norbert-plan-618-715813
Joined Dec 2009
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Ratings1.3K
norbert-plan-618-715813's rating
Reviews502
norbert-plan-618-715813's rating
A superb saga set in Utah in the mid-nineteenth century, where the regular army, militia, Mormons, Indians, bounty hunters, trappers, pioneers, and others clash. The characters are played by talented actors who truly embody their roles. The main characters, who elicit empathy, are played by Taylor Kitsch, with his physicality and understated drama, and Betty Gilpin, who plays a fascinating character.
Of course, the technical elements are well done, including the sets, costumes, makeup, and special effects. There is a regular dose of violence. All this takes place in magnificent landscapes, absolutely essential for a western, and even more so for a pre-western. Director Peter Berg knows his craft, knows how to showcase the landscapes and his characters, and composes a fresco that grabs the viewer by the throat.
A magnificent miniseries that keeps viewers on the edge of their seats for all six episodes. Beautiful work.
Of course, the technical elements are well done, including the sets, costumes, makeup, and special effects. There is a regular dose of violence. All this takes place in magnificent landscapes, absolutely essential for a western, and even more so for a pre-western. Director Peter Berg knows his craft, knows how to showcase the landscapes and his characters, and composes a fresco that grabs the viewer by the throat.
A magnificent miniseries that keeps viewers on the edge of their seats for all six episodes. Beautiful work.
The backdrop is the devastation following the 2011 tsunami. We follow the lives of a small group of homeless people, one of whom rents boats and provides shelter for others. Shôta Sometani, who has many reasons to be unhappy, meets Fumi Nikaidô, a young girl full of life and resourcefulness. Will he manage to overcome his neuroses thanks to this encounter and the other people he shelters? This is the dramatic tension of the film.
The characters go from silence to shouting, which makes the film painful at times. We understand that Japanese culture is about not expressing what you feel, and here Sion Sono plays on that: the male characters end up exploding. But subtle direction is not the director's forte. His male characters are constantly on the verge of exploding, and they do explode. Of course, the dramatic arcs justify all this, because we are in a world of drama and suffering. Fortunately, this is brightened up by the female character, played by Fumi Nikaidô, who brings a little cheerfulness, optimism, and the possibility of joie de vivre. It remains to be seen whether our main character, Shôta Sometani, who is very good, will manage to overcome his malaise, even if his constant posture prevents us from feeling lasting empathy for him.
Despite the aforementioned heavy-handedness, the film remains powerful and memorable, and we feel empathy for some of these characters.
The characters go from silence to shouting, which makes the film painful at times. We understand that Japanese culture is about not expressing what you feel, and here Sion Sono plays on that: the male characters end up exploding. But subtle direction is not the director's forte. His male characters are constantly on the verge of exploding, and they do explode. Of course, the dramatic arcs justify all this, because we are in a world of drama and suffering. Fortunately, this is brightened up by the female character, played by Fumi Nikaidô, who brings a little cheerfulness, optimism, and the possibility of joie de vivre. It remains to be seen whether our main character, Shôta Sometani, who is very good, will manage to overcome his malaise, even if his constant posture prevents us from feeling lasting empathy for him.
Despite the aforementioned heavy-handedness, the film remains powerful and memorable, and we feel empathy for some of these characters.
