2016 Directed by James Gray
A true-life drama, centering on British explorer Col. Percival Fawcett, who disappeared while searching for a mysterious city in the Amazon in the 1920s.
Charlie Hunnam Robert Pattinson Sienna Miller Tom Holland Angus Macfadyen Ian McDiarmid Franco Nero Bobby Smalldridge Tom Mulheron Edward Ashley Harry Melling John Sackville Adam Bellamy Daniel Huttlestone Johann Myers Michael Ford-FitzGerald Aleksandar Jovanović Michael Jenn Raquel Arraes Nicholas Agnew Frank Clem Nickolas Grace
If not for the ineffably modern hollowness of Charlie Hunnam’s speaking voice, or the distinct rind of 21st century celebrity that still clings to co-star Robert Pattinson like the dying traces of yesterday’s cologne, someone could easily be fooled into thinking that “The Lost City of Z” was shot 40 years ago. In fact, that might be the greatest compliment a viewer could pay writer-director James Gray (“The Immigrant”), a man who seems increasingly determined to revive the glory days of our national cinema, when movie were pictures and auteurs were mavericks. Gray pulls from the past as liberally as Quentin Tarantino, but without the ego — he doesn’t try to process his influences through the slaughterhouse of his own…
98
Percy Fawcett, the subject under a dual-microscope in James Gray's latest memory flip-book, forces the viewer to reconsider Adventure - as a genre and as a daydream - through immense meditation to his particular obsessions and mystifying personal narrative. Being both a product of colonialism and a primitive prognosticator of empathetic relations to other cultures, he's a White Explorer desperately trying to rebel against the stigma even as he continues to roam the jungle in search of a fabled city spoken in whispers and translations comprised of miscommunication. Whether he reached his destination is unknown, but Fawcett's idealism feeds Gray's melancholic grasp on clinical study and, without revealing the trick, his own personal interpretation of the story. The Lost…
9/10
Percy's ambitions of finding Z reflect that of Gray's ambitions with his biggest project to date. Reminiscent of the films of David Lean, The Lost City of Z is a marvel of a film that packs a surprising emotional punch. Gray's themes of family continue and deepen more with this astonishing film. I couldn't stop looking at it. Images that feel reminiscent of Paths of Glory and Apocalypse Now are great but Gray adds his own spin to keep it fresh. So many amazing images that it's too much t unpack on a first viewing. That final shot is an all timer. This confirms that James Gray is the next great American Director. Let's all bow down to a true master.
It's rare to find a movie these days that believes in adventure and sincerity and pure storytelling as interchangeable qualities, and lives up to all of them.
52/100
Knew basically zilch about this going in—the book hadn't crossed my path, and I avoid reading anything at all about films I definitely plan to see. So I just assumed it to be an entirely original work, since that's all Gray had previously made (apart from Two Lovers being partially/vaguely inspired by Dostoyevsky, which I'd forgotten was even the case until I fact-checked this sentence). Sometime after Fawcett returns from his second expedition and resigns from the Royal Geographical Society, however, it became clear to me that I was watching a story based on actual events, simply because no screenwriter would ever fashion such a disjointed narrative from scratch. And if I'm sitting there thinking "this is so unsatisfying,…
"La civiltà perduta" parte come una buona rivisitazione di "Cuore di tenebra"(romanzo da cui è tratto il film "Apocalypse now"), ambientata in Sudamerica anziché in Afrika, ma col proseguire della pellicola si rivela essere molto più di un semplice film d'avventura all'Indiana Jones; infatti con Indiana Jones ha ben poco da spartire:
Il film è fortemente introspettivo e vengono analizzati in particolare l'esploratore che sviluppa un'ossessione per la foresta amazzonica e la ricerca di una città perduta al suo interno (la città di Z) e sua moglie:
Il primo, per tre volte, mette tutto a rischio per inseguire il suo sogno, sbattendosene beatamente il cazzo dell'opposizione dei suoi detrattori. Questo atteggiamento lo porta lontano dalla moglie e dai figli, che…
The story of Percy Fawcett's search for the Lost City Of Z is one for the ages and it makes a solid film, especially as directed by James Gray. Much of this movie, with its soft focus and emphasis on scenery, felt like a foreign film made in the '70s. The aesthetics reminded me of Picnic At Hanging Rock and, much like that movie, the ending to Z is probably not quite what you were expecting. It was uneven at times but the strongest sequences had me firmly entranced.
It might be tiredsome for some people, including me but its slow burning pace is for who have patience. Poetic and beautiful to look at. All filmmakers should consider Sienna Miller as their leading Actress. She gave heart and softness to this movie.
This movie is a slow-burn, beautiful story of adventure, passion, and discovery. Charlie Hunnam portrays English explorer Colonel Percival Fawcett with ease, as he takes us through a life journey of searching for The Lost City of Z.
The film entrenches us in the beauty of the Amazon rainforest, the political drama in England, and family drama at Fawcett's home. The movie is artfully slow, providing just enough to tell this story, but leaving us wanting more.
It is a spark of adventure, a breath of fresh air, and an achievement in film.
White man overcomes the struggles imposed by other white men to maybe possibly achieve his dreams.
Alternatively, "the lost city of zzz's"
(The costumes were nice and I like some of the strange dreamlike sequences but whew they could have done so much more with this)
Its weird that a person who's as disdainful of gatekeepers as James Gray apparently is would make a movie that could only possibly be enjoyed by academicians and nerds (redundancy, I know).
O seu segmento final, surpreendentemente, consegue torná-lo num filme muito estimável, na maneira como articula um pensamento singular e profundo sobre a experiência física de uma fé. No entanto, até chegar a esse sopro criativo de emoção, o projecto de cinema de James Gray aparenta indícios fortes de desgaste: no seu trabalho formal feito a partir da história do cinema nunca foi tão fácil identificar as citações utilizadas, algo que muitas vezes atrapalha um relacionamento pleno com as situações que estão a ser narradas, e que também limita fortemente a liberdade criativa do realizador no momento em que tem que localizar, definir e lidar com as emoções e ideias que lhe interessam no desenrolar da história; tão preso que está…
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Publicada originalmente aqui: stagefright.me/
