Cats Review: Best Moment A Bowled and Daffy Trainwreck, You Won’t Easily Forget

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There is a moment in Tom Hooper’s new Cats adaptation where a bad cat played by Idris Elba grabs Sir Ian McKellen’s Gus Theater cat by the shoulders and shouts “Meow!” In the vacuous, from where they vanish into the thin atmosphere.

The characters are drawn into a computer-borne mess of fur and mustaches that never match their faces and meet each other in an old, pug theater filled with stray cats.

It is later revealed that they magically jumped from the theater into a barge in the middle of a river so that Goose would not compete in a competition that would allow them to be reborn in kitty heaven.

Why am I telling you this? Okay, this scene requires all of you to understand what you are doing with Kat.

Possibly the most unhealthy and volatile film to hit in theaters, Kat is a brave, bold failure that I need to see to believe to remember. The fact that it exists is absurd in the way it is, even before seeing how bad it all is.

Oscar-winning (!) Directors such as Tom Hooper, The King’s Speech and Les Misérables, Idris Elba, Ray Winston, Jennifer Hudson, Sir Ian McKellen, and Dame Judy Dench are: Conversations. Dance, eat and flirt like humans. But don’t you dare address them as anything, an entire speech is delivered directly to the camera that warns you.

The plot of this film is not fully understood, mainly because there is not much, to begin with. Cats in this particular part of London refer to themselves as jerk cats (which are simply the name of their gang, not a breed or anything, so don’t climb on it quickly) who believe that one beyond their moon For a better life, a place called the Heaviside Lear.

Every year, many of the cats perform songs for the old Deuteronomy (Dench), which makes one of them a “helical choice” in a glowing balloon through the clouds to be reborn later.

It is the Hunger Games, but only one cat gets a chance to die each year.

Instead of that story playing out, however, Cats is just a show-and-presentation presentation, where we see almost the entire cat introducing each cat through a different song, explaining why That specific cat is considered interesting.

These performances are almost twice as long as they really should be and never get to another point “Hey, I’m the cat that does tap-dance, so don’t forget that when you send one, You stay great!
Understandably, cats act as a stage play, no matter how wild the actual basis is.

The costumes are fun and inventive, the seats are spacious, and the idea of all these different cat songs is like wandering.

On-screen, there’s not an ounce of that translation, but the film tries like hell to explain it to you. Hopper brings the film to play in a beat-for-beat recitation, which we can now confirm is the worst way to try and adapt to this production.

The best? Not at all.
To say so much about the insanity of the cat’s pronunciation, even 30,000 words would not be enough. It is meaningless, hard to see and far from the hypersexuality chart.

Rebel Wilson tore off her cat’s skinsuit and taught the humanoid beetle how to dance. James Corden is killed in the testicle for a laugh.

Ian McKellen, a man’s all-time treasurer, knighted by the Queen of England, releases water from a dish and breathes his co-stars. The film has derailed.

Cats are a special kind of terrible, though. No matter how ridiculous it is, the artist never backs down. Each one of them is in every moment. It is a trail walking from beginning to end, but like a trail walk, which attracts your attention with its audacity and never lets you go.

It is one of the happily terrible ways and is easily one of the worst films of the decade, Leap and Border. It is a very unique and confident brand, you will probably want to revisit it.

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