The other boleyn girl – full movie 2008

The other boleyn girl – full movie 2008

And with the current Cable/ADSL internet connections this isn t too much of a hassle. Take then the dropping prices per GB for harddrives in account and I expect disc based to be over and out sooner than we think. Reviewed by Judge Adam Arseneau//September 6th, 2010 Judge Adam Arseneau is burying this one six feet under. Our review of, published August 20th, 2010, is also available. How can you save yourself if youre already dead? is a film about a woman who doesnt know if she is dead or alive. That pretty much summarizes how audiences will feel watching this tepid psychological thriller: cold, lifeless, and uncertain. After a horrific car crash, Anna Christina Ricci wakes up dead, apparently, with her body being tended to by local funeral director Eliot Deacon Liam Neeson. Anna is told matter-of-factly that she died, and so sorry about all that and such, but you better get used to it. Stuck in a weird purgatory on the mortuary table, Anna cant bring herself to believe she really died, but the longer she sits there, the more she worries. She tries and fails to accept her death, but cant escape the nagging suspicion that something is horribly wrong. Meanwhile, Annas boyfriend Paul Justin Long is having just as hard of a time accepting his girlfriends death. Grief-stricken and maddened by the loss of Anna, he begins to suspect that Eliot is harboring a secret about his girlfriend. Is she still alive? Or has she already begun to pass to the other side? On paper an ambitious and original poses an interesting premise to audiences: What is the definition of dead? Sure, it seems pretty straightforward when youre dead, youre dead but for the hapless numbers who wander through the doors of Eliot Deacons funeral home, it gets a bit muddled. Muddled is the operative word here. has some great ideas, but leaves audiences with a dull and lifeless film riddled with poor performances from its cast. It is hard to pin down exactly what goes wrong with this film, or at what point, but it becomes immediately apparent that there is something fundamentally broken. What should be a subtle, menacing psychological thriller about the introspective nature of death and loss ends up being a muddled and disinterested snooze fest of Christina Ricci sitting naked on a slab in a funeral home, looking bored and disinterested while Justin Long runs around in a constant state of tears. Even Liam Neeson, a man who could turn a diuretics advert into a Shakespearian masterpiece looks pained here, as if unsure how he ended up in this snooze of a film. The execution of this film is so awkward and disjointed that most viewers wont care one iota whether or not Anna is dead or alive theyll only be wondering when the film will be over. In the end, the characters themselves are to blame. Anna, as played by Christina Ricci, is so unpleasant and unlikable as a human being that her so-called death is more schadenfreude than shocking. It is virtually impossible to connect with her on any emotional level or care about her situation. This sinks the whole premise of the film. wants to be this introspective examination into the nature of death, a kind of Twilight Zone or The Sixth Sense spin on a crisis of mortality. As the audience, were supposed to revel in the irony of Anna: a drugged, sleepwalking, depressed woman who fails to appreciate how precious her own life is until she ends up dead at a funeral home. Eliot tries to rehabilitate her, to prepare her for her final rest, to help her come to some kind of terms with her own fate. Amusingly, I could care less whether Anna is dead, or being held in a funeral home by a crazy person against her will. Thats how much you will dislike the character. The acting is just terrible. Christina Ricci looks like a real-life porcelain doll, and pretty much acts like one here; stiff, rigid, and lifeless. The biggest tragedy is Neeson an actor with such credibility and talent that he should be able to sleepwalk his way through a film like this. Figuratively speaking, of course; the problem is that he actually looks asleep here. He plays Deacon as cold, creepy, and unsympathetic, which pretty much spoils most of the plot twists. You figure out early on that is a Bad Fellow. Amusingly enough, the saving grace here is Justin Long. Distraught and traumatized by the death of his fianc e, at least his character gets to emote something through this snooze fest of a film. He ends up plastered with a confused and tearful grimace that in some circles could constitute dramatic acting. To the films credit, tries hard to put out a quality product on a low budget. Writer/director Agnieszka Wojtowicz-Vosloo, in her Hollywood cinematic debut turns out a visually stylish film, a striking bleakness of composition full of muted tones and harsh fluorescents. As messy and incoherent as the film plot might be, the visuals of the film feel meticulously crafted and well-executed, and it makes the films esoteric vision and original concept easier to admire. It gets a bit weird at times, though. The fetishism of Ricci done up like a corpse crosses into some uncomfortable areas, with excessive lingering shots on her pale body laid out on a slab in a decidedly erotic fashion.

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