Sweeney Todd: The Demon Barber of Fleet Street |سویینی تاد|2007

سویینی تاد : آرایشگر شیطانی خیابان فلیت

Sweeney Todd: The Demon Barber of Fleet Street (2007)

Alternate Titles: Sweeney Todd, The Demon Barber of Fleet Street, Sweeney Todd

Director: Tim Burton
Cast: Johnny Depp, Helena Bonham Carter, Sacha Baron Cohen, Alan Rickman
Rating: R (Graphic Violence)

Murder Most Musical

Tim Burton makes fantasy movies. Stephen Sondheim writes musicals. It is hard to think of two more optimistic genres of popular art, or of two popular artists who have so systematically subverted that optimism. Mr. Sondheim has always gravitated toward the dissonance lurking in hummable tunes, and has threaded his song-and-dance spectaculars with subtexts of anxiety and alienation. Mr. Burton, for his part, dwells most naturally (if somewhat uneasily) in the realms of the gothic and the grotesque, turning comic books and children’s tales into scary, nightmarish shadow plays.

And so it should not be surprising that “Sweeney Todd: The Demon Barber of Fleet Street,” Mr. Burton’s film adaptation of Mr. Sondheim’s musical, is as dark and terrifying as any motion picture in recent memory, not excluding the bloody installments in the “Saw” franchise. Indeed, “Sweeney” is as much a horror film as a musical: It is cruel in its effects and radical in its misanthropy, expressing a breathtakingly, rigorously pessimistic view of human nature. It is also something close to a masterpiece, a work of extreme — I am tempted to say evil — genius.

As it was originally performed onstage, with all the songs Mr. Sondheim composed for it, “Sweeney Todd” balanced its inherent grisliness with a whimsical vitality. The basic story is a revenger’s tragedy more Jacobean than Victorian, but Mr. Sondheim nonetheless wrings some grim, boisterous comedy out of both the impulse for vengeance and the bustling spirit of commerce. A barber, wronged by a powerful judge, returns to London and sets up shop, cutting throats as well as hair. The bodies of his victims are turned into savory meat pies by Mrs. Lovett, his energetic partner in business and crime. Cannibalism and mass murder as the basis for a hit show — what a perverse and delicious joke.

It seemed a lot less funny in the recent revival, which starred Michael Cerveris and Patti Lupone in roles originated on Broadway by Len Cariou and Angela Lansbury in 1979. Mr. Burton’s film, in spite of the participation of Sacha Baron Cohen (as a mountebank barber in a skin-tight costume) and Timothy Spall (as a louche bailiff) pretty much casts out frivolity altogether. Mr. Burton’s London is a dark, smoky oil slick of a city. Dante Ferretti’s production design, which owes something to the Victorian city confected for Carol Reed’s “Oliver!,” can make even daylight look sinister. Innocence, represented by a pair of young would-be lovers (Jayne Wisener and Jamie Campbell Bower) has virtually no chance in this place; it is a joke played by fate, something to be corrupted, imprisoned or destroyed.

Mrs. Lovett the pie maker is played by Helena Bonham Carter, a witchy fixture of Mr. Burton’s cinematic universe as well as the mother of his children. If the director has an alter ego, or at least an actor consistently able to embody his ideas on screen, it would have to be Johnny Depp. He was the hurt, misunderstood man-child in “Edward Scissorhands,” the cracked visionary in “Ed Wood” and the cold, creepy candy mogul in “Charlie and the Chocolate Factory,” in each case giving form to an emotional equation that had never quite been seen on film before. As Sweeney, his hair streaked with white and his eyes rimmed in black, he is an avatar of rage.

Mr. Depp’s singing voice is harsh and thin, but amazingly forceful. He brings the unpolished urgency of rock ’n’ roll to an idiom accustomed to more refinement, and in doing so awakens the violence of Mr. Sondheim’s lyrics and melodies. Some of the crowd-pleasing numbers, like “The Ballad of Sweeney Todd,” have been pared away, but their absence only contributes to the diabolical coherence of the film, which moves with a furious momentum toward its sanguinary conclusion.

Like nearly every other horror-film serial killer — the outcast teenager abused by the cool kids; the decent man whose suffering has been ignored or mocked — Sweeney starts out as a sympathetic figure. Once upon a time, he was a happy husband and father, until his lovely wife (Laura Michelle Kelly) caught the eye of a malignant judge (Alan Rickman), who transported the poor barber to Australia. Now, after many years, he has returned to find that his daughter, now a teenager, has become the judge’s ward. Finding his old straight razors — “my friends” — under the floorboards of his former shop, Sweeney sets out to ensnare the judge, a project that requires the deaths of quite a few customers along the way.

“They’ll never be missed,” sings the practical Mrs. Lovett. Sweeney’s view is harsher, almost genocidal. “They all deserve to die,” he says, looking out over the rooftops of the city. And Mr. Burton depicts those deaths ruthlessly. The initial geyser of blood may seem artificially bright, but when the bodies slide head first from the chair down a chute into the cellar, they crash and crumple with sickening literalness. You are watching human beings turned into meat.

It may seem strange that I am praising a work of such unremitting savagery. I confess that I’m a little startled myself, but it’s been a long time since a movie gave me nightmares. And the unsettling power of “Sweeney Todd” comes above all from its bracing refusal of any sentimental consolation, from Mr. Burton’s willingness to push the most dreadful implications of Mr. Sondheim’s story to their blackest conclusions.

“Sweeney Todd” is a fable about a world from which the possibility of justice has vanished, replaced on one hand by vain and arbitrary power, on the other by a righteous fury that quickly spirals into madness. There may be a suggestion of hopefulness near the end, but you don’t see hope on the screen. What you see is as dark as the grave. What you hear — some of the finest stage music of the past 40 years — is equally infernal, except that you might just as well call it heavenly.

“Sweeney Todd: The Demon Barber of Fleet Street” is rated R (Under 17 requires accompanying parent or adult guardian). It’s not “Hairspray.”

SWEENEY TODD

The Demon Barber of Fleet Street

Opens on Friday in New York and Los Angeles.

Directed by Tim Burton; written by John Logan, based on the musical by Stephen Sondheim and Hugh Wheeler from an adaptation by Christopher Bond; director of photography, Dariusz Wolski; edited by Chris Lebenzon; music and lyrics by Mr. Sondheim; production designer, Dante Ferretti; produced by Richard D. Zanuck, Walter Parkes, Laurie MacDonald and Mr. Logan; released by DreamWorks Pictures and Warner Brothers Pictures. Running time: 1 hour 50 minutes.

WITH: Johnny Depp (Sweeney Todd), Helena Bonham Carter (Mrs. Lovett), Alan Rickman (Judge Turpin), Timothy Spall (Beadle), Sacha Baron Cohen (Pirelli), Jayne Wisener (Johanna), Jamie Campbell Bower (Anthony Hope) and Laura Michelle Kelly (Lucy/Beggar Woman).

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نویسنده: جان لوگان بر اساس نمایشنامه استفن ساندهیم

بازیگران: جانی دپ، هلنا بونهام کارتر، آلن ریکمن، تیموتی اسپال، ساشا بارون کوهن

رنگ: رنگی

ژانر: : تریلر :: موزیکال :: جنایی :

درجه فیلم: R

کشور: ایالات متحده

استودیو: پارامونت پیکچرز

افتتاحیه: 21 دسامبر 2007

فروش هفته: 9.35

فروش کل: 9.35

مدت زمان فیلم: 117

امتياز منتقدان از 100: 85

جملات تبليغاتي: هرگز از یاد مبر. هرگز نبخش.

خلاصه داستان: در لندن قرن نوزدهم، یک زندانی محکوم به حبس ابد به نام بنجامین بارکر از زندان می گریزد و به لندن باز می گردد و یک آرایشگاه در همسایگی خانم لاوت یک آرایشگاه راه می‌اندازد تا از کسانی که او را محکوم و زن و فرزندش را به مصیبت دچار کرده اند انتقامی خونین بگیرد. اما میان آن‌ها رابطه عجیبی شکل می‌گیرد و به تدریج از تمام جامعه انتقام می گیرند.

حاشيه هاي فيلم: – ششمین همکاری تیم برتون و جانی دپ و چهارمین فیلمی که این کارگردان با بازی نامزدش هلنا بونهام کارتر ساخته است. – فیلمنامه فیلم در بیش از دو دهه در دست کارگردان هایی همچون آلن پارکر و سام مندز چرخیده است. – هزینه تولید فیلم 50 میلیون دلار بوده است. cinemaema

Sweeney Todd | Official Movie Site | Johnny Depp | Tim Burton

Sweeney Todd: The Demon Barber of Fleet Street (2007)

Sweeney Todd: The Demon Barber of Fleet Street (2007 film …

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Gone Baby Gone| رفته عزیزم رفته|2007

Gone Baby Gone| رفته عزیزم رفته|2007

Alternate Titles: Gone, Baby, Gone

Director: Ben Affleck
Cast: Casey Affleck, Ed Harris, Morgan Freeman
Rating: R (Violence/Profanity/Drug Content)

Title: Gone Baby Gone
Running Time: 115 Minutes
Status: Released
Country: United States
Genre: Drama, Adaptation, Crime

For his first time behind the camera as a director, the actor Ben Affleck has chosen a brooding, serious drama about missing children, wayward parents and idealism lost and regained. “Gone Baby Gone” is based on the novel by Dennis Lehane, who wrote the similarly themed “Mystic River,” which Clint Eastwood turned into a modern classic. If Mr. Affleck hasn’t raised his material to that rarefied level, he has taken a satisfyingly tough look into conscience, to those dark places where some men also go astray.

The story wants to break hearts: 4-year-old Amanda McCready, a blond doll, has disappeared without a trace amid the squalor of her South Boston neighborhood. The cops are out in formation, as are the television news vans, antennas raised high and all but trembling for blood. Staring into the cameras, the neighbors eagerly offer ready-made headlines and self-flattering condolences: they’re coming together, everyone loves Amanda. The days tick past and the child’s anxious aunt, Bea (Amy Madigan), seeks help from a local private investigator, Patrick Kenzie, a squirt who looks as if he just dropped out of college and is played without an ounce of actorly ingratiation by Casey Affleck, the director’s younger brother.

I’m not sure exactly when Casey Affleck became such a good actor. Steven Soderbergh tapped him a few years back for recurring third-banana duties in the “Ocean’s Eleven” films, and Gus Van Sant put him in “Gerry,” his 2002 avant-garde feature, in which Mr. Affleck roamed around a merciless desert landscape with Matt Damon, with whom he took turns playing Beavis and Butt-head, Vladimir and Estragon.

More recently he stole the show from Brad Pitt in the western “The Assassination of Jesse James by the Coward Robert Ford.” One of the unusual things about his performance as Ford was its lack of sentimentality. He didn’t plead the character’s case or remind us of his own humanity; he just played the role.

Most actors want you to love them, but Casey Affleck doesn’t seem to know that, or maybe he doesn’t care. Patrick doesn’t cuddle or kiss up. He takes the job Bea offers despite the reluctance of his live-in girlfriend and partner, Angie (a solid Michelle Monaghan), but he doesn’t look like anyone’s idea of a savior. With his sneakers and jeans and small-man’s swagger, he comes off like one of those toughs who never leave the neighborhood and would sooner swing a bat at your head than at a ball.

Mr. Affleck is already deep into the character right from the start, but neither he nor his director let on all they know about Patrick. There’s something about this guy that needles, that helps keep an already tense story on edge.

Despite its terrible question marks — who stole Amanda and why, is she alive and for how long — “Gone Baby Gone” pays closer heed to the enigmas of soul and heart than to clues and guesswork. There are false leads, dead ends, brandished guns and nightmarish discoveries, as well as shadows and controlled camerawork, but mostly there are human frailties and thrown-away, forgotten lives. The screenplay by Ben Affleck and Aaron Stockard whittles down but doesn’t reduce Mr. Lehane’s material, pulling out details and types that stick to the screen, including Amanda’s mother, Helene, played by a ferocious Amy Ryan. Talk about not wanting our love! Ugly in voice and deed, Helene is the underclass mother from hell, a hazard, a druggie, a villain in waiting.

Helene is a nightmare, or at least the embodiment of a certain familiar fear: the bad woman (welfare queen) periodically held up as a symptom of some grave social disorder. Working with her supportive, encouraging director, Ms. Ryan plays with this stereotype and our sympathies to the breaking point. Deploying her broad Boston accent like a weapon, she whines and retreats, testing Patrick’s sympathy with each one of her pathetic excuses. It’s a gutsy, sensational performance that adds layers to an already spiky, provocative creation. At first you hate the woman and love the actress, though because Ms. Ryan and Ben Affleck are wise to the ways of scapegoating, you learn why that hate is misplaced.

It isn’t all that surprising that Mr. Affleck is so good with his performers, or at least most of them. The film has been wonderfully populated with character actors like Titus Welliver, who plays Lionel, Helene’s straight-talking brother, and Michael K. Williams, one of the outstanding villains from the HBO drama “The Wire,” who shows up here as a friendly cop.

Just as memorable are two unfamiliar faces: the newcomer Jill Quigg, who has a few startling scenes as Helene’s comically, scarily belligerent friend Dottie; and the Boston rapper Slaine, whose cool, dead-eye performance as the drug dealer who leads Patrick right into the heart of darkness adds menace to one of the film’s strongest, most harrowing scenes.

Mr. Affleck trips up now and again, mostly with his older, famous peers Ed Harris and Morgan Freeman, who delivers one of the more unpersuasive performances of his career as the head of the police department’s missing-children division. The director does better with Mr. Harris, who plays a hotheaded detective in a distracting hairpiece, though again Mr. Affleck doesn’t control the performance as well as he does those of the other cast members. He also wavers when he lingers too long over the crumpled faces and bodies of what appear to be real South Boston natives.

Even so, one of the graces of “Gone Baby Gone” is its sensitivity to real struggle, to the lived-in spaces and worn-out consciences that can come when despair turns into nihilism. Mr. Affleck doesn’t live in these derelict realms, but, for the most part, he earns the right to visit.

“Gone Baby Gone” is rated R (Under 17 requires accompanying parent or adult guardian). There are several scenes of intense and bloody violence, and a horrifying subplot involving a pedophile.

نویسنده: بن افلک

بازیگران: کیسی افلک، مورگان فریمن، کتی کالانان، اد هریس

رنگ: رنگی

ژانر: : مرموز :: درام :: جنایی :

درجه فیلم: R

کشور: ایالات متجده/ انگلستان/ استرالیا

استودیو: میراماکس فیلمز

افتتاحیه: 19 اکتبر 2007

فروش کل: 17.2

مدت زمان فیلم: 114

امتياز منتقدان از 100: 72

جملات تبليغاتي: هر کسی حقیقت را می‌خواهد … تا زمانی که آن را بیابند.

خلاصه داستان: دو بازرس ایالت بوستون درباره یک بچه‌ربایی تحقیق می‌کند و در نهایت به یک بحران حرفه‌ای و شخصی بدل می‌شود.

ویژه: اولین فیلم بن افلک که بسیار هم مورد تحسین منتقدان قرار گرفته است. © cinemaema

Gone Baby, Gone

Gone Baby Gone – Wikipedia, the free encyclopedia

قطب‌نمای طلایی | The Golden Compass (2007

قطب‌نمای طلایی | The Golden Compass (2007

Director: Chris Weitz
Cast: Nicole Kidman, Dakota Blue Richards, Eva Green, Daniel Craig
Rating: PG-13

Official Golden Compass New Movie Trailers: Eva Green, Nicole …

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Movie Details

Title: The Golden Compass
Running Time: 114 Minutes
Status: Released
Country: United States
Genre: Drama, Adaptation, Adventure

A fantastic bestiary inhabits “The Golden Compass,” prowling and flapping and slithering and fluttering. The animals, most of which are called daemons and are manifestations of the human soul, hover at the side of their people and near the story’s edge, where their coos and barks mix with the ambient clatter and clang. Every so often, an animal leaps forward, its fur raised in alarm, its feathers fanned in flight. And because these are no ordinary animals, they also offer words of comfort, advice, warning. In this otherworldly realm, humans have no dominion over these creatures, yet they are not merely equals, either. They are one.

This beastly attitude and the conception of the soul as being somehow separate from its corporeal vessel are, as far as I can tell, the most irreligious conceits in the movie adaptation of “The Golden Compass,” a novel that was first published in Britain as “Northern Lights.” Written by Philip Pullman, it quickly became a critical and commercial success for the most obvious of reasons: It’s a charming romp set in a parallel universe stuffed with magical creatures, spooky villains and mythopoetic conceits, and propelled by a young orphan, Lyra Belacqua, who embarks on the hero’s journey with her shape-shifting daemon, Pantalaimon (Pan for short). The book has attracted voluble criticism for equally obvious reasons: Its army of darkness is a totalitarian institution called “the Church.”That ecclesiastical entity is pretty much nowhere evident in the film, which otherwise hews as close to the original source as can be expected from a 114-minute, big-screen translation of a 400-or-so-page novel. Directed by the American Chris Weitz, who wrote the heavily condensed script, “The Golden Compass” has many of the virtues of a faithful screen adaptation and many of the predictable flaws. Agnostics and atheists may, for starters, regret the explicit absence of the Church (others may see lingering traces), but the movies have never been a particularly good pulpit for any gods other than those of cinema’s own creation. It’s a tradition that this film honors with a goddess of icy perfection played by the wickedly well-cast Nicole Kidman.

As Mrs. Coulter, an emissary of the reigning powers (known only as “the Magisterium” in the film), Ms. Kidman has rarely looked more beautifully and exotically alien. When she first appears, she pours across the screen like liquid gold, her body provocatively shifting inside a shimmering, form-fitting gown, her gilt-blond hair and alabaster skin all but glowing. She’s the film’s most spectacular special effect (her wonderfully vicious little daemon-monkey runs a close second), and for once, the smooth planes of her face, untroubled by visible lines, serve the character. This masklike countenance helps hide Mrs. Coulter’s malignant designs from Lyra (the newcomer Dakota Blue Richards, spunky and serviceable), who, not long after the story lifts off, falls into her care through a series of complicated developments.

Mr. Weitz crams so many events, characters (computer-generated and otherwise), twists and turns, sumptuously appointed rooms and ethereally strange vistas into his film that he risks losing you in the whirl. It zips from the Gothic grandeur of Jordan College, the Oxford institution where Lyra has been raised and somewhat educated by her guardians (“Scholars”), to Mrs. Coulter’s swank London home, where the Art Deco touches bring to mind the dreamiest Astaire-and-Rogers cheek-to-cheek. Much like the neo-Victorian aristocrats in Neal Stephenson’s science-fiction novel “The Diamond Age,” the characters in “The Golden Compass” populate a world that resembles our own, despite being also seductively foreign. In Lyra’s universe zeppelins putt-putt through a period twilight zone, evoking both a knowable past and a possible future.

Despite the pit stops and lovely clutter, some of it visibly influenced by David Lynch’s “Dune,” the story unwinds in fairly straightforward fashion. Lyra, using a nifty, compasslike device called an alethiometer, must face danger and destiny, along with some hard truths. Among the hardest and headiest are those involving her uncle, Lord Asriel (Daniel Craig), an adventurer who dashes in and out of her life accompanied by an elegant snow leopard for a daemon. Aided and abetted by assorted quirky types and acting legends (Tom Courtenay in person, Ian McKellen in voice), Lyra follows Lord Asriel to the snowy north, where further perils await, along with a creepy intrigue involving stolen children and hints that the book’s two sequels are ready for their big-screen close-ups.

The sequels are a welcome idea, if only because they might persuade Mr. Weitz and his team to take it slower next time. “The Golden Compass” is an honorable work and especially impressive, given the far smaller, more intimate scale of his last film as a director (with his brother, Paul), “About a Boy.” But it’s hampered by its fealty to the book and its madly rushed pace, which forces you to dash through the story like Lord Asriel.

Among other things, I would have liked to spend some quality time with Lyra’s friend and protector the warrior bear Iorek Byrnison (voiced by Mr. McKellen), a gorgeous creature whose ferocity is, alas, tempered by his resemblance to some familiar cuddly polar bears. It is, I discovered, hard to keep your mind off the concession stand when you are waiting for Iorek to offer Lyra a Coke.

“The Golden Compass” is rated PG-13 (Parents strongly cautioned). Some intense scenes involve children in danger and warfare between bears and humans.

THE GOLDEN COMPASS

Opens today nationwide.

Written and directed by Chris Weitz, based on the first novel of the “His Dark Materials” trilogy by Philip Pullman; director of photography, Henry Braham; edited by Peter Honess, Anne V. Coates and Kevin Tent; music by Alexandre Desplat; visual-effects supervisor, Michael Fink; production designer, Dennis Gassner; produced by Deborah A. Forte and Bill Carraro; released by New Line Cinema. Running time: 1 hour 54 minutes.

WITH: Nicole Kidman (Mrs. Coulter), Dakota Blue Richards (Lyra Belacqua), Sam Elliott (Lee Scoresby), Eva Green (Serafina Pekkala), Daniel Craig (Lord Asriel), Christopher Lee (First High Councilor), Tom Courtenay (Farder Coram), Derek Jacobi (Magisterial Emissary), Ben Walker (Roger), Simon McBurney (Fra Pavel), Jim Carter (Lord John Faa), Clare Higgins (Ma Costa), Jack Shepherd (Master of Jordan College) and Magda Szubanski (Mrs. Lonsdale).

WITH THE VOICES OF Ian McKellen (Iorek Byrnison), Ian McShane (Ragnar Sturlusson), Freddie Highmore (Pantalaimon), Kathy Bates (Hester) and Kristin Scott Thomas (Stelmaria).

كارگردان: کریس ویتز

نویسنده: کریس ویتز رمان فیلیپ پولمان

بازیگران: نیکول کیدمن، دنیل کریگ، داکوتا بلو ریچاردز

خلاصه داستان: در دو جهان موازی لیرا بالاکوای نوجوان به قطب شمال سفر می‌کند تا بهترین دوستش را که از دزدیده شدن توسط یک موسسه مخفی می‌رسد نجات دهد

نویسنده: کریس ویتز رمان فیلیپ پولمان

بازیگران: نیکول کیدمن، دنیل کریگ، داکوتا بلو ریچاردز

رنگ: رنگی

ژانر: : تریلر :: درام :: خانواگی :: اکشن :

درجه فیلم: PG-13

کشور: ایالات متحده / انگلستان

استودیو: نیولاین سینما

افتتاحیه: 7 دسامبر 2007

فروش هفته: 9.02

فروش کل: 40.97

مدت زمان فیلم: 113

امتياز منتقدان از 100: 51

جملات تبليغاتي: این التیومتر (ماشین حقیقت‌گو) است. این ماشین حقیقت را می‌گوید. باید خودتان یاد بگیرید که چطور آن را بخوانید .

خلاصه داستان: در دو جهان موازی لیرا بالاکوای نوجوان به قطب شمال سفر می‌کند تا بهترین دوستش را که از دزدیده شدن توسط یک موسسه مخفی می‌رسد نجات دهد.

حاشيه هاي فيلم: – هزینه تولید فیلم 180 میلیون دلار بوده است.

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من یک افسانهام | I Am Legend (2007

من یک افسانهام | I Am Legend (2007Director: Francis Lawrence
Cast: Will Smith, Alice Braga, Dash Mihok, Salli Richardson-Whitfield
Rating: PG-13

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“Not if you were the last man on earth!” Plenty of guys have heard that line at some point in their lives, but it’s unlikely that Will Smith is one. His irresistible charm has been proved, above all, by his ability to attract audiences to bad movies like “Hitch” and “Wild Wild West,” as well as to better ones like “Ali” and “The Pursuit of Happyness.” In spite of its third-act collapse into obviousness and sentimentality, “I Am Legend” — in which Mr. Smith plays somebody with every reason to believe that he really is the last man on earth — is among the better ones.

And this star, whose amiability makes him easy to underestimate as an actor, deserves his share of the credit. There are not many performers who can make themselves interesting in isolation, without human supporting players. Tom Hanks did it in “Cast Away,” with only a volleyball as his buddy, foil and straight man. Mr. Smith has a few more companions, including an expressive German shepherd, some department store mannequins and a high-powered rifle. (There are also some flesh-eating, virus-crazed zombies, about which more in a moment.) But it is the charismatic force of his personality that makes his character’s radical solitude scary and fascinating, as well as strangely appealing.

In this Mr. Smith is helped, and to some degree upstaged, by the island of Manhattan, which the movie’s director, Francis Lawrence, has turned into a post-apocalyptic wilderness. Three years after an epidemic has caused the evacuation and quarantine of New York City, Robert Neville (Mr. Smith) is its sole diurnal human resident, and he spends his days roaming its desolate neighborhoods, at once wary and carefree. The streetscapes he wanders through will be familiar to any visitor or resident, but the way Mr. Lawrence and his team of digital-effects artists have distressed and depopulated New York is downright uncanny. Weeds poke up through the streets, which are piled with abandoned cars, and a slow, visible process of decay has set in.

A nightmare, of course, but not without its enchantments. In some ways Neville, dwelling in a highly developed urban space that is also a wilderness, experiences the best of both worlds. From his home base in the elegant Washington Square town house he was lucky enough to own (on a government employee’s salary) before the big die-off, he makes daylight forays that are like an adventure-tourist fantasy. He does a little deer hunting on Park Avenue and some indoor fishing at the Temple of Dendur, picks fresh corn in Central Park and smacks golf balls across the Hudson from the deck of the aircraft carrier Intrepid.

Mr. Lawrence, who previously directed the hectic, obnoxious “Constantine” and many music videos, uses elaborate, computer-assisted means to create simple, striking effects. While “I Am Legend,” the latest in a series of film versions of a novel by Richard Matheson, fits comfortably within the conventions of the sci-fi horror genre — here come those zombies! — it mixes dread and suspense with contemplative, almost pastoral moods. And without taking itself too seriously, the movie, written by Akiva Goldsman and Mark Protosevich, does ponder some pretty deep questions about the collapse and persistence of human civilization.

Neville, a scientist and a soldier, constitutes a civilization of one. His daily routines are at once practical — he wants to find a cure for the virus that wiped everyone else out, and he needs to be home before sundown — and spiritual. Under the streets of the city and in its empty buildings are the infected, transformed by the virus into pale, hairless, light-allergic cannibals. “Social de-evolution appears to be complete,” Neville observes as he makes notes in his basement lab. And his habits are a way not only of protecting himself from the zombies, but also of maintaining the distinction between them and him.

The zombies, like the rabid dogs that are their companions, nonetheless display rudimentary pack behavior and are even able to set traps and make plans. Once they begin swarming, “I Am Legend” inevitably loses some of its haunting originality, since they look a lot like the monsters in “28 Days Later” (and its sequel, “28 Weeks Later”). They also represent a less compelling application of computer-generated imagery than all those empty avenues and silent buildings.

And in its last section “I Am Legend” reverts to generic type, with chases and explosions and a redemptive softening of its bleak premise. The presence of the lovely Brazilian actress Alice Braga does seem promising; if she and Mr. Smith were to reboot the species together, Humanity 2.0 would be quite a bit sexier than the present version, as well as friendlier. But really the movie is best when its hero is on his own, and Mr. Smith, walking in the footsteps of Vincent Price and Charlton Heston, who played earlier versions of the Robert Neville character, outdoes both of them. There is something graceful and effortless about this performance, which not only shows what it might feel like to be the last man on earth, but also demonstrates what it is to be a movie star.

كارگردان: فرانسیس لارنس

نویسنده: مارک آکیوا گلدزمن، پروتوسویچ بر مبنای رمان ریچارد متسون

بازیگران: ویل اسمیت، آلیس براگا، ویلو اسمیت

رنگ: رنگی

ژانر: : تریلر :: علمی-تخیلی :: وحشت :: فانتزی :: درام :: اکشن :

درجه فیلم: PG-13

کشور: ایالات متحده

استودیو: وارنر برادرز پیکچرز

افتتاحیه: 14 دسامبر 2007

فروش هفته: 76.54

فروش کل: 76.54

مدت زمان فیلم: 100

امتياز منتقدان از 100: 66

جملات تبليغاتي: آخرین انسان روی زمین تنها نیست.

خلاصه داستان: رابرت نویل یک دانشمند فوق‌العاده است اما او هم نمی‌تواند جلوی ویروس وحشتناکی که غیرقابل کنترل است را بگیرد.

ویژه: فیلم تازه کارگردان فیلم «کنستانتین» نسبتا نقدهای مثبتی گرفته و در گیشه هم فوق‌العاده عمل کرده است

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برای مردان پیر کشوری نیست.No Country for Old Men. 2007

برای مردان پیر کشوری نیست.

No Country for Old Men. 2007

Director: Joel Coen
Cast: Tommy Lee Jones, Javier Bardem, Josh Brolin, Beth Grant
Rating: R (Graphic Violence/Adult Situations/Profanity)

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• Blood Simple
• Deliverance
• Trespass
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• A Simple Plan

Title: No Country for Old Men
Running Time: 122 Minutes
Status: Released
Country: United States
Genre: Drama, Adaptation, Thriller

 

خلاصه ی فیلم :

Llewelyn یک سرباز پیر است که در جنگ ویتنام حضور داشته است و اکنون به شکار بز کوهی مشغول است اما یک بار هنگامی که برای شکار به بیرون می رود موفق به کشف جنازه های متعدد در یک مکان به همراه حدود 2 میلیون دلار و مواد مخدر می شود . اما مشکلات از جایی اغاز می شود که وی تصمیم می گیرد این مواد و پولها را نزد خود نگه دارد …..

“No Country for Old Men,” adapted by Joel and Ethan Coen from Cormac McCarthy’s novel, is bleak, scary and relentlessly violent. At its center is a figure of evil so calm, so extreme, so implacable that to hear his voice is to feel the temperature in the theater drop.

But while that chilly sensation is a sign of terror, it may equally be a symptom of delight. The specter of Anton Chigurh (Javier Bardem), a deadpan sociopath with a funny haircut, will feed many a nightmare, but the most lasting impression left by this film is likely to be the deep satisfaction that comes from witnessing the nearly perfect execution of a difficult task. “No Country for Old Men” is purgatory for the squeamish and the easily spooked. For formalists — those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design — it’s pure heaven.

So before I go any further, allow me my moment of bliss at the sheer brilliance of the Coens’ technique. And it is mostly theirs. The editor, Roderick Jaynes, is their longstanding pseudonym. The cinematographer, Roger Deakins, and the composer, Carter Burwell, are collaborators of such long standing that they surely count as part of the nonbiological Coen fraternity. At their best, and for that matter at their less than best, Joel and Ethan Coen, who share writing and directing credit here, combine virtuosic dexterity with mischievous high spirits, as if they were playing Franz Liszt’s most treacherous compositions on dueling banjos. Sometimes their appetite for pastiche overwhelms their more sober storytelling instincts, so it is something of a relief to find nothing especially showy or gimmicky in “No Country.” In the Coen canon it belongs with “Blood Simple,” “Miller’s Crossing” and “Fargo” as a densely woven crime story made more effective by a certain controlled stylistic perversity.

The script follows Mr. McCarthy’s novel almost scene for scene, and what the camera discloses is pretty much what the book describes: a parched, empty landscape; pickup trucks and taciturn men; and lots of killing. But the pacing, the mood and the attention to detail are breathtaking, sometimes literally.

In one scene a man sits in a dark hotel room as his pursuer walks down the corridor outside. You hear the creak of floorboards and the beeping of a transponder, and see the shadows of the hunter’s feet in the sliver of light under the door. The footsteps move away, and the next sound is the faint squeak of the light bulb in the hall being unscrewed. The silence and the slowness awaken your senses and quiet your breathing, as by the simplest cinematic means — Look! Listen! Hush! — your attention is completely and ecstatically absorbed. You won’t believe what happens next, even though you know it’s coming.

By the time this moment arrives, though, you have already been pulled into a seamlessly imagined and self-sufficient reality. The Coens have always used familiar elements of American pop culture and features of particular American landscapes to create elaborate and hermetic worlds. Mr. McCarthy, especially in the western phase of his career, has frequently done the same. The surprise of “No Country for Old Men,” the first literary adaptation these filmmakers have attempted, is how well matched their methods turn out to be with the novelist’s.

Mr. McCarthy’s book, for all its usual high-literary trappings (many philosophical digressions, no quotation marks), is one of his pulpier efforts, as well as one of his funniest. The Coens, seizing on the novel’s genre elements, lower the metaphysical temperature and amplify the material’s dark, rueful humor. It helps that the three lead actors — Tommy Lee Jones and Josh Brolin along with Mr. Bardem — are adept at displaying their natural wit even when their characters find themselves in serious trouble.

The three are locked in a swerving, round-robin chase that takes them through the empty ranges and lonely motels of the West Texas border country in 1980. The three men occupy the screen one at a time, almost never appearing in the frame together, even as their fates become ever more intimately entwined.

Mr. Jones plays Ed Tom Bell, a world weary third-generation sheriff whose stoicism can barely mask his dismay at the tide of evil seeping into the world. Whether Chigurh is a magnetic force moving that tide or just a particularly nasty specimen carried in on it is one of the questions the film occasionally poses. The man who knows him best, a dandyish bounty-hunter played by Woody Harrelson, describes Chigurh as lacking a sense of humor. But the smile that rides up one side of Chigurh’s mouth as he speaks suggests a diabolical kind of mirth — just as the haircut suggests a lost Beatle from hell — and his conversation has a teasing, riddling quality. The punch line comes when he blows a hole in your head with the pneumatic device he prefers to a conventional firearm.

And the butt of his longest joke is Llewelyn Moss (Mr. Brolin), a welder who lives in a trailer with his wife, Carla Jean (Kelly MacDonald) and is dumb enough to think he’s smart enough to get away with taking the $2 million he finds at the scene of a drug deal gone bad. Chigurh is charged with recovering the cash (by whom is neither clear nor especially relevant), and poor Sheriff Bell trails behind, surveying scenes of mayhem and trying to figure out where the next one will be.

Taken together, these three hombres are not quite the Good, the Bad and the Ugly, but each man does carry some allegorical baggage. Mr. Jones’s craggy, vinegary warmth is well suited to the kind of righteous, decent lawman he has lately taken to portraying. Ed Tom Bell is almost continuous with the retired M.P. Mr. Jones played in Paul Haggis’s “In the Valley of Elah.” It is hard to do wisdom without pomposity, or probity without preening, but Mr. Jones manages with an aplomb that is downright thrilling.

Still, if “No Country for Old Men” were a simple face-off between the sheriff’s goodness and Chigurh’s undiluted evil, it would be a far stiffer, less entertaining picture. Llewelyn is the wild card — a good old boy who lives on the borderline between good luck and bad, between outlaw and solid citizen — and Mr. Brolin is the human center of the movie, the guy you root for and identify with even as the odds against him grow steeper by the minute.

And the minutes fly by, leaving behind some unsettling notions about the bloody, absurd intransigence of fate and the noble futility of human efforts to master it. Mostly, though, “No Country for Old Men” leaves behind the jangled, stunned sensation of having witnessed a ruthless application of craft.

“No Country for Old Men” is rated R (Under 17 requires accompanying parent or adult guardian). A lot of killing.

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Enchanted (Walt Disney) 2007|افسون‌شده

افسون‌شدهEnchanted (Walt Disney) 2007

 

Director: Kevin Lima
Cast: Amy Adams, James Marsden, Idina Menzel
Rating: PG

 

 

Review Summary

The movies like to promise girls and women a happily ever after, but it’s unusual that one delivers an ending that makes you feel unsullied and uncompromised, that doesn’t make you want to reach for your Simone de Beauvoir or a Taser. “Enchanted,” an unexpectedly delightful revisionist fairy tale from, of all places, Walt Disney Pictures, doesn’t radically rewrite every bummer cliché about girls of all ages and their dreams. But for a satisfying stretch, the film works its magic largely by sending up, at times with a wink, at times with a hard nudge, some of the very stereotypes that have long been this company’s profitable stock in trade. It’s a gently heretical redo, characterized by a script that falters only in the clinch, some agile if overly timid direction and a strong cast led by a superb Amy Adams. — Manohla Dargis, The New York Times

 

 

 

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• A Knight in Camelot
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Disney Enchanted — The Official Website

افسون‌شده (Enchanted)

كارگردان: کوین لیما

نویسنده: بیل کلی

بازیگران: امی آدامز، پاتریک دمپسی، جیمز مارسدن

خلاصه داستان: داستان کلاسیک دیزنی (سفید برفی و هفت کوتوله) به زمان حال آورده شده است. داستان شاهزاده‌ای که توسط یک ملکه شرور به زمان حال در نیویورک فرستاده شده است. درست بعد از رسیدن به زمان حال این شاهزاده با آشنایی با یک وکیل خوش‌چهره دیدگاهش را به زندگی و عشق تغییر می‌دهد. آیا یک داستان می‌تواند در دنیای واقعی دوام بیاورد؟

كارگردان: کوین لیما

نویسنده: بیل کلی

بازیگران: امی آدامز، پاتریک دمپسی، جیمز مارسدن

رنگ: رنگی

ژانر: : عشقی :: موزیکال :: فانتزی :: کمدی :: خانواگی :: انیمیشن :: حادثه ای :

درجه فیلم: PG

کشور: ایالات متحده

استودیو: والت دیزنی پیکچرز

افتتاحیه: 21 نوامبر 2007

فروش هفته: 6

فروش کل: 92.27

مدت زمان فیلم: 107

امتياز منتقدان از 100: 75

جملات تبليغاتي: جهان واقعی و جهان انیمیشن به هم خورده‌اند.

Enchanted (2007)

Enchanted (2007 film) – Wikipedia, the free encyclopedia