Jólamyndin í ár

Verður Will Smith áfram einn sá ábyggilegasti sem hægt er að ráða sem leikara í stórmynd í Hollywood eftir þessa kvikmynd , ef marka má dóma í Variety kvikmyndabiblíunni í USA þá verður hann það þar sem myndin er víst mjög mjög vel gerð og spennandi í alla staði og Will skilar sínum karisma sem hefur fleygt honum á toppinn í svo mörgum löndum undanfarið.

I Am Legend er gerð eftir þessum kvikmyndum  "The Last Man on Earth," og  "The Omega Man.

Það sem hefur verið talað um hvað sé jafnvel stórfenglegast við myndina er hversu vel þeir hafa náð að gera Will Smith algerlega einan í stórborginni New York

Hér er sýnishornið.....

Skólavörðustígur í Hollywood

Athugasemdir

[Doddi - Þorsteinn G. Jónsson (IP-tala skráð) 8.12.2007 kl. 12:30]

Ég hlakka mikið til að sjá þessa mynd ... mjög mikið!

[Ómar Ingi, 8.12.2007 kl. 18:44]

Hell Yeahh

[Johnny (IP-tala skráð) 9.12.2007 kl. 13:37]

Hmmm... kanski missskilingur hjá mér en ég hélt að þetta væri lauslega byggt á bókinni "I am legend" sem var skrifuð 1954 af Richard Matheson. En þar breytist fólkið í vampírur í stað uppvakninga.

[Ómar Ingi, 9.12.2007 kl. 19:15]

Byggt á sögu eftir Matheson en búið að breyta henni allveruega  sjá að neðan brot úr dómi Variety ..

Gott comment samt  ME LIKE

Vantar fleira fólk sem commentar um kvikmyndir hérna hehe

Bestu kveðjur  

Matheson’s pioneering novel, which worked a lot of science into a story populated by vampiric predators, hasn’t fared too well on the bigscreen thus far. First adaptation, the 1964 Vincent Price starrer “The Last Man on Earth,” lensed in Italy by helmer Sidney Salkow, was a cheesy affair, while the 1971 “The Omega Man,” toplining Charlton Heston under Boris Sagal’s direction, murkily altered the story to put the leading man up against an albino cult called “the Family.” A direct-to-vid item called “I Am Omega” (from the Asylum, specialists in parasitic low-budget versions of big-budget studio fare) has just been produced.

The scripters of “The Omega Man” get credit on this new version (curiously given the many differences between the two films), initially penned by Mark Protosevich when Warner Bros. first announced a remake a decade ago. That pic was to have toplined Arnold Schwarzenegger with Ridley Scott directing; at various points in the interim, Tom Cruise and Michael Douglas have been attached as stars, as was Michael Bay as director. Akiva Goldsman subsequently came aboard to help produce and give the script a final go.

Following a brief prologue (featuring a TV clip of an uncredited Emma Thompson as a doctor announcing a cure for cancer), the opening minutes are breathtaking in their haunting imagery. The setting is a desolate Manhattan, parts of it unchanged but others in ruins, upholstered in part by grass and weeds and with abandoned vehicles jammed together. Billboards for “Hairspray,” “Rent” and “Wicked” still adorn Times Square, but the only living beings in evidence are some flying birds, a herd of stampeding deer and a family of lions stealthily hunting its dinner.

And then there is one man, Robert Neville (Smith), first seen racing a red-and-white Shelby Mustang GT 500 through the canyons of midtown in the company of his German shepherd. Neville carries a high-powered rifle, and tries to get off a shot at a deer, but returns empty-handed to his Washington Square apartment, which appears well stocked with food and other goods.

Although he holds back from embracing the genuinely surreal, director Francis Lawrence (“Constantine”) displays a strong sensitivity to the majesty of desolation (he was reportedly inspired by John Ford’s Western landscapes). Setup also creates a genuine sense of curiosity and fear about what else might lurk out there, something shortly indicated when Neville battens down the hatches for the night and curls up with his dog in an empty bathtub while dreadful howls and screams surround them from outside.

Doled out in flashbacks are glimpses of how, three years earlier, Manhattan was quarantined due to the outbreak of a devastating man-made virus. A military scientist, Neville proved to be uniquely immune, and so remained on the island after seeing his wife and daughter off in a spectacular nocturnal evacuation scene staged with hordes of extras near the Brooklyn Bridge.

Convinced he’s the last normal man alive, Neville retains his sanity by following a rigorous routine and spends his days roving around Manhattan hunting for other survivors -- humans who, due to infection, have turned into zombie-like cannibals who normally venture out only at night. When he captures any -- a very dangerous business -- he’s able to continue his desperate experiments at finding a cure, his one hope for perpetuating recognizable human life.

Unfortunately, the more the film dwells in -- for lack of a better term -- zombie territory, the more director Lawrence resorts to stock-in-trade shock cuts designed expressly to rattle the viewer. Sometimes there’s a payoff, sometimes not, but the tenor of the picture steadily declines the more this sort of thing is indulged in.