Athos-scuba diver, Aramis-balancing act, boorish Porthos, post-pubertal d'Artagnan, even more post-pubertal Louis, Buckingham-metrosexual, Milady imitating Japanese ninjas, flying semi-sailing ships-airships in the distance, Air Guard System a good four hundred meters above the surface of the English Channel and Dumas-father, rotating in a coffin at a speed that, if connected to a prose writer of a pair of generators, would be enough to electrify two Paris - Something like this can be described as a radical creative rethinking of the immortal work of the French writer Paul Anderson.
Sherlock Holmes, modified by Guy Ritchie, immediately comes to mind. Fully deserving all the flattering reviews, he could well become a kind of `` guiding star '', a reference point for Anderson to rely on while reworking The Three Musketeers in a new way. But Paul, as it turned out, has his own, special way, which is monotonous to disgrace.
Already somewhere in the thirteenth minute you forget (so that later you can remember at most three times) that you are looking at adventures d ’ Artagnana & Co., even if you've read the book or at least watched some other adaptation. And if at the beginning of the movie this can be attributed to the fascination of what is happening, then by the middle this feeling is replaced by a much less pleasant range of feelings.
" The Musketeers " in general, they have a good plot, even promising, but Anderson's obscure desire, albeit strong in general terms, to follow the canon turns out to be fatally inappropriate. Since our breeder has already begun to cross Athos, Porthos and Aramis with the `` Resident of Evil '', `` The Matrix '' and elements of steampunk, then probably everything should have been completed to the end in an equally funny and absurd style.
What catches the eye is immoderate luxury, which, in theory, should adapt to all this fancy-dress farce. But alas, on closer inspection, computer graphics are periodically visible here and there, which even stereoscopy does not save.
And the promised action is not as much as we would like. After the opening of the movie sets the stage for further incessant action, the unnecessary chatter and protracted display of the wealth of the French nobility seems like a crime against the audience. And even striking not so much the imagination, how much reason Lady Winter's operation to steal the ill-fated necklace in the very middle of the movie does not greatly brighten the situation. Only closer to the end the situation begins to heat up, discharging itself pretty well in the form of a battle on those very ships.
Even a person infinitely far from the behind-the-scenes world of cinema, unable to connect the Musketeers, Paul Anderson and Resident Evil. at the production level, he can easily understand from which Alice Milady's legs grow. It would be high time for Milla Jovovich to begin to get rid of the image of the female superman, which has been firmly entrenched in her since the time of Leelu, trained to half of the existing martial arts and martial arts. It looked great in The Fifth Element, it looked good in Resident Evil, it was watchable in Ultraviolet, but how long can you? Moreover, from movie to movie, only the costume changes in the image, and one or two new character traits are added.
Traditionally, Christoph Waltz pleased me, whose negative characters turn out to be simply gorgeous. Richelieu was simply pleasant to look at. And Orlando Bloom looked good as Buckingham. But with Freddie Fox, who played Louis XIII, the creators missed. Trying hard to turn the teenage king into an actual jester at the court of Richelieu, Fox outplayed, as a result of which the initially harmless fool manages to be naturally annoying with every appearance, so by the end of the movie you begin to sincerely hope that this damned necklace will fall into the English Channel in spite of everyone (preferably with Milady).
Sometimes beautiful, sometimes exciting, but mostly senseless (and merciless) creation of Anderson should be based on some less eminent source of inspiration, so as not to tarnish the memory of the writer. In general, all this would look a little better in isolation; if Anderson did not parasitize on the images of the Musketeers and d'Artagnan, the picture would not be much from this, but it would still benefit. There would be more scope for action, imagination, a plot not constrained by the canon. But, unfortunately, Anderson became bored among the zombies, and he decided not only to amuse himself, but also to drag Dumas to the pile. And it seems that it should have been commendable, but somehow I personally don't feel like praising him for all this. but Anderson's mostly senseless (and merciless) creation should be based on some less eminent source of inspiration, so as not to tarnish the memory of the writer. In general, all this would look a little better in isolation; if Anderson did not parasitize on the images of the Musketeers and d'Artagnan, the picture would not be much from this, but it would still benefit. There would be more scope for action, imagination, a plot not constrained by the canon. But, unfortunately, Anderson became bored among the zombies, and he decided not only to amuse himself, but also to drag Dumas to the pile. And it seems that it should have been commendable, but somehow I personally don't feel like praising him for all this.but Anderson's mostly senseless (and merciless) creation should be based on some less eminent source of inspiration, so as not to tarnish the memory of the writer. In general, all this would look a little better in isolation; if Anderson did not parasitize on the images of the Musketeers and d'Artagnan, the picture would not be much from this, but it would still benefit. There would be more scope for action, imagination, a plot not constrained by the canon. But, unfortunately, Anderson became bored among the zombies, and he decided not only to amuse himself, but also to drag Dumas to the pile. And it seems that it should have been commendable, but somehow I personally don't feel like praising him for all this.In general, all this would look a little better in isolation; if Anderson did not parasitize on the images of the Musketeers and d'Artagnan, the picture would not be much from this, but it would still benefit. There would be more scope for action, imagination, a plot not constrained by the canon. But, unfortunately, Anderson became bored among the zombies, and he decided not only to amuse himself, but also to drag Dumas to the pile. And it seems that it should have been commendable, but somehow I personally don't feel like praising him for all this.In general, all this would look a little better in isolation; if Anderson did not parasitize on the images of the Musketeers and d'Artagnan, the picture would not be much from this, but it would still benefit. There would be more scope for action, imagination, a plot not constrained by the canon. But, unfortunately, Anderson became bored among the zombies, and he decided not only to amuse himself, but also to drag Dumas to the pile. And it seems that it should have been commendable, but somehow I personally don't feel like praising him for all this.Anderson became bored among the zombies, and he decided not only to amuse himself, but also to drag Dumas to the pile. And it seems that it should have been commendable, but somehow I personally don't feel like praising him for all this.Anderson became bored among the zombies, and he decided not only to amuse himself, but also to drag Dumas to the pile. And it seems that it should have been commendable, but somehow I personally don't feel like praising him for all this.
The Topic of Article: Review of the movie The Musketeers. Dumas engine.
Author: Jake Pinkman |
