Christophe Gans
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Si a la incomprendida Return to Silent Hill le cayeron palos por tomarse libertades con el videojuego en el que se inspira, a esta nueva adaptación de Resident Evil le espera una penitencia acorde a la inventiva que despliega.
Several game titles have made strides toward successful screen adaptations in the last year alone, including Mortal Kombat II, The Super Mario Bros., (Return to) Silent Hill, etc.
During the American parts of this story, the movie (photographed by Dan Laustsen, whose middling career up to this point has included The League of Extraordinary Gentlemen and the movie version of Silent Hill) goes in for a burnished look, with lots of burgundies, maroons, browns, and golds.
As should be clear, the real star of the film is del Toro’s visual sensibility, which is fully realized in all its sumptuous glory by production designer Thomas E. Sanders (whose first project was Francis Ford Coppola’s similarly opulent love letter to the horror cinema’s past, 1992’s Bram Stoker’s Dracula) and Danish cinematographer Dan Laustsen (Silent Hill, The Brotherhood of the Wolf).
La fotografía del danés, Dan Laustsen (Silent Hill, 2006; Headhunter, 2009) captura los juegos de claroscuros en espacios cerrados creando atractivos contrastes de tonos amarillo, naranja y verde ajenjo al interior del cuadro; su cámara merodea y avanza poco a poco a lo largo de los corredores con un espeluznante sigilo que a veces sucumbe al uso excesivo del CGI para crear a los fantasmas.
To say that I have no idea what the hell I just watched would be an understatement, but I know I saw some shit and that I loved every second of the third act, which puts to good use incredible makeup effects (creatures that would not only do Lovecraft proud but bring to mind some truly disturbing sites such as Zelda from the original Pet Semetary and the symbolic nightmarish imagery from the Silent Hill games) and monster design for a grotesque climax.
The music of composer Michael Abels, who also did Get Out , is a mix of Jerry Goldsmith’s The Omen and Akira Yamaoka’s Silent Hill .
Sharon quickly goes missing in the fog-forsaken place (under which the fires that devastated the town still burn) and Rose spends the better part of the movie's 127 minutes pursuing an elusive child-like figure (clearly she never saw "Don't Look Now") before figuring it all out.
Christophe Gans’ depiction of the “Silent Hill” video game is really above dreck like “Doom” and “Resident Evil”.
Though the cinematography by Dan Laustsen and the production design by Carol Spier feel like something out of the Nine Inch Nails video library, "Silent Hill" is no better or worse than "Doom", "Resident Evil" or the rest of their ilk.
Although it's based on a video game, you can't really compare it to something like "Resident Evil" or "Doom" because it's not an action movie based on an action-driven game, as much as being a horror movie.
Weighted down by the spare, portentous piano keys of composer Anton Sanko's chilling score and the overcast suburban malaise of cinematographer Dan Lausten's (2006's " Silent Hill ") lensing, "The Possession" looks and sounds terrific.
Dan Laustsen's ("Silent Hill," "Just Another Love Story") camera hangs back at corner edges, just daring you to look further.
…as she shifts gears from the Silent Hill survival horror of last episode to a more dramatic and wistful war movie aesthetic…
As video game adaptations go, this doesn’t measure up to the likes of Detective Pikachu and Silent Hill in terms of story.
Y aunque las películas basadas en videojuegos todavía cuentan con una mala fama, al menos hemos tenido una que otra producción decente, desde el “Prince of Persia” con Jake Gyllenhaal, hasta “Silent Hill”, y por supuesto, “Detective Pikachu” y “Sonic the Hedgehog”.
It’s too kind to say borrowed-from, so let’s say this film outright bastardizes films like Demon Knight, Beauty and the Beast, Dracula, Silent Hill, A Nightmare on Elm Street 5: The Dream Child, and even The Serpent and the Rainbow.
By the time ''Brotherhood'' arrives at the last of its many climaxes -- which somehow involves incest, a Native American burial ceremony, and ''Malena'''s Monica Bellucci as an elite prostitute working as a spy for the Pope -- the only genre left unplundered is the musical.
There's a snooty one-armed count (Vincent Cassel), his nubile sister (Emilie Dequenne) who captures the naturalist's eye, and a vampirish courtesan played by the luscious Monica Bellucci ("Malena").
Between the elaborate battle scenes, Fronsac courts the virginal aristo Marianne (Rosetta's Emilie Dequenne) and pays booty calls to the mysterious Sylvia (Malena's Monica Bellucci).
Other figures to cross Fronsac's path are Thomas d'Apcher (Jérémie Rénier), a young nobleman who joins the newcomer's hunt; Sylvia (the divine Monica Bellucci, the belle from Malena ), a courtesan with a secret mission; and a clergyman, Sardis (Jean-François Stévenin).
Fronsac feeds his baser needs at an elegant brothel, where the mysterious prostitute Sylvia (Monica Bellucci, "Malena") provides psychic as well as physical services.
Lara Croft: Tomb Raider (2001) was okay, Silent Hill (2006) was at least genuinely creepy and the Resident Evil movies have a cult following.
Fingers are firmly crossed for Duncan Jones’s forthcoming Warcraft , but in the meantime this big-screen reboot of the Hitman series merely reminds us that in this genre Mortal Kombat and Silent Hill remain unremarkable high-water marks.
And Alice Krige (who was scary in both "Ghost Story" and "Star Trek: First Contact") can't even muster enough energy to appear sinister here.
It's not the talented Mitchell's fault -- even the finest actress couldn't possibly rise above this material -- but others, in particular Alice Krige ("Star Trek: First Contact") as the town's high priestess, really embarrass themselves.
Freely exhibiting thematic and visual similarities with "Rosemary's Baby," "The Wicker Man" and "Carrie," "Silent Hill" presents a mishmash of ideas that never quite connect.
In the game-to-film genre — which includes such memorable disasters as “Silent Hill” and “Hitman 47” — this is yet another disorganized, incoherent, nearly unwatchable entry.
To be fair, I said the same thing about Warcraft, and the first Resident Evil, the first Silent Hill movie, Prince of Persia, and Final Fantasy: The Spirits Within, and so on and so forth.
So the movie has to enhance the entertainment value of the story, whether that’s with over-the-top character portrayals (see Sonic the Hedgehog ) or the sort of intense scares and action you’d expect from any good genre fare (see Silent Hill and some of the better Resident Evil installments).
(Aside from The Shining , it's the longest horror movie I can think of.)
In her mind, Sarah’s alternate reality is a blend of Silent Hill imagery in surreal 3D spaces that’s all about lingering inexplicableness.
But, then, screenwriters David Self and Andrew Kevin Walker managed to improve not one whit on Curt Siodmak’s 1941 original script, not to mention those of such films as “The Company of Wolves,” “Wolfen,” “An American Werewolf in London,” “Wolf,” and “Brotherhood of the Wolf” all of which found sparks of energy and interest in lycanthropy.