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Caro Visitante, por que não gastar alguns segundos e criar uma Conta no Fórum Valinor? Desta forma, além de não ver este aviso novamente, poderá participar de nossa comunidade, inserir suas opiniões e sugestões, fazendo parte deste que é um maiores Fóruns de Discussão do Brasil! Aproveite e cadastre-se já!
Capitão Sky e o Mundo de Amanhã (Sky Captain And...., 2004)
- Criador do tópico Boreli
- Data de Criação
Urd Sama
Antifeixista
Acho q vi um poster diferente desses postados aki, era mais colorido, tinha mais a ver com essa coisa retrô q o filme quer passar.... se eu encontrar novamente e lembrar, posto aki...
Poxa, eu vi o trailer, raramente eu me empolgo com um filme, mas esse atiçou minha curiosidade justamente por causa dessa coisa retrô... parece q vai ser fofo!!!
Poxa, eu vi o trailer, raramente eu me empolgo com um filme, mas esse atiçou minha curiosidade justamente por causa dessa coisa retrô... parece q vai ser fofo!!!
Adiamento e novas fotos:
http://www.omelete.com.br/cinema/news/base_para_news.asp?artigo=8674
Adorei essa:
http://www.omelete.com.br/cinema/news/base_para_news.asp?artigo=8674
Adorei essa:
Engethor
Son of Jango
As razões alegadas para o adiamento seriam finalizar os efeitos especiais e ter mais tempo para promover o filme (e sair de perto do Homem-Aranha 2), mas adiamento de junho pra setembro não é bom sinal. 
O verão no hemisfério norte é uma época mais 'vitrine' (férias etc) e por isso mais rentável para filmes de efeitos especiais. Setembro é menos concorrido justamente porque acabaram as férias de verão e não tem tantos filmes de peso para estrear. Novembro ou dezembro já são épocas em que o mercado volta a aquecer.
O verão no hemisfério norte é uma época mais 'vitrine' (férias etc) e por isso mais rentável para filmes de efeitos especiais. Setembro é menos concorrido justamente porque acabaram as férias de verão e não tem tantos filmes de peso para estrear. Novembro ou dezembro já são épocas em que o mercado volta a aquecer.
Novo poster:
Só um detalhe, não será mais no verão americano.
Em 1939, famosos cientistas estão desaparecendo misteriosamente ao redor do globo. A reporter do Chronicle, Polly Perkins (Gwyneth Paltrow), ao lado do piloto de caça Sky Captain (Jude Law), estão investigando os sumiços. Arriscando suas vidas ao viajar até os lugares mais remotos e exóticos do planeta, a destemida dupla terá que enfrentar o Dr. Totenkopf, um insano criminoso que pretende destruir toda a Terra. Auxiliados por Franky Cook (Angelina Jolie), a comandante do "esquadrão anfíbio de mulheres", e pelo gênio tecnológico Dex (Giovanni Ribisi), Polly e Sky Captain representam a última esperança da humanidade.
Uma das produções mais promissoras do ano, tanto pelas técnicas de filmagem (100% das cenas aconteceram contra uma tela azul) quanto pela história, Sky Captain é a primeira parte de uma trilogia, escrita e dirigida pelo estreante Kevin Conran.
O filme vai estrear em 17 de setembro, nos Estados Unidos.
http://www.omelete.com.br/cinema/news/base_para_news.asp?artigo=8737
Este filme...
Este filme...
Bem, não tenho nem o que falar.
Estarei na estréia no cinema!
Só um detalhe, não será mais no verão americano.
Em 1939, famosos cientistas estão desaparecendo misteriosamente ao redor do globo. A reporter do Chronicle, Polly Perkins (Gwyneth Paltrow), ao lado do piloto de caça Sky Captain (Jude Law), estão investigando os sumiços. Arriscando suas vidas ao viajar até os lugares mais remotos e exóticos do planeta, a destemida dupla terá que enfrentar o Dr. Totenkopf, um insano criminoso que pretende destruir toda a Terra. Auxiliados por Franky Cook (Angelina Jolie), a comandante do "esquadrão anfíbio de mulheres", e pelo gênio tecnológico Dex (Giovanni Ribisi), Polly e Sky Captain representam a última esperança da humanidade.
Uma das produções mais promissoras do ano, tanto pelas técnicas de filmagem (100% das cenas aconteceram contra uma tela azul) quanto pela história, Sky Captain é a primeira parte de uma trilogia, escrita e dirigida pelo estreante Kevin Conran.
O filme vai estrear em 17 de setembro, nos Estados Unidos.
http://www.omelete.com.br/cinema/news/base_para_news.asp?artigo=8737
Este filme...
Este filme...
Bem, não tenho nem o que falar.
Estarei na estréia no cinema!
Lukaz Drakon
Souls. I Eets Them.
Eu espero que eles façam esses fundos bem.
Primeira crítica séria do filme:
The highway of film history is littered with the smoking wreckage of stylish but hollow films designed to evoke some sort of false nostalgia for bygone film eras. I know people who are fond of THE ROCKETEER or THE SHADOW or THE PHANTOM or DICK TRACY, just to name a few, and certainly there are moments or design elements or ideas or images in each of those that are interesting or compelling. None of them even come close to offering up the same kind of immersive, nearly overwhelming visual feast as SKY CAPTAIN, and none of them work as well as a whole.
So what’s the secret? Hos did Conran pull it off? What makes him so special? I think part of it might be that he doesn’t appear to have a cynical bone in his body. This is one heartfelt effort, a real love letter. He’s also completely without that irritating need to make everything post-modern that mars so much of what gets released today. He never winks at the audience, never tells us to disconnect. He means this film, heart and soul, and it shows. He didn’t make this because he was hoping to cash in on some perceived trend. He didn’t make this so he could strip-mine a dead genre without having to create anything. He made this film because he had to. You can tell this thing’s been rattling around inside of him for decades, just waiting to get out. It’s like something dreamed by a child who fell asleep reading ‘30s pulp magazines and watching Max Fleischer SUPERMAN cartoons, so perfect it doesn’t even seem possible.
And, yes, I’m aware that so far all I’ve talked about is the style... the feel of the film. So how’s the story? How are the performances? How is it as a movie?!
Even unfinished, this is a very pure and uncomplicated piece of entertainment. Jude Law couldn’t be more perfectly cast as Joe, the Sky Captain. Captain of what? Working for who? Beats me. All the movie really tells us is that he has flown international missions in the past and that he currently works out of a secret island that somehow seems to be connected to New York City by a very long bridge and surrounded by mountains. He seems to have an entire squadron of men under his command, and he’s got friends around the world who are willing to help him at the drop of a hat. Joe’s terrifically charming, a rogue with incredible instincts and a knack for being right at the heart of whatever trouble is brewing. That’s a trait he shares with pretty, plucky Polly Perkins, played by Gwenyth Paltrow. She’s a reporter who has a history with Joe which comes in pretty handy about ten minutes into the movie when New York City is invaded by giant flying robots.
Awwwwwwwwwwww, yeah.
The way the film begins, Conran gives you a few minutes to adjust to this world he and his brother Kevin have created. Kevin’s credited as the film’s production designer, but I have a feeling you can equally credit both brothers with the insanely lush and detailed look. The film opens with the same images that open the teaser trailer, the Hindenberg III on final approach to the city. Onboard, a scientist waits nervously, checking his pocket to make sure he’s still got two small metal vials carefully stowed there. Before he disembarks, he slips the vials to a porter along with instructions to deliver them to another scientist in the city. Somehow, Polly Perkins ends up dragged into things, summoned to meet a mysterious benefactor at a Radio City Music Hall that looks the way I can only imagine, having never been there. She shows up during a screening of THE WIZARD OF OZ, where she gets the clue that leads her on the adventure that eventually drops her into an island oasis on the other side of the world.
But first, there are those flying robots...
Look, I’ll be the first to admit that your enjoyment of a film like this largely depends on how strong your personal fetishes are for this genre. If you’re not excited by a movie that features giant robots, hand-held death rays, flying fortresses, mysterious ninja hotties, underwater dogfights, last-second cliffhangers, and guest-starring cameos from dead guys, then maybe this movie wasn’t made for you. If you’re so completely out of touch with your ability to bask in pure geek joy that you’ve already decided what you think of this movie based on a single teaser trailer, then do us all a favor and just keep your cynical ass at home.
Two key words I’d use to describe this film would be “innocent” and “ambitious.” Because he never adopts a post-modern attitude to the pulp material he’s playing with, it works to the film’s benefit. RAIDERS OF THE LSOT ARK wouldn’t have worked if Lucas and Spielberg felt like they were above the material, or if Harrison Ford was embarrassed by the role of Indiana Jones. Kerry Conran’s total lack of ironic detachment makes this an inclusive inviting fantasy world that should play to the most well-researched influence-drunk fanboy or even to someone old enough to actually remember all the things that must have been imprinted on the Conrans at an early age. And as you watch how confident the film is, how immaculately crafted each scene is, it’s hard to believe that this is someone’s first movie. Forget about Michael Moore... this is the ballsiest filmmaker that Flint, Michigan ever turned out.
I love that all of the key creative staff on this film are people who have never done anything that would suggest the movie that they’ve ended up with. Sabrina Plico’s editing is mesmerizing, and it doesn’t really feel like a typical action movie. So often, we see films that remind us of other action films that we’ve seen, with these inbred rhythms that become more and more familiar each time they’re used, and eventually, it kills the thrill. There’s a classic sense of montage at work here, so the film somehow manages to take its time to enjoy all the amazing sights while also maintaining a breathless pace as Joe and Polly work to unravel the mystery of the World Of Tomorrow. I haven’t seen any of the films that Eric Adkins shot before, and I’m not entirely sure what a cinematographer does on a film like this, since everything has been digitally graded, desaturated, re-colored, and composited, but it’s certainly a beautiful movie, eye candy so pretty that it makes the real world look ugly when you step out of the theater. And you cannot underplay the contribution of the score by Ed Shearmur. I’m almost embarrassed that I didn’t recognize his name when it came up in the closing credits. He’s scored dozens of movies since 1991, but honestly, I was never compelled to chase down the scores to the CHARLIE’S ANGELS movies or JOHNNY ENGLISH or K-PAX or MISS CONGENIALITY. This time out, you better believe I’ll be grabbing this CD as soon as it hits the shelves. It’s like Shearmur’s been waiting his whole life to write this score, just like Conran’s been waiting his whole life to make this movie.
Is this a perfect piece of transcendent film art that will change you life? No, of course not, although it may well send lasting shockwaves through the industry in regards to the way films are made. There are a few scenes in the cut I saw that don’t really work (“kill me” being the most notably jarring) and some big questions are posed that Conran never answers. For example, we are eventually told what is in those two steel vials, but damn it, I want to see. There’s no “Wrath of God” moment from RAIDERS here. Instead, the ending owes more to the film Polly saw at Radio City Music Hall. Still, if you main complaint about a film boils down to wanting more, I’d say the studio shouldn’t be too worried.
I’ve heard the rumors that the stars of the movie won’t be promoting it, but that’s simply not true. Jude Law, in particular, has every right to be pround of the work he does here. It’s no secret that he’s got more charisma just standing still than the entire casts of some films combined, but he’s never really played this kind of straight-forward heroic lead before. He rises admirably to the occasion. Gwenyth is a little stiff at the start of the movie, but by the end, she’s fully in the swing of things, and they develop a really sweet and playful rapport. Angelina Jolie doesn’t have a lot to do, but she seems to be in the spirt of the film from the moment she arrives. Basically, she’s a really, really hot Lando Calrissian (and there’s an inside geek joke at the start of her scene that will make sharp-eared EMPIRE fans go goofy), and whenever she’s onscreen, she’s great. I’m not normally a fan of Giovanni Ribisi’s work, but he can be really appealing in the right role, and this is one of those times. He plays Dex, Joe’s right-hand man and all-around mechanical genius, and it’s one of those great FX performances where it looks like he believes in this world completely.
One star that won’t be showing up at the junket is Lord Laurence Olivier, who plays the mysterious Totenkopf, the evil genius behind all the chaos that threatens to destroy the world. And, yeah, I know how confusing it must be to read that. It’s even stranger when you’re actually watching the film. At one point, I had to lean over to my friend and say, “Olivier is dead, right? And he did get old first, right?” This is young pretty Laurence Olivier, and even though we’ve all heard talk about how the estates of some deceased movie stars are looking into licensing their likenesses for use in films, it won’t prepare you for how effective it can be. I’m not sure what the hell they did or what footage they used or how they manipulated it, but he’s a real character here. He deserves to have this included in his filmography. It’s eerie, and it’s so flawless that I’m betting many viewers never realize what they’re looking at.
http://www.aintitcool.com/display.cgi?id=17849
É assim que eu gosto.
The highway of film history is littered with the smoking wreckage of stylish but hollow films designed to evoke some sort of false nostalgia for bygone film eras. I know people who are fond of THE ROCKETEER or THE SHADOW or THE PHANTOM or DICK TRACY, just to name a few, and certainly there are moments or design elements or ideas or images in each of those that are interesting or compelling. None of them even come close to offering up the same kind of immersive, nearly overwhelming visual feast as SKY CAPTAIN, and none of them work as well as a whole.
So what’s the secret? Hos did Conran pull it off? What makes him so special? I think part of it might be that he doesn’t appear to have a cynical bone in his body. This is one heartfelt effort, a real love letter. He’s also completely without that irritating need to make everything post-modern that mars so much of what gets released today. He never winks at the audience, never tells us to disconnect. He means this film, heart and soul, and it shows. He didn’t make this because he was hoping to cash in on some perceived trend. He didn’t make this so he could strip-mine a dead genre without having to create anything. He made this film because he had to. You can tell this thing’s been rattling around inside of him for decades, just waiting to get out. It’s like something dreamed by a child who fell asleep reading ‘30s pulp magazines and watching Max Fleischer SUPERMAN cartoons, so perfect it doesn’t even seem possible.
And, yes, I’m aware that so far all I’ve talked about is the style... the feel of the film. So how’s the story? How are the performances? How is it as a movie?!
Even unfinished, this is a very pure and uncomplicated piece of entertainment. Jude Law couldn’t be more perfectly cast as Joe, the Sky Captain. Captain of what? Working for who? Beats me. All the movie really tells us is that he has flown international missions in the past and that he currently works out of a secret island that somehow seems to be connected to New York City by a very long bridge and surrounded by mountains. He seems to have an entire squadron of men under his command, and he’s got friends around the world who are willing to help him at the drop of a hat. Joe’s terrifically charming, a rogue with incredible instincts and a knack for being right at the heart of whatever trouble is brewing. That’s a trait he shares with pretty, plucky Polly Perkins, played by Gwenyth Paltrow. She’s a reporter who has a history with Joe which comes in pretty handy about ten minutes into the movie when New York City is invaded by giant flying robots.
Awwwwwwwwwwww, yeah.
The way the film begins, Conran gives you a few minutes to adjust to this world he and his brother Kevin have created. Kevin’s credited as the film’s production designer, but I have a feeling you can equally credit both brothers with the insanely lush and detailed look. The film opens with the same images that open the teaser trailer, the Hindenberg III on final approach to the city. Onboard, a scientist waits nervously, checking his pocket to make sure he’s still got two small metal vials carefully stowed there. Before he disembarks, he slips the vials to a porter along with instructions to deliver them to another scientist in the city. Somehow, Polly Perkins ends up dragged into things, summoned to meet a mysterious benefactor at a Radio City Music Hall that looks the way I can only imagine, having never been there. She shows up during a screening of THE WIZARD OF OZ, where she gets the clue that leads her on the adventure that eventually drops her into an island oasis on the other side of the world.
But first, there are those flying robots...
Look, I’ll be the first to admit that your enjoyment of a film like this largely depends on how strong your personal fetishes are for this genre. If you’re not excited by a movie that features giant robots, hand-held death rays, flying fortresses, mysterious ninja hotties, underwater dogfights, last-second cliffhangers, and guest-starring cameos from dead guys, then maybe this movie wasn’t made for you. If you’re so completely out of touch with your ability to bask in pure geek joy that you’ve already decided what you think of this movie based on a single teaser trailer, then do us all a favor and just keep your cynical ass at home.
Two key words I’d use to describe this film would be “innocent” and “ambitious.” Because he never adopts a post-modern attitude to the pulp material he’s playing with, it works to the film’s benefit. RAIDERS OF THE LSOT ARK wouldn’t have worked if Lucas and Spielberg felt like they were above the material, or if Harrison Ford was embarrassed by the role of Indiana Jones. Kerry Conran’s total lack of ironic detachment makes this an inclusive inviting fantasy world that should play to the most well-researched influence-drunk fanboy or even to someone old enough to actually remember all the things that must have been imprinted on the Conrans at an early age. And as you watch how confident the film is, how immaculately crafted each scene is, it’s hard to believe that this is someone’s first movie. Forget about Michael Moore... this is the ballsiest filmmaker that Flint, Michigan ever turned out.
I love that all of the key creative staff on this film are people who have never done anything that would suggest the movie that they’ve ended up with. Sabrina Plico’s editing is mesmerizing, and it doesn’t really feel like a typical action movie. So often, we see films that remind us of other action films that we’ve seen, with these inbred rhythms that become more and more familiar each time they’re used, and eventually, it kills the thrill. There’s a classic sense of montage at work here, so the film somehow manages to take its time to enjoy all the amazing sights while also maintaining a breathless pace as Joe and Polly work to unravel the mystery of the World Of Tomorrow. I haven’t seen any of the films that Eric Adkins shot before, and I’m not entirely sure what a cinematographer does on a film like this, since everything has been digitally graded, desaturated, re-colored, and composited, but it’s certainly a beautiful movie, eye candy so pretty that it makes the real world look ugly when you step out of the theater. And you cannot underplay the contribution of the score by Ed Shearmur. I’m almost embarrassed that I didn’t recognize his name when it came up in the closing credits. He’s scored dozens of movies since 1991, but honestly, I was never compelled to chase down the scores to the CHARLIE’S ANGELS movies or JOHNNY ENGLISH or K-PAX or MISS CONGENIALITY. This time out, you better believe I’ll be grabbing this CD as soon as it hits the shelves. It’s like Shearmur’s been waiting his whole life to write this score, just like Conran’s been waiting his whole life to make this movie.
Is this a perfect piece of transcendent film art that will change you life? No, of course not, although it may well send lasting shockwaves through the industry in regards to the way films are made. There are a few scenes in the cut I saw that don’t really work (“kill me” being the most notably jarring) and some big questions are posed that Conran never answers. For example, we are eventually told what is in those two steel vials, but damn it, I want to see. There’s no “Wrath of God” moment from RAIDERS here. Instead, the ending owes more to the film Polly saw at Radio City Music Hall. Still, if you main complaint about a film boils down to wanting more, I’d say the studio shouldn’t be too worried.
I’ve heard the rumors that the stars of the movie won’t be promoting it, but that’s simply not true. Jude Law, in particular, has every right to be pround of the work he does here. It’s no secret that he’s got more charisma just standing still than the entire casts of some films combined, but he’s never really played this kind of straight-forward heroic lead before. He rises admirably to the occasion. Gwenyth is a little stiff at the start of the movie, but by the end, she’s fully in the swing of things, and they develop a really sweet and playful rapport. Angelina Jolie doesn’t have a lot to do, but she seems to be in the spirt of the film from the moment she arrives. Basically, she’s a really, really hot Lando Calrissian (and there’s an inside geek joke at the start of her scene that will make sharp-eared EMPIRE fans go goofy), and whenever she’s onscreen, she’s great. I’m not normally a fan of Giovanni Ribisi’s work, but he can be really appealing in the right role, and this is one of those times. He plays Dex, Joe’s right-hand man and all-around mechanical genius, and it’s one of those great FX performances where it looks like he believes in this world completely.
One star that won’t be showing up at the junket is Lord Laurence Olivier, who plays the mysterious Totenkopf, the evil genius behind all the chaos that threatens to destroy the world. And, yeah, I know how confusing it must be to read that. It’s even stranger when you’re actually watching the film. At one point, I had to lean over to my friend and say, “Olivier is dead, right? And he did get old first, right?” This is young pretty Laurence Olivier, and even though we’ve all heard talk about how the estates of some deceased movie stars are looking into licensing their likenesses for use in films, it won’t prepare you for how effective it can be. I’m not sure what the hell they did or what footage they used or how they manipulated it, but he’s a real character here. He deserves to have this included in his filmography. It’s eerie, and it’s so flawless that I’m betting many viewers never realize what they’re looking at.
http://www.aintitcool.com/display.cgi?id=17849
É assim que eu gosto.
O link direto para o maior:
http://mp3content01.bcst.yahoo.com/proot1/PubShare02/yahoomovies/3/6273891.mov
http://mp3content01.bcst.yahoo.com/proot1/PubShare02/yahoomovies/3/6273891.mov
Gondorian Blade
Usuário
Pessoal, eu não sou muito chegado em filmes de ficção, mas fiquei bestante interessado nesse filme. Acho q foi o visual, mistura um figurino meio retrô com eventos futurísticos (grande paradoxo).
O fato de ter sido filmado 100% em tela azul não me atrai nem um pouco. Na verdade esse é o meu maior medo. Essa é uma faca de dois gumes. Por um lado pode dar uma grande oportunidade para criar cenários fantásticos e usar inúmeros efeitos especiais. Por outro, os atores ficam muito deslocados, sem saber ao certo com o q estão interagindo. Sem falar q se não for bem feito, os cenários e o filme vão por água abaixo (veja SW 2). Pra mim efeitos especiais em demasia só estragam o filme.
Mas mesmo assim, gostei do trailer e da história. Espero q seja realmente bom e q a trilogia vingue.
P.S: Imagine çomo será o título desse filme aqui ??? Capitão Céu e o Mundo de Amanhã
????
P.S.2: O q é noir ????
O fato de ter sido filmado 100% em tela azul não me atrai nem um pouco. Na verdade esse é o meu maior medo. Essa é uma faca de dois gumes. Por um lado pode dar uma grande oportunidade para criar cenários fantásticos e usar inúmeros efeitos especiais. Por outro, os atores ficam muito deslocados, sem saber ao certo com o q estão interagindo. Sem falar q se não for bem feito, os cenários e o filme vão por água abaixo (veja SW 2). Pra mim efeitos especiais em demasia só estragam o filme.
Mas mesmo assim, gostei do trailer e da história. Espero q seja realmente bom e q a trilogia vingue.
P.S: Imagine çomo será o título desse filme aqui ??? Capitão Céu e o Mundo de Amanhã
????P.S.2: O q é noir
????renandurst
Usuário
Sério que tu não sabe o que é Noir??
É um gênero de filmes com fotografia escura, pouca iluminação, ambientes e clima dark, porém não sombrio... Lembre-se dos típicos filmes de detetive noir...
É um gênero de filmes com fotografia escura, pouca iluminação, ambientes e clima dark, porém não sombrio... Lembre-se dos típicos filmes de detetive noir...
renandurst
Usuário
Sério que tu não sabe o que é Noir??
É um gênero de filmes com fotografia escura, pouca iluminação, ambientes e clima dark, porém não sombrio... Lembre-se dos típicos filmes de detetive noir...
É um gênero de filmes com fotografia escura, pouca iluminação, ambientes e clima dark, porém não sombrio... Lembre-se dos típicos filmes de detetive noir...
Gondorian Blade
Usuário
Vc quer dizer aqueles filmes ambientados no fim do séc. 19, tipo Sherlock Holmes ???? Humm, acho q sei qual são, mas não sabia q levavam esse nome noir. Desculpe a ignorância.
Valeu pela resposta !!!
Novo trailer:
http://www.apple.com/trailers/paramount/skycaptainandtheworldoftomorrow/skycap_apple_large.html
1º Clipe:
http://www.apple.com/trailers/paramount/skycaptainandtheworldoftomorrow/skycap_apple_clip_large.html
Quanto o visual filme, nada mais a declarar. . .
Só espero, realmente, que a história sobreviva e ele. . .
http://www.apple.com/trailers/paramount/skycaptainandtheworldoftomorrow/skycap_apple_large.html
1º Clipe:
http://www.apple.com/trailers/paramount/skycaptainandtheworldoftomorrow/skycap_apple_clip_large.html
Quanto o visual filme, nada mais a declarar. . .
Só espero, realmente, que a história sobreviva e ele. . .
Gondorian Blade
Usuário
Assisti ao clipe da sequência embaixo d'água. Apesar de curto, o vídeo é muito bom, vale a pena. E como o Boreli falou, o visual do filme está D+ e os cenários estão bastante convincentes. Entretanto, vamos ver se a história também está à altura... 
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