Denzel Washington

Gary Oldman

Mila Kunis

Ray Stevenson

Jennifer Beals

Michael Gambon

Tom Waits

Frances de la Tour

Evan Jones

Joe Pingue

Chris Browning

Richard Cetrone

Lateef Crowder

Keith Splinter Davis

Don Thai Theerathada

Thom Khoury Williams

Lora Martinez-Cunningham

Scott Wilder

Heidi Pascoe

Jennifer Caputo

Spencer Sano

Eddie Perez

Karin Silvestri

Mike Gunther

John Koyama

Mike McCarty

Scott Michael Morgan

Sala Baker

Arron Shiver

Justin Tade

Mike Seal

Richard A. Smith

Paul Crawford

Ed Duran

David Wald

Jermaine Washington

Kofi Elam

Clay Donahue Fontenot

Al Goto

Brad Martin

Tim Rigby

Luis Bordonada

Robert Powell

Angelique Midthunder

Todd Schneider

Darrin Prescott

Laurence Chavez

Brian Neal Lucero

David Midthunder

Josiah D. Lee

Malcolm McDowell

Paul Schneider

Cindy Mollo

Susan Downey

Claudia Sarne

Sharen Davis

Joel Silver

Don Burgess

David Valdes

Mindy Marin

Allen Hughes

Andrew A. Kosove

Broderick Johnson

Gary Whitta

Steve Richards

Erik Olsen

Atticus Ross

Albert Hughes

Leopold Ross

Colin Cunningham

Patrick Cassidy

Gae S. Buckley

Tarra D. Day

Jo Edna Boldin

Christopher Burian-Mohr

Elaine Ramires

Robert J. Carlyle

Mark T. Bell

Rebecca Marie

Lorrie Campbell

Randy Severs

Steve Griffith

Ricardo Guillermo

Steven D. Williams

Dominique Derrenger

Michael A. Chavez

Benjamin Joseph Bustos

Frank A. Montaño

Jon Grinberg

John Polyson

Yvonne Bastidos

Derrick Ballard

Greg Nicotero

John Chichester

Chris Jenkins

Maria Bentfield

Elizabeth Flaherty

Siobhan Roome

Sara M. Pennington

Matt Siner

Jeff Imada

James R. Tynes

Eric A. Norris

Thomas Nittmann

Michael Kowalski

Peter McCaffrey

Brooke Fair

Jay Wilkinson

Edson Williams

Geoff Hubbard

Jon Farhat

Steve Rhee

Pietro Angel Palladini

Vincent Cirelli

Tommy Samona

Jerry Carnevale

Michael Dellheim

Louise Spencer

Heather Goodwin

Jennifer Gingery

Caryn Mower

Jeannie Epper

Rachel de la Torre

Kiralee Hayashi

Brad Arensman

Steven P. Wegner

Yolanda T. Cochran

George Fisher

Pam Fuller

David Brownlow

Allen Hartz

Christopher Flick

Jeff Knudsen

David Gulick

Tim Webb

Tiffany S. Griffith

Freddy Bouciegues

Shanna Morrow

Steve Allen

Eric Komala

Ashley Michelle Marsh

Ted Haigh

David Benavides

Action

Thriller

Science Fiction

The Book of Eli

Alcon Entertainment

Silver Pictures

United States of America

The Book of Eli is one of those films that, at first glance, doesn't offer a terribly thrilling premise: a post-apocalyptic world, a lone wolf who fights for whatever is left of the good of mankind, and the young, naive and somewhat annoying girl he reluctantly takes under his wing. And of course, the bad guy. Sure, there are many more films like this you can find at any local video store.

However, when you put two acting grandmasters like Denzel Washington and Gary Oldman head to head, you already know you're in for a treat. And in that respect, "Eli" absolutely delivers. Denzel Washington, in the role of Eli, does what he does best: he delivers his most perfect rough-around-the-edges, I'm-a-good-guy-but-I-don't-care routine we all know and love. He is a hard knock alright, and he has absolutely no problem whatsoever severing a few of your body parts if you get in his way. But he is still good to the core, one of the few decent human beings left in a world forsaken of decency. All you need to do to know this is look in his eyes, because the warmth and charisma Washington possesses say it all, even if he is completely covered in scar tissue.

And then there's Gary Oldman. Good old Gary Oldman. I have to say, it's really nice to see him play a stone cold, heartless scumbag once again, especially after his soft good guy role in Batman, where he was almost dorky – to no fault of his own of course, but still. This man deserves to get every inch of space to act freely, and thank goodness, the Hughes brothers allowed him exactly that. He plays a sort of mob boss, the self-appointed leader of a dingy little town and owner of the bar. He beats his wife, prostitutes his stepdaughter and he does it smiling. He is the most filthy kind of evil, absolutely rotten and loving it. Why? We don't know. He's just a bastard, and that's that.

Which is another thing I really like about this film, even though I realize many other people might actually hate it: it offers absolutely no motives, no answers, no explanations to anything, no bite size plot lines, nothing. There's no intro, no voice-over telling you where we are and what's going on. Only half-way through the film there is a scene with Eli and Solara (played by Mila Kunis) where he tells her a little bit about his life, but that's it. Like I said, some people might hate this, so if you are the kind of person who likes a formula-driven action flick with catchy punch lines and nothing to think about, this is not the film for you.

I would also like to make a little note on Mila Kunis. I must admit, I first had some doubts about her taking on a genre like this (although I was impressed with her performance in Black Swan, but that's a completely different kind of film, and other than that I only know her from That 70's Show), and throughout her first couple of scenes, she didn't do much to remove those doubts. However, as the film progressed, she got her act together and in the end, delivered a credible performance.

The visuals are stunning from start to finish. If you are a fan of the new, Frank Miller type of film style with high contrast colours and surreal scenery, you really need to see this. The bleak colours and images of darkness set against a really bright sky make the atmosphere heavy and haunting, making the anxiety of the characters almost tangible. You can just feel dryness, the desert, the hunger and the thirst. The western-like scenery of the town with the "saloon" at the heart of it, only adds to that sensation.

Another thing I'd like to mention is a quality not many modern-day films possess: the lost art of being silent. It is very rare for a film in this genre to simply be so... still. There is no dialogue except where it's absolutely necessary, and even the music is only used to actually add something to the scenes, but never as filler. The absence of sound here is just as important as its presence. Perfect.

On a similar note, the final credits go to Atticus Ross, who created an absolutely magnificent soundtrack, with music that sounds somewhat like the hybrid lovechild of Trent Reznor and Thom Yorke. It's just stellar and truly adds (emotional) value to every scene.

Finally, I'm not going to tell you what the story is about, I will simply recommend that you go into it with an open mind and no prior knowledge. That's what I did and it worked perfectly. (I will only say that you really need to stick around for the awesome, slap-in-the-face plot twist at the end!)

Of course it's not the best film ever made, but I still give it a 10, simply because it's beautiful, it's cool and it delivers a few excellent and satisfactory action scenes. And because it's been a really long time since I have downloaded a soundtrack immediately after seeing the film.

Original? No. Eye-candy? Absolutely.

Go see it.
_(April 2011)_

CinemaSerf

This time it is Denzel Washington's turn to star in a post-apocalypse tale and although he is competent here, the film offers very little new for us. He ("Eli") treks across the USA, ostensibly aimlessly, seeking comfort where he can; avoiding the lawless gangs who would steal his clothes if they got a chance whilst he feasts on small critters and takes solace from his secret book. Eventually (it seemed) he encounters the rather ruthless "Carnegie" (a menacing but rather under-used Gary Oldman) for whom he initially takes up the cudgels before realising that what "Carnegie" really wants is the book and he will stop at nothing to get it! The production looks good, plenty of attention to detail, but the pace is really slow for the most part. It takes an age for us to accumulate enough information about the man and his book, and the set-piece fight scenes are more a testament to acrobatics than acting. Religiosity is part of the narrative, but it is too superficial and undercooked to make more than a tangential impact on what is essentially a derivate and unremarkable pilgrim's story that could have offered us so much more had that thread been better and more fully developed. The use of light and the photography in general are effective; they do present us with an eerily effective bleakness, but otherwise - it's all a bit so-so.

The Movie Mob

**The Book of Eli is a gritty post-apocalyptic tale with savage action and a twist ending that will make you want to watch it all over again.**

The Book of Eli plays like a modern-day Mad Max or other 80s post-apocalyptic tale but stripped of its campiness and reinforced with Denzel’s reliable, powerful, and yet vulnerable performance. Washington’s mysterious Eli is driven and focused solely on his mission, but as the plot progresses, he grows to care for a person in need. The action sequences are brutal and precise, emphasizing Eli’s incredible skill and immediately defining him as a force to be reckoned with. Mika Kunis and Gary Oldman bring strong performances to the supporting cast, further grounding a movie that could have easily ended up as another goofy end-of-the-world film. The ending surprises making the audience want to immediately rewatch the movie with this new revelation and see it with new eyes. The Book of Eli is one of my favorite Denzel movies in a catalog of incredible films.

English

The Book of Eli -Official Trailer # 2 [HD]