Luck Chuck' with high expectations, they're not going to be met. Take it as it is, don't question anything and you might just enjoy it - bubble-gum for the eyes. And if anything justifies it's existence, the scene over the closing credits was the only thing that had me laughing uncontrollably. An unremarkable film that will kill an hour and a half if you've got it spare, if not I'm sure you can think of better things to do.
When going into the theatre to see this I in two minds - it was my first 3D movie and I had heard good things, however I wasn't particularly taken by the concept or the trailers. I was unsure what to expect, however I ended up leaving the cinema extremely satisfied with the film, and tellingly, unable to stop discussing it long after the ride home.
Visually it is an absolute treat, Zemeckis uses 3D superbly, some of the camera angles and sequences are as great an art as the photo-realistic animation. Occasionally the odd shot appears where the impression is that it was set up solely to emphasise the 3D (e.g. starting at the end of a branch and panning out) and whilst this doesn't add to the film it is actually a pleasant reminder of the novelty of 3D.
There are only two areas that let Beowulf down aesthetically: the eyes and the mouth. The eyes were static throughout and it is the little details that make the difference when trying to make something as uber-realistic as this, such as the fact that the pupils didn't react to light. As for the lips - they're just not quite there yet - sometimes the speech didn't seem to be quite right.
The characters are expertly introduced and developed, most notably Anthony Hopkins character, Hrothgar and the tension between his wife. Grendell and his mother are wonderfully creepy and seductive, and bizarrely enough almost encourage sympathy.
For me the most disappointing part of the film was actually Ray Winstone as the titular character - he was fantastic when talking in a low growl, however the film really suffers when he shouts in full cockney accent. "I will kill your monstah!". I half expected Grendell's head to be smashed between a car and it's door. John Malkovitch is a saving grace with his none-more-sinister voice and interesting faith sub-plot.
The rating for this film has been hotly discussed and in my opinion I do not think it is suitable for children under the age of 12. Grendell would have truly terrified me as a child. The violence, as well as bawdiness, does not make it a family film for young children although having said that the lewd references do provide good humour and balances out the movie.
So, overall, this was worthy of an 8. Breathtaking animation, incredible action (especially the finale featuring an excellent dragon) and a generally brilliant cast. Beowulf throws down the gauntlet to film-makers to show what can be done with 3D and is an indication of the potential. It's not all the way there yet, but it's a damn good start.
Visually it is an absolute treat, Zemeckis uses 3D superbly, some of the camera angles and sequences are as great an art as the photo-realistic animation. Occasionally the odd shot appears where the impression is that it was set up solely to emphasise the 3D (e.g. starting at the end of a branch and panning out) and whilst this doesn't add to the film it is actually a pleasant reminder of the novelty of 3D.
There are only two areas that let Beowulf down aesthetically: the eyes and the mouth. The eyes were static throughout and it is the little details that make the difference when trying to make something as uber-realistic as this, such as the fact that the pupils didn't react to light. As for the lips - they're just not quite there yet - sometimes the speech didn't seem to be quite right.
The characters are expertly introduced and developed, most notably Anthony Hopkins character, Hrothgar and the tension between his wife. Grendell and his mother are wonderfully creepy and seductive, and bizarrely enough almost encourage sympathy.
For me the most disappointing part of the film was actually Ray Winstone as the titular character - he was fantastic when talking in a low growl, however the film really suffers when he shouts in full cockney accent. "I will kill your monstah!". I half expected Grendell's head to be smashed between a car and it's door. John Malkovitch is a saving grace with his none-more-sinister voice and interesting faith sub-plot.
The rating for this film has been hotly discussed and in my opinion I do not think it is suitable for children under the age of 12. Grendell would have truly terrified me as a child. The violence, as well as bawdiness, does not make it a family film for young children although having said that the lewd references do provide good humour and balances out the movie.
So, overall, this was worthy of an 8. Breathtaking animation, incredible action (especially the finale featuring an excellent dragon) and a generally brilliant cast. Beowulf throws down the gauntlet to film-makers to show what can be done with 3D and is an indication of the potential. It's not all the way there yet, but it's a damn good start.