10 years after a global economic collapse, a hardened loner pursues the men who stole his only possession, his car. Along the way, he captures one of the thieves' brother, and the duo form an uneasy bond during the dangerous journey.
1921. An innocent immigrant woman is tricked into a life of burlesque and vaudeville until a dazzling magician tries to save her and reunite her with her sister who is being held in the confines of Ellis Island.
It's the Wild West, circa 1870. Samuel Alabaster, an affluent pioneer, ventures across the American frontier to marry the love of his life, Penelope. As his group traverses the west, the once-simple journey grows treacherous, blurring the lines between hero, villain and damsel.
Leo is released from prison after serving time for car theft. His plan to go straight falls apart when he meets his corrupt uncle for a job and later an old friend working there. It culminates at the (railroad) yards.
Riding across Manhattan in a stretch limo in order to get a haircut, a 28-year-old billionaire asset manager's day devolves into an odyssey with a cast of characters that start to tear his world apart.
The Lost City of Z tells the incredible true story of British explorer Percy Fawcett, who journeys into the Amazon at the dawn of the 20th century and discovers evidence of a previously unknown, advanced civilization that may have once inhabited the region. Despite being ridiculed by the scientific establishment who regard indigenous populations as "savages," the determined Fawcett - supported by his devoted wife, son and aide de camp returns time and again to his beloved jungle in an attempt to prove his case, culminating in his mysterious disappearance in 1925.
According to director James Gray, "This idea of the intrepid explorer seems foreign to us now but people like Fawcett and Shackleton were the superheroes of their day," explains Gray. "When I was growing up as a kid, Neil Armstrong made you slack-jawed with awe because he was willing to take unbelievable risks so he could walk on another celestial body. Well, back in the day, Fawcett and these other guys were like the astronauts in the sixties." See more »
Thoughout the movie the English main character communicates to the Indigenous natives with the dialect of Spanish. Considering that the natives have not come into contact with 'the white man' before, there is no way that they could have learnt this language and therefore understand him. See more »
To dream to seek the unknown. To look for what is beautiful is its own reward. A man's reach should exceed his grasp, or what's a heaven for?
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Originally rated R for "brief violence", the distributor chose to cut the movie to secure a PG-13 rating. See more »
It's a really good example of how a terrible script can completely destroy a movie. There are too many things which make no sense to list, but the key issues are:
For a film that seems so keen to virtue-signal about white ignorance and racism, it does nothing to explain to us Fawcett's theories about the people of Z. Who were they? How did their civilisation operate? Why did they disappear? Surely these explorers would have built up far more of a picture from the surrounding tribes, artefacts, and previous finds. There is a tiny smattering of these things, but in 2h21ms nowhere near enough to build up a mythology. Therefore it's difficult to see why this obsesses Fawcett. You literally get more detail from the quests in the Indiana Jones movies.
Instead it focuses relentlessly on the most tedious and dangerous aspects of the trips, their suffering, or switches back to London with almost every old man of course a stiff- upper-lip racist and sexist cliché. Imagine a more insidious General Melchett from Blackadder Goes Forth and you won't be far off.
There is an extremely cringey attempt to insert a modern feminist perspective. At one stage, Nina wants to go on the expedition. Her reasoning? She found an important document relating to it. This apparently makes her equal to Fawcett's many years of soldiering and survival skills. It's clumsy and anachronistic. The trip could very well kill them both and so would leave their children orphaned. Surely a more logical argument would be whether he has to go at all. He is, after all, a father, and has responsibilities at home.
The First World War section adds absolutely nothing and captures none of the horror of the battlefield. It's all just tally-ho chaps, almost Hallmark channel-like. Just awful.
Sienna Miller, Robert Pattinson and especially Charlie Hunnam wring what they can from such a sparsely-written script and should be commended for that, which is why this isn't a 1.
Don't be fooled by the title - it's not about a lost city or even a lost man. It's a lazy and pretentious destruction of what could have been a thrilling find.
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