Rendező:
Rupert SandersOperatőr:
Greig FraserZeneszerző:
James Newton HowardSzereplők:
Kristen Stewart, Charlize Theron, Chris Hemsworth, Sam Claflin, Ian McShane, Bob Hoskins, Ray Winstone, Nick Frost, Sam Spruell, Toby Jones, Eddie Marsan (több)Streaming (3)
Tartalmak(1)
Ebben a látványos akció-kalandfilmben Kristen Stewart (Alkonyat) alakítja Hófehért, aki szebb az őt elpusztítani készülő gonosz királynőnél (Charlize Theron). Ám az ármányos nőszemély azt nem sejti, hogy az uralkodását veszélyeztető Hófehért a vadász megtanította a harc művészetére. És ha ehhez hozzávesszük, hogy a törpéket olyan kemény legények játsszák, mint Ian McShane, Ray Winstone, Bob Hoskins vagy Nick Frost, akkor már világosan látszik, hogy ez a mese egy egészen másfajta mese. (UIP-Duna Film)
(több)Videók (60)
Recenziók (11)
A filmet Charlize Theron és Kristen Stewart tartja össze, akik nem csak szépek és rendesen játszanak, de főleg a szereposztásuk van a helyén. Ami igaz a többi szereplőre is, breivik-féle rosszfiújától, Sam Spruell-től kezdve a törpék csapatáig, amelyben minimum Ray Winstone-t csak a hangjáról ismered fel. Chris Hemsworth a vadászként meglepően kevés teret kap ahhoz képest, hogy a film címében szerepel, és a Hófehérrel való kapcsolata sem működik túl jól (ahhoz képest, hogy a film címe is ilyen). A humor hiánya a törpéknél szintén meglepő. A film első harmada kiváló, amelyet az egyedülállóan gonosz és rideg Charlize ural (a rideg ribanc Eva Green az Éjsötét árnyék filmből nem tud felkapaszkodni). Összességében nem lapos, van benne lendület, képes magával ragadni, és bővelkedik fantasy bájban és sötétségben. A kiváló látványvilág és Howard filmzenéje nem meglepő, várható volt. A Gyűrűk Ura filmekből vett ötletek valószínűleg már elkerülhetetlenek, de utalások a Végtelen történet filmre kellemesek, és azt sugallják, hogy a hollywoodi remake forgatókönyve az Angyalok városában már formálódik valakinek az asztalán. A film hossza túl sok, a második felének rövidebbnek és dinamikusabbnak kellett volna lennie. Összességében, de még mindig magasabb, mint a gyerekes Narnia Krónikái: Az oroszlán, a boszorkány és a ruhásszekrény vagy mesterséges Az arany iránytű.
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(Though I think there isn’t much room for SPOILERS in this case, you should rather see the film before reading this review.) Neither a fairy nor a dragon. This modern rendering of the archetypal story epically spans the territory of Game of Thrones (the would-be harsh rural setting, the incestuous relationship between siblings), The Lord of the Rings (numerous “wandering” money shots), Disney movies (the fairy forest), Besson’s Joan of Arc (including an inappropriate spiritual dimension), and video-game fantasy (spectacular, bloodless vanquishing of enemies, and partly Snow White’s resuscitation, which is of course present in all versions). Other than the somewhat incomprehensible feminist subtext, the film’s modernity does not lie in reinterpreting a familiar story or putting it in a different context. Rather, the screenwriters merely stretched a simple story into a feature-length epic film, so there’s nothing left for us to do but successively tick off familiar situations. Our immediate recognition of the source material and firm knowledge of how everything will turn out in the end naturally draws our attention away from the content to the various treats for the eye (most of the scenes with the queen) and the ear (the dwarves imported from England). Unfortunately, the fairy-tale black-and-white distribution of power is not in any way relativised and if you want to cheer on Charlize Theron’s emancipatory struggle against the patriarchal order instead of the anaemic princess, the film will do nothing at all to support you in this. ___ The queen’s paranoid defence of her hard-won position, accompanied by her need to be the fairest of them all, could have been used beautifully to express a timeless commentary on gender inequality, to which the traditional (and the film’s chosen) ending conversely contributes. It’s worth noting that whereas the docile Snow White comes to understand “her” position without authoritative guidance, but surrounded by macho men, the more aggressive queen was, judging from the fleeting hints of her disdain for the male sex, guided by the upbringing she had from her mother and obediently accompanied only by her effeminate brother. Snow White’s climactic act of defiance follows a series of hardships culminating in her clinical death, when she is wearing asexual armour serving to deflect both arrows and the male gaze (thus creating the opposing figures of Snow White as being “butch” and the Queen as "femme", thus further confusing the already uncertain sexual orientation of the characters). Snow White paradoxically gains her exclusive position among men by becoming one herself in terms of her appearance (the exact opposite of the queen’s constant self-beautification). However, it’s possible that today’s girls (not necessarily just Twilight fan) are looking for this type of heroine, who must “suffer” in order to gain the victory that she believes she deserves due to her princess-like nature. The men faithfully follow Snow White only after her suffering reaches its peak (though anyone who has seen Martyrs might object to her lovely collapse to the ground). Unlike in melodramas, the topos of the suffering heroine here does not primarily elicit “unproductive” emotions, but rather conditions the active struggle. Paradoxically, it is the struggle for an abandoned home, where the possibilities for women’s emancipation are limited on principle. The film leaves answered the question of the extent to which Snow White’s rule will be dependent on men. There are multiple ways to interpret the symptoms of this new film version of Snow White, but I’m afraid there will be few that clearly favour women. ___ Snow White and the Huntsman is an outwardly appealing film, but with every layer that gets peeled back, it becomes less and less convincing in what it wants to tell us. 65%
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(kevesebbet)
(több)
At the beginning I was surprised at how much I was enjoying it (I wasn’t expecting anything from it), but as the minutes went by, the enthusiasm waned and I ended at around 4/10. Nice visuals and a demonic Charlize aren’t enough to carry 127 minutes with a stupid script, a wooden Snow White and an unremarkable prince.
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Great fragments, but a dramatic structure very blown away (hi ho, hi ho, we come to XY, we enjoy ourselves and then they attack us), no explicitly breathtaking moment, very solid craftsmanship, but affected by the effort to sell everything to all available senses at once. For me, it lacks a bit of finesse and stronger mythology, which would combine all the much dispersed influences - for example, when the dwarves sing an "Irish folk song" and Snow White prays to God, I do not know where I actually was. Some mandatory "mighty bloody battle" phrases strongly reside here (I would cut off hands for Snow White's monologue before the final battle). On the other hand, from an acting point of view, it is absolutely excellent, and if there is something that really excites beyond sensory intoxication, then it’s the well-chosen representatives of key roles (perhaps only Kristen gets a big life lesson from the predatory milf Charlize). Sanders certainly has a knack for playing with the viewer - I'm quite curious how his broadly targeted fantasy product will fare. Overall, I fluctuate between amused distance and enthusiasm - especially where this dirty girl dares to be really dirty and more daring than the polished genre competition. Unfortunately, the enthusiasm did not come despite a few good flashes. P.S. When The Witcher is filmed in Hollywood, Chris Hemsworth should be given the role of Geralt. The guy has style...
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I was looking forward to Snow White and the Huntsman. I am always looking forward to a fantasy. And it’s even more pleasant when I see it’s the director’s first proper movie. Hats off for the imagination of the Snow White’s world. I really liked that. Even though it was narrated well, the story was a routine one. In fact, the whole movie is really obvious and if you know the original story and can imagine it in the form of a narrative fantasy story like Lord of the Rings, the result will look like this movie. Kirsten Stewart could finally stop staring open-mouthed at everyone around her, but that was about the only flaw I could find with the actors. They performed their best and that is a good thing. Next time it would be better with less digital effects. The two castles could definitely have been made less monumental and more real to give the fantasy movie the realistic feel it deserves. At least in that respect.
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