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&ref(https://images.unsplash.com/photo-1485217988980-11786ced9454?ixlib=rb-1.2.1) Yay I found one in English aha. | Peter Sobczynski January 31, 2020 During this past month, the horror genre has taken it especially hard on the chin with the release of such instantly and intensely forgettable duds as “The Grudge, ” “ Underwater ” and “ The Turning, ” a trio of films that collectively failed to inspire the same amount of raw terror found in the trailer for that “ Peter Rabbit ” sequel. Therefore, people might understandably look at “Gretel & Hansel, ” a film being dropped into theaters with little advance word and on Super Bowl weekend to boot, and assume that it's just another movie destined to come and go from the multiplex in net-record time. In reality, this is the?kind of low-key gem that horror fans are always looking for but so rarely find?one that is smartly conceived, visually stylish and genuinely creepy at times. Advertisement As one might surmise from the arrangement of the names in the title, the focus of this version of perhaps the grimmest of all the Grimm fairy tales is on Gretel ( Sophia Lillis), who is depicted here as several years older than brother Hansel ( Samuel Leakey)?old enough so that when she goes out to seek work to provide for herself, Hansel, and their insane mother, her lecherous prospective employer inquires as to whether she has “kept her maidenhood. ” Needless to say, that opportunity goes sour and Gretel’s troubles are compounded when her mother kicks her and her brother out to fend for themselves. (“Dig yourself some pretty little graves. ”) They spend one night with a kindly woodsman ( Charles Babalola) who gives them food, directions, and sage advice but the journey is long and arduous, lightened only by a brief respite when they consume some wild mushrooms with certain unexpected qualities. Just when all seems lost for the two, they stumble upon a house in the middle of nowhere and spy a lavish and seemingly unattended feast sitting on the table just waiting for someone to eat. This is the home of Holda ( Alice Krige), a strange older woman who invites the two in to eat and take refuge. While Hansel is more concerned with filling his belly to notice anything else, even when his host appears to be sniffing his hair, Gretel picks up right from the start that strange things are afoot. The house seems way bigger on the inside than logic should dictate. The enormous spread of food never seems to abate despite the lack of any garden or livestock on or around the premises. And while Gretel has always odd dreams and premonitions, they take on a decidedly darker turn the longer that they stay with Holda. You probably think you know where this is going from here. You may not be correct in your assumptions. “Gretel & Hansel” is the third film from director Osgood Perkins, whose previous efforts included “The Blackcoat’s Daughter” and “ I Am the Pretty Thing That Lives in the House. ” Neither of those movies quite worked for me, I admit, but they did do enough to suggest that he was an intriguing new directorial voice who was clearly on the cusp of doing something really interesting once he got a hold of the right material. With this film, he has done that and the results are often startlingly good. The screenplay by Rob Hayes takes the familiar narrative and finds a fresh approach, leaning towards a feminist take on the tale that may not exactly be subtle at times (her symbolic passage from childhood to womanhood is prefigured by the appearance of a long wooden staff and a vat of mysterious viscous goo that is perhaps the most over-the-top touch in the otherwise subdued story)?but it does offer up an audacious and often surprising slant to the proceedings. As much as it is a horror story, this perspective allows the film to also work as a thoughtful coming-of-age tale of a young woman gradually realizing that she does have power after all, and can use it to make a path into the world that is entirely of her own design. Many of the other elements of the film click in unexpectedly rewarding ways as well. Visually, the film is a constant knockout as Perkins and cinematographer Galo Olivares lend it a hypnotic and stylishly moody look that makes it feel at times like a lost work from Italian horror maestro Mario Bava, a sensation helped by the inspired production design by Jeremy Reed. The synth-heavy score by composer Robin Coudert adds an extra layer of Goblin-like unease to the proceedings that is also enormously effective. The performances by the three lead actors are strong and sure, all the more so because they all commit to their roles and never come across as though they are goofing on the material. (Although there are a couple of dark laughs here and there, the film is refreshingly straight-faced for the most part. ) As for the hardcore genre buffs wondering how effectively scary a PG-13 horror film can be will be happy to know that Perkins creates a strong aura of unease that never lets up and only once devolves into anything resembling a cheap “BOO! ” moment. My only real problem with “Gretel & Hansel” is that it contains an intermittent voiceover from Gretel that feels as if it was added at the last second in order to overtly explain things that could have been easily and more effectively left unsaid. That said, with its offbeat narrative and emphasis on moodiness over ham-handed shocks, this is the kind of genre film that is probably a better fit for arthouses than multiplexes?it will almost certainly join “ Color Out of Space ” as one of the first new cult favorites of the new decade?and those who go to it expect the usual nonsense may find themselves put off by its quieter and more ultimately unsettling approach. Those in the mood for something that is off the beaten path, on the other hand, should make a beeline to catch it while you can. Reveal Comments comments powered by.

Gretel & hansel - movie review. Gretel & hansel (2020. Gretel & hansel trailer. Gretel & hansel torrent. 1:23 Run meme. Es gibt, wenn man ehrlich ist, nur wenige Möglichkeiten, das Märchen ?Hänsel & Gretel“ wirklich einigermaßen authentisch zu verfilmen. Denn um ein weichgespültes Märchen, das sich problemlos in disneyfiziertes Wohlbefinden übertragen ließe, handelt es sich dabei eigentlich nicht. Dem Geist der Quelle getreu können eigentlich nur zwei Varianten sein: als düsterer Horrorfilm oder als einigermaßen entfesselter Splatterfilm ? wahlweise den Schrecken betonend oder den Sieg über die Hexe. Für die erstere Variante gibt es inzwischen einige Versuche, die zweite wird ? in konsequenter Fortsetzung des in den ersten zehn Minuten stark reduziert und leicht abgewandelt erzählten Märchens ? in Hansel & Gretel: Witch Hunters bis zur Kenntlichkeit entstellt. Denn der Film, inszeniert von Død snø -Regisseur Tommy Wirkola, ist ein B-Movie mit A-Budget, das keine Gefangenen nimmt und sich für guten Geschmack nur so lange interessiert, wie er cool aussieht. Gemma Arterton und Jeremy Renner spielen das erwachsen gewordene Geschwisterpaar, das aus ihrem Zufallserfolg in Kindertagen eine Karriere gemacht haben, self-made Witch Hunters gewissermaßen, und so natürlich durch pittoreske ?deutsche“ Lande ziehen ? die Handlung verschlägt sie nach Augsburg, wo die Kinder gleich en gros verschwunden sind und weder Bürgermeister noch Polizeichef so recht wissen, wie man dem Hexenfluch begegnen soll. Dann spritzen Flüche, Blut, Eingeweide und Maden (?The curse of hunger for crawling things… I fucking hate that one. “) en gros und en detail ? die Extended Version für’s Heimkino wirft noch einige Szenen obendrauf ?, die Hexenjäger_innen schwingen allerlei Waffen, die (klarer Pluspunkt für den Film) ihre Herkunft aus dem Steampunk nicht verleugnen können ? das ist alles historisch inakkurat, dramaturgisch eher vage aneinandergefügt, aber sehr unterhaltsam. Die Hexerei als weibliche Angelegenheit wird hier ohne großes Federlesens und ohne große Kümmerei um Gender-Sensibilitäten einfach behauptet und durchgezogen, und wo mich das meistens nerven würde, scheint es hier recht: zum einen, weil dem ganzen Unterfangen soviel Camp und Albernheit innewohnt, dass man nichts ernst nehmen muss, und zum anderen, weil daraus eben kein Geschlechterkampf wird, allenfalls so herum: Sieht man von Hänsel ab, haben die Männer hier allesamt überhaupt keinen Schimmer, und nur die wenigsten meinen es wenigstens gut. Es ist dann nur leider inkonsequent, dass Artertons Gretel nicht etwas mehr im Fokus ist ? aber das hier ist eh kein Charakterdrama. Aber auch kein Exploitation: Es bleibt, das ist vielleicht der einzige Kritikpunkt, den man aufbringen könnte, alles schön brav im Rahmen des heute akzeptablen Schmodders; dies ist kein Film, der Lanzen brechen oder Grenzen aufweichen will, sondern knallige Unterhaltung mit viel Blut und viel Drive. Hansel and Gretel: Witch Hunters Official Trailer #1 (2012) - Jeremy Renner, Gemma Arterton Movie HD.
Cillian is the post apocalyptic daddy. Nails it every time. Gretel & hansel a grim fairy tale. This type of role only suits on saif. A youngest actor in Bollywood. Gretel & Hansel Theatrical release poster Directed by Oz Perkins Produced by Brian Kavanaugh-Jones Fred Berger Screenplay by Rob Hayes Based on Hansel and Gretel by The Brothers Grimm Starring Sophia Lillis Sam Leakey Charles Babalola Jessica De Gouw Alice Krige Music by Robin Coudert Cinematography Galo Olivares Edited by Josh Ethier Julia Wong Production company Orion Pictures Automatik Entertainment Bron Creative Distributed by United Artists Releasing Release date January?31,?2020 Running time 87 minutes Country Canada [1] [2] United States [2] Ireland [2] Language English Budget $5 million [3] Box office $20. 5 million [4] [5] Gretel & Hansel (also known as Gretel & Hansel: A Grim Fairy Tale) is a 2020 dark fantasy horror film based on the German folklore tale " Hansel and Gretel " by the Brothers Grimm. The film is directed by Oz Perkins, and produced by Fred Berger, Brian Kavanaugh-Jones, and Dan Kagan, with a screenplay by Rob Hayes. Sophia Lillis and Sam Leakey portray the title characters, alongside Charles Babalola, Jessica De Gouw, and Alice Krige. The story follows Gretel and Hansel as they enter a dark wood in order to find work and food, and then stumble upon the home of a witch. It was announced in October 2018 that Orion Pictures in Gretel & Hansel, a film adaptation based on the German folklore Hansel and Gretel by the Brothers Grimm, with Perkins directing the film from a screenplay he co-wrote with Hayes. At the same time, Lillis was set to star in the film, with other actors being added shortly after, and filming taking place between November and December 2018 in Dublin, Ireland. Gretel & Hansel was released in North America on January 31, 2020 by Orion Pictures through United Artists Releasing. The film had grossed $20. 5 million worldwide and received mixed to positive reviews from critics, with praise for its visuals and cinematography, as well as the horror elements and acting, but criticism for the film's pacing. Plot [ edit] A baby that everyone in the village found to be the most precious falls terribly ill one winter. Her father took her to see an enchantress, who removed the illness but left a power within the girl. As she grew older, people in the village went to the girl because she had premonitions of the future. Because she knew everything ended in death, she used her power to kill people, including her father. The child was taken into the woods to be left alone, but she lured other children to a grim fate. After their father's death, teenage Gretel ( Sophia Lillis) and her younger brother Hansel (Sam Leakey) are going to meet a man about a job as a housekeeper. Gretel meets with the man, but he makes his true intentions clear when he asks Gretel if she is still a virgin. The two leave without a job. At night, the siblings' mother rebukes Gretel for not doing what she had to do to get a job and help provide for them. She tells Gretel that she and Hansel must leave because there is no room left in the house. The mother goes as far as threatening to hack Gretel to bits if they don't leave immediately. The siblings flee their home and find a hut to sleep in for the night. Suddenly, a ghoulish man arises and lets out a horrible scream and makes the kids run away. He chases them outside and attacks Hansel. Before he can get to Gretel, he is killed with an arrow to the head. A hunter ( Charles Babalola) rescues the siblings and takes them into his home for the night and directs them toward others who can provide them with food and work. The following morning, the siblings go outside to forage and seek work. They get frustrated when they find nothing until Gretel spots some mushrooms. They turn out to be "magic" mushrooms that cause the two to laugh hysterically. Hansel then wanders until he finds a house that has a cake smell coming from it. Gretel follows as she hears what sounds like a girl's voice beckoning her, seen alongside The Beautiful Child being taken away in a carriage. Gretel tries to stop Hansel from going inside, but he goes anyway and appears to be taken by someone. Gretel tries to start a fire to break inside, but she is greeted by Holda ( Alice Krige), the woman living inside. She invites the siblings inside for a meal and allows them to sleep there in exchange for work. Holda has Hansel go out into the woods to practice his skills with an axe, while she keeps Gretel at the house. Hansel enjoys his time there because they have plenty of food, but Gretel becomes suspicious of Holda's intentions. Gretel starts to see a vision of the Enchantress and hears children's voices guiding her somewhere, but before she finds out what's going on, she wakes up in her bed. While Hansel goes out, Holda shows Gretel how to tap into her powers as a witch. Gretel goes into the woods and manages to use her power to bring a tree branch near her so she can take a fruit. Meanwhile, Hansel also sees a vision of the Enchantress and spots a satanic carving on a nearby tree. Hansel starts to grow suspicious of Holda. Later in the night, Gretel makes her way into Holda's cellar where Hansel is sitting in a trance. Suddenly, the floor fills with goo, and a younger witch emerges, emptying buckets of guts onto the table before turning them into food, the same that Holda fed the siblings. The next day, Gretel sits with Holda, who eats something and pulls a long strand of a child's hair out of her mouth. Gretel pleads with Holda to let Hansel go, but she refuses. Through a series of visions, she tells Gretel the truth about the story of the Beautiful Child: Holda was the girl's mother, and she resented her daughter after she killed her father, and she left the girl in the woods of her own accord. However, the child lingered in Holda's mind, promising to share her powers with her if she trusted the darkness. With that, Holda devoured her other children and took on the disguise of an old woman to appear friendly and lure other children to their fates. Holda straps Gretel to a table in the cellar as she assumes her youthful appearance to lure Hansel into a cage so she can cook him. Gretel manages to use her powers to send a staff toward Holda, impaling her to the wall over the flames. Her body catches fire, and she cries in agony until she is dead, breaking the trance on Hansel and letting Gretel go free. Gretel decides to stay behind at the house while sending Hansel on his way with a horse. The horse brings him back to his old house, where his mother no longer stays. Gretel then sees the spirits of the dead children emerge from the trees, now free at last. However, her fingers turn black just like Holda's did, but her voiceover states that she will be brave and trust in herself. Cast [ edit] Sophia Lillis as Gretel, a 16-year old girl and Hansel's older sister. [6] Sam Leakey as Hansel, Gretel's 8-year old brother. Leakey is making his acting debut. [7] Charles Babalola as The Hunter, a young man who helps Gretel and Hansel early in the story. [8] Alice Krige as Holda / The Witch, a terrifying and powerful evil witch who lives in the shadows of the dark wood and kidnaps Gretel and Hansel. [7] Jessica De Gouw as Young Holda / the Witch Production [ edit] In October 2018, the Hollywood Reporter wrote that Orion Pictures had started developing a film adaptation of the German folklore tale Hansel and Gretel, with Oz Perkins directing a screenplay he had co-written with Rob Hayes, and Sophia Lillis starring as the lead character. [9] Sinister producer Brian Kavanaugh-Jones and The Autopsy of Jane Doe producer Fred Berger, partners at Automatik Entertainment, were announced as producers, with Sandra Yee Ling and Macdara Kelleher as executive producers. [7] Hayes eventually received sole screenplay credit. In November 2018, Charles Babalola was cast as the Hunter, a new character who helps Gretel and Hansel navigate the woods. [8] In April 2019, Alice Krige, Jessica De Gouw, and Sam Leakey joined the cast, with Leakey making his acting debut. [7] Perkins explained in an interview that the title was changed because this version focuses on Gretel: "It's awfully faithful to the original story. It's got really only three principal characters: Hansel, Gretel, and the Witch. We tried to find a way to make it more of a coming of age story. I wanted Gretel to be somewhat older than Hansel, so it didn't feel like two 12-year-olds ? rather a 16-year-old and an 8-year-old. There was more of a feeling like Gretel having to take Hansel around everywhere she goes, and how that can impede one's own evolution, how our attachments and the things that we love can sometimes get in the way of our growth. " [10] Principal photography on the film began on November 9, 2018 in Dublin, Ireland, and wrapped in December 2018. [11] Additional filming and reshoots started in January 2019 in Langley, British Columbia [ disambiguation needed], Canada. Release [ edit] The film was released on January 31, 2020, by United Artists. [7] Reception [ edit] Box office [ edit] In the United States and Canada, the film was released alongside The Rhythm Section, and was projected to gross $4 million to $7 million from 3, 000 theaters in its opening weekend. [12] [3] The film made $2. 3 million on its first day (including $475, 000 from Thursday night previews). It debuted to $6. 1 million, finishing fourth. [13] Critical response [ edit] On Rotten Tomatoes, the film holds an approval rating of 63% based on 81 reviews, with an average rating of 6. 16/10. The site's critics consensus reads: " Gretel & Hansel ' s rich visuals satisfy, even if this adaptation of a classic fairytale gets a little lost in the woods on the storytelling front. " [14] On Metacritic, the film has a weighted average score of 64 out of 100, based on 16 critics, indicating "generally fav
Gretel and hansel cast. Rami Malek is going to give 007 a real Bohemian Rhapsody. Can't wait. Gretel & 26 hansel and griddle. Gorgeous visuals and spooky atmosphere to spare. 1/31/2020 Sophia Lillis and Alice Krige star in Oz Perkins' dark reimagining of the classic Brothers Grimm fairy tale. Oz Perkins' decidedly feminist take on the classic Brothers Grimm fairy tale is so gorgeous in its imagery that you almost wish it were a silent film. Largely faithful to its source material in spirit but stretching out in interesting new directions, Gretel & Hansel may alienate some horror movie fans with its extremely leisurely pacing and emphasis on atmosphere and mood rather than visceral shocks. But while the film certainly demands patience, it provides ample rewards with its lush stylization. You may have noticed that the usual title has been reversed. In this retelling, Gretel, played transfixingly by Sophia Lillis (the It films, Nancy Drew and the Hidden Staircase), is a 16-year-old taking care of her 8-year-old brother Hansel (Sammy Leakey). When the siblings head out into the forbidding woods together in search of food, she's very much in charge, although he's more than eager to prove his mettle with an ax. They barely start their journey before running into serious trouble from a malevolent figure. But they're rescued in the nick of time by a kindly Hunter (Charles Babalola), who, in one of the more audacious conceits of Rob Hayes' screenplay, promptly disappears for the rest of the running time. The only figure who receives significant screen time, other than the title characters, is Holda (Alice Krige), the witch who invites the two children into her home in the woods for reasons that will be familiar to anyone who has read the dark fairy tale. The film turns out to be an origin story of sorts, both for Holda, whose younger version (hauntingly played by Jessica De Goux) is seen in the prologue, and for Gretel, who reveals hidden powers by the end that represent a significant departure from traditional versions. (Another plot element I can't seem to recall from the original tale concerns Hansel and Gretel eating some wild mushrooms in the woods and proceeding to get very, very high. ) Perkins, who seems to be specializing in the horror genre (his previous efforts are the well-regarded The Blackcoat's Daughter and I Am the Pretty Thing That Lives in the House), displays the confidence not to rely on cheap jump scares. He invests the spooky proceedings here with uncommon visual elegance; cinematographer Galo Olivares, who collaborated with Alfonso Cuarón on Roma, delivers one striking image after another, placing an emphasis on shadows and candlelight that Kubrick would have admired. And while the prologue introducing Holda is presented in widescreen format, the vast majority of the pic is shot in a boxy proportion that, as in Robert Eggers' similarly styled The Lighthouse, perfectly suits the material. The design elements are equally impressive, from Leonie Prendergast's imaginative costumes to Jeremy Reed's production design that includes a very different, architecturally modernistic rendition of the witch's house. The film includes numerous segments featuring voiceover narration by Gretel, which seems largely unnecessary but perhaps is understandable considering the attention spans of younger viewers (the pic is rated PG-13) who may not appreciate long stretches of silence. Krige, whose horror-movie credits stretch as far back as 1981's Ghost Story, is formidably scary and yet also slyly funny as the witch, who, in one of the most memorable moments, slowly pulls a long braid of hair, complete with ribbon, out of her mouth. The extensive makeup with which she's outfitted makes her look suitably witchlike while also retaining a humanity that makes the character all too relatable. But it's Lillis who dominates the proceedings with her powerful screen presence. Although still only in her teens, the talented young actress conveys a maturity and strength that seem to belie her years. You have absolutely no trouble believing that she can put a witch in her place. Production companies: Automatik, Orion Pictures Distributor: Orion Pictures Cast: Sophia Lillis, Sammy Leakey, Alice Krige, Charles Babalola, Jessica De Gouw Director: Oz Perkins Screenwriter: Rob Hayes Producers: Brian Kavanaugh-Jones, Fred Berger Executive produces: Sandra Yee Ling, Macdara Kelleher Director of photography: Galo Olivares Production designer: Jeremy Reed Editor: Josh Ethier Composer: Robin Coudert Costume designer: Leonie Prendergast Casting: Claire Curry, Julie Harkin Rated PG-13, 87 minutes.
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