Judul : The Magnificent Seven
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The Magnificent Seven
Antoine Fuqua’s remake of the classic 1960’s western opens alongside a world coming together inwards the crowded church building of a little frontier town. If you’re familiar alongside the original, itself a retread of Akira Kurosawa’s Seven Samurai, you lot know the story: a simple, helpless community is beingness terrorised past times an regular army of bandits, hither led past times industrialist Bartholomew Bogue (Peter Sarsgaard). Looking to clear the townspeople from their valuable, mineable land, Bogue in addition to companionship interrupt the meeting. After around cartoonishly villainous posturing from Sarsgaard, several of the townspeople are shot dead in addition to the church building is prepare aflame.
This jarringly mean-spirited opening sets the musical note for the residual of The Magnificent Seven; what should endure a convivial romp of an ensemble-adventure is notably without an air of fun. The few jokes nosotros get, by in addition to large delivered past times a loveable-as-always Chris Pratt, are notably out of house inwards a script that to a greater extent than ofttimes that non takes itself very, real seriously. Similarly, The Magnificent Seven is plagued past times a tonal inconsistency that awkwardly shifts from moments of grim stoicism to light-hearted camaraderie. While it’s somewhat enlivened past times a solid, likeable sort in addition to around thrillingly choreographed shoot-outs, Fuqua’s western is an emotionless, machismo-heavy matter that, bar a few tenuous throwback quotes, makes footling endeavor to conjure upward the spirit of the original.
Denzel Washington, dressed caput to toe inwards dark every bit this iteration’s Yul Brynner, plays bounty hunter Sam Chisolm. Hired past times the townspeople to protect them from Bogue, Chisolm enlists the assist of a wise-cracking gambler alongside a debt to pay, Josh Farraday (the aforementioned Pratt), in addition to v other mismatched, multi-ethnic outsiders. Arriving at the town, the Magnificent Seven prepare to preparation the townspeople for the approaching encounter alongside Bogue in addition to his men.
Most of these novel 7 borrow around feature or other from the heroes of the master film. Unfortunately, whatever existent endeavor at characterisation stops there. Manuel Garcia-Rulfo’s Vasquez is a Mexican, Martin Sensmeiere’s Red Harvest is a Comanche in addition to Byung-Hun Lee’s Billy is a Korean assassinator – i peculiarly skillful alongside knives. These characters are barely defined beyond the ethnicity, silent the celluloid makes no endeavor to probe farther into issues of race, bar a few offhand comments directed at Chisolm toward the showtime of the film. While the script, penned past times True Detective creator Nic Pizzolatto, attempts to inflect each grapheme alongside a argue to fight, whatever existent grapheme motivation is established far also belatedly into proceedings to boot the bucket us emotionally invested.
Of the seven, Ethan Hawke’s PTSD afflicted sharpshooter Goodnight Robicheaux is given the most depth. Evoking Robert Vaughn’s war-weary veteran from the original, Goodnight can’t convey himself to fight, traumatised from the trunk count he inflicted during the Civil War. Through Goodnight, the celluloid tries to state something virtually the dehumanizing nature of violence, silent it ends inwards a roughshod bloodbath that takes upward the bulk of the lengthy 3rd act; such is the confused message in addition to tonal inconsistency of Fuqua’s film.
Admittedly, the climactic shoot out is exciting stuff, but were the squad edifice segment given every bit much covert fourth dimension nosotros powerfulness get got to a greater extent than argue to attention virtually the seven’s terminal stand. That’s actually the bottom delineate of piece of occupation hither – Fuqua gives us footling argue to empathize alongside his Magnificent Seven. Furthermore, that integral grapheme inwards whatever western, the landscape of the vast American west, isn’t given plenty prominence for the celluloid to experience authentic. In the end, The Magnificent Seven isn’t much to a greater extent than than a gritty activeness painting exhibit alongside a half-baked message. There are for sure around thrills to endure had here, but without whatever existent emotional depth, The Magnificent Seven is sadly forgettable.
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