Realização:
Baltasar KormákurCâmara:
Salvatore TotinoMúsica:
Dario MarianelliElenco:
Jason Clarke, Jake Gyllenhaal, Josh Brolin, John Hawkes, Sam Worthington, Robin Wright, Michael Kelly, Keira Knightley, Emily Watson, Thomas M. Wright (mais)Streaming (3)
Sinopses(1)
Expert mountaineers Rob Hall (Jason Clarke) and Scott Fischer (Jake Gyllenhaal) lead rival expeditions to scale the highest peak on Earth, Mount Everest. Their quest becomes dangerous when the fearless climbers collide head-on with one of the fercest blizzards in the mountain’s history. Faced against impossible conditions, the limits of human spirit and physical endurance are put to the ultimate test in an epic struggle for survival in this chilling, edge-of-your-seat thriller based on actual events. (Universal Pictures UK)
(mais)Críticas (19)
There couldn’t be a better director for such a story than Baltasar Kormákur. In my opinion, there is no other European nation than the Icelandic nation more connected with nature, and therefore they could tell totally everything with such a story. But since Baltasar is an Icelander and what’s more a capable director, he took up the storywhere the actors play second fiddle and Everest itself really plays the main role. I gained a lot of respect for it right from the first minutes and as Baltasar had no less capable cameraman, I experienced not only respect, but I also enjoyed the endless sceneries that were absolutely flawless. And the best part was that digital technology is used so little that you won’t even notice it. This movie is a huge film experience that I won’t easily forget. In many scenes, it says more than any viewer can catch, and at the same time, it tries to tell that story from 1996 as it actually could have happened, in a raw and realistic manner.
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Qualquer pessoa por quem se desenvolva simpatia vai entrar num grande problema. Essa é a única ambição dramatúrgica de Everest. Um produto de marketing IMAX que, com o seu formato grande-angular, utiliza apenas metade dum ecrã IMAX. Um argumento completamente medíocre sem um único diálogo, momento ou personagem memorável. O excelente elenco internacional não tem praticamente nada para atuar, e a personagem de Gyllenhaal, a que mais ansiávamos, recebe 3x mais tempo de ecrã do que no trailer. Os visuais são agradáveis, o cenário de Everest é autêntico. Espetaculares fotografias aéreas da travessia exposta abaixo do degrau de Hillary. A principal arma do filme é a intensidade do vendaval, que num cinema bem sonoro o fará fincar-se no seu lugar (Dolby Atmos positive). O filme louvavelmente não distorce a realidade, não faz paródia e não se deita fora pela sua própria estupidez (Limite Vertical). Mas tudo isto é também o orgulho de North Face, que não cheira duma comissão de estúdio mal-feita e, em vez disso, descreve com entusiasmo narrativo e interesse pelas personagens a subida ao Eiger suíço, historicamente mais significativa, e mais dramática no enredo (sendo um nível de montanhismo completamente diferente em termos de dificuldade do que o «andar» ao Everest).
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Kormákur decidiu fazer o seu filme mais ambicioso e o mais realista possível, sem os tradicionais adornos de Hollywood e situações dramáticas induzidas artificialmente, fazendo de Everest uma reconstrução quase documental dos acontecimentos reais nos quais se inspirou. Mas sofre de demasiados caracteres - pelo menos duas dúzias a caminho até ao cume, com muitos mais à espera em baixo ou em casa. Há tantos que um grande número deles só aparece marginalmente no filme e não tem espaço suficiente para formar qualquer ligação emocional com eles, o que é uma vergonha, dado o elenco de estrelas. É filmado bem artesanalmente, mas sem invenções e ideias. Como uma declaração fatídica sobre a superação de si próprio, o poder do espírito humano e o facto de a natureza ter sempre a última palavra a dizer no final, Everest funciona. De resto, porém, é um filme sem risco para o público, no qual uma tentativa simpática de credibilidade e realismo são compensados pela falta de dramatismo e excesso de personagens.
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After a second screening (and having learned about the making of this film), I'm pretty clear: the production values of Kormákur’s film are breathtaking. Whether it's the visuals, the actual locations where it was filmed, the plethora of great special effects that are naturally incorporated into the picture so that you don't even recognize them, and behind all of that there is a subtle tribute to the guys for whom mountains are everything. We can make a comparison here with, for example, the rather dumb Vertical Limit, where the mountains are just a vehicle for stupid stunts that are a laughing stock for real climbers. Everest, in contrast, has a real believable dimension and yet it is deep and human. The fact that you may think mountaineers are weirdos with obsessive compulsive behavior who gamble with their lives is actually pretty irrelevant, petty, and just your problem. Everest can proudly stand alongside some famous French mountaineering-themed films, which are pretty good on their own, and it’s certainly the best mountaineering film Hollywood has ever produced.
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The filmmakers’ indecisiveness about which of the roughly six more significant characters would be the main protagonist probably stems in part from the fact that they relied on the memories of all of the survivors and their loved ones in an attempt at a comprehensive view of the tragedy instead of relying on a single source (Krakauer’s book, which had already been made into the television movie Into Thin Air: Death on Everest, would have served the purpose). No time or space remains for the more thorough development of the characters, who comprise merely a few types; usually the more interesting they are, the more charismatic the actor playing them (the cocky Texan, the easy-going American mountain guide, the responsible New Zealand mountain guide, the humble mailman who wants to fulfil his dream, the loving and caring women). Despite the faint outlining of the characters, the first hour of the film is important, as that is when, in addition to the dangers that await them, we are presented with the relationships between the characters and their ambitions and motivations. We thus better remember their names and later, despite the layer of frozen snow and the dark glasses on their faces, we can recognise who is shouting at whom. At the same time, the fatal decisions that some of the characters make (the bond between Rob and Doug) are more understandable and we are also better able to find our bearings in the individual sections of the journey to the summit, which are presented to us in advance. Whereas the formula of a disaster film is fulfilled by spreading attention among multiple characters, the disaster itself does not serve as punishment for the sins committed by the immoral characters. Atypically, perhaps out of respect for the victims, this is a drama about a group of good people who try to help other good people (The Martian will probably offer a similar story soon). There is no enemy to be defeated, nor is there a character who is supposed to see the light and undergo a transformation based on experience (if he had been a bit more inattentive toward his wife, Beck could have fulfilled this pattern of development). The will to survive is crucial. There is something similarly and likably old-world about the idea of “we have to help each other” as there is about the strictly linear narrative with no flashbacks and with a single (inappropriate) dream sequence. All of the information conveyed, which seems needless on the surface, is put to good use by Kormákur in the film’s second, extremely intense half with astonishing momentum (literally in places) and only a few sentimental moments (though the narrative is structured around them – see the storyline with the unborn child – so they are not superfluous). It serves no purpose to confront the protagonists with the question that will probably occur to every viewer who is not a mountain climber – why do they do it? After all, the rules of the game are not set by people in the second half, but by nature. In the spirit of the cinema of attractions (not intellectual), the aim is to provide an immediate visceral experience. In hindsight, I realise that’s not much. Immediately after the screening (IMAX 3D), however, with the subsiding feeling that I had just descended from the summit of the world’s tallest mountain, I found that I could not have wanted anything more. 75%
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A precise survival drama with a fantastic cast that in some cases is too good given the few lines they have. The experiential capacity of the film is substantial. In some scenes it manages to grip and amaze, not only through the mountain setting, but also with the convincingly performed suffering of the leading characters. Things get unfortunately a little chaotic after some time with them covered in jackets and hoods and with the snow falling, they all look very similar and there were moments that I wasn’t really sure who was who. But overall, a recommending thumbs up.
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A pleasantly civil, down-to-earth, and male spectacle (despite the presence of female elements) that wrings pathos from the fact that the protagonists are really hurting and the adrenaline pumps as if only in the background. This is because they die without grand gestures and the returns from the brink of death are dogged to the last breath. The casting couldn't be better because these actors cut through liters of emotion and personal feelings even over the phone, and in the audiovisual mode it's borderline hypnotic at times. I might have trimmed the more rambling first half a bit, but the second half is a pure action adventure that will have you locked in your seat by the time the credits roll.
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Baltasar Kormákur knows how to make manly films and Hollywood obviously likes him. After the heist thriller Contraband and the action comedy 2 Guns, he's here with Everest, his most ambitious project yet. And he has succeeded. The director more or less ignores the pathetic scenes and tries to approach the story realistically. During the climb up the highest mountain in the world and the fight for life on the descent, we don't see scenes of a half-dressed hero holding his friend over a precipice with one hand and beating a chamois with the other. When there's dying, it's no bullshit. When there's a fight for life, it's over the top. And the fact that it's got really good actors makes it great to watch.
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It is not an adaptation of Krakauer's well-known original "about the event", which will surprise many in a bad way. And it is even more surprising that it lacks any significant ambitions with regard to the creator and the cast. From the whole expedition we only get to know a trio "Hall - Texas guy - postman" properly. What is a biggest disappointment is that given that the disproportionately more interesting trio "Krakauer - Yasuko - Fischer" is clearly only a makeweight here (not to mention the other participants who are present only out of duty "because they were also there at the time" rather than playing a more significant role in the movie. The same goes for Sherpas. Likewise, what is completely ignored are the controversial topics surrounding Hall's and his company's involvement in this disaster “we get the people to the top even though they cannot make it". They failed to make proper preparation, and even at the top they made a bunch of incomprehensible decisions. The movie completely avoids any dark undertones what a person is capable of when things go wrong. And the fate of the three Indians who were caught by surprise by the same storm is not even mentioned. So, these are the weak points what this movie is not and what it is not about. What is more important is, however, what the movie is at the end of the day. And it's a damn successful manly adventure movie with Hollywood-style human warming emotions about the invincibility of the human spirit and with heartbreaking phone calls to the pregnant wife. Once you get it and understand that the main role is not played by the actors, but by the truly impressive camera (by the way, it was made in 3D after years again, which is not just a way to increase the ticket price, but an integral part of the experience; especially when watched in IMAX), showing the beauty of the Himalayas that will intoxicate you, you will really enjoy it. That is for sure. Yes, it's surprisingly cold not only in terms of atmosphere but also in terms for emotions and the first half is better than the second half that describes tragedy, but it doesn't matter that much, because it's still quite impressive and very intense, which is undoubtedly the best non-documentary climbing film of the last few years along with German Nordwand.
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Every time I watched the trailer for Everest my room shook and I got goosebumps all the way up my ass. The movie, however, gave me that feeling only three times at most and that's a damn shame. There are a lot and issues that I would have liked to see differently. The film is a big mess in places mainly because of the many characters (there are so many names that you can't manage to remember everyone in one screening), the deaths weren’t impressive at all, I understand that the film is based on true events, but with so many characters it’s a damn shame that the film doesn't go for a gritty survival thriller; I would definitely have welcomed some villain here as well as a comedy-relief character to lighten the atmosphere, and unfortunately for me the emotions don’t work either. Jake Gyllenhaal ????... and 25 more question marks. But not to merely criticise, the film has stunning visuals, a likeable Jason Clarke, nicely paced sequences, an unexpected ending and a decent atmosphere, but I personally would have liked a more intense style and execution. A reluctant four stars. 70%
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The journey to a place where the human body dies, in the story of people who knew very well how much they were risking, but still went for it. Nothing more, but certainly nothing less. And even though I don't understand the self-destructive behavior of the main heroes, thanks to the brilliant cast, I feel like I have at least glimpsed beyond the first summit. The intensity with which the highest mountain in the world siccs its pitfalls on climbers nails you to your seat, and the moment a storm appears, the cinema is already shaken to the core and the viewer knows they are in for a rough ride. And every gasp for breath almost hurts in your own lungs.
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Raw and majestic. Where most people would have long since given up mountain climbing, Kormákur has no trouble in handling the dramatic plane, but he also has the enthusiasm to climb to the top of the world. The central story itself is very powerful, but the down-to-earth approach that removes any possible pathos forces you to value it all the more. Deaths are ordinary, without tension build-up and so have greater impact. Great acting performances. Worthington at last has a proper role, but not major. Keira will tempt moisture from your eye. Beautiful music.
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The biggest advantage is that you will definitely like several characters during the initial introduction. It could be the charismatic Jason Clarke, who finally steps into a proper role and may he be forgiven for failing as the Terminator. It could be Jake Gyllenhaal, or perhaps the confident Josh Brolin. And Emily Watson and others are certainly worth mentioning. In short, Baltasar Kormákur starts with an interesting conversation in the camp, which has some great scenes that he subtly crosses with panoramas of the highest massifs. The climb itself is not nearly as popcorn-y as it might seem. Death is quick, quiet and with almost no music. The emotion is mostly due to the intimate scenes and the audiovisually captivating shots of the mountains in all sorts of styles from all sorts of angles – at times it feels like a rip-off of the best of National Geographic. Surprisingly, this makes for a nice departure from the likes of Vertical Limit. Everything is sober, very realistic within limits and visually captivating.
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A great “Man Against Nature" drama, which you really do believe is based on a real event, and which could have been longer, because one can feel from it the better film adventure times when everything wasn't just special effects and when the crew actually underwent as sorts of stuff (I recommend the interesting bonus materials about the filming on Blu-ray). Jason Clarke once again confirms how excellent and likeable an actor he is when he gets the right role, but there are also more excellent actors in the film.
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Criminally squandered potential. A bland adventure drama both narratively and story-wise, where during almost 90 minutes we follow too many characters to tell them apart during the expected "everything goes to shit" sequence in the dark and under a flood of identical moustaches, as only Jason Clarke and Josh Brolin possess the importance in the eyes of the writers to deserve more space not only in the dialogue introduction, but also later in the unflattering position of lying face down in the snow. The visuals are admittedly very impressive and convincing, and the scenes where the raging weather takes the lead are an almost painful physical experience, but unfortunately they take up too little time and the film is sorely lacking any significant dramatic arc or at least any exciting moment beyond the superficial big-budget spectacle. On the plus side, Kormákur shoots the climactic scenes raw, without emotional outbursts and without American heroism, but unfortunately this time it's not enough. 65%
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Everest is a very well made drama that stands primarily on the premise and the performances, and in which the rawness and authenticity of the Himalayan landscape, which can be deadly if you are not careful and play with Mother Nature, shines through. For the entire two hours, I tensely watched the plot unfold and the characters' efforts to conquer the snow-capped titan, waiting with bated breath to see who would actually live to see the end. In short, a truly rugged excursion into inhospitable lands where just a small mistake can have fatal consequences.
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For the record, my greatest sympathy is still with the Nepalese pilot who had to break a couple of dozen airline records to pick up a pompous jerk from Everest because his female made a stink at the embassy. An otherwise appealing bit of audiovisual sadism whose 3D distribution seems somehow out of place, given that it manages to strike a pretty decent balance between reconstruction and classic film narrative. As a result, you just can't keep track of who out of the starry skies bites it and who survives, half the film everyone’s wearing masks on their faces so God only knows who they are, and the main voice is pissed off nature doing what it can to give them the most fucked up day of their lives. And I have even less sympathy for the psychopaths who shell out a few million bucks to go for a few days up a hill that’s just standing there angrily trying to kill as many people as possible.
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I was a bit afraid of that movie because I thought it would be very intense and very brutal. And it was, but I guess I thought it would leave a deeper impression on me. Still, it’s a very accomplished film, where Everest actually became scary. But it's not as harshly conceived as it could be. Still, this film will leave a mark on you.
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I have to say that I probably had excessive expectations. Visually, there is nothing to fault in Everest, but the script could have been much more polished. Probably everyone perceives that climbing peaks this high has long become a commercial commodity. It's commercial as hell and I feel the same way about this film, which is really unfortunate. (65%)
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