What can be said that hasnt? This is a beautiful movie but I only hope everyone saw it in theatres, the bigger the screen the better for this movie.
The commentary is worth a listen but be warned they liked the movie on the big Imax screen too, and mention this a lot through out the movie how you can see more if its an Imax print. This made me feel a little cheated and I dont think they should have gone on about it so explicitly but that aside this is going to be a beautiful rich movie with style however big your screen is.
As for emotional, my friends ,male and female both cried at the end of it.
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What can be said that hasnt? This is a beautiful movie but I only hope everyone saw it in theatres, the bigger the screen the better for this movie.
The commentary is worth a listen but be warned they liked the movie on the big Imax screen too, and mention this a lot through out the movie how you can see more if its an Imax print. This made me feel a little cheated and I dont think they should have gone on about it so explicitly but that aside this is going to be a beautiful rich movie with style however big your screen is.
As for emotional, my friends ,male and female both cried at the end of it.
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Some `Director's Cut' releases add little to (or even spoil) the original versions but this release is well worth obtaining as it has, in my opinion, improved the feature. Gone is the opening, studio imposed voice over for dummies (its not missed, believe me) and the audience is instead left to figure out what's going for itself. What unfolds is a highly original and beautifully crafted sci-fi tale with a good performance from Rufus Sewell in the lead as the troubled suspected murderer, ably supported by William Hurt (the downbeat cop), Kiefer Sutherland (the nutty scientist), Jennifer Connelly (the doe-eyed nightclub singer) and also by Ian Richardson and Richard O'Brien (won't give anything away here, but both great as two of the `others' shall ... Read More:
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I confess to be one of the few who watched and loved this film on its cinematic release, but the one snag I found was the opening voice-over, which gave away the 'twist' and it struck me as a probable studio panic. Evidently my suspicions were correct, and the film should benefit (for new viewers) from its removal. However, director Alex Proyas has taken the liberty of making a number of changes to the film, mostly in the form restored footage to scenes. Some nice touches (finger prints, slightly more flesh on characters) add something, but some other additions merely slacken the pace, and worse, Proyas has (perhaps as a consequence of not fitting the scene, or maybe because he felt it too intrusive) lessened the role of Trevor Jones's brooding/vicious/achingly ... Read More:
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complete rubbish that is not worth bothering with.theres no gore,no scares
the werewolves,vampires and frankensteins monster all look cheap and shoddy,the acting is awful, the script is worse
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Pure is on of the most emotional, har-hitting films I have ever seen. With a stunnng performance from youngster Harry Eden, whon really brings to life the seriousness of Drug addiction and abuse. Harry plays the part of 10 year old Paul, who is trying desperatly to save his mother from destroying herself through Heroin. Pure really shows how a young boy can take on almost anything to save his mother. Outstanding!
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Steve Irwin sells himself out to a commercial blunder here. A ridiculous plot is played out by unknown actors, interweaved with Steve & Terri's 'best of clips'. The movie seems to be hacked together to almost amateurish standards.
The one positive point is the inclusion of lots of Stev’isms and Terri’isms to produce the occasional chuckle, but the hammy plot obliterates any viewing enjoyment.
Crickey mate, don't bother with this one, unless you’re a die-hard fan.
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On paper this should be great but I couldn't even get past two thirds of the way through, so pointlessly drawn out was it in some attempt at the quality of an epic. The setting and some of the detail is great but the plot lacks the resonance with me to carry off the portentous tone of the film. The gang of Whites'n'Abos outlaws being sought by Ray Winstone seem to represent some model of racially-integrated cohesion whose brand of ruthless brutality trumps (at least for a while) the nasty racist unhip colonial authorities represented by Ray. I suppose this kind of romantic view of malign outsiders is one that would be held by the writer, that darling of the quality colour supplements, Nick Cave.
Get the soundtrack record instead - magnificent stuff.
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