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@cecilcbaby You must be joking? Did you even watch the movie?
Still is one of my favorite movies all time, so if your board and haven't seen it yet I would give it a watch

Love this movie

The advent of Beowulf inaugurates a new era in moviegoing experience as photorealistic animation combined with 3D digital projection plunges the viewer right into the action. A successful experiment by director Robert Zemeckis in his quest to push the theater going experience.

The film's story is set in a small, remote northern village in Denmark where the inhabitants dwell in fear of a monster known as Grendel. Whenever the people engage in a merry feast an attack of the monster ensues. So the King promises a reward to he who rids the village of the creature and restores order. The brave Beowulf rises to the challenge but the revenge of Grendel's mother is terrible. So Beowulf sets out again, intent on killing Grendel's mother but she turns out to be a beautiful, seductive entidy that presents Beowulf with a promising choice, a choice the consequences of which Beowulf can not even begin to comprehend....

Of all the 3D movie experiences at theme parks, movie theaters etc. Beowulf has thus far been the by far most impressive one. (I did see it in reular 3D not in IMAX 3D) Robert Zemeckis has pushed motion capture based animation into new boundaries with a photorealism hitherto unseen. All the characters look fantasic, the best looking one is the Angelina Jolie based model of Grendel's mother. She really looks like the real deal. Pity she has only so much screentime.

The story was good even though at first it takes a little time to get going, but that's a good time to get used to the 3D experience because once the action sets in your eyes will be challenged. Zemeckis shot/animated the movie with fluid shots that make good use of the depth of field that work so well in 3D. I did like the overall look, the actors voice work/mo-cap acting was great. Overall exoerience: Loved it. Can't wait to see it again.

Beowulf, the Anglo-Saxon epic poem long the bane of high school students studying English Literature, so fascinated Neil Gaiman (Stardust, Sandman) and Roger Avary (Killing Zoe, Pulp Fiction) that they adapted the poem into a screenplay. Ten years and several false starts later, Beowulf finally hits the big screen as a computer animated epic directed by Robert Zemeckis (The Polar Express, Cast Away, What Lies Beneath, Contact, Forrest Gump, the Back to the Future trilogy). Beowulf is overlong, over-earnest, self-consciously serious, It's also an often-riveting experience thanks to the cutting edge animation that fills every frame. Seen in 3D, it's even more compelling.

Hrothgar (voiced by Anthony Hopkins), king of the Danes, has outlived his desire for conquest and fame, instead preferring to spend his remaining days as the debauched host of a never-ending bacchanal. Hrothgar's much younger queen, Wealthow (Robin Wright Penn), disapproves of his behavior, but it's a warrior-king's world and she has to live in it. Hrothgar's chief counselor, Unferth (John Malkovich), hopes to become king once the childless Hrothgar passes from this world into the next. To celebrate their good fortune, Hrothgar opens a new mead hall, Heorot. A giant, deformed monster, Grendel (Crispin Glover), hears the distant sounds of raucous celebrating in Heorot and, unable to stand the noise, attacks the mead hall, leaving a trail of corpses in his wake.

Incapable of defeating Grendel on his own, Hrothgar offers half of his wealth to the man who can kill Grendel. Beowulf (Ray Winstone) arrives in Hrothgar's kingdom with a small group of warriors, including his closest friend and confidante, Wiglaf (Brendan Gleeson). Bold, impetuous, self-confident to the point of arrogance, Beowulf trusts his instincts to see him through a confrontation with Grendel. Goaded into action by Unferth, Beowulf goads Grendel into attacking by spending a boisterous night in the reopened mead hall. On cue, Grendel attacks, but Beowulf survives, he soon learns that Hrothgar failed to mention another, even more dangerous foe than Grendel, Grendel's Mother (Angelina Jolie).

Given the source material, an epic poem more than one thousand years old, it's not surprising that Gaiman and Avary took more than a few liberties in adapting Beowulf for mainstream audiences. Gaiman and Avary expanded character motivations through dialogue and action, but they also "filled in" key character relationships that don't appear in the source material. More importantly, Gaiman and Avary made Beowulf a flawed hero, a bold, stubborn, prideful, lustful, egotist prone to the convenient exaggeration. It's Beowulf's tragic flaws that determine the choices he makes and the consequences he's forced to ultimately face. The occasionally clunky or laugh-inducing dialogue may not be Shakespearean (far from it, actually), but Gaiman and Avary deserve credit for adding complexity to Beowulf as a character and Beowulf the film.

Earlier in his career as a filmmaker, unflattering comparisons were drawn between Zemeckis and longtime friend and mentor Steven Spielberg (Zemeckis was often referred to as "Spielberg-lite"). While Spielberg has mixed personal projects with commercial ones, Zemeckis' most recent projects indicate that he's adopted George Lucas' (the Star Wars franchise) approach to filmmaking, i.e., innovation for innovation's sake, regardless of the needs of a particular story. Zemeckis used motion-capture technology for the first time in The Polar Express with mixed results. The characters were insufficient expressive and moved awkwardly. Even worse, the characters' eyes seemed devoid of life (because they were).

The computer animation in Beowulf is a definite improvement over what we saw in The Polar Express. The characters are more expressive, their movements less clumsy, the backgrounds more textured and detailed, and the camera moves more impressive than those found in The Polar Express. Unfortunately, the better-rendered characters still look like waxwork figures, almost human, but not quite. Zemeckis doesn't help himself either by having Hrothgar, Unferth, and Grendel's Mother look almost exactly like their real world counterparts (Anthony Hopkins, John Malkovich, Angelina Jolie, respectively). At best, it undermines the purpose behind computer animation. At worst, it proves to be an unnecessary distraction.

If, as Zemeckis would like us to believe, Beowulf represents the future of filmmaking, shouldn't the story to be as compelling as the technology harnessed to tell that story? It should, but it doesn't apply to Beowulf and its long, exposition-filled scenes interrupted only occasionally by bouts of action featuring Beowulf battling monstrous antagonists. As for Zemeckis, his next project is an adaptation of Charles Dickens' A Christmas Carol, exploiting computer animation and motion capture technology again, not because there's anything approaching a compelling reason to do so, but because he can.

Poor Grendel (Crispin Glover) only wants his precious -- err, I mean, peace and quiet...

I'm still mulling over the religious undertones, which are conspicuously present, and yet left entirely unaddressed. "Sins of the father?" Christ Jesus vs. pagans? Everyone suddenly wearing crosses fast forward into the future?

I understand completely why some people would really enjoy Beowulf on a level of pure, involving entertainment. It looks neat. You do get over the initial weirdness of mo-cap, even if it's a not-quite-lifelike representation of the human actors behind the effects, eyes still a little bit dead. People and objects don't quite move with the proper weight yet. But CG-fabricated backgrounds are beautiful. The pebbles kicked aside by charging horses look awesome. The action scenes in particular, though incredibly, disturbingly graphic, are jaw-droppingly visceral sequences to watch.

It's just that as a film, it's hard to get past a few glaring missteps. Terribly cliche, "that's how they talked in ye olde times" dialogue being foremost, so too the distancing effect of watching an obviously imperfect, still-developing art form (that being the performance capture, not the 3D). Were Beowulf a straight-up live-action pic, it wouldn't have been nearly as enjoyable...and many things, including difficult-to-impossible camera movements as well as the fight scenes, could not have been done at all. I guess this is a minor endorsement, but one might not go far to find another more emphatic.
If you can catch this film in 3-D, do so. I wasn't expecting much after seeing the first trailer. In fact, I was expecting it to suck. I was pleasantly surprised. Though the story may be legendary, the screenplay isn't exactly the stuff of legend, with several campy moments and unintended laughs. But that's not the movie's appeal. Go for the visual thrills. I've never seen anything quite like it, with massive amounts of animated blood and gore (and nudity; definitely NOT for young children), the fights scenes are fantastic, the landscapes are majestic, every last detail accounted for. I don't know how the film will play out in 2-D. I don't want to know. Catch it if you can.
"Beowulf" may wow audiences with its bombastic re-telling of an Anglo-Saxon epic, but it's too preoccupied with visual indulgence, sweeping camera movements and flat characters usually reserved for elaborate video game prologues. Oh and it's in 3D.

"Beowulf" is a pretty straight-forward story: The buff and boastful warrior Beowulf ("played" by Ray Winstone of "The Departed") must fight and defeat the demon-monster, Grendel (Crispin Glover), who is terrorizing King Hrothgar's (Anthony Hopkins) realm. Beowulf later must face the monster's mother (Angelina Jolie) who is an even more terrifying and powerful monster (and Lara Croft look-alike).

Competing for your attention are big battles involving heroic and sometimes naked warriors, oozing monsters and fire-breathing dragons, not to mention the over-usage of a semi-nude, digitally-enhanced, gold-covered female demon with a square-ish face reminiscent of bee-stung-lipped Jon Voight, all offering feasts for the eyes and not too much for the brain.

Well, that's not completely true; the movie does have a weighty message regarding humanity's pride, lust, and greed, and the consequences that follow when indulging in temporal pleasure for temporal glory. A power-wielding, gold-dripping and naked Barbie doll version of Angelina Jolie sums up the temptation toward these deadly sins when she offers Beowulf everything he's ever wanted.

Amidst all of the dragon-slaying and jock Nordic rabble-rousing, the blood-curdling cry of 'the sins of the father' rings loud throughout Beowulf's kingdom years later, calling him to face up to his past sins (see Numbers 23:32). I think director, Robert Zemeckis, along with co-writers, Roger Avary ("Pulp Fiction") and Neil Gaiman ("Stardust), try to convey a simple "pride goes before the fall" message, but their message is lost in all the visual lasciviousness.

Speaking of pride, "Beowulf" isn't a likeable character come to think of it. He's a haughty fool, strutting around exaggerating his mighty feats of monster-slaying and frequently declaring "I am Beowulf!" at the top of his lungs. I wonder if he's ever met King Leonidas of Sparta?

For the young male target audience, "Beowulf" pushes the limits of a PG-13 movie, getting away with much dismemberment, disembowelment and semi-nudity. Zemeckis' clever misdirection emphasizes gore, butts, and boobs under the veil of the movie's unrealistic blend of animation and weird, live-action, motion-capture technology, also used in Zemeckis' previous film, "The Polar Express" -- another movie with interesting visuals, dead-looking 'actors', and a somewhat boring story.

Not that "Beowulf" is totally boring. While I could've done without Beowulf's need to fight in the nude against Grendel, the "RealD" experience allows for in-your-face effects like pointy swords, monster tails, guts and slobber, and yes, even Beowulf's butt. However, "Beowulf" is very self-conscious of its 3D world, spending a lot of time floating through prickly forests and damp caves, portraying illusions of depth while reminding us of how fake everything really is.

I wonder how interesting the visuals would be if it weren't on a big screen and in 3D. If you've ever seen "Spy-Kids 3-D: Game Over" or have experienced the 3D shows at Universal Studios, you'll know what I mean. The effect wears off after a while, and you just want something to blow up or get killed so you can stay awake.

The movie was a visually stimulating experience, but I couldn't help but think of "Shrek 4-D" and how it was almost better because it was shorter. "Beowulf" may draw comparisons to films like "300" and "The 13th Warrior", but only as a reminder that these movies do a better job of wowing us with the use of real people and stronger stories.
"With Beowulf he proves that there are still new discoveries to be found in filmmaking."

Read the full review by clciking below:
The dream-like trance finally began to break two hours after leaving the theater. Beowulf in 3D was truly mind-altering. The stunning visuals & compelling story created an experience that was unforgettable. Rife with metaphor, the film appealled to a higher sense of self we all too often ignore as we go through our busy day -- so much so, that a second viewing will be in order.

As for the haters who decry the films lack of faithfulness to its roots; stories in the aural tradition give the teller flexibility to interpret as they please...understanding this, Zemeckis took full advantage and has made a once difficult to read poem into a highly accesible masterpiece on film.

However, I was left with one wish as I left the film; to live a life worthy of yelling out...

I am Beowulf!
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