The Oscar-winning director Andrew Stanton JOHN CARTER sign with a great adventure film that takes place on the planet Barsoom (Mars), inhabited by warlike tribes and extraordinary creatures.Taken from the first book “Cycle of Mars” by Edgar Rice Burroughs, the film tells the fascinating journey of John Carter, who finds himself inexplicably transported to Barsoom, the heart of a mysterious war between the inhabitants of the planet. Of all the strange beings that inhabit this universe, he made the acquaintance of Tarkas Tars and Dejah Thoris the captivating princess. In this world about to disappear, Carter discovers that the survival of Barsoom and its people is in his hands …
These past months have been those of a revolution. Indeed, the circle of the gods of animation at Pixar, has seen from two of its best and brightest film in live action. Brad Bird first, that with Mission: Impossible – Ghost Protocol has not only managed to control his superstar Tom Cruise but has mostly delivered a great action movie, and now Andrew Stanton . With John Carter , originally John Carter of Mars , as he should have kept beautiful, the director of Finding Nemo is tackling a project of any magnitude, the kind of movie you can not see once every 10 years, with luck. Like Avatar , the saga as Star Wars , like many others, John Carter is a film-world. Filming Titanic, a crazy project, and ultimately a film that Disney does not know what to do and been trying for months to sell it as a vulgar tale of science fiction for children, then it is a film of a magnitude that the studio will not return anytime soon. Anyway, John Carter there, John Carter will be seen, and John Carter is an outsized movie … if not the great film as expected.
John Carter film is a paradox because it is both at the forefront of cinema technology but seems dated in its content. There is something magical in there, because the crazy bet to Andrew Stanton is to live on a big screen adventure matrix for almost 100 years of popular culture, from literature to cinema, to the comic.Therefore, we repeatedly find the impression of scenes and elements already seen, it is in George Lucas , Marvel or DC Comics. Yet never has the feeling of repetition simply because Andrew Stanton knows his story. He however did not all the advantages on his side, including a scenario sometimes bordering destitution, especially everything concerning the romance between John Carter and Dejah Thoris, treated over the leg while there had the potential to find the one between Jake Sully and Neytiri. There is also a serious problem of narrative progression and systematic recourse to ellipses can be huge, just to be able to enter the film in its format 2:20, far too little for a story of such magnitude and fed with such dramatic issues . These problems are unacceptable, clearly. Yet John Carter manages to rise above these gaps.Never attain the status hoped that huge, but he sweats so much the desire to make great cinema and create from scratch a world governed by its own codes, the codes to revive classic adventure film and SF fresco, is emerging as an important milestone. And especially since it is part of a breed of film endangered, whose representatives will be forthcoming The Hobbit: The unexpected journey and Pacific Rim .John Carter is both the audacity of to face a myth and the desire to achieve an instant classic, based on archetypes everlasting representation of the hero and his journey to fame or accomplishment. A complex which suffers from being here as much tightened but that is really mastered this point. So that there is no confusion, John Carter is NOT an action film per se. There are some fight sequences and battles, great, but it is generally a film built on a classic quest narrative fabric. There are great ideas, like to include in the first and last act of the film, located on Earth, the author of the Cycle of Mars , Edgar Rice Burroughs , giving it a role as consistent as malignant. And the elements while keeping typical “Disney” fully integrated, such Woola.
The first twenty minutes of John Carter were proof that the promotion of the whole movie was a disaster.Indeed, the whole first part located in the state of Virginia has nothing in common with a fresco SF because it is simply a pure western, as epic as funny, and allowing Andrew Stanton to quickly to prove itself. Very laid and supported by a mounting line, he suddenly imposes on a new dimension to his stage when he begins filming a ride from John casing chased by soldiers. It is often the sign of greatness. An impression will be confirmed later as John Carter often flirts with the great movies, always with the audacity to dare the improbable. Andrew Stanton has the inherent ability to filmmakers who have already successfully rubbed the silent film, to Read full control movements of characters in space and frame. Thus, when it comes to moving John Carter on Mars, with the difference of gravity which gives it a surreal freedom of action, it’s wonderful because the director knows precisely capture his movements and mastery of visual storytelling This great tool that is the essence of cinema. This boldness and its positive consequences is also found, for example, in the most beautiful sequence of the entire film. John Carter of a fight alone against dozens of enemies, a savage struggle in parallel with a specific tragedy of his past life on Earth.This scene, visually stunning, is both an intense emotional moment, a great reference to the illustrations ofFrank Frazetta and a brilliant use of the tool assembly to suddenly throw new light on the main character and redefine it. This scene-key that corresponds to the step “revelation” of the heroic journey transcends the film and gives it a new breath, a quite different scale. Yes, because like all great frescoes of the history of cinema, John Carter meets the specifications of the hero as established from time immemorial. We can always rail against the feeling of deja vu, it’s nothing compared to the founding statute of the story that is embodied in its entirety last film, as it was imagined by its author in 1917.
The universal status of John Carter to operate at all appropriate reading grids, starting with that policy.Forced alliance with the enemy, manipulating a shadowy organization, alienation and rebellion of the people, everything is so behind the current universe purely fantastic. Andrew Stanton juggling with figures and concepts which require a true precision and s ‘comes out wonderfully. He builds his hero and so makes sense, allowing it to evolve a personal quest for an awareness of its role as an elected official and a much more noble pursuit. He built a universe completely viable, with its own physics and its own language (with a beautiful scene of language learning Thark which is reminiscent of the 13th Warrior , and reminds us that John McTiernan had already been working on an adaptation of the cycle in March) and built its archetypal characters evolving in a world controlled by the rules of funny creatures polymorphic led Matai Shang (excellent Mark Strong ’s nemesis in the shade), between the creatures of the Sith Star Wars and the elementals of the Chronicles of Riddick . Complex, exciting, John Carter has good potential for this classic, by the consistency of his universe, the precision of its gross staging, a monstrous effort in assembling sequences and a few action scenes in monstrous form of points organ. Some pesteront against the simple values that are put forward, as the struggle to reunify the people, as it is considered rather noble. John Carter is a bit like a first film, a work full of generosity and great ideas, worn by an actor of surprising charisma ( Taylor Kitsch in direct heir of Arnold Schwarzenegger in Conan the Barbarian), Signed an exceptional soundtrack by Michael Giacchino and SFX as much bluffing in using performance capture – with a great interpretation of Willem Dafoe in Thark – as in the creation of this universe comes to life titanic. With a little more confidence on the part of Disney, with more rigor in the writing and / or dispensing with the time limit which led to savage cuts, John Carter could have been a great movie. It’s just great. Finally, a note about 3D: It’s so disgusting that it often ruins the whole composition work plans.