The X-Files : Régénération
Titre original : The X Files: I Want to Believe
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Regarder The X-Files: I Want To Believe (Reading The Script Exclusive)
Mulder et Scully sont appelés à reprendre du service par le FBI lorsqu'un ancien prêtre prétend recevoir des visions psychiques provenant d'un agent kidnappé.Mulder et Scully sont appelés à reprendre du service par le FBI lorsqu'un ancien prêtre prétend recevoir des visions psychiques provenant d'un agent kidnappé.Mulder et Scully sont appelés à reprendre du service par le FBI lorsqu'un ancien prêtre prétend recevoir des visions psychiques provenant d'un agent kidnappé.
Xzibit
- Agent Mosley Drummy
- (as Alvin 'Xzibit' Joiner)
Histoire
Le saviez-vous
- AnecdotesVanessa Morley: When Fox Mulder and Dana Scully first walk back into the F.B.I. offices right before they walk into the bullpen, a female agent walks by that catches Mulder's attention and he watches her walk away. The woman is the actress who throughout X-Files : Aux frontières du réel (1993) played the young Samantha Mulder, and is the same Samantha in the photo Mulder has taped to the back of his home office door.
- GaffesIn the film, they refer to the Richmond "DA" who appears later. Virginia has no District Attorneys; prosecutors are Commonwealth's Attorneys.
- Citations
Fox Mulder: What's up, Doc?
- Crédits fousThe end credits run over images of ice, water and land, and finally we see Mulder and Scully in a small row boat off of a tropical beach. Scully is in a bikini, Mulder is in swim trunks and rowing toward a small island. They wave to the camera above as it pulls back and fades to black.
- Versions alternativesThe home video version has behind the scenes photos of the cast and crew over the end credits. The theatrical version did not have these behind the scenes photos.
- Bandes originalesOoh La La
Written by Deborah Poppink and Amy Roegler
Performed by Deborah Poppink
Courtesy of Deborah Poppink, by arrangement with Bug
(can be heard in Monica Bannan's car)
Commentaire à la une
The world is a greatly changed place since the heyday of "The X-files." Back in the late 1990's the TV show was at its height and tapping into the shared fears of the day: fear of the unknown, fear of the impending millennium, and fear that something larger than us (the government or alien invaders) was up to no good. Flash forward to the year 2008 and we know all that hubbub about the millennium was for nothing, our government has been up to no good for years, and it's not space invaders we need to worry about but other people terrorizing us. The murky, gloomy, grim style of "The X-Files" is now the norm with feverish and dark films like "There Will Be Blood" and "The Dark Knight" tapping into the mindset of culture today from opposite ends of the film spectrum.
Apparently creator Chris Carter didn't realize his baby was irrelevant now. His only mission should've been to please the faithful. If he wanted to revive his series on film, he had best stick to the labyrinthine alien mythology that still has some die-hard fans buzzing, or at the very least deliver a fun stand-alone monster-of-the-week style flick that would make fans jump in their seats. With "The X-Files: I Want to Believe" he does neither of those things. Instead, he gives us a story where Mulder and Scully come out of hiding to work on a case where the FBI are using a psychic criminal priest to help locate a missing agent and track down a potential serial killer. The plot fits more into the mold of his far less popular companion series "Millennium" than it does to "The X-Files." Apparently Carter wanted to please no one except perhaps himself.
The weirdest thing about the film is that it isn't all that bad. Carter as a director lays on some decent atmosphere (with all the global-warming defying snow and some eerie nighttime shots) and creates some palpable tension as the horrors of the case grow grimmer. The chemistry between Mulder (a lazy but effective David Duchovny) and Scully (an amazingly fully ranged and emotional Gillian Anderson) is still there, and Anderson's performance is especially gripping. Billy Connolly, cast against type, gives an interesting turn as the corrupted priest searching for redemption through his visions that probably would've garnered an Emmy nod had this been a very special two-part TV episode. Also good is Amanda Peet, looking smashing in her smart FBI pantsuits.
Most interesting is the story arc given Dana Scully. I honestly had stopped watching the show after the sixth season, and aside from the mythology storyline that built up to the first film released ten years ago, I recall some of my favorite episodes being the ones where Scully questioned her faith and struggled with reconciling her Catholicism with her scientific approach to the paranormal investigations. This is again explored here, as Scully, always the skeptic, so desperately wants to believe in something. However, it's an odd choice for Carter to focus on this internal human drama when he should be focusing on how to bring fans back into the fold. It would've been an interesting and compelling layer had Carter not been so inept with the rest of the plot.
In the end some fine performances and a moody atmosphere do not add up to a good time. Eventually it becomes an uncomfortable and anachronistic creep-fest that plays like the type of suspense thriller that ruled the roost in the mid-1990's after films like "Silence of the Lambs" and "Seven" made police detection and serial killing popular entertainment. Well, it's 2008, Mr. Carter, and it's time to wake up from your prolonged nightmare that was rendered uninteresting in 2001.
Apparently creator Chris Carter didn't realize his baby was irrelevant now. His only mission should've been to please the faithful. If he wanted to revive his series on film, he had best stick to the labyrinthine alien mythology that still has some die-hard fans buzzing, or at the very least deliver a fun stand-alone monster-of-the-week style flick that would make fans jump in their seats. With "The X-Files: I Want to Believe" he does neither of those things. Instead, he gives us a story where Mulder and Scully come out of hiding to work on a case where the FBI are using a psychic criminal priest to help locate a missing agent and track down a potential serial killer. The plot fits more into the mold of his far less popular companion series "Millennium" than it does to "The X-Files." Apparently Carter wanted to please no one except perhaps himself.
The weirdest thing about the film is that it isn't all that bad. Carter as a director lays on some decent atmosphere (with all the global-warming defying snow and some eerie nighttime shots) and creates some palpable tension as the horrors of the case grow grimmer. The chemistry between Mulder (a lazy but effective David Duchovny) and Scully (an amazingly fully ranged and emotional Gillian Anderson) is still there, and Anderson's performance is especially gripping. Billy Connolly, cast against type, gives an interesting turn as the corrupted priest searching for redemption through his visions that probably would've garnered an Emmy nod had this been a very special two-part TV episode. Also good is Amanda Peet, looking smashing in her smart FBI pantsuits.
Most interesting is the story arc given Dana Scully. I honestly had stopped watching the show after the sixth season, and aside from the mythology storyline that built up to the first film released ten years ago, I recall some of my favorite episodes being the ones where Scully questioned her faith and struggled with reconciling her Catholicism with her scientific approach to the paranormal investigations. This is again explored here, as Scully, always the skeptic, so desperately wants to believe in something. However, it's an odd choice for Carter to focus on this internal human drama when he should be focusing on how to bring fans back into the fold. It would've been an interesting and compelling layer had Carter not been so inept with the rest of the plot.
In the end some fine performances and a moody atmosphere do not add up to a good time. Eventually it becomes an uncomfortable and anachronistic creep-fest that plays like the type of suspense thriller that ruled the roost in the mid-1990's after films like "Silence of the Lambs" and "Seven" made police detection and serial killing popular entertainment. Well, it's 2008, Mr. Carter, and it's time to wake up from your prolonged nightmare that was rendered uninteresting in 2001.
- WriterDave
- 26 juil. 2008
- Permalien
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Détails
- Date de sortie
- Pays d’origine
- Langues
- Aussi connu sous le nom de
- The X Files: I Want to Believe
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 30 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 20 982 478 $US
- Week-end de sortie aux États-Unis et au Canada
- 10 021 753 $US
- 27 juil. 2008
- Montant brut mondial
- 69 363 381 $US
- Durée1 heure 44 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.35 : 1
- 2.39 : 1
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By what name was The X-Files : Régénération (2008) officially released in India in English?
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