Entertainment/Show2014. 10. 5. 15:05

해무 (영화)

위키백과, 우리 모두의 백과사전.
Picto infobox cinema.png
해무
海霧
감독심성보
제작조능연, 김태환, 봉준호
원작김민정
각본심성보, 봉준호
기획봉준호
촬영홍경표
편집김상범, 김재범
음악정재일
의상최세연
제작사해무
배급사넥스트 엔터테인먼트 월드
개봉일2014년 8월 13일
시간111분
나라대한민국 대한민국
언어한국어
웹사이트http://www.haemoo.co.kr/

해무》는 2014년 개봉한 대한민국의 영화이다. 동명의 연극을 원작으로 하며, 이 연극은 2001년 여수의 제7태창호 사건을 기반으로 한다.

줄거리[편집]

1998년 여수 앞바다를 배경으로 한 영화이다. 당시 한국은 1997년 외환위기 이후 경제적 상황이 더욱 악화되고 있었고, 한때 여수 바다를 주름잡던 안강만 어선 '전진호'도 더 이상 만선의 수확을 거두지 못한 채 정부의 감척 대상 어선이 되어 버렸다. 전진호가 전부였던 선장(철주, 김윤석 분)은 폐선의 위기를 벗어나기 위해 조선족을 실어나르는 밀항을 실행하게 되었다. 비바람이 몰아치는 여수 밤바다, 중국 밀항선에서 30여명의 조선족 밀항자들은 전진호로 옮겨타게 되었다. 그 과정에서 홍매(한예리 분)가 바다에 빠졌으나 막내 선원 동식(박유천 분)이 바다에 뛰어들어 그녀를 구하고 둘은 서로에게 애뜻한 감정을 느끼게 된다. 선장(철주)은 밀항자들을 전진호의 어창(잡은 생선을 넣어두는 곳)에 들어가 숨게 하지만, 밀항자들은 어창의 열악한 환경에 반발하고 이로 인해 선장과 대립하게 된다. 한편 동식은 어창에 들어가는 홍매가 안타까워 다른 선원들 몰래 홍매를 기관실에 숨기게 되고, 그 후 전진호와 밀항자들은 걷잡을 수 없는 사건의 소용돌이 속으로 빠져드는데...

캐스팅[편집]

바깥 고리[편집]


Posted by 신의물방울
Entertainment/Show2014. 10. 5. 15:04

Lucy (2014 film)

From Wikipedia, the free encyclopedia
Lucy
Lucy (2014 film) poster.jpg
Theatrical release poster
Directed byLuc Besson
Produced byVirginie Silla
Written byLuc Besson
StarringScarlett Johansson
Morgan Freeman
Amr Waked
Choi Min-sik
Music byÉric Serra
CinematographyThierry Arbogast
Edited byLuc Besson
Production
company
Distributed byEuropaCorp. Distribution(France)
Universal Pictures(International)
Release dates
  • 25 July 2014 (US)[1]
  • 6 August 2014(France)[2]
Running time89 minutes[3]
CountryFrance
LanguageEnglish
Korean
French
Budget$40 million[4]
Box office$394.7 million[4]

Lucy is a 2014 French science fiction action film directed, written and edited by Luc Besson, and produced by Europacorp. The film was shot in TaipeiParis and New York City. It stars Scarlett JohanssonMorgan FreemanAmr Waked and Choi Min-sik. Johansson portrays the title character, a woman who gainspsychokinetic abilities from a nootropic drug being absorbed into her bloodstream.

The film was released on July 25, 2014, and became a box office success,[5] grossing over $394 million against a budget of $40 million. It received mainly positive, but also polarizing, critical reviews, with praise for Johansson's performance, entertaining or intriguing themes and visuals, and criticism for having a nonsensical and convoluted plot, especially its focus on the ten percent of brain myth and resulting abilities.[5][6][7]

Plot[edit]

Lucy is a 25-year-old American woman living and studying inTaipeiTaiwan. She is tricked into working as a drug mule by her new boyfriend, whose employer, Mr. Jang, is a Korean mob bossand drug lord. Lucy delivers a briefcase to Mr. Jang containing a highly valuable synthetic drug called CPH4. After seeing her boyfriend shot and killed, she is captured and a bag of the drug is forcibly sewn into her abdomen and that of three other drug mules who will also transport the drug for sales in Europe. While Lucy is in captivity, one of her captors kicks her in the stomach, breaking the bag, releasing a large quantity of the drug into her system. As a result, she begins acquiring increasingly enhanced physical and mental capabilities, such as telepathytelekinesis, mental time travel, and can choose not to feel pain or other discomforts, in addition to other abilities. She kills off her present captors and escapes.

Lucy travels to the nearby Tri-Service General Hospital to get the bag of drugs removed from her abdomen. The bag is successfully removed, and Lucy is told by the operating doctor of the volatile nature of the drug, based on a substance given to fetuses during prenatal development, and its destructive side-effects. Sensing her growing physical and mental abilities, Lucy returns to Mr. Jang's hotel, kills his bodyguards, assaults Mr. Jang, and telepathically extracts the locations of all three drug mules from his brain.

At her shared apartment, Lucy begins researching her condition and contacts a well-known scientist and doctor, Professor Samuel Norman, whose research may be the key to saving her. After Lucy speaks with the professor and provides proof of her developed abilities, she flies to Paris and contacts a local police captain, Pierre Del Rio, to help her find the remaining three packets of the drug. During the plane ride she starts to disintegrate as her cells destabilize from consuming a sip of champagne, which made her body inhospitable for cellular reproduction. Only by consuming more CPH4 is she able to prevent her total disintegration. Her powers continue to grow, leaving her able to telepathically incapacitate armed police and members from the Korean drug gang. With the help of Del Rio, Lucy recovers the drug and hurries to meet Professor Norman, with whom she agrees to share everything she now knows, after he points out that the main point of life is to pass on knowledge. Jang and the mob also want the drug and a gunfight ensues with the French police.

In the professor's lab, Lucy discusses the nature of time and life and how people's humanity distorts their perceptions. At her urging, she is intravenously injected with the contents of all three remaining bags of CPH4. Her body begins to metamorphose into a black substance, spreading over computers and other objects in the lab, as she transforms these into an unconventionally shaped, next generation supercomputer that will contain all of her enhanced knowledge of the universe. She then begins a spacetime journey into the past, eventually reaching the oldest discovered ancestor of mankind, implied to be Lucy, and touches fingertips with her. Meanwhile, back in the lab, after an M136 AT4 anti-tank weapon destroys the door, Mr. Jang enters and points a gun at Lucy's head from behind, intending to kill her. He shoots, but in an instant before the bullet strikes, Lucy reaches 100% of her cerebral capacity and disappears within the space time continuum, where she explains that everything is connected and existence is only proven through time. Only her clothes and the oddly shaped black supercomputer are left behind.

Del Rio then enters and fatally shoots Mr. Jang. Professor Norman takes a black, monolithic flash drive offered by the advanced supercomputer created by Lucy's body before the machine disintegrates to dust. Del Rio asks Professor Norman where Lucy is, immediately after which, Del Rio's cell phone sounds and he sees a text message: "I AM EVERYWHERE." With an overhead shot, Lucy's voice is heard stating, "Life was given to us a billion years ago. Now you know what you can do with it."

Cast[edit]

  • Scarlett Johansson as Lucy, a drug mule who is accidentally dosed with a drug that activates a myriad of pre-encoded genetic and consciousness capabilities:
The role of Lucy called for "an actress who could be believable as extremely vulnerable, as well as superpowered, when her exposure to an illicit substance inadvertently makes her acquire incredible skills." Impressed by Johansson's discipline, Besson reached out to her for the role, stating that she was immediately precise and professional, and he "enjoyed the way she talked about [the film]." He said, "She was excited for the right reason, which was the story. At that moment, it was a done deal for me. She was definitely the one."[8] Angelina Jolie is widely reported to have been originally cast as Lucy,[9][10][11] and as having dropped out of the role prior to filming.[12] Although Jolie was in "serious talks" with Besson since 2011 to star in his next directorial effort, then-untitled,[13][14] he stated that she was not his first choice for the role of Lucy and has implied that Johansson was once she won the role.[9]
Besson's wife and producer of the film, Virginie Silla, stated that given Freeman's experience portraying a character of wisdom, "it was pretty obvious that he was the perfect actor" for the role of Professor Norman.[8]
Besson said that Mr. Jang is the "best villain" he scripted since Gary Oldman's character, Norman Stansfield, adding that "Whereas Lucy is the ultimate intelligence, Mr. Jang is the ultimate devil." Besson and his film team "had to go and meet [Choi] in Korea, talk with him and discuss the story. And it was only at the very end that he said, 'Okay, I'm interested, I want to be in.'"[8]
Besson stated that "Del Rio represents the audience; he's basically you and me," adding that when Lucy has "lost all her emotions by being exposed to the drug," there exists "a tiny spark of emotion that's still there" when she is with Del Rio. Waked said that Besson having written the script was enough for him to want to star in the film.[8]

Speaking of Besson's "interest in making the film one about the way we interact with our environment, and socially as well," Silla said that one of the goals was to bring together a diverse cast to show the planet's diversity and a mixture of the different cultures. She stated, "So we have Scarlett Johansson, who is Caucasian, Morgan Freeman, who is African-American, Min-Sik Choi, who is from Korea, and Amr Waked, who hails from Egypt."[8]

Production[edit]

Writing[edit]

Besson stated that he intended for the first part of Lucy to be like Léon: The Professional (which he also wrote and directed), the second part to be like Inception and the third part to be like 2001: A Space Odyssey.[15] He was intrigued by the brain capacity of Lucy, a female Australopithecus afarensis, stating that her brain size was only 400g, and modern human brains weigh in around 1.4 kg. "I was very interested with all the science," he said. "When I learned one cell can send 1000 messages per cell per second and we have 100 billion cells in our body, for me, it's gigantic." He did not want to make "a documentary about the brain," and so he focused on making an entertaining film with scientific and ethical aspects, which he cited as "quite rare today." He said, "That was my goal: an action film with a ­purpose. When I was younger, the purpose I had was smaller. Basically, this is about us, our legacy and what we learn."'[16] A computer-animated version of Lucy Australopithecus being in the film, "modeled on the dawn of Man sequence from 2001: A Space Odyssey," is one of several of Lucy'homages.[9]

"I live in a country of food, and you can't have a third star in a restaurant (the top Michelin rating) without risk, invention or creativity," Besson said. "I'd rather take some risks, and maybe some people will say, 'What the fuck is this film?' But some others will embrace it. I totally understand that we can't take this kind of risk on every movie, but at the same time, you can't progress if there is not risk and novelty." He added, "I guess the film has the possibility to be a hit with the American audience. Of course, I would rather that it perform and the people are happy with it."[9]

Budget and filming[edit]

Lucy is the second largest budget French film production in 2013, with an estimate of 49 million euros.[17] It is also one of the biggest productions for EuropaCorp, the company founded by Luc Besson in 2000.[18]According to EuropaCorp CEO Christophe Lambert, this film had the highest budget in the company's history.[19]

Principal photography started in September 2013 at the Cité du Cinéma, a new megastudio located on the outskirts of Paris.[20] On 5 September 2013, scenes were shot at the cliffs of Étretat in northern France.[21]Filming in TaipeiTaiwan, began on October 21, 2013 and lasted for eleven days.[22][23] One of the locations filmed at was Taipei 101, one of the world's tallest skyscrapers.[24][25] Select footage was filmed with IMAX cameras.[26]

On October 23, The Hollywood Reporter stated that Besson had become enraged by all the media attention the shoot was getting that day.[24] Besson was reported to be so frustrated with the constant disruptions that he considered leaving Taipei to film elsewhere. Meeting reporters in Taipei a day after he finished shooting the Taiwan part of the film, he stated, "We don't want pictures with new dresses of Scarlett. Sometime [sic] I lost a bit of my concentration because I'm bothered by that." Because of constant paparazzi intrusions he said that "shooting at night time was a nightmare". Besson singled out two unnamed agencies from Hong Kong for special condemnation. News reports emerged that he wanted to leave Taiwan early to register his disapproval of their actions, but Besson labelled these as incorrect.[27]

Visual effects[edit]

Lucy has the most visual effects in a film directed by Besson,[19] with over 1,000 effects shots under senior visual effects supervisor Nicholas Brooks.[8] The majority of visual effects were done by Industrial Light & Magic (ILM),[28] with a team headed by supervisor Richard Bluff. Bluff described Lucy as "really fun because it wasn't a thousand shots of robots or things we typically do," instead relying on short sequences "that required a lot of new ways to problem-solve and to visualize them."[29] ILM began work on the project in July 2013, based on concept art provided by Besson’s Europacorp, such as Lucy sprouting the black tendrils and Lucy's disintegration effects.[28] Among the material ILM studied as reference for the effects were chemical reactions,laser lighting displays seen at raves, and the work of artist Perry Hall, who had previously worked with Brooks inWhat Dreams May Come.[30] Another major contributor was Rodeo FX, responsible for the Paris chase scene, Taipei matte paintings, and the visual representation of cell phones' radio waves seen by Lucy's enhanced vision.[28][31]

Music and soundtrack[edit]

Lucy (Soundtrack from the Motion Picture)
Soundtrack album by Éric Serra, Various Artists
Released22 July 2014
GenreFilm soundtrackfilm score
LabelBack Lot Music
Éric Serra chronology
The Lady
(2011)
Lucy
(2014)

The film's original score was composed by Éric Serra, who had previously worked with Besson on films such as The Fifth Element,The LadyArthur 3: The War of the Two Worlds and Arthur and the Invisibles.

The soundtrack was released on 22 July 2014 by Back Lot Music.[32]

Marketing[edit]

Several print and digital posters were issued by the distributor Universal Pictures for Lucy, with the theatrical release poster including the tagline: "The average person uses 10% of their brain capacity. Imagine what she could do with 100%"[33] On August 15, 2014, Universal Pictures released two advance posters for the upcoming comedy film Dumb and Dumber To that spoofed the theatrical release poster for Lucy, also a Universal Pictures-distributed film.[34] The two spoof posters were made public via Tweets from the Twitter accounts of Jim Carrey and Jeff Daniels.[35]

On April 2, 2014, the first trailer for Lucy was released.[36] It was described as having "hit the Internet with the force of a punch to the head,"[37] with reviewers stating that it is "promis[in]g a wild ride with Johansson rendering people unconscious with a flick of her wrist,"[38] "awesome" as "the girl who was once exploited becomes very, very dangerous,"[39] and "wonderfully insane as Johansson goes from a drug mule at the mercy of her captors to a superhuman with remarkable control over her body and a diminishing capacity for mercy."[40] After the film premiered, however, its trailers were categorized as being starkly different than how the film actually plays out; for example, the film not being as action-packed.[41] A behind-the-scenes preview of the film was released on July 10.[42]

Release[edit]

Box office[edit]

On July 25, Lucy opened at 3,172 theaters in the United States.[43] It opened with $17,088,110, placing it in the top spot for the box office opening weekend, ahead of the competing film Hercules, which debuted in the number two spot with $11,058,454.[44] Lucy, described as "bringing a needed boost to the ailing summer box office,"[44] did financially better than expected,[44] as early box office estimates for the film placed it "on track for $14 million to $15 million on Friday, including $2.7 million from 2,386 late Thursday screenings."[45] It earned $43,899,340 at the domestic box office for the opening weekend, with Hercules remaining at second place with $29 million.[46] Globally, Lucy debuted at the number one box office spot in all markets it was released in outside of U.S. and Canada, as of August 8.[47] In Taipei, the film's performance has been credited to roughly half of the film having been shot there, and it having "boost[ed] Taiwan's popularity amid the country's efforts to bring itself to the world stage."[48][49] It opened at twenty two Taipei theaters, grossing NT$14.3 million (US$478,000) from 57,900 admissions, and, after two days there, made NT$25.6 million (US$854,000) in the capital, later earning over NT$38 million (US$1.27 million) from seventy five locations nationwide, making it the fourth best opening day in Taiwan, after Transformers: Age of ExtinctionIron Man 3and The Avengers, the best opening day for United International Pictures (UIP), and the best August opening day of all-time.[49] Lucy is also the second most successful debut for a French action film.[47]

The audience for Lucy was split evenly between men and women, with 65 percent being over age 25.[50] Nikki Rocco, president for domestic distribution at Universal Studios, said, "To have a female lead in an original property absolutely made a difference. Scarlett is a star, and her presence [in the film] made it a lot more appealing for women."[51] Michael Bodey of The Australian commented that women having comprised half the audience is "a seemingly new precedent for an action film" and that, because of its box office performance,Lucy is the film out of all of Besson's film work "likely to have the greatest cultural impact."[16]

Thewire.com's David Sims stated that Johansson's success with Lucy at the box office would be "no mean feat given that it's a European R-rated action movie opening against a PG-13 epic with a more proven action star" in Dwayne Johnson (The Rock). "She's obviously had supporting roles in Marvel blockbusters but [Johansson] has never opened a blockbuster as an above-the-title star," he stated, adding that The Island was her first real attempt at doing so, but was a flop, and that if "tracking holds, Lucy will solidify this new phase in Johansson's career as a marquee name."[52]

In U.S. and Canada, Lucy earned $61 million in ticket sales in 3,173 theaters, and attracted 7.6 million viewers in its opening week.[47] Rocco said that widespread interest from ticket buyers indicated that Lucy brought "a different side to an action film," and that Universal Studios "had maintained high hopes for the 'R-rated original concept female-driven action movie.'"[46] Leading in the weekend's ticket sales on online ticket serviceFandangoLucy outsold action thrillers OblivionElysium and Edge of Tomorrow "at the same point in the sales cycle."[45] It additionally outsold The Bourne Legacy ($38.1 million) and Salt ($36 million), compared to their opening weekend spots, but failed to surpass the opening weekend grosses for Wanted ($50.9 million) andTaken 2 ($49.5 million).[50] Ray Subers of Box Office Mojo stated, "The fact that it even came close, though, is a fairly remarkable feat for this moderately-budgeted original action movie."[50]

Subers said that there are a few contributing factors to Lucy's success, commenting, "First, the movie had an intriguing premise (what if we could use more than 10% of our brains?) that was front-and-center in action-packed, visually-stunning advertisements." He said that this helped Johansson's lead role of Lucy appear to be "a natural extension of the butt-kicking brand she's built" as Black Widow in The Avengers and Captain America: The Winter Soldier, and that "recognizing that audiences were connecting with the material, Universal made the savvy decision to move Lucy up from mid-August," where it instead would have been competing withGuardians of the GalaxyTeenage Mutant Ninja Turtles, and The Expendables 3, a contrast to "this less-competitive late July date."[50] Oliver Gettell of Los Angeles Times commented similarly, citing five reasons for the film's successful opening weekend: A catchy sci-fi hook (the ten percent of brain myth), Johansson as an action star, Besson as a crowd-pleaser (known for films that please audiences, especially ones that craft strong female characters), a summer of strong women (previous successful female-driven films in the year being Maleficent and The Fault in Our Stars), and a slick marketing campaign (the trailers for the film emphasizing a high concept narrative, action and mayhem while de-emphasizing "philosophical and metaphysical pontificating").[5]

Critical reception[edit]

Lucy was generally categorized as entertaining and silly, but also polarizing, by critics.[5][52][53][54] Early reviews for the film were described as positive and mixed,[6][52][55][56] and later as positive abroad.[57] On review aggregator website Rotten Tomatoes, it holds a score of 66%, based on 192 reviews, with a rating average of 6.1 out of 10. The site's critical consensus reads: "Enthusiastically silly, Lucy tries to power through its logical gaps with cheesy thrills and Scarlett Johansson's charm – and mostly succeeds at it."[58] On review aggregatorMetacriticLucy has a rating score of 61 out of 100, based on 45 reviews, indicating "generally favorable reviews."[59] Audiences polled by CinemaScore gave the film a C+ grade on a scale of A to F.[44] Based on 14 press reviews, French website AlloCiné gave the film an average rating of 2.8 out of 5, while the audience response gave it an average rating of 3.2 based on 8064 responses.[60] The film received a score of 84% on French website Cinémur.[61]

In France, the film received 14 press reviews. Regarding the positive reception, Danielle Attali wrote in Le Journal du dimanche that "Luc Besson's thriller shows a successful talent to entertain and keep in suspense".[60] In Voici, the reviewer also appreciated the work of Besson, stating that he "returns to action films with this wacky cross between a superhero film and film about Asian gangsters, amped up by the always sexy Scarlett Johansson".[60] In Le Parisien, Magali Gruet stated, "Some have called this a feminist film, and though we will not go that far, it would be wrong to deny that a woman is portrayed as the source of solutions intended to save the world."[60] Libération wrote, "Beyond the success or embellishment which adorns each new scene with a spectacular swagger of violence and improbable turns, there is a strong feeling that Luc Besson now makes films from a position beyond merely marketing considerations."[60] Le Nouvel Observateurwrote, "It was unclear how such a contrived portrayal can delude audiences once the novelty becomes dissipated."[60]

Among U.S. reviews, Justin Chang of Variety called Lucy "a slickly engineered showcase for a kickass heroine whom we instinctively, unhesitatingly root for" and an enjoyable, "agreeably goofy, high-concept" speculative narrative devoid of self-importance because "it pays deft, knowing homage to any number of Hollywood sci-fi head-trip classics, embedding its ideas in a dense labyrinth of cinematic references that somehow end up feeling sly rather than shopworn."[62] Jordan Hoffman of The Guardian called the film "mindless and mixed up, but propulsive and fun" and added that "Scarlett Johansson shines in this pseudo-intellectual action flick that represents Luc Besson's finest work" since the film The Fifth Element; he gave Lucy 3/5 stars,[63] while IGN's Jim Vejvoda rated the film a 7.2 and said "this movie is all about Johansson, who's in almost every scene. She ably plays the title character as she transforms from average person to omnipotent entity" and "ultimately, more of Lucy works than doesn't. It's a fun movie even if its 'science' more than strains suspension of disbelief. It's a credit to Besson's style and Johansson's performance that Lucy isn't a train wreck."[64] The San Francisco Chronicle's Mick LaSalle said, "You can scoff at Besson's philosophies and hypotheses, but to do that would miss what's in front of you. Lucy is an impeccably realized vision of Besson's view of things."[65]

By contrast, John DeFore of The Hollywood Reporter stated that "plenty of films and novels have envisioned what would happen if we gained conscious control over our entire brain," but that "it's hard to recall one whose ideas were more laughable than this one." He stated that the audience may "roll with the film" as Lucy does things beyond human capability, but that the film does not justify "Lucy's increasingly godlike abilities, which soon include time travel and levitation. Every now and then, a nugget of real philosophy is dropped into the screenplay, but it's surrounded by so much blather that even a generous viewer has trouble using it to justify what Lucy experiences."[66] Writing for LA Weekly, Amy Nicholson stated that Besson "must think the audience is operating with even fewer synapses [than the capacity of ten percent]. Here, his style is slick but hand-holdingly literal" and "as the newly bionic Lucy seeks vengeance, Besson even tries to convince us she's a strong female character, which to the majority of male action directors simply means a sexy, silent badass. The real females in the audience may wonder why a genius would limp across a multi-continental gunfight in five-inch Louboutins."[67]

Among the film's main criticisms are the ten percent of brain myth, Lucy becoming less empathetic and more robotic as her brain capacity increases, her invincibility,[7][62][66][68] and the use of animal imagery to convey "obvious points."[52] Ralph Blackburn of Belfast Telegraph called the notion of only using ten percent of the brain an "often-quoted idea" that "has obvious Hollywood potential," but, according to leading neuroscientists, is "nothing more than an urban myth." He cited neuropsychology professor Barbara Sahakian, quoting that "it's impossible to work out how much of our brain we are using quantitatively. However, it is definitely much more than 10 per cent."[7] Chang stated that because Besson "seems more interested in engaging, playfully yet seriously, with the various biological, philosophical and metaphysical riddles that [the film] raises," the story is lacking as an action film and is not "much of a thriller – it's virtually an anti-thriller, devoid of suspense or any real sense of danger due to the fact that its heroine is more or less invincible," and that "at times it's hard to shake the sense that a smarter, more unbridled picture might have found a way to slip the bonds of genre altogether."[62] Like Chang, DeFore felt that one of the flaws with the film is Lucy's invincibility because it "nullifies much of the drama to come."[66] Michael Phillips of the Chicago Tribune said that the first twenty minutes of the film are good, but that by half an hour of runtime, the audience will realize that Lucy has no limits, which makes the film dull after a while with a "limited payoff".[69] The Boston Globe'Ty Burr, on the other hand, stated of the criticisms: "who comes to a Besson movie seeking logic? Lucy stays true to its own invented physics."[70] Besson said he knew of the ten percent myth, and that the film uses it as a metaphor,[16]while Robbie Collin for The Daily Telegraph concluded the film is based on the Kantian model of transcendental idealism, where the human mind imposes order on the world to make sense of it, and without it all relations between objects in space and time would cease to exist.[71]

Lucy has been compared to various films; common examples include Akira,[72][73] 2001: A Space Odyssey(which Besson noted as being part of his intention when writing the film), The MatrixThe Tree of Life,Transcendence, and especially Limitless.[7][62][66][68] Chang said, "Lucy's gradual rise to omniscience and omnipotence recalls Neo's own such journey in The Matrix, while her many black-suited Korean opponents suggest another army of Agent Smiths," and added that, when Lucy "uploads herself, Big Brother-style, to every computer and TV screen in the vicinity," the film suggests "a livelier, less ponderous remake" ofTranscendence.[62] Hoffman said, "The end of the movie goes completely off the rails, but in a way that is charming in its stupidity. It's like 2001: A Space Odyssey for those with short attention spans, and those people need to have their minds blown, too, I suppose."[63] Matt Prigge of Metro New York, while calling the film "stupid, smart and awesome," stated that it "smartly goes in a wildly different direction than the amusingly amoral Limitless, in which Bradley Cooper's character abused a similar drug, but used it to gain success, money and power. He was selfish. Lucy is selfless." Prigge added, "If Lucy is Limitless, it's Limitless with more than a dash of The Tree of Life, and even a bit" of the film Under the Skin, which also stars Johansson.[68] Burr commented that "where a fully juiced cerebellum just made Cooper's character really, really capable, Lucy undergoes a metaphysical makeover that, by the film's midpoint, has started to rearrange time, space, and her body."[70] Comparing Lucy's powers to characters Professor XThe DoctorDr. ManhattanGalactus, God fromBruce AlmightyScarlet Witch, and Tetsuo from AkiraHollywood.com's Jordan Smith stated that "Lucy may be the most powerful film character ever created," but indicated that Tetsuo's powers might match hers.[74]

Graphic novel and possible sequel[edit]

Hollywood journalist Nikki Finke reported in a July post on her film industry blog that: "In August, a Lucy graphic novel will be released online with four chapters appearing every other day for one week."[75] The first chapter of the semi-animated graphic novel was published on the international version of the movie's official website and features the same story material as seen in trailers with picture elements that move as scrolling takes place.[76]

In an April 2014 WonderCon interview, Besson was asked about the possibility of a Lucy sequel and stated, "With Lucy, you'll see the end of the film. I don’t know how we can make a sequel, but if the film is huge, then I will think about it."[77] In August, while promoting the film in Taipei, where scenes were shot, Besson commented further about the possibility of a sequel: "I don't see how we can do one. It's not made for that. If I find something good enough, maybe I will, but for now I don't even think about it."[78][79]

See also[edit]

References[edit]

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  2. Jump up^ Lee, Hsin-Yin (4 April 2014). "French director's new movie helps promote Taipei"Focus Taiwan. Central News Agency. Retrieved 5 April 2014.
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  6. Jump up to:a b Lombardi, Ken (25 July 2014). ""Lucy," "Hercules" both get strength from critics"CBS News. Retrieved 8 September 2014.
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  20. Jump up^ Keslassy, Elsa (16 July 2013). "Morgan Freeman Set to Topline in ‘Lucy’"Variety. Retrieved 24 July 2014.
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  30. Jump up^ Giardina, Carolyn (July 30, 2014). "'Lucy:' How VFX House ILM 'Surprised' Luc Besson With the Visuals"The Hollywood Reporter. Retrieved September 4, 2014.
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  37. Jump up^ Sacks, Ethan (2 April 2014). "'Lucy' trailer released: Scarlett Johansson stars as super-powered drug mule".Daily News. Retrieved 26 July 2014.
  38. Jump up^ Palladino, Valentina (2 April 2014). "Scarlett Johansson is a telekinetic superhuman in the trailer for 'Lucy'"The Verge. Retrieved 26 July 2014.
  39. Jump up^ Towers, Andrea (2 April 2014). "Scarlett Johansson becomes superpowered in new 'Lucy' trailer"Entertainment Weekly. Retrieved 26 July 2014.
  40. Jump up^ Davis, Lauren (2 April 2014). "Scarlett Johansson Is A Superpowered Genius In The First Lucy Trailer"io9. Retrieved 25 July 2014.
  41. Jump up^ Rosenfield, Kat (2014). "‘Lucy’: The Reviews Are In"MTV.com. Retrieved 26 July 2014.
  42. Jump up^ Cheng, Sabine; Kao, Evelyn (10 July 2014). "Luc Besson explains why he chose Taipei to film 'Lucy'"Focus Taiwan (Central News Agency). Retrieved 16 July 2014.
  43. Jump up^ "Theater Counts for Week 30 of 2014"Box Office Mojo. Retrieved 26 July 2014.
  44. Jump up to:a b c d McClintock, Pamela (26 July 2014). "Box Office: 'Lucy' Wows With $17.1M Friday; 'Hercules' Distant No. 2"The Hollywood Reporter. Retrieved 26 July 2014.
  45. Jump up to:a b McNary, Dave (25 July 2014). "‘Lucy’ Beating Up ‘Hercules’ at Friday Box Office"Variety. Retrieved 26 July 2014.
  46. Jump up to:a b Ronald Grover and Chris Michaud (27 July 2014). "'Lucy,' 'Hercules' beat expectations at weekend box offices"Reuters. Retrieved 28 July 2014.
  47. Jump up to:a b c "Lucy: Week 1 of a global success story"Unifrance. 8 August 2014. Retrieved 23 August 2014.
  48. Jump up^ "Lucy’ draws crowds on opening day"Taipei Times. 21 August 2014. Retrieved 23 August 2014.
  49. Jump up to:a b Ma, Kevin (22 August 2014). "Lucy sizzles at Taiwan box office"filmbiz.asia. Retrieved 23 August 2014.
  50. Jump up to:a b c d Subers, Ray (27 July 2014). "Weekend Report: ‘Lucy' Wins Brain vs. Brawn Battle"Box Office Mojo. Retrieved 29 July 2014.
  51. Jump up^ Cunningham, Todd (27 July 2014). "Scarlett Johansson's ‘Lucy’ Hammers ‘Hercules’ and The Rock at Box Office"The Wrap. Retrieved July 29, 2014.
  52. Jump up to:a b c d Sims, David (25 July 2014). "Is 'Lucy' Being Criticized as Dumb Because It's About Being Smart?"The Wire. Retrieved 25 July 2014.
  53. Jump up^ Perez, Rodrigo (27 July 2014). "Box-Office: Scarlett Johansson’s ‘Lucy’ Beauty Outperforms Dwayne Johnson’s ‘Hercules’ Brawn"Indiewire. Retrieved 28 July 2014.
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  55. Jump up^ Macatee, Rebecca (25 July 2014). "Lucy Review Roundup: Do Critics Like Superhuman Scarlett Johansson?"E! News. Retrieved 8 September 2014.
  56. Jump up^ Stiles, Nancy (27 July 2014). ""Lucy" Killed "Hercules" at the Box Office"Complex.com. Retrieved 28 July 2014.
  57. Jump up^ "Today's Big Releases: Hercules, Lucy, 22 Jump Street"NDTV. 1 August 2014. Retrieved 8 September 2014.
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  61. Jump up^ "Lucy"Cinémur. 2014. Retrieved 28 August 2014.
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  63. Jump up to:a b Hoffman, Jordan (23 July 2014). "Lucy: mindless and mixed up, but propulsive and fun – first look review".The Guardian. Retrieved 23 July 2014.
  64. Jump up^ Vejvoda, Jim (23 July 2014). "Lucy Review"IGN. Retrieved 24 July 2014.
  65. Jump up^ LaSalle, Mick (24 July 2014). "'Lucy' review: Straight-up action with serious brains"San Francisco Chronicle. Retrieved 24 July 2014.
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  67. Jump up^ Nicholson, Amy (24 July 2014). "Lucy"LA Weekly. Retrieved 24 July 2014.
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  69. Jump up^ Phillips, Michael (24 July 2014). "Johannson's limitless Lucy starts well but..."Chicago Tribune. Retrieved 24 July 2014.
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  75. Jump up^ Finke, Nikke (26 July 2014). "Weekend Box Office: #1 'Lucy' $44.1M"NikkeFinke.com. Retrieved 27 July 2014.
  76. Jump up^ "http://www.lucymovie.com/intl/uk/graphicnovel/20/". Retrieved 7 August 2014.
  77. Jump up^ Radish, Christina (April 24, 2014). "Director Luc Besson Talks LUCY, a Possible Sequel"Collider.com. Retrieved 26 July 2014.
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  79. Jump up^ 'Lucy' sequel unlikely: director Luc Besson

External links[edit]


Posted by 신의물방울
Entertainment/Show2014. 10. 5. 15:02

X-Men: Days of Future Past

From Wikipedia, the free encyclopedia
This article is about the 2014 film. For the comics storyline, see Days of Future Past. For other uses, seeDays of Future Past (disambiguation).
X-Men: Days of Future Past
X-Men Days of Future Past poster.jpg
Theatrical poster
Directed byBryan Singer
Produced by
Screenplay bySimon Kinberg
Story by
Based on"Days of Future Past
by Chris Claremont
John Byrne
Starring
Music byJohn Ottman
CinematographyNewton Thomas Sigel
Edited byJohn Ottman
Production
company
Distributed by20th Century Fox
Release dates
  • May 10, 2014(Javits Center)
  • May 22, 2014(United Kingdom)
  • May 23, 2014(United States)
Running time131 minutes[2]
Country
  • United Kingdom[3]
  • United States[3]
LanguageEnglish
Budget$200 million[4]
Box office$746,028,683[4]

X-Men: Days of Future Past is a 2014 superhero film based on the fictional X-Men characters that appear in Marvel Comics. Directed by Bryan Singer, it is the seventh installment of the X-Men film series and acts as a sequel to both 2006's X-Men: The Last Standand 2011's X-Men: First Class. The story, inspired by the 1981Uncanny X-Men storyline "Days of Future Past" produced by Chris Claremont and John Byrne, focuses on two time periods andWolverine going to 1973 to save the future of mankind. The film stars an ensemble cast, including Hugh JackmanJames McAvoy,Michael FassbenderJennifer LawrenceHalle BerryAnna Paquin,Ellen PageNicholas HoultShawn AshmorePeter DinklageIan McKellen, and Patrick StewartSimon Kinberg wrote the screenplay from a story conceived by him, Matthew Vaughn, and Jane Goldman.

The film is a British-American co-production with a budget ofUS$200 million. Principal photography began in Montreal, Quebec in April 2013 and concluded in August the same year, with additional filming and pick-ups taking place in November 2013 and February 2014. The film premiered in New York City on May 10, 2014, and was theatrically released on May 23.

X-Men: Days of Future Past received critical acclaim, becoming the best-reviewed film in the X-Men series. Reviewers commended its fresh visual style, story, and acting. It is also the highest-grossing film in the series, having earned over $746 million worldwide. A sequel, X-Men: Apocalypse, is scheduled for release on May 27, 2016, with Singer returning to direct.

Plot[edit]

In the future, robots known as Sentinels are exterminating allmutants, as well as any humans who seek to help them. A band of mutants evades the Sentinels with the help of Kitty Pryde, who can project a person's consciousness into the past. Pryde's group convenes with StormWolverineProfessor Xavier, and Magneto at a monastery in China. Pryde sends Wolverine's consciousness to 1973 to prevent Mystique from assassinating Bolivar Trask, the creator of the Sentinels. Following the assassination, Mystique was captured, and her DNA was used by Trask's company to create Sentinels, whose ability to adapt to any mutant power makes them almost invincible. Xavier and Magneto advise Wolverine to find both of their younger selves for help.

Wolverine awakens in 1973. At the X-Mansion, he encounters Xavier and Beast. Xavier's Institute for Gifted Youngsters has closed after most of the teachers and students were drafted for the Vietnam War. Xavier, now a broken man, is overusing a serum which allows him to walk and suppresses his telepathy. Wolverine explains his mission and persuades Xavier to help free Magneto from a prison cell beneath the Pentagon, where he is being held for allegedly assassinating President John F. Kennedy. They rescue Magneto with the help of Peter Maximoff, a mutant with superhuman speed.

In Washington D.C., Trask unsuccessfully lobbies Congress to gain support for his Sentinel program. Meanwhile, in Saigon, Mystique prevents William Stryker from appropriating a group of mutant G.I.s for Trask's research. Mystique investigates Trask's office and discovers he has been capturing mutants to use in experiments. Xavier, Magneto, Beast, and Wolverine fly to Paris to intercept Mystique. In Paris, Mystique impersonates a South Vietnamese general to infiltrate the Paris Peace Accords with Trask, who is trying to sell his Sentinel technology to communist nations. Xavier, Magneto, Beast, and Wolverine arrive as Mystique is about to kill Trask. Magneto tries to kill Mystique to ensure her DNA cannot be used for the Sentinels, but she jumps from a window. The fight spills onto the street in view of the public, allowing Magneto and Mystique to escape. During this time in the future, Pryde's control over Logan weakens, and he injures Pryde.

Trask is saved, but the world is horrified by the existence of mutants. President Richard Nixon approves Trask's Sentinel program and arranges an unveiling ceremony. Trask's scientists recover Mystique's blood from the street. Meanwhile, Magneto—who has recovered his telepathy-blocking helmet—intercepts the prototype Sentinels in transit and laces their polymer-based frames with steel, allowing him to control them. At the mansion, Xavier stops taking his serum and slowly regains his mental powers, while losing the ability to walk. Through Wolverine, Xavier speaks to his future self and is inspired to work for peace between humans and mutants once again. He uses Cerebro to track Mystique, who is heading to Washington D.C.

As Xavier, Wolverine, and Beast search for Mystique, Nixon unveils the Sentinel prototypes at the White House. Magneto commandeers the Sentinels and attacks the crowd, then sets the Robert F. Kennedy Memorial Stadium around the White House as a barricade. Nixon and Trask, accompanied by the CabinetSecret Serviceofficers, and Mystique (disguised as a Secret Service member), are taken to a safe room. Wolverine and Beast try to stop Magneto, but he pits a Sentinel against them and then throws Wolverine into the Potomac River. In the future, the X-Men make their final stand as a large army of Sentinels attack the monastery. In 1973, Magneto pulls the safe room from the White House and prepares to kill Nixon and his Cabinet. Mystique, disguised as Nixon, incapacitates Magneto with a plastic gun. Xavier persuades Mystique to spare Trask and allows her and Magneto to flee. Mystique's actions are seen as a mutant saving the President, leading to the cancellation of the Sentinel program. Trask is arrested for trying to sell American military secrets.

Wolverine wakes up in the future to find IcemanRogueColossus, Pryde, Beast, Storm, Jean GreyCyclops, and Xavier alive. In 1973, Mystique impersonates Stryker and takes custody of Wolverine.

In a post-credits scene, a crowd chants to En Sabah Nur, who is using telekinesis to build pyramids as four horsemen keep watch nearby.[5][6]

Cast[edit]

The cast of X-Men: Days of Future Past promoting the film at the 2013 San Diego Comic-Con International. From top to bottom: Jackman, McAvoy, Fassbender, Lawrence, Berry, Hoult, Paquin, Page, Dinklage, McKellen, Stewart, Ashmore, Sy, and Peters.
  • James McAvoy and Patrick Stewart as Charles Xavier / Professor X; the world's most powerful telepath.[9] Singer described the younger Xavier as "a very different beast from First Class's feckless playboy. He's a wounded animal, bearded, long-haired, filled with rage at the way the world has treated him."[10] Kinberg said the film was intended to be the story of the younger Xavier beginning to "become the Professor Xavier we know" as Wolverine mentored him.[11]
  • Halle Berry as Ororo Munroe / Storm; a mutant who can control the weather and one of the most battle-tested and powerful X-Men.[15][16] Berry was asked if her pregnancy affected her role as Storm, she replied, "I wasn’t in as much as I was meant to be. My ever-growing belly was posing a constant challenge! What I could do was getting more limited so the role that I play is so different from what it could have been, due to my surprise pregnancy."[17]According to Kinberg, Berry had another scene in the film but was cut because of Berry's limited schedule.[18]
  • Anna Paquin as Marie / Rogue; a mutant who can absorb the life force and mutant abilities of anyone she touches.[21] Kinberg wrote a shorter part for Paquin than initially planned because she did not have much time to be on-set.[18] During post-production, Paquin's role was reduced to a cameo after most of her scenes were cut;[22][23] Kinberg stated that most of her role was cut because it was a "sub-plot. It was a deviation from the main story of the film."[24] However, she was still featured in the film's various promotional materials.[25][26] Kinberg stated that an extended version of the film with all of Paquin's scenes reinstated into the film, titled the Rogue Cut will be released in 2015.[27]
  • Ellen Page as Kitty Pryde / Shadowcat; a mutant who can pass through solid objects.[28] As the youngest of the X-Men, she plays an important role in their fight for survival.[29] Singer described Pryde as the prime facilitator and that Pryde's phasing ability enables time-travel to happen.[30] Kinberg, when asked why Pryde is not the time-traveler in the film adaptation of the comic-book story, said, "[If] we tried to follow the original and use Kitty, we had a problem because Ellen is 25 years old and she'd be -20 in the First Class era."[11]
  • Peter Dinklage as Bolivar Trask; a military scientist and the head of Trask Industries who creates a range of robots called Sentinels, designed to find and destroy mutants.[31] Dinklage said Trask "sees what he’s doing as a good thing—[his ambition is] definitely blind and he’s quite arrogant. He’s strove all his life for a certain respect and attention." He also said Trask is opposed by Richard Nixon.[32] Singer said he is a fan of Dinklage and of the television program Game of Thrones, which inspired him to cast Dinklage.[18]
  • Shawn Ashmore as Bobby Drake / Iceman; a mutant who can create and manipulate ice.[33] Ashmore said about his role, "In the first X-Men I had to make a rose for Rogue but that was the extent of the character, so it's cool to see over these four movies going from that to X2—where you sort of see him do an ice wall—and in X3 he finally gets to battle, and in Days of Future Past we're soldiers."[34]
  • Omar Sy as Bishop; a mutant who can absorb energy and redirect it in kinetic blasts.[35] Sy described Bishop as the guy from the future and that he fights for survival.[36] Singer said Bishop, along with Warpath, Sunspot and Blink, are not fresh recruits. He said, "they're more refugees that are living day to day in this hideously ruined world. They don’t have much hope in the future. They’re on the run and they join forces with the remaining X-Men to try to do this one last attempt at fixing the world."[37]
  • Evan Peters as Peter Maximoff / Quicksilver; a mutant who can move, speak and think at supersonic speeds.[38] Peters described Quicksilver as "very fast, he talks quick, he moves quick. Everything else is very slow compared to him, it’s like he’s always at the ATM waiting for the bastard in front of him to finish."[39]
  • Daniel Cudmore as Peter Rasputin / Colossus; a mutant who can transform his body into organic steel, which grants him superhuman strength, stamina, and durability.[40] Cudmore was asked whether he trained for his role; he replied, "I didn't have a ton of time to get film ready for this. A trainer friend of mine from Vancouver put together a quick little workout program for me. Since the role was for Colossus, I was aiming to bulk up a bit and get stronger. I ended up eating a lot more. Because of how much I was eating, I had to eat every 2-3 hours to keep my calories up."[41]
  • Adan Canto as Sunspot;[44] a mutant with solar-powered super-strength, near invulnerability, and the ability to create flames.[45] To prepare for the role, Canto researched Sunspot because when he was cast, he did not know the level of involvement his character has in the film.[46]
  • Booboo Stewart as James Proudstar / Warpath; a mutant with super-strength, super agility, near invulnerability, and superhuman senses.[47] In preparation for the role, Stewart gained 50 pounds and grew his hair much longer than its usual length.[48]

Additionally, Famke Janssen and James Marsden reprise their roles as Jean Grey and Scott Summers / Cyclopsrespectively in cameo appearances.[52] Lucas Till reprises his role as Alex Summers / Havok.[53] Evan Jonigkeitportrays Toad.[54] X-Men comic-book writers Len Wein and Chris Claremont appear as United States congressmen. Michael Lerner plays Senator Brickman. Gregg Lowe plays Ink.[55] Mark Camacho portrays U.S. President Richard Nixon. Singer cameos as a cinematographer during Mystique's escape in Paris. In a post-credit scene, Brendan Pedder portrays En Sabah Nur.[56]

Production[edit]

Development[edit]

Producer Lauren Shuler Donner stated in August 2006 that a continuation of the X-Men main film series would require a renegotiation. New cast members of X-Men: The Last Stand were signed, while the older cast members were not.[57] Donner said, "There is forty years worth of stories. I’ve always wanted to do 'Days of Future Past' and there are just really a lot of stories yet to be told."[58] She later pitched the idea of a fourth installment of the X-Men franchise to director Bryan Singer, following the completion of the 2011 prequel X-Men: First Class.[59] In March 2011, Donner said the film was in "active development at Fox"; she said, "We took the treatment to Fox and they love it... And X4 leads into X5".[60]

20th Century Fox saw X-Men: First Class as the first film of a new X-Men trilogy.[61] Donner compared the franchise plans to the darker, more mature content of the Harry Potter film series.[62] Early reports said Matthew Vaughn and Singer were returning to direct and produce the sequel, respectively.[63] While still attached to the project as a director, Vaughn said, "First Class is similar to Batman Begins, where you have the fun of introducing the characters and getting to know them, but that takes time. But with the second one, you can just get on with it and have a rollicking good time. That's the main difference between Batman Begins and The Dark Knight."[64] Describing the possible beginning of the film, Vaughn said, "I thought it would be fun to open with the Kennedy assassination, and we reveal that the magic bullet was controlled by Magneto."[65] Singer said the film could be set around the civil rights movement or the Vietnam War,[66] and that Wolverine could once again be featured.[67] Singer also talked about "changing history" in an interview with Empire magazine. He said he does not want people to panic about them erasing the movies, and he believes in multiverses, explaining the possibility of certain events in the histories of alternate universes.[68]

Pre-production[edit]

In November 2011, Simon Kinberg—co-writer of X-Men: The Last Stand and co-producer of X-Men: First Class—was hired to write the film's screenplay.[69] In May 2012, 20th Century Fox announced the film would be released on July 18, 2014.[70] The release was later moved forward to May 23, 2014.[71] In August 2012, the title for the film was confirmed to be X-Men: Days of Future Past. The film is inspired by Chris Claremont andJohn Byrne's X-Men comic book storyline, "Days of Future Past", which introduced the idea of an alternate future for mutants that grew from the Brotherhood of Evil Mutants' killing of a senator, leading to a future in which mutants are hunted by Sentinels.[72]

In October 2012, Vaughn left the role of director to focus on Mark Millar's Kingsman: The Secret Service(2014).[73] Singer was later announced as the film's director; it was his third directorial role in the X-Men film series.[74] In preparation for the film, Singer approached James Cameron to discuss time travelstring theoryand multiverses.[75] In the same month, Richard Stammers was approached to be the visual effects supervisor, based on his work in the 2012 film Prometheus—which Singer liked.[76]

In December 2012, John Myhre and Louise Mingenbach were hired as production designer and costume designer, respectively. According to Singer, Mingenbach—who worked on X-MenX2 and X-Men Origins: Wolverine—will not produce the black leather costumes that were worn in the original trilogy.[77][78] In February 2013, John Ottman—who collaborated on all of Singer's works since the 1995 film The Usual Suspects—was confirmed to work on the music and the editing of the film.[79]

Writing[edit]

Kinberg said the main focus of this film was the future of the X-Men film series. With the use of cast members from the original trilogy and from First Class, they needed to decide the sequels' destination.[18] In preparation for the film, Kinberg studied films about time travel, including Back to the FutureThe Terminator, andTerminator 2: Judgment Day. Singer originated a philosophy and a set of rules for the time travel in the film so the story would be as plausible as possible.[18]

According to Kinberg, as they were writing the script, they thought it sensible that Wolverine was traveling between time periods, because of his ageless look and ability to heal rapidly.[18] He further stated of making Wolverine the time traveler, "We made the decision for a lot of reasons ... he's the protagonist of the franchise, and probably the most beloved character to a mass audience."[80] Kinberg and Vaughn considered Bishop andCable candidates for the role of time traveler.[11] Kinberg said Rachel Summers was in the first draft of the script; she sent Wolverine back to 1973. The character was later replaced with Kitty Pryde, to whom Kinberg gave a secondary power of sending people's consciousnesses into the past.[81] Juggernaut, Jubilee andPsylocke were also considered for the film.[82][83][84]

Singer was asked how the film interrogates the themes of the earlier X-Men films; he said, "It establishes that some villain characters may have been right with their fears. It confronts the notions of hope and second chances. It's characters that are lost trying to find themselves. In X-Men 1 and 2, the characters had come into their own and knew who they were. In this one, they're all lost and they're trying to keep it together."[85]

Casting[edit]

"I decided that the next time I got myself involved in a movie that had a huge amount of attention already that I would use Twitter. As a way of connecting with fans, principally. And also as a way of clearing up misunderstandings so that people know. You know, they may hear that an actor is cast or hear somebody is going to be in it, but until I say it's so, that's the confirmation."[86]

—Bryan Singer explaining the Twitter presence of the film.

Singer used the online social networking service Twitter to announce casting of the film.[86] In November 2012, he announced that James McAvoy, Michael Fassbender, Jennifer Lawrence and Nicholas Hoult would reprise their roles from X-Men: First Class. Later the same month, he announced that Patrick Stewart and Ian McKellen would reprise their respective roles as the older versions of the characters played by McAvoy and Fassbender.[87][88][89] In December, Singer announced that Hugh Jackman would reprise his role as Wolverine.[90]

In January 2013, Singer announced that Anna Paquin, Shawn Ashmore, and Ellen Page would reprise their roles of Rogue, Iceman, and Kitty Pryde.[91][92] In February, Singer announced that Peter Dinklage would star in the film as the main antagonist.[93] In March, Singer announced that French actor Omar Sy had joined the cast.[94] Halle Berry said in an interview that she would reprise her role as Storm, which was followed by an announcement from Singer that Berry would be in the film.[95][96] Singer tweeted a picture of the cast, which confirmed that Daniel Cudmore would return as Colossus and that Fan Bingbing and Booboo Stewart had joined the cast.[97]

In April, Singer announced that American singer and songwriter Lady Gaga had joined the cast as Dazzler,[98]but it was later revealed as an April Fools' Day prank.[86] Singer retweeted a photograph of himself, Adan Canto, and confirmed cast members Patrick Stewart, McKellen, and Ashmore, which was followed by a confirmation from Canto that he had joined the cast.[99] In May, Singer announced that Evan Peters had been cast as Quicksilver.[100] In June, Australian actor Josh Helman was cast in a role.[101] In July, Singer tweeted a picture of actor Lucas Till on the set of the film, which confirmed that he was returning as Havok.[102] In January 2014, Evan Jonigkeit had been cast as the younger version of Toad.[103]

Costumes[edit]

Louise Mingenbach designed costumes inspired by 1970s styles for the characters in the 1973 scenes. Hoult wore corduroys.[104] Jackman wore a 1970s wooden-paneled buckle and a peacock-print shirt.[105] McAvoy wore a brown leather jacket.[106] Peters wore 1981-inspired clothing; this was Mingenbach's way of showing Quicksilver's irreverence for the exact time and place, and to show that he did not really fit in.[107]

In the previous X-Men films, Patrick Stewart wore suits; Singer thought that because the world is falling apart around him in Days of Future Past, it would be distracting to see Xavier wearing a suit; thus Mingenbach costumed him in battle fatigues.[108] In one of his scenes, Mingenbach gave Fassbender as the younger Magneto a fedora as a nod to the one Magneto wore in the first X-Men film.[109] The costume department made Lawrence's Mystique a body suit with prosthetic scales attached to it. A zipper at the back was removed in post-production.[110] For the future period of the film, Mingenbach wanted a darker, slightly futuristic and tactical look for the characters.[111] Oakley, Inc. designed an eyewear for Cyclops.[112]

Filming[edit]

X-Men: Days of Future Past had a production budget of $200 million.[4] Principal photography began on April 15, 2013 at Mel's Cité du Cinema in Montreal, Canada, and ended on August 17, 2013.[113][114][115] Filming had to begin in April 2013 to accommodate the cast’s individual schedules.[18] Olympic StadiumMontreal City Hall, and McGill University were also used as filming locations.[116][117] An aerial plate unit was sent to film in Washington D.C.[76] Additional filming took place in Montreal in November 2013 and February 2014.[118][119]According to the Calgary Herald, the film is the second most expensive produced by 20th Century Fox afterAvatar (2009).[120] Comic book writer Chris Claremont said in an interview that he was consulted for the film.[121]

X-Men: Days of Future Past is the first X-Men film to be filmed in native 3D; it was shot using Arri Alexa-M cameras with Leica Prime lenses and Fujinon Zoom lenses, along with 3ality Technica TS-35 camera rigs and Stereo Image Processor (SIP) technology systems.[122][123] Director of photography Newton Thomas Sigel was asked about using Arri Alexa-M cameras; he said, "For Bryan and myself, the Alexa has been almost the gateway to getting the look we like in film". Sigel added that the Arri Alexa-M camera's small size was a big advantage to the film's main unit, which carried three 3D rigs. The film also used the Alexa XTs for the production's 2D work.[124]

John Myhre, who worked on the first X-Men film, rebuilt the blue underground hallways and Cerebro sets from the first film. He also added Xs to the film sets, including the staircase of the X-Mansion. He said he wanted to embrace the 1970s setting in the same way First Class embraced its 1960s setting.[18]

Singer said of the Sentinels in this film, "we tried to make the [Sentinels] from 1973, the Sentinels of the past, a little fun and stylish but also a little retro, and the key is they're not made of metal. That’s very important to our story because we’ve got a very powerful mutant. So that was a challenge." Myhre used styles from molded plastics from the 1970s to design Sentinels from that period.[18] Myhre said, "you really want to be faithful for the fans in the books so there a lot of elements that needed to be a humanoid shape to have a head and arms and needed to be purple. There were a lot of things we had to do to give them a different look. But it really was the idea of being inspired by 70′s product design that helps out."[125]

For the future setting of the film, a set featuring a hillside monastery was built. Myhre was inspired by Chinese temples built on the sides of cliffs. The future set also featured a mixture of architectural styles from China, India, and Indonesia. Part of the set was a big wall, which was inspired by the Great Wall of China.[125]

Visual effects[edit]

X-Men: Days of Future Past used 1,311 visual effects shots produced by twelve studios. Moving Picture Company was responsible for the full-CG future Sentinels and worked on the sequences involving the X-Jet, Cerebro’s red, virtual world, and a major sequence that was cut. Digital Domain created the 1973 Sentinels and all of the environment work based in Washington D.C., including the destruction of Robert F. Kennedy Stadium and the White House. They also worked on Mystique's transformations and eyes. Rhythm and Hues Studiosworked on Beast's transformations, the creation of Xavier's plane, and speed effects for Quicksilver. They also worked with Digital Domain on the sequence featuring the inside of the 1973 Sentinel. Rising Sun Picturescreated visual effects relating to Quicksilver’s action sequence, which takes place at the Pentagon. Mokko Studio worked on Mystique's eyes and costume fixes. Cinesite worked on the future New York City in the opening prologue along with clean-ups, wire removals, and production fixes. Fuel VFX worked on holographic effects and Havok's mutant powers. Vision Globale worked on visual effects relating to a dream and flashback sequence. Hydraulx, Lola and Method Studios handled a number of compositions and production fixes. The Third Floor worked on extensive story-boarding and visualisation.[76]

Music[edit]

Director Bryan Singer's regular collaborator John Ottman worked on the score of the film, in addition to being its editor.[126] Ottman is the first composer to score more than one film in the X-Men film series, having previously scored X2 (2003). This also marked the first time a theme from a previous X-Men film has been retained; Ottman re-used some of his themes from X2, most notably the main title theme. The film score was released on digital download on May 16, 2014, on CD on May 26, 2014 and on vinyl on August 4, 2014.[127][128][129]

X-Men: Days of Future Past (Original Motion Picture Soundtrack)
Film score by John Ottman
ReleasedMay 26, 2014
GenreFilm score
Length76:28
LabelSony Classical
John Ottman chronology
Non-Stop
(2014)
X-Men: Days of Future Past
(2014)
X-Men soundtrack chronology
The Wolverine
(2013)
X-Men: Days of Future Past
(2014)
Track listing
No.TitleLength
1."The Future - Main Titles"  2:44
2."Time's Up"  4:18
3."Hope (Xavier's Theme)"  4:48
4."I Found Them"  2:52
5."Saigon/Logan Arrives"  4:36
6."Pentagon Plan/Sneaky Mystique"  3:25
7."He Lost Everything"  1:51
8."Springing Erik"  3:33
9."How Was She"  1:47
10."All Those Voices"  3:19
11."Paris Pandemonium"  7:45
12."Contacting Raven"  1:48
13."Rules of Time"  3:07
14."Hat Rescue"  1:30
15."Time's Up" (Film Version)3:34
16."The Attack Begins"  5:04
17."Join Me"  3:20
18."Do What You Were Made For"  2:56
19."I Have Faith in You/Goodbyes"  2:27
20."Welcome Back/End Titles"  3:58
21."Time in a Bottle" (Performed by Jim Croce)2:27
22."The First Time Ever I Saw Your Face" (Performed byRoberta Flack)5:20

Release[edit]

The world premiere of X-Men: Days of Future Past occurred at the Jacob K. Javits Convention Center in New York City on May 10, 2014.[130][131] It was released in international markets in 2D and 3D theaters on May 21, 2014, and in the United States on May 23, 2014.[132] Premiere events were also held in London, Beijing, Moscow, Singapore, São Paulo, Melbourne, and Tokyo.[133]

Marketing[edit]

The cast of X-Men: Days of Future Past at the 2013 San Diego Comic-Con International.

In June 2013, 20th Century Fox presented a set tour video of X-Men: Days of Future Past at the CineEurope conference inBarcelona; director Bryan Singer acted as the tour guide.[134]The set tour video was included with the home video release of the 2013 film The Wolverine.[135] In July 2013, Singer, writer Simon Kinberg, producers Lauren Shuler Donner and Hutch Parker, together with cast members Evan Peters, Omar Sy, Ellen Page, Shawn Ashmore, Anna Paquin, Halle Berry, Ian McKellen, Patrick Stewart, Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, and Peter Dinklage presented at the 2013 San Diego Comic-Con International. Footage from the film was screened.[136] In August 2013, Singer presented footage from the film at the Fantasia International Film Festival.[137] In March 2014, 20th Century Fox presented footage from the film at CinemaCon.[138] In April 2014, Page presented footage from the film at the 2014 MTV Movie Awards. Kinberg and Dinklage attended WonderCon to discuss the film.[139][140] Singer withdrew from the publicity rounds for the film because of a lawsuit alleging sexual abuse filed against him.[141] In July 2014, 20th Century Fox andOculus Rift presented a "virtual reality experience" in 2014 San Diego Comic-Con International. Attendees were given a chance to sit in a replica of Professor X's wheelchair and virtually hunt Mystique in the San Diego Convention Center.[142]

In July 2013, a mid-credits scene teasing X-Men: Days of Future Past was attached to the theatrical release ofThe Wolverine.[143] The scene, set two years after the events of The Wolverine, depicts Logan going through an airport security checkpoint while a commercial for Trask Industries plays in the background. Suddenly, Logan notices that all the metal objects around him start to shake and levitate. He turns around to see Magneto, who says he needs Logan's help to combat a threat to all mutants. When Logan asks Magneto why he should trust him, the people around them freeze as Xavier approaches Logan and assures him that Magneto is telling the truth. Adam Pockross of Yahoo! Movies described the mid-credits scene as the coolest part of The Wolverineand wrote, "Boom! And that's how you tease the next film: by giving us so much to chew on, yet so few answers".[144]

The first official trailer for X-Men: Days of Future Past was released in October 2013.[145] Jason Callina ofHerald News gave the trailer a positive response, saying, "it is fantastic to see characters that I grew up with in the flesh ... we still have to wait till the end of May to see if Fox succeeded, but for now they have my interest".[146] Ben Child of The Guardian criticized the trailer for the amount of characters that will appear in the film. Child wrote, "overloading the movie with superheroes might please fans of the comic books, but the rest of us will be chewing on our own spleens when the umpteenth brightly coloured dude turns up to spout one line of dialogue, then drop off the map".[147]

A mid-credits scene teasing X-Men: Days of Future Past was attached to the theatrical release of The Amazing Spider-Man 2 in April 2014. In the scene, which is set during the Vietnam War, Mystique tries to infiltrate a military camp led by William Stryker to recruit fellow mutants Havok, Ink, and Toad. The Amazing Spider-Man 2director Marc Webb had an existing contract with Fox Searchlight Pictures to direct another film following 500 Days of Summer (2009). After The Amazing Spider-Man, Webb’s negotiations with Sony Pictures Entertainmentstalled because of his commitment to Fox. Fox eventually agreed to allow Webb to direct the sequel of The Amazing Spider-Man, and in exchange, Sony promoted the X-Men film without charge.[148] In addition, three viral websites were launched before the release of the film—Trask-Industries.com in July 2013, TheBentBullet.com in November 2013 and 25Moments.com in April 2014.[149][150][151] To further promote the film, Jackman made a guest appearance on the April 28, 2014 episode of WWE Raw.[152][153][154] The segment received mixed reactions.[155]

Promotional partners[edit]

In July 2013, CKE Restaurant Holdings, Inc. and 20th Century Fox announced a promotional partnership for the theatrical release of X-Men: Days of Future Past. The promotion included advertising, in-restaurant merchandising, collectors’ cups, and a film-themed burger—The Western "X-Tra" Bacon Thickburger[156] sold it CKE Restaurants outlets Hardee's and Carl's Jr.. Zachary Eller, senior vice president of marketing partnerships & promotions at 20th Century Fox, said, "their fun and irreverent advertising campaigns are a great fit with our film and we couldn’t be more thrilled to join together to feed mutants everywhere!".[157]

Mountain Dew partnered with the film to promote it globally; the promotion included prizes, a television commercial, online exclusives, in-store and in-theater advertisements, and commemorative packaging featuring X-Men characters from future and past. Anna Roca, senior vice president of international promotions at 20th Century Fox, stated, "The adventurous, energetic attitude of [Mountain Dew's] fan base mirrors the franchise’s own—and their international reach helps bring our beloved mutants to more corners of the world than ever before."[158]

In March 2014, Virgin Trains launched an 11-car Pendolino train, which featured the film characters on the carriages, at London's Euston station to promote the film. Hugh Jackman and James McAvoy attended the launch.[159]

Home media[edit]

In June 2014, cable network FX acquired the television rights to X-Men: Days of Future Past.[160] The film was released by 20th Century Fox Home Entertainment on digital download on September 23, 2014 and on DVD, Blu-ray and Blu-ray 3D on October 14, 2014.[161] In the United Kingdom, it will be released on November 10, 2014.[162] Three versions are set to be released; a Deluxe Edition containing the Blu-ray 3D, Blu-ray and digital download; a Blu-ray and digital download combo pack; and a single disc DVD.[161]

According to Simon Kinberg, an extended version of the film, titled the Rogue Cut, would incorporate all of Anna Paquin's deleted scenes back into the film, would be released in early 2015.[163][27]

Reception[edit]

Jackman and Fan at the premiere of the film in Singapore.

Box office[edit]

Worldwide, X-Men: Days of Future Past earned $262.9 million during its opening weekend, which is the highest worldwide opening weekend for an X-Men film.[164] As of 2 October 2014, it has grossed $233,904,517 in North America and $512,124,166 outside North America for a worldwide total of $746,028,683, making it the highest-grossing entry in the X-Menfilm series.[4]

In North America, the film earned $8.1 million from Thursday night showings, which is the highest late night opening for an X-Men film.[165]It was also the highest-grossing film during its opening weekend, earning $90,823,660, making it the second-highest opening weekend of the series behind X-Men: The Last Stand.[166] During the four-day Memorial Day weekend, it earned $110,576,604.[166] The audience was 56% male and 59% were older than 25.[166]

Outside North America, the film was the highest-grossing film during its opening weekend, taking $172,042,661, making it Fox International's highest opening weekend.[167] The film's highest-grossing debuts were in China, South Korea, the United Kingdom, Ireland, and Malta.[168] It was also the highest-grossing debut for a 20th Century Fox film in 11 markets, including South Korea, Brazil, the Philippines, and India.[166] It became the highest-grossing X-Men film in Argentina, Australia, Austria, Belgium, Brazil, China, Colombia, Croatia, Czech Republic, Denmark, Ecuador, Egypt, Finland, France, Hong Kong, Hungary, India, Israel, Italy, Malaysia, Lebanon, Mexico, the Netherlands, New Zealand, Norway, the Philippines, Poland, Singapore, Slovakia, South Korea, Sweden, Thailand, the United Kingdom & Ireland, and Venezuela.[168] [169][170][171][172][173][174]

Critical response[edit]

X-Men: Days of Future Past has received acclaim from critics.[175] Review aggregator Rotten Tomatoes gives the film a 91% approval rating from critics, with an average score of 7.6/10, based on 234 reviews. The website's consensus reads, "X-Men: Days of Future Past combines the best elements of the series to produce a satisfyingly fast-paced outing that ranks among the franchise's finest installments".[176] On Metacritic, the film has a score of 74 based on 43 reviews, indicating "generally favorable reviews".[177]

Sean O'Connell of Cinema Blend gave the film four and a half stars out of five, and said that it was "the greatest, most complete and staggeringly entertaining [X-Men film] to date".[178] Empire Magazine gave it a four-out-of-five-star review and said it was "The best X-Men film since the second one".[179] Mike Avila, CEO of AviLand Productions, said it was "superb" and film critic Kevin McCarthy praised the actors' performances, the action and the emotion.[180] Steve Rose of The Guardian rated the film three stars out of 5; he said, "Non-devotees might struggle, but director Bryan Singer whips up the action towards a symphonic climax".[181] David Rooney of The Hollywood Reporter said, "While it's more dramatically diffuse than the reboot and lacks a definitive villain, the new film is shot through with a stirring reverence for the Marvel Comics characters and their universe."[182] Justin Chang of Variety said, "If the characters’ quandaries at times feel overly circumscribed, they’re also advanced with a bracing emotional directness, devoid of either cynicism or sentimentalism, that touches genuine chords of feeling over the course of the film’s fleet 130-minute running time".[183]

In contrast, Robbie Collin of The Daily Telegraph rated the film two stars out of five and called the plot "a curate's egg, thoroughly scrambled". He concluded, "The film squanders both of its casts, reeling from one fumbled set-piece to the next. It seems to have been constructed in a stupor, and you watch in a daze of future past."[184] Simon Abrams, writing for the website of late film critic Roger Ebert, gave the film two-and-a-half stars out of four, calling it a "visually driven and paint-by-numbers-plot". Abrams was critical of the undeveloped subplots that built up because the film's pacing left little time to develop each element of the story set in the 1970s.[185]

Accolades[edit]

YearAwardCategoryRecipientResultRef.
201415th Golden Trailer AwardsBest Summer 2014 Blockbuster TrailerX-Men: Days of Future PastNominated[186]
MTV's Fandom AwardsFandom of the YearNominated[187][188]
Teen Choice AwardsChoice Movie: Sci-Fi/FantasyNominated[189]
Choice Movie: Actress Sci-Fi/FantasyHalle BerryNominated
Jennifer LawrenceWon
Choice Movie: VillainMichael FassbenderNominated[190]
Choice Movie: Scene StealerNicholas HoultNominated
Ellen PageNominated
Young Hollywood AwardsBest Cast Chemistry – FilmX-Men: Days of Future PastNominated[192]
Favorite FlickNominated
Fan Favorite Actor - FemaleJennifer LawrenceNominated
Super SuperheroNicholas HoultNominated

Sequel[edit]

In December 2013, Singer announced X-Men: Apocalypse, an upcoming X-Men film acting as a sequel to X-Men: Days of Future Past.[194] Singer is attached to direct from a script by Simon Kinberg, Dan Harris, andMichael Dougherty.[195]McAvoy, Fassbender, Hoult, Lawrence and Peters will reprise their roles, while "some of the original cast" will return.[196][197][198][199] According to Singer, the next film will focus on the origin of the mutants.[200] Kinberg said it will take place in 1983 and will complete a trilogy that began with X-Men: First Class.[201][84] The young versions of Cyclops, Jean Grey, and Storm are due to appear.[202] Filming will commence in April 2015 in Montreal, Canada for a May 27, 2016 release.[194][203]

See also[edit]

References[edit]

  1. Jump up^ Chang, Justin (May 12, 2014). "X-Men: Days of Future Past Review". Retrieved August 2, 2014.
  2. Jump up^ "X-MEN: DAYS OF FUTURE PAST (12A)"20th Century FoxBritish Board of Film Classification. May 9, 2014. Retrieved May 9, 2014.
  3. Jump up to:a b "X-Men Days of Future Past"British Film Institute. Retrieved May 21, 2014.
  4. Jump up to:a b c d "X-Men: Days of Future Past (2014)"Box Office Mojo. Retrieved October 3, 2014.
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  178. Jump up^ "X-Men: Days of Future Past Review - CinemaBlend.com". Cinema Blend. Retrieved 4 July 2014.
  179. Jump up^ "Empire's X-Men: Days of Future Past Movie Review"Empire Magazine. Retrieved 14 June 2014.
  180. Jump up^ Skipper, Ben (8 May 2014). "Early X-Men Reviews Extremely Positive"Yahoo. Retrieved 11 May 2014.
  181. Jump up^ Steve Rose. "X-Men: Days of Future Past review - 'like trying to follow two games of chess at once' | Film". The Guardian. Retrieved May 20, 2014.
  182. Jump up^ Rooney, David (May 12, 2014). "X-Men: Days of Future Past (2014)"The Hollywood Reporter. Retrieved May 21, 2014.
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External links[edit]


Posted by 신의물방울
Entertainment/Show2014. 10. 4. 21:51

신의 한 수 (영화)

위키백과, 우리 모두의 백과사전.
Picto infobox cinema.png
신의 한 수
감독조범구
제작메이스엔터테인먼트, 쇼박스
각본유성협
제작사메이스엔터테인먼트쇼박스아지트 필름
배급사쇼박스
개봉일2014년 7월 3일
시간118분
나라대한민국 대한민국
언어한국어

신의 한 수》는 2014년 개봉한 대한민국의 영화이다.

배역[편집]

바깥 고리[편집]


Posted by 신의물방울
Entertainment/Show2014. 10. 4. 21:49

명탐정 코난: 이차원의 저격수

위키백과, 우리 모두의 백과사전.
Picto infobox cinema.png
명탐정 코난: 이차원의 저격수
名探偵 コナン 異次元の狙撃手
감독시즈노 코분
제작아오야마 고쇼
원작아오야마 고쇼 『명탐정 코난
제작사일본 TMS 엔터테인먼트 (애니메이션 제작)
배급사일본 토호
대한민국CJ 엔터테인먼트
개봉일일본 2014년 4월 19일
대한민국 2014년 8월 6일
시간110분
나라일본 일본
언어일본 일본어
대한민국 한국어
등급일본 15세 관람가
대한민국 12세 이상 관람가
관객수일본 311만명 초과
대한민국 36만명 초과
수익일본 40억 9000만엔
대한민국
전편명탐정 코난: 절해의 탐정
웹사이트일본 일본 공식 사이트
대한민국 대한민국 공식 사이트

명탐정 코난: 이차원의 저격수》(원제 일본어: 名探偵 コナン 異次元の狙撃手)은 2014년 4월 19일에 개봉한 일본의 애니메이션 영화이다. 대한민국에서는 2014년 8월 6일에 개봉하였다.

개요[편집]

높이 635m를 자랑하는 벨트리 타워의 오프닝 행사날. 전망대에서 절경을 즐기던 코난 일행의 눈 앞에서 어디선가 날아온 총탄이 한 남자의 가슴을 꿰뚫는다! 코난은 총탄이 날아온 곳에 있는 검은 그림자를 발견하고 여고생 탐정 양세라와 함께 저격범을 추격하는데… 수류탄 등으로 중무장한 범인을 끝까지 쫓던 코난과 양세라는 위기에 처한 순간 FBI 수사관 조디 일행의 도움으로 위험에서 벗어나지만 범인은 바다에 뛰어들어 자취를 감추고 만다. 그리고 연이어 발생하는 도심 한복판에서의 저격 사건들…. 과연 범인의 최후의 목적은 무엇이며 코난은 다시 한번 수수께끼를 파헤쳐 낼 수 있을 것인가?!

등장 인물[편집]

주조연 캐릭터[편집]

극장판 캐릭터[편집]

  • 케빈 요시노 (케빈 킴) 32세

전직 미국 해병대 중사로 미군기지에서 미군 보급품을 판매하는 군인용품 가게를 운영중이다.

  • 잭 월츠 45세

전직 미국 육군 대위와 저격수 출신으로 현재 군납용 장비 제조회사를 경영중이다. 헌터를 시기한 나머지 헌터를 고발했다.

  • 티모시 헌터 37세

전직 미국 해군 특수부대 저격병으로 2003년에 중동전쟁에 참전해 전쟁 영웅이 되었다. 2005년 실버스타 훈장을 수여받았으나 다음해 교전 규칙을 위반했다는 이유로 박탈당했다.

  • 마크 스펜서 65세

전직 미국 해군 사령관으로 평판이 좋고 해군에 대한 자부심이 투철하다.

  • 스캇 그린 43세

전직 미국 해군 원사로 헌터에게 사격을 가르친 교관이다. 오토바이 대리점을 운영중이다.

  • 카를로스 리

스펜서의 운전수로 헌터와 맞먹을 만큼의 저격 실력을 가지고 있다.

  • 빌 머피 35세

전직 미국 육군 하사로 월츠의 비서. 헌터의 교전 규칙 위반을 증언함.

  • 아카호시 (박 형사)

수사 1과로 수사 경과를 보고하는 일을 담당중이며 정보 수집 능력이 탁월함.

  • 후지나미 히로아키 (우진남) 40세

부동산 회사 사장. 외국인을 상대로 불량 물건을 강매해 헌터를 파산까지 이르게 했다.

  • 모리야마 히토시 (임상진) 34세

대기업 미국 워싱턴 주 시애틀의 주재원으로 근무. 헌터의 여동생과 결혼하려다가 파혼했고 4년 전 퇴사했다. 현재 거주지는 불명확하다.

  • 브라이언 우즈

미국 워싱턴 주 시애틀의 신문 기자. 교전 규정을 위반한 혐의가 있었던 헌터를 취재하다가 누군가에게 저격으로 살해당했었다.

배경[편집]

배경은 도쿄 스카이 트리를 모델로 하였다.

주제가[편집]

제작 위원회[편집]


Posted by 신의물방울
Entertainment/Show2014. 10. 4. 21:47

Maleficent (film)

From Wikipedia, the free encyclopedia
Maleficent
Maleficent poster.jpg
Theatrical release poster
Directed byRobert Stromberg
Produced byJoe Roth
Screenplay byLinda Woolverton
Based on
Starring
Narrated byJanet McTeer
Music byJames Newton Howard
CinematographyDean Semler
Edited by
Production
company
Distributed byWalt Disney Studios
Motion Pictures
Release dates
  • May 28, 2014(United Kingdom)
  • May 30, 2014(United States)
Running time97 minutes[1]
CountryUnited States
LanguageEnglish
Budget$180 million[2]
Box office$756.8 million[2]

Maleficent (/məˈlɛfɪsənt/ or /məˈlɪfɪsənt/) is a 2014 American fantasy film directed by Robert Stromberg from a screenplay by Linda Woolverton. Starring Angelina Jolie as the eponymous Disney villainess character, the film is a live-action re-imagining of Walt Disney's 1959 animated film Sleeping Beauty, and portrays the story from the perspective of the antagonist, Maleficent.[3]

Produced by Walt Disney Pictures, principal photography took place between June and October 2012. Maleficent premiered at theEl Capitan Theatre in Hollywood on May 28, 2014, and was released in the United Kingdom that same day. The film was released in the U.S. on May 30, 2014 in the Disney Digital 3D,RealD 3D, and IMAX 3D formats, as well as in conventional theaters. The film was met with mixed reviews from critics, but was a commercial success, having grossed over $756 million worldwide.

Plot[edit]

An elderly narrator tells the story of Maleficent, a very strong and powerful faerie living in the Moors, a magical realm bordering a human kingdom. As a young girl, she falls in love with a human peasant boy named Stefan, but his mutual affection for Maleficent is overshadowed by his ambition to become king. As they grow older, Stefan stops seeing Maleficent. After Maleficent defeats the current king in battle when he attempts to invade the Moors, he offers to name whoever kills her as his successor. Stefan overhears this, goes to see Maleficent and deceives her into thinking that he has come to warn her of the king's plot. He drugs her and attempts to kill her, but cannot bring himself to do so. Instead, he cuts off her wings using iron (iron burns fairies) and presents them to the king as proof of her death. Maleficent rescues a raven named Diaval to serve as her informant and he reports to her that Stefan has been crowned king. The realization that Stefan betrayed her to gain the throne devastates Maleficent and in retaliation, she declares herself queen of the Moors, forming a dark oppressive kingdom with Diaval as her one companion and confidant.

Some time later, Diaval informs Maleficent that King Stefan is hosting a christening for his newborn daughter, Aurora. Bent on revenge, Maleficent arrives uninvited and curses the newborn princess: on her sixteenth birthday, she will prick her finger on the spindle of a spinning wheel, which will cause her to fall into a death-like sleep. After Stefan is forced by Maleficent to beg for his daughter, she offers a caveat: the curse can be broken by true love's kiss. Terrified of Maleficent's vengeance, Stefan sends Aurora to live with three pixies (Knotgrass, Flittle and Thistlewit) until the day after her sixteenth birthday, while he destroys and burns all the spinning wheels in the kingdom and hides them in the deepest dungeon in the castle. He sends out his armies to find and kill Maleficent, but she surrounds the Moors with an impenetrable wall of thorns.

Despite her initial dislike for Princess Aurora, Maleficent begins to care about the girl when the careless pixiesfall short in watching over her. After a brief meeting with the young Aurora, Maleficent watches over her from afar. When Aurora is 15, she meets Maleficent for the first time and calls her her "faerie godmother", as she recalled being watched over by her all her life. Realizing she has grown fond of the princess, Maleficent attempts to revoke the curse, but cannot as she herself had declared that "no power on Earth can change it". Aurora later meets Prince Phillip, and the two are smitten with each other, but have little opportunity to build a relationship. On the day before Aurora's 16th birthday, Maleficent, hoping to avoid the curse, allows the girl to move to the Moors, far away from any spindles. The pixies, however, inadvertently tell Aurora of her parentage and of Maleficent's true identity, and a furious Aurora runs away to her father.

Stefan locks Aurora away for her safety. However, she is suddenly drawn by the curse itself to the dungeon, where it assembles a spinning wheel. Aurora pricks her finger and falls asleep. Intent on saving her, Maleficent abducts Phillip and infiltrates Stefan's castle to have him kiss Aurora and break the curse. However, Phillip's romantic kiss has no effect, as the two are not yet truly in love. Maleficent apologizes to Aurora and swears no harm will come to her, kissing her forehead. This breaks the curse and causes Aurora to awaken, as Maleficent's motherly concern for Aurora constitutes "true love." Aurora forgives her and they attempt to flee the castle, but Maleficent is trapped in an iron net and attacked by Stefan and his guards. Maleficent transforms Diaval into a dragon and he lifts the net off her, but is driven back by the soldiers. Stefan beats Maleficent and taunts her, but before he can kill her, her wings, freed from his chamber by Aurora, fly back to her and reattach themselves. With her wings back, Maleficent overpowers Stefan and carries him onto a tower, but cannot bring herself to kill him, instead declaring their feud over. Stefan attempts once more to kill her, but plummets off the tower to his death.

Soon after, Aurora is crowned queen of the human and faerie realms by Maleficent, forever unifying the two kingdoms, with Phillip at her side. The narrator then reveals her own identity as an older Princess Aurora.

Cast[edit]

Angelina Jolie (left), Sharlto Copley (center) and Sam Riley(right)

Production[edit]

Angelina Jolie had long been attached to the project since May 2011, when Tim Burton, who had tentatively planned to direct, chose not to pursue it.[15] Linda Woolverton was commissioned to write the script for the film.[16] On January 6, 2012, Disney announced that Robert Stromberg, the production designer of Alice in Wonderland, and Oz the Great and Powerful, would direct the film.[17] Joe RothDon Hahn, and Richard D. Zanuck were hired as producers, although Zanuck died later that year.[18] Roth said the film would not have been made if Angelina Jolie had not agreed to take the title role: "She seemed like the only person who could play the part. There was no point in making the movie if it wasn't her."[19]

In March 2012, Elle Fanning was reported to be in talks for the role of Princess Aurora.[20][21] Her casting was officially announced in May 2012, along with Sharlto Copley as the male lead, Stefan, then described as the half-human, half-fairy son of a human king, along with Imelda StauntonMiranda Richardson as Queen Ulla, then described as a fairy queen who is Maleficent's aunt with a dislike of her niece; Kenneth Cranham as a king; Sam Riley as Diaval, a raven who changes into human form and is Maleficent's right hand; and Lesley Manville.[4]

Director Stromberg highlighted the "wonderful" contrast between the two lead actresses, Elle Fanning andAngelina Jolie, calling the character of Aurora the "beacon of light" that he was looking forward to blending with the darkness of Maleficent.[22]

Writing[edit]

"I was really moved by the script from first reading. It was like uncovering a great mystery. We all know the story of Sleeping Beauty and we all know Maleficent and what happened at the christening because we've all grown up with that. But what we've never known is, what happened before?"

—Angelina Jolie[23]

Linda Woolverton's screenplay went through at least 15 versions as the film progressed in the production.[24] Director Robert Stromberg said: "I met many times with Linda Woolverton, the writer. We did lots of roundtable discussions and sort of cut out the fat as much as we could and sort of purified the storyline as much as we could (...)"[25] In some earlier versions of the story, Stefan was the half-human, half-fairy bastard son of King Henry. The version of the screenplay which went into shooting originally included two characters called Queen Ulla and King Kinloch, the fairy queen and the fairy king of the Moors, and the aunt and uncle of Maleficent.[4] Miranda Richardson and Peter Capaldi were cast and shot the Queen Ulla and King Kinloch scenes, but their roles were cut in the editing process together with more than 15 minutes of the first act of the film. Stromberg said: "We spent a bit more time originally in the fairy world before we got into the human side of things (...) we wanted to get it [the film] under two hours. So we cut about fifteen minutes out of the first act, and then that had to be seamed together with some pretty basic reshoots."[26]

Stromberg later claimed in an interview that he employed an "age-old" emotional storytelling for the film and called it "the biggest thrill" against all technology advances.[22] "And the way we play with that is we have somebody who's perhaps in love but betrayed and doesn't believe that true love exists. So the moral to it is we can all feel dark ourselves but not to lose hope because there is light in places where we might not be expecting", he explained.[22]

Filming[edit]

With a budget estimated at $130–200 million, principal photography began on June 18, 2012 in London with the first pictures from set emerging and the first official look of Jolie as Maleficent.[27] Rick Baker designed the special makeup effects for the film. Post-production began on October 5, 2012. Some filming took place in theBuckinghamshire countryside.[27]

Re-shoots[edit]

John Lee Hancock assisted Stromberg with re-shoots for the film. Hancock, who had just finished overseeing the final post-production stages of Saving Mr. Banks, was approached by Roth, with whom both had worked on Snow White and the Huntsman. Roth said: "He's not directing. He wrote pages, and I hired a first-time director, and it's good to have him on set." Roth was asked why a "film of this magnitude was entrusted to a novice director", and he noted that Stromberg won Academy Awards for production design on Avatar and Alice in Wonderland. Roth said: "The movie is gorgeous to look at, and the last 75 minutes are really entertaining. The issue was the opening, which was re-shot over eight days."[28]

Visual effects[edit]

As a previous production designer, Stromberg sought to balance the use of practical and computer-generated effects. For example, while Maleficent's horns were created by makeup artist Rick Baker, Digital Domain took facial capture of Imelda Staunton, Lesley Manville, and Juno Temple for the three pixies to be generated with high authenticity with the help of special rigging by Disney Research in Zurich.[22] For the visuals, Stromberg wanted to make it "a bit more grounded" and "not too surreal" because it could be distracting from the simplicity of the story.[22] He also regretted not employing bigger sets and allowing actors to work in a more tangible environment, on "real sets with real lights".[22]

Music[edit]

James Newton Howard was hired to score the film in October 2012.[29] On January 23, 2014, it was announced that recording artist Lana Del Rey would be covering the song "Once Upon a Dream", from the 1959 filmSleeping Beauty as the title song for Maleficent.[30][31]

Del Rey was handpicked by Angelina Jolie to perform the song.[32] The single was released on January 26 and was made available for free for a limited time through Google Play.[33][34]

Maleficent (Original Motion Picture Soundtrack)
Film score by James Newton Howard
ReleasedMay 27, 2014
RecordedAbbey Road Studios
GenreOrchestral
Length1:11:46
LabelWalt Disney

All music composed by James Newton Howard (Tracks 1–22).

Maleficent (Original Motion Picture Soundtrack)
No.TitleWriter(s)Performer(s)Length
1."Maleficent Suite"    6:38
2."Welcome to the Moors"    1:05
3."Maleficent Flies"    4:39
4."Battle of the Moors"    4:58
5."Three Peasant Women"    1:04
6."Go Away"    2:26
7."Aurora and the Fawn"    2:28
8."The Christening"    5:30
9."Prince Philip"    2:29
10."The Spindle's Power"    4:35
11."You Could Live Here Now"    2:26
12."Path of Destruction"    1:47
13."Aurora in Faerieland"    4:41
14."The Wall Defends Itself"    1:06
15."The Curse Won't Reverse"    1:21
16."Are You Maleficent?"    2:10
17."The Army Dances"    1:28
18."Phillip's Kiss"    2:20
19."The Iron Gauntlet"    1:35
20."True Love's Kiss"    2:33
21."Maleficent Is Captured"    7:42
22."The Queen of Faerieland"    3:25
23."Once Upon a Dream"  Jack Lawrence,Sammy FainLana Del Rey3:20
Total length:
1:11:46

Release[edit]

The film was originally slated for a March 2014 release, before it was changed to July 2, 2014. On September 18, 2013, the film's release date was bumped up from July 2, 2014 to May 30, due to Pixar's The Good Dinosaur having production problems and delays.[35] In the UK, the film was released on May 28.[36]

Marketing[edit]

On August 10, 2013, as part of the live action motion picture panel of the 2013 Disney D23 Expo in theAnaheim Convention Center at Anaheim, California, Disney unveiled its first look of Maleficent by revealing the new logo of the film's title and one-minute clip from the film. Angelina Jolie made a surprise visit to the expo and talked with the attendees about her fascination with Disney's Sleeping Beauty as a child, her working experience with the filmmakers on the film, and her love of Disney. She also remarked on how she scared little girls when she was in costume, makeup, and acting during shooting; this led to the decision of hiring her andBrad Pitt's daughter, Vivienne Jolie-Pitt, for the role of the young Princess Aurora, since she would not be scared of her own mother during principal photography.[37]

Walt Disney Pictures released the teaser poster for Maleficent on November 12, 2013, featuring Jolie in costume and makeup, akin to the character's depiction in the original film.[38][39] The first trailer was released the following day, on November 13. The first teaser trailer was attached to Thor: The Dark WorldThe Hunger Games: Catching FireFrozen, and Vampire Academy: Blood Sisters.[40] Two more trailers were released in January 2014, revealing Maleficent's appearance. A third trailer featured Lana Del Rey singing "Once Upon a Dream".[41] The final trailer was released on March 18, 2014.[42]

Starting April 18, 2014, Disney's Hollywood Studios and Disney California Adventure previewed the film inside the ABC Sound Studio and It's Tough to Be a Bug! theaters, respectively.[43] Disney Infinity 2.0 will feature Maleficent as a playable figure utilizing the look from the movie.

Home media[edit]

Maleficent is expected to be released by Walt Disney Studios Home Entertainment on DVD and Blu-ray November 4, 2014.[44]

Reception[edit]

Box office[edit]

Maleficent has earned $240,433,754 in North America as of October 2, 2014, and $516,342,000 in other countries, for a worldwide total of $756,775,754.[2] Worldwide, in its opening weekend, the film earned $175.5 million,[45][46] $9 million of which was from IMAX locations.[47] It is also the biggest debut among films starring Angelina Jolie,[47] and the actress' highest grossing film of all-time worldwide,[48][49] as well as the second highest-grossing 2014 film (behind Transformers: Age of Extinction), and the 15th film distributed by Disney to surpass the $700 million mark at the worldwide box office.[50]

North America[edit]

In North America, Maleficent earned $4.2 million in Thursday night showings, surpassing the midnight or late-night grosses of previous live-action fantasy films, Alice in WonderlandOz the Great and Powerful[51][52] andSnow White and the Huntsman.

By the end of its opening day (including late-night Thursday earnings), the film earned $24.3 million, similar toOz, but ahead of Snow White and the Huntsman and behind Alice.[53] Maleficent finished its debut weekend at first place with $69.4 million[45] ($6.7 million of which was earned from IMAX locations and 35% of which was earned from 3D showings),[54][55] which exceeded Disney's expectations of a $60 million opening[56] and making it the largest opening weekend performance for Jolie (a record previously held by her 2008 filmWanted),[54] as well as the third highest opening weekend for a solo female star (behind the first two films inThe Hunger Games series).[57] Disney reported that 46% of ticket buyers in Thursday previews were male,[51]while weekend reports said family audiences accounted for 45% of the film's total audience, and couples and teens accounted for 38% and 18% respectively.[54][56] Female audiences and moviegoers over 25 years old held respective proportions of 60% and 51%.[54] Dave Hollis, head of Walt Disney Studios Motion Pictures, attributed this success to "some momentum and great word-of-mouth."[56] During its first week, the film earned a total of $93.8 million, ahead of Snow White yet behind Oz and Alice.[58] On its second weekend,Maleficent dropped by 50% to $34.3 million, finishing in second place.[45] It experienced a smaller second-weekend drop than Snow White,[59][60] yet still bigger than Oz and Alice.[61] In North America, Maleficent is the fifth highest-grossing 2014 film.[62]

Outside North America[edit]

Maleficent opened outside North America on the same weekend as North America, earning $20.1 million from 35 territories in its first two days (May 28–29, 2014).[63] During its opening weekend, the film topped the box office with $106.1 million from 47 territories.[46] Its largest opening weekends were in China ($22.2 million),[64]Mexico ($14.0 million) and Russia and the CIS ($13.0 million).[47] On the second weekend of release,Maleficent fell to $61.7 million, earning from 52 markets.[65][66] It was in first place at the box office outside North America on three weekends, its first, third ($39.2 million)[67][68] and fourth ($47.9 million).[69]

Maleficent is the second highest-grossing 2014 film,[70] and Angelina Jolie's highest-grossing live-action film.[48] In total earnings, the film's top markets after North America are Japan ($57.6 million), China ($47.7 million), Mexico ($46.2 million), Russia ($37.7 million), Brazil ($33.2 million), the United Kingdom ($31.7 million), Venezuela ($24.5 million) and Italy ($19.1 million).[71]

Commercial analysis[edit]

Dave Lewis, writing for HitFix, predicted that although Disney fairy tales and Angelina Jolie's performance might attract audiences, Maleficent would not gross even as much as Oz the Great and Powerful, explaining that the film was released on the same time frame with competitive releases like X-Men: Days of Future PastGodzillaand A Million Ways to Die in the West.[72] Boxoffice wrote that Maleficent had a successful marketing campaign, featured Jolie in the title role, and its "female-driven" themes and plot aimed at women. However, the site also noted that the film would have to compete with other summer releases, and the character ofMaleficent may not attract young children.[73] Todd Cunningham of The Wrap shared the same opinion, writing that "[the film's] connecting with parents and that Jolie's considerable star power is having a big impact."[74][75] Wells Fargo's Marci Ryvicker predicted that Maleficent might be "too dark and scary to be profitable" and was likely to force Disney "into a write-down", as reported by The New York Times; while RBC Capital Markets' David Bank commented that "It's definitely in the 'not a sure thing' bucket."[76][77][78] Wall St. Cheat Sheet explained that the film approached to a more "grown-up" and "sinister" aspect of the classic, and targeted for an older audience like young adults. "It's just too scary for younger children," the site wrote.[79]ScreenRant added that the PG rating of the film would "fill a void in the marketplace, which is currently without a traditional "family friendly" option."[80] Box Office Mojo primarily compared the film with 2012's Snow White and the Huntsman (another film that also focused on a villain), predicting that Maleficent "has a good chance" of matching Snow White's gross in North America box office.[81]

Variety wrote that the film's opening weekend outperforming initial box-office projections was later attributed by analysts in part to Disney's successful marketing to the "potent demographic" (female audiences) much like the studio accomplished with Frozen, in which both films feature a strong female lead.[82] Disney argued that a lack of family-friendly options in the marketplace would "bode well for Maleficent's [box office] performance" in its two first weeks of release.[82]

Critical response[edit]

The film received mixed reviews from critics, who praised Angelina Jolie's performance and the visual effects, but criticized its plot. It currently holds a 48% rating on the review aggregator website Rotten Tomatoes based on 184 reviews, with an average score of 5.6/10. The site's consensus reads, "Angelina Jolie's magnetic performance outshines Maleficent's dazzling special effects; unfortunately, the movie around them fails to justify all that impressive effort."[83] On Metacritic, the film has a rating of 56 out of 100, based on 44 critics, indicating "mixed or average reviews."[84] Audiences polled by CinemaScore gave the film a A grade on a scale of A to F.[85][86]

Kate Taylor of The Globe and Mail was very positive about the film, writing that "[it] surprises not for its baroque visions of a colourful woodland enlivened by joyous fairies and a forbidding castle peopled by unhappy humans, but rather for the thematic richness of its story gloriously personified by Angelina Jolie in the title role." While criticizing the overuse of CGI and 3D effects, she particularly praised the positive message of the film and Jolie's performance. She concluded her review that "Long live the feminist revisionist backstory."[87] On the contrary, Keith Staskiewicz, writing for the Entertainment Weekly, awarded the film a "B-" and wrote that "there's a lot of levitating cliffs and odd flora. But despite their bleeding-edge digital design, the backgrounds have all the depth of the old matte-painted backgrounds of the analog days," which made the film "[feel] classical in nature." He further commented that "The characters are boiled down to their essentials, the humor is timelessly broad."[88] Michael Philips of Chicago Tribune gave the film two and a half stars, commenting that the recent "formula" that "a new angle on a well-known fairy tale appears in the light" "works" with Maleficent. He also said that the film "is all about second thoughts", as Maleficent "spends much of the film as Aurora's conflicted fairy godmother." Phillips particularly praised Jolie and Elle Fanning's acting, Rick Baker's makeup (for Jolie's "angular, serrated look"), but criticized James Newton Howard's "sloshy, pushy" musical score.[89]

Angelina Jolie's performance in the film has been repeatedly singled out for praise by critics. Robbie Collin ofThe Telegraph wrote, "This Disney reimagining of Sleeping Beauty lacks true enchantment, but Angelina Jolie saves the day."[90] Betsy Sharkey of the Los Angeles Times gave the film a positive review, writing "This is Jolie's film because of the Maleficent she makes. Everyone else, even Aurora, fades in her presence."[91] Ann Hornaday of The Washington Post awarded the film three-and-a-half out of four stars, commenting that "Still, for all its limitations, "Maleficent" manages to be improbably entertaining to watch, due solely to its title character."[92] Writing for Roger Ebert's website, Matt Zoller Seitz awarded Maleficent three out of four stars, praising the themes of the film and the acting of Jolie. Seitz also called the scene in which Maleficent discovers the loss of her wings "the most traumatizing image I've seen in a Hollywood fairy tale since theChrist-like sacrifice of Aslan in 2005's The Chronicles of Narnia: The Lion, the Witch and the Wardrobe."[93]The review on The Globe and Mail further explained that "in the simple context of a fairy tale, Jolie does make both the terrifying horned creature and her gradual awakening heartfelt," extolling the "emotional richness" behind her physical acts.[87] Richard Roeper of the Chicago Sun-Times felt more negatively, assigning it a D. Although Roeper praised the visuals, he criticized the acting and writing, stating that "the story itself might well put you into the same type of coma that befalls the heroine."[94]

Themes[edit]

Multiple reviewers and commentators have noted that an early scene in the movie, in which King Stefan drugs Maleficent and removes her wings from her unconscious body, is a metaphor for rape. Hayley Krischner of The Huffington Post interpreted the scene as an important reference to rape culture: "This is the horrific side of rape culture. We're so enmeshed in it that it's impossible to ignore a metaphoric rape that occurs in a Disney movie". She went on to praise the film for giving a positive and hopeful message to rape victims, ultimately allowing "the woman to recover. It gives her agency. It gives her power. It allows her to reclaim the story".[95]Monika Bartyzel of The Week noted the scene's implications in her review: "In its first act, Maleficent offers a dark, surprisingly adult exploration of rape and female mutilation". However, Bartyzel went onto to opine that the film portrayed Maleficent's actions as "a rape revenge fantasy" and criticized the film for not following through on its early subtext, ultimately calling it less feminist and reductive compared to its 1959 counterpart: "In Maleficent, Aurora is the product of a cold and loveless marriage and a vengeful, unhinged rapist. Her safety relies on a trio of clueless and dangerously careless fairies, and her Godmother is the woman who cursed her — and who had, in turn, been violated by her own father".[96] Angelina Jolie addressed the issue during an interview with BBC Radio on the Women's Hour programme and claimed that the subtext was intentional: "The question was asked: 'What could make a woman become so dark and lose all sense of her maternity, her womanhood, and her softness?' [...] We were very conscious, the writer and I, that [the scene] was a metaphor for rape". She further explained that the answer to the question "What could bring her back?" was still "an extreme Disney, fun version [of the story]", but "at the core it is abuse, and how the abused then have a choice of abusing others or overcoming and remaining loving, open people".[97][98]

Jordan Shapiro of Forbes argued that the film's main subtext was the detrimental effects of ultimatums between capitalist and socialist societies. He pointed out that the Moors represented a socialist, nature-oriented, democratic society while the human kingdom was one of capitalism, industry and monarchy. Shapiro further commented that the character of Stefan, his theft of the Moors' riches (the jewel) and his mutilation of Maleficent's wings for the sake of his ambition were references to the American Dream. He conceived the wing-tearing scene as "a social commentary that any hierarchical rise to power inherently happens through the exploitation of others", explaining that it was the reason why "without her wings, Maleficent also becomes an oppressive ruler of the Moors. Everything she represents, believes and stands for has been grounded", and "like most victims of oppression", "she takes it out on those who are smaller and weaker". He concluded that through the merge of the two kingdoms at the end of the film, it sought to weave together capitalism and socialism and let go oppositions: "It is time to leave the kingdom of familiar partisan oppositions: let's replaceeither/or with neither/nor or both/and".[99]

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  83. Jump up^ "Maleficent (2014)"Rotten Tomatoes (Flixster). Retrieved June 17, 2014.
  84. Jump up^ "Maleficent"Metacritic. Retrieved May 31, 2014.
  85. Jump up^ Lang, Brent (May 28, 2014). "Box Office: Angelina Jolie's 'Maleficent' Looks to Put a Spell on Seth MacFarlane".Variety. Retrieved May 31, 2014.
  86. Jump up^ Busch, Anita (May 31, 2014). "Box Office: Disney's 'Maleficent' Spells Success; 'A Million Ways To Die In the West' Flatlines; 'X-Men' Falls Hard"Deadline.com. Retrieved May 31, 2014.
  87. Jump up to:a b Taylor, Kate (May 29, 2014). "Why Angelina Jolie's Maleficent is magnificent"The Globe and Mail (The Globe and Mail Inc.). Retrieved June 12, 2014.
  88. Jump up^ Staskiewicz, Keith (June 11, 2014). "Maleficent (2014) Movie Review"Entertainment Weekly (Entertainment Weekly Inc.). Retrieved June 12, 2014.
  89. Jump up^ Phillips, Michael (May 29, 2014). "Review: 'Maleficent' ★★ 1/2"Chicago Tribune. Retrieved June 12, 2014.
  90. Jump up^ Collin, Robbie (May 28, 2014). "Maleficent, review"The Telegraph. Retrieved May 29, 2014.
  91. Jump up^ Sharkey, Betsy (May 29, 2014). "Review: Angelina Jolie is wickedly good in the not-quite-classic 'Maleficent'".Los Angeles Times. Retrieved May 30, 2014.
  92. Jump up^ Hornaday, Ann (May 30, 2014). "Angelina Jolie stars in 'Maleficent,' a feminist-revisionist take on Sleeping Beauty"The Washington Post. Retrieved May 30, 2014.
  93. Jump up^ Seitz, Matt (May 29, 2014). "Maleficent Movie Review & Film Summary (2014)". RogerEbert.com (Ebert Digital LLC). Retrieved June 3, 2014.
  94. Jump up^ Roeper, Richard (June 2, 2014). "Maleficent (2014)". RichardRoeper.com. Retrieved June 3, 2014.
  95. Jump up^ Krischer, Hayley (June 6, 2014). "The Maleficent Rape Scene That We Need to Talk About". The Huffington Post. Retrieved June 10, 2014.
  96. Jump up^ Bartyzel, Monika (June 6, 2014). "Girls on Film: Maleficent is less progressive than 1959's Sleeping Beauty". Retrieved June 10, 2014.
  97. Jump up^ Bahadur, Nina (June 11, 2014). "Angelina Jolie: 'Maleficent' Scene Is A 'Metaphor For Rape'"The Huffington Post (TheHuffingtonPost.com, Inc.). Retrieved June 20, 2014.
  98. Jump up^ Holmes, Sally (June 12, 2014). "Angelina Jolie Says Violent Maleficent Scene Was a Metaphor for Rape"Elle(Hearst Communications, Inc.). Retrieved June 20, 2014.
  99. Jump up^ Shapiro, Jordan (June 5, 2014). "Why Disney's 'Maleficent' Matters". Forbes. Retrieved June 10, 2014.

External links[edit]


Posted by 신의물방울
Entertainment/Show2014. 10. 4. 21:46

Edge of Tomorrow (film)

From Wikipedia, the free encyclopedia
Edge of Tomorrow
A man and a woman, wearing battle armour, holding large guns, and looking battle-worn, stand against an urban background devastated by war. The sky is golden, meteors are falling, and Nelson's Column can be seen in the background.
Theatrical release poster
Directed byDoug Liman
Produced by
  • Erwin Stoff
  • Tom Lassally
  • Jeffrey Silver
  • Gregory Jacobs
  • Jason Hoffs
Screenplay by
Based onAll You Need Is Kill 
by Hiroshi Sakurazaka
Starring
Music byChristophe Beck
CinematographyDion Beebe
Edited by
  • James Herbert
  • Laura Jennings
Production
companies
Distributed byWarner Bros. Pictures
Release dates
  • May 28, 2014(London IMAX)
  • June 6, 2014(United States)
Running time113 minutes[1]
CountryUnited States[2]
LanguageEnglish
Budget$178 million
Box office$369.2 million[3]

Edge of Tomorrow is a 2014 American military science fiction film starring Tom Cruise and Emily BluntDoug Liman directed the film based on a screenplay adapted from the Japanese light novel All You Need Is Kill by Hiroshi Sakurazaka. The film takes place in the near future, where an alien race has invaded the Earth and defeated the world's military units. It follows Major William Cage (Cruise), a military PR officer inexperienced in combat, who is deployed into a combat mission against the aliens. Though Cage is killed in minutes, he finds himself starting over in a time loop, repeating the same mission and being killed. Each time, Cage learns to better fight the aliens, and he teams up with Special Forces warrior Rita Vrataski (Blunt) to defeat them.

The production company 3 Arts Productions bought rights to All You Need Is Kill in late 2009, and it sold a spec script to the American studio Warner Bros. Pictures for production. The studio co-produced the film with the Australian production companyVillage Roadshow. Filming began in late 2012 and took place mainly at Warner Bros. Studios, Leavesden outside London.Trafalgar Square in London was also a filming location for some scenes. Nine companies handled the visual effects.

The film was released in theaters in 28 territories, including the United Kingdom, Brazil, Germany, Spain, India, and Indonesia, on the weekend of May 30, 2014. On the weekend of June 6, 2014, it was released in 36 additional territories, including North America (United States and Canada), Australia, China, and Russia. The film grossed over $369.2 million in theaters worldwide and received largely positive reviews from critics.

Plot[edit]

A race of aliens called Mimics has taken over continental Europe. General Brigham (Brendan Gleeson), head of humanity's United Defense Force, orders Major William Cage (Tom Cruise), a public affairs officer and former advertising executive, to cover combat on the beaches of France during the next day's assault on the Mimics. Cage objects to the dangerous assignment and threatens to use his public relation skills to turn the public against Brigham when the casualties start increasing from the invasion, for which he is arrested and knocked out. He wakes in handcuffs at a forward operating base at Heathrow Airport and discovers he has been labeled a deserter and put on combat duty for the invasion under the command of Master Sergeant Farell (Bill Paxton).

The invasion is a disaster for the humans. Cage manages to kill a large Mimic, but dies as he is sprayed with its acid-like blood. He then wakes up at Heathrow the previous morning. No one believes his story that he knows the invasion will fail. He repeats the loop of dying on the beach and waking at Heathrow until he encounters Sergeant Rita Vrataski (Emily Blunt), who recognizes his ability to anticipate events and tells him to locate her the next time he "wakes up".

Cage finds Vrataski at Heathrow. Together they meet up with each other with Dr. Carter (Noah Taylor), a former government scientist and expert in Mimic biology. Cage learns that the kind of Mimic he killed in his first loop, an "Alpha", resets time when it is killed to give the Mimics an advantage in battle. Cage inherited this ability when he was doused in the Alpha's blood as they both died. Vrataski had this ability in a previous battle but lost it after receiving a blood transfusion. She tells Cage that they must hunt the Mimics' hive mind, the Omega.

Over succeeding loops Vrataski trains Cage into a more effective soldier. After getting discouraged from these loops he travels to London, there he realises and sees the Mimics were planning on overrunning London during the invasion on the beach. He and Vrataski spend several loops learning how to survive the battle on the beach and get inland based on his vision of the Omega hiding in a Bavarian Alps dam. After numerous loops end in Vrataski's death, Cage decides to hunt the Omega alone, abandoning her and the rest of the invasion to doom on the beach. When he arrives at the dam, he discovers that the Omega is not there. He manages to kill himself before an Alpha can steal his blood and prevent him from resetting the day. Back at Heathrow, he tells Vrataski and Carter that his vision was a trick.

Cage and Vrataski adopt a new approach: they infiltrate the Ministry of Defence in search of a prototype built by Carter that will allow Cage to discover the Omega's true location. After several failed loops they obtain the device, which reveals that the Omega is located under the Louvre Pyramid in Paris. They are injured as they flee, and Cage's life is saved by a blood transfusion, but it removes his ability to reset the day.

Vrataski frees Cage and they return to Heathrow, where they convince his squad to help destroy the Omega. The other squad members sacrifice themselves to get Cage and Vrataski beneath the Louvre. Vrataski distracts a waiting Alpha while Cage advances on the Omega. The Alpha kills them both, but not before Cage primes and drops a grenade belt into the Omega's core, destroying it and neutralizing the other Mimics.

Cage's body absorbs the Omega's blood. He wakes up en route to his meeting with Brigham the day before. Brigham announces that Mimic activity has ceased following a power surge in Paris. Cage is never arrested and he goes to Heathrow, where he finds his squad mates, including Farell. None of them recognize him and treat him respectfully as an officer, as he is once again a Major. He meets Vrataski, who does not recognize him either. She asks what he wants, as she had many times before, and he smirks and laughs.

Cast[edit]

Tom Cruise, known for performing his own stunts in his films, also did so in Edge of Tomorrow. He and Emily Blunt wore heavy metal suits that depicted their characters' battle suits.[4] Blunt trained three months for her role, "focusing on everything from weights to sprints to yoga, aerial wire work and gymnastics".[5]

Bill Paxton was cast in a supporting role and also wore a battle suit in the film. The actor said he suspected that he was cast in the film because of his well-known role in the 1986 science fiction film Aliens.[6] Edge of Tomorrow was the first time Paxton and Cruise appeared in the same film, despite both men having acted for more than 30 years.[7]

Production[edit]

Director Doug Liman at the Paris premiere of the film

Edge of Tomorrow was co-produced by Warner Bros. and Village Roadshow, with the involvement of production companies 3 Arts Entertainment and Viz Productions, on a budget of $178 million.[8] The film was directed by Doug Liman based on a screenplay adapting the Japanese light novel All You Need Is Kill by Hiroshi Sakurazaka. The novel was published in 2004, and 3 ArtsEntertainment optioned the novel in late 2009. Instead of making a pitch to a major studio to purchase the property and proceed with writing and producing a film adaptation, the company decided to develop a spec script to show the studios. Dante Harper wrote the script, and Warner Bros. purchased it in a$3 million deal in April 2010.[9] In the following August, the studio hired Doug Liman to direct the film.[10] Harper's screenplay was listed in the 2010 edition ofThe Black List, a survey of most-liked unproduced screenplays.[11]

In early 2011, the screenplay was revised to improve the third act, which Warner Bros. found weak. The studio initially approached Brad Pitt to star;[12] it then approached Tom Cruise.[13] The screenplay was revised further by Joby Harold, and the age of the leading role was changed to fit Cruise's. In December 2011, Cruise officially joined the film.[14] In April 2012, Emily Blunt entered negotiations to star opposite Cruise.[15]

Six months before filming started, Liman discarded two-thirds of Harper's original script. Jez Butterworth andJohn-Henry Butterworth were hired to rewrite the script. Screenwriter Simon Kinberg took over from the Butterworths, and eight weeks before the start of filming, he was replaced by Christopher McQuarrie. The screenplay did not yet have a satisfactory ending, and producers and studio executives worried about starting filming without an ending.[16]

Filming[edit]

Production began at Leavesden Studios near London. Warner Bros. had purchased Leavesden as a permanent studio site after previously renting space there for its production of the Harry Potter films.[17] Though the director initially did not want a beach set built, the production had one built at the studio site.[16] It was intended for battle scenes to be reminiscent of coastal battles during World War II such as the Invasion of Normandy and the Battle of Dunkirk.[18] The Saunton Sands in North Devon were also used for the French beaches,[19] while receiving a digital extension of the sea as there was little visible water and no surf at all.[20]

Principal photography began at Leavesden on October 1, 2012.[21] The Los Angeles Times said on the second day, Liman "demanded a total reshoot of everything filmed on Day 1", which had concerned producers. Filming on the beach set was planned to last two weeks, but the scheduled extended to nearly three months due to what the Los Angeles Times called "the director's self-described 'workshop-y' filming style".[16] Filming also took place in Trafalgar Square in London on November 24, 2012. The square was closed to the public, and tanks were brought in to film some action scenes.[22] A former army base in the village of Barton Stacey inHampshire, England was also used as a filming location for two weeks.[23]

Liman said filming took place seven days a week using two crews to film 20 days in addition to what had originally been scheduled. The crew struggled with rainy British weather since the film was supposed to be set in one day and had to maintain the same weather.[24] Though filming concluded by August 2013, actor Jeremy Piven was added to the cast, and extra scenes including him were filmed[25] (ultimately, Piven did not appear in the finished film).[26]

Battle suit design[edit]

For more details on this topic, see powered exoskeleton.

Production designer Oliver Scholl and his team worked with lead builder Pierre Bohanna to develop concept art for several battle suit options based on contemporary real-world powered exoskeleton initiatives like those supported by DARPA. When director Doug Liman chose a design, the team built an aluminum prototype frame that had pivot points and hinges. Costume designer Kate Hawley contributed a gritty aesthetic design for the color palettes and surface treatments. While the design was meant to be utilitarian, it was also created so the actors could be seen in the suits and also run in them. The team created a foam mock-up of Tom Cruise so the frame could be suited for him. The team handcrafted 70 hard material and 50 soft material battle suits in the course of almost five months. There were three versions of the battle suits: "grunts, dogs, and tanks". The battle suit for Emily Blunt's character had red slash marks sprayed on to reflect a Joan of Arc quality.[27]

The battle suit weighed 85 pounds (39 kg) on average. One of the heavier versions was around 130 pounds (59 kg) due to being equipped with a mock sniper rifle and rocket launcher.[5] Each actor needed four people to help put on the battle suit. Initially, Tom Cruise took 30 minutes to put on the suit and another 30 minutes to remove it. Ultimately, the time was reduced to 30 seconds.[27] The Los Angeles Times said, "Between takes, the actors would be suspended by chains from iron frames to take the weight of the suits off their shoulders."[6]

Visual effects[edit]

Nine companies handled the visual effects for Edge of Tomorrow under visual effects supervisor Nick Davis.[28]Davis worked with the crew of The Third Floor on the film's previsualization process. Sony Pictures Imageworksworked on the first two acts of the film and created over 400 shots, including photorealistic environments, battle scenes, and computer-generated creatures and characters. One major shot was designing London Heathrow Airport to look covered with military troops, vehicles, and aircraft; SPI split some of the work with RodeoFX. Cinesite joined late in production and developed 221 shots for ten key sequences, with 189 appearing in the final cut.[20]

The aliens in the film were designed not to look like any terrestrial animal. Davis and director Doug Liman favored the most a sculptor's creature that was made mainly of tentacles. SPI's Dan Kramer said it looked like "heavy black spaghetti" and that creating the tentacled creatures was a challenge for the modelers.[20] A technical animator created an Autodesk Maya plugin that could make independent the movement of each tentacle and prevent interpenetrating.[29] Since Liman did not want the Mimics to look "too organic or terrestrial", Imageworks' artists came with the idea of making the aliens made out of an obsidian-like material, "basically a glass that could cut." Various debris was incorporated within the tentacles to give the creature a sense of weight while also displaying how fast it moved. The Alphas were given a definable head area to show their status as more sentient, while receiving a different color and a bigger size compared to the Mimic grunts.[30] Cinesite created the mechanical Mimics used in the training areas,[31] while MPC created the Omega, which was featured in a completely digital environment into which underwater footage filmed at Leavesden's water tank was placed.[32]

Digital versions of the battle suits were created, at times with also the soldiers inside them. A 3D scanner booth was built at the film's set to digitize the actors, while hand scanners captured the textures of the practical suits. Pieces of the suits were also sent to Imageworks for reference. The armor's shading was enhanced by using the company's library of reflection data on various materials.[30] The base at Heathrow was created by merging the set at Leavesden with digitally altered footage from the airport, where the existing aircraft was replaced with the film's drop ships along with barracks and mess halls.[20] Framestore created the digital Paris, which was recreated with photomodeling taken during three days of visits. Given the city is a no-fly zone, Framestore's artists got their aerial images by climbing an 80 meter crane that they parked in the Louvre courtyard.[30] Thequadcopter dropships were based on the Bell Boeing V-22 Osprey that can tilt its rotors to fly as either planes or helicopters, while having a design closer to the Quad TiltRotor.[33] Aside from a practical build for a crashed ship on the beach head and a gimbal set to depict the plane used by Cage's squad, most ships were digital models, that had some of Imageworks' heaviest detail for both the camp scenes where actors walked closed to the ships and depict a realistic destruction on the crashes.[30]

The film was converted into 3D on post-production by Prime Focus World, which employed the same tools used for the stereoscopy in World War Z and Gravity. Prime Focus World had the help of Imageworks, who gave the company their scans of the cast's faces, and Nvizible, responsible for the hologram table used by Dr. Carter.[30]

Music[edit]

Edge of Tomorrow:
Original Motion Picture Soundtrack
Film score by Christophe Beck
ReleasedJune 3, 2014
GenreSoundtrack
Length45:30
LabelWaterTower Music

Composer Christophe Beck scored Edge of Tomorrow. The film was Beck's first science fiction film score, and the composer scored in place of John Powell, who had scored all of director Doug Liman's previous studio films.[34] To prepare for the score, Beck watched the film with temp tracks, including one from the 2012 filmBattleship. Beck experimented with repeating the music with the scenes. He said repetition was only used in a couple of spots in the film because the approach did not frequently fit the events on the screen. Beck said, "The day is reset dozens of times in the film and it would get very repetitive to approach that musically the same way every time."[35] The composer initially tried for "traditional heroic themes" that involved horns and trumpets, but he said Liman "preferred a non-traditional approach, driven by percussion and distorted orchestra". To that end, Beck used the pizzicato playing technique, "not in the traditional, plinky-plinky-isn't-this-funny way, but a little darker, and always accompanied by some higher concept synth colors".[34] With Liman's approach, the composer said there were "only a couple of traditional themes" in the film, including one for Emily Blunt's character Rita.[35]

Additional music
No.TitleMusicLength
1."This Is Not the End"  Fieldwork 
2."Massive Mellow"  Daniel Lenz 
3."Railroad Track"  Willy Moon 
4."Trip Into The Light"  Jeremy and the Harlequins 
5."Love Me Again"  John Newman 

Release[edit]

Marketing[edit]

"I think the word 'kill' in a title is very tricky in today's world. I don't know that people want to be bombarded with that word. I don't know that people want to be opening the newspaper and seeing that word. We see it enough in kind of real newspaper headlines, and I don't think we need to see it when we're looking at a movie."

— Producer Erwin Stoff on changing the title[36]

Warner Bros. invested over $100 million in a marketing campaign for Edge of Tomorrow.[37] The film was initially titled All You Need Is Kill after the light novel. In July 2013, Warner Bros. changed the title to Edge of Tomorrow;[38]Warner Bros. president Sue Kroll said the title was changed partly due to "negative chatter" about the word "kill" in the title.[39] The film was promoted atComic-Con in San Diego, California in July 2013,[38] and it was promoted atWonderCon in Anaheim, California in April 2014.[6] Turner Broadcasting, a subsidiary of Time Warner like the studio Warner Bros., promoted the film across its TV properties, including CNNTNTTBSAdult SwimTruTV, andFunny or DieVariety said the move "put forth the notion that buying bigger packages of advertisements across a TV company’s holdings is a viable option in an increasingly fragmented TV-viewing landscape". Turner also launched a website which would unlock film-related content like "a 3D game, back stories and artwork" if its promotional hashtag was circulated enough through the social media website Twitter.[40]

Viz Media published a new edition of the light novel, titled Edge of Tomorrow instead of All You Need Is Kill. It was released on April 29, 2014.[41] It also published a graphic novel adaptation of the light novel on May 5, 2014.[42]

For the film's release on home media, Warner Bros. formed two teams for a Tough Mudder endurance event series taking place in Black Diamond, Washington on September 28, 2014.[43] The teams included YouTube personalities and participants from the TV series American Ninja Warrior. Warner Bros. intended for the teams to be similar to the film's "J Squad" of military delinquents and sponsored a Tough Mudder obstacle that promoted teamwork.[44]

Box office forecast[edit]

Media reports used Tom Cruise's previous films to forecast Edge of Tomorrow's box office performance in North America

At the beginning of May 2014, weeks before the film's release, media reports said box office tracking for Edge of Tomorrow indicated that it would have an underwhelming performance at the box office in North America (United States and Canada).[8] Variety said there was a "worrisome lack of buzz" leading up to the film's release.[39] Initial tracking at the start of the month estimated that the film would gross between $25 million and $30 million on its opening weekend,[45] and the estimate decreased later in the month by $5 million.[39] The film was scheduled to compete with The Fault in Our Stars, opening the same weekend and estimated to gross around $25 millionThe Wrap said the competition would potentially impact Edge of Tomorrow's opening weekend gross.[45] In contrast, Variety said Edge of Tomorrow could serve as counterprogramming to The Fault in Our Stars since that film's expected demographic is women under 25 years old.[39]

The Hollywood Reporter called Edge of Tomorrow, with its budget of over $175 million, one of the "biggest box-office risks" for mid-2014 in North America. The trade paper said the film was similar to Oblivion, a 2013 science fiction film that also starred Tom Cruise, and that like Oblivion, it would likely perform better outside North America.[46] Box Office Mojo said Cruise's films with original material—Valkyrie (2008), Knight and Day(2010), Jack Reacher (2012), and Oblivion (2013)—had not grossed more than $100 million in North America. The website forecast that Edge of Tomorrow would gross $90 million in North America and $220 million in other territories.[47] TheWrap noted that the studio has focused on the theatrical releases in the other territories, where Cruise "remains a major force" in drawing audiences.[45] Variety, writing from the US perspective, said, "Media reports have been quick to speculate that Edge of Tomorrow may be one of the summer's first big bombs based on the lack of enthusiasm by U.S. audiences. That may come to pass, but these reports downplay the centrality of foreign markets in today's globalized movie industry."[8]

In the week prior to Edge of Tomorrow's release in North America, it was estimated to have an opening-weekend gross of $27 million, a small bump from the previously estimated mid-$20 million range.[48]

Theatrical run [edit]

Edge of Tomorrow initiated its theatrical run in several territories on May 28, 2014 and rolled out to a total of28 territories for its opening weekend of May 30–June 1, 2014.[8][49] It grossed $20.1 million on the opening weekend.[50] For the second weekend of June 6–8, 2014, it was released in 36 additional territories.[51] Edge of Tomorrow grossed $100.2 million in North America and $269.0 million in other territories for a worldwide total of $369.2 million.[3] Entertainment Weekly said after the film's theatrical run that it had a "lukewarm box-office reception" despite critics' praise.[52]

Opening weekend[edit]

Edge of Tomorrow premiered atBritish Film Institute's London IMAXon May 28, 2014[53]

The film had premiere screenings in LondonParis, and New York City onMay 28, 2014. The cast and the crew mimicked the film's time loop premise by attending the premieres in a single day, traveling westward to attend them on a staggered schedule.[54] The film was screened in New York City at 11:59 pm, the time chosen to refer to the film title.[55] The film was released in theaters in 28 territories—including the United Kingdom, Brazil, Germany, Spain, and Indonesia—on the weekend ofMay 30, 2014.[8] Certain territories with "strong" association footballteams were chosen so the film could screen to audiences before the month-long 2014 FIFA World Cup began on June 12, 2014. Edge of Tomorrow competed against Maleficent starring Angelina Jolie, which opened the same weekend in 46 territories.[8]

On its opening weekend in 5,018 screens across 28 territoriesEdge of Tomorrow grossed $20.1 million.[50]The Hollywood Reporter called the film's debut a "soft" opening. Edge of Tomorrow faced competition fromMaleficent and X-Men: Days of Future Past and ranked third after the two films in many territories. In the United Kingdom, it ranked third and grossed $3.1 million, where Cruise's 2013 film Oblivion had opened with$7.6 million. In Germany, it grossed $2.1 million compared to Oblivion'$2.6 millionEdge of Tomorrow ranked first in Indonesia and Taiwan, grossing $2 million and $1.9 million, respectively.[56] Its opening weekend in286 screens in Indonesia was Tom Cruise's biggest opening to date in the country.[50] The film also grossed$1.5 million in Italy and $1.5 million in Spain.[51] Deadline.com said the film had good word of mouth, citing significant increases in Saturday grosses compared to the Friday grosses in the United Kingdom, Germany, and Spain.[50] Bloomberg Businessweek reported that $110 million was grossed in the first week of release and summarized its debut, "While it did solid business in Asia, its reception in Germany, France, and the U.K. has been tepid."[57]

Second weekend[edit]

The film was released in 36 additional markets in its second weekend of global release (June 6–8, 2014).[51]For the second weekend, it was on over 19,000 screens throughout 63 markets.[58] It grossed an estimated$28.8 million in North America,[59] and approximately $82 million in other territories.[58] Major performances were China with $26.7 million,[60] South Korea with $16.6 million, Russia with $8.6 million, France with$3.2 million, and Mexico with $3.1 million.[58] In China, Edge of Tomorrow ranked first at the box office, ahead of X-Men: Days of Future Past.[60] The film had 99,768 screenings with 4.06 million admissions. It also screened earlier in the week for the Dragon Boat Festival on June 2, considered a major moviegoing holiday in China.[61] Its opening day gross was $6.7 million, which was the fourth-biggest opening in China in 2014.[62]The film also premiered in South Korea and France earlier in the week, on June 4, 2014. In South Korea that Wednesday, it grossed $3.8 million, which was Tom Cruise's biggest South Korean opening to date and the fourth biggest South Korean opening to date for a Hollywood film. The opening date for South Korea was chosen to take advantage of the country's five-day holiday.[63] In Russia, the film grossed $1.4 million on opening day, which was Tom Cruise's biggest to date in the country.[62]

Edge of Tomorrow was released in 3,490 theaters in North America on June 6, 2014.[59] The ticket serviceFandango reported before the weekend that Edge of Tomorrow sold more advance tickets than Tom Cruise's previous film Oblivion but that the competing film The Fault in Our Stars strongly exceeded Edge of Tomorrowin advance ticket sales.[64] Edge of Tomorrow grossed $28.8 million on the opening weekend, ranking it third below The Fault in Our Stars ($48 million) and Maleficent ($34.3 million).[65] Polling firm CinemaScore said 61% of the opening weekend audiences were male.[66] It reported that audiences overall gave Edge of Tomorrow a "B+" grade, where younger filmgoers gave "A" and "A–" grades.[67] The Los Angeles Times said the disappointing box office performances of non-franchise films Edge of Tomorrow and Blended, both produced and distributed by Warner Bros. Pictures, indicated risky investments by the studio, which had better success earlier in the year with franchise films The Lego Movie and Godzilla.[68]

Subsequent weekends[edit]

In its second weekend of release in North America (June 13–15, 2014), Edge of Tomorrow had a "light"second-weekend drop of 43% due to word of mouth and grossed $16.5 million on the second weekend.[69] In the same weekend in territories outside North America, the film was on 14,725 screens. With approximately5.1 million admissions, it grossed $37.3 million. China, Russia, and South Korea respectively had the film's largest weekend grosses among the territories.[70] In South Korea, the film ranked first at the box office for two consecutive weekends, grossing a total of $25.65 million by June 17, 2014.[71]

In Japan, Edge of Tomorrow was released on July 4, 2014 under the light novel's title All You Need Is Kill.[72]The film opened as second in the weekend rankings behind Maleficent, with an intake of $4.5 million.[73] With $14.9 million As of August 14, 2014, Edge of Tomorrow is the fifth highest-grossing foreign movie of the year in Japan, and the 15th overall.[74]

Home media[edit]

Edge of Tomorrow will be released on DVDBlu-ray Disc, and video on demand in the United States onOctober 7, 2014. The Blu-ray disc includes over 90 minutes of bonus features.[44] The home release's packaging downplays the original Edge of Tomorrow title in favor of placing more prominence on the film's original tagline, "Live. Die. Repeat." Media critics believed that the re-branding was an attempt by Warner Bros. to re-launch the film's marketing following its poor U.S. box office performance; posters for the film's theatrical release had similarly placed a larger emphasis on the "Live. Die. Repeat." tagline than the actual title of the film.[75][76] Similarly, some digital retailers listed the film under the title Live Die Repeat: Edge of Tomorrow.[76]

Reception[edit]

Critical response[edit]

Edge of Tomorrow has received largely positive reviews from critics.[77] Critics praised the humor, the aliens' design, the performances of Cruise and Blunt, and the time-loop premise's ability to remain fresh. However, some critics expressed disappointment over the film's conclusion.[78] Review aggregation website Rotten Tomatoes said critics thought the film was "gripping, well-acted, funny, and clever" and that Cruise was still more than capable of starring in an action film. The website surveyed 240 critics and, categorizing the reviews as positive or negative, assessed 216 as positive and 24 as negative. Of the 240 reviews, it determined a rating average of 7.5 out of 10. Based on the reviews, the website gave the film a score of 90%.[79] Another aggregator Metacritic surveyed 43 critics and assessed 35 reviews as positive and eight as mixed, with none being negative. Based on the reviews, it gave the film a score of 71 out of 100, which it said indicated "generally favorable reviews".[80]

Justin Chang of Variety called Edge of Tomorrow "a cleverly crafted and propulsively executed sci-fi thriller" and said the film was director Doug Liman's best since The Bourne Identity (2002). Chang said the screenwriters, with the assistance of the editors, "tell their story in a breezy narrative shorthand (and at times, sleight-of-hand), transforming what must surely be an unbelievably tedious gauntlet for our hero into a deft, playful and continually involving viewing experience". The critic said of the relationship of Cruise and Blunt's characters, "Liman handles it with a pleasing lightness of touch that extends to the proceedings as a whole." He also commended the visual effects of the "expertly designed Mimics" as well as Dion Beebe's cinematography.[81]

Todd McCarthy, writing for The Hollywood Reporter, said the film was "a narratively ambitious sci-fi actioner" that "takes a relatively playful attitude toward the familiar battle tropes". McCarthy said despite the humor, he found the time loop premise "tedious" and that "the final stretch becomes dramatically unconvincing and visually murky". The critic called the effects "exciting, convincing and gritty" and applauded Gleeson and Paxton in their supporting roles.[82]

Kenneth Turan of the Los Angeles Times on 5 June 2014 gave the film a positive review. Turan states that: "Just when you were ready to give up on the summer season and its cookie-cutter, been-there blockbusters, "Edge of Tomorrow" saves the day. It's a star-driven mass-market entertainment that's smart, exciting and unexpected while not stinting on genre satisfactions."[83]

Accolades[edit]

The theatrical trailer for Edge of Tomorrow was nominated at the 15th Annual Golden Trailer Awards for Best Action and for Best Summer 2014 Blockbuster Trailer , but lost to The Hunger Games: Catching Fire andGodzilla, respectively.[84] The film also received nominations at the 2014 Teen Choice Awards for Best Action Film, Best Action Actor (Tom Cruise), and Best Action Actress (Emily Blunt), but lost to Divergent.[85]

Social commentary[edit]

Gender roles[edit]

Emily Blunt, who plays Sergeant Rita Vrataski

Emily Blunt plays Sergeant Rita Vrataski, a veteran who guides and trains Tom Cruise's character, Major William Cage. Blunt said of her role, "In these male-fueled genres, it's usually the woman who's holding the hand of the guy and he's running through explosions leading her, and I wanted to be doing the leading. This was the extreme idea of what I ever thought I'd want to do."[86] Chris Nashawaty, reviewing the film for Entertainment Weekly, called it "the most feminist summer action flick in years".[87] Bustle's Alicia Lutes described Rita as "ruthless and exacting in her takedown ... of a bunch of aliens" and said, "This is very much counter to the age-old ideals about ladies being the constant, delicate flowers of emotional heartstring-pulling." Lutes said the film's hero Cage was strengthened by her work, "She trains him, aids him, and protects him (and in turn the fate of humanity) time and time again."[88] Tasha Robinson, writing a piece in The Dissolve about "strong female characters" that lack real purpose in films, said Rita in Edge of Tomorrow was an exception. Robinson acknowledged that Rita existed to support Cage in his trials but believed that "the story doesn't degrade, devalue, weaken, or dismiss her".[89]

In contrast, The Wire's Esther Zuckerman criticized the inclusion of a romantic relationship in the film and said of the two characters' kiss, "There's a case to be made that the kiss is simply an acceptance of their fate, but everything we know about Rita up until this point implies that she's a dedicated soldier, and making her a sudden romantic betrays her character." Zuckerman added, "That's not to say she can't soften up a bit as humans do, but the moment reads less like she's accepting her humanity and more like the filmmakers had to acknowledge two attractive leads ... who should lock lips because that's what men and women do in movies."[90] Monika Bartyzel in The Week also criticized the romance in the film, stating that Rita is the one who kisses Cage, despite knowing him for only a day where he had known her for multiple days via time loop. Bartyzel said Rita's portrayal was part of a commonly seen dichotomy in which a female character helps a male "Chosen One" character. Bartyzel said the phenomenon was "the new normal because it allows Hollywood to appeal to feminist concerns while continuing to feed male wish fulfillment". The journalist said Rita "at her most powerful" ultimately serves "to make the male hero into a fighter like herself".[91]

Comparison to video games[edit]

Director Doug Liman said the film's repeated scenes intentionally paralleled the spawning feature in video games, where players have to start over on a level when their character dies.[36] It can be noted that in the afterword of All You Need Is Kill, author Hiroshi Sakurazaka notes his experience playing video games as a source of inspiration while writing the novel.[92] Salon's Ryan Leas said analyses of the film noted that it "steals from the video game genre". Leas called Edge of Tomorrow's looped action "a meta-commentary on the blockbuster genre", saying, "It's a blockbuster interested in the question of how mind-numbing its genre has become to its viewers."[93] Wired's Angela Watercutter said Hollywood had been trying to produce films based on video games for years and that Edge of Tomorrow showed merit for studios to try basing films on video games' narrative structure.[94]

See also[edit]

References[edit]

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External links[edit]


Posted by 신의물방울
Entertainment/Show2014. 10. 4. 21:44

Captain America: The Winter Soldier

From Wikipedia, the free encyclopedia
"Captain America 2" redirects here. For the 1979 film, see Captain America II: Death Too Soon.
Captain America: The Winter Soldier
Captain America The Winter Soldier.jpg
Theatrical release poster
Directed byAnthony Russo
Joe Russo
Produced byKevin Feige
Screenplay byChristopher Markus
Stephen McFeely
Based onCaptain America 
by Joe Simon
Jack Kirby
Starring
Music byHenry Jackman
CinematographyTrent Opaloch
Edited byJeffrey Ford
Production
company
Distributed byWalt Disney Studios
Motion Pictures
Release dates
Running time136 minutes[1]
CountryUnited States
LanguageEnglish
Budget$170 million[2]
Box office$714.1 million[3]

Captain America: The Winter Soldier is a 2014 Americansuperhero film featuring the Marvel Comics character Captain America, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is the sequel to 2011's Captain America: The First Avenger and the ninth installment in the Marvel Cinematic Universe (MCU). The film was directed by Anthony and Joe Russo, with a screenplay by Christopher Markus and Stephen McFeely, who had also worked in The First Avenger. It stars Chris Evans as Captain America, leading an ensemble cast that includesScarlett JohanssonSebastian StanAnthony MackieCobie SmuldersFrank GrilloEmily VanCampHayley AtwellRobert Redford, and Samuel L. Jackson. In Captain America: The Winter Soldier, Captain America, Black Widow, and Falcon join forces to uncover a conspiracy within S.H.I.E.L.D. while facing a mysterious assassin known as the Winter Soldier.

A major influence in The Winter Soldier was conspiracy fiction from the 1970s such as Three Days of the Condor, with the script also drawing from the Winter Soldier story arc written by Ed Brubaker. The script was written in 2011, with the Russo brothers entering negotiations to direct in June 2012 and casting beginning the following month. Principal photography commenced in April 2013 in Los Angeles, California before moving to Washington, D.C. andClevelandOhio. While the directors aimed for more realism, with focus on practical effects and intense stunt work, 2,500 visual effects shots were done by six different companies.

Captain America: The Winter Soldier premiered in Los Angeles on March 13, 2014. It was released internationally on March 26, 2014 and in North America on April 4, 2014, in 2D, 3D, and IMAX 3D. The film became a critical and commercial success, having grossed over $714 million worldwide. A sequel set to be directed by the Russo brothers is scheduled for release on May 6, 2016.

Plot[edit]

Two years after the Battle of New York,[4] Steve Rogers works in Washington D.C. for the espionage agencyS.H.I.E.L.D. under Director Nick Fury, while adjusting to contemporary society. Rogers and Agent Natasha Romanoff are sent with S.H.I.E.L.D.'s counter-terrorism S.T.R.I.K.E. team, led by Agent Rumlow, to free hostages aboard a S.H.I.E.L.D. vessel from Georges Batroc and his mercenaries. Mid-mission, Rogers discovers Romanoff has another agenda: to extract data from the ship's computers for Fury. Rogers returns to the Triskelion, S.H.I.E.L.D.'s headquarters to confront Fury and is briefed about Project Insight: threeHelicarriers linked to spy satellites, designed to preemptively eliminate threats. Unable to decrypt the data recovered by Romanoff, Fury becomes suspicious about Insight and asks senior S.H.I.E.L.D. official Alexander Pierce to delay the project.

On his way to rendezvous with Maria Hill, Fury is ambushed by assailants led by a mysterious assassin called the Winter Soldier. Fury escapes to Rogers's apartment, and warns Rogers that S.H.I.E.L.D. is compromised. After handing Rogers a flash drive containing data from the ship, Fury is gunned down by the Winter Soldier. Fury dies in surgery, and Hill recovers the body. The next day, Pierce summons Rogers to the Triskelion. When Rogers withholds Fury's information, Pierce brands him a fugitive. Hunted by S.T.R.I.K.E., Rogers meets with Romanoff. Using data in the flash drive they discover a secret S.H.I.E.L.D. bunker in New Jersey, where they activate a supercomputer containing the preserved consciousness of Arnim Zola. Zola reveals that ever since S.H.I.E.L.D. was founded after World War IIHydra has secretly operated within its ranks, sowing global chaos with the goal that humanity would willingly surrender its freedom in exchange for security. The pair narrowly escape death when a S.H.I.E.L.D. missile destroys the bunker.

Rogers and Romanoff enlist the help of former USAF pararescueman Sam Wilson, whom Rogers befriended, and acquire his powered "Falcon" wingpack. Deducing that S.H.I.E.L.D. agent Jasper Sitwell is a member of the agency's Hydra faction, they force him to divulge that Zola developed a data-mining algorithm that can identify individuals who might become future threats to Hydra's plans. The Insight Helicarriers will sweep the globe, using satellite-guided guns to eliminate these individuals. Rogers, Romanoff, and Wilson are ambushed by the Winter Soldier, who kills Sitwell. During the fight, Rogers recognizes the Winter Soldier as Bucky Barnes, his friend who was captured and experimented upon during WWII. Hill manages to extract the trio to a safehouse where Fury, who had faked his death, is waiting with plans to sabotage the Helicarriers by replacing their controller chips.

After the World Security Council members arrive for the Helicarriers' launch, Rogers broadcasts Hydra's plot to everyone at the Triskelion. Romanoff, disguised as one of the Council members, disarms Pierce. Fury arrives and forces Pierce to unlock S.H.I.E.L.D's database so that Romanoff can leak classified information, exposing Hydra to the public. Following a struggle, Fury shoots Pierce dead. Meanwhile, Rogers and Wilson storm two Helicarriers and replace the controller chips, but the Winter Soldier destroys Wilson's suit and fights Rogers on the third. Rogers fends him off and replaces the final chip, allowing Hill to take control and have the vessels destroy each other. Rogers refuses to fight the Winter Soldier in an attempt to reach his friend, but as the ship collides with the Triskelion, Rogers is thrown out into the Potomac River. The Winter Soldier rescues the unconscious Rogers before disappearing into the woods. With S.H.I.E.L.D. in disarray, Romanoff appears before a Senate subcommittee and Fury, under the cover of his apparent death, heads to Eastern Europe in pursuit of Hydra's remaining cells. Rogers and Wilson decide to find the Winter Soldier, while Rumlow, who was a Hydra agent, is hospitalized following the Triskelion's destruction.

In a mid-credits scene, Baron Wolfgang von Strucker, at a Hydra lab, proclaims that the "age of miracles" has begun as scientists examine an energy-filled scepter1 and two prisoners: one with superhuman speedthe other with telekinetic powers. In a post-credits scene, the Winter Soldier visits a Bucky memorial at theSmithsonian Institution.

Cast[edit]

The cast and crew of Captain America: The Winter Soldier at the 2013 San Diego Comic-Con International. (L-R: producer Kevin Feige, VanCamp, Mackie, Smulders, Jackson, Johansson, directorsAnthony and Joe Russo, Evans, Grillo, Stan)
A World War II veteran who was enhanced to the peak of human physicality by an experimental serum, frozen in suspended animation, and is now struggling to adjust to the modern world.[5] Describing his character's adjustment to the modern world, Evans said, "It's not so much about his shock with [technology]... It's more about the societal differences. He's gone from the '40s to today; he comes from a world where people were a little more trusting, the threats not as deep. Now, it's harder to tell who's right and wrong. Actions you take to protect people from threats could compromise liberties and privacy. That's tough for Steve to swallow."[6] Evans received training in parkourBrazilian jiu-jitsukarateboxing, and gymnastics, as the Russo brothers believed that bringing Rogers into the modern day also meant that he had studied and mastered modern fighting styles and techniques. The filmmakers also looked to make the character'sshield, which has traditionally been used for defense, a more offensive weapon.[7]
A highly trained spy working for S.H.I.E.L.D., who partners with Rogers.[8] Screenwriter Christopher Markus said that Black Widow was a "great contrast" to Captain America, describing her as "incredibly modern, not very reverent, and just very straightforward whereas Steve is, you know a man from the 40s. He's not a boy scout, but he is reserved and has a moral center, whereas her moral center moves."[9] The Russos added, "She's a character who lies for a living. That's what she does. He's a character who tells the truth. Give them a problem and they'll have different ways of approaching it. She's pushing him to modernize, and he's pushing her to add a certain level of integrity to her life."[10] When asked about Romanoff's relationship with Rogers, Johansson said, "By a series of unfortunate encounters, they will be in a situation in which their friendship becomes more intimate. They share many similarities because they live on the defensive without relying on anyone. Also, the two have been working for the government throughout their professional careers. With their friendship they begin to question what they want and what is their true identity."[11]
Steve Rogers' best friend, who has re-emerged as an enhanced brainwashed assassin after being thoughtkilled in action during World War II.[7][12] About the character, Feige said, "Winter Soldier has been methodically, almost robotically, following orders for 70 years."[13] Stan said despite his nine-picture deal with Marvel Studios including his appearance in The First Avenger, he was not sure about an imminent return for Bucky,[14] and only heard the sequel was named after the Winter Soldier through a friend attending San Diego Comic-Con.[15] The actor endured five months of physical training to prepare for the role and did historical research stating, "I dove into the whole Cold War thing. I looked at the KGB. I looked at all kinds of spy movies, and all kinds of documentaries about that time, and what it was about. I grabbed anything from that time period. Anything about brainwashing."[16] Stan also practiced daily with the knife used by the Winter Soldier.[17] Regarding Bucky's transition into the Winter Soldier, Stan said, "You know, the truth of the situation is although he looks very different and there's different things about him, it still comes from the same person. I think you'll get to see that no matter what. I think part of my goal here was to make sure that you see an extension of that version but just a different color of that same version in a way. I think he's still the same guy; he's cut from the same cloth."[18]
pararescueman trained by the military in aerial combat using a specially designed wing pack.[7] About the role, Mackie said "[Wilson is] a really smart guy who went through major military training and becomes a tactical leader."[19] Remarking, "He's the first African-American superhero. It makes me feel all the work I've done has been paying off. I have a son, nephews and nieces, and I love the idea that they can dress up as the Falcon on Halloween. They now have someone they can idolize. That's a huge honor for me."[20]Marvel, who cast Mackie because of his "energy and sense of fun,"[10] did not let him read a script before signing on.[21] Mackie spent five months doing two-a-day workouts and eating an 11,000 calorie per day diet to get into shape for the role.[22] Commenting on Rogers' relationship with Wilson, Evans said, "Meeting Mackie's character, he used to serve, now he works at the VA counseling guys who come home with PTSD— they connect on that level. I think they're both wounded warriors who don't bleed on other people. Cap has no one to bleed on. I think Mackie knows how to handle people like that. … Sometimes when things are bad, trusting a stranger is the way to go."[2]
A high-ranking S.H.I.E.L.D. agent who works closely with Nick Fury.[23] Smulders said she performed some of her own stunts in the film, explaining, "I try to do my own stunts whenever I can. You're only allowed to do certain stunts. There is an amazing team of stunt people that do most of the work in this film. But, I studied a lot of tae kwon do. I also did a lot of training just with weapons because I'm not very comfortable around guns. I had to get comfortable because that's my character's thing... I like to get really physical so I feel empowered when I am on set and even though you don't see it on screen, maybe I am taking people out that you don't see off camera."[24]
Commander of S.H.I.E.L.D.'s counter-terrorism S.T.R.I.K.E. team.[25] About the character, Grillo said, "He is a bad-ass guy. [He] pretty much beats the shit out of everyone in the movie and that's really it."[26]Regarding Rumlow's alter ego, Grillo said, "Very early on the Russos said, 'Look, this is an origin film for this character. We're gonna discover who this is and this is a big movie with a lot of moving parts, but we're gonna discover you in this film and, you know, here's the information about who Brock Rumlow turns into and blah, blah, blah.' And so we've had multiple discussions about what comes after that, that thing. So, you know, it's obvious Rumlow is covered in rubble and burned to crisp at the end, but you see he's still there. They don't do that for no reason."[27]
A S.H.I.E.L.D. agent assigned to guard Rogers without his knowledge.[7][28] About the character, VanCamp said, "I play Agent 13 / Sharon Carter which everyone knows but we don't really touch on that in this film. We're just sort of introducing her. When we first see her we realize she's living next to Captain America... they sort of have a little thing going on and as we all know in the comic books they had a love affair off and on for years. They had a very complicated relationship. It's almost as if they are planting the seeds now. Sort of leaving room to go wherever they want to go with it."[26] Regarding her casting, Joe Russo said, "We wanted someone that Cap would have an immediate interest in. It had to be a strong-willed person, and we felt that Emily's work on Revenge was a great test tube for what this character could be. She's obviously very credible with physicality, she holds the screen really well, and she even looks like the character from the books."[29]
A retired officer with the Strategic Scientific Reserve and a co-founder of S.H.I.E.L.D., who is a former love interest of Captain America.[30] On receiving the script, Atwell realized the character "would be 96, and I would be up to the eyeballs in prosthetics."[31] The visual effects team was not satisfied with the initial make-up used to make Atwell look older, and eventually resorted to aging her through CGI methods.[32]
A senior leader within S.H.I.E.L.D.,[30] a member of the World Security Council and an old comrade of Nick Fury.[33] Redford was cast in part as an homage to his roles in 1970s thrillers such as Three Days of the Condor,[34] and for what the directors described as "an acting legend playing a villainous role" akin to Henry Fonda in Once Upon a Time in the West.[35] As to what attracted him to the film, Redford said it interested him by being different from his usual work,[36] and that he "wanted to experience this new form of filmmaking that's taken over where you have kind of cartoon characters brought to life through high technology."[37]
The director of S.H.I.E.L.D.[38] Regarding Fury's questionable code of ethics, Jackson said, "Almost everything that comes out of Nick Fury's mouth is a lie in some sense. He has to ask, is he even lying to himself, too? He has a very good idea of what's going on but his paranoia keeps him from believing some of it."[6] Jackson added, "You see Nick Fury the office guy, him going about the day-to-day work of S.H.I.E.L.D. and the politics as opposed to that other stuff. It's great to have him dealing with Captain America in terms of being able to speak to him soldier to soldier and try to explain to him how the world has changed in another way while he was frozen in time. Some of the people who used to be our enemies are now our allies – him trying to figure out, 'Well, how do we trust those guys?' or 'How do we trust the guys that you didn't trust who don't trust you?' And explaining to him that the black and white of good guys/bad guys has now turned into this gray area."[33] McFeely said, "Fury represents an obstacle for Steve in some ways. They don't always agree on how S.H.I.E.L.D. ought to be used."[10] The writers gave Fury a more prominent role in The Winter Soldier, since within a plot featuring S.H.I.E.L.D. being dismantled, Fury would "take the brunt of it". They also intended on having a character that had so far been depicted as a self-assured man in charge being depicted as vulnerable, to enhance the sense of danger of the Hydra conspiracy.[35]

Additionally, Toby Jones,[39] Maximiliano Hernández,[40] and Garry Shandling[41] reprise their roles from previous Marvel Studios films as Arnim ZolaJasper Sitwell, and Senator Stern, respectively. Georges St-Pierreplays Georges Batroc, a mercenary and a master of the French form of kickboxing known as savate.[42][43]Callan Mulvey plays Jack Rollins, a member of S.H.I.E.L.D.'s S.T.R.I.K.E. unit.[44][45] Chin HanJenny Agutter(who previously appeared in The Avengers), Alan Dale, and Bernard White appear as members of the World Security Council,[46][47] Comedic actors Danny Pudi[47] and DC Pierson[48] have small roles as a S.H.I.E.L.D. technician and an Apple Store employee, respectively. Gary Sinise narrates a Captain America-themedSmithsonian Institution exhibit, and Stan Lee cameos as a security guard there.[47] Winter Soldier creator Ed Brubaker makes a cameo as a scientist working on the Winter Soldier.[49][50] Co-director Joe Russo cameos as a doctor,[48] and Christopher Markus and Stephen McFeely cameo as two S.H.I.E.L.D. interrogators. Thomas KretschmannElizabeth Olsen, and Aaron Taylor-Johnson appear, uncredited, as Baron Wolfgang von Strucker, the Scarlet Witch, and Quicksilver, respectively, in the mid-credits scene.[51][52]

Production[edit]

Development[edit]

"We hired our directors on Cap because they loved our explanation that we really want to make a '70s political thrillermasquerading as a big superhero movie. Just like with the first film – we got Joe Johnston because we said, 'We want to do a '40s World War II movie masquerading as a big superhero movie.' I love that we're doing a sequel to a film that's a completely different genre than the first film. I think that's fun. And the comics do it all the time."

—Kevin Feige, producer of Captain America: The Winter Soldier[53]

In April 2011, even before Captain America: The First Avenger was released in theaters, screenwriters Christopher Markus and Stephen McFeely announced Marvel had already hired the duo to work on the film's sequel.[54] In September 2011, Chris Evans said that a sequel may not be released until 2014.[5] In January 2012, Neal McDonough, who played Dum Dum Dugan in Captain America: The First Avenger, mentioned that a sequel would likely be filmed after the completion ofThor: The Dark World, which would likely have been before the end of 2012.[55] By March 2012, Marvel whittled down the possible directors for the sequel to three candidates: George NolfiF. Gary Gray, and brothers Anthony and Joseph Russo.[56] Walt Disney Studiosannounced the planned release of the sequel to Captain America: The First Avenger on April 4, 2014. Disney stated, "The second installment will pick-up where … The Avengers leaves off, as Steve Rogers continues his affiliation with Nick Fury and S.H.I.E.L.D. and struggles to embrace his role in the modern world."[57] Markus later elaborated, "I think S.H.I.E.L.D. is the water [Rogers is] swimming in. It's definitely a Captain America movie. You know, if the first movie was a movie about the US Army, then this is a movie about S.H.I.E.L.D... You will learn about S.H.I.E.L.D. You will learn about where it came from and where it's going and some of the cool things they have."[10] In April, F. Gary Gray withdrew his name from consideration, choosing instead to direct the N.W.A biographical film Straight Outta Compton.[58]

Writing[edit]

McFeely said the writing process begun in the middle of 2011, around the release of The First Avenger, with him and Markus "noodling on in hopes that there would be a second one and we did a lot of just throwing stuff at the wall and seeing what stuck".[59] The first few months of writing were a back and forth process with Marvel, but that after an outline was finished, the story did not change much.[60] They opted to set the story in the present day, and, after "experimenting with flashback elements for more period World War II stuff",[61]decided to abandon the flashbacks as "it became unwieldy."[59] The film would be "Cap versus the world we all live in today",[62] while averting excessive comedy regarding the hero's time displacement, as Markus considered the Captain "the most adaptive man on the planet."[59] The tone would be more grounded in reality despite the advanced technology to contrast the fantasy elements from both the first Captain America and The Avengers.[62] Despite that, the comic book origins guaranteed that the film would not have verisimilitude.[35]This still proved a challenge in the reveal of Arnim Zola, that had to be extensively rewritten to convey how "this grounded espionage paranoid thriller suddenly screeches to a halt and you switch gears really quickly with thisghost in the machine" that introduces more science fiction elements.[63]

Markus and McFeely wanted to adapt Ed Brubaker's Winter Soldier storyline from the comics, which they described as "the tone of Cap’s modern franchise",[64] but it took the duo six months to convince themselves that they could do it.[15] In the meantime, while thinking how to progress from the war film tone of The First Avenger, the writers settled on the conspiracy genre for the screenplay, and cited Three Days of the Condor,The Parallax View, and Marathon Man as influences, feeling it better conveyed Captain America's trust issues and contrasting values in the new world he was living in,[15] with Markus saying, "If you put that 1940s man into present day geo-politics everything is going to seem like a conspiracy. It’s just going to seem dirty and underhanded and shifty, and people won’t be telling the truth."[64] Three Days of the Condor in particular was used as the main source of the script structure, following the idea that the protagonist is being chased by a threat they, along with the audience, only discover halfway through the film.[35]

The writers felt this approach was similar to how Stan Lee reinvented Captain America in the 1960s and 1970s, with "the Captain dealing with all sorts of the same things that the country [was] dealing with–Vietnam,Watergate and all that stuff–so he gets to have opinions on that", thus making the "guy who is ostensibly from the more black and white 1940s react to this ultimately grey world that we live in."[65] Marvel Studios presidentKevin Feige described the film as a political thriller,[66] and as the duo struggled to figure out a third act, Feige suggested that S.H.I.E.L.D. be brought down and have Captain America fight the agency. The writers thought this was a great story point, for implementing "the physical manifestation of Cap changing the world."[67]Markus even noted how the 1970s comics had similar conspiracies.[64] The Hydra reveal made sure to include returning characters among the undercover villains, as well as references to the comics such as Arnim Zola being kept alive as a machine.[62] Feige later elaborated on the political thriller nature of the film saying,

In our attempt to make all of our films feel unique and feel different we found ourselves going back to things like [Three Days of the Condor]. Also the other political thrillers of the '70s: The Parallax ViewAll the President's Men. This was a time that Cap existed in in the comics. He found himself in the swinging '60s followed by the Watergate Era followed by the Reagan Era followed by where we are today. In the comics it was a hell of a journey for Steve. And we couldn't take him through those years because in our cinematic universe he was asleep. But we wanted to force him to confront that kind of moral conundrum, something with that '70s flavor. And in our film that takes the form of S.H.I.E.L.D.[68]

Feige stated that Steve Rogers would be paired with other characters from The Avengers like Black Widow andNick Fury, because unlike Tony Stark and Thor, who could return to their own supporting casts, Rogers had nowhere else to go, "and it just made sense that he was the one that stayed with what remains of the Avengers at the end of the film.”[69] The writers considered including Hawkeye, but "he didn’t have enough to do and suddenly it seemed like we were giving him short shrift", leading all of his parts to be fulfilled by Black Widow,[64] and Joe Russo adding that Jeremy Renner's schedule could not be worked out for him to appear.[70]As to why the Red Skull from The First Avenger did not appear in The Winter Soldier, Joe Russo explained, "I know we have a guy in a computer, but the tone we were chasing was sort of that conspiracy thriller. And we wanted to try and ground the movie as much as we could. And Red Skull, he’s a fantastical character and didn’t necessarily fit for Cap 2 and especially because it was about the fall of S.H.I.E.L.D. Certainly Hydra exists and that’s his legacy, but there’s something interesting about the fact that his legacy outlived the skull. And they’re still dealing with the demons of it, but not necessarily him.”[71]

Chris McKenna, who worked with the Russo brothers on the sitcom Community, contributed to the script by writing jokes for the film.[72]

Pre-production[edit]

"It's hard to make a political film that's not topical. That's what makes a political thriller different from just a thriller. And that's what adds to the characters' paranoia and the audience's experience of that paranoia. But we're also very pop-culture-obsessed and we love topicality, so we kept pushing to [have] scenes that, fortunately or unfortunately, played out [during the time that Edward]Snowden outed the NSA. That stuff was already in the zeitgeist. We were all reading the articles that were coming out questioning drone strikes, pre-emptive strikes, civil liberties — [Barack] Obamatalking about who they would kill... We wanted to put all of that into the film because it would be a contrast to [Captain America]'s greatest-generation[way of thinking]."

—Anthony Russo, co-director of Captain America: The Winter Soldier[73]

By June 2012, the Russo brothers entered negotiations to direct the sequel,[74] and Samuel L. Jackson was confirmed to return as S.H.I.E.L.D. leader Nick Fury.[38] Feige sought out the Russos after watching the genre-parodying season 2 finale of Community which they directed,[75][76] and for the additional ideas they brought to the initial story pitch.[77] Joe Russo detailed that since the intent was for a political thriller, "all the great political thrillers have very current issues in them that reflect the anxiety of the audience." Thus the brothers opted to include references to drone warfaretargeted killingand global surveillance. Joe even noted how during principal photography, the issues became more topical due to the disclosure of several National Security Agency surveillance-related documents.[78] At the 2012 San Diego Comic-Con International, it was announced that the official title for the sequel is Captain America: The Winter Soldier, and that the Russo brothers would direct the film.[79] After signing on to direct, the Russo brothers met with Ed Brubaker to learn more about where the Winter Soldier character came from, his thinking and the themes behind the character.[80] In July 2012, Anthony Mackie entered negotiations to star as Falconalongside Chris Evans in the sequel.[12] Sebastian Stan was also confirmed to be reprising his role as James Barnes.[12] By August 2012, Anna KendrickFelicity Jones, and Imogen Poots were being considered front-runners for a leading role in the film.[81]

In September 2012, Chris Evans stated that filming would begin in March 2013.[82] Evans also stated that Rogers' adjustment to the modern world, which was originally set to be included in The Avengers, would be better suited for Captain America: The Winter Soldier.[83] At the end of the month, The Greater Cleveland Film Commission announced that Captain America: The Winter Soldier would film in Cleveland, Ohio after the production was approved for a $9.5 million tax credit.[84] Producer Nate Moore said that after also serving as a location in The Avengers, Cleveland's government was helpful in providing large locations for filming, which "provided production value which we probably could not have built in a backlot." McFeely joked that while writing ambitious action scenes "I did not realize a great American metropolis would say 'Sure, shut down three miles of freeway and go to town'."[17] Portions of the film were also scheduled to be shot in California andWashington, D.C.[84][85]

By October, Emilia ClarkeJessica Brown FindlayTeresa Palmer, Imogen Poots, and Alison Brie were being considered for Rogers' love interest in the film,[8] and Scarlett Johansson was brought back to reprise her role as Black Widow.[8] Later in the month, Frank Grillo was testing for the role of the villain Crossbones in the film,[86] and by the end of the month, Grillo closed a deal to portray the character and Cobie Smulders signed on to reprise her role as Maria Hill from The Avengers.[23]

In January 2013, Hayley Atwell, who played Peggy Carter in Captain America: The First Avenger, said that she would not appear in the sequel.[87] However Stanley Tucci, who played Dr. Abraham Erskine in the previous film, later said that Atwell would reappear in a flashback scene.[88] Also in January, Marvel Studios announced that the film would be released in 3D, and Anthony Mackie said filming would begin on April 1, 2013.[89][90]Later that month, Toby Jones, who portrayed Arnim Zola in the first film, said that he would reprise the role in the sequel.[39] By the end of the month, stages were being built for a shoot at Raleigh Manhattan Beach Studios in Los Angeles.[91]

In February 2013, Emily VanCamp entered negotiations to play a female lead in the film.[92] By March 2013,Maximiliano Hernández was signed to reprise his role as S.H.I.E.L.D. agent Jasper Sitwell from Thor and The Avengers and Robert Redford entered in talks to join the cast, as a high-ranking member of S.H.I.E.L.D,[40][93]which he later confirmed[36] Toward the end of March, UFC fighter Georges St-Pierre was cast as a character based on the comics' Batroc the Leaper in the film.[42]

Captain America's uniform was altered from the ones seen in previous films, with a Kevlar-based ballistic component that would protect Captain America but at the same time function like a military uniform.[7] Joe Russo said, "We wanted to use his Super Soldier outfit from the [Steve Rogers: Super Soldier series] as a way to represent, thematically, his place in the world of S.H.I.E.L.D. and the difference between working for S.H.I.E.L.D. and being Captain America."[94] For the Falcon costume, the filmmakers were interested in adding more of a tactical design than was represented in the comic books, by including real-world webbing, straps and gear and stripping away the more comic book elements.[7]

Filming[edit]

Film set for Captain America: The Winter Soldier on the National Mall.

Principal photography began on April 1, 2013, at the Raleigh Manhattan Beach Studios in Los Angeles, under the working title Freezer Burn.[95]Scenes taking place on the "Lemurian Star" were filmed on the Sea Launch Commander, docked in Long Beach, California.[17] In early May,Dominic Cooper confirmed he would return as Howard Stark.[96] On May 14, 2013, production moved to Washington, D.C. with filming taking place at the National Mall and the Theodore Roosevelt Bridge.[97] The following day, Garry Shandling was spotted on set reprising his Iron Man 2 role of Senator Stern.[41] Other filming locations in Washington, D.C. included the Willard Hotel and Dupont Circle.[98]

Filming in Cleveland began on May 17 and was scheduled to last until mid-June with locations scheduled on the West Shoreway, the Southerly Wastewater Treatment Plant in Cuyahoga Heights and the Lakeview Cemetery Dam.[99] Cleveland was chosen as a stand-in for Washington, D.C, with the city's East 6th Street doubling as 7th and D Streets in Southwest D.C.[100] Other locations in Cleveland included the Federal Reserve Bank of Cleveland, the Cleveland Public LibraryCleveland State University, the Cleveland ArcadeTower City Center, the Cleveland Museum of Art, and the Western Reserve Historical Society.[100][101][102][103][104] Interior shots were also filmed inside private homes and the Pilgrim Congregational Church in Tremont.[105] Filming in Cleveland concluded on June 27, 2013.[106]

Trent Opaloch, best known for his work on District 9 and Elysium, was brought in as the director of photography. Opaloch stated that while attempting to emulate the 1970s thrillers that served as inspiration for the writers and directors, the staging and lighting tried to bring realism through "classic framing and naturalistic lighting", and the filming was done with hand-held cameras. To achieve this, Opaloch used Arri Alexa Plus 4:3cameras with Panavision anamorphic lenses and Codex Digital recorders.[107] Stunt work aimed for realistic action, priorizing practical effects. The fight scenes were staged for months, with a choreography that aimed to highlight Captain America's superhuman qualities, and "move away from impressionistic action into specificity": the raid on the S.H.I.E.L.D. vessel had stealthiness as the Captain knocked out enemies to avert detection, and the freeway fight with Winter Soldier was more "last minute" to highlight the characters' struggle to survive.[17]

In contrast to the quick editing and moving cameras of modern action films, The Winter Soldier aimed to feature longer action scenes that felt more visceral and dangerous.[35] The Russos mentioned the bank robbing scene of Heat as a major influence, which they described as "the most intense eight minutes of filmmaking I've seen in in a movie theater",[17] and action scenes directed by Brian De Palma, such as the vault heist inMission: Impossible, where "very likable characters are put in impossible situations that the audience is put on the edge on how they'd escape". Examples of these types of scenes include the ambushes on Nick Fury in the street and Captain America in the elevator.[35]

Post-production[edit]

Hayley Atwell as Peggy Carter before (top) and after (bottom) she was digitally altered to appear older in the film.

Additional photography was filmed in December 2013 and January 2014,[108] in order for the Russos to accurately show the state each character after the defeat of S.H.I.E.L.D., having read the script ofAvengers: Age of Ultron to guide their choices.[35] Joss Whedon, director of The Avengers and Avengers: Age of Ultron, wrote and directed themid-credits scene,[109] which featured Quicksilver, the Scarlet Witch,[52]and Baron Wolfgang von Strucker.[51] The title sequences were created by design firm Sarofsky, who had worked with the Russos sinceCommunity. Sarofsky collaborated with comic book artist David W. Mackon the sequences.[110]

Anthony Mackie said the Russo brothers relied on minimal use ofcomputer-generated imagery, stating, "The Russos, what they did that was so great was, they wanted to stay with live action, which is a dying art form. If they can build it, they built it. If we could do it, we did it. They wanted to do as little CGI as possible. That's why the movie looks so great."[111] Nevertheless, six special effects companies are involved in creating the visual effects of the film, including Industrial Light & Magic (ILM), Scanline VFX, Lola VFX, Luma Pictures, Whiskytree and The Embassy, with previsualization completed by Proof.[32] The film contained 2,500 visual effects shots, with 900 worked on by ILM.[112] The film featured extensive use of digital doubles. Russell Earl, ILM visual effects supervisor, said, "The character that we did the most work on was Falcon. We knew we were going to do CG wings. We also did some shots with wires and some with stunt doubles and head replacement. And we needed a very good digital double."[112]

Lola VFX, who worked on the pre-serum Steve Rogers scenes in this film and Captain America: The First Avenger, also worked on shots featuring an elderly Peggy Carter. This involved digitally transposing the facial features of an elderly actress onto the face of actress Hayley Atwell who had performed her lines with no make-up and only a few tracking markers.[32]

The Helicarriers in the film were completely digital. Earl said, "In [The Avengers] it was more like an aircraft carrier, now it’s an aircraft carrier with the addition of battle ship-sized guns. We were all over the carriers [with the virtual camera]. We were on the decks; we were flying next to them. We had a lot of close ups and different angles. And we didn’t just have one; we had three. On top of that, we had to destroy them all." This CGI environment was also used in close ups. Earl said, "The challenge was to get in all of the detail to make it feel like it is a real, working ship. We created details down to the railings and all the human-scale stuff. ... For the shots in which we were destroying them, we had to have the internals as well – the hallways, the storage areas."[112] Many of the shots of Washington, D.C. were digitally created due to numerous flight restrictions in the city which necessitated that locations be recreated by computer.[112] However, aerial footage of the city was filmed and used for live action plate photography for shots involving the Triskelion, which is located onTheodore Roosevelt Island on the Potomac River.[32]

350 different versions of the film were made, to accommodate for the different formats it would be released in domestically, while also accounting for international localization and formats. The versions had to be completed in 17 days, versus a normal turnaround time of three to four weeks for contemporary films, to make its theatrical release date.[113] One of the various changes for localization was the contents of Captain America's notebook list seen at the beginning of the film. The first five items were different depending on where the film was released, while the final five items were the same across all prints.[114] Marvel held online polls allowing fans to select the items featured in each country's release.[115]

Music[edit]

In June 2013, Henry Jackman announced that he would compose the film's score.[116] About the score Jackman said, "...it's 50% production and all the tricks I've learnt from spending years in the record industry but then it's also got the kind of injection of symphonic, thematic, heroic music that all kind of merges into one musical, and hopefully coherent piece".[117] A soundtrack album was released by Hollywood Records on April 1, 2014.[118]

Release[edit]

Chris Evans at the Paris premiere of Captain America: The Winter Soldier.

Captain America: The Winter Soldier was released in 32 markets on March 26, 2014[119][120] and in North America on April 4, 2014, in 2D, 3Dand IMAX 3D.[57][89] The film debuted on 668 IMAX screens worldwide, a record for films releasing in April.[121] The world premiere took place on March 13, 2014 at the El Capitan Theatre in Hollywood, California.[122]The Paris premiere occurred on March 17 at Le Grand Rex,[123] the London premiere took place on March 20 at Westfield London,[124] the Beijing premiere took place on March 24[125] and the Cleveland premiere took place on April 1.[126] Chris Evans and Scarlett Johansson auctioned off passes to one of the premieres for charity.[127]

Marketing[edit]

In July 2013, Marvel Studios released a teaser poster depicting a damaged and discolored Captain America shield.[128] The Los Angeles Times said, "the image suggests that [Captain America] might see some serious battle in the sequel" while Rolling Stone said, "the image hints at darker themes in the sequel".[129][130] Later that month, Marvel Studios head and producer Kevin Feige, directors Joe and Anthony Russo, and cast members Chris Evans, Scarlett Johansson, Samuel L. Jackson, Sebastian Stan, Anthony Mackie, Cobie Smulders, Emily VanCamp, and Frank Grillo held a panel at 2013 San Diego Comic-Con International and presented footage from the film.[131] In addition, Marvel had booths depicting a Smithsonian-type exhibit showing Captain America and the Howling Commandos from Captain America: The First Avenger.[132] At the end of the month, audiences were shown a glimpse of the film along with some of Marvel's other Phase Two slate of films at Disney XD's Disney Fandom event.[133]

In August 2013, Feige, Evans, Stan, and Mackie presented a clip of the film at Disney's D23 Expo.[134] In September 2013, Marvel announced that it is again partnering with Harley-Davidson, continuing their relationship from Captain America: The First Avenger, with Captain America riding the company's SoftailBreakout motorcycle in the film.[135]

Jackson, Johansson, Evans, and the Russo brothers promoting the film in Paris in March 2014.

In October 2013, Marvel released the first trailer for Captain America: The Winter SoldierThe Hollywood Reporter said, "it looks like it'll live up to the 'political thriller' that's been promised for months now."[136] The Los Angeles Times said, "[the] trailer runs 2½ minutes and teases plenty of action, conspiracy and clever banter between Captain America and his S.H.I.E.L.D. colleagues, with a smattering of the previously released Comic-Con International and D23 footage."[137] The Los Angeles Timesalso noted that the day before the release of the trailer, the studio released "a teaser for a trailer."[138] In November 2013, Jed Whedon, the co-creator of the television series Agents of S.H.I.E.L.D., said that there are plans to reference events from the film into the show, stating, "Nick Fury is in [Captain America: The Winter Soldier], and S.H.I.E.L.D. makes an appearance, so we will definitely try to tee-up some stuff and probably play a little bit of the fallout from that film."[139]

In January 2014, Disney announced that in honor of the film, Captain America would be making appearances atDisneyland.[140] The meet and greet experience opened March 7, 2014 and is called Captain America: The Living Legend and Symbol of Courage, located at Innoventions in Tomorrowland.[141] Also in January, Marvel Comics released a prelude digital comic titled, Marvel's Captain America: The Winter Soldier Infinite Comic, written by Peter David, with art by Rock-He Kim.[142] The comic sees the return of the "Zodiac", the mysterious weapon first seen in the One-Shot Agent Carter, which has fallen into the wrong hands. Captain America, Black Widow, and Rumlow must track the weapon down and put it back in S.H.I.E.L.D. protection.[143]

The first televised advertisement for Captain America: The Winter Soldier aired during Super Bowl XLVIII on February 2, 2014. According to The Hollywood Reporter, Disney paid over $4 million per 30-second spot.[144]The Los Angeles Times said, "The clip promoting the April 4 release had a recognizably melancholy tone as Chris Evans' patriotic hero grapples with the moral ambiguities of the modern age."[145] Also in February,Gameloft announced that a mobile video game, titled Captain America: The Winter Soldier – The Official Game, would be released in conjunction with the release of the film in late March 2014 for iOS and Androidplatforms.[146] A few days later General Motors announced that Chevrolet partnered with Marvel Entertainment and provided a specially designed Corvette Stingray C7 for use by the Black Widow in the film. The vehicle debuted at the 2014 Chicago Auto Show, where fans received limited-edition Captain America comic books.[147] Evans was named the grand marshal of the 2014 Daytona 500 to promote the film's release.[148]Later in the month, a 30-second television spot received "a lot of attention on social media" for a line featured in the clip. The line, which was said by Captain America, suggests that Nick Fury would die in the film. The Hollywood Reporter noted that it all seemed "a bit too obvious", noting the fact that Jackson, who plays Fury, is reprising the role in Avengers: Age of Ultron, although pointing out that it could be in a postmortem flashback appearance.[149]

In March 2014, Marvel released the Captain America Experience app, that allowed fans to capture a pictures of themselves with Captain America, and let them share it on Instagram and Twitter using specific hashtags to unlock 10 early screenings of the film across the United States,[150] which took place on March 20.[151] On March 18, ABC aired a one-hour television special titled, Marvel Studios: Assembling a Universe, which included a sneak peek of Captain America: The Winter Soldier.[152] On April 1, 2014, Evans and Stan rang the opening bell of the New York Stock Exchange in honor of the film's theatrical release.[153] Jackson appeared in advertisements for Sky Broadband.[154]

Home media[edit]

Captain America: The Winter Soldier was released by Walt Disney Studios Home Entertainment for digital download on August 19, 2014 and on Blu-rayBlu-ray 3D, and DVD on September 9, 2014. The physical media releases include behind-the-scenes featurettes, audio commentary, deleted scenes, and a blooper reel.[155]

Reception[edit]

Box office[edit]

Captain America: The Winter Soldier earned $259.8 million in North America and an estimated $454.3 million in other territories for a worldwide total of $714.1 million.[3] It became the fourth-highest grossing film of 2014 worldwide.[156]

North America

Captain America: The Winter Soldier made $10.2 million in Thursday night showings, more than double the midnight gross of its predecessor.[157] It set an April single-day[158] ($36.9 million)[159] and April opening-weekend record ($95.0 million), while its opening weekend was a 46% increase over its predecessor.[160] The film held the number one spot at the box office for three consecutive weekends,[161][162] before being overtaken by The Other Woman in its fourth weekend.[163] It achieved the largest total gross among films released in the month of April,[164] and by July, became the highest grossing film of 2014.[165]

Outside North America

Captain America: The Winter Soldier topped the box office on its opening weekend with $75.2 million from 32 overseas markets.[120] The film debuted at number one in many territories, including Australia, China, and Russia[166] and set a 3-day opening-weekend record in China among Disney films,[160] with $38.81 million.[166]It topped the box office outside North America on two consecutive weekends,[160] followed by two weeks in second, behind Rio 2.[167][168]

Critical response[edit]

The review aggregator website Rotten Tomatoes reported a 89% approval rating with an average rating of 7.5/10 based on 222 reviews. The website's consensus reads, "Suspenseful and politically astute, Captain America: The Winter Soldier is a superior entry in the Avengers canon and is sure to thrill Marvel diehards."[169]Metacritic, which uses a weighted average, assigned a score of 70 out of 100 based on 44 reviews, with an average user score of 8.2/10.[170] CinemaScore audiences gave Captain America: The Winter Soldier an "A" grade rating on an A+ to F scale.[171]

Todd McCarthy of The Hollywood Reporter said the film "takes the bold (for Marvel) step of reducing CGI spectacle to a relative minimum in favor of reviving the pleasures of hard-driving old-school action, surprising character development and intriguing suspense."[172] Scott Foundas of Variety said it is "chockfull of the breathless cliffhangers dictated by the genre, but equally rich in the quiet, tender character moments that made the first film unique among recent Marvel fare."[173] Richard Roeper of the Chicago Sun-Times said, "While not on a par with The Avengers or the first and third Iron Man movies, this is another rock-solid chapter in the big-screen story of Marvel."[174] Owen Gleiberman of Entertainment Weekly noted the topicality of the film, stating, "Captain America: The Winter Soldier is the first superhero film since the terrorist-inflected The Dark Knight that plugs you right into what's happening now."[175] Ty Burr of The Boston Globe said the film "delivers all the 3D CGI mayhem audiences have come to expect from the Marvel entertainment juggernaut, but there’s darkness and confusion just under its comic-book surface."[176] Joe Morgenstern of The Wall Street Journal said, "What makes The Winter Soldier so enjoyable, and what will make it so profitable, is its emotional bandwidth—all the vivid, nuanced life lived by its characters in between their frenzied escapades," and felt it fixed all the shortcomings of The First Avenger "and then some".[177]

Conversely, Kenneth Turan of the Los Angeles Times said, "[Captain America: The Winter Soldier] is everything a big budget superhero film should be – except inspired."[178] Manohla Dargis of The New York Times said, "Like many others of its type, [Captain America: The Winter Soldier] gets off to a kinetic start only to lose steam before blowing everything up."[179] Robbie Collin of The Daily Telegraph said, "You can't help but feel disappointment that a film with a relatively spicy premise becomes, in the end, so risk-averse."[180] Mick LaSalle of the San Francisco Chronicle said the film "has the usual overlong running time [for the comic book superhero genre], the halfhearted feints in the direction of human feeling and the obligatory action sequences that are big without being either exciting or particularly legible."[181] Joe Williams of the St. Louis Post Dispatchfelt "On paper this sequel has some promising elements, but on screen it retreats from the very issues that it raises, and on a shelf next to Captain America: The First AvengerThe Winter Soldier is pale."[182] Jake Coyle of the Associated Press said the film's biggest misstep was the handling of Stan's Winter Soldier, and that it was "getting difficult to tell the Marvel movies apart".[183]

Accolades[edit]

YearAwardCategoryRecipientResultRef.
2014Golden Trailer AwardsBest ActionCaptain America: The Winter SoldierNominated[184]
Best Action TV SpotCaptain America: The Winter SoldierWon
Best Music TV SpotCaptain America: The Winter SoldierNominated
Teen Choice AwardsChoice Movie: Sci-Fi/FantasyCaptain America: The Winter SoldierNominated[185]
Choice Movie Actor: Sci-fi/FantasyChris EvansNominated
Choice Movie Actress: Sci-fi/FantasyScarlett JohanssonNominated
Young Hollywood AwardsSuper SuperheroChris EvansNominated[186]

Sequel[edit]

By January 2014, Anthony and Joe Russo had signed on to return to direct a third installment, which they confirmed in March 2014, with Chris Evans returning as Captain America, Kevin Feige producing, and Christopher Markus and Stephen McFeely returning to write the screenplay.[187][188] The re-hiring of the directors, three months before the release of Captain America: The Winter Soldier, came as a result from impressive test screenings with Marvel executives.[187] Markus and McFeely revealed that they began working on the script for the film in late 2013.[189] Director of photography Trent Opaloch and composer Henry Jackman will also return for the third film.[190][191] Principal photography is scheduled to begin in April 2015 in Atlanta, Georgia.[70] The film is scheduled to be released on May 6, 2016.[192]

See also[edit]

Notes[edit]

  1. ^ Feige said in an interview that the scepter seen at the end of the film was Loki's from The Avengers.[193]

References[edit]

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  191. Jump up^ Burlingame, Russ (August 25, 2014). "Exclusive: Captain America 3 Directors Talk Villains And Who Is Returning".Comicbook.comArchived from the original on August 26, 2014. Retrieved August 26, 2014.
  192. Jump up^ Strom, Marc (April 7, 2014). "Captain America to Return to Theaters May 6, 2016". Marvel. Archived from the original on April 7, 2014. Retrieved April 7, 2014.
  193. Jump up^ Bibbiani, William (April 4, 2014). "Kevin Feige Interview: Captain America, The Avengers 2 and Doctor Strange". CraveOnline. Archived from the original on April 13, 2014. Retrieved April 13, 2014.

External links[edit]


Posted by 신의물방울
Entertainment/Show2014. 10. 4. 21:40

24: Live Another Day

From Wikipedia, the free encyclopedia
  (Redirected from 24 s09)
24: Live Another Day
24 LAD Poster.jpg
Promotional poster
Country of originUnited States
No. of episodes12
Broadcast
Original channelFox
Original runMay 5, 2014 – July 14, 2014
Home video release
DVD release
Region 1September 30, 2014[1]
Region 2October 6, 2014[2]
Blu-ray Disc release
Region ASeptember 30, 2014[1]
Region BOctober 6, 2014[3]
Season chronology
← Previous
Season 8
List of 24 episodes

24: Live Another Day, also known as Day 9, is a 24 limited event television series consisting of twelve episodes that premiered on May 5, 2014, and concluded on July 14, 2014, airing on Fox.[4] Sky1simulcast the premiere on May 6 in the United Kingdom and Ireland but switched to Wednesday nights for the rest of the episodes.[5] It began airing in Australia on Network Ten on May 12, 2014.[6] Set four years after the events of season 8, it adheres to the real timeconcept of covering the events of a 24-hour period and begins and ends at 11:00 a.m. However, there is a 12-hour time jump within the final episode.[7][8]

Season overview[edit]

Season nine takes place four years after Season 8James Heller, now President, is negotiating a treaty in LondonUK, where a hacker collective preaching free information has enlisted the help ofChloe O'BrianJack Bauer, who has been tracking the activities of Chloe's group while living in exile, resurfaces when he hears of an imminent attempt on Heller's life.[9][10]

There are two main story arcs in Live Another Day:

  1. Margot Al-Harazi gains control of six US drones and uses them to attack London.
  2. Cheng Zhi attacks his former country China with hijacked American weapons bringing the two countries to the brink of war.

Major subplots[edit]

  • Jack Bauer disapproves of the group Chloe O'Brian has joined.
  • Margot Al-Harazi grows suspicious of where the loyalties of her daughter lie.
  • James Heller tries to manage a crisis amid the onset of Alzheimer's disease.
  • Mark Boudreau opens himself up to blackmail by forging Heller's signature.
  • Kate Morgan has been led to believe that her husband committed treason by selling state secrets.
  • Circumstances reunite Jack and Audrey after nearly a decade.
  • America's plans for a treaty are derailed when they lose control of their own weapons.
  • Cheng Zhi partners with the Russians who are looking for Jack.

Summary[edit]

While anti-drone protesters gather outside the American embassy where James Heller is staying, agents at a CIA outpost in London find and apprehend Jack Bauer. Due to her husband's conviction, Kate Morgan is being forced to hand in her badge. However, she gets herself reinstated when she realizes that Jack is infiltrating the CIA to gain access to Chloe O'Brian. Kate is too late to intervene and Jack breaks Chloe out of interrogation with the help of his friend Belcheck. Still distrustful of Chloe, Jack follows her to Open Cell, an organization that specializes in leaking government documents. He explains that he is on the trail of Derrick Yates, a former Open Cell member who has become involved in an assassination attempt on James Heller. The attempt is revealed to involve drones when he programs an unmanned aerial vehicle to fire on British and American troops. The pilot, Chris Tanner, is falsely arrested on murder charges.

Jack and Chloe learn that Yates' device has been taken by Margot Al-Harazi, a known terrorist trying to avenge the death of her husband. When their attempt to capture her daughter Simone fails, Jack breaks into the American embassy to analyze Tanner's flight key and prove that the threat is imminent. Jack locks himself in a room with three hostages and tries to upload the data to Open Cell's leader, Adrian Cross. Marines break in before the upload finishes but Kate Morgan is able to place him in CIA custody instead. In the President's quarters, Chief of Staff Mark Boudreau expresses concerns that Bauer is a terrorist and drafts an agreement for extraditing him to Russia. Suspecting that dementia has clouded Heller's judgement, he forges the President's signature and vows to protect his wife Audrey from any further pain related to Bauer. Jack is ultimately proven right when Margot Al-Harazi broadcasts a video calling for Heller to turn himself in or face attacks on London from six US drones.

Margot executes her daughter's lover Navid when he tries to sabotage the attacks. Leaving her son Ian to pilot the drones, she sends Simone to silence Navid's family. When a missile kills several CIA operatives, Heller authorizes Bauer to go undercover with an arms dealer known for working with Al-Harazi. From transaction records, they are able to track Simone and see that she has been struck by traffic in her pursuit of Navid's niece. When Margot learns that Simone is being interrogated in the hospital, she sends a drone to destroy it. Jack and Kate escape with Simone and convince her to reveal Margot's last known whereabouts. The subsequent raid uncovers enough information to give Chloe access to the drone's camera. Meanwhile, CIA analyst Jordan Reed uncovers evidence that Kate's husband Adam Morgan may have been innocent all along. Station Chief Steve Navarro arranges to have him killed in order to cover up his own involvement in selling intel to China and framing Morgan. The assassination does not go as planned and leads to the deaths of both agents.

With Margot's deadline approaching, Heller decides to turn himself in and put an end to the civilian losses. Jack delivers his friend to a stadium of Margot's choosing but convinces him to turn back when Chloe devises a plan to loop the video feed. Thinking that Heller is still inside, Margot and Ian fire on an empty stadium and then sink five of the six rogue drones. Upon learning that Heller is alive, Margot and Ian try to attack Waterloo station with the last drone. Jack arrives with a CIA team before this can happen and kills both of them. Jack takes Yates' device back to the CIA to be analyzed. Upon arriving, he learns that Jordan's body has been found and identifies the second body as an assassin working for Navarro. Before Jack can apprehend him, Navarro escapes with the device and delivers it to Adrian Cross. Adrian explains to Chloe that some underground dealings with China are needed to finance their activism and takes her to an Open Cell chapter. They find that all of their colleagues have been murdered by Cheng Zhi, who wants to reprogram the override to start a war between the US and China. Cheng kills Adrian, kidnaps Chloe and fabricates a torpedo launch order that sinks a Chinese carrier.

Russian operative Anatol Stolnavich contacts Mark Boudreau about the rendition order. When Boudreau tries to withdraw it, Stolnavich threatens to reveal that the signature has been forged. Boudreau co-operates and gives him access to a frequency used by Bauer. As a result, Jack is attacked by Russians on his way to retrieve the override and Cheng has time to escape. Upon discovering that his encrypted frequency has leaked beyond the White House, Bauer confronts Boudreau and tells him that Russia will benefit if the US and China go to war. After apologizing to the President, Boudreau assists in the raid of a Russian diplomatic compound. He distracts Stolnavich long enough for Jack and Kate to break in but Stolnavich dies in the ensuing struggle. Audrey meets with a contact of hers, the daughter of a high ranking Chinese official, hoping to convince her that the naval attacks were perpetrated by Cheng and not the American government. Even though Cheng is unable to stop Chloe from escaping, he uses a sniper and has Audrey's secret service guards killed. He contacts Bauer saying that Audrey will die unless he gets safe passage out of England.

From the files in Stolnavich's compound Jack finds out how Cheng is planning to escape and sends Kate to rescue Audrey without attracting attention. Chloe re-establishes contact with Jack and sets up satellite surveillance of the freighter that Cheng has boarded. While Jack and Belcheck raid the ship, Kate eliminates the sniper and tells them that Audrey is safe. However, a second shooter in the area fires several shots and Audrey dies in Kate's arms. Devastated by her loss, Jack kills all of Cheng's bodyguards and transmits proof of Cheng's whereabouts to President Heller and President Wei. He kills Cheng immediately after the authenticity is verified. As the military advances are called off, Jack sees that Chloe has gone missing again and Heller is told that his daughter is dead. Twelve hours later, Jack surrenders himself to Russian agents in exchange for Chloe's freedom, Mark awaits trial for his efforts to save Audrey from Jack's influence, and James is left to mourn Audrey's death as his memories fade away.

Characters[edit]

For a more thorough list, see List of 24 characters#24: Live Another Day.

Starring[edit]

Guest starring[edit]

Production[edit]

In May 2013, Deadline.com first reported that Fox was considering a limited-run "event series" for 24 based on a concept by Howard Gordon, after failed efforts to produce the 24 feature film and the cancellation of Kiefer Sutherland's series TouchDavid Fury confirmed on Twitter that he would also be involved, pulling "double duty" with Gordon's new series Tyrant.[11] The following week, Fox officially announced 24: Live Another Day, a limited-run series of twelve episodes that would feature the return of Jack Bauer. Fox CEO Kevin Reilly said that the series would essentially represent the twelve "most important" hours of a typical 24 season, with jumps forward between hours as needed. As with the rest of Fox's push into event programming, the production will have "a big scope and top talent and top marketing budgets."[12]

In the press release, Gordon said:[12]

Jack Bauer has always been an exciting, thrilling character, and I confess that I've missed him. I think the audience has too. The character has evolved through the years, and this new and exciting event series format is perfect to tell the next chapter of his story and continue to reflect how the world is changing. Fans can rest assured that the Jack they know and love will be back.

Kiefer Sutherland, who was confirmed to executive produce and star in the new series, added:[12]

The response to 24 is unlike anything I have ever experienced as an actor before. To have the chance to reunite with the character, Jack Bauer, is like finding a lost friend. The story ideas from Howard Gordon are exciting and fresh, and will not disappoint. Great thanks to 20th Century Fox Television, Imagine Television and the FOX network for this opportunity. Make no mistake, my goal is to knock your socks off. See you soon.

In June 2013, it was announced that former 24 director Jon Cassar was signed on as executive producer and director of Live Another Day,[13] directing six of the twelve episodes.[14] The remaining six episodes were given to former 24 director and producer Milan Cheylov, and new 24 directors, Adam Kane and Omar Madha.[15][16][17] Executive producers and writers Robert CochranManny Coto and Evan Katz were also announced to return.[18] Sean Callery returned as the music composer for the series.[19]

The writing process began on July 1, 2013, with David Fury pitching the first episode, which was tentatively titled "6:30-7:30".[20] On July 11, 2013, executive producer Brian Grazer announced in an interview that the 24miniseries would "be a limited series that would then spin off into a series itself. Fox is doing it, Fox studio and Fox network, and we're totally thrilled by that."[21] In October 2013, it was confirmed the series would be set and filmed in London, England, United Kingdom.[22] Pre-production and location scouting by the crew, including Jon Cassar, began in November 2013.[23] The production offices for Live Another Day were based in the Gillette Building in west London, previously used for Red 2.[24] Production began on January 6, 2014.[25]

In a May 2014 press release, Fox billed the eighth episode as the franchise's 200th episode.[26]

Trailer[edit]

A promotional video was shot on January 22, 2014, with filming beginning for the series on January 26.[27][28]The first teaser for the show aired on Sky1 on January 21, 2014, but did not show any new footage.[29] The first American trailer, titled "Street Chaos", followed four 10-second teasers during Super Bowl XLVIII on February 2, 2014 and a promotional image was sent to Entertainment Weekly on February 20, 2014.[30]

In March, another promo with actual footage was released, showing the President of the United States arriving in London; Bauer being spotted there on camera by the CIA; and him telling Chloe that "there's no going home" for him.[31] A 20 minute preview of Live Another Day was released by Fox on April 7[32] and broadcast on May 3.[33]

Casting[edit]

Kiefer Sutherland was immediately cast as Jack Bauer on May 13, 2013.[12] Mary Lynn Rajskub was announced as the second official cast member in August 2013, reprising her role as Chloe O'Brian.[18] In October 2013, it was confirmed that Kim Raver and William Devane would reprise their roles as Audrey Raines and James Heller, respectively.[34]

The first new character to be cast was Michael Wincott's hacker character Adrian Cross.[35] One month later, two more characters were added to the cast: CIA agents Erik Ritter and Jordan Reed played by Gbenga Akinnagbe and Giles Matthey respectively.[36] On December 19, 2013, it was announced that three-timePrimetime Emmy Award winner Judy Davis had joined the cast as the villain Margot Al-Harazi.[37] However, Davis later exited the role for "personal family matters";[38] the role was recast with Michelle Fairley.[39] On January 13, at a TCA panel discussing the show, it was announced that Yvonne Strahovski would play CIA Agent Kate Morgan.[40] Benjamin Bratt was cast as her boss Steve Navarro.[41]

On January 21, Tate Donovan was cast as Heller's Chief of Staff and the husband of Audrey Raines, Mark Boudreau.[42] On January 24, Stephen Fry was cast as the British Prime Minister Trevor Davies,[43] later renamed Alastair Davies. On the same day, relatively unknown actor Charles Furness was cast in a "small guest part"[44] as Peter, a member of Chloe's hacker group. On January 26, Ross McCall was revealed to have acted in Live Another Day by Jon Cassar[45] playing Ron Clark, assistant of Mark Boudreau. The next day, John Boyega was announced to be playing drone pilot Chris Tanner.[46] Among the last actors to have his role announced was Colin Salmon playing U.S. General Coburn.[47]

Episodes[edit]

No. in seriesNo. in seasonTitleDirected byWritten byOriginal air dateProduction
code
U.S. viewers
(millions)
1931"Day 9: 11:00 a.m. – 12:00 p.m."Jon CassarEvan Katz & Manny CotoMay 5, 20149AFF018.08[48]
The CIA's London station captures former CTU agent Jack Bauer. Jack remains silent under Station Chief Steve Navarro's questioning, only wavering when Agent Kate Morgan asks if he's looking for someone. Kate asks Navarro if she can take over the case, partially to atone for a recent disgrace (her husband turned out to be selling secrets to the Chinese), but Jack is turned over to a separate branch called Special Activities. This turns out to have been his plan all along, as said branch is holding Chloe O'Brian captive. With help from his friend Belcheck, he escapes Kate's pursuit and exfiltrates her. President James Heller, his daughter Audreyand her husband, White House Chief of Staff Mark Boudreau, are in London, amidst strident public opposition, to negotiate for renewal of the U.S. military lease of Diego Garcia, a British overseas territory in the Indian Ocean on which the U.S. unmanned aerial vehicles are stationed. Mark has been keeping track of progress on Jack's capture and is concerned he might come for the President and Audrey. Meanwhile, remotely piloting an armed drone from RAF Lower Heyford, Lt. Chris Tanner provides aerial reconnaissance to a U.S. military convoy in Afghanistan. The convoy stops and Tanner scans the area with the drone, but soon loses control of the drone. The drone fires at the convoy, and, despite Tanner's warnings, four soldiers are killed, including two British officers.
1942"Day 9: 12:00 p.m. – 1:00 p.m."Jon CassarRobert Cochran &David FuryMay 5, 20149AFF028.08[48]
Chloe is a member of a hacker group, Open Cell, dedicated to exposing government secrets and led by Adrian Cross. Jack has business with them as well: he wants to track one of their members, Derrick Yates, a hacker now gone rogue. Derrick is shown to have been involved in hacking the drone that fired on the convoy. Tanner is questioned by his superiors, as his personal computer logs show that every command sent to the drone originated from his console. Kate demands to be re-instated as a field agent and to take over the hunt for Bauer, which Navarro allows, despite opposition from field agent Erik Ritter. President Heller shows signs of dementia, which worries Audrey and Mark, not only for his future as President but because he wishes to address the Parliament of the United Kingdom directly. With the help of Open Cell, Chloe and Jack track Derrick to drug dealer Basher's apartment. They are interrupted by the CIA; during the resulting stand-off, Derrick and his girlfriend escape with the device. Derrick expresses skepticism about his buyer continuing with the project, so his girlfriend kills him, steals the device, and calls her mother: the buyer, and the mastermind of the drone attack.
1953"Day 9: 1:00 p.m. – 2:00 p.m."Adam KaneSang Kyu Kim &Patrick SomervilleMay 12, 20149AFF036.48[49]
After finding Yates's body, Jack realizes his girlfriend has the device. She escapes Jack in a pursuit on theLondon Underground, but Chloe identifies her as Simone Al-Harazi, daughter of international terrorist Margot Al-Harazi. Jack berates Chloe for missing Simone, but Chloe confesses that she saw what she thought was her husband Morris and son Prescott, who were killed in an attack she believes was intended for her. They return to Open Cell, where they hear about Tanner. Jack recruits Cross to help him get into the U.S. Embassyusing a fake ID so that he can question Tanner. Kate and Ritter have taken Basher and his people hostage in the aftermath of the shooting. Navarro orders them to stand down, but she kidnaps Basher and forces him to divulge that Tanner is involved in the plot. Afterwards, Erik apologizes to Kate for his earlier dismissal of her abilities. After Simone returns to Margot's base of operations, Margot decides to use drones to attack ten British targets. However, the plan is delayed when special equipment is needed to activate the device. Jack attempts to enter the embassy, but Cross purposely botches the ID to get him arrested. Realizing the ID has failed, Jack creates chaos by shooting among anti-drone protesters, who storm the embassy. Morgan, who also reaches the embassy, sees Jack walking in and pursues him. Heller, despite Mark and Audrey's concerns, insists on giving a speech in front of the Parliament. Mark's assistant prepares a rendition order handing Jack to the Russians, which requires the President's approval. Mark secretly forges Heller's signature to get the order through.
1964"Day 9: 2:00 p.m. – 3:00 p.m."Adam KanePatrick HarbinsonMay 19, 20149AFF045.72[50]
After Jack successfully infiltrates the U.S. embassy by attacking a Diplomatic Security Service Special Agent and taking his raid jacket, Jack reaches Tanner and tells him that he knows of his innocence. Jack takes the flight key, hoping to collect possible intel from it. However, Jack is unable to exfiltrate after Kate and Ritter alert the embassy's Marines to his presence. Instead, he barricades himself inside a computer room to upload the data to Open Cell. Despite a rocky reception, President Heller is able to convince Parliament of his earnest sorrow over the incident, helping to secure America's continued presence at the drone base. He is briefed on the embassy situation by Boudreau. President Heller talks to Jack, who explains the plot. Audrey insists they listen to Jack, but the President decides to let the Marines seize the room by force. Simone's husband Naveed (Sacha Dhawan) has been recruited to pilot the hijacked drones, but he has second thoughts about the plan and convinces Simone to flee with him. After Simone confesses the plan, Margot compels Naveed's obedience by cutting off Simone's finger. Kate and Ritter debrief Tanner, who exonerates Jack as a co-conspirator. Kate decides she believes Jack's story, and sneaks into the room via an air vent to negotiate with him. When the Marines breach, they find that he has surrendered to her and the CIA. With the override device activated, Naveed prepares to fly the drones.
1975"Day 9: 3:00 p.m. – 4:00 p.m."Omar MadhaSang Kyu Kim & Patrick SomervilleMay 26, 20149AFF055.71[51]
As Jack is taken into custody, Kate uploads the contents of the flight key to Open Cell, where Adrian discovers a hidden override code which can be used to control the drones. With this information in hand, President Heller orders the entire UAV fleet grounded. Unfortunately, it's too late, and Margot gains control of six of her ten targets. She follows this with a video holding Heller responsible for a drone strike that killed 26 children (as well as her husband and members of his organization), and demanding that he surrender himself to her within three hours. Heller asks Mark for confirmation of these civilian casualties, and upon receiving it, declares that they've handed Margot a "moral victory." Naveed tells Simone that he has sabotaged the video to make it traceable; Jordan discovers it, and Navarro heads up the strike team descending on the Al-Harazi compound. Jack claims that he can put Heller in contact with an arms dealer who works with the Al-Harazis, but refuses to give up a name unless he is reinstated. Kate, who has been sidelined by Navarro due to complaints from the Marines, contacts Chloe with a sneaking suspicion that the video was traced too easily. She is right: Ian discovered Naveed's sabotage, and led the CIA into a trap (an empty estate). Ian takes over drone control while Naveed is punished. Chloe, despite Adrian abandoning her, continues to work on the problem. As Heller and Davies watch the raid, she discovers the trap, and Navarro aborts the raid under advisement from Kate. But Ian launches Hellfire missiles at the estate from one of the drones, leaving the CIA contingent dazed and wounded by the explosion. Finally, Margot goes to confront Naveed. He begs for clemency from Simone, but she remains resolute, watching in silence as her mother shoots her husband through the head.
1986"Day 9: 4:00 p.m. – 5:00 p.m."Omar MadhaDavid FuryJune 2, 20149AFF066.18[52]
After the drone attack leaves four agents dead and six wounded, Heller reinstates Jack, allowing him to make contact with an arms dealer named Karl Rask (Aksel Hennie). Jack requests no oversight, untraceable equipment, a car, and the assistance of Kate. After learning of Heller's dementia, Davies worries about the Americans' ability to handle the incident. Whilst disposing of Naveed's body, his phone rings: it's a message from his sister Farah (Tehmina Sunny), whom he told to leave the country. Margot sends Simone to clean up the loose ends, even after Simone reports that Farah has no knowledge of anything. Mark is contacted by aRussian Embassy official (Stanley Townsend) in regard to taking custody of Jack. Mark equivocates and eventually promises to meet him face to face. Jack briefs Kate on his plan: Rask will believe Jack betrayed him, so he needs to turn an unconscious Kate over as the "true" culprit. While Rask waits for her to wake up, Chloe will hack his computer. Kate tranquilizes herself voluntarily, but British surveillance detects Jack stowing her in the boot of his car, and Davies sends in MI5 to arrest Bauer. Even worse, Rask has anti-tranquilizers, and tortures Kate to get her to talk. Belchek attempts to save her, but is subdued by MI5. They storm the warehouse, and Jack takes the opportunity to get Chloe into Rask's computer; she finds a phone number belonging to Simone, who at the moment is agonizing over the need to kill her sister-in-law and niece Yasmin (Nikita Mehta). She begs Farah to flee, but when Farah sees the knife, she begins an altercation, and Simone apologetically kills her; she chases Yasmin but gets struck by a bus. Finally, Jordan discovers traces of interference in the files concerning Kate's husband. While he attempts to reconstruct the stolen files, Navarro phones a third party to report the incident. The voice-distorted third party replies that if Jordan discovers the evidence Navarro planted to frame Adam Morgan, there will be nothing they can do to help.
1997"Day 9: 5:00 p.m. – 6:00 p.m."Jon CassarTony BasgallopJune 9, 20149AFF076.28[53]
Following the shootout, Jack frees Belchek and scolds the MI5 for interfering with his mission, to which they say they are just following PM Davies' order. Jack then learns from Chloe that Simone is heading to a hospital. He alerts President Heller of MI5 involvement and the new lead; Heller then presses PM Davies for his cooperation. Margot also learns of Simone's status after talking to a paramedic on the phone, and asks her friend Kareem (Amir Boutrous) to visit the hospital and determine whether the authorities know Simone's identity. Jack interrogates Simone, who refuses to talk, while Kate talks to Yasmin and learns of Simone's efforts to protect her in-laws. Kareem relays this information to Margot, who orders a drone strike on the hospital. Mark meets the Russian Embassy official, who deduces that Mark forged Heller's signature, and threatens to expose him if they don't get Jack. Navarro is contacted by his co-conspirator—revealed to be Adrian Cross—who informs him that Jordan is still digging for the evidence. To get rid of him, Navarro sends Jordan to a canal boat for a dead drop, where he is shot and falls into the water. Jack catches Kareem in the restricted area and gives chase; from his phone they learn of the impending drone attack. They evacuate the hospital, but Margot sees Jack, Kate and Simone on the drone's camera. After a lengthy chase, Ian loses Jack after he switches vehicles in a tunnel. Jack is ordered by Heller to meet as he and Kate are moving Simone to the CIA station. Heller secretly contacts Margot and tells her that a decision has been made regarding his surrender, while, at the canal, a wounded Jordan drags himself out of the river.
2008"Day 9: 6:00 p.m. – 7:00 p.m."Jon CassarRobert CochranJune 16, 20149AFF085.63[54]
Heller informs Jack of his plan to surrender to Margot at Wembley Stadium, which Jack vehemently opposes because the U.S. does not negotiate with terrorists. Heller tells Jack that he has Alzheimer's and that he has signed a resignation letter effective in less than an hour. Jack agrees to help, but he needs another person to get him what he needs. Heller informs Mark and brings him to Jack. Jack asks for the Secret Service's security plan, a helicopter and that Mark keep everyone, including Audrey, in the dark. After Jack removes a tracking device from Heller, they successfully evade the agents and leave the building. At the CIA infirmary, Kate is told Simone must have a coma induced in order to survive. Kate calls Jack with the news, but he insists she find out more from Simone no matter the risk. She forces the doctor at gunpoint to wake Simone up. Simone reveals the location of her mother, but adds that she will no longer be there. She also says Naveed hid files under the floorboards of their bedroom. A team finds a disk and Jack has Chloe analyze it. Meanwhile, Jordan calls Navarro, gives him his location and asks to be picked up. Navarro orders the assassin there. Jordan ambushes him and a fight ensues. He is able to kill the assassin, but not before getting stabbed. Chloe gets into Margot's system using the disk, but is unable to take control of the drone. Heller arrives at the stadium using the helicopter, and Ian pilots the drone there. Margot fires a missile at Heller, and the drone reports the target destroyed.
2019"Day 9: 7:00 p.m. – 8:00 p.m."Milan CheylovTeleplay by: Tony Basgallop & Sang Kyu Kim
Story by: Evan Katz & Manny Coto
June 23, 20149AFF095.71[55]
As Heller's and Davies' staff gather together to watch the aftermath of the attack at Wembley Stadium, Margot asks Ian to start ditching the drones into the sea as promised. While doing so, Ian becomes fixated on the video feed of Heller seconds before the attack, and notices a glitch – the feed was looped. At the stadium, Jack leads Heller to a car and a waiting Belcheck. Jack contacts Audrey to tell her Heller is alive and will be returning shortly. Ian manages to save one last drone and Margot orders him to target the crowded Waterloo Station. With help from Chloe and Adrian Cross, Jack and the CIA manage to locate Margot's hideout, leading to a shootout with her men. Unable to defeat Margot's defences in the corridor, Jack rappels down to the apartment window instead. Ian shoots at Jack but misses, allowing Jack to pull him out of the window, and he falls to his death. Furious, Margot attacks Jack, but he wounds and restrains her. The missile has already been launched from the drone, but Chloe tells Jack that it can still be overridden, and he is able to divert it into the river. He then brutally defenestrates the still-defiant Margot. Meanwhile, London police find Jordan and his assassin dead. Kate is called to the scene and calls Navarro, causing him to panic, as the assassin could be traced to him. He calls Cross, who agrees to help him to flee the country on the condition that he delivers the override device recovered from the hideout. While Jack is on the phone learning that the assassin is a covert operative with ties to Navarro, Navarro steals the device and flees on foot into the city. Eluding Jack's pursuit, Navarro makes arrangements to meet with Cross. Jack calls Chloe for help with the device, but she says she is finished helping him and rides away with Cross after kissing him.
20210"Day 9: 8:00 p.m. – 9:00 p.m."Milan CheylovTeleplay by: Adam DaSilva
Story by: Robert Cochran & Manny Coto & Evan Katz
June 30, 20149AFF105.72[56]
After a chase, Jack is able to take Navarro into custody, but not before the override device is passed to Cross. It is revealed that the device can not only infiltrate the U.S. drone system, but is powerful enough to infiltrate and control the military networks of the U.S. and several other countries. Cross intends to share that capability with everyone to expose government secrets. Chloe attempts to steal the device but is caught by Cross. Meanwhile, Navarro is taken to the CIA station. Kate finds out that Navarro framed her husband as the mole. Navarro offers to reveal the device's location in exchange for immunity. Jack tricks Navarro to talk by having an angry Kate ready to shoot him in the infirmary, and he gives up the code to a tracking device that he placed on the override. When Chloe and Cross reach the new Open Cell location, they find everyone there has been killed. The elusive Cheng Zhi and his men then appear and take the override. It is revealed that Cheng originally had Cross develop the device to combat the U.S., but it was stolen by Derrick Yates who modified it to specifically hack drones and sold it to Margot. Cheng forces Chloe to reconfigure the device, but before she can put a virus in it she is caught. As Jack and Kate are driving to the device's location, they are suddenly attacked by a team of Russian agents. Mark has given them Jack's location when they threatened to expose his forging of the President's signature. Cross tells Chloe that the government didn't kill her husband and son; the whole thing was an accident. Cheng kills Cross, then issues a fake order using the device to trick a U.S. nuclear submarine into firing torpedoes at the Chinese aircraft carrier Shenyang.
20311"Day 9: 9:00 p.m. – 10:00 p.m."Jon CassarRobert Cochran & David FuryJuly 7, 20149AFF115.96[57]
Jack and Kate are caught in the shootout with the Russians while Cheng and his team disconnect the override device from the U.S. naval system before it can be traced. Jack is spotted on CCTV near their location, leading to Cheng discovering the tracker. He orders his men to leave Open Cell with the device and Chloe. After backup arrives to take out the Russians, Jack reaches Open Cell to find Adrian Cross dead and the device missing. However, Chloe manages to tip off Jack of Cheng's involvement by recording his voice on a cell phone, and later escapes during transport. Jack calls Heller to update him on Cheng, which upsets Audrey, as Cheng was thought to have been dead. Heller tells Chinese President Wei that the U.S. is not responsible, but Wei refuses to listen and mobilizes his military against the U.S., forcing Heller to raise theDEFCON level. Analyst Gavin Leonard reveals to Jack that Mark was the one who tipped off the Russians of his location. Jack confronts Mark, who admits his guilt. Heller wants him arrested for treason, but Jack needs his help to get to Stolnavich, who is shown to be partnered with Cheng. Mark bluffs his way into Stolnavich's compound by requesting asylum, allowing Jack and Kate's infiltration. Stolnavich discovers the ruse, tries to kill Mark, but dies in a struggle. Audrey meets with the daughter of a high-level Chinese official to show evidence of the device's previous attacks; however, a sniper takes out those around Audrey and she receives a call from Cheng to stay put.
20412"Day 9: 10:00 p.m. – 11:00 a.m."Jon CassarManny Coto & Evan KatzJuly 14, 20149AFF126.47[58]
Searching Stolnavich's compound, Jack learns that Cheng is leaving at a port and Audrey is pinned by Cheng's sniper. Kate goes to save Audrey, while Jack goes to stop Cheng. Kate is able to rescue Audrey from the sniper, but Audrey is killed in an ambush by Cheng's men. As the United States and China come close to war, Jack infiltrates the port alongside Belchek, with Chloe monitoring. After learning of Audrey's death from Kate, a vengeful Jack kills all of Cheng's guards and hunts down Cheng, beating him in a brutal confrontation. As the war is about to commence, Jack contacts President Heller, who uses facial and voice recognition software to confirm Cheng's identity and survival. Jack decapitates Cheng with a katana, to avenge Audrey. President Heller is able to use the proof of Cheng's survival to get the Chinese to back down, with a promise of reparations for the loss of their aircraft carrier and men. When Jack finds Chloe missing, he gets a call from the Russians, who are holding her captive. The following morning, Kate resigns from the CIA, feeling responsible for Audrey's death. Mark, now in CIA custody, is being transported back to the U.S. to be put on trial. President Heller, as he prepares to escort his daughter's body home, solemnly reflects to Prime Minister Davies on how his Alzheimer's disease will soon cause him to forget he even had a daughter, let alone she died. Jack turns himself over to the Russians, in exchange for Chloe's freedom and safety, along with that of his family.

Reception[edit]

24: Live Another Day has received positive reviews. It currently holds an 84% "Certified Fresh" rating with an average score of 7.4/10 on review aggregator site Rotten Tomatoes. Its synopsis cites this rating as a result of "strong action sequences"; however, it criticizes the season for its "familiarity and sameness".[59] It has also received positive critical reception on Metacritic, with a Metascore of 70, signifying "generally favorable reviews".[60]

The season's finale was met with critical acclaim, with reviewers praising the performances by Kiefer Sutherland and William Devane, the mix of fast action and emotionally-wrenching content, and the skilled use of emphatic silences.[61][62]

References[edit]

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External links[edit]


Posted by 신의물방울
Entertainment/Show2014. 6. 6. 10:51

12 Years a Slave (film)

From Wikipedia, the free encyclopedia
12 Years a Slave
12 Years a Slave film poster.jpg
Theatrical release poster
Directed bySteve McQueen
Produced by
Screenplay byJohn Ridley
Based onTwelve Years a Slave 
by Solomon Northup
Starring
Music byHans Zimmer
CinematographySean Bobbitt
Editing byJoe Walker
Studio
Distributed by
Release dates
Running time134 minutes[1]
Country
  • United Kingdom
  • United States
LanguageEnglish
Budget$20[2][3]–22 million[4]
$18 million after tax rebates[4]
Box office$187.7 million[5]

12 Years a Slave is a 2013 British-American historical drama filmand an adaptation of the 1853 slave narrative memoir Twelve Years a Slave by Solomon Northup, a New York State-born free African-American man who was kidnapped in Washington, D.C. in 1841 and sold into slavery. Northup worked on plantations in the state ofLouisiana for twelve years before his release. The first scholarly edition of Northup's memoir, co-edited in 1968 by Sue Eakin andJoseph Logsdon, carefully retraced and validated the account and concluded it to be accurate.[6]

This is the third feature film directed by Steve McQueen. The screenplay was written by John RidleyChiwetel Ejiofor stars as Solomon Northup. Michael FassbenderBenedict CumberbatchPaul DanoPaul GiamattiLupita Nyong'oSarah PaulsonBrad Pitt, andAlfre Woodard are all featured in supporting roles. Principal photography took place in New Orleans, Louisiana, from June 27 to August 13, 2012. The locations used were four historic antebellum plantationsFelicityBocageDestrehan, and Magnolia. Of the four, Magnolia is nearest to the actual plantation where Northup was held.

12 Years a Slave received widespread critical acclaim, and was named the best film of 2013 by several media outlets. It proved to be a box office success, earning over $187 million on a production budget of $18 million. The film won three Academy AwardsBest PictureBest Supporting Actress for Nyong'o, and the Oscar for Best Adapted Screenplay for Ridley. The Best Picture win made McQueen the first black producer ever to have received the award and the first black director to have directed a Best Picture.[7][8] The film was awarded the Golden Globe Award for Best Motion Picture – Drama, and theBritish Academy of Film and Television Arts recognized it with the Best Film and the Best Actor award for Ejiofor.[9]

Plot[edit]

In 1841, Solomon Northup (Chiwetel Ejiofor) is a free African-American man working as a violinist, who lives with his wife and two children in Saratoga Springs, New York. Two men (Scoot McNairy andTaran Killam) offer him a two-week job as a musician if he will travel to Washington, D.C. with them, but once they get there they drug Northup and he wakes up in chains, about to be sold into slavery.

Northup is shipped to New Orleans and is renamed "Platt", the identity of a runaway slave from Georgia. Beaten repeatedly, he is ultimately purchased by plantation owner William Ford (Benedict Cumberbatch). Northup manages to stay on good terms with Ford, a relatively benevolent master. Northup engineers a waterway for transporting logs swiftly and cost-effectively across a swamp, and Ford presents him with a violin in gratitude. Overseer John Tibeats (Paul Dano) resents Northup and begins verbally harassing him.

The tensions between Tibeats and Northup escalate; Tibeats attacks Northup, and Northup fights back. In retaliation, Tibeats and his friends attempt to lynch Northup, who suffers many hours standing on tiptoe while in the noose. Ford explains that in order to save Northup's life he must be sold to Edwin Epps (Michael Fassbender). Northup attempts to reason with Ford, explaining that he is actually a free man. Ford states that he "cannot hear this" and responds "he has a debt to pay" on Northup's purchase price.

Epps believes his right to abuse his slaves is biblically sanctioned. The slaves must pick at least 200 pounds (91 kg) of cotton every day, or be beaten. A young female slave named Patsey (Lupita Nyong'o) picks over 500 pounds (230 kg) daily, and is praised lavishly by Epps. He also repeatedly rapes her, and seems to fall in love with her against his better judgement. Epps' wife (Sarah Paulson) is envious of Patsey and frequently humiliates and attacks her.

The abuse of Patsey worsens as Epps continues to rape her. Patsey wishes to die and asks Northup to kill her; he refuses. Sometime later, an outbreak of cotton worm befalls Epps' plantation; he decides that the new slaves are the cause, a plague sent by God. He leases them to a neighboring plantation for the season. While there, Northup gains the favor of the plantation's owner, who allows him to play the fiddle at a neighbor's wedding anniversary celebration, and to keep his earnings.

When Northup returns to Epps, he attempts to use the money to pay a white field hand and former over-seer, Armsby (Garret Dillahunt), to mail a letter to Northup's friends in New York. Armsby agrees to deliver the letter, and accepts all Northup's saved money. Northup is betrayed by Armsby, and Northup is narrowly able to convince Epps that the story of a letter is a lie. Northup tearfully burns the letter, his only hope of freedom.

Northup begins working on the construction of a gazebo with a Canadian laborer named Bass (Brad Pitt). Bass earns Epps' displeasure by expressing his opposition to slavery, by trying to explain to Epps that he could have a little compassion towards those working for him. Epps sees them as his property.

One day, Epps becomes enraged after discovering Patsey missing from his plantation. When she returns, she reveals she was gone to get a bar of soap from Mistress Shaw (Alfre Woodard), having become sick from her own stench as a result of being forbidden soap by Mary Epps. Epps doesn't believe her and orders her stripped and tied to a post. Encouraged by his wife, Epps forces Northup to whip Patsey. Northup reluctantly obeys, but Epps eventually takes the whip away from Northup, savagely lashing her.

Northup purposely destroys his violin, and while continuing to work on the gazebo, he asks Bass where he's from. Bass replies that he is from Canada. Northup confides his kidnapping to Bass. Once again, Northup asks for help in getting a letter to Saratoga Springs. Bass, risking his life, agrees to send it.

One day, Northup is called over by the local sheriff, who arrives in a carriage with another man. The sheriff asks Northup a series of questions to confirm his answers match the facts of his life in New York. Northup recognizes the sheriff's companion as a shopkeeper he knows from Saratoga. The man has come to free him, and the two embrace. Though Epps angrily resists and Patsey is distraught, Northup leaves immediately.

After being enslaved for twelve years, Northup is restored to freedom and returned to his family. As he walks into his home, he sees his whole family, including his daughter, who presents him with his grandson and namesake. Concluding credits recount the inability of Northup and his legal counsel to prosecute the men responsible for his being sold into slavery as well as the mystery surrounding details of Northup's death and burial.

Cast[edit]

Alfre Woodard at the premiere of 12 Years a Slave

Production[edit]

Development[edit]

After meeting screenwriter John Ridley at a Creative Artists Agency screening ofHunger in 2008, director Steve McQueen got in touch with Ridley about his interest in making a film about "the slave era in America" with "a character that was not obvious in terms of their trade in slavery."[10] Developing the idea back and forth, the two did not strike a chord until McQueen's partner, Bianca Stigter, found Solomon Northup's 1853 memoir Twelve Years a Slave. McQueen later told an interviewer:

I read this book, and I was totally stunned. At the same time I was pretty upset with myself that I didn't know this book. I live in Amsterdam whereAnne Frank is a national hero, and for me this book read like Anne Frank's diary but written 97 years before – a firsthand account of slavery. I basically made it my passion to make this book into a film.[11]

After a lengthy development process, during which Brad Pitt's production company Plan B Entertainment backed the project, which eventually helped get some financing from various film studios, the film was officially announced in August 2011 with McQueen to direct and Chiwetel Ejiofor to star as Solomon Northup, a free negro who was kidnapped and sold into slavery in the Deep South.[12] McQueen compared Ejiofor's conduct "of class and dignity" to that of Sidney Poitier and Harry Belafonte.[13] In October 2011, Michael Fassbender (who starred in McQueen's previous films Hunger and Shame) joined the cast.[14] In early 2012, the rest of the roles were cast, and filming was scheduled to begin at the end of June 2012.[15][16]

To capture the language and dialects of the era and regions in which the film takes place, dialect coach Michael Buster was brought in to assist the cast in altering their speech. The language has a literary quality related to the style of writing of the day and the strong influence of the King James Bible.[17] Buster explained:

We don't know what slaves sounded like in the 1840s, so I just used rural samples from Mississippi and Louisiana [for actors Ejiofor and Fassbender]. Then for Benedict [Cumberbatch], I found some real upper-class New Orleanians from the '30s. And then I also worked with Lupita Nyong'o, who's Kenyan but she did her training at Yale. So she really shifted her speech so she could do American speech.[18]

After both won Oscars at the 86th Academy Awards, it was reported that McQueen and Ridley had been in an ongoing feud over screenplay credit. McQueen reportedly had asked Ridley for shared credit, which he declined. McQueen appealed to Fox Searchlight, which sided with Ridley. Neither thanked the other during their respective acceptance speeches at the event.[19] Since the event, Ridley has noted his regret for not mentioning McQueen[20][21] and denied the feud.[22][23] He spoke favorably of working with McQueen, and explained that his sole screenplay credit was due to the rules of the Writers Guild of America.[24] McQueen has not commented on the alleged feud.[19][21][22][23]

Filming[edit]

Director Steve McQueen at the premiere of 12 Years a Slaveat the 2013 Toronto Film Festival

With a production budget of $20 million,[2] principal photography began in New Orleans, Louisiana, on June 27, 2012. After seven weeks,[25] filming concluded on August 13, 2012.[26] As a way to keep down production costs, a bulk of the filming took place around the greater New Orleans area – mostly south of theRed River country in the north of the state, where the historic Northup was enslaved.[27] Among locations used were four historic antebellum plantations:FelicityBocageDestrehan, and Magnolia.[28] Magnolia, a plantation inSchriever, Louisiana, is just a few miles from one of the historic sites where Northup was held. "To know that we were right there in the place where these things occurred was so powerful and emotional," said actor Chiwetel Ejiofor. "That feeling of dancing with ghosts – it's palpable."[29] Filming also took place at the Columns Hotel and Madame John's Legacy in the French Quarter of New Orleans.[30]

Cinematographer Sean Bobbitt, the film's primary camera operator,[31] shot 12 Years a Slave on 35 mm film with a 2.35:1 widescreen aspect ratio using both anArricam LT and ST. "Particularly for a period piece, film gives the audience a definite sense of period and quality," said Bobbitt. "And because of the story's epic nature, widescreen clearly made the most sense. Widescreen means a big film, an epic tale – in this case an epic tale of human endurance."[32]

The filmmakers avoided the desaturated visual style that is typical of a more gritty documentary aesthetic.[33]Deliberately drawing visual comparisons in the filming to the works of Spanish painter Francisco Goya, McQueen explained,

When you think about Goya, who painted the most horrendous pictures of violence and torture and so forth, and they're amazing, exquisite paintings, one of the reasons they're such wonderful paintings is because what he's saying is, 'Look – look at this.' So if you paint it badly or put it in the sort of wrong perspective, you draw more attention to what's wrong with the image rather than looking at the image.[34]

Design[edit]

To accurately depict the time period of the film, the filmmakers conducted extensive research that included studying artwork from the era.[35] With eight weeks to create the wardrobe, costume designer Patricia Norriscollaborated with Western Costume to compile costumes that would illustrate the passage of time while also being historically accurate.[36]Using an earth tone color palette, Norris created nearly 1,000 costumes for the film. "She [Norris] took earth samples from all three of the plantations to match the clothes," McQueen said, "and she had the conservation with Sean [Bobbitt] to deal with the character temperature on each plantation, there was a lot of that minute detail."[37] The filmmakers also used some pieces of clothing discovered on set that were worn by slaves.[38]

Music[edit]

The musical score to 12 Years a Slave was composed by Hans Zimmer, with original on-screen violin music written and arranged by Nicholas Britelland performed by Tim Fain.[39] The film also features a few pieces of western classical and American folk music such as Franz Schubert's "Trio in B-flat, D471" and John and Alan Lomax's arrangement of "Run, Nigger, Run".[40] A soundtrack album, Music from and Inspired by 12 Years a Slave, was released digitally on November 5 and received a physical format release on November 11, 2013 by Columbia Records.[41] In addition to Zimmer's score, the album features music inspired by the film by artists such as John LegendLaura MvulaAlicia KeysChris Cornell, and Alabama Shakes.[42] Legend's cover of "Roll, Jordan, Roll" debuted online three weeks prior to the soundtrack's release.[43]

Historical accuracy[edit]

African-American history and culture scholar Henry Louis Gates Jr. was a consultant on the film, and researcher David Fiske, co-author of Solomon Northup: The Complete Story of the Author of Twelve Years a Slave,provided some material used to market the film.[44] Nevertheless, news and magazine articles around the time of the film's release described a scholar alleging some license that Northup could have taken with his book, and liberties that McQueen definitely took with Northup's original, for dramatic, modernizing, or other reasons.

Scott Feinberg wrote in the The Hollywood Reporter about a September 22New York Times article that "dredged up and highlighted a 1984 essay by another scholar, James Olney, that questioned the 'literal truth' of specific incidents in Northup's account and suggested that David Wilson, the whiteamanuensis to whom Northup had dictated his story, had taken the liberty of sprucing it up to make it even more effective at rallying public opinion against slavery."[45] According to Olney, when abolitionists invited an ex-slave to share his experience in slavery at an antislavery convention, and when they subsequently funded the appearance of that story in print, "they had certain clear expectations, well understood by themselves and well understood by the ex-slave, too."[44]

Noah Berlatsky wrote in the The Atlantic about a scene in McQueen's movie version, shortly after Northup is kidnapped, when he is on a ship bound south, when a sailor who has entered the hold is about to rape a slave woman when a male slave intervenes. "The sailor unhesitatingly stabs and kills him," he wrote, and "this seems unlikely on its face—slaves are valuable, and the sailor is not the owner. And, sure enough, the scene is not in the book."[46]

Forrest Wickman of Slate wrote of Northup's book giving a more favorable account of the author's onetime master, William Ford, than the McQueen film. In Northup's own words, "There never was a more kind, noble, candid, Christian man than William Ford," adding that Ford's circumstances "blinded [Ford] to the inherent wrong at the bottom of the system of Slavery." The movie, however, according to Wickham, "frequently undermines Ford."[47] McQueen also undercuts Christianity itself as well, in an effort to update the ethical lessons from Northup's story for the 21st century, by holding the institutions of Christianity up to the light for their ability to justify slavery at the time.[48] Northup was a Christian of his time, writing of his former master being "blinded" by "circumstances"[47] that in retrospect meant a racist acceptance of slavery despite being a Christian, a position untenable to contemporary Christians[49] and to Christian abolitionistsof the 19th century but not contradictory to Northup himself. Valerie Elverton Dixon in The Washington Postcharacterized the Christianity depicted in the movie as "broken".[48]

Emily West, an associate professor of history at the University of Reading who specializes in the history of slavery in the U.S., said she had "never seen a film represent slavery so accurately".[50] Reviewing the film forHistory Extra, the website of BBC History Magazine, she said: "The film starkly and powerfully unveiled the sights and sounds of enslavement – from slaves picking cotton as they sang in the fields, to the crack of the lash down people’s backs. We also heard a lot about the ideology behind enslavement. Masters such as William Ford and Edwin Epps, although very different characters, both used an interpretation of Christianity to justify their ownership of slaves. They believed the Bible sanctioned slavery, and that it was their ‘Christian duty’ to preach the scriptures to their slaves."[50]

Release[edit]

Michael Fassbender and Lupita Nyong'o at the 2013 New York Film Festival

12 Years a Slave premiered at the Telluride Film Festival on August 30, 2013,[51] before screening at the 2013 Toronto International Film Festival on September 6,[52] the New York Film Festival on October 8,[53] andPhiladelphia Film Festival on October 19, 2013.[54]

On November 15, 2011, Summit Entertainment announced it had secured a deal to distribute 12 Years a Slave to international markets.[55] In April 2012, a few weeks before principal photography, New Regency Productionsagreed to co-finance the film.[56] Because of a distribution pact between20th Century Fox and New Regency, Fox Searchlight Pictures acquired the film's United States distribution rights.[57] However, instead of paying for the distribution rights, Fox Searchlight made a deal in which it would share box-office proceeds with the financiers of the independently financed film.[58] 12 Years a Slave was commercially released on October 18, 2013 in the United States for a limited release of 19 theaters, with a wide release in subsequent weeks.[59] The film was initially scheduled to be released in late December 2013, but "some exuberant test screenings" led to the decision to move up the release date.[60]

Marketing[edit]

Due to both the film's explicit nature and award contender status, 12 Years a Slave's financial success is being watched closely. Many analysts have compared the film's content to other epic drama films of a similar vein such as Schindler's List (1993) and The Passion of the Christ (2004), which became box office successes despite their respective subject matters.[29][58] "It may be a tough subject matter, but when handled well ... films that are tough to sit through can still be commercially successful," said Phil Contrino of Boxoffice Magazine.[61] Despite its content, the film's critical success has assisted its domestic distribution by Fox Searchlight that began with a limited released aimed primarily towards art house and African-American patrons.[62] The film's release was gradually widened in subsequent weeks, similarly to how the studio had successfully done in years prior with films such as Black Swan and The Descendants.[63] International release dates for 12 Years a Slave were largely delayed to early 2014 in order to take advantage of the attention created by awards seasons.[3]

During its marketing campaign, 12 Years a Slave received unpaid endorsements by celebrities such as Kanye West and Sean Combs.[64] In a video posted by Revolt, Combs urged viewers to see 12 Years a Slave by stating: "This movie is very painful but very honest, and is a part of the healing process. I beg all of you to take your kids, everybody to see it. ... You have to see this so you can understand, so you can just start to understand."[65]

Reception[edit]

Box office[edit]

As of May 20, 2014, 12 Years a Slave had earned $187.7 million including $56.7 million in the United States.[5]During its opening limited release in the United States, 12 Years a Slave debuted with a weekend total of $923,715 on 19 screens for a $48,617 per-screen average.[66] The following weekend, the film entered the top ten after expanding to 123 theatres and grossing an additional $2.1 million.[67] It continued to improve into its third weekend, grossing $4.6 million at 410 locations. The film release was expanded to over 1,100 locations on November 8, 2013.[5][68]

Critical response[edit]

Brad Pitt at the premiere of 12 Years a Slave

12 Years a Slave received near-universal acclaim by critics and audiences, for its acting (particularly Chiwetel Ejiofor, Michael Fassbender and Lupita Nyong'o),Steve McQueen's direction, John Ridley's screenplay, its production values, and its faithfulness to Solomon Northup's account.

Film review aggregator Rotten Tomatoes reports that 97% of critics gave the film a "Certified Fresh" rating, based on 258 reviews with an average score of 9/10, with the site's consensus stating, "It's far from comfortable viewing, but 12 Years a Slave's unflinchingly brutal look at American slavery is also brilliant—and quite possibly essential—cinema."[69] Metacritic, another review aggregator, assigned the film a weighted average score of 97 (out of 100) based on 48 reviews from mainstream critics, considered to be "universal acclaim". It is currently one of the site's highest-rated films as well as the best reviewed film of 2013.[70] CinemaScore reported that audiences gave the film an "A" grade.[71]

Richard Corliss of TIME heralded the film and its director, Steve McQueen, by stating: "Indeed, McQueen's film is closer in its storytelling particulars to such 1970s exploitation-exposés of slavery as Mandingo and Goodbye, Uncle Tom. Except that McQueen is not a schlockmeister sensationalist but a remorseless artist." Corliss draws parallels with Nazi Germany, saying, "McQueen shows that racism, aside from its barbarous inhumanity, is insanely inefficient. It can be argued that Nazi Germany lost the war both because it diverted so much manpower to the killing of Jews and because it did not exploit the brilliance of Jewish scientists in building smarter weapons. So the slave owners dilute the energy of their slaves by whipping them for sadistic sport and, as Epps does, waking them at night to dance for his wife's cruel pleasure."[72]

Gregory Ellwood of HitFix gave the film an "A-" rating, stating, "12 Years is a powerful drama driven by McQueen's bold direction and the finest performance of Chiwetel Ejiofor's career." He continued by praising the performances of Fassbender and Nyong'o, citing Nyong'o as "the film's breakthrough performance [that] may find Nyong'o making her way to the Dolby Theater next March." He also admired the film's "gorgeous" cinematography and the musical score, as "one of Hans Zimmer's more moving scores in some time."[73]

Paul MacInnes of The Guardian scored the film five out of five stars, writing, "Stark, visceral and unrelenting, 12 Years a Slave is not just a great film but a necessary one."[74]

The reviewers of Spill.com gave it high acclaim as well, with two reviewers giving it a "Better Than Sex," their highest rating. However, the reviewers agreed that it was not a film they would watch again anytime soon. When comparing it to the miniseries version of Roots, reviewer Cyrus stated that "Roots is The Care Bears Movie in comparison to this."[75]

Benedict Cumberbatchsigning autographs at the premiere of the film at TIFF, September 2013

Owen Gleiberman of Entertainment Weekly praised it as "a new movie landmark of cruelty and transcendence" and as "a movie about a life that gets taken away, and that's why it lets us touch what life is." He also commented very positively about Ejiofor's performance, while further stating, "12 Years a Slave lets us stare at the primal sin of America with open eyes, and at moments it is hard to watch, yet it's a movie of such humanity and grace that at every moment, you feel you're seeing something essential. It is Chiwetel Ejiofor's extraordinary performance that holds the movie together, and that allows us to watch it without blinking. He plays Solomon with a powerful inner strength, yet he never soft-pedals the silent nightmare that is Solomon's daily existence."[76]

Peter Travers of Rolling Stone, gave the film a four-star rating and said: "you won't be able to tuck this powder keg in the corner of your mind and forget it. What we have here is a blistering, brilliant, straight-up classic." He later named the film the best movie of 2013.[77]

Manohla Dargis wrote, in her review for The New York Times, "the genius of 12 Years a Slave is its insistence on banal evil, and on terror, that seeped into souls, bound bodies and reaped an enduring, terrible price."[78]

The Daily Telegraph's Tim Robey granted the film a maximum score of five stars, stating that "it's the nobility of this remarkable film that pierces the soul," while praising Ejiofor and Nyong'o's performances.[79]

Tina Hassannia of Slant Magazine said that "using his signature visual composition and deafening sound design, Steve McQueen portrays the harrowing realism of Northup's experience and the complicated relationships between master and slave, master and master, slave and slave, and so on."[80]

David Simon, the creator of the TV series The Wire, highly praised the movie, commenting that "it marks the first time in history that our entertainment industry, albeit with international creative input, has managed to stare directly at slavery and maintain that gaze".[81]

The film was not without its criticisms. Stephanie Zacharek of The Village Voice was more critical of the film. While praising Ejiofor's work, she stated: "It's a picture that stays more than a few safe steps away from anything so dangerous as raw feeling. Even when it depicts inhuman cruelty, as it often does, it never compromises its aesthetic purity."[82] Peter Malamud Smith of Slate criticized the story, saying, "12 Years a Slave is constructed as a story of a man trying to return to his family, offering every viewer a way into empathizing with its protagonist. Maybe we need a story framed on that individual scale in order to understand it. But it has a distorting effect all the same. We're more invested in one hero than in millions of victims; if we're forced to imagine ourselves enslaved, we want to imagine ourselves as Northup, a special person who miraculously escaped the system that attempted to crush him." Describing this as "the hero problem", Malamud Smith concluded his review explaining, "We can handle 12 Years a Slave. But don't expect 60 Years a Slave any time soon. And 200 Years, Millions of Slaves? Forget about it."[83] At The Guardian, black Canadian author Orville Lloyd Douglas said he would not be seeing 12 Years a Slave, explaining: "I'm convinced these black race films are created for a white, liberal film audience to engender white guilt and make them feel bad about themselves. Regardless of your race, these films are unlikely to teach you anything you don't already know."[84]

Top ten lists[edit]

12 Years a Slave has been named as one of the best films of 2013 by various ongoing critics.[85]

Accolades[edit]

12 Years a Slave has received numerous awards and nominations. It earned three Academy Awards, including Best Picture.[86] It won the Golden Globe Award for Best Motion Picture – Drama.[87] The film also won theBAFTA Award for Best Film, while Ejiofor received the Best Actor award.[9]

See also[edit]

References[edit]

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External links[edit]


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