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Review: Pom Wonderful Presents: The Greatest Movie Ever Sold
Reviews
Silent Hill
Video game adaptation won't satisfy fans or newcomers
By
BRETT MICHEL
|
April 26, 2006
SILENT HILL
" alt="photo of 'SILENT HILL'">
2.0
Stars
The popular psychological horror video-game series set within three concurrent dimensions (barren reality; vaporous purgatory; corroded nightmare) of a singular haunted town is reverently re-created (a camera angle here, a music cue there) by director Christophe Gans, but does it work beyond homage? Roger Avary’s script deliberately follows standard game-design paradigms (clue at point A points to a clue at point B, and so on); this may work when you’re directing an avatar with a game pad, but it makes Radha Mitchell’s Rose appear crazier than the burg’s damned inhabitants as she searches for her somnambulant daughter (Jodelle Ferland). The film is unintentionally hilarious and impenetrable for newcomers and a hollow disappointment for fans. As you’re being subjected to reams of expository dialogue and sub-
Crucible
cries of “Burn the witch!”, the thought might occur that
Silent Hill
could have worked . . . as a silent film.
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ARTICLES BY BRETT MICHEL
REVIEW: FOR GREATER GLORY
| May 29, 2012
Bring coffee, because director Dean Wright's dramatization of the 3-year-long Cristero War (1926-9) seems to last longer than the Mexican conflict itself.
REVIEW: GIRL IN PROGRESS
| May 15, 2012
As rites of passage go, Girl in Progress is a step backward for the genre.
REVIEW: FIRST POSITION
| May 10, 2012
While not the most probing look at rising stars, Bess Kargman's documentary focuses on six aspiring contestants preparing for the prestigious Youth America Grand Prix competition (a proven entry point into the world of professional ballet) who demonstrate dazzling talent.
REVIEW: THE BEST EXOTIC MARIGOLD HOTEL
| May 03, 2012
Filled with Indian (and British) clichés, it is nonetheless a pleasant diversion that doesn't involve special effects or 3D glasses.
REVIEW: BLUE LIKE JAZZ
| April 12, 2012
A faith-based film directed by Christian recording artist Steve Taylor, adapted by Taylor and Donald Miller from the latter's 2003 memoir, this micro-budgeted indie tries to appeal to everyone by not offending anyone . . . except those who like movies.
See all articles by:
BRETT MICHEL
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