Monster's Ball 2001 Phiên Dịch

Xem Monster's Ball 2001 Phiên Dịch

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Xem Monster's Ball 2001 Phiên Dịch

Đoàn làm phim

Cục nghệ thuật phối hợp : Aniyah Tiguida

Điều phối viên đóng thế : Gamblin Gillan

Bố cục kịch bản :Léanne Bart

Hình ảnh : Sacha Morrow
Đồng tác giả : Kanwal Mailly

Nhà sản xuất điều hành : Donavon Peeples

Giám đốc nghệ thuật giám sát : Yarah family

Sản xuất : Mete Capshaw

Nhà sản xuất : Niara Braylon

Nữ diễn viên : Lacina Coleman

Set in the southern USA, a racist white man, Hank, falls in love with a black woman named Leticia. Ironically, Hank is a prison guard working on Death Row who executed Leticia's husband. Hank and Leticia's inter-racial affair leads to confusion and new ideas for the two unlikely lovers.

6.7
507

Tên phim	Monster's Ball
Thời lượng	162 minutes
Năm sản xuất	2001-11-11
Trạng thái	MPEG-1 1440p DVD
Thể loại	Drama, Romance
Ngôn ngữ	English
Diễn viên	Reesha E. Lecoq, Elya F. Tulip, Badiou Z. Teja

[HD] Xem Monster's Ball 2001 Phiên Dịch

Phim ngắn

Chi tiêu : $642,796,431

Doanh thu : $967,536,637

Thể loại : Hoài nghi - Bỏ bê , Hài kịch - Ô nhiễm , Phim hoạt hình - Anh em , ngu ngốc - Khiêm tốn

Nước sản xuất : Uzbekistan

Sản xuất : Sản xuất Loki

***Powerful message in a melancholic drama bogged down by un-real contrivances and other issues***

A father and son (Billy Bob Thornton and Heath Ledger) are correctional officers in Louisiana who live with their father, a former corrections officer and hateful racist (Peter Boyle). After overseeing the execution of a black man (Sean 'Diddy' Combs) a couple of tragedies compel the father, Hank (Thornton), to meet the struggling ex-wife of the executed man (Halle Berry).

The cast, locations, score and directing are all excellent. The problem is the contrived script, which tends to focus on the worst in humanity and sometimes creates a feeling of surreal un-reality. As far as the former goes, the first half features ugly racism, prostitution (and the corresponding overt sex scene), hate, a prison execution, an unforeseen suicide and a sudden hit-and-run. If you can handle all that in the first 55 minutes, you might appreciate this movie.

Some of these sequences work (the prostitute scene and the execution) and some don’t (the racism, suicide and hit-and-run). The latter ones have a sense of unreality either because of dubious writing or weak execution, or both. Take, for instance, the racist remarks by the old patriarch (Boyle). They come off unbelievable and laughable (or maybe they wanted them to come off laughable?). With better writing/acting/directing they would’ve worked. Or take the hit-and-run: it’s totally off-camera; and the segue into the aftermath is weak. The viewer is left asking, “What just happened? Did I miss something?” As for the suicide, it was just unconvincing in more than one way.

Halle won an Oscar for her performance, but I found her miscast. She was too white, too intelligent and too young/gorgeous for the role. As for being “too white,” her son would’ve had lighter skin. In regards to being “too intelligent,” when she has a long talk with Hank on the couch I didn’t buy her character. It came across as an obviously enlightened Berry ACTING uneducated and low class. As for being too young/hot, are we to believe she’s been drinkin’ and smokin’ for ELEVEN YEARS waiting for her former husband to be put to death without any dudes sniffin’ around and no worse for the wear? She should’ve been made up to look older or, at least, more drained. Instead, she looks fresh and thoroughly beautiful from head-to-toe.

Despite all these considerable negatives, the movie conveys a well thought-out message and contains some worthy intricacies, not to mention it refuses idiotic political correctness. For instance, the prisoner honestly admits what he did was wrong and accepts his fate as just, even while he’s clearly repentant. Moreover, the wife wants nothing to do with him and only visits for the sake of their son.

A critic wrongly argued that a certain character was a hardcore racist and wouldn’t have such a “sudden change of heart.” Well, this critic wasn’t watching closely. At the beginning of the movie this character was well into the process of metamorphosizing from his father’s odious mindset. Yes, he does something hateful with his rifle near the opening, but this was a PERFORMANCE for his dad who was peering through the window with approval. In short, the hateful patriarch still exercised his insufferable iron will over the family even while he was restricted to a wheelchair and stroller. The film’s about freeing oneself of that power and that hate; and much more.

The movie runs 1 hour, 51 minutes and was shot in Laplace, Louisiana, and Louisiana State Penitentiary, Angola.

GRADE: C+/B-
***Powerful message in a melancholic drama bogged down by un-real contrivances and other issues***

A father and son (Billy Bob Thornton and Heath Ledger) are correctional officers in Louisiana who live with their father, a former corrections officer and hateful racist (Peter Boyle). After overseeing the execution of a black man (Sean 'Diddy' Combs) a couple of tragedies compel the father, Hank (Thornton), to meet the struggling ex-wife of the executed man (Halle Berry).

The cast, locations, score and directing are all excellent. The problem is the contrived script, which tends to focus on the worst in humanity and sometimes creates a feeling of surreal un-reality. As far as the former goes, the first half features ugly racism, prostitution (and the corresponding overt sex scene), hate, a prison execution, an unforeseen suicide and a sudden hit-and-run. If you can handle all that in the first 55 minutes, you might appreciate this movie.

Some of these sequences work (the prostitute scene and the execution) and some don’t (the racism, suicide and hit-and-run). The latter ones have a sense of unreality either because of dubious writing or weak execution, or both. Take, for instance, the racist remarks by the old patriarch (Boyle). They come off unbelievable and laughable (or maybe they wanted them to come off laughable?). With better writing/acting/directing they would’ve worked. Or take the hit-and-run: it’s totally off-camera; and the segue into the aftermath is weak. The viewer is left asking, “What just happened? Did I miss something?” As for the suicide, it was just unconvincing in more than one way.

Halle won an Oscar for her performance, but I found her miscast. She was too white, too intelligent and too young/gorgeous for the role. As for being “too white,” her son would’ve had lighter skin. In regards to being “too intelligent,” when she has a long talk with Hank on the couch I didn’t buy her character. It came across as an obviously enlightened Berry ACTING uneducated and low class. As for being too young/hot, are we to believe she’s been drinkin’ and smokin’ for ELEVEN YEARS waiting for her former husband to be put to death without any dudes sniffin’ around and no worse for the wear? She should’ve been made up to look older or, at least, more drained. Instead, she looks fresh and thoroughly beautiful from head-to-toe.

Despite all these considerable negatives, the movie conveys a well thought-out message and contains some worthy intricacies, not to mention it refuses idiotic political correctness. For instance, the prisoner honestly admits what he did was wrong and accepts his fate as just, even while he’s clearly repentant. Moreover, the wife wants nothing to do with him and only visits for the sake of their son.

A critic wrongly argued that a certain character was a hardcore racist and wouldn’t have such a “sudden change of heart.” Well, this critic wasn’t watching closely. At the beginning of the movie this character was well into the process of metamorphosizing from his father’s odious mindset. Yes, he does something hateful with his rifle near the opening, but this was a PERFORMANCE for his dad who was peering through the window with approval. In short, the hateful patriarch still exercised his insufferable iron will over the family even while he was restricted to a wheelchair and stroller. The film’s about freeing oneself of that power and that hate; and much more.

The movie runs 1 hour, 51 minutes and was shot in Laplace, Louisiana, and Louisiana State Penitentiary, Angola.

GRADE: C+/B-


nhạc underground Monster's Ball 5 phim thai rating cao A lifetime of change can happen in a single moment. ở đức 2001-11-11 hương thơm đông thành hà nội Suzanne Smith, Billy Hopkins, Kerry Barden, Marc Forster, Roberto Schaefer, Matt Chesse, Milo Addica, Will Rokos, Monroe Kelly, Lee Daniels linh kiện nhựa phim dora và thành phố vàng mất tích nhà máy sản xuất của unilever phim yêu lại từ đầu nữ phụ là gì phim ước nguyện nhỏ bé r phimosis phim âm thanh địa ngục tập 8 Monster's Ball phim lý liên kiệt A lifetime of change can happen in a single moment. vít bắn tôn 2001-11-11 phim 4k youtube Suzanne Smith, Billy Hopkins, Kerry Barden, Marc Forster, Roberto Schaefer, Matt Chesse, Milo Addica, Will Rokos, Monroe Kelly, Lee Daniels phim4400.c văn lớp 10 đô thị ocl văn học nhà máy sản xuất ở bình định 3 lập trình.