Word: filmã
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Visually, Hillcoat and cinematographer Javier Aguirresarobe play an established post-apocalyptic trick and drain the color from the once-lush forests and mountains that play host to the first half of the story. Only two things interrupt the film??s monochromatic palette: blood and fire, both of which are shot in horribly sharp relief. But Hillcoat and Aguirresarobe refuse to let their limited color range get in the way of shooting a strikingly desolate film, filled with a series of images that seem destined to become iconic. Father and son stumble down a warped concrete road, shattered telephone...
...Ninja Assassin” is not entirely unpleasant. One cannot help but laugh at the film??s ridiculous premise—the struggles between omnipotent modern-day ninjas and rogue European police officers—and marvel at its terrifying violence. It is a movie whose narrative faults are very easy to mistake for lovable farce or parody. “Ninja Assassin,” however, is no joke: it’s an honest failure...
Though the film??s bleak beauty may distract momentarily, it doesn’t take long to realize that it doesn’t seem to be going anywhere. But Hillcoat has created a road narrative without the ever-present forward motion that usually defines it. Instead, “The Road” is composed of fleeting moments, vignettes that slowly coalesce into a fuller picture of the characters and their experiences. Father and son run from bandits, enjoy an unopened, still-carbonated Coca-Cola, and eat canned fruit with an elderly fellow traveler, all the while...
Several of the film??s vignettes stand out. Anyone who has seen Michael Haneke’s 2005 French-language drama “Hidden” recalls a certain scene: after 45 minutes of seemingly plotless meandering, a single moment of suicidal violence shocks the audience out of their fugue and puts them on the edge of their seats for the remainder of the film. “The Road” employs a similar effect; following a span of wandering, father and son come upon a disconcertingly civilized-looking house, which they are drawn to investigate...
...Morton is powerful as always but Olivia’s plainness is such that we can never quite understand Montgomery’s intense attraction to her, making that storyline fall a bit flat. But this is a minor blip on the face of a memorable force of a film??one that captures emotion without theatricality, humor without insult, and hardship without self-pity. “The Messenger” delivers not just a war movie, but a moving drama in its own right...