Jean-Jacques Annaud
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Saving Private Ryan (1998)
Directed by Steven Spielberg
influenced Enemy at the Gates (2001)
Visuals Themes
Beginning with an opening that lumbers precariously close to Saving Private Ryan's, Enemy at the Gates plots a torturous course through blood-soaked battle scenes, soap-opera love triangles, and some highly questionable deux ex machina.
In the opening of Enemy at the Gates, as the boats land on the shores of the Volga River and the soldiers disembark in full assault mode, it's impossible not to think of Spielberg's Saving Private Ryan and raise the expectation that we're in for the first great war movie of the new millennium.
Director Jean-Jacques Annaud starts with an epic battle scene, a la Saving Private Ryan.
You’ll be thinking of Saving Private Ryan during this -- and wishing you’d stayed home and watched that on DVD instead.
The grime splashed on the lens, the stark and chaotic cinematography, the way the sounds of battle are toned down so we can take in the sorrowful music and pause to wonder why people do these things to each other — all the tricks that seemed so innovative in Saving Private Ryan and Gladiator are by now a familiar part of our film grammar, and they are all present and accounted for in Enemy at the Gates.
Luckily, the money appears to have been well-spent, because the film’s special effects and set design rival those of Saving Private Ryan.
Like the horrific mustang roundup that ends John Hustonâs The Misfits, the animalsâ fear is real and presents an ethical quagmire.
Danilov introduces Vassily to Mrs. Filipov (Eva Mattes, "Woyzeck") who provides an underground shelter and food.
The story of The Nun takes cues from the drama mystery film The Name of the Rose starring Sean Connery and a young Christian Slater.
Witness the stunted 1986 screen version of Umberto Eco's densely bibliophilic "The Name of the Rose," and the atrocious hash that Roman Polanski's 1999 fiasco, "The Ninth Gate," made of Arturo Pérez-Reverte's brilliant "The Club Dumas."
Working from Umberto Eco's 1980 novel, Jean-Jacques Annaud crafts a thoughtful and entertaining murder mystery predicated on intellectual debate (and much more palatable than offspring like The Da Vinci Code).
Leung — not to be confused with the actor who starred in Jean-Jacques Annaud’s “The Lover,” Tony Leung Kar-fai — has a grave, refined presence, but there’s a boyishness to his dignity that’s almost overtly sexual.
But like all animal dramas (think Bambi or Born Free), Two Brothers contains material that may be inappropriate for children younger than 7.
The Last of the Mohicans (1992)
Directed by Michael Mann
influenced Enemy at the Gates (2001)
Visuals
As filmed by cinematographer Robert Fraisse ("Seven Years in Tibet," "Ronin") and taking place within the Oscar-caliber sets of production designer Wolf Kroeger ("The Last of the Mohicans," "The 13th Warrior") and the marvelous score from composer James Horner ("Titanic," "Apollo 13"), the film starts off with a literal bang, showing the Russian forces forging the Volga River into Stalingrad in a sequence that many will undoubtedly compare to the opening one in Spielberg's classic war film.
AntiTrust works because of a combination of strong acting, a smart script written by Howard Franklin (writer of Someone to Watch Over Me and The Name of the Rose ), and deft directing by Peter Howitt ( Sliding Doors ).
Peter Howitt directs from a screenplay by Howard Franklin (The Name of the Rose).
The Battle of Stalingrad, sometimes called the bloodiest single battle on record, has been cinematic fodder for decades, most recently in 2001’s “Enemy at the Gates.”
Dawn of the Planet of the Apes (2014)
Directed by Matt Reeves
influenced by Quest for Fire (1981)
Themes
The end result plays like a cranked-up simian riposte to the French-Canadian film Quest for Fire , or an alternative-universe extension of the "dawn of man" sequence from Kubrick's 2001: A Space Odyssey , which went head to head with the original Planet of the Apes in 1968.
Perlman is used to lots of makeup after his noted performance as a mad monk in “The Name of the Rose” and his Golden Globe-winning performance as the beast in the TV series “Beauty and the Beast.”
His simian jawline and reptile eyes have adorned projects from The Name of the Rose to City of Lost Children to del Toro’s own Cronos and Blade II, and his sand-and-glue bark has made him a second fortune in voice-over work.
The movie seems populated with only villains — sometimes it’s the military, sometimes it’s the creepy industrialist who wants to use the Hulk for his own purposes, and sometimes it’s Banner’s crazy dad (Nick Nolte, looking as if he were auditioning for “Quest for Fire”), who has returned to finish the experiments he started when his son was a boy.
Jon Voight (1999's "Varsity Blues") is emphatic as wheelchair-bound President Franklin Roosevelt, while Alec Baldwin (2000's "State and Main"), Dan Aykroyd (2000's "Loser"), and Mako (1997's "Seven Years in Tibet") make equally memorable impressions.
Another veteran actor, Mako ("Seven Years in Tibet") does a nice job as Admiral Yamamoto of the Japanese Imperial Navy, mastermind of the attack.
“The Name of the Rose” and TV’s “Brother Cadfael” had monks investigating crimes, logically and rationally, in a time of superstition.
El caso es el mismo para cientos de otras películas desde Casablanca (1942) hasta The Pianist (2002) pasando The Great Escape (1963), horrores como Pearl Harbor (2001), Fury (2014) y Enemy at the Gates (2001).
American Sniper (2014)
Directed by Clint Eastwood
influenced by Enemy at the Gates (2001)
Themes Plot
More than, say, Enemy at the Gates or Saving Private Ryan, this hundred thirty-four minutes is much concerned with combat killing and what it does to those who do such dirty work.
The ending is far from the film’s only problem: the action sequences are well-conceived but hardly dazzling, there’s a head villain who seems to have been tossed in for dramatic purposes, and most of the cooler “sniper stuff” recalls a considerably better film (Enemy at the Gates).
Even then the sniper sequences aren’t as compelling as in Enemy at the Gates , lacks the intensity of Jeremy Renner’s disaffected soldier in The Hurt Locker and doesn’t offer that time is against them feeling of Black Hawk Down .
It’s not one of the great Middle Ages movies, not on a par with “The Name of the Rose,” “The Advocate,” “The Reckoning” or “The Secret of Kells.”
Director of photography Robert Fraisse's ("Enemy at the Gates") crisp lensing matches Sarah Knowles' pristine production design.
The City of Lost Children (1995)
Directed by Jean-Pierre Jeunet
influenced by The Name of the Rose (1986)
Perlman, a busy actor whose credits include The Name of the Rose, Romeo is Bleeding, and last year's Cronos, is entirely credible as the simple strong man driven to his quest by love for a child.