Aren’t lions and cheetahs said to be majestic, noble creatures, far disposed in the greed and war-obsessed human animals? They may always be visually stunning felines, but also in Disney’s African Cats we’re offered a very vicious vision of hostile takeovers, rivalrous siblings, and brutal skirmishes like some Kurosawa-style tale of ancient feudal warlords battling for power and land (or perhaps a modern power-hungry gangster flick). The film steps back from the documentary roots to effectively dramatize the adventures of two mothers raising their cubs by presenting clear cut heroes and villains, thundering musical cues, and Samuel L. Jackson’s overly enthusiastic narration. Manipulative though it may be, it’s still impressive to see the emotions evoked from the personified cats in addition to their unbreakable familial bonds. kyjel n jolly Let Me In (2010) / Let the Right One In (2008) – Swedish author John Ajvide Lindgvist’s 2004 fictional vampire tale a large number of critics and fans alike have claimed because most realistic vampire love story was adapted into an equally successful Swedish film in 2008. The American version, “Let Me In” has received rave reviews for staying true to the initial story. Not much changed other than location plus the usage of our beloved CGI.
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Sometimes films surpass the aim of mere entertainment, and look into universal questions that individuals attempt to avoid. Never Let Me Go examines the questions of mortality in a unique science fiction plot, stripped of the typical high- tech setting. Mark Romanek directs an attractive film with three stirring performances, producing a work that deeply resonates within many of us.
The film accomplishes what it really sets to achieve, to get dark, charming, and uplifting. While this ridiculous tale pokes fun on the original myth of Santa and just how his origin is deeply rooted in marketing as a economic strategy, the film does not deviate too much because of this same premise toward the conclusion, albeit in parallel with all the film’s wondrous twist.
A subplot with Dr. Hector Hammond (Peter Sarsgaard) is unnecessary and wasted, the principal villain Parallax was made up to be invincible however casually discarded, and Hal’s love interest Carol Ferris (Blake Lively, proving she can only play one character) is hopelessly generic. It takes over one hour to devise a plot and forge an antagonist, and merely a short while to hastily resolve it all. Impressive makeup goes the route of repulsive as an alternative to awe-inspiring, and the costumes and character designs follow suit, appearing absurd instead of impactful.