I Am Legend

Not rated yet!
Director
Francis Lawrence
Runtime
1 h 41 min
Release Date
14 December 2007
Genres
Drama, Horror, Action, Thriller, Science Fiction
Overview
Robert Neville is a scientist who was unable to stop the spread of the terrible virus that was incurable and man-made. Immune, Neville is now the last human survivor in what is left of New York City and perhaps the world. For three years, Neville has faithfully sent out daily radio messages, desperate to find any other survivors who might be out there. But he is not alone.
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Kyle Smith5
National Review



(Reviewers' Site/Bio)

  • Review: "I Am Legend"
    I AM BLOCKBUSTER Kyle Smith review of “I Am Legend” 100 minutes. Rated PG-13 (scary images and violence) 3 stars out of 4 Manhattan, five years from now. The island is overrun by hordes of frighteningly malformed brain-damaged mouth-breathers (though unlike today’s crowds they are not carrying maps and asking directions to Applebee’s). On the plus side of 2012: According to “I Am Legend,” it will then be OK to shoot these people with high-powered rifles. Will Smith stars as the Last Man on Earth in a scary, inventive, exciting and breathless adventure that combines the best elements of “Children of Men,” “Escape from New York” and “The Road Warrior,” but leaves out the worst stuff – such as the story-clogging despair and political allegory in “Children,” a movie that made apocalypse look like kind of a downer. “I Am Legend” is also a re-remake of 1964’s Vincent Price film “The Last Man on Earth” and “The Omega Man,” the 1971 Charlton Heston flick shot in an LA empty of all intelligent life. (Just crack your own joke here.) In a prologue, we learn that in 2009 there will be a cure for cancer. One or two unintended consequences later, a virus as noxious as the Knicks front office hangs in the air while everyone in Manhattan desperately tries to flee. Soldiers stop people at checkpoints in a nightmarish vision of hell that, if you added about 12,000 spaghetti straps and some $350 bottles of vodka, would closely resemble the Meatpacking District on a Friday night. After all of this, Smith’s Lt. Col. Neville, an expert in viruses, weaponry and survival skills who has also found time to memorize large portions of “Shrek,” is alone in the city, immune to the retrovirus. Every day he leaves his Washington Square digs (decorated in a sort of House and Fortress scheme that involves retractable barricades and van Goghs liberated from museums) to forage for supplies with his German shepherd, Sam, racing his Mustang around spectacular vistas of a New York overgrown by weeds and ravaged by flooding. Herds of wildlife run free, and tanks and cars are jammed together in phalanxes of steel. At night, Neville must take cover: That’s when the zombies, or “Night Seekers,” come out to moan more loudly than striking screenwriters – and they’re hungry for more than just residuals. In other words, Neville’s life, though lonely, is also kind of fun. Who wouldn’t enjoy limitless time to bathe his dog, watch every DVD in the video store and hit golf balls off an aircraft carrier in the Hudson River as though acting out the apocalypse according to Kramer? I personally could use six to nine months of post-human void just to catch up on old copies of The New Yorker and contemplate eternal mysteries of human existence, such as why everyone thought “Babel” was so great. C’mon, how can you beat deer hunting on Central Park South from the window of a speeding Mustang, especially when you’ve got an assault rifle and every PETA activist has long since been devoured by carnivores? This movie is going to be bigger than crucifix sales on Judgment Day, and the main lesson Hollywood should learn from it is that if you’re going to show the end of the world, try to look on the bright side. Neville isn’t just wandering around playing kill-or-be-killed with the zombies or, worse, stomping on the allegory pedal so we’ll be sure to walk away thinking someone like Dick Cheney was behind all this. Neville is trying to develop an antidote to the virus, one that could re verse the effects of the disease and turn these ag gressively hos tile semi- human shriek ers into de cent human beings, or at least some thing that screams no more than the average celebrity publicist. He needs to get out and interact with the zombies (and even zombie rats), injecting them with compounds derived from his own immune blood. Which certainly ensures he gets plenty of exercise: The zombies are clever enough to imitate his own methods for capturing them, and if he lingers outdoors for one second past dusk, they’ll be on him like telemarketers at dinner time. The allegory that does come into play, meanwhile, is so unexpected for this era that it’s refreshing (although 50 years ago the same idea would have been cliché). “I Am Legend” says that when it comes to seeking scientific solutions for the world’s self-inflicted miseries, it wouldn’t hurt to ask God for a clue.]]>
    ...
    (Review Source)
  • "I Am Legend" and God Is Pretty Cool Too
    Will Smith’s sci-fi flick “I Am Legend,” the “Omega Man” and “Last Man on Earth” retread that will likely rule the holiday box office, is a rare Hollywood movie in that it contains a pro-God message in the midst of a scientific inquiry into the nature of the cure for a supervirus. Huh? More here. I won’t give away the ending, but if you’d rather not know anything about the movie, don’t follow the link. ]]>
    ...
    (Review Source)
  • Ten Best-Ever Zombie Movies
    (”I Am Legend” is briefly mentioned in this.)
    Yes, the original “Dawn of the Dead” deserves to be there, but c’mon — “Zombieland,” at no. 3, should not be ahead of “Shaun of the Dead,” at no. 5. Also: Is “I Am Legend” a zombie movie? I think it is, and it deserves to be right up there. (Some would argue that fast-moving zombies are not zombies by definition. I say slow-moving zombies should take a simple hint, and do more cardio. By the way, the scenes of Will Smith on the treadmill in “I Am Legend” kind of indicate that he knew about cardio long before Jesse Eisenberg told us about it in “Zombieland.”)]]>
    ...
    (Review Source)
  • Holiday Movie Spectacular!
    (”I Am Legend” is briefly mentioned in this.)
    What’s worth seeing this season? Roughly in order of preference, with links to my reviews: MUST SEE: 1. The Diving Bell and the Butterfly. (Sorry, haven’t written up a review yet. It’s in selected cities only). 2. There Will Be Blood. 3. Sweeney Todd The Demon Barber of Fleet Street. 4. The Bucket List. 5. I Am Legend. 6. Walk Hard: The Dewey Cox Story. WORTH SEEING: 1. Atonement. 2. Juno. 3. Charlie Wilson’s War. MUST MISS (the movies, not my attacks, which of course are essential reading): 1. The Golden Compass. 2. National Treasure: Book of Secrets 3. Grace Is Gone 4. Youth Without Youth.]]>
    ...
    (Review Source)
  • "Golden Compass" Heading Flop-by-Flopwest
    (”I Am Legend” is briefly mentioned in this.)
    Allow me to be the first to call the Nicole Kidman/Daniel Craig fantasy mess “The Golden Compass” a flop. It opened with $8.8 million last night, less than “Beowulf” managed its first day–and “Beowulf” is also a flop. The latter cost $150 million and will earn less than $100 mil at the domestic box office. “The Golden Compass” cost $180 millon and will be lucky if it hits $80 million domestic. Next week it’s up against “I Am Legend,” which is going to beat it into the ground as “Compass” faces the prospect of extremely poor word of mouth. Question: how long before they stop making Nicole Kidman movies? Look at her art-house film, “Margot at the Wedding,” which, okay, is a niche entry, but even so could wind up grossing less than $2 million. Can anyone be called a star if they can’t even sell $2 million worth of tickets? She’s riding an incredible 11-movie disaster streak (you can’t count the animated “Happy Feet”) and even her “hits”–like “The Hours” and “The Others”–were only mildly successful. Picture a slugger who strikes out 200 times a year and never hits anything longer than a single. How long would such a player get to stay in the league? She has never been the lead in a single movie–not one–that has sold enough tickets to justify the $15 million she reportedly got for “The Invasion,” a movie that grossed only $15 million. The only one of her pictures to top $100 million is “Batman Forever,” in which she got fourth billing, below the title.]]>
    ...
    (Review Source)

VJ Morton2
Right Wing Film Geek



(Reviewers' Site/Bio)
  • Hell is other people

    Hell is other people

    I AM LEGEND (Francis Lawrence, USA, 2007) — 7

    I AM LEGEND is 2/3 of a great movie, hence the 7 grade, 2/3 of 10, rounded off.¹

    When it’s just Will Smith, a dog and a near-deserted Manhattan, the film is surprisingly enjoyable for someone like myself who rarely goes to gazillion-dollar summer blockbusters² (the genre, despite its mid-December release, into which I AM LEGEND seems to fit at a glance). Smith plays the last man on earth — the remaining homo sapiens having either died from a virus created as a cancer treatment or been turned into flesh-eating beasts who disintegrate in the sunlight. He puts out signals for remaining humans, tries to find a cure and rents videos by day, when it’s safe.

    The great pre-credits scene was so economical in setting up the story premise and the setting, that it put me in mind somewhat of Michael Haneke, who made a similar-in-premise film in TIME OF THE WOLF. Director Francis Lawrence uses downtown Manhattan mostly as negative space (like in this photo) and of darkness, at once isolating and oppressing Smith — an unusual strength for a music-video director. Indeed, not until afterward did I realize I was basically watching a vampire movie.

    There are moments of shocking recognition and existential loneliness, like Smith in a video store, that you don’t see in splosionfests but mark I AM LEGEND as something different. For most of the movie’s length, Smith only has a dog and mannequins to relate to, but he does a magnificent job of portraying half-sanity, half-insanity without obvious “cue/switch” moments. He feeds his social nature as man in the only unsatisfactory and unnatural ways available, like Chaplin making a gourmet feast out of a shoe. Smith is the film, really; and I hope AMPAS and Skandie voters [PLUG] remember him.

    My favorite moment was from this scene, where Smith has just escaped a trap but fallen on his knife and stabbed himself — while his dog, relieved to see him, licks up a storm on his face. The contrast among the dog’s joy, Smith’s agony, Smith’s keeping face and the objective threat of the moment is brilliantly achieved. And who ever thought you’d see an action scene in which the chief protagonist is a sunset? Indeed, other than the Gradually Expanding Flashbacks of Smith evacuating his family, I AM LEGEND never steps wrong in its first hour (the scenes are fine in themselves, but the cliched structuring device is not). But then it does.

    SPOILER WARNING: If I AM LEGEND had ended with the scene of a kamikaze attack where Smith goes out at night to avenge his dead dog, armed with lights just to kill as many of the mf-ers as he could and ended with his finally being overwhelmed by sheer numbers, we’d be talking a Top 10 Contender. But as that scene ends, the film goes to hell, courtesy of a Braga Ex Machina. My issue isn’t adaptation-itis, because I went in ignorant of the eponymous source novella (though I understand this is where I AM LEGEND deviates from it). But rather that these new characters betrays the premise that Smith is the last man alive; it’s like having Sisyphus’s rock stay at the summit. Worse, I AM LEGEND then goes on, with a quick diversion into a silly rant about theodicy, to contrive a happy ending that doesn’t even make sense on its own terms. Ask yourself: how would it be possible for this isolated community to use this “cure.”

    Pity.
    ———————————————–
    ¹ Actually, not really. The start isn’t a 10 and the end isn’t a 0, but it did work out that way.
    ² I only went to see I AM LEGEND because I owed a friend. My alternative, given what was playing after 11pm, was ALIEN-v-PREDATOR 2.

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    January 13, 2008 - Posted by | Uncategorized |

    3 Comments »

    1. Actually, this adaptation, like all of its predecessors, has very little to do with Matheson’s book apart from the very basic premise.

      [STOP READING NOW IF YOU DON’T WANT TO KNOW WHAT HAPPENS IN THE NOVEL.]

      Nobody has ever dared to tackle the aspect of Matheson’s work that inspired the title I Am Legend (which in the new film I guess is meant to refer to our hero’s status as the last human on Earth). In the book, Neville spends most of his day killing the vampires as they sleep. And the vampires aren’t anywhere near as animalistic as they’re portrayed in the various movies. Basically Neville’s character arc involves his capture, death and final realization that as the last surviving normal human, *he* is the monster—that the vampires (to whom he is just a killing machine) speak of him in the same tone of horrified awe we would use for Dracula.

      You can see how that might not be so much of a crowdpleaser.

      Comment by md'a | January 13, 2008 | Reply

    2. (Then again, Matheson wrote some of the most popular episodes of “The Twilight Zone,” which I Am Legend’s bitter irony clearly prefigures.)

      Comment by md'a | January 13, 2008 | Reply

    3. Thanks for taking a few of us.

      Comment by Assissotom | January 17, 2008 | Reply


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  • My Best of the Year “Skandies” ballot
    (”I Am Legend” is briefly mentioned in this.)

    My Best of the Year “Skandies” ballot

    And here is what I DID vote for, with some blathering after each category. Remember, 100 points to distribute to exactly 10 films, performances, scripts, etc.; minimum of 5, maximum of 30. (Also available here; the whole 2007 Skandies site here).

    Film (and Top 10)
    20 No Country for Old Men
    17 Hot Fuzz
    10 Atonement
    10 Private Fears in Public Places
    10 Into Great Silence
    8 There Will Be Blood
    7 Grindhouse
    7 The Lives of Others
    6 Gone Baby Gone
    5 Joshua

    The top 2 were the only films I saw all year to which eventually gave a 10 grade, and I saw all the top 8 at least twice … hence the big points gap between #2 and #3.

    I’d like to think this list at least displays a very catholic taste, at the populist end of the film-snob spectrum — 7 films in English and 3 foreign (though one of the three has very little dialog, and I wouldn’t have been unhappy with none). Two of the films (#2 and #7) that have pretty much nothing “meaningful” to do with anything except having a great time, though I should add that I think all these films, with the exception of #5 and maybe #4, I’d recommend without hesitation to any intelligent adult.

    Lead male
    15 Simon Pegg, Hot Fuzz
    15 Daniel Day-Lewis, There Will Be Blood
    14 Sam Rockwell, Joshua
    12 Josh Brolin, No Country for Old Men
    9 Jens Albinus, the Boss of It All
    9 Ulrich Muhe, the Lives of Others
    7 Casey Affleck, Gone Baby Gone
    7 Will Smith, I Am Legend
    7 Danny Boon, My Best Friend
    5 Don Cheadle, Talk to Me

    It might seem perverse to have the most widely-praised performance in eons in my second slot (though I wound up giving the same number of points). But comedy is much harder than tragedy to do well, a fact to which even the actor-heavy Academy is tone-deaf. In this movie, along with SHAUN OF THE DEAD, Pegg moves past Leslie Nielsen as the movies’ greatest (recent) parodic actor, managing to keeping a straight face while following with absolute conviction all the conventions of the genre being lampooned. And Pegg does so without the benefit, which Nielsen had, of playing a character who is a complete moron. Pegg’s characters are a bit unawares and self-absorbed, sure … but basically a believable person.

    If Day-Lewis hadn’t been around, Rockwell would have lived the year’s most virtuoso performance, spanning a character arc that you hardly recognize is so sweeping until you realize how different he has become at the end, without ever seeming to (DDL is great of course, but you very definitely SEE him acting). And sometimes, as with the bottom two, an actor can create a great performance just from his sheer personality and presence.

    Lead female
    22 Nicole Kidman, Margot at the Wedding
    14 Laura Linney, the Savages
    12 Ellen Page, Juno
    10 Keira Knightley, Atonement
    9 Jennifer Jason Leigh, Margot at the Wedding
    8 Tang Wei, Lust, Caution
    8 Tammy Blanchard, Bella
    7 Kate Dickie, Red Road
    5 Chen Shiang-chyi, the Wayward Cloud
    5 Jodie Foster, the Brave One

    What did Nicole ever see in Tom? The talent gap between the two is of Wham!-like proportions. Kidman hasn’t done her career any favors in recent years, choosing to work with great directors like von Trier and Kubrick, on risky projects like FUR and BIRTH, and some of her attempts at money-spinners have fallen horribly flat — BEWITCHED, THE GOLDEN COMPASS). We filmgoers are the richer for it. She eases into Baumbach’s unselfconscious post-analytic style like a female Chris Eigemann, convincingly resisting Big Actor’s Moments because everything is always in her control. Plus, she climbs a tree.

    This category is the cause of my two greatest omissions. Vera Farmiga should have been on this list for JOSHUA, but I just plum flat-out forgot about her brilliant portrayal of a post-partum victim when drawing up the shortlists. And I didn’t see BLACK BOOK until earlier this week, which featured a deserved Skandie-winning performance from Carice van Houten, who would placed definitely in my Top 5 had I seen the film before deadline.

    Supporting male
    17 Hal Holbrook, Into the Wild
    15 Javier Bardem, No Country for Old Men
    13 Lambert Wilson, Private Fears in Public Places
    10 Casey Affleck, The Assassination of Jesse James by the Coward Robert Ford
    9 Kurt Russell, Grindhouse
    9 Terrence Howard, The Brave One
    8 Peter O’Toole, Ratatouille
    8 Philip Seymour Hoffman, Charlie Wilson’s War
    6 Mark Ruffalo, Zodiac
    5 Ving Rhames, I Now Pronounce You Chuck & Larry

    Ditto what I said about actor, where the most obvious choice and easy Skandie winner wound up in my second slot. Bardem is great, no question. But Holbrook did something very specific that very few actors have ever done, and that’s turn me around on a movie (I probably should have at least put Catherine Keener on my short list for WILD too) that I was mostly hating until he came along. He represents old-style authenticity, trying to warn off while meeting halfway new-style Authenticity, which had things all its own way to that point; hence my hatred. I understand that some of that is the script’s arc, and some of it his iconography and associations (though that’s a legitimate part of acting — use of who one is). But it’s also how Holbrook simply breathes and embodies the wisdom of the ages, how his voice is knowing, how the emotions coming through at just the right moments.

    Two things to note on this category, about things I do self-consciously every year, to offset tendencies that lead to certain things that can too easily get overlooked.

    (1) I try deliberately, though not always successfully, to reward voice performances, whether in animated movies and voiceovers. On the former front, I’ve given points to Larry the Cable Guy and Ellen Degeneres (in part no doubt because the greatest problem standup comics like these two have when they try to act — infelicity with body language — is not a problem) and to Robert Downey Jr. On the latter, I’ve rewarded John Hurt for his voiceover in DOGVILLE and probably should have done so from Andre Dussolier for AMELIE back in 2001. This year, Peter O’Toole profited, with his fruity role as critic Anton Ego getting “animation” points.

    (2) I make a point of always giving at least some points to elements in films that I overall didn’t much care for overall. I didn’t like how my first year of voting (1998 … now at my Skandie history page … thanks, Mike, for retrieving it) had a ballot so heavily weighted toward a few films. Every year since, I’ve deliberately “spread the wealth,” with a particular effort (an affirmative action, one might call it) to find performances in lesser films. This year, the clear awesomeness of Ving Rhames and Philip Seymour Hoffman stirred both their mediocre films to life whenever they were on the screen

    Supporting female
    20 Saoirse Ronan, Atonement
    17 Sabine Azema, Private Fears in Public Places
    15 Vanessa Redgrave, Atonement
    9 Amy Ryan, Gone Baby Gone
    9 Cate Blanchett, I’m Not There
    9 Seong Hyeon-a, Time
    6 Kelly McDonald, No Country for Old Men
    5 Anna Kendrick, Rocket Science
    5 Amy Ryan, Before the Devil Knows You’re Dead
    5 Kelli Garner, Lars and the Real Girl

    My points to Seong Hyeon-a is the only time I think I’ve ever voted for an uncredited actor — I was sufficiently unsure that I asked Mike if that was OK. She may have had the year’s most difficult role, playing a character already having been played by a different actress in the first part of the movie. The central plot point in TIME (which is very good BTW, an Honorable Mention for the year) is the inverse of Kim Novak in VERTIGO — a woman has plastic surgery to make new again her tempestuous relationship with her boyfriend; Seong plays the woman post-surgery, meaning she has to create a different-yet-same character. She sometimes fumbles and I can see how her stylized playing could be offputting (I have no idea how it sounds in Korean).

    Others: If Amy Ryan can’t play both slutty and concerned mom convincingly, without coming across as a complete nutter, GONE BABY GONE is gone. Kelly McDonald and Vanessa Redgrave really only have one scene each, but they both knock them out of the park, as the respective movie’s moral fulcrum. And Anna Kendrick was a Proustian moment for me, all the high-school girls who were good in debate were just. like. that. (getting debate “spread” delivery right is no mean feat).

    Director
    18 Coen brothers, No Country for Old Men
    14 Alain Resnais, Private Fears in Public Places
    12 Quentin Tarantino, Grindhouse
    10 “Joe,” Syndromes and a Century
    10 Paul Thomas Anderson, There Will Be Blood
    8 Jafar Panahi, Offside
    8 Edgar Wright, Hot Fuzz
    7 Tsai Ming-liang, the Wayward Cloud
    7 David Fincher, Zodiac
    6 Kim Ki-duk, Time

    I tend to use this category and the succeeding “Script” category as a vehicle to award points to films that just miss the Top 10 — Panahi, Tsai, Kim here and Baumbach, Von Trier and Canyon in the next category. But there was no other choice really possible at #1 … it’s been years since I’ve seen direction so lean, so self-assured, so me-assuring, so perfect in every way — the only reason this didn’t get more points was that everything else in the Top 10 was so strong. Resnais (again) made a masterpiece out of a half-forgotten play; Wright directs for camera-only comedy, rather than just rely on “sketch value”; Tsai is at his most Tsainess ever (until he miscalculates and just goes too far — literally — at the end); Tarantino at his most Tarantinian ever (and the end actually IS a great capper)

    Script
    20 Christopher Hampton, Atonement
    15 Noah Baumbach, Margot at the Wedding
    15 Edgar Wright and Simon Pegg, Hot Fuzz
    10 Ben Affleck and Aaron Stockard, Gone Baby Gone
    10 Diablo Canyon, Juno
    8 Florian Henckel von Dommersmarck, the Lives of Others
    7 Coen brothers, No Country for Old Men
    5 Brad Bird, Ratatouille
    5 Arnaud Cathrine and Julie Gavras, Blame It on Fidel
    5 Lars von Trier, the Boss of It All

    Yeah … that British literary bias, but Hampton really did do a brilliant job, worthy of the important playwright he himself is, paring down to the essence of what looked like an unfilmable novel and getting the blueprint for how a very literary conceit, post-modern discourses, work as drama (here is Tasha Robinson with a brilliant piece at the Onion AV Club on the film and the novel). Diablo Canyon was fine on the quotable lines department, but she just got outdone by Noah Baumbach who apparently can exude hyperliterate passive-aggressive oneupmanship by the yard and shrink-wrap it to order.

    Let me make a shout-out here for BLAME IT ON FIDEL, which is like a French arthouse version of Absolutely Fabulous — 60s radical parents and a young girl, Anna, who rebels too — by wanting a normal apolitical childhood. The scene where she unwittingly explains the inherent natural basis of property to some anarchists was priceless. About a willful child in sort of the same way ATONEMENT is, but under much different circumstances and she doesn’t take it anywhere near what Briony does. It isn’t a great movie (7 grade) because it never really goes for the jugular like I wanted to against the sort of people whom it’s taking the piss out of — professional revolutionaries/”activists,” though since it’s to some extent about Gavras’s own childhood, some diplomacy is humanly understandable. But it takes more than enough piss for me to enjoy.

    Scene

    These are the scenes in question for 8 of my 10 picks, the ones I’ve able to find. I gave 10 points to all 10 scenes, so the order doesn’t mean anything. It’s just alphabetical by the films’ titles.

    10 At the Father’s house, Bella (couldn’t find … in fact, I can’t find ANY clips for Bella)

    10 Ship’s Mast, Grindhouse (courtesy of Mike)

    10 “Miss Baltimore Crab,” Hairspray (although doomed by this to have no shot at being more than the second-greatest Michelle Pfeiffer musical number)

    10 City of Women, Half Moon (this clip has only Spanish subtitles, but they’re basic setup, saying thousands of women have been exiled to this town, and they play in one voice)

    10 Han River attack, The Host (courtesy of Mike … dubbing isn’t too distracting)

    10 The body won’t stay dead, Lust, Caution (couldn’t find)

    10 Coin toss with “Friendo”, No Country for Old Men (courtesy of Mike)

    10 Trip to the ladies room, Offside (courtesy of Mike … no subtitles, but he sets up the scene here)

    10 “What did the sun say to Erich Honecker?” the Lives of Others

    10 Umbrella dance, the Wayward Cloud (nobody else voted for this one??? … how)

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    February 16, 2008 - Posted by | Uncategorized | ,

    4 Comments »

    1. Sigh … I should’ve voted for “Umbrella Dance”. Trouble is, 27 months after I watched it, I barely remember any of CLOUD’s musical numbers. (R2 DVD *finally* came out last week.)

      Just wondering: have you read “Atonement”? In other words, is Hampton’s 20-pointer for adaptation, or just general excellence?

      Comment by Theo | February 21, 2008 | Reply

    2. I’s 9 parts excellence to 1 part knowledge of the difficulty that I know the novel holds without having read it. My specific knowledge of ATONEMENT the novel comes second-hand, especially from the Tasha Robinson piece I linked to (which frankly doesn’t make MacEwen’s novel sound that appealing to me and quotes enough of it for me to make that judgement). I also know, from other post-modern “multiple levels of discourse/multiple-narrator novels,” the general problems this type of novel poses. I apologize if I came across as falsely claiming to have read ATONEMENT at the time of voting.

      Comment by vjmorton | February 21, 2008 | Reply

    3. […] VJ Morton has one of the most interesting¬†Best of 2007 lists I’ve¬†seen, and a thoughtful trip through the¬†acting categories too. Bonus! Actual scenes from great films!¬† […]

      Pingback by The Browser: Dobson and the election. Another Top Ten List. O’Connor. | March 13, 2013 | Reply

    4. […] VJ Morton has one of the most interesting¬†Best of 2007 lists I’ve¬†seen, and a thoughtful trip through the¬†acting categories too. Bonus! Actual scenes from great films!¬† […]

      Pingback by The Browser: Dobson and the election. Another Top Ten List. O'Connor. | Looking Closer with Jeffrey Overstreet | August 16, 2015 | Reply


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Mark Collett1
This Week On The Alt Right



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  • Black James Bond - Replacing Whites in Films
    (”I Am Legend” is briefly mentioned in this.)
    Multiculturalists, liberals and social justice warriors are wetting themselves with excitement over the idea of a black James Bond, but the same people go in...
    ...
    (Review Source)

PJ Media Staff5
PJ Media



(Reviewers' Site/Bio)

  • WALL-E: A Gloom-E Satire
    (”I Am Legend” is briefly mentioned in this.)
    PJ Media WALL-E is a cornucopia of filth, dust, rust and roaches, but if I wanted all of that I’d go back to my first New York City apartment. Compared to other kid flicks (or adult flicks, or even Ingmar Bergman flicks), this is one Gloom-E piece of work.WALL-E is the last (sort of) living creature on earth, a bedraggled and lonesome robot who spends his days in a befouled metropolis that makes the one in I Am Legend look like Oz. The earth has been made uninhabitable by junk and pollution, its skies as brown as a bad day in Beijing, but at least apocalypse provides a good living: the job for which WALL-E is programmed is to gather up rubbish, compact it into cubes, and stack those as high as skyscrapers. As the trashopolis rises around him, he spends his spare time arranging his favorite salvaged items (a Rubik’s Cube, a spork) and watching an old videotape (jury-rigged to play through an iPod) of Hello, Dolly. WALL-E’s living quarters amount to a tool shed of despair, although by the standards of New York City circa 2008, it’s merely a fixer-upper with lots of potential.A more advanced flying probe-bot sent to Earth for reasons unknown has feminine curves and lovely blue eyes that leave WALL-E smitten, though except for her habit of laser-zapping any suspicious object she could be one of those white bullet-shaped trash canisters you’d see at a snack bar.When she and WALL-E start to beep sweet nothings at each other, she has a higher-pitched tone than he does and says her name is Eva, so WALL-E is confirmed to be a heterobot. The two of them wind up at a space station that houses the remnants of the human race. At this point the film, previously dingy and dark, goes matte black.The earthlings — or maybe Americans, as none of them have any other kind of accent -- are brain-dead blobs perpetually stuffed to the gills with entertainment. They never leave their spotless flying barcaloungers -- and never could, since their bones have shrunk to useless twigs inside their Shrek-like masses. They float through their troglodyte lives as unquestioning subjects of the master corporation (the same one that ruined the Earth) that houses them, distracts them and feeds them. All foods are made to be sucked down like milkshakes for maximum convenience. class="pages"> https://pjmedia.com/blog/wall-e-a-gloom-e-satire/ previous Page 1 of 2 next   ]]>
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    (Review Source)
  • What Zombies Teach Us About Human Nature
    (”I Am Legend” is briefly mentioned in this.)
    Lifestyle var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': 'World War Z TRAILER 2 (2013) - Brad Pitt Movie HD', 'videoType': 'Curated' }); Last week’s article: Beating Back the Nazi “Sickness”Zombies are all the rage these days. AMC’s The Walking Dead reigns as the top-watched drama on basic cable. Films like Warm Bodies, Zombieland, and I Am Legend stand out among recent entries in an enduring horror subgenre. None other than Brad Pitt will headline this year’s World War Z, which looks to amp up its action well beyond the shuffling flesh-eaters of yesteryear.That’s to say nothing of video games, where the undead continue to suck cash from willing gamers anxious to live out an apocalyptic fantasy. Whether its Resident Evil, Left 4 Dead, or downloadable add-ons to Call of Duty, zombie hoards batter down the doors of our collective consciousness. What exactly makes them so popular?Like the Nazis we considered last week, zombies provide guilt-free slaughter. No one feels bad about shooting something that’s already dead. Plus, because zombies were once living human beings, they provide a cathartic release for that deeply suppressed homicidal impulse none of us wants to admit to harboring.Zombies are amoral. They have no agenda, no emotional motivation, no plan. They simply menace. So putting them down presents no moral dilemma. What would be murder were they living becomes a wholly defensible act of survival. The very nature of a zombie marks it for destruction. Since it has no feelings and endures no torment, the acceptable methods for disposing of a zombie are bound only by the imagination of the killer. So zombies enable creative guilt-free violence on a scale limited only by their numbers.Zombies also serve an adaptive narrative purpose in storytelling. While they more often than not simply lurk around the corner as boogeymen, the nature of a zombie can be tweaked to represent certain themes. In George Romero’s 1968 classic Night of the Living Dead, the film which birthed the modern undead flesh-eater, zombies were implied to be the fulfillment of biblical revelation. Writing for the Washington Post, commentator Christopher Moreman expounds:The zombie apocalypse is often equated with the wrath of God and biblical end times. Though the origins of zombie outbreaks usually remain indeterminate in the genre, most zombie narratives indicate that we brought this upon ourselves. Whether corporations, the government, or the military are to blame, the average person also bears fault for participating in a corrupt system, just as the people of Sodom and Gomorrah were collectively responsible for God’s wrath.Romero’s 1978 Dawn of the Dead took the theme a step further, assigning a decisively anti-capitalist overtone to the narrative. The undead converged upon a shopping mall, retracing the routines of their former lives. class="pages"> https://pjmedia.com/lifestyle/2013/5/9/what-zombies-teach-us-about-human-nature/ previous Page 1 of 4 next   ]]>
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    (Review Source)
  • 10 Plague Movies That Won't Help with Ebola
    (”I Am Legend” is briefly mentioned in this.)
    Lifestyle var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': 'Panic in the Streets trailer', 'videoType': 'Curated' }); Screenwriters are not known for being sticklers for facts. And when it comes to disasters, writes University of Texas Professor David A. McEntire, “many of Hollywood’s portrayals are based on myths and exaggerations….” That’s certainly the case when it comes to disease disaster films. Here are 10 “fun” movies that are of no use whatsoever in terms of helping viewers respond wisely to a pandemic.10. Panic in the Streets (1950)“Patient Zero” is carrying the pulmonary version of bubonic plague. A public official (played by Richard Widmark) has 48 hours to find him before the disease spreads throughout the city. Director Elia Kazan delivers a moody, atmospheric, underappreciated film. But if this is how the police, public health officials and reporters will really act during a crisis, well, we’re all doomed. class="pages"> https://pjmedia.com/lifestyle/2014/10/3/10-plague-movies-that-wont-help-with-ebola/ previous Page 1 of 10 next   ]]>
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    (Review Source)
  • 5 Movies to Look Forward to This Fall
    (”I Am Legend” is briefly mentioned in this.)
    Lifestyle As summer trickles out with the usual hopeless Labor Day menu of schlock that should have gone straight to video, Hollywood takes its usual breather for a few weeks, but starting in October some of the year’s most keenly anticipated movies will begin to roll out. Here are five that look like major potential crowd-pleasers.1. The Wolf of Wall Street (Nov. 15)Leonardo DiCaprio is an overrated actor, but the principal reason he’s overrated is that he’s usually very good in Martin Scorsese films like this one (though he stumbles with other directors such as Quentin Tarantino and Clint Eastwood).The movie sounds like a gleefully cynical, Goodfellas-like take on the booming 1990s financial industry, minus Oliver Stone’s groaning liberal cliches about corruption. Instead, the adaptation of a memoir by former stockbroker Jordan Belfort (an outsider who made it into one of America’s most exclusive clubs, much like Henry Hill in Goodfellas, before an equally spectacular downfall) is being billed as a boys-will-be-boys black-comedy spree.Through Scorsese’s mischief-loving eyes, Wall Street will be shown in a state of ecstatic excess characterized by dwarf-tossing, coke-snorting and wanton sexual misbehavior. The movie sounds buzzy, funny, dark, rude and politically incorrect. var dataLayer = window.dataLayer = window.dataLayer || []; dataLayer.push({ 'videoName': 'The Wolf of Wall Street Official Trailer', 'videoType': 'Curated' }); class="pages"> https://pjmedia.com/lifestyle/2013/8/30/5-movies-to-look-forward-to-this-fall/ previous Page 1 of 5 next   ]]>
    ...
    (Review Source)

Soiled Sinema2
Soiled Reviews



(Reviewers' Site/Bio)

⚠️ EDGY 🔥 CONTENT 🔥 WARNING 🔥 (NSFW?) ⚠️

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  • Doomsday
    (”I Am Legend” is briefly mentioned in this.)
    Neil Marshall is a name in horror that i trust. His iconic British werewolf film Dog Soldiers was all kinds of awesome. Next, The Descent ,...
    ...
    (Review Source)
  • Death Note
    (”I Am Legend” is briefly mentioned in this.)
    The fundamentals of making an adaptation aren't hard to abide by. Take a source topic, remain at least quasi-faithful, carry themes, and pro...
    ...
    (Review Source)

The Federalist Staff1
The Federalist



(Reviewers' Site/Bio)

  • Why America Is Obsessed With Survivalism
    (”I Am Legend” is briefly mentioned in this.)
    Lately we’ve become somewhat obsessed with movies, TV shows, books, and video games that envision a post-apocalyptic world. This October, “The Walking Dead” will premier its seventh season on AMC, while its spin-off “Fear the Walking Dead” debuts its second season in April. Although zombie movies have been around for decades, it’s only been in the past 15 years or so that the post-apocalyptic tale has become an important cultural touchstone in America, particularly in imagining what life would look like in the aftermath. What does this fixation on the idea of survival say about our society? And more importantly, what does it say about ourselves and how we interact with our own mortality? The Apocalypse Craze Has Lasted More than a Decade The recent zombie-pocalypse craze began in 2002 with Danny Boyle’s acclaimed “28 Days Later,” a story about a man who wakes up in a London hospital only to find out that a virus has wiped out most of England and perhaps the world. Those infected are like crazed zombies. “World War Z,” a personal favorite, is an adaptation of a novel in which the United Nations tries to find a cure for a zombie virus after all major world cities have fallen to the lightning-fast “zekes.” Video games like “The Last of Us” allow you to enter into these kinds of worlds and try to survive. In all of these stories, something disrupts regular life for everyone on Earth. Zombies aside, countless post-apocalyptic tales have utterly captured our imaginations in recent years. In films, we’ve had major productions like “I Am Legend,” “Children of Men,” the Planet of the Apes series, and last year’s Oscar-nominated “Mad Max: Fury Road.” Young adult fiction features an endless supply of these kind of stories, from the Hunger Games series to “Maze Runner” and “Divergent.” In literature, there was Cormack McCarthy’s harrowing novel “The Road,” which was adapted for film in 2009, and Emily St. John Mandel’s 2014 novel “Station 11,” which features a virus that wipes out much of the world and breaks down society. In all of these stories, something disrupts regular life for everyone on Earth. People are no longer going to their jobs, playing sports, or watching TV. Perhaps most importantly, no one is spending time on computers and smartphones. The Meaning Inside Fighting for Your Life Many of these narratives contrast a main character’s otherwise struggle-free pedestrian Western life with the disaster that is soon to strike. They are thrown suddenly into a chaotic world of roving bands of criminals, zombies, or government agents. They depict man going back to a near state of nature. He must recreate organized society, even if that society is made up of only the few people with whom he has thrown in his lot. They have to start over wherever they are. Water is scarce and must be fought for and protected. The survivors make their own clothes and grow and hunt for their own food. Life is hard but in some ways straightforward. Existence is so easy, especially in the West, that it disconnects us from our humanity in some ways. Here we get down to the kernel of why we are so drawn to these stories. They show people having to fight for their very life. They aren’t checking Twitter or posting a selfie on Instagram. They aren’t picking out their favorite variety of cruciferous leafy greens at Whole Foods. They’re just trying to make it one more day. We, as a society, are utterly out of touch with what it would mean to live every day with only one goal: survive. We work hard, sure, but it’s not the same. Everything is easy. The water just comes out of the pipe. The food is sitting at the grocery store for us to pick up. What’s more, much of our existence is made up of leisure time. So we wonder what it was like when people used to have to work from morning to night just to keep their small household going. What if, like in “The Walking Dead,” my social network shrunk to just the people within a few miles of myself? What would it look like if everything in my life suddenly changed? Somewhere deep down, perhaps we are aware of the superficiality of our day-to-day life, so we crave having to struggle for our survival. It puts us in touch with our own mortality, not by provoking fear and insecurity, but by awakening a desire to touch our human frailty and really feel it. Existence is so easy, especially in the West, that it disconnects us from our humanity in some ways. The numbness of modern existence becomes a burden. On some instinctual level, we want to fight for our life. In Distress, We Drastically Simplify to What Matters These days, we are overwhelmed with media and information and leisure. Surely some part of us wants to go back to basics, without cell phones and social media, gossip and politics. In most of these post-apocalyptic books and movies, technology has broken down completely. The stories appeal to us because they show people returning to the fundamentals of existence, struggling to meet their physical needs and maintain real human relationships—offline. The stories appeal to us because they show people returning to the fundamentals of existence. This phenomenon manifests itself, increasingly, in the survival industry and the more than 3 million real-life “preppers” in America who stockpile food and water, and sometimes guns and ammo. Some even take survivalism courses on how to hunt for food, do basic first aid or get clean drinking water. They aren’t restricted to the militia crowd, and they aren’t wackos out in the woods. They include professional upper-middle-class men and women who want to be ready if disaster strikes. It wouldn’t be fair to say these people are hoping for such a calamity, but some part of them yearns for things to be hard yet simple again. There is a certain excitement in people’s voices when they talk about a possible EMP attack, or when Ebola first appeared in the United States. It’s not sick morbidity or ungratefulness for this prosperous Western life. Nor is it golden-age syndrome. It’s just a desire to put one’s finger on the pulse of life. To know and acknowledge our mortality in a society that constantly tries to shield us from it. So we watch “The Martian” or “Revolution,” or play “The Last of Us.” We stockpile water and ravioli (high in protein and vitamin C to fight scurvy). And we imagine what it would be like to fight to stay alive. ]]>
    ...
    (Review Source)

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