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登録情報
- アスペクト比 : 2.35:1
- Is Discontinued By Manufacturer : いいえ
- 言語: : 日本語
- 梱包サイズ : 18.03 x 13.76 x 1.48 cm; 83.16 g
- EAN : 4988135705723
- 監督 : ロバート・ゼメキス
- メディア形式 : 色, ドルビー, ワイドスクリーン
- 時間 : 1 時間 54 分
- 発売日 : 2008/4/11
- 出演 : ジョン・マルコビッチ, アンジェリーナ・ジョリー, ブレンダン・グリーソン, ロビン・ライト・ペン, アンソニー・ホプキンス
- 言語 : 日本語 (Dolby Digital 5.1), 英語 (Dolby Digital 5.1)
- 販売元 : ワーナー・ホーム・ビデオ
- ASIN : B0013D39NS
- ディスク枚数 : 2
-
Amazon 売れ筋ランキング:
- 88,260位DVD (の売れ筋ランキングを見るDVD)
- - 6,974位外国のアクション映画
- - 15,885位アニメ (DVD)
- カスタマーレビュー:
商品の説明
内容紹介
鳥肌、総立ち。
世界を巻き込む“呪い”の連鎖は、一人の女の誘惑から始まる。
呪われた王国へ、男は海の向こうからやって来た。どんな戦士も適わなかった怪物グレンデルを倒し、名を馳せるために。鎧も武器も要らない。相手が素手なら、こちらも生身で戦うまで。そんな恐れ知らずの勇者に仕掛けられた甘い誘惑・・・。手にしたものは莫大な富、永遠の力、そして偉大なる王の称号。しかし、栄光の先には恐るべき代償が待っていた――!
伝説の冒険物語を、最新のテクノロジーで映画化。レイ・ウィンストンが英雄ベオウルフ、アンジェリーナ・ジョリーが魅惑の“怪物の母”を熱演。監督ロバート・ゼメキスは革新的なパフォーマンス・キャプチャー技術を駆使し、実写とCGを融合させた驚異の映像世界を創り上げた。怪物グレンデルとの死闘、ドラゴンとの一騎打ち…魔物たちが大地を跋扈し、英雄たちが武勇を競った世界が眼前に現れる。英雄ベオウルフここにあり!
劇場版本編+ボーナスディスク
特別映像(約82分)
メイキング~撮影の道のり~
ベオウルフ~スタッフ/キャストの奮闘記~
-"ボリューム"の中で
-はいっ ポーズ!
-"E.O.G."とは?
-バーチャルセット
-小道具
-スキャナー
-スタントワーク
-ストーリ・ーボード~グレンデルとの戦い~
-"かかってこい"
-寒さとの戦い
原作から映画へ
蘇る魔物たち
"ベオウルフ"を再現
映画に見る古典の世界
未公開シーン集
Amazonレビュー
日本ではそこまで浸透していないが、ヨーロッパなどではかなりおなじみな本作。そもそも原作は勇士べオウルフの冒険を記した叙事詩で、英文学最古のものなのだそうだ。それを今回は独自の解釈を取り混ぜつつ、3DCGで、しかも『ポーラー・エクスプレス』と同じ最新のパフォーマンス・キャプチャー技術で映画化している。なんでもロバート・ゼメキス監督はこの技術がたいそう気に入っていて「もう実写には戻れない」とまで言っているそう。まぁSF好きなら俳優の表情そのものがコンピューター上に作られていく感覚そのものの面白さはわかるし、どんな映像もどんな構図も想いのままに作れる楽しさも理解できる。が、それがイコール観客にとっての楽しさに繋がるかというとそれは違うのではないだろうか。正直、今回もCGでなきゃできない映像がたっぷり駆使されているが、それが「どうだすごいだろ、こんなことができるんだよCGだと」という思いが見え見えでうざく感じてしまうのだ。個人的にはすっ裸で巨人と戦うべオウルフの男の急所がいろんなものに隠れて見えないという、『オースティン・パワーズ』のようなシーンをわざわざCGでやってのけたセンスには爆笑したが、それ以外は楽しかったことは楽しかったけど、感動には結びつかなかった。でも技術発展のためにもゼメキスはこれからも作り続けていくのだろうし、それはそれで応援したい。(横森文)
内容(「キネマ旬報社」データベースより)
アカデミー賞監督、ロバート・ゼメキスが最新のCG技術を駆使して製作した壮大なアクションファンタジーの劇場版2枚組。古代デンマークを舞台に、戦士・ベオウルフと呪われし魔物たちが壮絶な戦いを繰り広げる。
内容(「Oricon」データベースより)
呪われた王国へ海の向こうからやって来た一人の男。どんな戦士も適わなかった怪物グレンデルを倒した勇者ベオウルフに仕掛けられた甘い誘惑。莫大な富、永遠の力、そして偉大なる王の称号を手にしたベオウルフに待っていたのは恐るべき代償だった…。レイ・ウィンストン、アンジェリーナ・ジョリー、アンソニー・ホプキンスほか豪華競演陣で贈るアクション・ファンタジー。特典ディスク付き。
出演者について
レイ・ウィンストン:べオウルフ
アンソニー・ホプキンス:フロースガール
ジョン・マルコビッチ:アンファース
ロビン・ライト・ペン:ウィールソー
ブレンダン・グリーソン:ウィグラーフ
クリスピン・グローバー:グレンデル
アンジェリーナ・ジョリー:グレンデルの母
この商品を見た後に買っているのは?
ページ: 1 / 1 最初に戻るページ: 1 / 1
カスタマーレビュー
5つ星のうち4.3
星5つ中の4.3
1,039 件のグローバル評価
評価はどのように計算されますか?
全体的な星の評価と星ごとの割合の内訳を計算するために、単純な平均は使用されません。その代わり、レビューの日時がどれだけ新しいかや、レビューアーがAmazonで商品を購入したかどうかなどが考慮されます。また、レビューを分析して信頼性が検証されます。
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2016年2月4日に日本でレビュー済み
違反を報告
Amazonで購入
タイトル以上の感想はありません。スペクタルもので3D映像の作品は、大体どれも同じような味付けなので、食品に例えるならカレーライス的なローテーションで楽しみたいカテゴリーです。観始めてから、主人公はおバカな勇者という設定に気づくまで、ヒーロー=人格者と思い込んでいる人には、違和感を感じさせられることになります。欧州の神話に現れる能天気なアメリカンみたいな感じ?
3人のお客様がこれが役に立ったと考えています
役に立った
2020年11月24日に日本でレビュー済み
Amazonで購入
最後のほうで龍の急所を打つところ。
2014年10月12日に日本でレビュー済み
Amazonで購入
3DのBlu-rayソフトが登場したのが2011年頃だったと記憶しています。
それよりも前に公開された映画は、2Dのままリリースや現在の3D規格ではないソフトだったりと、残念な形態でしたが
ようやく本来あるべく姿で見られる様になります。
これでロバート・ゼメキスのモーションキャプチャーによる3DCGアニメーション3部作が全て3Ⅾブルーレイ化されました。
・ポーラー・エクスプレス
・ベオウルフ 呪われし勇者
・Disney's クリスマス・キャロル
興行的に「Disney's クリスマス・キャロル」がパッとしなかった上
製作で参加した「少年マイロの火星冒険記」が大コケしたのもあってモーションキャプチャーから離れてしまっていますが
CG作品の3Dとの相性の良さや、モーションキャプチャーによる表現の可能性等を積極的に取り組んだ意欲作と思っています。
本作は、ストーリーやキャラクターへの感情移入しにくさもあり今一つ感がありますが、2Ⅾとは違った面白さがあります。
それよりも前に公開された映画は、2Dのままリリースや現在の3D規格ではないソフトだったりと、残念な形態でしたが
ようやく本来あるべく姿で見られる様になります。
これでロバート・ゼメキスのモーションキャプチャーによる3DCGアニメーション3部作が全て3Ⅾブルーレイ化されました。
・ポーラー・エクスプレス
・ベオウルフ 呪われし勇者
・Disney's クリスマス・キャロル
興行的に「Disney's クリスマス・キャロル」がパッとしなかった上
製作で参加した「少年マイロの火星冒険記」が大コケしたのもあってモーションキャプチャーから離れてしまっていますが
CG作品の3Dとの相性の良さや、モーションキャプチャーによる表現の可能性等を積極的に取り組んだ意欲作と思っています。
本作は、ストーリーやキャラクターへの感情移入しにくさもあり今一つ感がありますが、2Ⅾとは違った面白さがあります。
2008年4月21日に日本でレビュー済み
Amazonで購入
すんごいCGです。
フルCG映画FINAL FANTASYのBlu-rayを持っていますがそれを遥かに凌駕しています!!
画質はカーズやパイレーツやスパイダーマン3並みの最高画質です。
CGと実写の質感を融合させているらしく顔のアップや髭、肌、水、濡れる肌、海、金の質感、炎の表現は実写並みです。しかしまだまだCGだとわかりますねぇ…
だがベオウルフの肉体!!これはすごい!!ぱっとみ実写で、さらに驚いたのが腹筋に力が入るときにしっかりと引き締まるあの自然さはすごぉい!!
ストーリーは結構グロく恐ろしさを秘めています。
怪物グレンデルの登場シーンは恐いです。特にあの声&キモイ見た目&残虐さは最高に恐怖をあおります。
その母親も姿がはっきりせずやはり声が恐いです。途中からアンジェリーナになるのでそこからはエロさ満点です。
最後のドラゴンもかなりよかったです!!リアルなデザインでドラゴンらしい圧倒的強さと神々しさは圧巻。
サラマンダーとイイ勝負しそうです。
音楽は作風に合った曲調で○。時代モノにデジタル調音楽やロックだとシケますからね。
音質は悪いところは見あたりません。強いて言えば個人的にDTS系を入れてほしかった。
Audio89/100
Visual98/100
メイキングは一番気になったCG作成の紹介が無く、ひたすら撮影風景で不満でした。
フルCG映画FINAL FANTASYのBlu-rayを持っていますがそれを遥かに凌駕しています!!
画質はカーズやパイレーツやスパイダーマン3並みの最高画質です。
CGと実写の質感を融合させているらしく顔のアップや髭、肌、水、濡れる肌、海、金の質感、炎の表現は実写並みです。しかしまだまだCGだとわかりますねぇ…
だがベオウルフの肉体!!これはすごい!!ぱっとみ実写で、さらに驚いたのが腹筋に力が入るときにしっかりと引き締まるあの自然さはすごぉい!!
ストーリーは結構グロく恐ろしさを秘めています。
怪物グレンデルの登場シーンは恐いです。特にあの声&キモイ見た目&残虐さは最高に恐怖をあおります。
その母親も姿がはっきりせずやはり声が恐いです。途中からアンジェリーナになるのでそこからはエロさ満点です。
最後のドラゴンもかなりよかったです!!リアルなデザインでドラゴンらしい圧倒的強さと神々しさは圧巻。
サラマンダーとイイ勝負しそうです。
音楽は作風に合った曲調で○。時代モノにデジタル調音楽やロックだとシケますからね。
音質は悪いところは見あたりません。強いて言えば個人的にDTS系を入れてほしかった。
Audio89/100
Visual98/100
メイキングは一番気になったCG作成の紹介が無く、ひたすら撮影風景で不満でした。
他の国からのトップレビュー

Nicholas Casley
5つ星のうち5.0
Trepidations Dispelled
2013年2月13日に英国でレビュー済みAmazonで購入
With the cinematic success of `The Lord of the Rings' I suppose it would not be long before `Beowulf' also received the Hollywood motion-picture treatment, especially since Tolkien had mined the Anglo-Saxon poem `Beowulf' as one of his major sources. I therefore approached the screening with some trepidation.
I remember the exact moment in the cinema when my scepticism about the film I was about to watch was dispelled. It occurred six minutes into the film, when the camera pulls back from Hrothgar's hall through the snow-covered fields that surround it. The pull-back then continues further out again across the river; then even further out through a forest; the pull-back continues onwards and outwards, higher and higher until we reach Grendel's cave.
That extended well-framed, perfectly paced, pull-back convinced me that considerable thought had been given to interpreting the `Beowulf' poem, and from then on I was completely engrossed by the world offered to me on screen, ably assisted by Alan Silvestri's fine score. It soon became clear that this was not just another Hollywood hatchet-job. It IS still a hatchet-job of sorts, but one with meaning and good intentions.
Problems arise from the very start when we are told that the setting is `Denmark AD507', which is `a little' too early for my liking. Changes and additions have been made to the dialogue, and some fundamental changes have been made to the storyline. The screenwriters - Neil Gaiman and Roger Avary - argue that this is for the better in that it makes the narrative more coherent. And I am tempted to agree with them.
They have fleshed out the roles of Wealthow and Unferth, but the most radical change is to imply that Hrothgar slept with Grendel's mother, thus spawning the beast whose eardrums are so sensitive. In the poem, of course, Beowulf entered her lair via a lake, but here her home is the same as Grendel's, albeit a lake is found within the cave.
The second radical change is Hrothgar committing suicide after naming Beowulf as his heir, which allows the story to remain within the one landscape, so that the dragon (who is explicitly the son of Beowulf and Grendel's mother, a third major modification) haunts the same land as Grendel rather than ravaging the country of Beowulf's homeland, as the original poem has it. As already mentioned, these changes make for a more cohesive narrative, turning the poem's three acts into one linked tale that is beautifully, brilliantly, and imaginatively produced (though purists will no doubt be horrified).
But at heart this cinematic interpretation of `Beowulf' remains true to its original telling. Some of the violence is excessively gruesome, but is no doubt included to appeal to a certain kind of teenage mentality. A linked but more healthy kind of teenage mentality is appealed to by the garb (or rather, lack of garb) and portrayal of Grendel's mother by Angelina Jolie. But it's a shame that the final dragon flight and fight becomes wholly contrived and mere entertainment.
In terms of production design, full marks for imaginative responses, such as the roof of Grendel's cave being formed of the inside of a giant's ribcage. But to portray Jutland as a land of mountains will disappoint a lot of tourists looking for an original `Beowulf' experience. And to have Hrothgar's hall and Beowulf's later city constructed in stone with towers and other architectural ornamentation is to place sixth-century Danish civilisation five hundred years ahead of its time.
The motion-capture method of filming for which director Robert Zemeckis has become renowned works. Andrew Osmond, writing in `Sight & Sound' wrote how "'Beowulf' often feels like live-action with special effects, rather than computer animation." At least it makes a portly Ray Winstone look more like a youthful Sean Bean. It's a shame that the actors all maintain their own distinctive accents, but we are compensated by the amusement experienced watching the lengths the film goes to ensure Beowulf's private parts remain hidden.
This is a review of the two-disc director's cut edition. The second disc has a twenty-five minute `Making of', in which Zemeckis openly states that his film focuses on the more physical aspects of the tale - the food, the drink, the fighting, and the sex. We also learn how the motion-capture technique - not dependent on light, weather, etc - means that he can shoot in forty minutes what would have normally taken a whole day.
Other extras include a series of short films "mapping the journey" from poem to film, and the screenwriters explain why they made the changes they did for the sake of dramatic unity. There is much too on the film's artwork and the design of the creatures. Finally, there are seven additional scenes (in basic form), lasting twelve minutes.
I remember the exact moment in the cinema when my scepticism about the film I was about to watch was dispelled. It occurred six minutes into the film, when the camera pulls back from Hrothgar's hall through the snow-covered fields that surround it. The pull-back then continues further out again across the river; then even further out through a forest; the pull-back continues onwards and outwards, higher and higher until we reach Grendel's cave.
That extended well-framed, perfectly paced, pull-back convinced me that considerable thought had been given to interpreting the `Beowulf' poem, and from then on I was completely engrossed by the world offered to me on screen, ably assisted by Alan Silvestri's fine score. It soon became clear that this was not just another Hollywood hatchet-job. It IS still a hatchet-job of sorts, but one with meaning and good intentions.
Problems arise from the very start when we are told that the setting is `Denmark AD507', which is `a little' too early for my liking. Changes and additions have been made to the dialogue, and some fundamental changes have been made to the storyline. The screenwriters - Neil Gaiman and Roger Avary - argue that this is for the better in that it makes the narrative more coherent. And I am tempted to agree with them.
They have fleshed out the roles of Wealthow and Unferth, but the most radical change is to imply that Hrothgar slept with Grendel's mother, thus spawning the beast whose eardrums are so sensitive. In the poem, of course, Beowulf entered her lair via a lake, but here her home is the same as Grendel's, albeit a lake is found within the cave.
The second radical change is Hrothgar committing suicide after naming Beowulf as his heir, which allows the story to remain within the one landscape, so that the dragon (who is explicitly the son of Beowulf and Grendel's mother, a third major modification) haunts the same land as Grendel rather than ravaging the country of Beowulf's homeland, as the original poem has it. As already mentioned, these changes make for a more cohesive narrative, turning the poem's three acts into one linked tale that is beautifully, brilliantly, and imaginatively produced (though purists will no doubt be horrified).
But at heart this cinematic interpretation of `Beowulf' remains true to its original telling. Some of the violence is excessively gruesome, but is no doubt included to appeal to a certain kind of teenage mentality. A linked but more healthy kind of teenage mentality is appealed to by the garb (or rather, lack of garb) and portrayal of Grendel's mother by Angelina Jolie. But it's a shame that the final dragon flight and fight becomes wholly contrived and mere entertainment.
In terms of production design, full marks for imaginative responses, such as the roof of Grendel's cave being formed of the inside of a giant's ribcage. But to portray Jutland as a land of mountains will disappoint a lot of tourists looking for an original `Beowulf' experience. And to have Hrothgar's hall and Beowulf's later city constructed in stone with towers and other architectural ornamentation is to place sixth-century Danish civilisation five hundred years ahead of its time.
The motion-capture method of filming for which director Robert Zemeckis has become renowned works. Andrew Osmond, writing in `Sight & Sound' wrote how "'Beowulf' often feels like live-action with special effects, rather than computer animation." At least it makes a portly Ray Winstone look more like a youthful Sean Bean. It's a shame that the actors all maintain their own distinctive accents, but we are compensated by the amusement experienced watching the lengths the film goes to ensure Beowulf's private parts remain hidden.
This is a review of the two-disc director's cut edition. The second disc has a twenty-five minute `Making of', in which Zemeckis openly states that his film focuses on the more physical aspects of the tale - the food, the drink, the fighting, and the sex. We also learn how the motion-capture technique - not dependent on light, weather, etc - means that he can shoot in forty minutes what would have normally taken a whole day.
Other extras include a series of short films "mapping the journey" from poem to film, and the screenwriters explain why they made the changes they did for the sake of dramatic unity. There is much too on the film's artwork and the design of the creatures. Finally, there are seven additional scenes (in basic form), lasting twelve minutes.

Dr Jacques COULARDEAU
5つ星のうち4.0
Beowulf is not a post modern electronic game
2009年7月20日に英国でレビュー済みAmazonで購入
Beowulf is a magical piece of literature. And it's a good idea to keep some of the Anglo-Saxon original text. The director tries all he can to make the setting and costumes and psyche of these people realistic for the fifth and sixth centuries after Christ when Denmark was still believing in the Nordic Gods, Odin first of all, and before the arrival of Christianity at the beginning, after its arrival at the end. Interesting too to change the tale slightly to make the two half into one logic, the second half being the sequence of the first. Interesting too to use the magic of these old days and hence have some supernatural beings and events. It is true Grendel, his mother and the dragon were supernatural alright. But instead of making explicit the references to the giants and pre-human species surviving in total exclusion, instead of making explicit the reference to the runes brought to human beings by Odin himself, the director chooses a sexual line, from beginning to end. Then the monster is the son of the local Danish king and the mother who does not have a name but is a gorgeous woman disguising some kind of witch, a sorceress who has little difficulty mesmerizing the local king with promises of power into providing her with a son who will eventually be the scourge of the country and will have to be killed. Hence Grendel is the "son" of the local king when Beowulf arrives in Denmark and the dragon will be the "son" of Beowulf himself. He will kill Grendel, then tame the mother by giving her a son, and finally kill that very son, the dragon. This addition kills something in the tale. Beowulf is the obvious Christianization of traditional Nordic tales and sagas in Anglo-Saxon territory in the seventh to ninth centuries. This is present in the film, but the sexual dimension of these monsters goes against this Christianization since it states that every generation will have to live under the menace of a monster produced by the fornication of the previous king with the supernatural woman, as if such pagan facts could survive in front of the Christian faith. This rewriting of the tale is thus for a modern audience, what's more for a young audience. This is quite clear in the electronic and computer game conception of the fights. And this young audience does not care for all these religious things, including Christianity, and they can very easily imagine Christ having dinner with a dragon and being served by some unicorn. Dropping that dimension of believing and even faith that the saga originally had transforms the story into some kind of post-modern fantasy for a world that does not believe in anything and where believing has been transformed into some kind of personal private matter whereas it was a public communion with the whole society through its common rites and fears and hopes. Then the end of the film is the promise of a third monster, whereas the end of the saga was a final stop to the existence of all monsters.
Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Versailles Saint Quentin en Yvelines, CEGID
Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Versailles Saint Quentin en Yvelines, CEGID

David Garside
5つ星のうち5.0
As it should be seen
2018年6月28日に英国でレビュー済みAmazonで購入
Absolutely brilliant in 3d.This is a single disc version but has plenty of extras on it in 2d.A word of warning I haven't checked yet but packaging says that the disc only compatible with 3d blu ray players,but since you buying this for the 3d version shouldn't be a problem.

D. Durling
5つ星のうち2.0
not arf bad
2008年9月16日に英国でレビュー済みAmazonで購入
I watched the directors cut version of this film, having recently read the Heaney translation of the original story.
The film shows superb CGI, and the extras showing how the film was made are well worth watching. The animation does give the film a slightly fairy tale feel which is in keeping with the story, that is flesh eating monsers and fire breathing dragons.
However, the film is disappointing for a number of reasons, many of which have been mentioned by others. The voices are at times very strange, veering from Welsh to bad Slavonic to genuine Anglo-Saxon. I didn't have a problem with the Anglo-Saxon parts, which seemed to me added an authenticity. The Beowulf voice, while strangely cockney at first, had an edge to it that was believable in a warrior. Some animation is just very poor, especially in the action sequences. It is too Shrek-like in places, but then alternates with realism, for example Grendel's mother is eye-poppingly real.
But perhaps the big letdown for me is in the authenticity of the interpretation. Zemakis is on the DVD as stating that he found the original boring when he was forced to read it in high school, and his dislike shows in the film. Hollywood has a need to fill the 50 year gap in the middle of the story, so has invented a new tale about Grendel's mother. In doing so, and in compromising the hero with seduction and avarice, the director has ignorantly wiped away the social codes, the valour, and the high bearing of the original hero, and thus completely destroys the feeling of that time. Beowulf did not behave in this way, and there are much more subtle and ethical messages in the original.
This is a missed opportunity to do something significant with a classic, but it is tainted by a dumb Hollywood imperative that has produced just another action movie. Read the book, the pictures are better.
The film shows superb CGI, and the extras showing how the film was made are well worth watching. The animation does give the film a slightly fairy tale feel which is in keeping with the story, that is flesh eating monsers and fire breathing dragons.
However, the film is disappointing for a number of reasons, many of which have been mentioned by others. The voices are at times very strange, veering from Welsh to bad Slavonic to genuine Anglo-Saxon. I didn't have a problem with the Anglo-Saxon parts, which seemed to me added an authenticity. The Beowulf voice, while strangely cockney at first, had an edge to it that was believable in a warrior. Some animation is just very poor, especially in the action sequences. It is too Shrek-like in places, but then alternates with realism, for example Grendel's mother is eye-poppingly real.
But perhaps the big letdown for me is in the authenticity of the interpretation. Zemakis is on the DVD as stating that he found the original boring when he was forced to read it in high school, and his dislike shows in the film. Hollywood has a need to fill the 50 year gap in the middle of the story, so has invented a new tale about Grendel's mother. In doing so, and in compromising the hero with seduction and avarice, the director has ignorantly wiped away the social codes, the valour, and the high bearing of the original hero, and thus completely destroys the feeling of that time. Beowulf did not behave in this way, and there are much more subtle and ethical messages in the original.
This is a missed opportunity to do something significant with a classic, but it is tainted by a dumb Hollywood imperative that has produced just another action movie. Read the book, the pictures are better.

Peter Mascall
5つ星のうち5.0
Exceelent Movie
2019年3月10日に英国でレビュー済みAmazonで購入
Fantastic animation and unbelievable value.
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