Negative criticism couldn't steer me from watching this film and I would recommend not letting it influence your decision either. The biggest fault is, by far, a miscast DeHaan who, while sickly looking, doesn't quite fit the tall order of the film's lead and is basically the reason it has received such a mixed reaction. Still, there's so many redeemable qualities to A Cure For Wellness. You may enjoy it, you know.
C'è tantissimo Shutter Island dentro, e il film è discreto, specialmente nella prima parte che è costruita a puntino. Un paio di momenti molto forti e un'atmosfera angosciosa che dura per tutto il film. Peccato che Shutter Island finisse esattamente nel momento giusto, e che purtroppo non si può dire lo stesso di questo che si trascina per una buona mezz'ora di troppo e vanifica il buon lavoro fatto in precedenza.
The film is fairly good, up until the last half hour... when it really goes into B-movie territory with a messy conclusion that wasn't necessary at all. It should've ended with that scene where a resigned/sedated Lockhart says to Hannah that he's finally cured. However, extra points for an inspired cinematography, inventive story and constantly keeping the viewer intrigued.
i really thought that this was going to be like the same as shutter island like it would have a unique story w/o copying everything and make the climax impactful.but in the end the only impact i felt was my hand landing on my face.We get a rip off red skull & the DUMBESS thing you could ever put on your film the "facing behind the enemy w/ the chance to kill him but throw him gently" cliche
Beautiful? Sure... but way too long and turning to embarassing 3D effects at the climax. I always think it's too basic to end a film by putting fire to a building - and sadly enough this is another of these cases. The kind of paranoid thriller that asked for a more intriguing case resolution. A good promise not accomplished by blockbuster 101 - like everything Verbinski touches.
Gore Verbinski's welcome return to horror is both a stealth adaptation of "BioShock" and a critique of millennials' capitalist ambition. While the film owes a great deal to Stanley Kubrick's "The Shining," "The Wicker Man," and early David Fincher mind-benders like "The Game," it's also somehow unlike any other movie I've seen. Dense, challenging, and perhaps overly long - auteurist horror fans should see it.
O que mais seduz neste filme é a estética e simetria de cada cena que se pode esperar logo após o lançamento do trailer. Um dos sentimentos talvez mais bem explorados é a constante tensão que o espectador sente desde os primeiros minutos onde duvida da própria realidade que lhe é transmitida mesmo nas cenas mais comuns e pacatas do filme.
Far more visually accomplished than I expected for Verbinski. This uncanny hybridization of gothic romanticism and capitalist critique allows him to burrow into the aesthetic molds of decayed Hollywood horror tropes. Like in previous Verbinski films, water is exploited as a weapon of control and unreconciled myths (both thematic & formal) are bubbling restlessly just beneath the surfaces of his baroque frames.