Rendező:
Joe JohnstonOperatőr:
Shelly JohnsonSzereplők:
Benicio Del Toro, Anthony Hopkins, Emily Blunt, Hugo Weaving, Geraldine Chaplin, Art Malik, Olga Fedori, Asa Butterfield, Elizabeth Croft, Max von Sydow (több)Streaming (3)
Tartalmak(1)
Lawrence Talbot tragikus körülmények között veszítette el az anyját. Hatására hátat fordított a szülői háznak, és évtizedeken át próbálta elfelejteni a történteket. Egy nap felkeresi őt a fivére menyasszonya. Gwen arra kéri, segítsen neki megtalálni eltűnt szerelmét. Nehéz szívvel bár, de Lawrence visszatér Blackmoorba. Megtudja, hogy a környéken egy vérszomjas szörny garázdálkodik, ami után már a Scotland Yard is nyomoz. Miközben próbálja kideríteni az igazságot, tudomást szerez az ősi átokról, miszerint akit a szörny megharap, teliholdkor vérfarkassá változik. (UIP-Duna Film)
(több)Videók (3)
Recenziók (12)
Unalmas és haszontalan az elődeihez képest. Az ijesztgetés és a feszültség nem működik, legalább a vértől nem féltek az alkotók. Szép retró díszletek és minőségi szereposztás harcol a Van Helsing-féle öncélú digitális attrakciók komplexuma ellen. És az apa-fiú kapcsolat, amelynek a film drámai motorjának kellett volna lennie, egyáltalán nem működik. Az Oscar-díjas Hopkins és Del Toro sajnos csak azért vannak itt, hogy a nyári hollywoodi egyfelvonásosnak jobb minőség látszatát keltsenek. A Scotland Yard felügyelője - "mellékes" Hugo Weaving - több nézői örömöt vált ki, mint ők ketten.
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I expected a horror flick; I anticipated an homage to the original. But what I didn't expect was a complex drama that combines more genres than I could ever have hoped for. The script hints from the very beginning that we're going into the darkest waters, and the transformation into a monster is shown through advanced mental decay. At first glance, the "fake" scary moments may seem like clichéd flaws, but in the context of the film as a whole, these scenes serve as progressing traumas. Like a nightmare from which the main hero jerks awake, only to wake up to a real, creeping, and inevitable reality that is just as terrifying as the imagined horrors. Moreover, Joe Johnston's directing amplifies all of this into a depressive second nature. And when Benicio Del Toro and Anthony Hopkins share dialogue together, there's nothing left to discuss. A very unique work has been created, which is certainly not for everyone, but those who can look at it differently than just a monster movie can take away more than they ever expected.
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Epic period horror with a badass atmosphere, nice make-up and good actors in the main roles. That’s a pretty good calling card, but The Wolfman is unfortunately missing a few key elements. It’s unable to generate fear or tension, it isn’t entertaining, or disgusting, or shocking. It just quietly wanders about in the background in a way that you can barely register, let alone remember. It’s not bad, but it’s a shame that with the money spent on it, you could get quite a few young, unpretentious filmmakers who’d be able to make about dozen better movies.
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It is in fact possible to make a mediocre film with a bloated wallet, a returning screenwriting legend, and a cast of actors perfectly cast to the last extra. The sets, and in general the whole set design, the special effects, and the technical aspects are perfect, but it's all told in a kind of lazy way. The entire time I couldn't shake the impression that it was "skimming the surface," where everything goes according to a perfectly ordered plan that can't surprise and unfortunately doesn't even try to. For two hours, you're in a blissful state of mind about how nice it is to watch, then the credits roll, and now you want to try to remember something about it... and all that pops into your mind is a hairy man with a lot of bloody gunk lying around, nothing more. 3 ½.
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Despite not being faithful to the original, Johnston is more true to its spirit and atmosphere of classic horrors from Universal. Both the well-known and well-made, and also those magical naive “such-and-such versus something-or-other" B-movies. I couldn’t ask for more. And it’s also evident that the creators love these movies (there is endless proof of this, e.g. the scene with the medical symposium where they nod at the initial aim of the original, before the studio stepped in). And not just because my heart beat away in utter delight for the entire movie (quite appropriately, since it was Valentine’s Day), which prevented me from making a valid comment about the fact that in some places it was really rather obvious that they didn’t see eye to eye with the producers as to the final cut.
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