Realização:
Lucky McKeeCâmara:
Alex VendlerMúsica:
Sean SpillaneElenco:
Pollyanna McIntosh, Angela Bettis, Sean Bridgers, Lauren Ashley Carter, Marcia Bennett, Zach Rand, Tommy Nelson, Carlee Baker, Shyla Molhusen (mais)Sinopses(1)
The wild beast that dwells within us all boils to the surface in The Woman. A domineering, upper-middle class father abducts a feral woman while out hunting. With his twisted set of ideals, he decides to embark upon a deranged project - to "civilize" her - a decision that he and his family will soon regret. Tearing apart the image of the all-American family, director Lucky McKee and writer Jack Ketchum unleash a savage depiction of the sex war and nature vs. civilization. Labeled one of the most controversial films of the year, The Woman is a must for fans of horror. (texto oficial do distribuidor)
(mais)Vídeos (1)
Críticas (3)
The Woman começa como um filme C de terror de aspeto barato. Mas deem-lhe uma oportunidade. A atuação preguiçosa, os diálogos estranhos e a direção diferente começam gradualmente a fazer sentido, os personagens assumem contornos, a atmosfera começa a ferver e o final deixa-o inconsciente. Um filme B em termos de produção, mas refinado em termos de conteúdo, preciso e invulgarmente arrojado para um produto americano. Tanto na sua crueza como na sua subversão das fórmulas sociais americanas.
()
To bury such a beautifully anti-chauvinist theme with such lethargic and perhaps universally flawed direction is a feat. For example, if you listen at the door during a screening, you can't help but feel that you’re watching not a film, but a cut from a 60s dance school reunion, as the film drops one oldies song after another, which fits like whipped cream on chili con carne. The encounter with the eponymous woman takes place in slow motion, where the girl dapperly dons a leather jacket (?), and it practically looks exactly the same, even with the background music, as when Bay introduces us to Megan Fox. There are more of those points of contact – the wild lady here may have her armpits bare enough to take supporting roles in Wilkinson commercials, but the film doesn't bother to introduce us to the doe who's been chewing her pits clean. The editing between scenes is practically constantly resolved by intercutting, which imho is also a pretty passé thing to do, and almost no one in this movie can act. The highlight is the absolutely incomprehensible pair of teachers, who not only both look about 17, but their importance in the film is minimal and they completely take away from the plot with their problems. Actor Sean Bridgers, an unspoken parody of Colin Firth, does everything he can to make you not take the film seriously, and the final stage is the violence, which isn't there. Or rather, it wants to be, but just as it's happening, someone moves the camera so we can imagine everything... like in the new Seagal movies. What's left? The great story, the strong finale, and especially the absolutely fabulous scene of the marital squabble, which in the current context is the best I've seen in a long time.
()
The excited lad in Sundance hyped it more than it would be advisable. I will have to let it lager in my head for a bit, but it’s hard not to feel disappointed. Right now, I have trouble comprehending The Woman at a symbolical level, all I can say is that it’s been long since a movie character pissed me off so much as the mother in this film. The more action packed ending was rather disappointing, the dad leaves, complicating the situation in a pretty illogical fashion (that this resulted in a nice bloody carnage is another thing). I bet this will have the same mixed reception as McKee’s previous film, May.
()
Galeria (53)
Photo © Modern Woman LLC
![The Woman - Nem Todo Monstro Vive na Selva - Do filme](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/161/012/161012934_0a1743.png)
Publicidade