Compare and contrast movie remakes
Mara transformed and lost herself completely in the role, in a way that Noomi Rapace in the Swedish original never did though Rapace, less alien, is arguably the more magnetic hero.
The original is a fantasy noir B-movie that does for suspense and paranoia what the later film does for excess. Can we talk about that fashion? Add to it an immensely quotable script, and Major Payne had no trouble in shedding the skin of its predecessor.
What makes it so funny in True Lies is that Cameron believes we can actually suspend our disbelief long enough to fall for it.
Compare and contrast movie remakes
Unfortunately for Planet of the Apes , it's the worst of both worlds. While the latter is light family comedy fare, the former is a showcase for its lead star. Here are some of the differences. It's a great shame that Fincher will likely not complete the trilogy. A hardened Major takes command of a struggling ROTC program and becomes an unlikely father figure while drumming up an equally unlikely relationship with a female doctor. In another cool NuSkool lesson, we explore some of the social reasons for reboots. See: Josh Trank's Fantastic Four. Though the original is still respected, Brain De Palma's remake better retains its vivid vision of decadence and decay. However, his presence leads to dangerous rivalries as they vie for his attention. Add in the wonderful performances by three Hollywood acting legends and you have a film that builds successfully upon its predecessors in nearly every way.
The types of comedy presented in these two films, along with the vastly different interpretations of the lead characters make them completely different films in spite of their shared pedigree.
The supercut features 50 films from the past 56 years, with several genres represented. Angelina Jolie played the titular role and an effervescent Elle Fanning shined as young Aurora.
Classic movies that are remakes
Robert De Niro as Cady is a vision of perverse menace. Takedown makes this example notable. The rest is a flavourless sludge of bad special effects and overly broad performances from the child actors. Sure, the version has an awkward orientalist angle, a cheap way to explain away the mother and daughter switching bodies. Lauded for its special effects and oppressive atmosphere, the film is often named among the scariest films of all-time and has some of the most famous gross-out scares ever put onscreen. Tom Cruise's maverick schtick with that Marvel flavour rascally jerk learns to be a hero fails to register, even though, bless Cruise, he gives his all. Both give fine performances, but Pacino's got a bit more meat to chew on. Lee Ermey. The original's disturbing revealing scenes, boiling and festering in the unconscious in the original, is up for display, clear as day, in Van Sant's version. Although Halloween is as grim as a graveyard, it's never thrilling or scary. But Damon Wayans gives his film a distinctive personality from the Charlton Heston vehicle of 40 years prior.
Lloret creates a visual dialogue about the remake trend by placing scenes from the original films side-by-side with their remakes, revealing the similarities and differences between the two, without making judgments as to which is better.
It's not just the guilty characters who suffer, but the innocents alongside them.
Good remakes of bad movies
Here are some of the differences. Scorsese reused the original score by Bernard Herrmann to great melodramatic effect, paying tribute to the original while elevating it to new heights. While the latter is light family comedy fare, the former is a showcase for its lead star. However, as a respectable movie, it falls way short. However, his presence leads to dangerous rivalries as they vie for his attention. Lee Ermey. The results are far from catastrophic, but inevitably - as with so many other recent remakes - the film feels unnecessary, a pale copy of the original. But, the Cameron factor is probably the biggest X-factor, with the blockbuster director bringing a huge budget to True Lies and the kind of over-the-top action sequences that make the film what it is.
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