While the rest of us expectantly await the upcoming Nicolas Cage and January Jones film SEEKNG JUSTICE, it has already opened in Italy this weekend, and here is our first review! It is in Italian of course, and perhaps having the google translation is more frustrating that not having it at all, but it all adds to the ongoing mystery of the almost secretive distribution of this film.
with thanks to m,ember Johnny Blaze for the heads up on the review!
CALLING ANY ITALIAN MEMBERS OR VISITORS, HAVE YOU SEEN THE FILM and PLEASE CAN YOU HELP US TRANSLATE ??!!!
Will Gerard is an English teacher whose life is turned upside down when his wife Laura is violently attacked for no apparent reason. As he watches his wife in hospital bed, approaching a total stranger called Simon. Will Simon presents the opportunity to avenge his wife. Might expect that the police find the culprit, arrest him and put it in the hands of justice. Or, it could rely on Simon and his 'friends' that would find the guilty and ... [Read more]executed within the Day After Tomorrow. Emotionally tried, Will accept the offer, which will trigger a downward spiral of events that led him gradually to lose all control of his life ... [synopsis]
The revenge-movie , a genre that in the United States has always found fertile ground in which to take root, follow rules and routes rather than standardized narrative is born, of course, the natural suspicion of the average man to the justice system that would dispense "justice ". Finding questionable justifications in red tape, nell'assopito laxity of the police and the frustration that comes from these obstacles, there is evidence of a justicialism private, close relative of "an eye for an eye, tooth for tooth." In the cinema such a mixture of anger and aspirations can not miss it find its own natural speaker, and it is not by chance that one of the founders of such indisputable ( Death Wish Michael Winner, starring Charles Bronson) and soon became creating a cult movie, over the years, a disproportionate number of children not recognized and followed. Even only for revenge , back behind the camera for Roger Donaldson from a distance of three years from the perfect heist , it is doubtful free of direct references to the film directed by Winner: Death Wish them the protagonist was an architect of ideas openly that turned into a liberal supporter of summary justice after witnessing the sexual violence suffered by the helpless daughter and the murder of his wife, in revenge, only Nicolas Cage is presented as a high school teacher, pacifist and opposed the proliferation of weapons, which turns into an avenger when his wife is raped and beaten by cellist, a habitual criminal after coming out from rehearsals with the Philharmonic Orchestra. The main difference between the two films lies in the moral doubt that is gripping from start to finish the film the poor teacher: it is right to abandon their inhibitions and act like their own without waiting for justice take its course? If the question seems rather trivial, in its simple linearity, we penano Donaldson and screenwriter Robert Tannen to muddle the mess: a set in New Orleans that has not yet recovered from the trauma caused by the catastrophic Hurricane Katrina, the story sees the entry the scene of a secret society that offers victims the opportunity to take a sound revenge, only to then force them to give themselves the services in the future, being available to murder other criminal or supposed. Obviously Professor Gerard resigned falls into the trap and is therefore forced to shadow the first and thus to eliminate what is presented as a dangerous pedophile, but not the whole truth has been brought to the surface ... As widely expected Donaldson proves more at comfortable with the most dynamic aspects of the story, as evidenced by the long chase across the breathtaking highway, which runs the risk of ending up with Gerard under the wheels of a truck to dodge the threat posed by the henchmen of Simon, the head of the secret: for the the rest as usual, with some insight not insignificant especially in the use of location, background and some confusion. Are not traceable in fact a few typos in the course of the film, including spatial and temporal errors (the murder of a man ready to cooperate with a reporter to put an end to this crazy business executioner is dated November 3, but in ' incipit appears as unequivocal as it is in September, to name just one), left to their own personalities and character inconsistencies, and are worth very little scholarly citations that are filtered under the skin, primarily philosophical investigation Edmun Burke, to try to make more substantial the material available. But when Donaldson decided to trust their instincts about the vision, the movie is actually enjoyable shows, with a good rhythm and played professionally with appreciable time with Cage and from its supporting actors Guy Pearce, January Jones and Harold Perrineau: sin for a final Free slides in, losing the tension of a central part which is definitely the highlight of the entire film. Shot with few resources and staking everything on agility offered by the new digital technologies, The Hungry Rabbit Jumps - This is the original title, whose meaning will be revealed only to those who will go in the room - is an action medium cabotage, directed by a filmmaker same medium and are capable of churning out one of the most compelling royal.
If you only search for one word you want to have translated, google translator is great. but a whole text.. you can forget about it it makes no sense, pretty bad
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Have you ever noticed that anybody driving slower than you is an idiot, and anyone going faster than you is a maniac?
Jup, sometimes realy anoying that it sucks for translating texts. I once used it to translate a text for a french lecture, I never ever do that again :S
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My brain only works on one power... The power of Nicolas Cage!
Done it! Not a great review however..some of It i struggle to understand. Even in English!
After knowing the reputation in the eighties with The Bounty and have continued with such films as No Way Out, The Recruit and the perfect robbery, Roger Donaldson seems to have all it takes to describe the evolution and the torment of a decent man in front of the lure of private revenge. A trust, however, that the Australian director has not honored by completing a product that, even while being in the vein of the Action with a moral, leaves no doubt the sign of originality and involvement. Probably fascinated by the problems of conscience raised already at the time of Death Wish, Donaldson was unable to go beyond the path already traced by Michael Winner, if not using the prototype of a hero more blurred and politically correct than it has ever been Charles Bronson's Paul Kersey on.
So, in an attempt to take hold of a renewed civic spirit, the director has worked on the screenplay by Robert Tannen clinging steadfastly to a preconceived set of images and moods that, besides having the disadvantage of forming the cornerstones of a kind all too altered, they just deal with the vision of Winner, certainly more extreme and courageous. Chicago's violent replaced with the equally historically dangerous New Orleans and brought back to headlines film inefficiency and ineffectiveness of the legal structure, only for revenge track a human journey punctuated methodically by almost cliché of great narratives that undermine predictability with stubborn perseverance on the principle of suspense which should govern the entire apparatus of a narrative action thriller.
In the firm conjugal union exalted since the first frames, through the momentary desire to get revenge for the inevitable rebellion against the criminal system with a lot of friendships put to the test, the viewer is dragged to coast through a series of situations where you know have the background and development thanks to a very intricate plot and defined. To make matters worse fiction, devoted to a clear simplification, also contributes to the subelement journalistic investigation, but may bring new life into each other and become the axis on which to run the whole project, is relegated to the role of randomness be used as a mirror to reflect on which scarcely troubled the conscience of the protagonist. But what hurts the film more than any artistic choice or directing the image of a hero is annoyingly invisible, the righteousness which is induced into temptation on the surface while his personality more and more pale in the constant attempt to prove his unfailing honesty. So, in an attempt to deliver the portrait of a human being right and thinking, Nicolas Cage certainly does not offer as a vehicle for emotions. Flawless and morally correct in even the most critical moments, his Will does not seem to ever victim of human weaknesses, not give way to instinct avoiding in this way, any game identification with a character without making us regret and emotional variables, at least film from the point of view, the objectionable but recognizable complexity of a man who could become executioner of love.
Hi Johnny, thanks for posting a second review! Glad you worked out how to translate in the end, though as you say, the language is as thick as treacle I really don't get what they are saying! Do you have the link for that review? I'd quite like to see it in it's original form, thanks!
I thought the first review I posted was quite positive! Here is hoping we all get a chance to experience the movie for oursleves soon.
Firmest action thriller, revenge is only an essay on the mystifying power of images and their commercialization, as well as a moral fable about revenge, which takes its place alongside the polished masterpiece of Justice Felix Gary Gray Private. The best film by Roger Donaldson's The Recruit with quotes and an operator David Tattersall, with Nicolas Cage continues to walk around New Orleans with a grim look and posture of the lopsided Bad Lieutenant herzog
The original title (Seeking Justice) seems a statement of poetics bronsoniana. And also the Italian one (only for revenge) is certainly no less. But it is clear from the first picture as Donaldson and screenwriter Robert Tannen they serve to divert attention from the real substance of the film, still the best in the Australian director with The Recruit: an essay in the form of thriller Action mystifying rock-solid on the power of images and their commercialization, as well as a moral fable about revenge, which takes its place alongside the polished masterpiece of Justice Felix Gary Gray Private. Will Gerard, played by Nicolas Cage, who continues to walk around New Orleans with a grim look and posture of a lopsided Klaus Kinski, is a high school teacher whose life is turned upside down by a history of violence that will force him to deal with his own nature. Donaldson takes up where Gray had left off: Justice is nothing more than legalized violence and monopolized the rule of law, a mask that allows citizens to bureaucrats and to practice it without smudging the conscience. Those same bureaucrats and citizens on the one hand and manipulate the other storyteller suffer the power of images: When the penitent confesses secret organization of the journalist in front of the camera, he will reveal only a part of truth, and because in the face of a camera, which is never objective, and because in the face of another human being, which is not objective in nature (especially if a journalist ...); and this half-truth, taken in turn by Will with a phone, will serve as a bargaining chip to get the video (other images, other half-truths) that proves his innocence in the murder of the same journalist who matter will then be silenced by the lies told by a policeman to a newscast. A visual stratification whose meaning is lost by the second or third passage from image to image, revealing only the economic value. With a handful of sequences masterpiece (the chase at night, the meeting in the Superdome and the showdown in the shopping center left), only revenge is also one of the quotes from David Tattersall, trust operator Lee Tamahori, George Lucas and Frank Darabont, as well as the Wachowski brothers (Speed Racer), Martin Campbell (Vertical Limit) and Simon West (Con Air). After The 25th Hour, Tobey Maguire once again proves to have an eye as a producer
If someone you care about is threatened, or worse, suffer a brutal violence at the hands of an individual without the slightest respect for each other, how would you react? Expect that "justice take its course", knowing it could take weeks if not months, or agireste quickly and with strong determination, finding and punishing the perpetrators of this horrendous crime alone? If you've never been in this situation is difficult to answer, but seeing the film one can not but side with the protagonist.
"It's not what a lawyer tells me I can do, but what humanity, reason and justice tells me I should do ...." Starting from the quote from Edmund Burke, who investigates the concept of private justice and free will, we reach the thriller "Just for revenge," whose original title is "Seeking Justice."
The motion picture film in question, directed by Danish director Roger Donaldson, author of "The Bounty", "Dante's Peak - The fury of the mountain," "Species" and "The Recruit" and scripted by Robert Tannen, tells the story Will the professor of English literature Gerard (Nicolas Cage), who shocked to the beating and rape of his wife Laura musician (January Jones), and impatient to see him behind bars who has violated her companion, he is approached by the head of a powerful organization of "executioners", a certain Simon (Guy Pearce), voted to "an eye for an eye, tooth for tooth", which gives him the opportunity to solve his problem.
Will not know, however, that by accepting the great man's behalf, in the near future will be forced to pay with interest what Simon has kindly agreed, entering by force into a confraternity devoted to bloody revenge, which does not admit of being abandoned by his followers. In the end, as is now expected in commercial products of this kind, the honest citizen and devoted husband becomes a fugitive, whose only goal is to save himself and the lives of loved ones, bravely exposing his enemies .
Thriller interesting from the point of view spectacular, with shots of elegant and slums of New Orleans, where the photograph has the merit to bring out in even the smallest detail, the slow reconstruction of a city in decay, after the hurricane Katrina, and choreographed, with excellent action sequences like the chase on foot and by car, the jeep drove against traffic, the infighting on the edge of a parapet, and a truck that plunged at full speed on Will, managed to dodge it by inches
these are great Johnny, thanks! Good to see more reviews coming along, these ones make much more sense and seem positive! so these are individuals posting their own reviews on on IMDB? sorry to be a pain but it would be cool if you could post the links with them, I like to credit the source. and then we know we are not going to duplicate as well, thanks! the only 2 i can find on imdb are the external ones, the link i posted first and this one:
Wow, thanks JB!!!! Lol at how we are clinging on to every word of these reviews because of the little info about the movie there is out there! and the oddness off it's release, or lack of!!
If it is ok with you Johnny, I will make your links live! (if you go to edit your post, you will see how i did it!)
I knew thata the first reviews would be bad! I just knew it. people dont judge the movies at itsself anymore. they look and say oh its starring Nicolas Cage.. well i do not like him so it must be bad.
and also this first the first time i follow the promotion of a movie from the beggining and i bet we wouldnt translate any Italian pages for another movie. but what should we do else. its our only chance to get anything to know about this movie =(
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Have you ever noticed that anybody driving slower than you is an idiot, and anyone going faster than you is a maniac?
In somehow, we can celebrate the 7.8 rating in IMDB. It's a good result, knowing that a limited numbers of people has voted (most part italians I guess...).
It's encouraging for all expectations we put in this movie.
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In somehow, we can celebrate the 7.8 rating in IMDB. It's a good result, knowing that a limited numbers of people has voted (most part italians I guess...).
It's encouraging for all expectations we put in this movie.
I agree, an encouraging figure! I do remain entirely obective and unswayed about a film based on other people's own subjective opinions though....my own expectations are formed entirely differently...Hopefully we will all soon have the opportunity to give our own opinion!