Pictures: Netflix
Unlike some genres, science fiction is very much in at Netflix right now with their upcoming slate of “Geeked” content consisting of plenty of highly anticipated new sci-fi movies and series. Below, we’ll take a look at Netflix’s current slate of new sci-fi movies coming in 2024 and beyond.
Lots more genre previews on the way here at What’s on Netflix. We’ll have a separate preview for the upcoming sci-fi series on Netflix, and we’ll have a preview for the fantasy series coming up later this week. Already released previews include upcoming anime, games, and more.
New Sci-fi Movies Coming Soon to Netflix Atlas
Picture: Backgrid
Hoping to follow in the success of Jennifer Lopez’s first major Netflix movie, The Mother is the sci-fi action thriller Atlas.
The movie began its life as a script from The 2017 Black List, entered into production in...
Unlike some genres, science fiction is very much in at Netflix right now with their upcoming slate of “Geeked” content consisting of plenty of highly anticipated new sci-fi movies and series. Below, we’ll take a look at Netflix’s current slate of new sci-fi movies coming in 2024 and beyond.
Lots more genre previews on the way here at What’s on Netflix. We’ll have a separate preview for the upcoming sci-fi series on Netflix, and we’ll have a preview for the fantasy series coming up later this week. Already released previews include upcoming anime, games, and more.
New Sci-fi Movies Coming Soon to Netflix Atlas
Picture: Backgrid
Hoping to follow in the success of Jennifer Lopez’s first major Netflix movie, The Mother is the sci-fi action thriller Atlas.
The movie began its life as a script from The 2017 Black List, entered into production in...
- 1/8/2024
- by Kasey Moore
- Whats-on-Netflix
Venice Film FestivalVENICE, Italy -- Cleopatra has been filmed earlier, and one that remains etched in memory is the 1963 version where Elizabeth Taylor immortalized the Queen of Egypt. That movie made history for all the wrong reasons: 20th Century Fox went bankrupt, Taylor fell seriously ill and had to be rushed to hospital, and later she began an affair with Richard Burton that caused a scandal and outraged moralists. Yet, there is no denying that it was this Cleopatra, helmed by Joseph Mankiewicz, which still sparkles, and Taylor remains as enigmatic as the Egyptian Queen herself.
So Brazilian director Julio Bressane's decision to recreate an equally mysterious Cleopatra could not have been easy. But as he says he had one great plus point to begin with. It would be the first time that Cleopatra would be made in Portuguese. Bressane's Cleopatra, screened at the Venice Film Festival, does not disappoint, at least not totally, though it is nowhere as impressive as the one made famous by Taylor, Burton and Rex Harrison. Undoubtedly Bressane' scoring point is the movie's eroticism, which may appeal to nondiscerning audiences in the commercial circuit.
Cleopatra opens with the shot of Pompey's decapitated head, the only gruesome scene in the entire film, which continues to tell the story of the Queen (Alessandra Negrini), concentrating mostly on her relationship with Julius Caesar (Miguel Falabella). Mark Anthony's (Bruno Garcia) scenes are not many, and come towards the end. Obviously, Bressane's interest lies elsewhere.
He uses lyrics to convey Cleopatra's struggles to stay in control of the Ptolemaic Dynasty that Alexander founded 300 years earlier and whose riches are coveted by the bankrupt Romans.
In Bressane's version, the language constructs the image, and he uses poetry to create the imagery. And as the helmer said, the strength of the Portuguese language is its lyricism. This, in effect, becomes the movie's high point, and the legend of Cleopatra unfolds through the nuances of Portuguese literature, music and culture. Negrini's erotic movements, some times in dance like motions, have been splendidly choreographed to Guilherme Vaz' score. The tale of love and war, of hope and regret and of joy and angst comes through almost in a mellifluous manner
However, Cleopatra is all theater and little cinema. It could well be a ballet with a camera capturing it all, and the drama happens mostly indoors, except for one brilliant scene by the seaside.
CLEOPATRA
Grupo Novo De Cinema E TV and Filmes Do Rio De Janeiro
Credits:
Director/Co-producer: Julio Bressane
Writer: Julio Bressane and Rosa Dias
Producers: Tarcisio Vidigal and Lucia Fares
Executive producer: Daniela Arantes
Director of photography: Walter Carvalho
Art director: Moa Batsow
Music: Guilherme Vaz
Costume designer: Helen Millet
Editor: Virginia Flores
Cast:
Cleopatra: Alessandra Negrini
Julius Caesar: Miguel Falabella
Mark Anthony: Bruno Garcia
Running time -- 116 minutes
No MPAA rating...
So Brazilian director Julio Bressane's decision to recreate an equally mysterious Cleopatra could not have been easy. But as he says he had one great plus point to begin with. It would be the first time that Cleopatra would be made in Portuguese. Bressane's Cleopatra, screened at the Venice Film Festival, does not disappoint, at least not totally, though it is nowhere as impressive as the one made famous by Taylor, Burton and Rex Harrison. Undoubtedly Bressane' scoring point is the movie's eroticism, which may appeal to nondiscerning audiences in the commercial circuit.
Cleopatra opens with the shot of Pompey's decapitated head, the only gruesome scene in the entire film, which continues to tell the story of the Queen (Alessandra Negrini), concentrating mostly on her relationship with Julius Caesar (Miguel Falabella). Mark Anthony's (Bruno Garcia) scenes are not many, and come towards the end. Obviously, Bressane's interest lies elsewhere.
He uses lyrics to convey Cleopatra's struggles to stay in control of the Ptolemaic Dynasty that Alexander founded 300 years earlier and whose riches are coveted by the bankrupt Romans.
In Bressane's version, the language constructs the image, and he uses poetry to create the imagery. And as the helmer said, the strength of the Portuguese language is its lyricism. This, in effect, becomes the movie's high point, and the legend of Cleopatra unfolds through the nuances of Portuguese literature, music and culture. Negrini's erotic movements, some times in dance like motions, have been splendidly choreographed to Guilherme Vaz' score. The tale of love and war, of hope and regret and of joy and angst comes through almost in a mellifluous manner
However, Cleopatra is all theater and little cinema. It could well be a ballet with a camera capturing it all, and the drama happens mostly indoors, except for one brilliant scene by the seaside.
CLEOPATRA
Grupo Novo De Cinema E TV and Filmes Do Rio De Janeiro
Credits:
Director/Co-producer: Julio Bressane
Writer: Julio Bressane and Rosa Dias
Producers: Tarcisio Vidigal and Lucia Fares
Executive producer: Daniela Arantes
Director of photography: Walter Carvalho
Art director: Moa Batsow
Music: Guilherme Vaz
Costume designer: Helen Millet
Editor: Virginia Flores
Cast:
Cleopatra: Alessandra Negrini
Julius Caesar: Miguel Falabella
Mark Anthony: Bruno Garcia
Running time -- 116 minutes
No MPAA rating...
- 9/19/2007
- The Hollywood Reporter - Movie News
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