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Сообщение Sweeney Todd: The Demon Barber of Fleet Street 4K 2007 появились сначала на 4К-MOVIES.BIZ.

4k movies reviews
Les Miserables, the most anticipated event in cinematography in recent years, has had a very mixed, even contradictory reaction, on the one hand meeting expectations for acting and listening, but on the other, disappointing in its approach to the greatest novel and adaptation of the famous musical. The film’s creators included the original producers and screenwriters (Cameron Mackintosh, Alain Boublil, Herbert Kretzmer, Claude Michel-Schonberg), who created the cult musical in the mid-80s, which meant a fairly close to theatrical version. Of course, to realize an impressive two-volume book and intertwine it with musical elements (and successfully) is hardly a feasible task, but the producers felt that Oscar-winning Tom Hooper, who, in their opinion, has the right vision to make a successful production, would be up to the task. The principal roles were cast with Hollywood’s leading actors who sing and are familiar with musical theater, actors trying their hand at the subject of musicals for the first time, and actors who had previously worked in the original production of Les Miserables. But does such a talented and, most importantly, related to the theatrical production team imply the inexorable and undeniable success of the motion picture?

A musical-to-movie adaptation implies a variation of a theatrical production in order to portray it, so to speak, from a different perspective, using all the charms of cinema – opportunities that the stage does not have – while maintaining that theatricality and giving a new meaning to the musical side. However, there is hardly a verified recipe for a worthwhile musical film. The scriptwriters for “Les Miserables” (who, it has been said, are directly related to the original production) did an ambiguous job in developing the plot: despite the fact that they more than managed to fit all 50 (!) original songs, there was a palpable lack of screen time to reveal more events and story lines – a kind of gaps in the narrative, it seemed that everyone was in a hurry and clearly did not have time. For the sake of comparison, I’ll draw a parallel: about 70 pages of the book were rather superficially beaten in just 3-4 minutes. Of course, adaptations are meant to simplify the long dramatic mono/dialogs of the play (and the book too), but, for example, the second half of the movie was almost all filled with only musical numbers, continuously following one another, leaving no room for the same mono/dialogs. It can be assumed that the creators of the film decided to take such an extreme step to emphasize the musical component. As was known long before the premiere of the film, all the compositions were performed live on the set: with such an original approach, Hooper tried to achieve more sensuality, expressiveness and authenticity of musical numbers. However, this greatly affected the performance of the song (and this is not about the vocal abilities of the actors at all), for emotion and drama were brought to the fore, overshadowing the rich story each song tells.

Although there are no definite and rigorous aspects of musicals, and the whole style of directing is relative, it is difficult to call Hooper’s work a musical: it was a rapid kaleidoscope of rapidly changing acts and songs, the pace of the narration was very fast, making the narrative a little blurred. However, the emotional backdrop was masterfully created. Tom Hooper’s vision, delivered from the hand of cameraman Danny Cohen, was imbued with a haze of surrealism. The diagonal composition, the unstable shooting, the dynamic editing and the abundance of close-ups (especially during the musical numbers) created a sense of an unreal world, more like a nightmare with endless horror and suffocating despair. Most of the action takes place in the hours of darkness, but even the scenes under the sunlight are imbued with a kind of impending gloom. The atmosphere, imbued with despondency, bitterness of loss and the horrors of revolution, was also beautifully conveyed by the impressive sets, fine costumes, makeup and majestic music — that is, the secondary technical component.

As for the film’s ensemble cast, it’s safe to say that this is one of its major pluses. A Tony-winning singer, dancer and former Broadway actor, Hugh Jackman demonstrates a very different level of acting, selflessly approaching the role on such a large scale. His acting, from the vocal parts to the evolution of the character, was filled with power, confidence and conviction. Despite all the peculiarities of filming, Jackman managed to remain the backbone of the entire film, constantly capturing the audience’s attention with his believable performance, and becoming one of his main inspirations.

Another stunning inspiration of the picture was the incredible Anne Hathaway. To say that her performance was simply believable would not be quite right, for her portrayal of Fantine is another example of outstanding acting, when an actor empties himself and then, like a vessel, fills the feelings and emotions of the character, not playing him, but rather becoming him. Hathaway’s performance was imbued with depth and fragility, reflecting every nuance and every facet of the tragedy and hopelessness that haunted her character like an evil fate. And her rendition of ‘I dreamed a dream’, exposing all the pain that was killing Fantine from within, can safely be called one of the grandest and most mesmerizing variations ever performed, each chord intertwined with her words, a cry full of despair, and creating a unique atmosphere of tragedy of a broken dream.

As for the other actors, it is only worth saying that each of them fitted their character quite organically, thereby subtly framing the picture with expressive and strong characters, whether it was Cosette, played by the angelic Amanda Seyfried, Marius, played by Eddie Rayman (who, incidentally, has a Tony), the charming Samantha Barks, who is no stranger to playing Eponine, and, of course, the pair of M-d and Monsieur Tenardier, played by Helena Bonham-Carter and Sacha Baron-Cohen, who brought some humor to this dark epic. The only one who stood out from this rank ensemble was Russell Crowe, who looked a little awkward and even ridiculous as Inspector Javert.

In conclusion, it should be said that the film adaptation of the greatest musical Les Miserables turned out quite decent, presenting the performance with all its cinematic charms, for the sake of which, however, it was necessary to sacrifice such aspects of the picture as, for example, the plot. Having distinguished itself by its strong points, such as the musical component or a decent acting, the picture can safely expect many awards, which, by the way, it has already won. It is also worth noting that this film will undoubtedly become famous for the superb performance of the magnificent Anne Hathaway.

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Codec: HEVC / H.265 (62.1 Mb/s)
Resolution: Upscaled 2160p
HDR: Dolby Vision, HDR10
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1

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English: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1

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English SDH, Arabic, Bulgarian, Chinese (Cantonese), Chinese (Traditional), Czech, Danish, Dutch, Estonian, Finnish, French (Canadian), French (Parisian), German, Greek, Hebrew, Hungarian, Icelandic, Italian, Japanese, Korean, Latvian, Lithuanian, Norwegian, Polish, Portuguese (Brazilian), Portuguese (Iberian), Romanian, Russian, Spanish (Castilian), Spanish (Latin American), Swedish, Thai, Turkish.

Сообщение Les Miserables 4K 2012 появились сначала на 4К-MOVIES.BIZ.

Upon learning of the captain’s purpose, Frankenstein tells him his sad and macabre story. Back in his youth, Victor became fascinated with science. And after his mother’s death he was determined to become a scientist and defeat death. His obsession led to terribly tragic consequences for himself and for all his loved ones…

4k movies reviews
The plot of Mary Shelley’s classic horror novel is a treasure trove for filmmakers. Almost from the earliest years of cinema to the present day, this terrifying tale of a brilliant scientist obsessed with science and his horrific creation has stirred people’s minds. First of all, the novel caught the attention of readers and remains on the list of bestsellers to this day, and secondly, the theme is still quite relevant, and every year is becoming more and more relevant with the development of medicine and genetic technology, and, thirdly, the artistic image of Frankenstein ‘monster’ really wonderfully prescribed, and to create it actors and directors – one pleasure. Stitched from pieces of different human bodies, possessing inhuman strength and not fully formed mind, hate the world of people, hating them and himself, this character has become the embodiment of human horror before death and its irreversible consequences. So no matter how many years pass, Frankenstein’s monster is just as terrifying. It feels human, it has bits of truth in it, unlike Romero’s non-fearful some just reanimated dead men.

There are more than 20 official adaptations of Frankenstein, but it’s impossible to count how many movies have used Shelley’s ideas and the monster she invented. Frankenstein’s name became a nickname and merged in people’s minds into a single monstrous image with his creation. The most famous adaptations of the Gothic novel are considered to be the cult film from 1931, which is considered to be an unrivaled horror classic, and this film, directed by Kenneth Branagh.

Kenneth Branagh is a ‘dark horse’ in cinema, he is known all over the world as a big fan of theater, Shakespeare, classical literature and an adaptation of this, that and the third. Well, Americans didn’t have much support for Branagh’s love of classic literature. That’s why Branagh doesn’t act in America much, and mostly in independent author projects, where he has gained a certain popularity. But most importantly, he found his admirers among the major Hollywood filmmakers.

Looking at the list of people who worked on ‘Frankenstein’, it’s amazing how much you need to get people involved with your ideas, to have Francis Ford Coppola as a producer, to have Frank Derabont correcting the script, and De Niro playing one of the main roles. However, as I said, what mysteries this novel does not contain, and it has many fans – not only among young people, although in Soviet times it was considered a ‘novel for adolescence ‘.

Branagh, as always, approached the film adaptation of the novel in his own way. He did not make a commercial blockbuster or art house drama, he did something in between – an attempt to put in a fascinating thriller Hamlet passions. He succeeded a lot, although the film has many bloopers, inconsistencies, and just omitted, for the sake of fitting the meter, interesting scenes. As a result, the film turned out very well, but crumpled, disjointed, scattered. Branagh should have focused either on Victor Frankenstein’s genius, his torments, the relationship between science and love, the impossibility of them coexisting, and then it would have been an excellent pseudo-biographical film about how genius can do evil while striving for the good, or just make a spectacular story about a monster and Frankenstein chasing his mistake.

Then the movie would have been coherent and would have been an order of magnitude better. Both did not please Branagh. Americans didn’t accept the film at all, despite their beloved De Niro; in Europe it was a hit, but it never became an artistic revelation or a rebirth of a classic.

The film is best viewed as a gripping sci-fi gothic thriller. The film’s atmosphere is maddeningly heavy-handed and unsettling, a piling-on sense of hopelessness and the bitter realisation that Victor Frankenstein lived on Earth at a bad time. Branagh managed to capture the common features of the era – progressive on the one hand, and savage, dark, cruel, terrible on the other. The maddened crowd, chasing a disfigured subhuman with cries of ‘beat the freak’ itself loses its human face and becomes more monstrous than this artificially created life. Man has succeeded in his fear of everything that does not look like him and his passion for destruction.

Much has been accomplished, but something is still missing. Maybe the reason is Bran himself? Of course, to play in his own film and do as he wished, it was much more pleasant for the actor than to follow the instructions of Woody Allen in ‘Celebrity’, but not many are able to shoot themselves. The novel gave Branagh from the beginning excellent artistic material, but he used it in a rather peculiar way. Frankenstein sliced up the experiments, picked up on the tops of his suffering and mental contradictions, grabbed a piece of love for his fiancée and family, did not explain much, hurricane rushed to the final film and did not finish everything. So in the genius of the doctor somehow doubted, and after he gave himself completely to science and almost forgot about his fiancee, in his unearthly love for the heroine Helena Bonham Carter at all do not believe. Many questions are asked of him and remain without a hint of an answer. That’s why Frankenstein himself, a rambunctious character, recedes into the background and his evolving, learning monster, played by De Niro, comes to the fore.

De Niro was originally supposed to be the guarantor of the film’s success in America, but he also became just the film’s lead actor. The monster’s place in the film was limited, but stinginess is no obstacle for a true creator. Instead of a monster, the tragedy of the ‘elephant man’ is before us, not as profound as Lynch’s, but incomparably more vivid than in other screen adaptations of Shelley. The ‘Elephant Man’ is a tragedy, not as deep as Lynch’s, but incomparably more vivid than Shelley’s others. Separated from the world, created for ridicule and abuse, and left for dead, terrified and hardened by fear and pain, trapped, desperate, he finds an outlet in the hatred he unleashes, he avenges his life with blood. If Branagh to play the theme of “can a man become God” failed, but with De Niro has a very tangible image, which even have sympathy. True, he did not bring anything substantial to the image of the monster. When I think of him, my first association is still Karloff’s face: the bags under his eyes, the square head, the thoughtless look, the bolts in his neck… Still, the classics are firmly in my head, this film will never reach such heights and never become a cult film.

‘Frankenstein’, oddly enough, is more of an auteur than a commercial film. It is a strong movie, fascinating, interesting, though not devoid of fussiness, desire to jump over the head and other shortcomings. De Niro is good, Branagh isn’t bad, Carter did well in the role, though there wasn’t much eccentricity in the role for her. It doesn’t suit her to play the usual nice young ladies. I didn’t recognize John Cleese even after the second viewing, although his role is not that small. It’s a good movie which won’t live long in the memory of posterity, but among the adaptations of the novel and movies of the 90’s in general it takes its rightful place.

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Video
Codec: HEVC / H.265 (74.4 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1

Audio
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
English: LPCM 2.0 (48kHz, 24-bit)
English: Dolby Digital 5.1
English: Dolby Digital 2.0

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Сообщение Mary Shelleys Frankenstein 4K 1994 появились сначала на 4К-MOVIES.BIZ.

The son tries to recreate his father’s elusive life in a series of legends and myths that he comes up with based on scattered facts. The ups and downs in human life end up in unexpected perspectives.

4k movies reviews
It is very difficult to write a review for this painting. Why? Because after watching this film, you don’t understand what kind of emotions remained. The fact is that this is a very unusual movie, it combines a lot. In it, all reality is certainly intertwined with a fabulous, wonderful world, which is full of wonders and one does not want to leave it. It is also not very clear why so many people react very emotionally to the picture and cry. So I didn’t understand. When the film ended, I cried, I don’t know why. I cry and think – ‘Why am I crying?’ I do not understand.

But after the end of the picture, you begin to think over everything you saw, and only then you begin to realize a lot. You understand that this was the life of a hero, just a hero that a man invented. But all this is somehow perceived differently. This is the only fairytale film that impressed me so much that you think that somewhere there is still this fairytale world with all its heroes and wonders. There was an indelible impression from this film and a sea of ​​emotions that cannot be conveyed in words, in order to find them, you must definitely see it. Each person will have their own, unique and inexplicable emotions. I was personally very moved by this movie. This is something unusual, touching, beautiful, interesting, mysterious, leaving behind a lot of feelings.

The whole picture of a very interesting life of one person unfolds before us. And this man in old age tells extraordinary life stories to his son. But the son, who does not really trust his father, soon realizes that many of these fairy tales are true …

The picture fascinates with its unusual and very beautiful setting. Great directorial work and interesting script. The cast is very well chosen. Many actors have very mysterious and unusual faces. There are so many amazingly beautiful moments in the film. Particularly impressive is the episode where the main character is waiting for his beloved on a huge field, which is completely covered with yellow daffodils and it is in the middle, very beautiful. And in general, the whole picture was shot very beautifully. Unusual characters, many beautiful scenery and natural landscapes. Everything about this movie is impressive …

And of course, we must express our gratitude to the person who gave life to this story on the screen. Thanks to Tim Burton for creating this fairy tale, a fairy tale that everyone will understand in their own way and will gain a lot of emotions and impressions …

Info Blu-ray
Video
Codec: HEVC / H.265 (63.8 Mb/s)
Resolution: Native 4K (2160p)
HDR: HDR10
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1

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English: Dolby Atmos
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1
Czech: Dolby Digital 5.1
French: DTS-HD Master Audio 5.1 (48kHz, 16-bit)
German: DTS-HD Master Audio 5.1 (48kHz, 16-bit)
Spanish: DTS-HD Master Audio 5.1 (48kHz, 16-bit)
Spanish: Dolby Digital 5.1 (448 kbps)
Hungarian: Dolby Digital 5.1
Italian: Dolby Digital 5.1
Japanese: DTS-HD Master Audio 5.1 (48kHz, 16-bit)
Korean: Dolby Digital 5.1
Polish: Dolby Digital 5.1
Russian: Dolby Digital 5.1
Thai:Dolby Digital 5.1

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English SDH, Arabic, Mandarin (Simplified), Mandarin (Traditional), Czech, Danish, Dutch, Finnish, French, German, Greek, Hungarian, Italian, Japanese, Korean, Norwegian, Polish, Portuguese, Romanian, Russian, Slovenian, Spanish, Spanish(latino), Swedish, Thai, Turkish, Japanese.

Сообщение Big Fish 4K 2003 появились сначала на 4К-MOVIES.BIZ.

Connor must understand who this Marcus is and for what purpose he has come to people. And against the backdrop of SkyNet’s preparations for a decisive strike, Connor and Wright embark on a journey leading them to the very core of the rebellious operating system, where a terrible secret reveals itself behind the potential destruction of humanity.

4k movies reviews
In 1984, the young waitress Sarah Connor did not know what a terrible future awaits humanity in just two dozen years. Worse still, an Austrian bodybuilder is chasing her with a very severe disposition and a good taste for weapons. The heroine mother survived. After 7 years with the already radically matured Arnold, she decided to prevent the war of the minds, but could only extend the ephemeral existence of the biped. And in 2003, Jonathan Mostow stepped on the earth from the planet of bad directors with a devastating mission – to frame James Master Cameron’s masterpiece frame by frame and poorly, capturing in parallel human brains. He almost succeeded, but he could not finally capture the society in the longing for tastelessness.

As a result, the generation survived the movie year, and finally came the savior with the task – to restart the franchise. Oh, a panacea! Without claiming to be a masterpiece, wanting to modestly make a very good film – a real tribute to Cameron’s merits, Joseph McGinty Nicol assembled an intelligent team of militias and won the first battle, albeit with heavy financial losses. The film turned out as if there was no Mostow.

“Savior clearly follows the plot truths of the first terminators, returning to the tetralogy the simple concept of acting, the origins of dramaturgy, and emotional tension. The director showed us the future, which Michael Bien and Arnold Schwarzenegger slyly hinted at, the fate that Linda Hamilton redrawn twice, following the principle of “there is no future except what we create ourselves.” But Nick Stahl did not make the most outstanding leader of resistance, to the delight of mechanical brains. The war has begun.

Post-apocalypse turned out to be a terrible result of the seizure of power by human friends – computers. The world of “crazy Max” and large-caliber guns: cars have increased dramatically in size, increased armor and instantly rethought their existence. From the position of the strong, the adversaries went to war to the glory of the father of the entire cybernetic, great and mighty Skynet.

Anarchy is on the planet, fear is in the hearts. An easy excursion into the theme of giant robots, transformers of terrestrial production is pictorially represented in the McG chronicles, which documented the course of developing events. The inevitable war of man and robot is shown with all possible technical splendor. And in this explosive beauty, the plot calmly feels, intensifying intrigue up to the very final credits. “May the Savior come is balanced balanced, retained the privilege of starting another epic …

We got a new story, a spectacle of another millennium parallel to Cameron’s universe, all of the same family of Terminator-like, authentically detailed and motivated in the same way. The audience will like the new film or not, whether they find flaws or go around them, enjoying the visual beauty, but the director’s work of a true science fiction writer, McG, is visible to the naked eye. Bale, Warrington, Yelchin gave the characters of their characters super-sufficient depth, psychological logic. They played the parties as if by notes, each in their own way starting a story, acting as an important plot-forming element. The incomparable Sam Warington wants to believe, along with Christian Bale, side by side with the savvy Anton Yelchin – at least now to go into battle. But for now, we are only welcomed a one-time visit to an excellent film, shot on human emotions, honestly and professionally, although it has failed at the box office in the United States. They did not understand, they were afraid of terrible prequels, remakes and other “wolverines”. What is called non-format, and this is its modest uniqueness.

Info Blu-ray
Video
Codec: HEVC / H.265
Resolution: Upscaled 4K (2160p)
HDR: HDR10
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1

Audio
English: DTS-HD Master Audio 5.1
Note: No Dolby Atmos. Cover error

Subtitles
English, English SDH, French, German, Italian, Portuguese, Arabic, Czech, Danish, Dutch, Estonian, Finnish, Greek, Hindi, Hungarian, Lithuanian, Mandarin (Traditional), Norwegian, Polish, Romanian, Russian, Slovak, Slovenian, Swedish, Thai, Turkish

Сообщение Terminator Salvation 4K 2009 Ultra HD 2160p появились сначала на 4К-MOVIES.BIZ.

Despite the misadventures that fell to her lot, Cinderella does not despair, because even in the most difficult moments there is something that helps her to think about the good: for example, a chance meeting on a forest path with a beautiful young man. Ella does not even assume that she met with the prince himself, and that the Fairy-godmother would forever change her life for the better.

4k movies reviews
Cinderella is beautiful. I have long ceased to think that I can say something similar about the movie. This is a wonderful fairy tale, and its new film adaptation, new life is fully justified. It has fabulousness, kindness, loyalty, a big heart that can forgive, beauty and even soft fairytale humor. Exactly what we sometimes lack.

I understand that my impressions, most likely, will turn out to be very identical, girls’. Several times I was ready to cry, many times I smiled and rejoiced, was touched by charming little animal characters. I, like in my childhood, briefly noticed about how I would get to the ball in a beautiful dress … and there, perhaps, I should meet the prince. Even if not for a long time I returned to my childhood and to the fairy tale. I’m serious, I remembered myself as a child. For this magic, the most real, I am very grateful to the authors.

Another point that confused me, however, thanks again to the authors, very briefly, is the comparison with our 1947 film, in which the inimitable Faina Ranevskaya and Erast Garin play. Not even with a Disney cartoon. I’m still a Soviet child, I grew up on domestic fairy tales, and new versions of the classic plots are to some extent regarded as an encroachment upon my childhood. But I didn’t have a comparative analysis during the review, just now two films live with good impressions in my head.

Cinderella is a wonderful movie. It is remarkable that it appeared at the beginning of spring. Coming out of the cinema, I was not only fascinated by the beauty of the actors, their play, the fantastic directorial work of Kenneth Brans, but I came out with a desire to be better, not to doubt that the good is stronger, well, of course, believe in yourself and accept yourself as such which have. I think this is quite a lot for a children’s fairy tale. This is probably a fairy tale in which there is a place for real magic.

Info Blu-ray
Video
Codec: HEVC / H.265
Resolution: Upscaled 4K (2160p)
HDR: HDR10
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1

Audio
English: Dolby Atmos
English: Dolby TrueHD 7.1
French: Dolby Digital 5.1
Spanish: Dolby Digital Plus 7.1
Japanese: Dolby Digital Plus 7.1

Subtitles
English SDH, French, Japanese, Spanish

Сообщение Cinderella 4K 2015 Ultra HD 2160p появились сначала на 4К-MOVIES.BIZ.

Story Movie
Encounter of three social classes of England at the beginning of the 20th century : the Victorian capitalists (the Wilcoxes) considering themselves as aristocrats, whose only god is money ; the enlightened bourgeois (the Schlegels), humanistic and philanthropic ; and the workers (the Basts), fighting to survive. The Schlegel sisters’ humanism will be torn apart as they try both to softly knock down the Wilcox’s prejudices and to help the Basts.

Howards End 4K Review
If it’s raining, if it’s late, if I’m tired of working, if I’m restless or if I’m in a quandary of sorts, “Howard’s End”. I put the film on and Emma Thompson – presumably with the help of her accomplices, Ivory, Jhavhala, Hopkins etc – takes me away from whatever mood I’m trying to escape and leads me through her own, brilliantly drawn, gently torturous path. I don’t recall when was the last time an actress has had this kind of power over my own psyche. The film is constructed with an Ivory attention to detail worthy of a vintage Visconti. The screenplay has no lapses of any kind and never falls into the usual traps. Loyal to its source material and yet, cinematic in the most revolutionary traditional sense of the word. The Britishness of Anthony Hopkins character is turned upside down giving us a glimpse into a character that’s a mass of contradictions. But it is Emma Thompson’s film from beginning to end. What a glorious achievement.

Сообщение Howards End 4K 1992 Ultra HD 2160p появились сначала на 4К-MOVIES.BIZ.

User Review 4K
The binding is really fragile Harry Potter and the Half-Blood Prince
It’s a real shame that I could never give a film featuring Harry Potter the status of a perfect film. Each tale relies so heavily on those that came before or after that one can never be a truly all-encompassing work. Sure, the three-act structure can be utilized, but without the background info, nor the knowledge that more will be coming, watching a middle installment alone will leave you confused and disorientated. The reason I bring this up is the fact that Harry Potter and the Half-Blood Prince is good enough to warrant the praise and to put the idea in my head about whether to call it a masterpiece. The tone is perfect, the laughs are many, the darkness is charcoal black how could this be the same director as the abysmal in comparison to the rest of the series Order of the Phoenix, David Yates? Two words Bruno Delbonnel.

Who is Delbonnel you may ask? Well, he is the brilliant cinematographer behind the camera. I may have blamed the failures of the fifth film on its screenplay as Steve Kloves was glaringly absent, (he being the writer of each other film, including this new one), but a film is a team effort. Therefore I guess maybe I shouldn’t put all the accolades on one man now; I just feel absolutely compelled to do so because so many moments linger in my mind due to the beauty of their composition and use of their environments to stay interesting and exciting at all times. Visually, you cannot be bored. It just goes to show that it is never the director alone, but also the team he or she brings along. I like Yates and was surprised at how much I disliked his first foray in the Potter universe, granted, I felt the book itself was sub-par at best. Thankfully, he did not disappoint with his second of three, (make that four as book seven goes to a two-part finale), because, as it was with the novels, Half-Blood Prince is by far the best of the series until Deathly Hallows of course. And adding the pedigree of a guy like Delbonnel, with films such as Across the Universe, A Very Long Engagement, and Amelie in his back pocket all stunning works of art only makes his job easier.

I can’t get over the use of close-ups throughout, or the multiple instances of framing used to hide something on screen. Oftentimes, the camera pans or cuts to reveal something in the fringes, to highlight the focal point when it’s not centrally located, or literally move our eyes to exactly where the filmmakers want them to be. The blocking is superb with some scenes blurring the edges and keeping only our main object of interest in focus, timing and positioning executed with aplomb. And did I mention the close-ups? (Yes, I know I did.) One sequence, with Harry and Ginny running through a field of tall grass after intruding Death Eaters, is shot with a high speed pan to keep the characters crisp as the foliage darts and blurs in their wake. I’d be remiss not to mention the special effects as well, especially when dealing with the black smoke trails from Voldemort’s flying goons as well as the wispy pensieve. Whether completely computer generated or practical dye clouds in water, the effect is pitch perfect, even dissolving each memory in sections, leaving important pieces, like young Tom Riddle, to be lingered on just a second longer than the rest.

As for the leads, Daniel Radcliffe and Emma Watson are solid as usual, (Radcliffe showing some solid comedic chops after taking luck elixir), and Rupert Grint’s Ron Weasley gets some room to break free. But it is the supporting roles that deserve notice. Helena Bonham Carter will scare children, so kudos to her, and Michael Gambon’s Dumbledore will win even more hearts as his leader finally allows Potter into the inner circle of the plan to rid the world of Voldemort, it now being a circle of two. It is newcomer Jim Broadbent, however, as Professor Slughorn who steals the show. Broadbent is known for his many comical expressions and his rubber face is utilized to great effect here. A blowhard and man with many “friends”, his jubilant smile and need to collect powerful and famous wizards for his Slug Club are ever-present, bringing some levity as well as effectively hiding the dark secret that lies beneath.

Harry Potter and the Half-Blood Prince succeeds in the details. It is an exercise in minimalism and showing only what is necessary to the plot. Condensing the novel better than ever done before, Kloves has given Yates the tools to make a film and not just a visual representation of the words. What had previously been done best by Azkaban’s Alfonso Cuaron, this one works better at retaining more subplots and not stripping it quite so bare. Subtle hints are planted so no longwinded exposition is needed to make us, as an audience, feel stupid and lectured to. Instead Yates and crew allow us to show our intelligence and ability to use our eyes and memories to piece things together, making the experience more enjoyable as we believe we are solving the mysteries and not the director who is skillfully guiding us through. I’d say it couldn’t get better than this, but my confidence in Yates has been renewed and my hopes that Deathly Hallows is treated with respect is at one hundred percent, so who knows what the future has to offer?
On the site almost the entire collection of Harry Potter in 4k, look and download:
Harry Potter and the Sorcerer’s Stone 2001
Harry Potter and the Chamber of Secrets 2002
Harry Potter and the Goblet of Fire 2005

Сообщение Harry Potter and the Half-Blood Prince 2009 4K ULtra HD 2160P появились сначала на 4К-MOVIES.BIZ.