film which I believe enough reaches the union, but that has nothing to do with the wonderful Scorsese's Cape Fear. For several reasons.
The first and most important, are the characters. Where's the director who gave to his characters, both the supporting actors that shape the contour, thickness and a facet of psychological scare? Where did the dialogues on, intense, intelligent films that make the synchronization point between viewer and film? But most of all: where is Scorsese?
No, because I think that in this film we saw very little. Because the beauty of some scenes (I think the parade of the shooting, or the beautiful incipit) oppose some sequences (the majority) of a banality and superficiality of a unique. Where a forzatissimo Di Caprio (who in this film are only two expressions: worried without eye gloss / preoccupied with shining eyes) moves between the most insane regular doctors and between doctors who seem emerged from the movie "Invasion of the Body Snatchers." In the sense that they are expressionless automatons that do not bring anything to the film, including the immense Max Von Sydow, who plays the role of cod put there just because it's Max Von Sydow.
Then after three quarters of an hour you see the face of caprio worried and think "damn, I'd like to see a man" begins to think that it is the right choice. And I regret to say, because I have always defended this player, I never expressed negative opinions, I have always been well prepared. Supported mainly by the ability to transfer emotions that Di Caprio. But this time, and with this film, I think Scorsese would do well to change fetish, enough, it can not be more. In The Departed it worked, was in part, because ensemble film. In The Aviator perfect (but that was a movie Scosese and you could see), but here where the whole thing is made by a film with shaky foundations, face and immature crybaby Di Caprio does nothing but worsen the set .
Returning to the film, I found the script weak in the dialogues, I entered the room convinced to try the chills that you have with movies like this, and yet I have not tried anything. Some things have made me even smile, "Love, why are you ?"... but the wet .... or dialogue with the madman behind bars, one with the pointy cheekbones .... forzatissimo. Or the various appearances with Michelle Williams, for goodness sake beautiful but moscissima and boring. Every time that he dreamed, I thought "oh no, yet." Not to mention the lighthouse in the final ... oh my God, almost embarrassing in the explanations of the arcane, childish and didactic.
short, weak and didactic confronting the issues (not that I expected, but who knows what), the interpretations of expectations and capabilities, dialogues on the edge of the gracious, unconvincing screenplay.
a mess.
The first and most important, are the characters. Where's the director who gave to his characters, both the supporting actors that shape the contour, thickness and a facet of psychological scare? Where did the dialogues on, intense, intelligent films that make the synchronization point between viewer and film? But most of all: where is Scorsese?
No, because I think that in this film we saw very little. Because the beauty of some scenes (I think the parade of the shooting, or the beautiful incipit) oppose some sequences (the majority) of a banality and superficiality of a unique. Where a forzatissimo Di Caprio (who in this film are only two expressions: worried without eye gloss / preoccupied with shining eyes) moves between the most insane regular doctors and between doctors who seem emerged from the movie "Invasion of the Body Snatchers." In the sense that they are expressionless automatons that do not bring anything to the film, including the immense Max Von Sydow, who plays the role of cod put there just because it's Max Von Sydow.
Then after three quarters of an hour you see the face of caprio worried and think "damn, I'd like to see a man" begins to think that it is the right choice. And I regret to say, because I have always defended this player, I never expressed negative opinions, I have always been well prepared. Supported mainly by the ability to transfer emotions that Di Caprio. But this time, and with this film, I think Scorsese would do well to change fetish, enough, it can not be more. In The Departed it worked, was in part, because ensemble film. In The Aviator perfect (but that was a movie Scosese and you could see), but here where the whole thing is made by a film with shaky foundations, face and immature crybaby Di Caprio does nothing but worsen the set .
Returning to the film, I found the script weak in the dialogues, I entered the room convinced to try the chills that you have with movies like this, and yet I have not tried anything. Some things have made me even smile, "Love, why are you ?"... but the wet .... or dialogue with the madman behind bars, one with the pointy cheekbones .... forzatissimo. Or the various appearances with Michelle Williams, for goodness sake beautiful but moscissima and boring. Every time that he dreamed, I thought "oh no, yet." Not to mention the lighthouse in the final ... oh my God, almost embarrassing in the explanations of the arcane, childish and didactic.
short, weak and didactic confronting the issues (not that I expected, but who knows what), the interpretations of expectations and capabilities, dialogues on the edge of the gracious, unconvincing screenplay.
a mess.
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