The plot is based fantasy world in which coexist 4 race elements - Water, Land, Air and Fire.Nation of Fire is sizzling war against other factions.
But in the center of the carnage appears Aang, who, according to the prophecy, given the ability to manage all the elements and to reconcile the nation.Warrior of the air with a friend of the nation's waters Qatar and her brother Socco sent to the campaign.
Director M. Night Shyamlan’s adaptation of the Last Airbender is going to be a hell of a movie!
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The Lovely Bones is a 2002 novel by Alice Sebold. It is the story of a teenage girl who, after being raped and murdered, watches from heaven as her family and friends go on with their lives, while she herself comes to terms with her own death. The novel received a great deal of critical praise and became an instant bestseller. A film adaptation of the novel, directed by Peter Jackson who personally purchased the rights, was released in American theatres on January 15, 2010
How many times have you heard someone comment that a film’s not as good as the literary work upon which it’s based? It’s a common complaint, and understandable, but perhaps not always fair.
The requirements for the two mediums are so different that for a film adaptation to succeed it just about always needs to make drastic changes to the source material. Characters are cut, plot arcs tightened and subtext added. They’re intimidating hurdles for a reader-turned-viewer to leap, and that doesn’t even take into account the more basic elements: how certain characters might look or the particulars of a setting.
So if you ask someone who’s seen The Lovely Bones what it was like, there’s a good chance they’ll tell you it’s not as good as the book, and that’s fair enough. But unfortunately it doesn’t come close to telling the whole story of this flawed film.
I haven’t read Alice Sebold’s source material but it’s not a requirement to find The Lovely Bones a sagging disappointment. The story of a heaven-bound young girl trying to influence the search for her murderer back on earth is a gaseous and unwieldy enterprise, pretty to look at but ultimately lacking in firm ground on which to lay its narrative.
And it’s a shame because the film gets a few elements spot-on.
It opens at a gallop, the short life of Susie Salmon (Saoirse Ronan) thrown down with impressive artistry. These early scenes suck in the audience, illustrating director Peter Jackson and regular writing collaborators Fran Walsh and Philippa Boyens’s true gift for storytelling.
There are other small corners of the film that are just as impressive: Susie’s encounter with her killer, George Harvey (a bizarrely made-up Stanley Tucci) is frightening for what you don’t see, and a later scene where her younger sister, Lindsey (Rose McIver) breaks into Harvey’s house in search of incriminating evidence is one of the finest pieces of tension you’re likely to witness.
As great as these moments are, however, they can’t hide the wrong turns taken by Jackson, Walsh and Boyens at the scripting stage. Not concentrating on the earthly elements of the story – which swing mainly around the efforts of Susie’s father (Mark Wahlberg) to find the identity of her killer and the subsequent pressure it places on the Salmons – the filmmakers instead choose to maximise the time spent with Susie in her mystical halfway house, where she traipses about the Weta-created dreamscape with a new found buddy, a la Heavenly Creatures 2: Electric Boogaloo. These scenes are breathtaking in their design and beautifully shot, but every time we go there the film grinds to an unholy halt, momentum an expendable commodity in this particular universe.
It leaves things back on earth in a parlous state, character development breezed over in order to facilitate a return to the ever after. The players do admirably under the circumstances, but Rachel Weisz in particular struggles with a character so sparsely written she seems like a total stranger. Susan Sarandon’s Grandma Lyn is even worse, her midway arrival having virtually no impact on the story whatsoever.
Perhaps the mystic material should have been pushed to the side and Susie’s father’s story given the central strand of the narrative. It would have allowed the filmmakers to explore in more detail the effect the young girl’s death has on her family and saved the audience from the uneven momentum shifts that the The Lovely Bones suffers.
Still, The Lovely Bones can be pleasing when considering its smaller elements: the scenes mentioned earlier, for example, or Naomi Shohan’s beautiful production design, a meticulous eye being applied to the story’s early 70s setting. Brian Eno’s subtle score is at times almost too unobtrusive and noodling, but for the most part percolates effectively.
Ultimately this is a film that’s bound to disappoint, whether you’ve read the source material or not. And you can’t help but feel a little sorry for Peter Jackson: after his successful producer credit on District 9 it would have been nice for him to return to the director’s chair on a high. Still, I guess there’s always The Dam Busters.
I say:A flawed enterprise that so easily could have been much better.
See it for: The performances of Saoirse Ronan and Rose McIver. McIver in particular: she’s handed a character that truly develops and makes the most of it.
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The plot is based fantasy world in which coexist 4 race elements - Water, Land, Air and Fire.Nation of Fire is sizzling war against other factions.
But in the center of the carnage appears Aang, who, according to the prophecy, given the ability to manage all the elements and to reconcile the nation.Warrior of the air with a friend of the nation's waters Qatar and her brother Socco sent to the campaign.
Director M. Night Shyamlan’s adaptation of the Last Airbender is going to be a hell of a movie!
Watch Avatar: Last Airbender (2010) Online For Free Movie,Watch Avatar: Last Airbender (2010) Full Free Online Movie,Download Avatar: Last Airbender (2010) Movie Free,Watch Avatar: Last Airbender Streaming Online Free,Free Download Avatar: Last Airbender (2010) Movie,Watch Avatar: Last Airbender (2010) Online Full Length Film,Download Avatar: Last Airbender (2010) Movie DVD , Ipod , Divx,Avatar: Last Airbender (2010) Movie,Avatar: Last Airbender (2010) For Free Full Online Movie,Watch Avatar: Last Airbender (2010) Online Streaming Free Full Length,Avatar: Last Airbender (2010) Trailer,Avatar: Last Airbender (2010) Movie HD Trailer,Watch Avatar: Last Airbender (2010) Movie Online Free,Watch Avatar: Last Airbender (2010) Online,Watch Avatar: Last Airbender (2010) Movie Online,Avatar: Last Airbender (2010) online free, watch Avatar: Last Airbender (2010),Watch Mr Nobody (2010) Full Movies Online For Free,watch Avatar: Last Airbender (2010) movies for free
The Lovely Bones is a 2002 novel by Alice Sebold. It is the story of a teenage girl who, after being raped and murdered, watches from heaven as her family and friends go on with their lives, while she herself comes to terms with her own death. The novel received a great deal of critical praise and became an instant bestseller. A film adaptation of the novel, directed by Peter Jackson who personally purchased the rights, was released in American theatres on January 15, 2010
How many times have you heard someone comment that a film’s not as good as the literary work upon which it’s based? It’s a common complaint, and understandable, but perhaps not always fair.
The requirements for the two mediums are so different that for a film adaptation to succeed it just about always needs to make drastic changes to the source material. Characters are cut, plot arcs tightened and subtext added. They’re intimidating hurdles for a reader-turned-viewer to leap, and that doesn’t even take into account the more basic elements: how certain characters might look or the particulars of a setting.
So if you ask someone who’s seen The Lovely Bones what it was like, there’s a good chance they’ll tell you it’s not as good as the book, and that’s fair enough. But unfortunately it doesn’t come close to telling the whole story of this flawed film.
I haven’t read Alice Sebold’s source material but it’s not a requirement to find The Lovely Bones a sagging disappointment. The story of a heaven-bound young girl trying to influence the search for her murderer back on earth is a gaseous and unwieldy enterprise, pretty to look at but ultimately lacking in firm ground on which to lay its narrative.
And it’s a shame because the film gets a few elements spot-on.
It opens at a gallop, the short life of Susie Salmon (Saoirse Ronan) thrown down with impressive artistry. These early scenes suck in the audience, illustrating director Peter Jackson and regular writing collaborators Fran Walsh and Philippa Boyens’s true gift for storytelling.
There are other small corners of the film that are just as impressive: Susie’s encounter with her killer, George Harvey (a bizarrely made-up Stanley Tucci) is frightening for what you don’t see, and a later scene where her younger sister, Lindsey (Rose McIver) breaks into Harvey’s house in search of incriminating evidence is one of the finest pieces of tension you’re likely to witness.
As great as these moments are, however, they can’t hide the wrong turns taken by Jackson, Walsh and Boyens at the scripting stage. Not concentrating on the earthly elements of the story – which swing mainly around the efforts of Susie’s father (Mark Wahlberg) to find the identity of her killer and the subsequent pressure it places on the Salmons – the filmmakers instead choose to maximise the time spent with Susie in her mystical halfway house, where she traipses about the Weta-created dreamscape with a new found buddy, a la Heavenly Creatures 2: Electric Boogaloo. These scenes are breathtaking in their design and beautifully shot, but every time we go there the film grinds to an unholy halt, momentum an expendable commodity in this particular universe.
It leaves things back on earth in a parlous state, character development breezed over in order to facilitate a return to the ever after. The players do admirably under the circumstances, but Rachel Weisz in particular struggles with a character so sparsely written she seems like a total stranger. Susan Sarandon’s Grandma Lyn is even worse, her midway arrival having virtually no impact on the story whatsoever.
Perhaps the mystic material should have been pushed to the side and Susie’s father’s story given the central strand of the narrative. It would have allowed the filmmakers to explore in more detail the effect the young girl’s death has on her family and saved the audience from the uneven momentum shifts that the The Lovely Bones suffers.
Still, The Lovely Bones can be pleasing when considering its smaller elements: the scenes mentioned earlier, for example, or Naomi Shohan’s beautiful production design, a meticulous eye being applied to the story’s early 70s setting. Brian Eno’s subtle score is at times almost too unobtrusive and noodling, but for the most part percolates effectively.
Ultimately this is a film that’s bound to disappoint, whether you’ve read the source material or not. And you can’t help but feel a little sorry for Peter Jackson: after his successful producer credit on District 9 it would have been nice for him to return to the director’s chair on a high. Still, I guess there’s always The Dam Busters.
I say:A flawed enterprise that so easily could have been much better.
See it for: The performances of Saoirse Ronan and Rose McIver. McIver in particular: she’s handed a character that truly develops and makes the most of it.
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The plot is based fantasy world in which coexist 4 race elements - Water, Land, Air and Fire.Nation of Fire is sizzling war against other factions. 
