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DOG: 360 Review

DOG: Since bursting onto the international scene with City Of God, Brazilian director Fernando Meirelles has received untold goodwill from the global critical community. His English-language debut, 2005’s liberal guilt epic The Constant Gardener, received just as many award nominations as his Brazilian breakthrough, and also netted a Best Supporting Actress Oscar for Rachel Weisz in the process.

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Title case please.
JL4582d ago WhoDisagree(0)Agree(0)
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PaPa-Slam4582d ago
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2.0

360 Review | Clickonline

Clickonline writes: "But if Meirelles intends the film as some indictment of the sex industry, he’s sorely mistaken. It shies away from even the possibility of gritty detail in its depictions, while a turn towards violence in the final act is kept strangely muted and offscreen."

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Community4287d ago
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'360': Anthony Hopkins Doesn't Give Up

Hollywood:
In a new, exclusive clip from the upcoming dramatic thriller 360, we're treated to a brief masterclass in subtle, subdued acting courtesy of Anthony Hopkins.

The brief video features a somewhat downbeat, decidedly non-Hannibal Lecter-esque Hopkins explaining to a woman named Laura (Maria Flor) why he's headed to Phoenix — he suspects his daughter has died and that her bodied has been found — before someone awkwardly asking her on an airport-dinner date.

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Community4322d ago
alycakes4323d ago

Not sure what to think of this one. I love Hopkins but still not sure.

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First Trailer and Poster for Fernando Meirelles’ 360

The Collider:
The first trailer and poster for director Fernando Meirelles’ (City of God) 360 have landed online. The film was written by Frost/Nixon scribe Peter Morgan and tells the interconnected stories of characters played by Jude Law, Rachel Weisz, Ben Foster, and Anthony Hopkins. The film actually premiered at last year’s Toronto Film Festival and—given the talent involved—was surprisingly met with a lukewarm response (read Matt’s review here). I kept an open mind after reading reactions, but this trailer doesn’t inspire much confidence in the film. It invokes the played-out plot device of using a bunch of apparent strangers’ interwoven stories to tackle some grand theme, but it just feels a bit too much like Babel or Crash to rouse any enthusiasm.

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