An article found on http://geekmehard.blogspot.com/ for readability.
The post-apocalyptic film ever more popular, with worthy representatives promoting gender effectively. Last year, The Road Viggo Mortensen in a projected end of the world now well codified and supported by a Pulitzer Prize dear brothers Coen (author Cormac McCarthy), and this time it's the turn of the Denzel Washington friends to try their luck with more literally, a book in one hand (and a gun in the other). the brothers had been left Hughes in 2001 with their adaptation of boneless great graphic novel From Hell , Alan Moore posing investigation by his erudition an end to the great enigma hidden behind the identity of the Whitechapel killer. So long after that we could offer the two brothers? Nothing less than a film that finds its sources in a massive recycling codes of the past, with the assurance of a shaky but potentially intriguing topic: why everyone is chasing this book?
If the background of the subject is questionable once one knows precisely what it returns (there still speaks of faith as Predicted in last year), the rest of the adventure suggests new avenues for interesting reading in their humility and simplicity. Launched as a pilgrim on a quest dark Denzel walks on skinny roads of a continent governed by the law of the jungle. And this little game, Eli is definitely impressive, administering the award in long macabre choreography when placed against the wall by rednecks. Mute, monolithic, Eli advance westward, finding solace only from Al Green night moonless night.
Inevitably, such a step could not be done without coming up against some problems, symbolized by Gary Oldman, boss of a city remaining in the middle of the western desert; airs with the assurance of the last owner, it is quite delightful in his role. In this festival of facial injuries, also welcome the composer Tom Waits, more and more attracted by the dust arid and Malcolm McDowell, the last vestige of a class far behind England ( Doomsday also employed him for this purpose).
The film is rich enough in its twists (difficult to say more without spoilers), but everything remains surprisingly simple, especially in its action scenes, hidden in shadow or is the subject of a traveling circular. In all cases, except a few shots of poses deifying Denzel Washington, the realization is discrete and can, despite the shootings and conflict, to make The Book of Eli tale end of the world at which point one end of hope. Here, the pretext for the quest brings a semblance of purpose that was missing from The Road, which remained a pretty picture book with a succession discreet cameos and splendid flashbacks to the character of the mother (Charlize Theron). Female role, there is no more in The Book of Eli : Jennifer Beals, after end of The L Word , portrays a woman prisoner whose daughter, Mila Kunis, will make a decisive encounter. Already seen in Forgetting Sarah Marshall (great comedy by the way), we knew Mila Kunis capable of playing under his tunes choupicutes; it provides once again, the sun of the Apocalypse to come making it the highest good.
Ultimately, The Book of Eli is a great surprise restrained in its depiction of a future dry, well-run and taking his time to narrate the journey of the pilgrim, the Hughes brothers' film is adorned the most beautiful attributes specific to the post-apocalyptic film (dust, guns and early mythology) to tell a tale of violence and hope.
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