VALUTAZIONE IMDb
5,7/10
19.386
LA TUA VALUTAZIONE
Una madre single viene trascinata in un oscuro mondo sotterraneo, mentre suo figlio adolescente scopre una strada che lo conduce in una città sottomarina segreta.Una madre single viene trascinata in un oscuro mondo sotterraneo, mentre suo figlio adolescente scopre una strada che lo conduce in una città sottomarina segreta.Una madre single viene trascinata in un oscuro mondo sotterraneo, mentre suo figlio adolescente scopre una strada che lo conduce in una città sottomarina segreta.
- Premi
- 3 vittorie e 5 candidature totali
Thomas McDonald
- Skip
- (as ''Skip' Thomas Pierre McDonald')
Aris Costner
- Marylou a.k.a. Mama Aris
- (as ''Mama A' Costner')
Trama
Lo sapevi?
- QuizMatt Smith filmed his scenes during his break away from playing The Doctor on Doctor Who (2005). He had to shave his head for the role of Bully and wore a wig for the last episodes of Doctor Who, which were filmed later on.
- BlooperWhen Bully is under water after the car wreck he is upside down. The heels of his feet are on the car's hood and his head is under water. Yet when he exhales the bubbles go down when they leave his mouth. They should rise.
- Curiosità sui creditiThere is a short scene after the credits in which the street lights switch off again.
- ConnessioniFeatured in Fandor: Ryan Gosling Is a Complicated Heartthrob (2018)
- Colonne sonoreDeep Purple
Written by Peter De Rose and Mitchell Parish
Performed by Larry Clinton, featuring Mary Dugan
Recensione in evidenza
It's not often that I am truly perplexed by a film's critical reception. The critical blasting this has gotten truly... perplexes me. I get it, it's not for everyone, but neither is The Tree of Life, or Under The Skin, or even Drive, or countless of other films that managed to get embraced well- enough by many critics, if not most. Sure, the screenplay here needed some work. Sure, it doesn't really seem tightly-woven and it doesn't have any real forward action that seems to be driving the plot. But so what? As a mood piece, this makes the perfect midnight movie. It's visually outstanding, able to capture certain colors and images that I haven't even seen Gosling's good friend Nicolas Winding Refn capture. And yes, this film seems to be heavily influenced by him. I hated Only God Forgives because I found it boring, nonsensical, and totally pretentious, with not an ounce of honest artistry. I found Bronson to be sort of entertaining, but also full of itself. I did like Drive though.
Gosling really shows a certain directorial skill here, even if it's really borrowing from Refn's same style. And unlike Refn's last film, despite how "airy" the screenplay is, the film manages to capture a true emotional core. I actually cared about the three lead characters and felt like I was on this ride with them. The film's deeply ambitious, but it also doesn't feel ponderous or pretentious. I felt like it truly touched on something special that, despite how flawed it is, really made it work. It's somewhat messy, somewhat clumsy, yet I thought it was able to rise above that and work as an actual film, and not just great individual scenes without anything holding them together. Hendricks, De Caestecker, and Ronan are really strong as well and all three manage to hit the perfect pitch for the type of film Gosling wanted to make.
So, what can I say? It's going to be really tough seeing the film get as much hate throughout the year, but I hope it's able to get at least a few more fans and I hope Gosling isn't discouraged from making another film because if he was able to touch the notes that he did here despite all of the flaws, he could very well make a masterpiece soon enough. I can't wait to rewatch this.
Gosling really shows a certain directorial skill here, even if it's really borrowing from Refn's same style. And unlike Refn's last film, despite how "airy" the screenplay is, the film manages to capture a true emotional core. I actually cared about the three lead characters and felt like I was on this ride with them. The film's deeply ambitious, but it also doesn't feel ponderous or pretentious. I felt like it truly touched on something special that, despite how flawed it is, really made it work. It's somewhat messy, somewhat clumsy, yet I thought it was able to rise above that and work as an actual film, and not just great individual scenes without anything holding them together. Hendricks, De Caestecker, and Ronan are really strong as well and all three manage to hit the perfect pitch for the type of film Gosling wanted to make.
So, what can I say? It's going to be really tough seeing the film get as much hate throughout the year, but I hope it's able to get at least a few more fans and I hope Gosling isn't discouraged from making another film because if he was able to touch the notes that he did here despite all of the flaws, he could very well make a masterpiece soon enough. I can't wait to rewatch this.
- Red_Identity
- 7 apr 2015
- Permalink
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Dettagli
- Data di uscita
- Paese di origine
- Siti ufficiali
- Lingua
- Celebre anche come
- How to Catch a Monster
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 2.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 45.431 USD
- Fine settimana di apertura Stati Uniti e Canada
- 20.828 USD
- 12 apr 2015
- Lordo in tutto il mondo
- 615.500 USD
- Tempo di esecuzione1 ora 35 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.35 : 1
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