Film Review Stone
Robert De Niro and Edward Norton are locked in a duel of words in “Stone”, a feature film that is captivating enough burdening an uneven pace and some poorly developed plot devices.
The retreat was a source of pain for Gerard Depardieu in the excellent “Mammuth” and it will be just as Jack Mabry (Robert De Niro) who will very soon. But first he must sell the remaining time as a Correctional Officer. His new client, Gerald Creeson (Edward Norton) is doing everything to convince him that he has changed, but Jack has eyes for his beautiful wife Lucetta (Milla Jovovich) …
The film buff remembers the confrontation missed half of Norton and De Niro in the conventional “The Score” by Frank Oz. Here are two great actors together again in an essay a little more exciting, the essence of which rests on their shoulders. They strafed the eye, sending bombs murdered by aftershocks that have a good dose of humor. Drawing on the same sobriety as his recent “Everybody’s Fine”, the antihero of “Taxi Driver” dominates the game, be developing a particularly complex. More the nice “Fight Club” represents an individual he knew by heart (“Rounders”, “American History X”), with very few surprises in the end.
Desiring to extend the duel between two cowboys Indomitable, filmmaker John J. Curran (who had offered the unctuous “The Painted Veil” in 2006) is an adventure grafted plated with a sulphurous, which recalls the good old codes of film noir. Although Milla Jovovich offers a game much more elaborate than in all “Resident Evil”, her character remains rudimentary. As one breathes life into the talented Frances Conroy wife of a correctional officer.
This is particularly unfortunate because the story needed the extra fuel (the contribution of women in a world dominated by men) to reach port. The introduction, which immediately pique the curiosity by developing a voltage more than palpable, seems to have little significance on the rest of the story (except to reveal the ambiguities in the protagonist). This is where some explanation late fall (the fact that human beings generally deserve their fate), and the conclusion will leave sharp ice anyone expecting an opening more evident in the way of “Primal Fear”.
Achieving mid-mid-fig reason could be even stronger. Although the filmmaker seeks to enter into the heads of its characters continually playing on the sound and distortion, he forgets the coup in maintaining good pace that tends to get bogged down. Captivated by the exchange of words is not always obvious, and to break the monotony of the exercise, do not hesitate to treat his staging, which has allowed such an Oliver Stone captivated for three hours with the important “JFK”.
Exercise satisfactory performance level of its two headliners, “Stone” remains a human tragedy than drinking, whose action is more of verbal and physical. Although he misses two or three pieces to form a fully coherent whole (beware improbable), the puzzle in place does not lack interest.
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