A remake of the japanese classic Godzilla this year is definitely a movie about people and their dilemmas. From this premise then we have the backdrop of the threat of colossal creatures towards the destruction of cities and the annihilation of populations. It is true that to have a good plot of suspense is essential that have the point of views of victims, after all she builds a relationship of “concern” between the viewer and the heroes of the movie.
But this Godzilla directed by Gareth Edwards (Monsters) the character theme of the movie is content with very little screen time, not to mention the unnecessary development of its human characters. The first act of the movie is what suffers most by presenting almost an hour arc starring Aaron Taylor-Johnson and Bryan Cranston. Suffers because he is too patient to present their arguments and ultimately prove irrelevant to the final balance of the movie.
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The classic story of Hercules and his 12 labors has passed numerous times by the big screen. The best, without a doubt, is the Hercules (1997) animation produced by Disney and directed by John Musker and Ron Clements. The worst was launched in 2014, but it is not here. It’s Hercules, with Kellan Lutz, who brings a show with bad effects and dialogues, performances besides sufferable.
Now is the time to give Dwayne Johnson’s skin mythological character. The new Hercules is not as good as the animation, but it is Citizen Kane compared to the long Lutz. The Rock comes at a very physical role, he, of course, can sustain with ease. Son of Zeus, semi-god, responsible for 12 extraordinary works overcome and break the curse Hera… This is the mythological story and also told by Hercules and his group of mercenaries as a means to frighten their enemies. The title character is never alone, enlisting the help of Tydeus (Aksel Hennie), Atalanta (Pocket Ingrid Berdal), Amphiarus (Ian McShane) and company. They are given a mission to help a king (John Hurt) who is having his region attacked by wild people.
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The Need for Speed series is famous for stylish vehicles in races held in unusual locations, allowing the player to drive around in the middle of a hint of illegality. Yes, because clandestine disputes and police leaks are constant figures in games of the series. Given the overwhelming success of the Fast & Furious franchise, it seemed natural that a big-screen adaptation arise anytime. What was not expected was that the movie was so sloppy in such crucial issues.
The story and the setting of the main characters are not good. Everything revolves around Tobey Marshall (Aaron Paul of Breaking Bad series, very apathetic), the good owner of a workshop practicing some illegal races in their free time. One day, he receives an invitation from a disaffected (Dominic West) to assist in the construction of a mythical car, aiming at a future sale. Needing the money, he stumbles. Service done, the two end up dueling in decisive splits… and a great partner of Tobey dies. Result: the hero goes to jail and two years later, resurfaces willing to participate in an illegal race. Of course, the villain of the story will also be in contention.
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For some reason , Hollywood became convinced that it is time to reshoot the features of Dutch filmmaker Paul Verhoeven who helped give substance to the American action cinema in the 1980s and 1990s , such as Total Recall – whose remake came out in 2012 – and now RoboCop. It turns out that the films of Verhoeven, and personalist , always come with a built satire, which makes it potentially ridiculous trying to play them .
MGM took few years with the project, to see Elite Squad and decide that the Brazilian director José Padilha was right to update the RoboCop . The similarity is evident – Captain Nascimento of BOPE and his train headed to deal with the crime of machinelike way, with the efficiency of a robot, and dehumanized in the process – and in fact is not surprising that the 2014 split with RoboCop the first Elite Squad also some qualities and their defects.
The main similarity is the tendency to create an intricate panel views. This can be understood as both an advantage (the movie would gain in complexity to encompass various issues) and as a disability (the views are nullify each other and the film is without its own that goal perspective).
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The beginning of Pompeii is not encouraging. A man emerges from somewhere and soon guesses that this is the villain because he lets a child die. Then another one appears, in slow motion, and you can know that this is the good guy, because it is strong, beautiful and takes care of helpless animals. Even comes a beautiful girl, who immediately looks at the strong gladiator, and both fall in love at first sight. She also says some catch phrase like “I can see the goodness in your heart.” These moments do not inspire confidence, but the film makes up for the lack of subtlety and little intelligence script with an impressive visual spectacle.
Director Paul W. S. Anderson seems to have so much fun with the camera and with the potential of this plot. Incidentally, that is the history of the Italian city and the volcano Vesuvius is mere backdrop for director massacring an entire population in less than two hours. The title could also be “A million ways to die in Pompeii“: Anderson creates deaths by sword, chains, asphyxia, lava volcano, tsunami, crushing, stonin… all with the pleasure of a child playing with dolls and dreams of the massive destruction of imaginary scenarios.
This sadistic show is shot with force: the director uses and abuses of air planes, images of buildings collapsing and cracking, and gets to put a camera in view of the fireballs spewed by the volcano. The various action scenes that follow each other without dead times in the script, are sewn by a rapid assembly and feature a generous amount of sound effects. In an exciting time fighting (the scene of the “massacre” of the gladiators), the direction of sound overlaps the noises of swords moans of the actors, the ovation from the crowd, the noise of the fire in the volcano, the noise of the blade penetrating the flesh combatants and an insistent percussion on the soundtrack. Everything is exaggerated, but done in a way to print an intense and effective pace.
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