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Widely known for their valiant acts of supernatural bravado, the bogus ghost-busters, Wilhelm and Jacob, or the BrothersGrimm, try their best to banish all sorts of evil in early-19th-century French-occupied Germany. For the right amount of money, the intrepid charlatans pretend to rid superstitious villages of its local ghouls or witches, until disturbing rumours about missing children in the small village of Marbaden start to spread like wildfire. Now--exposed by the French governor and Napoleon's general, Delatombe--the shameless duo of alleged paranormal fighters will have to prove their worth, and, for the first time in their entire career, do battle with a genuine malevolent force. However, can the utterly unprepared boys confront the real deal? Above all, can the BrothersGrimm clear their name?Written by
When Cavaldi tells the two women bringing food that the brothers will thank them for their kindness, both are shown laughing even though the woman on the left is not laughing, or even smiling. See more »
Performed by Taraf de Haidouks
Written by Sapo Perapaskero
Published by Les Editions de la Bascule / Strictly Confidential o.b.a. Confidence (BMI)
From the album "Band of Gypsies"
(p) 2001 Crammed Discs See more »
Do people read any more? A folk tale for adults.
Like his Baron Munchhausen, Gilliam's BrothersGrimm has been horridly misunderstood by critics and public alike. What I get from the comments and reviews is the sense of thwarted expectations, although I have little idea what the anti-Grimms expected in the first place. People dislike the kitten scene because it's a cute kitten. This I find entirely in the grotesque spirit of the original folk tales. We've learned to take our fairy tales Disneyfied, apparently. I've also heard complaints about the quality of the special effects as sub-ILM quality. Frankly, that's what I liked about them. They *didn't* look like ILM; they looked personal. I admit I found the basic premise a cliché (two con men who make their living on the superstitious gullible find out that, in this case, the magic is real), but its working-out overcomes this basic flaw. This is a movie that shuns cliché. The brightest scenes, for example, almost always contain the greatest menace. Relative safety is drab, dirty, brutish, nasty, and short. Ledger gives an amazing performance -- I had previously regarded him as a Troy Donahue update. Matt Damon shows he has the chops to cross over from small "indies" to big performances in the old leading-man vein. Peter Stromare and Jonathan Pryce do a highbrow Martin & Lewis -- Stromare all over the place and Pryce coolly self-contained -- to hilarious effect. The faces alone in this movie are wonderful, hearkening back to the glory days of Leone. There are so many telling details in the background ("Bienvenue a Karlstadt") -- let alone the foreground -- that show Gilliam's mastery. Harry Potter (which I enjoyed), Lord of the Rings, and Chronicles of Narnia are for the kiddies and show us worlds we can, with effort, control. Gilliam doesn't offer any such comfort, not even at the end. The sense of menace is overwhelming, and Gilliam achieves it without super-special effects, usually camera movement (the shots following Little Red Riding Hood through the forest made my jaw drop). A brilliant film, operating at a high level we don't see much of these days. Someone compared the movie to Burton's Big Fish, another film dismissed or ignored by critics and public. Although Burton's and Gilliam's sensibilities differ, I take the writer's point. The confident, poetic handling of myth and archetype in both astonishes.
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