Baltasar Kormákur
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There are a few instances where it’s obvious the actors are working on sets, but for the most part the combination is seamless, and I found myself wanting to check out the 1998 documentary Everest that shot on the mountain using actual IMAX film cameras instead of the remastering process used here.
Still, this Everest can’t match the spectacle of the seminal 1999 IMAX documentary that is based in part on the same story.
(The events chronicled in Everest were previously depicted in a 1998 documentary of the same name.
One got a similar feeling watching the 1998 IMAX documentary, also titled Everest, but Kormákur's movie places you not just on the mountain but inside a story, inside characters' heads and inside human bodies as oxygen levels drop and extremities freeze.
The mountain in question is no stranger to the bigscreen, and viewers hoping to see it in all its glory might do well to start with a documentary like the landmark 1998 Imax film “Everest” or 2010’s “The Wildest Dream: Conquest of Everest.”
Or remade, since the story was broached with more immediacy in the 1998 IMAX doc, also titled Everest, that survived the freak blizzard dramatized here.
It’s a combination of wide-open escapades in the wilderness that will ring of “Jurassic Park” (1993) and claustrophobic confrontations that best resemble “Cujo” (1983).
It’s only fitting that one of the daughters is seen wearing a Jurassic Park tank top because it’s right up there in the frightening adventure department.
For the most part, the lion is CGI, and the filmmakers cleverly allow most of the action to transpire at night, when CGI is not as easily detectable, much like the T-Rex attack in “Jurassic Park,” the combination of darkness and rain made that scene near-perfect.
(Halley’s Jurassic Park tank top in an early scene serves as a Works Cited for that film’s influence.)
It’s also more fun than Jurassic World: Dominion – or most of the Jurassic Park sequels for that matter.
Los mitos griegos de Teseo contra el Minotauro, Perseo contra Medusa, novelas tan míticas como Moby Dick y 20.000 leguas de viaje submarino y, por supuesto, películas como Tiburón , King Kong , Anaconda , Jurassic Park y la historia de Stephen King Cujo .
Suraj Sharma in “Life of Pi.”
The lost-at-sea survival tale “Adrift” is based on a true story, but it plays out like mediocre “Life of Pi” fan fiction that started with the premise “What if Pi were a young woman wearing short shorts and bikinis and the tiger in the boat was an older, hunky Brit?”
“Adrift” can’t help but evoke vivid memories of other, similar tales of isolation and overwhelming obstacles from recent years, and if we’re being honest it doesn’t quite live up to the sumptuous imagery and religious awakenings of “Life of Pi,” or the overwhelming suspense and catharsis of “Gravity,” or even the futile despair of “All is Lost.”
Cast Away had Tom Hanks talking to a volleyball while Life of Pi brought in animals and a spiritual theme.
All of this has been done better in other adrift at sea movies (“All Is Lost,” “Life of Pi”) and this film is further weighted down by a back and forth story line between the couple’s fight for survival and distracting flashbacks to their shallow romance.
Speaking of large landforms, Kormákur previously helmed the survival in nature dramatic thriller "Everest," and like that film he creates a completely believable visual scenario here that, if ever presented as a double feature with Redford's film, "Life of Pi" or even "Titanic," could assure those uneasy about being out on the water with no land in sight will remain on terra firma.
We have seen characters coping with similar situations in other movies (All is Lost and Cast Away, to name a couple) but Adrift offers a uniquely female perspective.
When Robert Zemeckis put Tom Hanks through his island ordeal in Cast Away , he gave him Wilson, the volleyball, to keep him company.
Cast Away had Tom Hanks talking to a volleyball while Life of Pi brought in animals and a spiritual theme.
In many ways, "Everest" is a throwback to the grand old disaster films of the 1970s like "The Poseidon Adventure" and "Airport."
El problema era, siempre, que más que una integración coral genuina como en los filmes del gran Robert Altman (Nashville, 1975), el resultado final se veía fragmentado y difuso, dejando que el evento como tal se alzara como protagonista.
Telling the same story as, but not officially based on, Jon Krakauer's best-selling book Into Thin Air (perhaps changing things up because the book was already officially adapted for a 1997 TV movie, Into Thin Air: Death on Everest), the film hinges on the freakish conditions that led to the deaths of eight climbers on May 10, 1996.
Each of these folks gets a mini-narrative — Weathers only feels alive on a mountain peak, but he’s promised wife Peach ( Robin Wright ) that this is his last one; mailman Doug got close to the summit last year and is determined to go all the way; Yasuko has climbed six of the seven summits of Everest and wants a clean sweep – not unlike the all-star cast of something like “Airport 1975.”
The only thing missing from "Everest" would be a movie poster with stars' photos accompanied by the slogan from 1974's "Earthquake" -- "Who will survive?"
The thought of climbing perilous icy peaks might not sound like most people’s idea of a good time, but watching brave men and women take on such challenges has led to some truly great films like Kevin Macdonald’s Touching the Void and the recent doc Meru.
The best ones are typically documentaries, such as Touching the Void (2003) and the recent Meru, in which the climbers explain their motivations in their own words.
Mark Wahlberg stars in a smuggling film that plays like a really boring, forgettable version of Gone in 60 Seconds.
It’s the remake of Gone In 60 Seconds you never knew you needed!
Sharing far more similarities with real-life 1993 drama "Alive" than the action-centric likes of 1993's "Cliffhanger" and 2000's "Vertical Limit," director Kormákur is forthright in telling a story more about the ordeal of human endurance than calculated thrills.The ensemble is bursting with great actors, which makes their roles' shortage of complexity somewhat of a missed opportunity.
Sharing far more similarities with real-life 1993 drama "Alive" than the action-centric likes of 1993's "Cliffhanger" and 2000's "Vertical Limit," director Kormákur is forthright in telling a story more about the ordeal of human endurance than calculated thrills.The ensemble is bursting with great actors, which makes their roles' shortage of complexity somewhat of a missed opportunity.
The movie's sense of group dynamics, finely tuned suspense, and attention to technical detail reminded me of Robert Aldrich's Flight of the Phoenix.
Not at all, even the best of the best genre flicks have more suspension of belief than desired, and Beast isn’t quite like The Meg for example, which was more blockbuster-oriented and as the runtime wore on, consciously winked at its audience (or at least Jason Statham and Rainn Wilson did).
However, unlike films such as Crawl and The Meg , which confidently embrace the outlandishness of their mankind versus animal conflict to maximum effect, Baltasar Kormákur’s Beast seems conflicted about what it really wants to be.
The “animal attacks” subgenre of film crosses the spectrum of everything from Jaws and The Edge to Piranha and The Meg .
Shooting at 16K feet on Everest's base camps plus the Italian Alps' Senales Glacier with wind chills up to 30 below Centigrade (cinematographer Salvatore Totino, "The Da Vinci Code"), the cast valiantly recreates the experience of high altitude perils and suffering.
La cámara del cinefotógrafo, Salvatore Totino ( Any Given Sunday , 1999; The Da Vinci Code , 2006), parece deslizarse desde la cresta más alta del Everest para mostrarnos inmensas masas de roca helada y configurar fluidas y emocionantes secuencias donde los espacios reducidos, las grietas y los huecos de las montañas incrementan la sensación de vértigo.
Sharing far more similarities with real-life 1993 drama "Alive" than the action-centric likes of 1993's "Cliffhanger" and 2000's "Vertical Limit," director Kormákur is forthright in telling a story more about the ordeal of human endurance than calculated thrills.The ensemble is bursting with great actors, which makes their roles' shortage of complexity somewhat of a missed opportunity.
La cámara del cinefotógrafo, Salvatore Totino ( Any Given Sunday , 1999; The Da Vinci Code , 2006), parece deslizarse desde la cresta más alta del Everest para mostrarnos inmensas masas de roca helada y configurar fluidas y emocionantes secuencias donde los espacios reducidos, las grietas y los huecos de las montañas incrementan la sensación de vértigo.
Lively has appeared in several movies ( The Deep , The Age of Adeline , All I See is You , Café Society ) after Gossip Girl went off the air in 2012, but this role is her juiciest yet.
Las imponentes ciudades industriales de Alemania y Singapur son capturadas con precisión por el cinefotógrafo Óttar Guðnason (Inhale, 2010); pero la seducción de los escenarios contrasta enormemente con el bajo nivel de los actores, en particular Hannah Ware, la responsable de ser el eje emocional del filme se percibe como otro más de los Agentes: sin emociones.