A jövő hírnöke

A mai fiatalabb generáció nem is tudja, hogy ez a film létezik. Feltehetően úgy, ahogyan nem érzékeli Costnert sem egykori Oscar-díjasként, sem filmes szupersztárként. Édes kilencvenes évek! Ez a megabukás rendezőként és producerként akkor kitörte volna a nyakát. Nem csoda, ez egy butácska és naivan patetikus film, és nem mindenki bírja egy ilyen filmet három órán keresztül nézni. De több mint húsz év után most látni először, ez paradox módon jót tesz neki. A fent említett negatívumok ellenére kedves emlék az expedíciós filmes kalandokra, ahol fontos szerepet kaptak a monumentális természeti terek, és a nagylátószögű kamera James N. Howard csodálatos zenekari zenéjére repkedett a gondosan megrendezett élő statiszták és állatok tömegei fölött. És mindezt úgy, hogy a stáb szívből jövő elkötelezettséggel közvetíti a nézői élményt, keményen dolgozva odakint, a valódi vadonban. Ilyet ma már a nagy hollywoodi filmekben nem látunk. Ezért is ma, egy négyméteres képátlójú házimozin nézett A jövő hírnöke film bizonyos módon megsimogatott - annak ellenére, hogy a fejemet rázva kuncogtam azon, ami benne történik. (2020.10.31)

An experience for a more hardened audience. Kevin seemed to like the character of the savior of the people, so he cut out his post-apocalyptic vision of American society, which is brought together by a postal deliveryman with a very sympathetic "turnkey dad" face, with absurd pathos and naivete. He's violently putting together a western and science fiction, and he's not good at it. At first I found it funny, but unfortunately the laughter became a disbelieving smirk after a while. This is how an advanced creative crisis manifests itself. I'd rather listen to songs about postmen a hundred times in a row than this manifestation of idiotic patriotism! (2004.03.30)

Postman Pat, Postman Pat, Postman Pat and his black and white cat... But Costner doesn’t have a cat. He has a horse that he rides for a full three hours all the way to where the sun doesn’t shine. And he’s headed that way from the very first shots. And, if his old nag hasn’t died in the meantime, he is still on his way to this day. My entire schooling went by more quickly than this embodiment of dragged-outness in its purest form. It seems to have been some allegory on the speed of the American postal service, because otherwise I have no idea what the filmmaker wanted to say. I hope that Kevin pulls himself together and films a sequel to this someday - it could easily be ten hours long. That would make better viewing than the daily footage of our House of Representatives. (2008.09.15)

It’s hard to speculate about why this legendary Kevin Costner flop became such a failure and literally a symbol of a film disaster. But there are several positive things to be found in it: sensible and perceptive direction, excellent action scenes (the sequence where the main female protagonist picks up the M16 and starts shooting indiscriminately is unforgettable), and even the core idea is not bad. Unfortunately, Costner did not do a good job writing the characters, and for example, Will Patton did not turn out well at all. There is no shortage of pathos, and unfortunately, it is at times unbearable, but it is definitely a film that does not appear on screens every moment, so it deserves attention, as well as recognition for the effort and reasonably well-done work, although it could have been much better. (2007.07.30)

This gets full stars, and from my point of view they are clearly deserved. It's a film that never fails to entertain me and that I can finish even if I watch it at eleven o'clock at night. I must have a thing for fairy tales or something. P.S. If Costner hadn't shaved, it would have been even better - the bearded image suited him perfectly and it was a great fit for the post-apocalyptic story... (2007.09.20)

I don’t remember when was the last time I fell in love with a film that is universally considered bad, and Postman, the king of cinema failures, almost managed it. With its patriotism, grandeur, predictability and naivete, Costner’s opus represents everything I often resent about Hollywood blockbusters, while at the same time is a clear answer to the question of what it is that I genuinely love about them. Even though it’s improperly long and dull at times, it didn’t bore me, I liked its vision of the future, the main villain was truly evil and Howard’s music is amazing. Moreover, Costner’s performance is good and, visually, the film is believable and nicely old-fashioned. It’s a real shame that due to some major nonsense and poorly staged sequences I can’t give it 4*, it would be truly improper. 70% (2020.03.16)