Set against a sweeping canvas of rural England and Europe during the First World War, War Horse begins with the remarkable friendship between a horse named Joey and a young man called Albert, who tames and trains him…
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Another score of shameless pastiche from John Williams, but that's OK, because the man is awfully good at it, and his sources are sublime. Another stab at tear-jerking, soul-inflating dream-work from Steven Spielberg, and when he has the right vehicle for it, as without question he does here, it is a privilege to hand my emotions over to him and let the manipulations begin. Not a great film, but a beautiful one.
This was like a silly Disney movie from the 1950s, animal star and all, done legit. That shot of the horse running through the forest after his rider was recently murdered... that was gorgeous. This film is so beautiful that it makes me wonder why the fuck anyone would want to shoot digitally.
That was a magnificent and beautiful experience. Spielberg brings a little bit of old-fashioned Hollywood vibe into the box office, especially in these days of fast-paced CGI-based films (not that I don't like them). There's some Peckinpah, a little bit of John Ford, and even some David Lean in every shot. It was probably one of the most achieved direction from Spielberg since Minority Report. Bravo.
The horse's presence and personality were more convincing than all the human characters put together. And not having a consistently engaging human anchor for the story kept me from absorbing the full effect of the admittedly impressive photography and scene-setting atmosphere. Was it just me, or was the editing all jittery and truncated? Seemed like most of the scenes should've been extended a few beats longer.
A Spielberg film i despised. Generic script,generic acting,feel too melodramatic. John Williams' magnificent score help saved this movie. And the movie itself improved a lot at the last half after a boring first half
Treacly, manipulative tale of a horse and his boy, separated by WWI as the horse passes from owner to owner, touching each one as he moves along. Spielberg's most shamelessly sentimental and manufactured film. There isn't a true note to be found here. An audience pleaser to be sure but Spielberg overemphasizes every emotion, performing surgery with a sledgehammer.