Entries tagged with “Olga Kurylenko”.

I liked many things in ‘Oblivion‘, actually more than I expected. I am no fan of computer games, certainly not of these that are dominated by machine guns and laser guns, by cars races and space-ships races – and there are plenty of those in the film directed by . I disliked many of the films that bring to screen heroes and action inspired by comics or graphical novels, and ‘Oblivion‘ is based on one written by the director. And I am not too sympathetic to the action heroes roles that picks almost exclusively lately, the main reason being that by doing this he buries in the past an excellent actor (hopefully just puts him to freeze). Despite all these wrong starting points, I liked a lot (but not all) in this movie.


source http://www.imdb.com/title/tt1483013/

source http://www.imdb.com/title/tt1483013/


The story conceived by director, script writer and games creator happens in an uncertain future. The world as we know it ended in 2017. Earth came under attack, Moon was destroyed and the nuclear weapons of Armageddon were used in self defense. Mankind won the war but lost the planet Earth now inhabitable, and will soon be moving to a new home, one of the satellites of Jupiter. It’s only that almost nothing of what we see in the first 15 to 30 minutes of the film is what viewers are actually made to believe. ‘Oblivion‘ starts like a very standard comics-inspired film, and as we got used to its world, something happens that is quite unusual in routine movies of its genre. Characters start to develop, they learn about themselves, they ask questions about their own identity. Eventually the movie will turn into the action thriller that it was advertised to be, but this will happen in a smart manner, and the heroes end by being something very different from our initial guesses.


(video source Movieclips Trailers)


A few words about acting. and are two names that do not need any introduction. Cruise gets more opportunities for an interesting role and deals with them honorably. Freeman has a much drier part and cannot make too much to enrich it. The real surprise is , not only fit to the action role, not only looking good, but also acting appropriately in a key role.

There are two interesting aspects in which ‘Oblivion‘ breaks the rules of the genre and helps being more than just another adaptation of a graphical novel. One aspect is that the viewers discover together with the heroes that the world where the action is located is something very different from what they thought it is. This complete change in their systems of reference and values doubles with a story line that has clear ecological and political references to the present, although the action takes place in a not very immediate future. The dangers of the new technologies like AI and cloning when they fall into the wrong hands are clearly articulated. The second aspect is that the graphics fit well the idea of the two intersecting and interchanging worlds. In the beginning the film has a very computer graphics game look which describes at perfection the apparently ordered world. Later the border between the artificial and idyllic worlds and the complex realities of the future begin to blur, we see the ‘monsters’ and realize that they may not be what they seem to be. There is also a political saying about a world where drones play such a central place from fighting the wars of the humans to protecting and saving their lives. ‘Oblivion‘ has many quantities that make if different from the crowd and is definitely worth a try.


Violent thrillers are yet a rather unexplored territory for the big screen Israeli cinema, and I really wonder why. The Israeli reality even if we put aside the political conflict is quite violent at least if one follows the news. While thrillers and detective stories made their way to the TV series, there are very few productions of the genres on big screens. Kirot (which means Walls, although the English title is The Assassin Next Door) is already four years old, and is one of the rare productions in the genre. It is almost a good one, but …


source www.imdb.com/title/tt1198153/

source www.imdb.com/title/tt1198153/


There was no problem for the script writers to extract the medium and the characters that populate the movie. Local mafia is said to be in control of the sex industry, and many of the characters that populate it are of Russian origin, and the sex workers are also coming in numbers from the less fortunate countries of the former Soviet Union. So a former prostitute forced by the Russian mafia to become a killer does not seem to be an extraordinary story. Even less is exceptional the case of the young woman victim of domestic violence, with simple and naive dreams that are never to be fulfilled. These two characters acted by Olga Kurylenko and  local rock star Ninette Tayeb are naturally drawn to each other by a shared record of violence and social injustice, by a lack of hope that makes their fate almost unavoidable. The best scenes of the film are the ones where the two get to know each other wining over the distrust and the differences in language and background, starting to trust, then become friends and eventually share fate. The rather non-professional acting backgrounds of both actresses help, bringing freshness, sincerity and emotion in the building relation between the two.


(video source hasajersi)


The story around is quite expected, and not badly written with the exception of the final which is unrealistic from many respects. The combination of woman killer, women in distress helping each other against violence, mafia movies, all in an Israeli margin-of-the-society environment works well because if does not take over the film, while keeping the interest of the viewers arise and balancing the story so that it does not become too melodramatic. Director Danny Lerner at his second film (he did not make any other film since then) shows quite a talent in directing actors, setting the camera at the right places, building a credible environment an Israeli can recognize. But here is the problem – there was enough good material in the film to make a more blunt social statement, or use some more striking expressive means. Danny Lerner did not undertake this challenge. Daring more and pushing the limits would have helped the film step ahead of the line. It is a decent film, a decent directorial job, and so it risks to be remembered (if at all) – decent, but not more.