This melodrama of the highest level plays with all the sophistication of a 1930s B movie. Over the top acting and music cues really ham up the plot, which I might add has holes in it you can drive a bus through.
The movie is so pro-imperialist and very anti-Soviet revolution. This is interesting in itself as it must reflect the political climate in Russia at the moment.This is something I would like to look more into.
Visually it is bright and lavish and detailed, if not slightly derivative. The acting is poor. Dima Bilan is the lead. He may have won the Eurovision Song Contest but an actor that does not him make.
I am very glad I did not pay to see this, but instead won tickets to the Melbourne Russian Film Festival. I probably would have preferred to stay at home, instead of incredulously rolling around in my cinema chair at each new unsubtle and cringe-worthy development.
It's surreal and enchanting, wafting from real life to dream sequence, you're with it all the way.
A new Australian classic, and certainly something different, both for Aussie cinema and for cinema in general.
It's been out for weeks here in Melbourne, and my Monday evening session was sold out, we missed out the week before for that reason, so it is resonating with audiences. Let it put you under its spell.
As other reviewers have noted, it is a beautiful production; the setting and cinematography are glorious.
I won't waste time with plot (I was engrossed in it), as it has been covered, I would like to add my voice to balance out some negative points raised by others.
The music, a deeply sombre, melancholic, electronic score is a striking juxtaposition to the colonial African setting. It is so out of place that is absolutely works. There is a particular scene at a tribal party. It is disorienting both for the characters and the viewer, however the (oft-times used in a disorienting fashion) authentic, rhythmic tribal music is replaced with the frenzied electronic score. It is fantastic film-making.
The film is well, albeit slowly, paced. Some scenes do outstay their welcome, particularly the prison scenes on, but this film reaches an aching crescendo that is totally rewarding.
It is, at times, gory, explicit, disgusting, and real, but that is true to form for the brutal time and place in which it is set.
It offers a rich symbolism, and spiritual side as well, via the character's dream-like progression through the film. It is utterly fascinating.
The acting is first rate.
The direction, music and ethereal nature of the film reminds me somewhat of Nicolas Winding Refn's work, particularly Drive and Only God Forgives. Which a touch of Donnie Darko's existential spiritualism. But still it's own thing, completely.
It is absolutely not for everyone, but I was completely taken with it.
To me, the title screams 'Kath & Kim' and my media created mindset is to automatically dislike Tom Cruise.
So, needless to say my expectations were low. Perhaps a good way to enter a cinema; it means you'll rarely be disappointed.
I was, however, delighted with this movie, and it seemed so was the bulk of the large crowd viewing it with me.
Opening scenes include a fiery plane crash, witty romanticisms between Cruise and Cameron Diaz and secret agent intrigue. From here, the audience is taken across America and the globe, from Saltsburg to Seville.
The stunts are amazing, with some truly fantastic car chases, but it was as much about the action as it was about Cruise and Diaz.
Both gave fabulous performances, and delivered great chemistry as we rode alongside them in this mile-a-minute spectacle of a film.
I really enjoyed the cinematography; it made me think of the glamorous 1960s films of 'James Bond' et al. The depiction of the luscious scenery and witty character directions have a real stylishness.
While I could never figure out the significance of the title (Cruise is Knight, what was Day? A bad pun perhaps?) and the film certainly won't turn up in any VCE exams, it is well worth a watch as an action packed, fun laden romp!
The writing is despicable. It is hackneyed and trite and the dialogue is so forced and banal. It is as subtle as a brick to the head (which would be more pleasant than watching this), and lacks any wit or sparkle. Story lines go overboard at a rate of knots. There is absolutely no suspense AT ALL, which is no mean feat. The acting is just deplorable. Lisa McCune heads the team, a woman so wooden the Tasmanians want to pulp her. She did her best work on the Coles ads. The rest are just shocking. The editing is non existent and the cinematography is as basic as I Love Lucy. The music is sickeningly cheap. It is worse than the 1960s Star Trek Original Series fare. And the sound effects, oh my lord!
It is a worrying indictment on the sorry state of affairs at the Nine Network. I have read that only 1 person in the executive team has any TV experience, and it is minimal at that. It shows.
What is perhaps more worrying is that this reprehensible creation has been sold to many other countries! This is not an image we want to send out. It has also been renewed for a 2nd season! God help us!
For an example of pure excellence in Australian TV, the equal of any American or British production, see Seven's City Homicide.
City Homicide is a beautifully executed piece of television. In every way. The writing is strong, snappy and fast paced and is peppered with subtle Aussie humour. The dialogue is excellent. The acting (lead by Noni Hazelhurst and Shane Bourne) is first-class. This can be a real rarity on Aussie TV. The cinematography, editing and music is superb. I have never been so impressed. The Seven Network has done us proud with this production. All Saints isn't bad either, though it is no CH.
Compare all this to the tripe the Nine Network dishes up (and subsequently sells overseas): Sea Patrol. SP is the WORST piece of television I have seen. They spent records amounts of money on it, and for what? Writing? Doesn't appear to be any. Good dialogue? Next. Good acting? Not when Lisa McCune is around. Cinematography? Editing? Music? Mmm the less said about the first two the better and as for the music, it sounds like Mrs Hahn's year 8 music class did it on a synth keyboard. But wait the show is filmed on a real Navy patrol boat. Well then it must be good.
I digress. CH is excellent in every way.
Sadly it's the Data show, featuring Picard. Everyone else is relegated for 4th fiddle. Does Bev even have any lines? Who knows. Now Brent Spiner is good but he isn't that good, and Data by this installment is just annoying. It would have been nice had they worked with some of the ensemble more. I think Marina Sirtis is easily one of the stronger actors in the bunch, but always underutilised.
Fans find it hard to buy the motivations and the actions of their old favourites. The car chase scene is particularly galling.
Tom Hardy hadn't quite blossomed into the actor he is now, but also the writing isn't great.
Is Worf in this one?
The score is, as expected, quite good and one of the stronger elements of the film. The effects and camera work are also really up there.
Sadly we are not seeing off the ST:TNG crew that we had known and loved for 16 years in style. With a whimper rather than a bang.
This movie is one long wasted opportunity. Watching in 10+ years on, knowing that nothing can be done about it, and well past the point of finger pointing, you can accept and enjoy it for what it is; a mismatch of plot points from the series, with a could of great moments, but a lot of moments you can play on your phone during.
Forget woes about there being few female buddy pics on offer in modern Hollywood and check out this cracker!
Bette Midler and Shelly Long shine bright as love rivals setting off across country to track down the object of their affections.
With snappy dialogue and great chemistry, the women set off from New York and cross the continent, culminating in a high stakes, adrenaline filled show down in the desert!
It's as fun as any modern movie and while you're at it, check out Big Business and Ruthless People. Troop Beverly Hills is another of Long's 80s joys that full-fills the so-bad-it's-good category!