Realização:
Tony ScottArgumento:
Richard KellyCâmara:
Dan MindelMúsica:
Harry Gregson-WilliamsElenco:
Keira Knightley, Mena Suvari, Edgar Ramirez, Mickey Rourke, Jacqueline Bisset, Christopher Walken, Delroy Lindo, Lucy Liu, Mo'Nique, Macy Gray (mais)Sinopses(1)
Neste thriller frenético, Christian (Nikolaj Coster-Waldau), um polícia de Copenhaga, procura justiça pelo assassinato do seu parceiro às mãos de um membro do Estado Islâmico, Tarzi Ezra. Num mundo assolado pelo terror e pela suspeita, Christian e Alex (Carice van Houten), colega e amante do seu falecido parceiro, partem numa missão para capturar Ezra, mas são involuntariamente apanhados num jogo de perseguição com um agente duplo da CIA (Guy Pearce), que usa Ezra para aprisionar outros membros do EI. Das cidades geladas da Escandinávia às paisagens ensolaradas de Espanha, desenrola-se uma batalha de forças opostas. (NOS Lusomundo Audiovisuais)
(mais)Vídeos (2)
Críticas (8)
O mesmo que o trailer que não diz nada, mas num pacote de duas horas. Um filme tão caótico, visualmente egocêntrico e, nesse contexto, longo demais, que eu não tinha nenhuma razão ou interesse em atender sequer ao que se passava nele (e é que os cineastas o exigem!). Mas é salvo de ser um completo fiasco por um elenco decente e uma boa quantidade de humor.
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In his crowning achievement, Tony Scott crafted a crazy story inspired by the wild life of a real-life bounty hunter as an impressive trip that induces in the audience a heightened perception of the over-the-top narrative. With variable shooting speeds, an unusual process of developing material, an epileptically roaming camera and frenetic editing, Scott transforms the movie screen into a kinetic image in which the structure and matter of the film become visible and tangible. Richly coloured shots stacked on top of each other and camera movements become the equivalents of massive coats of paint and brushstrokes, alternately evoking the paintings of the Fauvists, Futurists and German Expressionists.
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It’s about three and a half. Unfortunately, the very decent script, the surprisingly believable Knightley and the unearthly badass Rourke are ruined by Scott's mania over his video clip skills, overuse of colourful fitters and a hyperactive editor's hand. Had it been put into the hands of a slightly more artful filmmaker, it would have been a little great film.
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... alternative title: How I Became an Epileptic and Had a Great Time into the Bargain. Tony Scott decided to make a two-hour-long music video. And he did a splendid job. Stylized to the brink of tolerability, but luckily not over it. If it were sensitively cut (in length, not in terms of editing as such), the result could have been even better.
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Under different circumstances, I would be willing to watch Keira Knightley even in unintelligible nonsense, but unfortunately, this one fails in every way possible. The situation it portrays is unbelievable, the camera shots are unbelievable, and due to its nonsensically exaggerated stylization, it even looks unbelievable. Nor did Tony Scott hit the mark when it comes to the criticism of his excessive visual softness (meaning the occasional rational editing) in Man on Fire. Shaky camera and plenty of filters or zooms are great ideas, but for me, it's an unwelcome novelty to have my eyes hurt even while looking at a goldfish. If it wasn't for Christopher Walken, I would have rated this even lower, because this is not the hit that was promised but a fit of awkwardness, which only makes me shake my head and fail to understand the claim of postmodernism.
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Galeria (51)
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