Ben-Hur (2016 film)
| Ben-Hur | |
|---|---|
 Theatrical release poster | |
| Directed by | Timur Bekmambetov |
| Produced by |
|
| Screenplay by |
|
| Based on | Ben-Hur: A Tale of the Christ by Lew Wallace |
| Starring | |
| Music by | Marco Beltrami |
| Cinematography | Oliver Wood |
| Edited by | |
Production companies | |
| Distributed by | |
Release dates |
|
Running time | 123 minutes[1] |
| Country | United States |
| Language | English |
| Budget | $100 million[2][3] |
| Box office | $23.7 million[4] |
Ben-Hur is a 2016 American epic historical action drama film directed by Timur Bekmambetov and written by Keith Clarke and John Ridley. It is the fifth film adaptation of the 1880 novel Ben-Hur: A Tale of the Christ, by Lew Wallace, following the 1907 silent film, the 1925 silent film, the Academy Award-winning 1959 film, and the 2003 animated film of the same name. It has been termed a "re-adaptation", "reimagining", and "new interpretation" of the novel.[5][6] The film stars Jack Huston, Morgan Freeman, Toby Kebbell, Nazanin Boniadi, Haluk Bilginer and Rodrigo Santoro.
Principal photography began on February 2, 2015 in Matera, Italy, and lasted for about five months, finishing in June 2015. Ben-Hur premiered on August 9, 2016 in Mexico City, and was theatrically released on August 19, 2016 in the United States in 2D, 3D, RealD 3D, Digital 3D and IMAX 3D.[7] Ben-Hur received generally negative reviews from critics and has grossed $23 million worldwide against a $100 million budget.
Contents
[hide]Plot[edit]
A nobleman, Judah Ben-Hur (Jack Huston), is falsely accused of treason by his childhood friend and adoptive brother Messala (Toby Kebbell). He survives years of slavery under the Romans and attempts to get revenge by challenging Messala to a grand chariot race while being forever changed after a series of encounters with Jesus.
Cast[edit]
.jpg)
- a Jewish prince in Roman-occupied Jerusalem who is betrayed and falsely accused of treason, and is sentenced to a life of slavery. Ben-Hur loses everything and spends five years in the galley of a Roman slave ship. He later takes on the Roman Empire and his adoptive brother, in a grand chariot race, while finding redemption and being forever changed after a series of encounters with Jesus Christ.[8][9][10] Huston said he felt "incredibly honored to be stepping into Charlton Heston's sandals."[11] Heston's daughter-in-law is a friend of Huston's family, and he met Charlton a few times before he died. "I remember being very struck by the film when I was younger," Huston has said. The leper scene, especially, stuck in his mind. He re-watched the 1959 film prepping for this version.[12][13] He was initially offered the role of Messala, but director Bekmambetov decided instead he had the sympathetic manner and grit to play the title role.[14] Bekmambetov found Huston to be an actor who not only was a "well-built, experienced horseman" but one who "felt like he was born in that era." He said, "I wouldn't be surprised if some of Jack's many famous ancestors took part in an actual fight between Romans and Judaeans [sic] we depict in our film."[8] Tom Hiddleston was originally considered for the role.[15] Huston was well aware of the comparisons being made between him and Heston, saying "Of course there are going to be haters, that's par for the course when you're retelling such an infamous tale. It's like Kenneth Branagh going to do Romeo and Juliet again for, like, the 50th time. [But] I think one of the greatest compliments one could ever be giving to [author] Lew Wallace is that we're still reimagining his work more than 120 years later, because it's so powerful."[16]
- a wealthy Nubian sheik who trains Ben-Hur to become a charioteer to take revenge on his brother, Messala.[9] Unlike Wyler's version, who was a secondary character, and an essentially comic one, there is no humor in this version. Moreover, Ilderim "has quite a bit of power in the story. And I like playing power. It’s something about my own personal ego", Freeman said.[17] Freeman is part of the international cast in the film. Producer Daniel spoke about saying that "the movie business was never as global as it is today, so it makes sense from a creative and commercial point of view to do this movie for the whole world."[12]
- Toby Kebbell as Messala:
- an officer in the Roman army, and Ben-Hur's childhood friend and adoptive brother, who betrays him.[8][9][18]
- a Jewish slave and the love interest of Ben-Hur.[9][19] Boniadi was very pleased by the fact that the women's role in the film were expanded, unlike the previous versions. She described her character as "very strong-willed and independent", which to her was very refreshing, given the era that this film is set in. She added, "compared to the 1959 film, Esther definitely has more of a presence, she's definitely a stronger woman and a stronger character."[12] Actresses Gal Gadot, Sofia Boutella, Moran Atias and Natalia Warner were all considered for the role during development.[20][21]
- Rodrigo Santoro as Jesus:
- Unlike in the original film, Christ has a prominent role in this version.[10][22][23] Paramount Pictures' vice chairman Rob Moore stated that Christ in this version "is going to be consistent with people's expectations," and that the "expectations of the faithful will be honored by this one." This was because Paramount wants to avoid the sort of backlash received by Darren Aronofsky's Noah, because some Christians were dismayed by the film's inventive interpretation of the Bible.[6][24] Santoro said it was the most challenging role he had ever taken on.[17] He received personal blessings from Pope Francis for his role as Christ.[25][26]
- Sofia Black D'Elia as Tirzah:
- Ayelet Zurer as Naomi:
- Haluk Bilginer as Simonides:
- a loyal Jewish servant to Ithamar, Judah’s birth father; becomes a wealthy merchant in Antioch.
- Moisés Arias as Gestas:
- a teenage Jewish zealot whose family has been murdered by the Romans and is desperate to fight for his people's freedom.[9][29][30]
- Marwan Kenzari as Druses:
- a Roman captain who is involved with the betrayal by Messala that sends Ben-Hur on his path to redemption.[32]
- James Cosmo as Quintus Arius[33]
Production[edit]
Development[edit]
In 2013, Metro-Goldwyn-Mayer acquired Keith R. Clarke's script, an adaptation of Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ, which is in the public domain.[34] In April 2014, Paramount Pictures and MGM announced that they would co-produce a new version of Ben-Hur, based on the novel, with Mark Burnett and Roma Downey serving as producer and executive producer, respectively.[35] MGM had previously released two films based on the book, the 1925 silent film and the more famous 1959 film of same name. The rights to the latter film were sold to Ted Turner in the 1980s.[35] MGM had just emerged from bankruptcy due to the global success of the twenty-third James Bond film, Skyfall and The Hobbit: An Unexpected Journey, which both went to gross over $1 billion at the box office worldwide, including above $300 million in the United States and Canada, while Paramount was having their share of success at that time with the biblical tale Noah.[35][36] John Ridley (12 Years a Slave) was hired to revise the script with Sean Daniel, Burnett and Joni Levin attached to produce, and Downey, Clarke and Jason Brown executive producing.[34][35] Duncan Henderson was later attached to produce while John Ridley to executive producer.[9] It was also announced that the new film would differ from the 1959 film, and deal with the formative relationships of Ben-Hur and Messala growing up as best friends, before the Roman Empire took control of Jerusalem, and that Christ would have a prominent role.[35]
"This movie is about the Roman Empire, how seductive and glamorous and dangerous its ideas are – it's about power and competition. And we live in this world. We live in the Roman Empire today – and this movie is trying to find a way how we can survive today. It's not a movie about Jesus' time, it's a movie about us."
In September 2013, Timur Bekmambetov was hired to direct the film.[37] Bekmambetov was initially reluctant to direct and did not wish to tackle a film whose predecessor had so much impact. But however, after producer Sean Daniel persuaded him to read the script, he accepted it,[38] "I read the script. And suddenly I understood this story is not what I expected. It's not a remake, it's an interpretation of the famous book."[13] He said the story of Ben-Hur reminded him of Romeo and Juliet, Hamlet, and Anton Chekhov's work.[39] He was fascinated by the 1959 film but found the focus on revenge rather than forgiveness to be the main problem. And this was the prime difference between the book and the 1959 movie; the book was written about forgiveness, and the movie was about revenge and miracles. Hence, he wanted to stress the themes of forgiveness and love rather then mere vengeance. He found "the most important values of pride, rivalry, power, strength, the dictatorship of power and self-love" that were prominent in the Roman Empire to be passé in the contemporary world of today. Hence, he wanted those themes to be the primary subjects in this version.[3][39] He said that the film is not just about the story of Ben-Hur, but rather a shared story of him and his brother, Messala.[5] Bekmambetov was well aware of the comparisons being made with the earlier classical adapted films, and hence felt the need to make the film very different from the others. As a result, he decided to make a realistic drama film rather then a huge tentpole attraction.[5] The director did not set out to make a more stylized version of the past, as he did with Abraham Lincoln: Vampire Hunter; he wanted to make a film that was more grounded and tangible.[40]
According to producer Mark Burnett, in order to attract younger and secular audiences for films like Ben-Hur, which is centered on faith and the messages of Jesus Christ, they needed to feel like epic summer blockbusters. He explained that part of what caused the immensity of the budget – reported to be close at $100 million – are the special effects and the experience of 3D that young audiences are expecting.[41] MGM financed 80% of the production costs, while the remaining 20% was covered by Paramount.[42]
In June 2015, Rob Moore, the vice chairman of Paramount, explained that this version is not so much a remake of the 1959 film, but a new interpretation of the Lew Wallace novel on which both are based.[6]
Writing[edit]
"It's going to be different in the sense that the original writer Keith Clarke wrote an amazing script and then went back to the Lew Wallace novel and really excavated the relationship between the two main characters, Ben-Hur and Messala. It's interesting to a degree. It’s kind of like going after Jimi Hendrix, because there are things about the 1959 movie that we think we remember, there are things that really happened, including obviously the chariot race, so it's going to be different in the sense that were's not really trying to completely chase the movie people remember but there are elements of that movie: the heart of the film, the emotional drive of the film that we want to try to bring to a whole new audience. I think it's an interesting project. Its certainly challenging. It's certainly one that people are going to come into with expectations, but like anything you do, you gotta exceed those expectations to a degree and also not worry about them because at its core, we hope and believe that weve got something thats unique."
John Ridley re-wrote the script based on an original screenplay by Keith Clarke which itself was based on Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ.[44] Ridley admired how Clarke went back to the source material and focused his attention on subjects of racial slavery and colonization and the deep relationships of the two friends. He was more drawn to the project since it dealt with themes of faith in a very "potent manner".[44][45] The studio approached him in October 2013 after he wrote the screenplay for 12 Years a Slave which went on to win an Oscar the following year.[46] The studio wanted him to do "a production polish that deals with just honing the story and making it filmable."[44]
Casting[edit]
Tom Hiddleston was originally considered for the title role, Judah Ben-Hur.[47] But Jack Huston was later cast in the title role.[48] on September 11, Morgan Freeman was added to the cast to play Sheik Ilderim, the man who teaches Ben-Hur to become a champion chariot racer.[49] on September 18, sources confirmed that Toby Kebbell was in early talks to play the villain, Messala.[50] on October 15, Gal Gadot was in talks to join the film for the female lead role as Esther, a slave with whom Ben-Hur is in love.[51] Pedro Pascal from the TV series Game of Thrones was in talks to play Pontius Pilate.[52] on October 30, TheWrap confirmed that Gadot's negotiations with Paramount and MGM had ended and the actress withdrew due to scheduling conflicts with Batman v Superman: Dawn of Justice.[53] on November 4, Marwan Kenzari was added to the cast as Druses, a Roman captain.[54] on November 11, Ayelet Zurer was in final negotiations to play Naomi, Judah Ben-Hur's mother[28] (Miriam in the book and the 1959 adaptation). on November 13, Olivia Cooke was being considered for Tirzah, Ben-Hur's sister.[55] on December 2, Nazanin Boniadi was confirmed to as Esther, winning the role over actresses Sofia Boutella, Moran Atias and Natalia Warner.[19] on January 12, 2015, Sofia Black D'Elia was cast in the film as Ben-Hur's sister, Tirzah, a role once offered to Cooke.[27] on January 13, Rodrigo Santoro was announced as Jesus.[22] on January 20, Moisés Arias was added to the cast to play Gestas, a teenage Jewish zealot who is desperate to fight for freedom after his family has been murdered by the Romans.[29] on January 21, Pilou Asbæk was cast as Pontius Pilate, replacing Pascal for the role.[31]
Principal photography[edit]
On February 2, 2015, MGM and Paramount Pictures announced that principal photography had begun and that, like the original film, filming would take place mostly in Italy, specifically in Rome and Matera.[9] The Sassi di Matera in Basilicata and the Cinecittà studios in Rome were also chosen among the film settings.[56][57] In most instances, CGI were used extensively. However, Bekmambetov wanted to rely more on practical effects and tried to do as little CGI as possible in moments where it wasn't heavily needed.[40][58] Producers Roma Downey and Mark Burnett chose Matera as a location for Jerusalem, one of the same locations where Mel Gibson's biblical pic The Passion of the Christ was filmed.[10] Exterior shooting finished in early April 2015 and lasted for two months.[59] Production then moved to Cinecittà Studios where interior shooting took place for four months including the chariot scene among others.[60][61] Around 2,000 extras were used throughout the film.[62]
In March 2016, Adam Sidman, an associate of Timur Bekmambetov sent a request to the Bureau of Land Management's South Coast in Palm Springs, which oversees federal land in the Coachella Valley area, if the team can shoot a horse scene in the Painted Canyon which is off Box Canyon Road with two horses, several cameras and a film crew of about 30. But his application was rejected and Adam thought it was because of the size of the production. He then tried to negotiate again, but to no avail.[63] He later contacted executive director of the Greater Palm Springs Film Alliance office, Levi Vincent, to look upon the matter. To Vincent, it almost seemed like the rejection was based on arbitrary reason. With the help of local lawmakers, they were able to convinced the BLM to finally approve but this time with a much-scaled down production of 8 crew members, no horses and the use of a drone rather than handheld cameras.[63]
Chariot race sequence[edit]
The famous chariot race sequence which runs about 10 minutes, almost exactly the same as in the prior films[65] was originally planned to be filmed in the Circus Maximus arena in Rome, however, producers were denied access by Italy's national cultural authorities due to fears that the stunts would damage the fragile historic site, which was under restoration at that time.[64][66] The decision was approved by locals as well as Rome's mayor, Ignazio Marino who lamented on the decision saying, "The aim of the city administration isn't so much to raise revenue in exchange for the use of public space, but to give back to Rome the role of being a big international set, which is in our history and our tradition."[64] According to sources obtained by The Guardian, the decision to forbid Ben-Hur from filming there was due to "technical" issues.[64] Though no official reasons have been given, archaeological experts speculate that the influx of heavy filming vehicles and hundreds of extras to the arena could cause untold damage to the site.[67][68] However, the Italian cultural minister, Dario Franceschini declined to make any comments.[64] As a result, producers were forced to film the scene at Cinecittà Studios where much of the original film was also shot.[64] Howbeit, it is not clear whether the filmmakers had planned to use that location for the main chariot race, which is supposed to take place in Antioch, or if they were planning to shoot one of the earlier races that Judah Ben-Hur takes part in while he is still living in Rome.[59] Bekmambetov, however, cited that the size of the stadium being too large for shooting as the reason.[12]
The whole race was planned in advance, in several iterations of storyboards and animated previsualization videos.[65] In order to re-create the sequence, producers and horse race track experts built a 1,000-foot-long arena, with a 250 metre long and 50 metre wide track, stands, and gates, called Circus Tiberius, at Cinecittà World, a film-themed amusement park about 45 minutes south of Rome. It was built partly on the back lot of producer Dino De Laurentiis former studio complex. According to production designer Naomi Shohan, arena designs were compiled from archaeological records of circuses in Roman territories. one-sixth of the arena was physically built and the rest was added to the film by computer graphics. Unique chariots were also built based on original references.[13][65][69] A total of 86 horses were supplied by horse master Steve Dent, with back up animals and were trained for several months, to be able to race at 40 miles per hour.[40][65][69] He has assembled larger stables for films like Ridley Scott's Robin Hood (2010), but said that "this was more of a worry job."[65] There were 60 handlers for the horses, and 12 horses were put in rotation for every four horse-drawn carriage, so the animals would have a chance to rest.[70] Unlike the chariots in the 1959 version, made by Italian craftsmen and weighed 900lb, this time the team wanted to use the equivalent of Ferraris – small and fast.[71] Multiple chariots were made for each character – some with brakes (though the horses are strong enough to overpower the brakes), some with room for a second "blind driver" or 'bonnet-fitted' camera, some with different-sized wheels for filming on the turns instead of the straights, some to flip over or crash.[13] Massimo Pauletto, an art director on the film who built the chariots, says his team had to reinvent a forgotten skill, "from the sketches, nobody was understanding how they could become real," and the most toughest part part was to fit together our practical needs and the special-effects needs.[13] Problems cropped up day-by-day as the bolts that held the chariots together kept breaking by the horses due to their immense strength, and the bar that attached the horses were able to be bent. As a result, the crew had to learn how to built a new one week after week.
To capture the thunderous feel of the race, the film crew attached microphones to the horses to record the sound of pounding hooves, and GoPro cameras were buried in the sand.[70] The cameras were also planted on chariots and people, one of which was placed on a soccer ball in the middle of the track while the horses run over it.[65] Huston and Kebbell spent two and a half months preparing and rehearsing, to learn how to drive chariot races in Italy,[8] six days a week.[58] It took time for the stuntmen to learn to drive them and were only called in for extremely dangerous stunts. But overall, it was actors in the chariots.[40][65] A total of 20 chariots were used.[69] A bulk of scene was done using real practical stunts without any CGI assistance and digital models were only used when things got too dangerous.[40][72] Around 400 extras were used as spectators (which were then increased to around 100,000 with special effects).[12] Bekmambetov's goal was to shoot these action scenes so realistically that the audience feels that they're in the chariot, driving.[73] He was inspired by YouTube videos and Instagram photos, "The camerawork is very specific when we see NASCAR or motorbike racing on YouTube. It's either long-lens [close-up] cameras, very professional, or it's iPhone cameras from people in the crowd, cars passing by at the speed of light and they barely have a chance to pan and catch something."[65]
Phil Neilson served as the stunt coordinator for the film who had previously worked on many films including Ridley Scott's Gladiator.[40] Jonathan Stamp, a historian who had consulted on the HBO/BBC series Rome, advised on the film's chariot design. He noted that the chariots in the 1959 film were unrealistically ornate.[65] Filming for this particular scene lasted for 45 days in a span of three months.[12][40] The inspiration for the use of minimal CGI for this sequence came from Hardcore Henry in which Bekmambetov was a producer.[74] The 1959 version used trip wires to make horses tumble, as a result of which several stuntmen were killed, according to the studio[citation needed]. This time around, accidents were done with computer imagery. The two lead actors did much of their own riding, without harm. A stuntman, however, was thrown from a chariot and run over by the wheel of another. He was later hospitalized and treated for bruised ribs.[65] Bekmambetov said the authentic Roman costumes, with leather straps around the charioteer's chest, prevented that injury from being worse— though Daniel noted that every driver wore Kevlar underneath his costume.[65] Huston and Kebbell were asked if they wanted stunt doubles for their parts to which they declined.[75] A stuntman was thrown off from his chariot during filming but suffered only mild injuries.[76]
All the harnesses and reins are made from nylon webbing. For the tightly scripted spills, huge rubber mats were placed beneath piles of fluffed-up sand to break falls. And the horses wore leather bootees to ensure their back hooves did not clip their front legs and gouge the melee.[71]
Release[edit]
Ben-Hur was originally planned to be released on February 26, 2016 in the United States and Canada but Paramount later moved it this time to August 12, 2016.[77] At the 2016 CinemaCon, Paramount again shifted its release date a week later this time to August 19, 2016 and its previous date was occupied by Paramount's own Florence Foster Jenkins.[78][79] It will be released in regular 2D, IMAX, 3D, Digital 3D, RealD 3D and IMAX 3D.[80][81][82] It is scheduled to be released in the United Kingdom and Ireland on September 7, a week after its U.S. premiere.[83] According to Variety, this decision to switch from February to August may have been due to the studio's faith in summer being the best time to unspool a tentpole epic.[77] Deadline.com called the date a prime time for the studio after witnessing success with the release of Mission: Impossible – Rogue Nation and Teenage Mutant Ninja Turtles during the month of August. Furthermore, the site also highlighted that the 2016 Summer Olympics will be an ideal platform for the studio to promote the film and since mid-August has proven to be the last point of time in the summer for a film to accrue large amount of revenue before weekend box office performances drop from Labor Day holiday onwards.[84][85] Ben-Hur is the third consecutive tentpole from Paramount Pictures to be releasing in that corner following Teenage Mutant Ninja Turtles: Out of the Shadows (June 3) and Star Trek Beyond (July 22).[86] It was the last big-budget release of the summer movie season.[87][88]
Marketing[edit]
Two exclusive photos of the film were released by USA Today on March 14, 2016.[8] on March 15, Entertainment Tonight released a world exclusive premiere of some of the scenes of the chariot race[89] and on the following day the first official trailer was released online,[86][90] along with a teaser poster.[91] The trailer was released a week after Paramount released 10 Cloverfield Lane in theaters.[86] Although Paramount did not secure a Super Bowl commercial spot for the film, Scott Mendelson of Forbes felt that it was an appropriate film to advertise before Sony Pictures' Miracles from Heaven opened on March 16.[86]
The trailer garnered polarized reception from critics and audiences[92][93][94] with comparisons being made to 300: Rise of an Empire,[95] Gladiator,[96][97][98] and Spartacus: Blood and Sand.[99] In its first week, the trailer was viewed over 8.2 million times across YouTube and Facebook, making it the fourth most viewed trailer of the week.[100] The trailer was also screened in front of over 30,000 people at Hillsong Conference 2016.
Reception[edit]
Box office[edit]
As of August 23, 2016[update], Ben-Hur has grossed $13.5 million in North America and $10.1 million in other territories for a worldwide total of $23.6 million, against a production budget of $100 million.[4] Due to its underperformance at the box office, executives at rival studios believe the film will lose around $100 million. Sources close to the film, however, believe the ultimate losses will likely be $60–75 million, noting the film could do well on DVD and other home entertainment platforms.[101] The film needs to make at least $250 million globally in order to break even.[101]
The Hollywood Reporter placed Ben-Hur among the biggest summer box office risks of 2016,[102] while Forbes deemed it "the summer's most predictable miss".[103] In the United States and Canada, the film was projected to gross to about $15 million in its opening weekend, a disappointing figure considering its $100 million production cost.[2] Due to negative reception from critics and influx of heavy competition,[104][105][106] as well as the re-opening of schools after summer vacation and since it coincided with the final weekend of the Rio Summer Olympics, the film's opening expectations got lower as its opening approached.[42] It opened Friday, August 19, 2016, on around 3,300 screens across 3,084 theaters, and earned $4.1 million,[107] including $900,000 it made from Thursday previews at 2,389 theaters.[106] The film went on to gross a low $11.2 million in its opening weekend, even with 3D and IMAX bumps, finishing sixth at the box office and third among new releases, behind Kubo and the Two Strings and War Dogs.[108][109] The film's opening weekend demographic was 51% female vs. 49% male with 94% of the overall audience coming in over the age of 25.[110]
Many box office critics and publications considered the film a box office bomb based off its opening alone.[103][111][112][113][114][115] Jeff Bock, a box office analyst with Exhibitor Relations called it "the bomb of the summer."[113] Critics pointed out that lack of star power, its August release date, competitions, negative reviews (both from critics and audiences) and marketing miss as the potential causes for the film's underperformance.[116][117] According to Variety, the film was unable to expand beyond its core Christian audience. It performed well in the South and Southwest areas that are more religious, but did not do as well in more secular regions of the country such as the Northeast and the West Coast.[113] As a result of its debacle opening, Ben-Hur became one the films set in ancient times to underperform at the box office – and the third big-budget faith-based movie from a major studio – following Noah (2014), Exodus: Gods and Kings (2014), The Legend of Hercules (2014) and Gods of Egypt (2016).[42][118][119]
As a result of its mediocre opening figures in North America, Ben-Hur will have to depend heavily on foreign markets, especially in Christian offshore territories such as Latin America in order to pass its break even point and recoup its production budget (including marketing expenses).[42][87] However, the film is projected to barely pass $100 million internationally.[101] Outside North America, Ben-Hur grossed $10.7 million in its opening weekend from 23 international markets (18 territories released by Paramount and 5 by MGM). It had No. 1 openings in certain markets like Mexico, the Philippines, India, Peru and Bulgaria.[120] Its top openings were in Mexico (2.7 million) and Brazil ($2.2 million). Next week it opens in Australia, Argentina and the Netherlands, followed by Germany and Spain on September 1. Rollout then continues through September with Japan being the final market on January 13, 2017.[120]
Critical response[edit]
Ben-Hur has received generally negative reviews from film critics. on the review aggregation website Rotten Tomatoes, the film has an approval rating of 28%, based on 107 reviews, with an average rating of 4.8/10. The site's critical consensus reads, "How do you fight an idea? By filming a remake that has too few of its own, and tries to cover it up with choppy editing and CGI."[121] Metacritic, which uses a normalized rating, gives the film a score of 37 out of 100, based on 28 critics, indicating "generally unfavorable reviews".[122] on CinemaScore, audiences gave the film an average grade of "A–" on an A+ to F scale.[123]
The A.V. Club's Ignatiy Vishnevetsky, giving one of the few positive-leaning reviews, wrote: "At first, the new adaptation of Lew Wallace’s New Testament soap opera seems impersonal, as dusty and ornamented as any movie in which robed Jews and Romans argue about gods and kings in accents of vaguely British origin[,]" but as it progresses, "Ben-Hur announces itself as the sort of elemental re-imagining of the source material that no one in their right mind would ever expect it to be."[124] IGN's Scott Collura gave 5.8/10, writing: "Ben-Hur is an adequate introduction to the classic tale of revenge and forgiveness, but it’s an uneven one. Toby Kebbell’s antagonist character frequently outweighs the appeal of Jack Huston’s hero, the more religious elements of the story don’t jell very well with the action set pieces, and much of the cast are left behind by their own movie. But still, there’s no denying the power of Ben-Hur’s final redemption. It’s just not a very smooth ride getting there."[125]
The New York Times' Stephen Holden wrote, "Overseen by a director not known for his human touch and lacking a name star, except for Mr. Freeman, Ben-Hur feels like a film made on the cheap, although it looks costly."[126] Richard Roeper gave 2 stars out of 4, writing: "Ben-Hur struggles to find an identity and never really gets there. The well-intentioned efforts to achieve moving, faith-based awakenings are undercut by the casually violent, PG-13 action sequences."[127] The Hollywood Reporter's Todd McCarthy described the film's chariot race scene as being "so heavily digitized and over-edited" and he called it the worst scene of the film.[128]
Sister Rose Pacette wrote a positive review for the National Catholic Reporter, objecting only to the anachronistic costumes worn by Jewish women in the film.[129] Jesus is in the film, which was used for some faith-based marketing to aim at a Christian audience.[130]
'TV영화관' 카테고리의 다른 글
| Florence Foster Jenkins (film) (0) | 2016.08.25 |
|---|---|
| They Were Expendable (0) | 2016.08.25 |
| 반제 회담 (0) | 2016.08.14 |
| Wannsee Conference (0) | 2016.08.14 |
| Karel Čurda (0) | 2016.08.13 |