'300' de Frank Miller (2007) - Zack Snyder
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Argaroth01
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Edward Brock
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Este, caso cumpra o que o trailer promete, pode ir directamente para o meu top20.
A ver vamos.
Espero que não desiluda, senão vai deixar um travo amargo que vai demorar a sair, pois se há trailer que está espectacular é este.
Visualmente parece que estamos perante um grande filme.
Quanto ao enredo, à direcção de actores, ao timing das cenas, ... estas são as minhas dúvidas...
A ver vamos.
Espero que não desiluda, senão vai deixar um travo amargo que vai demorar a sair, pois se há trailer que está espectacular é este.
Visualmente parece que estamos perante um grande filme.
Quanto ao enredo, à direcção de actores, ao timing das cenas, ... estas são as minhas dúvidas...
Walk on the Sun! Dream on the Dark Side of the Moon!
Temo que se tenha desperdiçado a possibilidade de um dia ver esta batalha verdadeiramente brutal numa perspectiva mais "histórica" e menos "fantasiosa". 
Quanto a este pode ser que seja divertido.
Quanto a este pode ser que seja divertido.
Pelo amor de Deus, que nunca façam um remake, prequel, sequel, reboot, whatever do Blade Runner, e nem sou católico...
Update: Ridley Scott, estás oficialmente na minha shitlist!
Update: Ridley Scott, estás oficialmente na minha shitlist!
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Argaroth01
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Bem, li em tempos que o Michael Mann estava interessado em adaptar o livro de Steven Pressfield, "Gates of Fire" ("Portas de Fogo", Ulisseia), que embora seja um romance histórico, é uma aproximação mais "séria" que 300. Não sei é se ainda está nos planos dele em realizar a adaptação.Giribi wrote:Temo que se tenha desperdiçado a possibilidade de um dia ver esta batalha verdadeiramente brutal numa perspectiva mais "histórica" e menos "fantasiosa".
Quanto a este pode ser que seja divertido.
http://www.aintitcool.com/node/4969?semperex-search
Mas existe um filme dos anos 60 sobre o tema:
"The 300 Spartans"
http://www.imdb.com/title/tt0055719/
Argaroth01 Obrigado pela dica. Michael Mann atrás das cameras desta história seria um sonho tornado realidade. Espero que o projecto chegue a ver a luz do dia.
Pelo amor de Deus, que nunca façam um remake, prequel, sequel, reboot, whatever do Blade Runner, e nem sou católico...
Update: Ridley Scott, estás oficialmente na minha shitlist!
Update: Ridley Scott, estás oficialmente na minha shitlist!
A "advence review" do IGN
(10/10)
(10/10)
Advance Review: 300
Zack Snyder creates a masterpiece with this fantastic adaptation of the Frank Miller graphic novel. by Todd Gilchrist
It's truly difficult to resist making epic proclamations about a filmmaker's career after watching something like 300. Director Zack Snyder, the man responsible for a superlative remake of George Romero's Dawn of the Dead, adapts Frank Miller's graphic novel with passion and creativity, proving that classical storytelling will never go out of style — especially if more filmmakers are able to make it look as cool and exciting as this. Combining old-school mythmaking with ultramodern technique, Snyder has crafted a one-of-a-kind masterpiece that is unlike any movie audiences have seen, and in so doing he may have sealed his own fate as a possible redeemer of modern moviemaking.
Gerard Butler plays Leonidas, the wise king of Sparta. Raised with the utmost ideals — honor, duty, glory — Leonidas is a brilliant military strategist and egalitarian champion of personal freedom. So when news arrives from Persia to herald Xerxes' (Rodrigo Santoro) sovereignty over Sparta, he rebuffs the declaration and announces that his countrymen must fight to preserve their way of life. Unfortunately, the Spartan elders honor an ancient and fickle belief system that prohibits Leonidas from challenging the impending Persian hordes.
Fearing for the safety and freedom of his people, Leonidas enlists 300 soldiers -- declared his personal bodyguards -- and mounts a valiant defense against Xerxes and his limitless armies. Meanwhile, his wife, Queen Gorgo (Lena Headey), attempts to employ more diplomatic means to solicit support from the Spartan council, even as Theron (Dominic West) poisons its members to her plan from within.
The simplicity of the plot is the film's greatest virtue. Rather than languishing in the details of military strategy or inundating audiences in the subtleties of Spartan politics, director Snyder renders Miller's story in big, broad strokes. For example, the film's opening sequence introduces rather simply the cultural tradition that inspired larger-than-life figures like Leonidas: Great men are born and bred, nurtured in their natural abilities and trained to serve a specific purpose. Indeed, this sequence not only explains everything one needs to know about the hero, but reveals the origins of his masterful battle strategy… not to mention the Spartan philosophical ideals upon which it is based.
At the same time, however, there is a palpable humanity to Leonidas and his men. While they do in some way provide the latest cinematic iteration of Schwarzeneggeresque musclemen — not one of them is built less than Ford tough — they are not without thoughts and feelings, which are applied liberally to their efforts to protect one another and, by extension, their Spartan homeland.
Best of all, Leonidas' relationship with his wife Gorgo offers a rare display of tenderness and devotion that is seldom seen in "guy movies" like this one, and provides some of the film's most profound and lasting emotional underpinnings. Notwithstanding a sex scene that almost surely ranks as one of the hottest and most beautiful in recent memory, theirs is a partnership that reflects mutual understanding and shows the sort of commitment that is to be aspired to in real life as much as on the silver screen.
Thankfully, the acting also plays directly to this seeming juxtaposition between classicism and modernism. Butler, a reliable Russell Crowe-like leading man who hasn't yet enjoyed the success he deserves, finally finds his Maximus in Leonidas. He possesses enough strength and tenderness to satisfy all of the demands of his character, and yet defines the film within terms that will have audiences swooning over his personal stage presence for countless roles to come. As Gorgo, meanwhile, Headey is a terrific adult beauty who conveys credible intelligence as well as smoldering sexuality. The lack of self-consciousness she lends her character — especially when clothed — is far hotter than and sort of make-up for the "prettiness" filmmakers might have found in a more familiar (i.e. commercial) face.
Of course, the only way their performances would have worked is if the material was treated deadly serious, and Snyder exerts masterful control to make sure that each defiant turn and earnest proclamation is absolutely sincere. He choreographs the action in such a way as to inspire awe no matter what his characters are doing, employing slow-motion so freely that it seems more the norm than the 24 frames per second that audiences have become accustomed to. But at the same time, none of these flourishes feel superfluous. Instead, they create the kind of momentum and operatic scope that elevates a tall tale to the stuff of legend.
That said, there are so many painterly images in 300 that it qualifies as the closest thing to "pure cinema" that audiences have come to in quite some time: The silhouette of the Spartan elders' temple against a cloud-stained moon; the spectacle of dead bodies in the shape of a great, gnarled hand reaching out of scorched soil; more than one extended shot of the Spartans laying waste to their adversaries as the camera changes speeds, zooms and shifts focus to keep up; and the pristine and breathtaking shadow of a lone spear as it ascends a stairwell towards its designated target.
Ultimately, the film looks a little bit like a Boris Vallejo print come to life — muscled supermen springing to action to save their oil-painted landscape — and full credit must go to Snyder. But with both this and Dawn of the Dead, he has proven himself a consummate storyteller who can transform convention into cinematic magic… which is why it's with reluctant enthusiasm that we assign him the responsibility of restoring the luster of mainstream movies.
After all, who knows how well Snyder will do moving forward, or what career path he might follow? It seems like his only (or maybe most obvious) predecessor would be Ridley Scott, who broke into the mainstream with a similar sort of genre-movie deconstruction and whose last big commercial success no doubt served as at least a vague template for some of the style on display here. Suffice it to say that Snyder could do worse than follow Scott's career path, rewriting rules and changing the landscape with each new effort. But keep in mind that it took Scott 22 years to follow Alien with a Gladiator, and it took only four for Snyder to go from Dawn to 300.
Ultimately, this film combines an archetypal conflict, an ancient storytelling tradition reaching back as far as the Greeks themselves, and technique that makes it relevant to modern audiences. In other words, it's not clear whether great movie myths are born or bred, but 300 is unequivocally one of them.
Eu pressinto, depois de ver o último trailer, que esta será mais verdadeira.
http://www.cinematical.com/2007/02/14/b ... eview-300/
If Braveheart were stripped of its meat, spray-painted gold and served as the poorest of value meals at McDonalds, there's a good chance you'd end up with something resembling 300 -- Zack Snyder's long-awaited adaptation of Frank Miller's graphic novel. Imagine if the front page of (insert the name of a popular muscle magazine) suddenly sprung to life -- in all of its fake tan glory -- and brought with it one of the most overly hyped films in history. You know its bad when the audience laughs at your main villain and, when they boo as the end credits begin to roll, all there's left to do is whisper -- not scream -- "This is Sparta?" Like Robert Rodriguez's Sin City, 300 was filmed entirely in front of a green screen. Thus, it looks pretty but feels fake, making it so the entire film rests on the shoulders of its script and cast.
At least Sin City had actual talent to go along with its intertwining storyline and poetic dialogue -- all 300 has going for it is a bunch of sexy men swinging swords and screaming bloody murder. Spartans believe that death on the battlefield is their greatest glory, and so they train their sons to become warriors from a very young age, forcing them to leave home and live amongst the wilderness for years as a test of willpower and strength. This is the path Leonidas (Gerard Butler) takes as a child -- trained to fight by his father -- and sent into the woods to do battle against mother nature and a lone, fierce-looking wolf. When Leonidas emerges, he is king of Sparta -- a militant man who will fight to the death any army that threatens to strip him of his wife, his home and his freedom.
But all is not well in Sparta; the Persians are advancing, and they have sent a messenger to offer Leonidas a deal: kneel down before Persian King Xerxes and your people will be spared rape, torture and death. Before the Spartan council can discuss the matter, Leonidas takes it upon himself to promptly kill the messenger and declare war -- calling upon his strongest 300 soldiers to join him in battle. When the Oracle (a half-naked woman who dances around a scarf in slo-motion while somehow predicting the future) informs Leonidas that he will fail in his mission, the rest of Sparta refuses to accept their King's decision. Denied the use of his own army, and with all of Greece turning its back, Leonidas angrily leaves Sparta with his 300 soldiers on a quest to defeat the great Persian army ... and its thousands upon thousands of followers.
Leonidas comes up with a plan to trick the Persians; trapping them within a narrow path so that the Spartans can have their way with the enemy. Of course, there's a secret back-door entrance that, if the Persians discovered, could give them the sneak-attack advantage. But no Spartan would dare give up that information to their rival, right? Finally, after a long drawn-out opening (which felt as if it were written by a seven year-old, and not the great Frank Miller), Zack Snyder's epic battle sequences begin. Heads are sliced off, bodies stack up -- you've got evil elephants, a rhino and an eight-foot warrior who goes down fairly easy -- not to mention the Persian's fearless leader; the awfully feminine-looking Xerxes, who comes draped in gold, bronze as can be.
The enemy comes in all different masks, shapes and sizes, but the fight scenes are way too stylized to effectively engage the audience. Snyder's effects take all the realism out, and the acting (with lines that range from "Spartans Blah Blah Fight!" to "Spartans Blah Blah Attack!") drowns out the passion. There's no doubt Frank Miller's graphic novel is a fun read, but Zack Snyder's interpretation was a boring, fast-food version of better films, with better scripts, better acting and better battles. 300 men fought to defend their freedom but, in the end, 300 people (including me) wanted their two hours back.
http://www.cinematical.com/2007/02/14/b ... eview-300/
If Braveheart were stripped of its meat, spray-painted gold and served as the poorest of value meals at McDonalds, there's a good chance you'd end up with something resembling 300 -- Zack Snyder's long-awaited adaptation of Frank Miller's graphic novel. Imagine if the front page of (insert the name of a popular muscle magazine) suddenly sprung to life -- in all of its fake tan glory -- and brought with it one of the most overly hyped films in history. You know its bad when the audience laughs at your main villain and, when they boo as the end credits begin to roll, all there's left to do is whisper -- not scream -- "This is Sparta?" Like Robert Rodriguez's Sin City, 300 was filmed entirely in front of a green screen. Thus, it looks pretty but feels fake, making it so the entire film rests on the shoulders of its script and cast.
At least Sin City had actual talent to go along with its intertwining storyline and poetic dialogue -- all 300 has going for it is a bunch of sexy men swinging swords and screaming bloody murder. Spartans believe that death on the battlefield is their greatest glory, and so they train their sons to become warriors from a very young age, forcing them to leave home and live amongst the wilderness for years as a test of willpower and strength. This is the path Leonidas (Gerard Butler) takes as a child -- trained to fight by his father -- and sent into the woods to do battle against mother nature and a lone, fierce-looking wolf. When Leonidas emerges, he is king of Sparta -- a militant man who will fight to the death any army that threatens to strip him of his wife, his home and his freedom.
But all is not well in Sparta; the Persians are advancing, and they have sent a messenger to offer Leonidas a deal: kneel down before Persian King Xerxes and your people will be spared rape, torture and death. Before the Spartan council can discuss the matter, Leonidas takes it upon himself to promptly kill the messenger and declare war -- calling upon his strongest 300 soldiers to join him in battle. When the Oracle (a half-naked woman who dances around a scarf in slo-motion while somehow predicting the future) informs Leonidas that he will fail in his mission, the rest of Sparta refuses to accept their King's decision. Denied the use of his own army, and with all of Greece turning its back, Leonidas angrily leaves Sparta with his 300 soldiers on a quest to defeat the great Persian army ... and its thousands upon thousands of followers.
Leonidas comes up with a plan to trick the Persians; trapping them within a narrow path so that the Spartans can have their way with the enemy. Of course, there's a secret back-door entrance that, if the Persians discovered, could give them the sneak-attack advantage. But no Spartan would dare give up that information to their rival, right? Finally, after a long drawn-out opening (which felt as if it were written by a seven year-old, and not the great Frank Miller), Zack Snyder's epic battle sequences begin. Heads are sliced off, bodies stack up -- you've got evil elephants, a rhino and an eight-foot warrior who goes down fairly easy -- not to mention the Persian's fearless leader; the awfully feminine-looking Xerxes, who comes draped in gold, bronze as can be.
The enemy comes in all different masks, shapes and sizes, but the fight scenes are way too stylized to effectively engage the audience. Snyder's effects take all the realism out, and the acting (with lines that range from "Spartans Blah Blah Fight!" to "Spartans Blah Blah Attack!") drowns out the passion. There's no doubt Frank Miller's graphic novel is a fun read, but Zack Snyder's interpretation was a boring, fast-food version of better films, with better scripts, better acting and better battles. 300 men fought to defend their freedom but, in the end, 300 people (including me) wanted their two hours back.
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DigitalDesperado
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Após ler as duas críticas, penso que no meio é que estará a virtude...
Se a apreciação do IGN me pareceu um tanto ou quanto exagerada ou precipitada, esta última parece-me demasiadamente negativa. Este filme vai ser um daqueles "love it or hate it", mas continuo a manter a expectativa alta e estou com muita vontade de o ver. Gostei do trabalho de Zack Snyder no remake de "Dawn of the Dead", gostei da graphic novel, pelo que tenho confiança de que este será um bom filme.
Se a apreciação do IGN me pareceu um tanto ou quanto exagerada ou precipitada, esta última parece-me demasiadamente negativa. Este filme vai ser um daqueles "love it or hate it", mas continuo a manter a expectativa alta e estou com muita vontade de o ver. Gostei do trabalho de Zack Snyder no remake de "Dawn of the Dead", gostei da graphic novel, pelo que tenho confiança de que este será um bom filme.
Há uma review do filme que tinha de partilhar convosco:
Isto sim é uma critica de cinema... nada de lérias pseudo-intelectuais.
http://www.aintitcool.com/node/31520I just saw a movie that’ll give your eyes boners, make your balls scream and make you poop DVD copies of THE TRANSPORTER. It’s called 300. I don’t know what the title has to do with the movie, but they could’ve called it KITTENS MAKING CANDLES and it’d still rule.
It’s about these 300 Greek dudes who stomp the sugar-coated shit out of like a million other dudes. I have a feeling that a lot of high school sports coaches are going to show this film to their teams before they play. Also, gay dudes and divorced women are going to use screen captures for computer wallpaper.
The movie takes place about a million years ago, and it’s sort of like a prequel to SIN CITY. Except way less guns and cars but twice as much skull splitting. If you watch this movie and go into a Taco Bell, and say to the cashier, “I need some extra sauce packets” guess what? You’re getting twenty sauce packets because your face will punch him in the brain.
I can’t spoil the plot because THANK GOD THERE ISN’T ONE. Just ass kicking that kicks ass that, while said ass is getting kicked, is kicking yet more ass that’s hitting someone’s balls with a hammer made of ice but the ice is frozen whiskey.
TWO COOL THINGS ABOUT THE MOVIE AND ONE THING I DIDN’T LIKE:
COOL THING ONE:
HEAVY METAL DURING BATTLE SCENES
Who gives a shit if the music isn’t historically correct? LORD OF THE RINGS could’ve used some Journey. This movie has that chu-CHUNG kind of metal that you hear in your head when your shift supervisor at Wetzel’s Pretzel is telling you that you’ll have to stay for clean up and you wish you had a sock filled with quarters in your hand.
COOL THING TWO:
FOES, MINI-BOSSES AND A BIG BOSS
Basically, the Greek dudes are fighting these Persian dudes, but the director, who must have a dick made of three machine guns, does it all like a video game. The Greeks fight every death metal video from the last ten years. There’s wave after wave of giants, freaks, ninjas, mutants, wizards, and a hunchback who looks like he’s got Rosie O’Donnell on his back.
Would I have been happy if Dom DeLuise from HISTORY OF THE WORLD, PART I had shown up? Maybe, but this movie more than makes up for that glaring oversight.
NOT SO GOOD THING:
DUDE NUDITY (“DUDE-ITY”)
These are Greek times, when there were a lot of naked women around. And there are some naked women in this film, but almost every naked woman scene has a muscular dude giving the screen an ass picnic. Dude-ity is something directors put in their movies so people will think they’re serious, I guess, and not just throwing in naked hotties.
Any directors reading this – IT’S OKAY TO JUST THROW IN NAKED HOTTIES.
Can’t someone make a movie about naked Amazons and call it PAUSE BUTTON?
My final analysis is 300 the most ass-ruling movie I’ve seen this year, and will probably be the King of 2007 unless someone makes a movie where a pair of sentient boobs fights a werewolf.
Isto sim é uma critica de cinema... nada de lérias pseudo-intelectuais.
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Psico_Mind
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