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Buy 300 Blu-Ray at Amazon.
by glennjoseph1956 on déc.01, 2009, under 300
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Buy 300 Blu-Ray at Amazon..
Product: 300 Amazon Price: Sale Price Too Low To Display Availability: In Stock |
A more intense shot of testosterone you will not score in any film. Equal parts bravado, guts and glory, “300″ is simply the most attractive film to near out this year - or in several. Criticized for its violence and gore, fans of Miller’s graphic novels will earn that violence and gore to be as beautifully depicted on the shroud as in the print version. A highly hyped CGI affair the cast could easily have been overcome by the sheer impressiveness of the physical production. To his credit director Zack Snyder is blessed with and uses a cast every bit equal to the challenge of competing with Miller’s dim improbable engage of the Spartan’s greatest fable.
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Gerard Butler (Phantom of the Opera, Dear Frankie, etc.) adds yet another impressive and wildly different character to his arsenal of conceal roles. As Leonidas, King of Sparta, Butler is, from his pigtail to his muscled, sandled feet, every roam a king; a upright leader of men. His passion and intensity is matched by a comely performance by Lena Headey as his wife, Queen Gorgo. Though a dutiful wife and a woman in an age when being such was approach equal to slave site, she is, in her arrangement, as dauntless and gallant as her husband/King. Dominic West is properly wrong and oily as the traitor Theron and he’s as base and duplicitous a villain as one can hope for. Rodrigo Santoro as a larger-than-life Xerxes is both funny and fearfully creepy equal parts dart queen and wanna be god. Slack all the glitzy piercings and bling, he is runt more than self-inflated egotistical child.
While there is blood and gore aplenty, the film also happens to be emotionally satisfying and I found myself with tears welling up in my eyes more than a few times, as well as wanting to raise my fist in the air along with the jacked-up Spartans! While a macho stoicism pervades their attitudes, there are, to be certain, signs of a greater humanity beneath those ripped abs of Sparta’s army - and plenty of heart.
Buy,Download, Or Stream 300! Click Here
Parallels and allegories are already being drawn between today’s warring world climate, shapely power dominations and the world of archaic Greece and the Middle East. While this provides an involving commentary, I heartily recommend leaving that baggage at home and appreciating “300″ on its absorb and embracing its escapism.
Larry Fong’s cinematography ensures that “300″ is eye-poppingly elegant from inaugurate to conclude - a sparkling feast for the eyes while Tyler Bates’s net is guaranteed to retain your adrenaline pumping as it matches - frame-for-frame the visual intensity presented on the cover. While critics are divided on this one, audiences are flocking to it and cheering. For worthy reason, too: “300″ is aesthetic extinct myth telling wed to the very best 21st century filmmaking has to offer. Seek it!
Ah, to be male in Broken-down Greece: “300″ is a testosterone-driven fantasy in which all men are audacious warriors, driven by the need for battle and bloodshed. War is depicted as gloriously as any geek loner-type could hope for, with every soldier being the epitome of strength, courage, and physical brute force. Emotional bonding, sensitivity, and compassion don’t even approach into play; these men were trained to be ruthless killing machines, all in the name of preserving the glory of Sparta. This would no doubt be a ridiculous film if the memoir were presented in a straightforward, mainstream method. But straightforward and mainstream, “300″ is not; this is pure, hard-driving escapism, from the frenetic battle sequences to the define special effects to the over the top performances. In this sense, it’s absolutely knowing.
And it gets even better. Every shot, every setting, and every event is accentuated by a study so stylized that it’s practically a living duplicate of Frank Miller’s unusual graphic current. This was achieved through computer-generated imagery, which was responsible for creating most of the film’s locations. Bluescreen technology–also utilized for another astonishing Miller adaptation, 2005’s “Sin City”–made for a majority of the sets, leaving very microscopic for the actors to actually work with. I can only imagine the anxiety that went into post-production, the endless hours of crafting landscapes, characters, and special effects all with the click of a mouse. The work paid off; the demolish product is an effectively heightened reinterpretation of reality, a kind of living illustration that transcends any sense of time or site. It’s the perfect witness for war record of this caliber, something so grandiose and overplayed that you can’t derive enough.
The residence is fairly simple: it’s a retelling of the 480 BC Battle of Thermopylae, in which the Spartans fought against the Persians. King Leonidas (Gerard Butler) and his army of a mere 300 soldiers are ready to defend their land against the corrupt King Xerxes (Rodrigo Santoro) . This is despite the fact that 1) they don’t have the blessing of the gods to go to war, and 2) they will fight against an army of over one million. But this matters not; Spartan males are trained to be warriors at a very early age, essentially the day that they’re born (only the largest, strongest newborns are spared; the little, sickly ones are unceremoniously thrown off of a cliff) . They are taught the ravishing art of combat. They are made to steal all kinds of physical injure, including lashings. They are conditioned to never retreat, even when facing insurmountable odds. Leonidas successfully survived such rigorous training (his first major battle was against a shocking wolf with delicate eyes), as did the rest of his men. Now, they are ready for battle.
And after taking dwelling reach a beachfront cliff, the Spartans rob in ferocious battle with the Persians. Never on film has war been so worthy fun to search for. This is probably because each sequence was beautifully photographed; even graphic shots of stabbings, amputations, and decapitations are so artfully constructed that it’s hard to gather them as despicable. The bodies of Persian soldiers are old to produce a blockade of surprising strength. Blood spatters from gaping wounds in sunless, unrealistic globules, effectively looking more like spots of ink. There’s a moment when arrows skim through the air in numbers so ample, they block the light of the sun. Nearly every shot is drawn out, often going in lifeless motion to demonstrate how carefully choreographed the gratuitous violence is.
The Spartans also fight against the Immortals, an army of nefarious yet fantastical creatures with an appetite for destruction. They were appropriately crafted as one-dimensional barbarians, made more effective because of their appearances; they wear long dusky robes, and their pale, gruesome faces are hidden unhurried Tragedy-style silver masks. Where they came from is anyone’s guess. I swear it doesn’t really matter, especially since they pave the design for a number of other ghoulish creatures that would give the creations of Clive Barker a speed for their money. They–and every aspect of the film, for that matter–make it clear that the right emphasis is on style instead of anecdote, which under different circumstances would form for a heart-broken experience. But in this case, it works quite well; while a sure record is being told, it would be of slight significance were it not for the special effects.
This isn’t to say that the anecdote of “300″ is unpleasant. Quite the opposite: despite being simplistic, the tale is quite strong, especially when a couple of subplots are factored in. Befriend in Sparta, Leonidas’ wife, Queen Gorgo (Lena Headey), is up against a ghastly Senate, already bought out by the Persians in order to ensure Sparta’s stability. The arrogant and treacherous Theron (Dominic West) is clearly not ready to handle a woman of such strength, especially since she fully supports Leonidas and Sparta’s involvement in the war. Because she intends to plead to the Council for the deployment of more soldiers, Theron challenges her authority by exclaiming that her words will descend on deaf ears.
Another subplot involves Ephialtes (Andrew Tiernan), a hunchbacked, hideously deformed Spartan who begs to join with Leonidas and fight against the Persians. Leonidas appreciates his passion, but refuses to let him fight; he’s unable to consume his shield, and this would only develop a primitive area in their defense system. Feeling rejected, Ephialtes personally appeals to Xerxes, who promises a wealth of power, money, and pleasure in exchange for loyalty. This scene takes spot in Xerxes’ den, in which a throng of misshapen creatures engages in an orgy. Before “300,” I never would have believed that any film could include such a scene, or at least a scene that would work in any design, shape, or fabricate. I was wrong; it was a keen scene, forcing the viewer to reassess what is graceful and what is horrible.
The film is narrated by Dilios (David Wenham), a Spartan soldier with a hard-edged masculinity that shines through despite a deceptively soft order. He recalls Leonidas, Sparta, and the Battle of Thermopylae with eloquence; when considering the heavy-handedness of war, this is no microscopic task. Yet he always gives a perfect delivery, and that only strengthens the appeal of “300.” This is in a world all its absorb, a world dominated by battle cries, sword fights, and bare-chested men that are ripped like bodybuilders. It’s all thanks to Frank Miller, whose creative vision has allowed for a truly original theatrical experience. If he creates another graphic unique, I can’t wait for it to be adapted for the broad hide.
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