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El problema que veo en la peli es que sea en los años 50. Si "el sobrino del mago" es en los 59, el resto de las películas serán en los 90, quitando todo el trasfondo de la WWII
We few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition; and gentlemen in England now-a-bed shall think themselves accurs'd they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.
Lo han dicho varios medios…pierde todo el encanto desde luego
https://screenrant.com/narnia-magici...tarts-filming/
Greta, Strike uno.
Meryl como Aslan, Strike dos.
Maladaptar el contexto, Strike tres.
Strikeout. Eliminado de la platea.
RIP, Sir Pratchett.
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
«ESOS QUE VES ALLÍ SON MORTALES -prosiguió la Muerte-. ESTARÁN EN ESTE MUNDO APENAS UNOS CUANTOS AÑOS Y SE LOS PASAN COMPLICÁNDOSE LA VIDA. ES FASCINANTE.» Mort, Terry Pratchett.
Siendo en los 90, que razón van a poner para que los niños se vayan al campo? Si fuera en los 2020 (pueden hacer ese salto si quieren, ya puestos) son capaces de decir que es por el covid
We few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition; and gentlemen in England now-a-bed shall think themselves accurs'd they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.
No tiene sentido alguno al igual que ninguno de los otros cambios que tiene la película. Aslan es la representación de Jesucristo, Narnia tiene un trasfondo muy católico y se van a acabar echando al a gente encima pero claro, que se puede esperar de una señora que metió una escena de Barbie acudiendo al ginecólogo....
Yo por mi parte ya he perdido el interés. Si quiero vivir el universo Narnia de nuevo me pongo "El león, la bruja y el armario" o me leo alguno de los libros.
Richard Gelfond, CEO de Imax dice que "This is a real blockbuster movie that’s being made for [IMAX and Netflix] and you know, I guess I do have to talk a little about why I’m so excited about it. This is not your mother’s or your grandmother‘s Narnia. The music in it is unbelievably contemporary music, which IMAX fans like. I’m not gonna say specifically, but things like Pink Floyd and The Doors. You know that kind of music which people go to see in IMAX.”
La puta negrita me ha matado... "which Imax fans like"![]()
Estoy igual que tú. Pero no creo que Greta se haya marcado una flipada. Algo raro hay ahi.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Pero querido Bruce, esto era de esperar. ¿Un cineasta con las sensibilidades de Gerwig abordando una obra que en esencia es una alegoría religiosa obra de un autor muy católico?
Si su amigo Tolkien levantase la cabeza... ah no, espera. Que ya la levantó, vio Los Anillos de Poder y volvió a morirse de la impresión.
En fin.
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What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.