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It's not, I think, the worst film I've ever seen. The only thing I can say in its favour is that despite the extreme running length, which kept me in the cinema from half-past six to eleven o'clock at night, and cost me eight pounds sterling into the bargain for this privilege, it kept me concentrating so hard on trying to understand what was going on that I was never even close to falling asleep although all that effort did catch up with me during the intermission in the shape of a massive bout of yawning! The film is ugly - deliberately so, I'm pretty sure - and downbeat, again deliberately so.

#Akon diskografiya torrent movie#

But even cutting the film back to the bone - the reputed 90-minute version might have been interesting - cannot cover for its other problems: the mumbled and obscured dialogue, the deliberate and bewildering choice to film long stretches through dust or smoke, and above all the lack of basic exposition that left me struggling through the entire movie with questions such as 'who was that? why did that just happen? what did that mean?' Every establishing shot of background activity could have been trimmed by at least half all the endless pauses during the dialogue could have gone, to the improvement both of the general pacing and of the running-time. It's plain from the first moment just where all those hours went - not into complex plot or characterisation, but the very simple device of holding each and every shot that little bit longer than necessary. And, of course, long stretches of running time with which to conjure magic in the absence of commercial breaks.īut there is no way that it can justify its uncut length.

#Akon diskografiya torrent tv#

My best guess as to what this film was actually trying to achieve is that it was a last-ditch attempt to fight back against television by doing all the things contemporary American TV couldn't provide: widescreen presentation (which is well used here, without the all too common problems when composing close-up shots for a letter-box-shaped screen), gratuitous nudity and swearing (it gets thrown in every so often as if the director is trying to prove he can), and graphic shots of mangled corpses, intestines, splattered brains etc. (The latter question, I confess, still escapes me.) It wasn't until Averill got sacked that I even realised what his job was! Add that to a script that simply doesn't explain important facts for much of the film, and a vast cast of barely-differentiated stereotypes, and you end up with viewers struggling simply to understand what was going on I had to log on to the IMDb and read through a number of threads on the film's discussion board before I even grasped who the characters in the first and last scenes were meant to *be*, let alone what was the point of the scenes in question. For many sequences 'Heaven's Gate' is badly in need of them - and I understand Russian and German, so I had a flying advantage over the intended audience! But it is the English dialogue that is in many places so 'naturalistic' as to be entirely incomprehensible. 'Andrei Rublev', for Western audiences, at least had the benefit of subtitles. What I can say is that I can't imagine how on earth United Artists could ever have imagined they had a viable commercial project on their hands in this unlovely, feel-bad, incomprehensible Western - what mass-market audience did they ever imagine would flock to see a five-hour epic more akin to 'Andrei Rublev' than to 'Stagecoach'? I'm honestly not clear whether this film is being pretentious or plain incompetent, realistic or gratuitously nasty, arty or just badly-exposed and obscured by dust or smoke. Reviewed by Igenlode Wordsmith 3 / 10 Wilfully obscure James Averill's heart is with the immigrants, but he doesn't think they have a chance of winning the inevitable war. Cavalry, set out to rid the state of the immigrants. They assemble an army of guns-for-hire and, backed by the U.S. The cattlemen's association, the Wyoming Stock Growers Association, effectively declares war on the immigrant farmers and gets the state government's blessing. The wealthy cattle owners view the immigrant farmers as a nuisance and hindrance to them enlarging their own land. In 1890 Wyoming, James Averill is the Sheriff of Johnson County, which is largely inhabited by foreign immigrants.