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🔴 Watch Increadible Michael J Fox And Cree Summer In Atlantis The Lost Empire (2001) Full Movie

watch increadible michael j fox and cree summer in atlantis the lost empire (2001) full movie
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Date: 2020-04-05 09:44:10
Viewed: 226 times - 9 hour, 3 minute, 56 second ago

The "Rubrica-senza-Nome", which is more and more likely to retain its non-name by now, brings us today at the dawn of the 2000s, in that 2001 year not only of the missed Space Odyssey, but of various films which traces have left few around. Well, if you exclude the big board game of ollivùd carbon paper. Yes, in short, we are talking about Atlantis - The Lost Empire (Atlantis: The Lost Empire), the 41st Disney classic, directed by the same couple of directors returning from the blockbuster of The Hunchback of Notre Dame, Gary Trousdale and Kirk Wise, and with behind most of the same team. But projected towards a much less rosy result. Atlantis, the brave experiment - well, for the canons of the Mickey Mouse house - the hard awakening after the nineties of trains and champagne from the Disney Renaissance. But then, was it really such a bad movie, Atlantis? No

Everything starts from Plato, from Jules Verne and from Mexico. Well, more or less. October 1996, California: after completing The Hunchback of Notre Dame, Trousdale and Wise, together with the producer Don Hahn and the screenwriter Tab Murphy, they go for a shred of chili con carne in a Mexican restaurant. The basic idea is to stay together for another film, which at the same time acts as a setting for a new Adventureland attraction in the Disney parks. The name of Atlantis turns up and immediately begins to think of Verne's books: not only Twenty thousand leagues under the sea, of course, but also Journey to the center of the Earth. With the approval of Plato and his words on Atlantis, which open the film, the adventure of the young and puppetist Milo James Thatch, linguist of the Smithsonian of Washington, can begin.

That Atlantis is a film different from other Disney classics, you see it immediately. Zero songs parts, to begin with, because after all that time spent working on The Hunchback of Notre Dame, the music component had broken through the cabbasisi even in Trousdale and associates. No musicals, therefore, and an adventurous Indiana Jones tone. It is no coincidence that the precipice Milo from his life as Giandomenico Fracchia of archeology on a journey to discover Atlantis is the femme fatale Helga Katrina Sinclair:

long thigh and split at Jessica Rabbit, persuasive voice (in Italian that of Cinzia de Carolis, excuse me for a moment), a little Lara Croft and a little (much) Elsa Schneider of Indiana Jones and the last crusade. The story, to a first script which Ciccio Whedon has also worked on, recalls other illustrious animated precedents. Indy aside, we follow in different points the footsteps of the different twins Laputa - Castle in Heaven and Nadia - The Mystery of the Blue Stone, but you don't agree with those who wanted to see in Atlantis only an insidious USA clone of the Miyazaki film and / or the Hideaki Anno series (also born from an idea of ​​Miyazaki as well as stefanoaccorsi. And that Kirk Wise, one of the two directors of Atlantis, said he discovered only after the film was released). The Disney film has several elements that you found appreciable, beyond its aforementioned diversity from the rest of the cumpa enslaved to the evil pagan god of the musical.

To give body to this lost world, the authors took the trouble to have Mark Okrand create a real language. For the uninitiated, Okrand is the man who invented the Klingon, the grand vizier of millions of nerds. Not only. Atlantis itself is not the usual pile of Greek columns, but a set of architectures that recall different styles and eras: Mayan, Indian, Tibetan.

The machinery is also very beautiful, from the large auger of explorers to the fish-shaped planes of the Atlanteans. The character design does not drive you crazy, even if the rendering of some Milo expressions is excellent (the outburst of anger when that certain thing happens) and in general the use of superb colors and the integration of CGI sequences made as it must, not thrown there. Yet, despite the abundance of scenes that use computer graphics, his being a traditional animated film for the rest was seen in retrospect as one of the causes of the Atlantis flop. Those were the months when the world went crazy for Shrek and the whole western animation market seemed inexorably projected towards the polygon. Fortunately ... no, nothing, it was like that, only a slice of the Japanese one was pulled back.

Yet, if you go to see, Atlantis' type of humor (often on the edge of barracks jokes) is very much in line with that of Shrek. Less loaded - this is still an adventure film - but the gags linked to the various supporting actors, such as the disgusting gianfransuà digger cousin of the Mole Man and the hilarious switchboard operator fisted (excellent choice by Franca Valeri as her Italian voice) I am of that type there. And they work. The real problem with Atlantis is that the target was totally wrong. It made a PG film for the whole family, which however did not have the classic elements, forgive the pun, of the Disney Classics.

A film aimed in reality at an audience of young adults, born and spit for a room of boys and girls, and that its true nature, with all the Disney sweetening possible, highlights it over and over again. How many other Disney films do you know in which, after less than half an hour, over 160 men died of violent death?

Do we also want to put a clear anti-imperialist / anti-colonialist message? The ending with cavalry and dogfights at Star Wars? Mettiamoceli. Some elements are cleared too quickly (with the end credits removed, we are under the effective hour and a half), but there is some good. In particular, you appreciated the choice of very long fields to make the dimensions of some mechanical beings. Then? Masterpiece? No. Porcheria? Not even. When you saw it for the first time on home video, a dozen years ago, you found it a more than discreet film. Guardabilissimo. And, well, you still think about it after seeing it again.

But back to the meager box office results. Lean especially by Disney standards, so if from a film costing 100 million dollars you only get 84 in the USA and 186 worldwide, and the merchandising money printing machine does not take off, you can speak without a fiasco . And that's exactly what Disney president Thomas Schumacher did then, stating the following: "It seemed like a good idea to get away from the usual fairytale structure once, but we missed the target." Hello TV series, hello especially the setting for Adventureland. However, a sequel would arrive in direct-to-video in 2003, Atlantis - The Return of Milo, assembling what should have been the first three episodes of the TV series.

Except that life is strange, and the market as well, and Hollywood won't even tell you. So eight years later James Cameron arrives, repackaging the SAME story with the SAME dynamic, but in live action and in 3D, and bam, the ghosts. Record takings in the history of cinema, all lined up to see the tamarro dismounted with the treddì motorbike. It is also a question, above all, of marketing, and at least a little also a question of ass.


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