Plot.

On January 15, 2009, US Airways pilots Captain Chesley "Sully" Sullenberger and First Officer Jeff Skiles board US Airways Flight 1549 from LaGuardia Airport to Charlotte Douglas International Airport. Three minutes into the flight, at an approximate altitude of 2,800 feet (approx. 850 m), the Airbus A320 strikes a flock of birds, disabling both engines. Without engine power and judging themselves unable to reach nearby airports (Teterboro Airport being the closest), Sully ditches the aircraft on the Hudson River. The crew and passengers evacuate without any fatalities. The press and public hail Sullenburger a hero, but the incident leaves him haunted, and experiencing a dream in which the plane crashes into a building.  Sully learns that preliminary data from ACARS suggest that the left engine was still running at idle power. Theoretically, this would have left him with enough power to return to LaGuardia or land at Teterboro. Furthermore, the National Transportation Safety Board claims that several confidential computerized simulations show the plane could have landed safely at either airport without engines. Sully, however, insists that he lost both engines, which left him without sufficient time, speed, or altitude to land safely at any airport.  Sully realizes that the Board believes the accident may have been pilot error, which would end his career. He arranges to have the simulations rerun with live pilots, and the results are relayed to the public hearing. Both simulations result in successful landings, one at each airport. Sully argues that they are unrealistic because the pilots knew in advance of the situation they would face and of the suggested emergency action, and were able to practice the scenario several times. The board accepts that in real life the pilots would have taken some time to react and run emergency checks before deciding to divert the plane.  Both simulations are rerun and relayed to the hearing, this time allowing a 35-second pause before the plane is diverted. The simulated diversion to LaGuardia ends with the plane landing short of the runway, and to Teterboro with a crash into buildings before the airport. The board announces that analysis of the port engine, now recovered from the river, confirms Sully's account that it was disabled by the bird strikes. The board concludes that Sullenberger acted correctly in selecting the best of the options available to him, which in the event saved the lives of everyone aboard.

Production.

The film is based on Sully's autobiography "", rights to which were optioned by producers Frank Marshall and Allyn Stewart in 2010. They developed the screenplay with Stewart's partner executive producer Kipp Nelson, hiring screenwriter Todd Komarnicki. From the start, Sullenberger wanted the film to encompass "that sense of our common humanity", noting that the incident had taken place shortly after the 2008 Great Recession. He explains: "People were wondering if everything was about self-interest and greed. They were doubting human nature. Then all these people acted together, selflessly, to get something really important done. In a way, I think it gave everyone a chance to have hope, at a time when we all needed it." Komarnicki said the difficulty was not depicting the landing in the river, but the investigation afterwards: "It wasn't really a challenge of what to do with the event since that is the thing everyone knows about, it was more about how you parse out the information about the man slowly falling apart and becoming a hero in the eyes of the world when internally and with the investigators it was actually seemingly going the other way."  By June 2015, it was reported that Tom Hanks was already in talks to play the lead role of Sullenberger. Much of the rest of the cast was announced in August (with Aaron Eckhart, Laura Linney, Holt McCallany, and Jamey Sheridan joining), September (Jerry Ferarra), and October (Max Adler, Sam Huntington, and Wayne Bastrup).  Principal photography on the film began on September 28, 2015, in New York City. On October 15, filming started in Atlanta, where a building in downtown Atlanta was transformed into a New York hotel. Most of the film's budget was spent in Los Angeles, where the crash sequence and water evacuation scenes were filmed at Warner Bros. Studios and Universal Studios Hollywood. Filming also took place in North Carolina; Holloman AFB, New Mexico; and Kearny, New Jersey and concluded on April 29, 2016. The film was shot almost entirely with Arri Alexa IMAX cameras. The film was initially going to be framed for IMAX 1.90:1 and protected for 2.39:1, but by the second day of filming, Eastwood said that they were shooting a movie in IMAX and decided to frame for IMAX. However, the film was released in 2.39 in standard theaters and 1.90 in IMAX.

Release.

"Sully" premiered at the 43rd Annual Telluride Film Festival on September 2, 2016, and was released in the United States in conventional and IMAX theaters on September 9 by Warner Bros. When deciding when to release the film, Warner Bros. executives had begun circling the first weekend after Labor Day, considering that most adult fall dramas do not begin opening until September or October. However, this meant that the release coincided with the 15th anniversary of the September 11 attacks, which made executives wary as the film contains a dream sequence in which the plane crashes into Manhattan skyscrapers. But Warner Bros. domestic distribution chief Jeff Goldstein and his team nevertheless decided to release at that time because ""Sully" is a story of hope and a real hero who did his job." However, according to Komarnicki, the release date was coincidental rather than planned, and he attributed it to box-office logistics, principally the limited availability of IMAX screens during the summer and at Christmas time.

Home media.

"Sully" was released by Warner Home Video on Digital HD on December 6, 2016, with a subsequent Blu-ray, DVD release on December 20, 2016.  Despite being shot, almost entirely, with IMAX cameras and released in IMAX theaters in the 1.90:1 aspect ratio, the home media release did not include the film in that aspect ratio, instead including a cropped 2.39:1 aspect ratio that was used for non-IMAX screenings.

Screening on airplanes.

Several major airlines, including American Airlines and British Airways, did not incude the movie in their onboard entertainment, since it could upset viewers. Virgin allowed it, "to celebrate the fantastic skills, training and dedication of airline pilots".

Reception.

Box office.

"Sully" grossed $125.1 million in the United States and Canada and $115.7 million in other countries for a worldwide total of $240.8 million, against a production budget of $60 million. It broke the September record for biggest global IMAX opening for a 2D film with $5.1 million from 523 IMAX screens, eclipsing the previous record held by "The Maze Runner" ($4.2 million in 2014). In total it had grossed $10 million in IMAX plays globally.

United States and Canada.

In the United States and Canada, "Sully" was released on Friday, September 9, 2016, across 3,525 theaters, of which 375 were in IMAX, and was initially projected to make $25 million on its opening weekend, with Box Office Mojo projecting $31 million due to its large theater count and positioning. Box office trackers were expecting "Sully" to launch in the same range as Hanks's 2013 hostage drama "Captain Phillips", which opened with $25.7 million, and the 2012 airline drama "Flight" at $24.9 million. The weekend after Labor Day has historically been a lackluster period for film revenues, although "Deadline Hollywood" noted that this doesn't apply to the "more intriguing titles". "Sully" was one of four wide releases of that weekend. According to ticket selling website Fandango, it outsold Hanks's previous film, "Bridge of Spies" in advance ticket sales. It earned $1.35 million from Thursday previews at 2,700 theaters, which marked the biggest of Hanks's career, and was considered strong by Box Office Mojo given that it coincided with the first NFL game of the season. On its opening day it made $12.2 million (including Thursday previews), of which $1.3 million came from IMAX. It is the second-biggest Friday ever for a wide Eastwood opening, trailing behind only the $30 million opening day of "American Sniper". In total, it grossed $35 million from its opening weekend, which is one of the top five September openings of all time (or twelfth adjusted for inflation). The debut is the second-biggest wide release opening for an Eastwood movie, behind the $89 million of "American Sniper", and Hanks's third-biggest live-action debut behind "The Da Vinci Code" ($77 million in 2006) and "Angels & Demons" ($46 million in 2009). It also performed exceptionally well in IMAX, having been shot entirely in that format: for the weekend alone, it brought in a record $4 million from 375 auditoriums, being 11% of the total gross. This broke the previous September weekend record held by "The Equalizer" of $3.1 million in 2014.  The film continued to dominate the box office, with only a modest decline of 36% to post $21.6 million in its second weekend, despite competition from three new wide releases: "Blair Witch", "Bridget Jones's Baby" and "Snowden". It finally lost the top spot in its third weekend, after the releases of "The Magnificent Seven" and "Storks".  Warner Bros. and Village Roadshow were thrilled by these results, as were theater owners, particularly as September tends to see a fall in box offices as schools re-open and new TV shows are marketed. Scott Mendelson of "Forbes" magazine suggested that the film had potential to surpass $100 million, since Tom Hanks's films tend to be "leggy" and post big multiples, and Sully is aimed at older audiences who don't usually go to the opening weekend. "Deadline Hollywood" pointed out that the marketing effort had been key to the robust opening (as well as good reviews and positive word of mouth), despite the absence of both Eastwood and Hanks on social media. The film was released on the 15th anniversary of the infamous September 11 attacks, but Warner Bros.' domestic distribution chief Jeff Goldstein said that the anniversary did not post a big – both negative and positive – impact on the film. According to a comScore audience survey, 82% of the moviegoers were older than 25, 80% above 35, and women comprised 56% of the opening weekend. 39% said Hanks was their principal reason for seeing it.

Other countries.

The film opened across 39 countries simultaneously with America and grossed an estimated $10.5 million from about 3,600 screens. IMAX comprised $1.1 million of that from 148 IMAX screens. It scored the biggest opening of any Eastwood film in Russia with $1 million, although it was No. 3 for the weekend behind "Ben-Hur" and "Sausage Party"; also in the UAE with $1 million, It was the second biggest in Australia with $2.4 million, where it had the advantage of opening on Father's Day. It was released in Hong Kong during the Mid-Autumn Festival, delivering first place at the box office with $777,000. In Japan, it scored the third biggest opening for Eastwood with $2.3 million, behind "American Sniper" and "Letters from Iwo Jima". "Variety" predicted it would end its run there with around $15 million. In Brazil, after the aircraft disaster involving the football team Chapecoense, Warner Bros ordered the delaying of the release from December 1 to December 15. The film was released in China during a crowded period (December 9), but managed to score an opening weekend worth $5.5 million from about 5,000 screens.  Outside North America, the biggest markets have been Japan ($13.2 million), Australia ($9.9), the UK ($5.4 million), and Italy ($5.1 million).

Critical response.

On Rotten Tomatoes the film has an approval rating of 85% based on 337 reviews, with an average rating of 7.22/10. The website's critical consensus reads, "As comfortingly workmanlike as its protagonist, "Sully" makes solid use of typically superlative work from its star and director to deliver a quietly stirring tribute to an everyday hero." On Metacritic, the film has a weighted average score of 74 out of 100, based on 46 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.  Peter Debruge of "Variety" gave a positive review, praising Hanks and saying, "This is Hanks' show, and he delivers a typically strong performance, quickly allowing us to forget that we're watching an actor. With his snowy white hair and moustache to match, Hanks conveys a man confident in his abilities, yet humble in his actions, which could also be said of Eastwood as a director." IGN reviewer Simon Thompson awarded 9/10, writing: ""Sully" is a beautifully balanced, classily nuanced and hugely engaging film that avoids all the clichéd pitfalls it could have slipped into. Tom Hanks gives one of the best performances of his career and Clint Eastwood's direction is beautiful and rich. It's not just a great movie, "Sully" is one of the best pieces of cinema that a major Hollywood studio has released this year." Manohla Dargis of "The New York Times" praised both the film and Eastwood's direction, saying it is "economical and solid, and generally low-key when it's not freaking you out".  Todd McCarthy of "The Hollywood Reporter" called it "[A] vigorous and involving salute to professionalism and being good at your job". Peter Travers of "Rolling Stone" gave 3.5 out of 4 stars and wrote, "the movie earns your attention and respect by digging deep, by finding the fear and self-doubt inside a man who'd never accept being defined as a hero. It's an eye-opener." Richard Roeper of the "Chicago Sun-Times" awarded it 4 out of 4 stars, praising the film as "an absolute triumph" and saying that Hanks "delivers another in a long line of memorable, nomination-worthy performances."  In a negative review, John Anderson of "Time" wrote, "Inevitable is how "Sully" feels. That, and a little soggy, given that the storyline is rooted not in the few seconds of Sullenberger's defining act of heroism, but in the way his conscience, and the National Transportation Safety Board, plagued him in its aftermath."

Dispute of depiction of NTSB.

The film generated controversy for its depiction of the National Transportation Safety Board as antagonistic. In a promotional video preceding the release, Eastwood claimed that the NTSB had "railroaded" Sullenberger by "trying to paint the picture that he had done the wrong thing." After its release, NTSB investigators objected to their portrayal. Christine Negroni wrote in "The New York Times" that "the film's version of the inquiry veers from the official record in both tone and substance", depicting the investigators as "departing from standard protocol in airline accident inquiries" and instead fictionalizing them as "prosecutorial and closed-minded". NTSB lead investigator Robert Benzon further disputed the film's depiction, saying that investigators "weren't out to embarrass anybody at all", while a former NTSB investigator expressed concern that moviegoers would take it as evidence of "government incompetence".  While the film has the NTSB presenting flight simulations showing that the airplane could have been landed at an airport, in the actual public hearing, Investigator-in-Charge Robert Benzon stated that "These flight simulations revealed that a successful return to LaGuardia or a diversion to Teterboro Airport was not assured". After the film was released Benzon said:  Hanks told the Associated Press that Sullenberger himself was disturbed by the fictionalized version, going so far as to ask (having reviewed an early draft of the script) that the NTSB investigators' real names be removed from the characters. According to Hanks, Sullenberger felt that the real-life investigators "were not prosecutors" and it was not fair to associate them with changes in the story to depict "more of a prosecutorial process".

Sully (also known as Sully: Miracle on the Hudson) is a 2016 American biographical drama film directed by Clint Eastwood and written by Todd Komarnicki, based on the 2009 autobiography "" by Chesley Sullenberger and Jeffrey Zaslow. Tom Hanks stars as Sullenberger, with Aaron Eckhart, Laura Linney, Anna Gunn, Autumn Reeser, Holt McCallany, Jamey Sheridan, and Jerry Ferrara in supporting roles. The film follows Sullenberger's January 2009 emergency landing of US Airways Flight 1549 on the Hudson River, in which all 155 passengers and crew survived, most minorly injured, and the subsequent publicity and investigation.

Sully: Zázrak na řece Hudson (v anglickém originále Sully) je americký životopisný dramatický film z roku 2016. Režie se ujal Clint Eastwood a scénáře Todd Komarnicki. Snímek je inspirován biografickou knihou "Highest Duty", kterou napsal kapitán Chesley Sullenberger a Jeffrey Zaslow (hlavně o letu US Airways 1549). Hlavní roli hraje Tom Hanks a vedlejší Aaron Eckhart, Laura Linney, Anna Gunn, Autumn Reeser, Holt McCallany, Jamey Sheridan a Jerry Ferrara.


Life.

Early years.

Born in Florence on 29 May 1568, Virginia was the illegitimate daughter of Cosimo I de' Medici, Grand Duke of Tuscany and his mistress Camilla Martelli. Her paternal grandparents were the famous condottiere Giovanni dalle Bande Nere and his wife Maria Salviati (in turn the granddaughter of Lorenzo the Magnificent) and her maternal grandparents were Antonio Martelli and Fiammetta Soderini, both members of the most important families among the Florentine patricians.  Virginia was born after the formal resignation of her father of the government on behalf of her half-brother Francesco. Cosimo I contracted a morganatic marriage with Camilla Martelli on 29 March 1570 on the advice of Pope Pius V, and this allowed him to legitimize their daughter on the principle of "per subsequens". Since that time, she lived with her parents at the Villa di Castello during the summer and in Pisa in winter. Cosimo I's older children resented their father's second marriage, and after the death of the Grand Duke in 1574, they imprisoned Camilla in the Florentine convent of Murate.  Despite the controversy about her illegitimate birth and ambiguous position in the Grand Ducal house, Virginia's older brothers began negotiations with the House of Sforza of a marriage between her and one of his members. In 1581 she was betrothed to Francesco Sforza, Count of Santa Fiora, but the wedding didn't take place because the groom chose the ecclesiastical career and became a Cardinal. After this, it was decided to arrange her marriage with a member of the House of Este with the purpose to improve the relations between both families and break the isolation of the Grand Duchy of Tuscany from the other Italian states. Virginia's half-brother Cardinal Ferdinando has agreed with Cardinal Luigi d'Este for the marriage of his nephew and Virginia. In addition, the second wife of Grand Duke Francesco I, Bianca Cappello, also played a big role in the conclusion of this alliance.

Marriage and issue.

In Florence on 6 February 1586 Virginia married Cesare d'Este, son of Alfonso, Marquis of Montecchio, in turn the illegitimate (but later legitimized) son of Alfonso I, Duke of Ferrara. To celebrate this event was represented the comedy "l’Amico Fido", written by Giovanni de' Bardi and with the lyrics of Alessandro Striggio and Cristofano Malvezzi, and in Ferrara the poet Torquato Tasso dedicated a Cantata to the newlyweds.  The union produced ten children, six sons and four daughters:  At the end of February 1586 Virginia and Cesare arrived in Ferrara. They stayed at the Palazzo Diamanti, a gift of Cardinal Luigi d'Este, Cesare's uncle, who later bequeathed him all his possessions. One year later (1587), Virginia became in Marchioness consort of Montecchio after the death of her father-in-law.  After the extinction of the legitimate line of the House of Este with the death of Duke Alfonso II on 27 October 1597 without issue, Cesare inherited the headship and all the possessions of the family; in consequence, Virginia became in the Duchess consort of Ferrara, Modena and Reggio, Princess consort of Carpi, Princess of the Holy Roman Empire, Duchess consort of Chartres and Montargis, Countess consort of Gisors, Viscountess consort of Caen, Bayeux and Falaise. However, the rule over Ferrara was short-lived: although Emperor Rudolf II recognized the rights of Cesare over Modena and Reggio (both Imperial fiefs), Pope Clement VIII didn't recognized Cesare's succession in Ferrara (nominally a Papal fief) on grounds of doubtful legitimacy. On 15 January 1598 the Duchy of Ferrara was officially abolished and returned to the Papal States, despite Cesare's attempts to obtain the help of the major European powers. Cesare, with his family and court, were forced to move to Modena, who became in the new capital of the dynasty. In 1599 Cesare obtained the Lordship of Sassuolo, but in 1601 the Parlement of Paris stripped him of all the domains and titles in the Kingdom of France.

Mental illness and death.

In 1596, the first signs of madness were manifested in Virginia, who suffered from this condition until her death. Nevertheless, she coped with her motherly duties with her numerous offspring and showed herself as a clever and far-sighted ruler when in January 1601, in the absence of her husband (who was in Reggio) the heavily pregnant Duchess took the position of Regent. During this time she stopped the attempts of the Podesta and Judge of Modena to deprive her of the government. However, Virginia was unable to control her unpredictable anger fits: when in March 1608 her confessor, the Jesuit Jerome Bondinari claimed that she was possessed by the devil, the Duchess violently attacked him with shouts and nearly beat him to death with a stick. After this, exorcism sessions were held in her, during which it became clear that Virginia's mental illness was caused by the fact that she was married against her will, and worsened due to the infidelities of her husband. The attempts of expulsion the demons in her finally originated that Virginia became completely insane. She only recovered her sense on the day of her death; in her deathbed, she blessed all her children and died peacefully.  Virginia died on 15 January 1615 in Modena aged 46; there were rumors that she was poisoned by her husband. The memorial service, who was held on 27 February at Modena Cathedral was celebrated by the Jesuit Agostino Mascardi. She was buried in the crypt of the House of Este in the Church of St. Vincent in Modena.

Virginia de' Medici (29 May 1568 – 15 January 1615) was an Italian princess, a member of the House of Medici and by marriage Duchess of Modena and Reggio.

Virginie Medicejská (29. května 1568 – 15. ledna 1615) byla nemanželskou dcerou Cosima I. Medicejského a jeho milenky, později manželky Kamily Martelli. Sňatkem s Cesarem d'Este se stala vévodkyní z Modeny a Reggia.


Plot.

In 1630s New England, English settler William and his family—wife Katherine, daughter Thomasin, son Caleb, and fraternal twins Mercy and Jonas—are banished from a Puritan Plymouth Colony over a religious dispute. The family builds a farm near a large, secluded forest and Katherine bears a child, Samuel. One day, Thomasin is playing peekaboo with Samuel when the baby abruptly disappears and it is soon revealed that a witch has stolen the unbaptized Samuel, killing him and using his remains to make a flying ointment.  Katherine, devastated by Samuel's disappearance, spends her days crying and praying. While hunting with William, Caleb asks if Samuel's unbaptized soul will reach Heaven. William encourages Caleb to not raise the question and later reveals to Caleb that he traded Katherine's silver cup for hunting supplies. That night, Katherine questions Thomasin about the disappearance of her cup and suspects her to be responsible for Samuel's abduction. After the children retire to bed, they overhear their parents discussing sending Thomasin away to serve another family.  Early the next morning, Thomasin finds Caleb preparing to check a trap in the forest and forces him to take her with him by threatening to awaken their parents. In the woods, they spot a hare, which sends their horse into a panic. Their dog Fowler chases it. Caleb pursues them. The horse throws Thomasin, knocking her unconscious. Caleb becomes lost in the woods and stumbles upon Fowler's disemboweled body. He finds a hovel where a beautiful young woman seduces him. The woman's arm becomes old and decrepit and grabs Caleb.  William finds Thomasin and takes her home. Katherine angrily chastises Thomasin for taking Caleb into the woods. William reluctantly admits that he sold Katherine's cup.  Later that evening, Caleb finds his way home. Thomasin discovers him outdoors in the rain, naked and delirious from an unknown illness. When he awakens the next day, Caleb expels a bloody apple from his mouth; Katherine believes it to be witchcraft. Caleb passionately proclaims his love to Christ before he dies, though Katherine believes Caleb to have been under some sort of spell. The twins then accuse Thomasin of witchcraft. In retaliation, Thomasin reveals to her parents that the twins have had conversations with Black Phillip, the family's billy goat. Enraged, William seals Thomasin and the twins inside the goat house. Thomasin overhears William break down and confess to God that he has been prideful and made his family leave their old village out of stubbornness rather than sincere religious devotion. Later in the night, the three children are awakened by the sounds of rustling in the goat house and discover an old woman drinking milk from the goats. Katherine awakens to a vision of Caleb holding Samuel. After a brief discussion, Caleb offers Samuel to Katherine so she may breast feed the baby but the baby is actually a crow that pecks at her breast.  The next day William awakens and walks outside to find the stable destroyed, the goats eviscerated, the twins missing and an unconscious Thomasin lying nearby with blood-stained hands. As Thomasin awakens, Black Phillip gores William before her eyes. An unhinged Katherine, who now blames Thomasin for the tragedies that have beset the family and accusing her of trying to seduce William and Caleb, attacks Thomasin, who kills her mother with a cleaver in self-defense.  Alone, Thomasin enters the stable and urges Black Phillip to speak to her. The goat responds by asking if Thomasin would like to "live deliciously" and materializes into a tall, devilishly handsome, black-clad man. Black Phillip orders Thomasin to remove her clothes and to sign her name in a book that appears before her. Thomasin follows Black Phillip into the forest, where she joins a coven of witches holding a Witches' Sabbath around a bonfire. The coven begins to levitate and a laughing Thomasin joins them, ascending above the trees.

Production.

Development.

Eggers, who was born in New Hampshire, was inspired to write the film by his childhood fascination with witches and frequent visits to the Plimoth Plantation as a schoolboy. After unsuccessfully pitching films that were "too weird, too obscure", Eggers realized that he would have to make a more conventional film. He said at a Q&A, "If I'm going to make a genre film, it has to be personal and it has to be good." The production team worked extensively with British and American museums, as well as consulting experts on 17th-century British agriculture.  Eggers wanted to film the picture on location in New England but the lack of tax incentives meant he had to settle for Canada. This proved to be something of a problem for Eggers, because he could not find the forest environment he was looking for in the country. They had to go "off the map", eventually finding a location (Kiosk, Ontario) that was "extremely remote"; Eggers said that the nearest town "made New Hampshire look like a metropolis".  The casting took place in England, as Eggers wanted authentic accents to represent a family newly arrived in Plymouth.

Filming.

In order to give the film an authentic look, Eggers shot only "with natural light and indoors, the only lighting was candles". Eggers also chose the spelling of the film's title as ""The VVitch"" (using two V instead of W) in its title sequence and on posters, stating that he found this spelling in a Jacobean era pamphlet on witchcraft, along with other period texts.  In December 2013, costume designer Linda Muir joined the crew, and consulted 35 books in the "Clothes of the Common People in Elizabethan and Early Stuart England" series to plan the costumes. The costumes were made with wool, linen, or hemp. Muir also lobbied for a larger costume budget.

Music.

Mark Korven wrote the film's score, which aimed to be "tense and dissonant", while focusing on minimalism. Eggers vetoed the use of any electronic instruments and "didn't want any traditional harmony or melody in the score", and so Korven chose to create music with atypical instruments, including the nyckelharpa and the waterphone. He knew that the director liked to retain a degree of creative control, so he relied on loose play centered on improvisation "so that [Eggers] could move notes around whenever he wanted".

Release.

The film had its world premiere at the 2015 Sundance Film Festival, on January 27, 2015. The film was also screened in the Special Presentations section of the 2015 Toronto International Film Festival, on September 18, 2015. A24 and DirecTV Cinema acquired distribution rights to the film. The film received very positive reactions in advance screenings, so the studios decided to give the film a wide theatrical release in the United States, on February 19, 2016.  The film was released on Blu-ray and digital HD on May 17, 2016 in the USA. The discs' extras include outtakes, audio commentary, a documentary—"The Witch: A Primal Folktale", which summarizes the cast and crew's making of the film—and a 30-minute question-and-answer session filmed in Salem, Massachusetts featuring director Eggers, lead actress Anya Taylor-Joy, and historians Richard Trask and Brunonia Barry. A 4K Ultra HD Blu-ray was released on April 23, 2019.

Reception.

Box office.

"The Witch" grossed $25.1 million in the United States and Canada and $15.3 million in other territories for a worldwide total of $40.4 million.  In North America, pre-release tracking suggested that the film would gross $5–7 million from 2,046 theaters in its opening weekend, trailing fellow newcomer "Risen" ($7–12 million projection) but similar to opener "Race" ($4–7 million projection). The film grossed $3.3 million on its first day and $8.8 million in its opening weekend, finishing fourth at the box office behind "Deadpool" ($56.5 million), "Kung Fu Panda 3" ($12.5 million) and "Risen" ($11.8 million).

Critical response.

On Rotten Tomatoes, the film has an approval rating of 90% based on 317 reviews, with an average rating of 7.77/10. The website's critical consensus reads, "As thought-provoking as it is visually compelling, "The Witch" delivers a deeply unsettling exercise in slow-building horror that suggests great things for debuting writer-director Robert Eggers." Metacritic reports a weighted average score of 83 out of 100, based on 46 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "C–" on an A+ to F scale, while PostTrak reported filmgoers gave it a 55% overall positive score and a 41% "definite recommend".  Writing in "Variety", Justin Chang commented that "A fiercely committed ensemble and an exquisite sense of historical detail conspire to cast a highly atmospheric spell in "The Witch", a strikingly achieved tale of a mid-17th-century New England family's steady descent into religious hysteria and madness." Yohana Desta of "Mashable" stated that "The Witch" is a "stunningly crafted experience that'll have you seeking out a church as soon as you leave the theater". Peter Travers, in his "Rolling Stone" review, gave the film 3 stars, and wrote of the film: "Building his film on the diabolical aftershocks of Puritan repression, Eggers raises "The Witch" far above the horror herd. He doesn't need cheap tricks. Eggers merely directs us to look inside." Stephanie Zacharek summarized the movie in "Time" as "a triumph of tone", writing that "Although Eggers is extremely discreet—the things you don't see are more horrifying than those you do—the picture's relentlessness sometimes feels like torment." Gregory Wakeman, writing for CinemaBlend, rated it five stars, writing that "[its] acting, lighting, music, writing, production design, cinematography, editing, and direction all immediately impress. While, at the same time, they combine to create an innately bewitching tale that keeps you on tenterhooks all the way up until its grandiose but enthralling finale." Ann Hornaday wrote in "The Washington Post" that the film joins the ranks of horror films such as "The Exorcist", "The Omen", and "Rosemary's Baby", saying that "The Witch" "comports itself less like an imitator of those classics than their progenitor... a tribute to a filmmaker who, despite his newcomer status, seems to have arrived in the full throes of maturity, in full control of his prodigious powers." Jay Bauman of RedLetterMedia named the film his favorite film of 2016, labelling it "a masterpiece".  However, some critics as well as audiences were less pleased with the film; Ethan Sacks, of the "New York Daily News", wrote that while the film does not suffer from the cinematography, acting, or setting, early on it "seems that "The Witch" is tapping a higher metaphor for coming of age...or religious intolerance...or man's uneasy balance with nature...or something. It doesn't take long into the film's hour and a half running time, however, to break that spell." Critics have noted that the film has received backlash from audiences regarding the film's themes and slow approach to horror; Lesley Coffin criticized A24, saying it was "a huge mistake" to market "The Witch" as a terrifying horror film:  "HitFix" writer Chris Eggertson was critical of mainstream Hollywood; he said that "The Witch" "got under [his] skin profoundly", though he argued that it "did not have the moment-to-moment, audience-pleasing shocks that moviegoers have become accustomed to thanks to movies like "Sinister" and "The Purge" and "Paranormal Activity" and every other Blumhouse and Platinum Dunes title in the canon."  Horror authors Stephen King and Brian Keene both reacted positively towards the film; King tweeted significant praise for the film, stating, ""The Witch" scared the hell out of me. And it's a real movie, tense and thought-provoking as well as visceral", while Keene, on social media, stated, ""The Witch" is a gorgeous, thoughtful, scary horror film that 90% of the people in the theater with you will be too stupid to understand." Jason Coffman expressed his "frustration" toward viewers who felt "The Witch" was "boring", saying:

Religious.

Julia Alexander of "Polygon" states that "The Witch" "asks people to try and understand what life would have been like for a family of devout Christians living in solitude, terrified of what may happen if they go against the word of God". In "The Atlantic", Alissa Wilkinson stated that many films featured at the 2015 Sundance Film Festival—"The Witch", along with "Last Days in the Desert", "Don Verdean", and "I Am Michael"—reveal a "resurgence of interest in the religious" and described "The Witch" as "a chilling circa-1600 story of the devil taking over a devout, Scripture-quoting family". Eve Tushnet commented in an article in "TAC", which was also published in "First Things", that "The Witch"s view of witchcraft is "not revisionist" and further states that the film is "pervaded by the fear of God. There are occasional references to His mercy but only as something to beg for, not something to trust in".  A review by Adam R. Holz on "Plugged In", a publication of the conservative Christian organisation Focus on the Family, heavily criticised the film, stating that:  Josh Larsen of "Think Christian", however, offered a Christian explanation of the conclusion of the film, stating that in "encountering evil, the family in the film veers wildly back and forth between 'triumphalism' and 'defeatism,' two theological extremes" and "in refusing to allow for grace, they become easy pickings for the witch".  Emily VanDerWerff of Vox stated that:

The Witch (stylized as The VVitch) is a 2015 period supernatural horror film written and directed by Robert Eggers in his feature directorial debut. The film stars Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger and Lucas Dawson. "The Witch" follows a Puritan family who encounter forces of evil in the woods beyond their New England farm.

Čarodějnice (v anglickém originále The Witch: A New Englad Folktale) je americko-kanadský hororový film z roku 2015. Režie se ujal Robert Eggers, byl to jeho debut. Hlavními hvězdami filmu jsou Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger a Lucas Dawson.


Plot.

An alien race known as the Boov find near-future Earth a suitable place to call "home". Led by Captain Smek (Steve Martin), they commence their "friendly" invasion of the planet, relocating the humans, whom the Boov deem as simple and backwards, to other parts of the planet while the Boov inhabit their homes in a quick and bloodless conquest. One of the Boov, named Oh (Jim Parsons), is a more excitable, freethinking member of the species, who decides to invite the Boov to his apartment for a housewarming party, despite the race's antipathy towards him. Not far from Oh is a 14-year-old girl named Tip Tucci (Rihanna), who drives away through her home city to find her mother Lucy (Jennifer Lopez) after being separated from her during the invasion, leaving her with only her calico cat Pig and fueling her hatred for the Boov.  Oh runs into the street to meet up with a grumpy Boov cop named Kyle (Matt Jones), who, like the rest of the Boov, doesn't want to befriend him. Oh invites him to the party but accidentally sends a mass invitation to every Boov on Earth. However, the "send all" button he pressed actually sends the invitation to absolutely every alien race in the entire galaxy, including the Boov's enemy, the so-called planet-destroying Gorg (Brian Stepanek). Everyone, aggravated with Oh for revealing their location to the enemy, starts chasing him down. Oh runs into a convenience store to hide just as Tip and Pig enter the same store to grab supplies. They come across each other, and after Tip's car fails to start, Oh transforms it into a fantastical, hovering craft named Slushious to continue transportation. Oh hitches a ride with Tip when he promises to help her find Lucy, but unfortunately, they must go to the Boov Command Center in Paris and locate her from there.  After reaching the Boov Command Center, which is in the now-floating Eiffel Tower, Oh manages to get into his account, and deletes the message with just a second to spare before it reaches the Gorg. He then plugs in Tip's brain to help her find Lucy. They eventually trace her location to Australia, where she is also looking for her daughter. The other Boov then find the two and try to "erase" Oh, while Tip grabs the gravity manipulation system and flips it over, causing the whole Tower to tilt upside down, hence the two manage to escape.  As Oh and Tip head off to Australia, they are ambushed by other Boov riding by them in fear, and realize that a fleet of Gorg ships is close behind them. Tip and Oh manage to knock one down, but in the process a chunk of it hits them and they lose their slushie fuel, causing the car to crash-land. They come across the fallen Gorg ship and find out that it is actually a drone. Oh recovers a special chip and uses it to get their car up and running.  Tip and Oh make it to Australia and see the Boov evacuating to their mothership. When they land the car, Tip immediately starts looking for her mother, but Oh insists on evacuating with the other Boov instead. Tip gets upset at him for trying to break their promise again, and she declares that he was never truly her friend. The depressed Oh returns to the ship. The Gorg mothership comes close to the Boov ship, but Oh pulls out the Gorg chip and uses it to fly the ship further away from the Gorg. The Boov become astonished at Oh's bravery, but Smek becomes upset and reminds everyone that he is the captain. However, Oh stands up to Smek, telling him that he's a terrible captain and tells the Boov about what he learned from Tip about humans caring for other people while the Boov do not. Saddened by this revelation at first, the Boov then mutiny against Smek and Kyle grabs Smek's "Shusher" (a scepter with a rock on top of it, which Smek stole from the Gorg in the peace meeting) and gives it to Oh, declaring him the new captain.  Tip rushes aimlessly around the city to find Lucy, but in vain. She fruitlessly tries to show everyone the picture of Lucy on her phone, but no one can help her before the phone's battery dies and Tip is now tearful, so she gives up and sits in the empty "Ask A Boov" booth and bursts in tears. Oh returns to her side and helps her track down Lucy. The mother and daughter finally reunite and thank Oh. Suddenly, the Gorg mothership descends upon the planet, and Oh realizes that they want the rock on the Shusher. Oh runs to the ship to try to attract its attention, locking Tip and Lucy in the car for safety. Tip breaks out of the car and shines a light in the Gorg Commander's face to bring his attention to Oh as he holds the rock up. The Gorg Commander halts the ship as it crunches down on the ground, with Oh directly in its path. Tip rushes to rescue him, but Oh is seemingly crushed beneath the ship until it backs up and reveals him uninjured. The Gorg Commander emerges from his armor to show that he is actually a harmless starfish-like creature. Oh returns the rock to him, which turns out to be an egg for millions of developing Gorg larvae; the next generation of Gorg, revealing that the Gorg Commander/"Father" had been the last of his kind, alone and almost extinct. He thanks Oh and departs.  Two weeks later, the humans have returned to their original homes, and Oh finally gets to have his party at his apartment, with both humans and Boov in attendance. Tip plays her music and gets the rest of the Boov to experience dancing for the first time, while other Boov, including a reformed Smek, party on the moon, and several ships from other planets, including the Gorg and his babies, head to Earth for Oh's party upon receiving his invitation.

Voice cast.

The rest of the Boov were voiced by Stephen Kearin, Lisa Stewart and April Winchell.

Production.

In 2008, DreamWorks Animation optioned the book's rights to adapt it into an animated feature film. On his blog, Adam Rex announced that DreamWorks renewed the option of the adaptation in 2011. On June 20, 2012, it was revealed that the title of the film would be "Happy Smekday!", Jim Parsons and Rihanna would star in the lead roles, and the film would be released in the fourth quarter of 2014. In September 2012, 20th Century Fox and DreamWorks Animation announced a release date of November 26, 2014. In June 2013, the film was retitled from "Happy Smekday!" to "Home".  On October 3, 2013, it was announced that Steve Martin and Jennifer Lopez had joined the cast. On May 20, 2014, the film's release date was pushed back to March 27, 2015, switching places with DreamWorks Animation's film "Penguins of Madagascar". Jeffrey Katzenberg, DreamWorks Animation's CEO, reasoned that "Penguins", coming from one of DWA's most successful franchises, would more easily stand out during Thanksgiving time, while "Home" would try to take advantage of the less competitive spring release window, and repeat successful spring launches of some of DWA's original films, including "The Croods" and "How to Train Your Dragon".

Soundtrack.

In addition to her voice role, Rihanna created a concept album for the film (also titled "Home") which was released on March 24, 2015. It consists of 8 original songs. The soundtrack's lead single, Rihanna's "Towards the Sun", premiered on BBC Radio 1 on February 24, 2015, and was made available for digital download the same day, via the iTunes Store. The second single, "Feel the Light", recorded by Jennifer Lopez, was released on February 25, 2015 via the iTunes Store.

Release.

A 4-minute short film called "Almost Home" was attached to theatrical showings of DreamWorks Animation's "Mr. Peabody & Sherman" in early 2014 and Blue Sky Studios' "Rio 2" that same year. It was directed by Todd Wilderman, and features a score composed by Lorne Balfe. The short shows The Boov and their leader Captain Smek in a sequence of unsuccessful attempts at finding a hospitable planet, before they finally come across the Earth. The film itself premiered at the Boulder International Film Festival on March 7, 2015.

Home media.

"Home" was released digitally on June 26, 2015, and was released on DVD, Blu-ray and Blu-ray 3D on July 28, 2015. In the United Kingdom, "Home" went to number one on the Official Video Chart in its first week of sale.

Reception.

Box office.

"Home" grossed $177.4 million in North America and has grossed $208.6 million in other territories for a worldwide total of $386 million. Its production cost was $135 million, with a similar sum spent for prints and advertising (P&A). "Deadline Hollywood" calculated the net profit of the film to be $29.12 million, when factoring together all expenses and revenues for the film.  "Home" opened in the U.S. and Canada simultaneously with the comedy "Get Hard" on March 27, 2015. Though the latter earned higher in its Thursday late-night run, estimates were showing that "Home" was heading to No. 1 in its opening weekend. It scored one of the biggest opening days for a DreamWorks Animation non-sequel ever with $15.6 million, behind "Kung Fu Panda" ($20 million) and "Monsters vs. Aliens" ($16.75 million). "Home" debuted at the top of the box office, with $52.1 million, which exceeded predictions of a $30 million to $35 million opening and was also DreamWorks Animation's best opening since the $60.3 million debut of "".  Outside North America, "Home" was released in 10 countries on March 20, 2015, a week ahead of its U.S. premiere. It earned $20.1 million, coming in third place at the international box office behind "Cinderella" and "". The following weekend, it expanded to 55 additional countries and grossed a total of $24 million from 11,250 screens in 64 countries. Its largest openings occurred in the UK, Ireland and Malta ($9.12 million), Russia ($5.17 million), Mexico ($3 million), Brazil ($2.3 million), Australia ($2.42 million), and Spain ($2.24 million).

Critical response.

On review aggregator Rotten Tomatoes, the film has a rating of 50%, based on 131 reviews, with an average rating of 5.42/10. The site's consensus reads, "Colorful, silly, and utterly benign, "Home" is a passable diversion, but there's no shortage of superior animated alternatives." On Metacritic, which assigns a weighted average rating, the film has a score of 55 out of 100, based on 31 critics, indicating "mixed or average reviews". In CinemaScore polls conducted during the opening weekend, cinema audiences gave "Home" an average grade of "A" on an A+ to F scale.  Michael Rechtshaffen of "The Hollywood Reporter" said, "There may be no place like home, but there are a lot of places like "Home", an animated adventure about the unlikely friendship between a lonely girl and an alien misfit that can't help but feel familiar." James Rocchi of "The Wrap" gave the film a positive review, saying "As animated sci-fi for small fry, it's a success whose modest but well-executed ambitions are no small part of its charm." Stephen Whitty gave the film two out of five stars, saying "The Gummi-colored animation is imaginative, but director Tim Johnson's ho-hum 3D cartoon remains strictly 1D." Rafer Guzman of "Newsday" gave the film two out of four stars, saying "The film moves quickly and keeps the jokes coming, which only means that "Home" would rather keep young viewers occupied than give them something to think about." Ben Sachs of the "Chicago Reader" gave the film a negative review, saying "Aggressive and cynical approach to children's entertainment, pummeling viewers with mechanical-looking action sequences (which suggest video game demos), unfunny one-liners, and overly loud pop songs and sound effects." Claudia Puig of "USA Today" gave the film two out of five stars, saying "Key characters are admirably diverse, but the fast-paced tale is thoroughly predictable."  Soren Anderson of "The Seattle Times" gave the film two and a half stars out of four, saying "It works moderately well thanks largely to the voice talents of Jim Parsons and, to a lesser extent, Steve Martin. Two droll dudes who put a fair share of funny into this animated picture." Neil Genzlinger of "The New York Times" called the film "A charming concoction with positive messages for younger children about conquering fears, understanding outsiders and knowing yourself." Betsy Sharkey of the "Los Angeles Times" gave the film a negative review, saying "Tension is one of Home's biggest issues. There just isn't nearly enough of it. Story is another. Even a kids' movie needs more complexity and more invention." Linda Barnard of the "Toronto Star" gave the film two and a half stars out of four, saying "Aside from Parsons' initially amusingly mangled Yoda-like English, which gets a tad repetitive, "Home" doesn't stand out as fresh or particularly funny." Dana Rose Falcone of "Entertainment Weekly" gave the film an A-, saying "The combination of "Home"'s layered message, fun score, and clever comedy make it a colorful choice for moviegoers of any age." Stephanie Zacharek of "The Village Voice" gave the film a mixed review, saying "If director Tim Johnson -- adapting Adam Rex's book "The True Meaning of Smekday" -- can't do much with the story's confused, if well-intentioned, agenda, at least he's got some charming, vivid characters to work with." Richard Roeper of the "Chicago Sun-Times" gave the film a C, saying "Anyone over 10 will see the plot twists a mile away. Kids will probably enjoy the goofy Boovs, the rainbows of colors and the music. Call me a traditionalist, but I still say the world was a better place before those darn Boovs invaded."  Peter Debruge of "Variety" gave the film a negative review, saying "From a creative standpoint, this is the studio's least exciting feature yet - hardly its worst, execution-wise, but entirely lacking in the risk-taking spirit that has spawned such successful franchises as "Shrek", "Kung Fu Panda" and "Dragon"." Sara Stewart of the "New York Post" gave the film two out of five stars, saying "It's refreshing to see a nonwhite lead, and the husky-voiced pop singer is likable as a brave-hearted kid searching for her mother. But man, is there a lot of Rihanna in this movie: She also provides what seems like the entirety of the film's soundtrack, making it feel like a vanity project (is 'vanimation' a thing?)." Barbara VanDenburgh of "The Arizona Republic" gave the film two out of five stars, saying "For all its energy, razzle-dazzle and whiz-bang technology, it doesn't know how to tell a simple story or cobble together three-dimensional characters, and that's a problem not even the best of 3-D glasses can fix." Susan Wloszczyna of RogerEbert.com gave the film two out of four stars, saying "I kept thinking about "Lilo & Stitch" while watching "Home", a decidedly disappointing effort based on the popular kid-lit book "The True Meaning of Smekday" from the already embattled folks at DreamWorks Animation."

Television series.

An animated series titled "" was released on Netflix on July 29, 2016. Jim Parsons and Rihanna do not reprise their roles as Oh and Tip. They are instead voiced by Mark Whitten and Rachel Crow respectively, although Matt Jones reprises his role of Kyle from the film. It was developed by Thurop Van Orman and Ryan Crego.

Home (also known as Almost Home in the working title) is a 2015 American computer-animated science-fiction comedy film produced by DreamWorks Animation and distributed by 20th Century Fox. Loosely based on Adam Rex's 2007 children's book "The True Meaning of Smekday", the film was directed by Tim Johnson from a screenplay by Tom J. Astle and Matt Ember, and stars the voices of Jim Parsons, Rihanna, Steve Martin, Jennifer Lopez, and Matt Jones. The story takes place on near-future planet Earth, where an alien race called the Boov invade the planet. However, a feisty human girl named Gratuity Tucci nicknamed Tip manages to avoid capture, and goes on the run with Oh, a fugitive Boov and together, the two form an unlikely friendship whilst searching for Tip's mother and avoiding capture from the Boov.

Konečně doma (v anglickém originále Home) je americký animovaný sci-fi komediální film z roku 2015, inspirovaný knihou Adama Rexe "The True Meaning of Smekday". Režie snímku se ujal Tim Johnson a scénáře Tom J. Astle a Matt Ember


Gameplay.

"Bloodborne" is an action role-playing game played from a third-person perspective and features elements similar to those found in the "Souls" series of games, particularly "Demon's Souls" and "Dark Souls". The player makes their way through different locations within the decrepit Gothic world of Yharnam, while battling varied enemies, including bosses, collecting different types of items that have many uses, interacting with the strange non-player characters, opening up shortcuts, and continuing through the main story.  At the beginning of the game, the player creates their character, the Hunter. The player determines the basic details of the Hunter; gender, hairstyle, name, skin colour, body shape, voice, and eye colour, are some of the options the player can customise. The player also chooses a starting class, known as an "Origin", which provides a basic backstory for the Hunter and sets the player's starting attributes. The Origins allow the player's Hunter to have a distinct play style, which, along with physical appearance, give the Hunter a unique personality. For example, one Origin may describe the Hunter as a cowardly weakling, which would indicate the player prefers to avoid conflict, while another Origin may describe the Hunter as being a ruthless, killing machine, which would indicate that the Hunter prefers to engage in combat. Another way the player defines their Hunter is by choosing what brotherhood they are a member of. These religious societies, known as "Covenants", each have their own views on the world of Yharnam.  The player can return to the safe zone, known as the "Hunter's Dream", by interacting with lanterns spread throughout the world of Yharnam. Doing so replenishes health, but repopulates all monsters in the game world. Lanterns also serve as the game's checkpoints; the player will return to the last activated lantern when they die. Positioned away from Yharnam, the Hunter's Dream delivers some of the game's basic features to the player. Players may purchase useful items, such as clothing, from the Messengers using Blood Echoes or Insight, level up their character by talking to the Doll, or upgrade their weapons in the workshop, among other things. Unlike Yharnam and all other locations in the game, the Hunter's Dream is considered completely safe as it is the only location in the game not to feature enemies. However, the last two boss battles of the game take place in the Hunter's Dream, although both are optional to the player.  "Bloodborne"s world of Yharnam is a large map full of inter-connected areas. Some areas of Yharnam are not connected to the main locations and require the player to teleport there via the gravestones in the Hunter's Dream. The player may be presented with multiple options when progressing through locations, but usually there is a main path that the player uses to progress through the story. When traversing the main path, the player will encounter paths that lead to completely different locations that are optional. Each path also eventually leads back to the central area the player started in. This provides the player with shortcuts, useful for when they die or need to backtrack.

Synopsis.

"Bloodborne" takes place in Yharnam, a decrepit Gothic city known for its medical advances around the practice of blood ministration. Over the years, many travelers journey to the city seeking the remedy to cure their afflictions; the player's character journeys to Yharnam seeking something known as Paleblood for reasons unknown. Upon arriving in the city, however, it is discovered that Yharnam is plagued with an endemic illness that has transformed most of its citizens into bestial creatures. The player must navigate the streets of Yharnam during the night of The Hunt, and overcome its violently deranged inhabitants and horrifying monsters in order to stop the source of the plague and escape the nightmare.

Plot.

The game's first few moments are seen in a first-person view through the eyes of a Hunter; who sees that they are being operated on by an old man. The man explains that he is performing a blood transfusion, and tells the Hunter they've "come to the right place" in seeking a cure for their affliction, referred to only as Paleblood. He warns the Hunter that they will go on a strange journey that may seem all a bad dream. The screen goes dark momentarily before returning to the operating table as a large, flesh-torn, blood soaked beast rises from the floor and extends a claw towards the immobile Hunter. Suddenly fire appears and forces the beast's retreat; soon little creatures ("Messengers") appear under the table and begin to cover the Hunter - the screen then cuts to black. After the player completes character creation, they re-enter the game in a standard third-person view, and the Hunter awakens

"The Old Hunters".

After discovering an item called "Eye of a Blood-Drunk Hunter", the player learns of the Hunter's Nightmare, where the first hunters are trapped, drunk with blood. While traveling through Yharnam, the player comes across the corpse of a strange Hunter. When the player searches the corpse, they are pulled into the Hunter's Nightmare, populated by both beasts and long crazed Hunters, by a lesser Amygdala. The player can meet Simon the Harrowed Hunter, who tells them how the nightmare serves as a prison for hunters who have succumbed to their own madness and the scourge, and that this nightmare was conceived from a dangerous, scandalous secret. He then can assist the player throughout their travels. The player first heads to the Nightmare Church, where they encounter and kill the first Church Hunter, Ludwig the Holy Blade, now known as Ludwig the Accursed. After the battle, the player can choose to either tell the dying Ludwig of what has become of the Church and Yharnam, or lie and let him die happily believing that Yharnam has defeated the curse. The player can also kill the founder of the Healing Church, Laurence the First

Development.

Development of "Bloodborne" began as development was being completed on the "Prepare to Die" edition of "Dark Souls", released in August 2012. Sony Computer Entertainment approached FromSoftware concerning cooperative development on a title, and director Hidetaka Miyazaki asked about the possibility of developing a game for eighth-generation consoles. The concept of "Bloodborne" developed from there. There were no connections to FromSoftware's previous titles, even though Miyazaki conceded that it "carries the DNA of "Demon's Souls" and its very specific level design". Development ran parallel to that of "Dark Souls II".  The game's Victorian Gothic setting was partly inspired by the novel "Dracula", and the architecture of locations in Romania and the Czech Republic. Miyazaki also enjoyed H. P. Lovecraft's Cthulhu Mythos series of surreal horror stories, and applied similar themes into the game. Miyazaki had wanted to create a game set in such an era as those novels, but he wanted everything to be as detailed as possible, and felt that such a game was only possible on eighth generation hardware. This need for high-end hardware, and the fact that the PlayStation 4 was presented to the company first, was the reason the game was a PS4 exclusive, rather than a cross-generation release. The developers' target framerate for the title was 30 frames per second, due to their design choices made for the

Release.

"Bloodborne" was announced at Sony Computer Entertainment's 2014 Electronic Entertainment Expo media briefing on June 9, 2014. A trailer was shown. In January 2015, "Bloodborne" became "Game Informer"s readers' most anticipated game of 2015. The game was originally planned to be released on February 6, 2015, but it was delayed to March 2015. "Bloodborne" was released on March 24, 2015 in North America, March 25, 2015 in Europe, Australia and New Zealand, March 26, 2015 in Japan, and March 27, 2015 in the United Kingdom and Ireland. A downloadable content expansion, titled "The Old Hunters", was released on November 24, 2015. It takes place within a world where hunters of the past are trapped, and features new weapons, outfits, and items.  A limited collector's edition was launched with the game. It includes

Reception.

"Bloodborne" received "universal acclaim" from critics, according to review aggregator Metacritic. Daniel Tack of "Game Informer" praised the game's unsettling atmosphere and the aesthetic visuals, which he stated "had brought horror to life". He also praised its challenging gameplay, which he compared to the "Souls" series, as well as its intimately-realized story, high replay value, deliberate, rewarding and fast-paced combat, sparse storytelling and satisfying weapon customization. He was also impressed by the well-crafted boss battles, unique enemy-design, and soundtrack. He also praised the multiplayer for extending the longevity of the game, and the game for allowing players to learn and adapt throughout a playthrough. He summarized the review by saying that "While this new IP doesn’t stray far from the established "Souls" franchise, it is a magical, wondrous work that admirably instills both terror and triumph in those brave enough to delve into it."  "Edge" wrote that it was a "dazzling work of dark, abject horror that cements Miyazaki as one of the all-time greats." "Electronic Gaming Monthly" wrote "Though built on the same core as the "Souls" games, "Bloodborne" marks the largest departure from the status quo to date. The numerous changes, many in service of a faster and more aggressive playstyle, might not be for everyone, but if you embrace that shift, you might well have a new favorite in the From Software canon." Kevin VanOrd of GameSpot praised its Lovecraftian horror-themed storyline, energetic boss battles, precise combat for making encounters with enemies fun, as well as its unique artistry and varied environments. He also praised the sound-design of the enemies, the difficulty, which he compared to "Dark Souls II", and the melee-based weapons featured in the game for allowing transformation during battle. Regarding the survival horror portion of the game, he stated that it succeeded in making players feel disturbed. The interconnected design of the game world is also praised for making discovery rewarding. Writing for GamesRadar, Ben Griffin praised the game's detailed environments, Gothic-styled visuals, rich combat, fresh challenges, the randomized Chalice Dungeons for extending the game's length and the rewarding character upgrade system. He also praised the game for delivering a sense of progression and offering players motivation to finish the game, as well as the narrative for "intertwining with geography of Yharnam". However, he criticized the game's non-divergent class system, as well as the specialization, as he stated that "lack of magic, miracles, pyromancy, archery, heavy, medium, and light options discourages experimentation." He also criticized the game for always forcing players to upgrade and stock weapons only in certain sections of the game.  Destructoid's Chris Carter called it "the most stable "Souls" game to date", he praised the game's emphasis on melee combat and raw skill, as well as the game's interesting NPCs, sidequests and interactions. He criticized the game's less-inspiring setting and environment design, limited competitive multiplayer, low replay value, as well as the occasional blocked area in the game, which he stated "feel less sprawling and less replayable" than previous FromSoftware games. He summarized the review by saying that ""Bloodborne" is an interesting mix of everything FromSoftware has learned throughout its storied developmental career. FromSoftware is still one of the only developers left that makes you work for your satisfaction, and "Bloodborne" is damn satisfying." IGN's Brandin Tyrrel wrote that "Bloodborne" was "an amazing, exacting, and exhausting pilgrimage through a gorgeous land that imposes the feeling of approaching the bottom of a descent into madness. Though extended load times and minor frame-rate hitches have an effect on the pacing, it's otherwise an intensely challenging and rewarding game. There's an incredible power to unlocking its mysteries, and in succeeding, despite its demand for a pound of your flesh."  Game Revolution's Nick Tan was more negative than most, criticizing the restrictive builds and the unreliable firearms. He also noted that the game suffered from lock-on and camera issues. He summarized the review by saying that "Though not as refined and freeform as some of its predecessors, it continues in the longstanding "Souls" tradition of lending credence to challenging games and making the seemingly Sisphyean task of conquering ruthless, malformed monstrosities possible and downright commendable." Michael McWhertor of Polygon thought that the story was "intriguing", saying the guns were unlike any other he had used in another game, in that the Visceral attacks give the player "one of the best feelings in any game", praised the game's difficulty for providing satisfying encounters, and thought the cryptic mysteries did a good job at encouraging the player to progress through the game. He also praised the game's environments, enemies, and weapons, as he thought they were well designed and offered the player freedom and variety. McWhertor's main criticisms were concerning the load times and technical issues. He found that the game performed noticeably worse when playing with another player, saying that the frame rate "takes a hit". He also found some mechanics and items confusing, and disliked the fact that there are lots of loading screens in quick succession. "New York Daily News" stated that it was "the perfect marriage, blending mechanics that seem easy to learn with gameplay and challenge that demands mastery and ingenuity." "The Guardian" also gave it a full five-star rating, stating that "elegance, precision, humour, and challenge make Bloodborne irresistible." "The Telegraph" wrote that it was the "digital edition of a round-the-world trip to foreign continents, each turning of a corner providing equal helpings of excitement and trepidation".  One of the more criticized points of the game were its long loading times, which FromSoftware acknowledged as an issue. Two patches addressing various issues, including reducing the loading times, were released a few weeks after release.

Sales.

The game sold 152,567 physical retail copies within the first week of release in Japan, ranking first place within the Japanese software sales charts for that particular week. "Bloodborne" debuted at number two in the UK software retail chart, behind

Accolades.

"Bloodborne" was awarded the 2015 Game of the Year by several video game review sites, including GameTrailers, Eurogamer, Destructoid, and "Edge", along with being awarded the "2015 PlayStation 4 Game of the Year" by IGN. "Bloodborne" was nominated for

Bloodborne is an action role-playing game developed by FromSoftware and published by Sony Computer Entertainment for the PlayStation 4. It was released worldwide in March 2015. "Bloodborne" follows the player's character, a Hunter, through the decrepit Gothic, Victorian era–inspired city of Yharnam, whose inhabitants have been afflicted with an abnormal blood-borne disease. Ultimately attempting to find the source of the plague, the player's character unravels the city's intriguing mysteries while fighting beasts.

Bloodborne je akční RPG videohra z pohledu třetí osoby vytvořena japonskou video herní společností FromSoftware a vydaná společností Sony Interactive Entertainment. Hra byla vydána v březnu 2015, jakožto exkluzivní hra na PS4.


Plot.

In rural 1920s Virginia, the young Desmond Doss nearly kills his little brother Hal while roughhousing. This event and his Seventh-day Adventist upbringing reinforce Desmond's belief in the commandment "Thou shalt not kill". Years later, Doss takes an injured man to the hospital and meets a nurse, Dorothy Schutte. The two strike a romance and Doss tells Dorothy of his interest in medical work.  After the Japanese attack on Pearl Harbor, Doss enlists in the Army to serve as a combat medic. His father Tom, a Great War veteran, is deeply upset by the decision. Before leaving for Fort Jackson, Desmond asks for Dorothy's hand in marriage and she accepts.  Doss is placed in basic training under the command of Sergeant Howell. He excels physically, but becomes a pariah among his fellow soldiers for refusing to handle a rifle and train on Saturdays. Howell and Captain Glover attempt to discharge Doss for psychiatric reasons under Section 8 but are overruled, as Doss's religious beliefs do not constitute mental illness. They subsequently torment Doss by putting him through grueling labor, intending to get Doss to leave of his own accord. Despite being beaten one night by his fellow soldiers, he refuses to identify his attackers and continues training.  Doss's unit completes basic training and is released on leave, during which Doss intends to marry Dorothy, but his refusal to carry a firearm leads to an arrest for insubordination. Captain Glover and Dorothy visit Doss in jail and try to convince him to plead guilty so that he can be released without charge, but Doss refuses to compromise his beliefs. At his court-martial Doss pleads not guilty, but before he is sentenced, his father barges into the tribunal with a letter from his former commanding officer (now a brigadier general) stating that his son's pacifism is protected by the U.S. Constitution. The charges against Doss are dropped, and he and Dorothy are married.  Doss's unit is assigned to the 77th Infantry Division and deployed to the Pacific theater. During the Battle of Okinawa, Doss's unit is informed that they are to relieve the 96th Infantry Division, which was tasked with ascending and securing the Maeda Escarpment ("Hacksaw Ridge"). During the initial fight, with heavy losses on both sides, Doss saves the life of his squadmate Smitty, earning his respect. As the Americans camp for the night, Doss reveals to Smitty that his aversion to holding a firearm stems from nearly shooting his drunken father, who threatened his mother with a gun. Smitty apologizes for doubting his courage, and the two reconcile.  The next morning, the Japanese launch a massive counterattack and drive the Americans off the escarpment. Smitty is killed, while Howell and several of Doss's squad mates are left injured on the battlefield. Doss hears the cries of dying soldiers and returns to save them, carrying the wounded to the cliff's edge and belaying them down by rope, each time praying to save one more. The arrival of dozens of wounded once presumed dead comes as a shock to the rest of the unit below. When day breaks, Doss rescues Howell and the two escape Hacksaw under enemy fire.  Captain Glover apologizes for dismissing Doss's beliefs as "cowardice" and states that they are scheduled to retake the ridge on Saturday but will not launch the next attack without him. Doss agrees but the operation is delayed until after he concludes his Sabbath prayers. With reinforcements, they turn the tide of battle. In an ambush set by Japanese soldiers feigning surrender, Doss manages to save Glover and others by deflecting enemy grenades. Doss is wounded by the grenade blast, but the battle is won. Doss descends the cliff, clutching the Bible Dorothy gave him.  The film switches to real photos and footage showing that Doss was awarded the Medal of Honor by President Harry S. Truman for rescuing 75 soldiers at Hacksaw Ridge. Doss stayed married to Dorothy until her death in 1991. He died on March 23, 2006, at the age of 87.

Production.

Development.

"Hacksaw Ridge" was in development limbo for 14 years. Numerous producers had tried for decades to film Doss's story, including decorated war hero Audie Murphy and Hal B. Wallis.  In 2001, after finally convincing Doss that making a movie on his remarkable life was the right thing to do, screenwriter/producer Gregory Crosby (grandson of Bing Crosby) wrote the treatment and brought the project to film producer David Permut, of Permut Presentations, through the early cooperation of Stan Jensen of the Seventh-day Adventist Church, which ultimately led to the film being financed.  In 2004, director Terry Benedict won the rights to make a documentary about Doss, "The Conscientious Objector", and secured the dramatic film rights in the process. However, Doss died in 2006, after which producer Bill Mechanic acquired and then sold the rights to Walden Media, which developed the project along with producer David Permut. Gregory Crosby and Steve Longi served as co-producers. Walden Media insisted on a PG-13 version of the battle, and Mechanic spent years working to buy the rights back.  After acquiring the rights, Mechanic approached Mel Gibson, and wanted him to create a concoction of violence and faith, as he did with "The Passion of the Christ" (2004). Gibson turned down the offer twice, as he previously did with "Braveheart" (1995). Nearly a decade later, Gibson finally agreed to direct, a decision announced in November 2014. The same month, Andrew Garfield was confirmed to play the role of Desmond Doss.  With a budget of $40 million, the team still faced many challenges. "Hacksaw Ridge" became an international co-production, with key players and firms located in both the United States and Australia. When Australian tax incentives were taken off the table, the film had to qualify as Australian to receive government subsidies. Despite being American-born, Gibson's early years in Australia helped the film qualify, along with most of the cast being Australian, including Rachel Griffiths, Teresa Palmer, Sam Worthington, Hugo Weaving, Richard Roxburgh, and Luke Bracey. Rounding out the cast was American actor Vince Vaughn. According to producer Bill Mechanic, Australian state and federal subsidies made financing the film possible. James M. Vernon, an Australian Executive Producer on Hacksaw Ridge helped the film qualify for Australian government subsidies.  On February 9, 2015, IM Global closed a deal to finance the film, and also sold the film into the international markets. On the same day, Lionsgate acquired the North American distribution rights to the film. Chinese distribution rights were acquired by Bliss Media, a Shanghai-based film production and distribution company.  "Hacksaw Ridge" is the first film directed by Gibson since "Apocalypto" in 2006, and marks a departure from his previous films, such as "Apocalypto" and "Braveheart", in which the protagonists acted violently.

Writing.

Robert Schenkkan made the initial draft and Randall Wallace, who was previously attached to direct the film, rewrote the script. Andrew Knight polished the revised script. Gibson's partner Bruce Davey also produced the film, along with Paul Currie.

Casting.

The cast—Andrew Garfield, Vince Vaughn, Sam Worthington, Luke Bracey, Teresa Palmer, Rachel Griffiths, Richard Roxburgh, Luke Pegler, Richard Pyros, Ben Mingay, Firass Dirani, Nico Cortez, Michael Sheasby, Goran Kleut, Jacob Warner, Harry Greenwood, Damien Thomlinson, Ben O'Toole, Benedict Hardie, Robert Morgan, Ori Pfeffer, Milo Gibson, and Nathaniel Buzolic, Hugo Weaving, and Ryan Corr—was announced between November 2014 and October 2015. The younger Doss was played by Darcy Bryce.  Garfield plays Desmond Doss, a US Army medic awarded the Medal of Honor by President Harry S. Truman for saving lives during the Battle of Okinawa in World War II. Garfield had high regard for Doss, and venerated him for his act of bravery, hailing him as a "wonderful symbol of embodying the idea of live and let live no matter what your ideology is, no matter what your value system is, just to allow other people to be who they are and allow yourself to be who you are." He found the idea of playing a real superhero, as compared to his past roles playing Spider-Man in "The Amazing Spider-Man" and its sequel, much more inspiring. Garfield admitted that he cried the first time he read the screenplay. He visited Doss's hometown and touched his various tools. Gibson was drawn to Garfield the first time he saw his performance in "The Social Network".

Principal photography.

Principal photography started on September 29, 2015, and lasted for 59 days, ending in December of that year. Filming took place entirely in Australia. The film was based at Fox Studios in Sydney, after producers vigorously scouted for locations around the country. Filming took place mostly in the state of New South Wales— in Richmond, Bringelly, and Oran Park. The graveyard scene was shot at a set-constructed cemetery in Centennial Park.  The grounds of Newington Armory at Sydney Olympic Park were used as Fort Jackson. Filming in Bringelly required the team to clear and deforest over 500 hectares of land, which evoked the ire of some environmentalists. However, the producers had complete approval and clearance to do so. Also conditions were imposed to replant and rehabilitate part of the land after filming ceased. A former quarry adjacent to the Main Southern railway line north of Goulburn was used to film cliff top scenes. According to Minister for the Arts, Troy Grant, the film brought 720 jobs and US$19 million to regional and rural New South Wales.  Altogether, three jeeps, two trucks, and a tank were featured in the film. Bulldozers and backhoes were used to transform a dairy pasture near Sydney to re-create the Okinawa battlefield. A berm had to be raised around the perimeter so cameras could turn 360 degrees without getting any eucalyptus trees in the background. Gibson did not want to rely heavily on computer visual effects, either on the screen or in pre-visualizing the battle scenes. Visual effects were used only during bloody scenes, like napalm-burnt soldiers. During filming of the war scenes, Gibson incorporated his past war-movie experiences, and would yell to the actors, reminding them constantly of what they were fighting for.

Post-production.

Kevin O'Connell, who won his first Academy Award for sound mixing in this film (after 21 nominations), stated that budget constraints forced him to use archival sounds of WWII-era weapons.

Themes.

The film has been described as an anti-war film, with pacifist themes. It also incorporates recurring religious imagery, such as baptism and ascension.

Historical accuracy.

After the war, Doss turned down many requests for books and film versions of his actions, because he was wary of whether his life, wartime experiences, and Seventh-day Adventist beliefs would be portrayed inaccurately or sensationally. Doss's only child, Desmond Doss Jr., stated: "The reason he declined is that none of them adhered to his one requirement: that it be accurate. And I find it remarkable, the level of accuracy in adhering to the principal of the story in this movie." Producer David Permut stated that the filmmakers took great care in maintaining the integrity of the story, since Doss was very religious.  However, the filmmakers did change some details, notably the backstory of his father being a World War I veteran, the incident with the gun Doss took out of his alcoholic father's hands, and the circumstances of his first marriage. The character of Smitty, portrayed by Luke Bracey, is an amalgamation of various soldiers who tormented Doss and was created for narrative reasons. Other changes to the story occur near the end of the movie when Doss is placed on a stretcher. In real life, Doss had another wounded man take his place on the stretcher. After treating the soldier, a sniper shot fractured Doss's arm and he crawled to safety after being left alone for five hours. Gibson omitted this from the film because he felt that the audience would not find the scene believable. The film also omits his prior combat service in the Battle of Guam and Battle of Leyte (Doss was awarded the Bronze Star Medal for extraordinary bravery in both battles), and leaves the impression that Doss's actions at Okinawa took place over a period of a few days, though his Medal of Honor citation covered his actions over a period of about three weeks (April 29 to May 21). The visual blog "Information is Beautiful" stated that the film was 52.7% accurate when compared to real-life events, summarizing that "most of the main war-related events did take place, although not all in the timeframe of the film...also, much of the pre-war stuff is either invented or distorted."

Music.

James Horner was originally approached to compose the score for the film but was replaced by John Debney after Horner's untimely death in 2015. Debney was himself replaced by Rupert Gregson-Williams after his score was rejected before Hacksaw Ridge was set to premiere at the Venice Film Festival. When composing the music Gregson-Williams commented: "The soundtrack is really in two parts. A lovely romance blossoms as Desmond discovers both the love of his life and his faith. The second half of the movie is brutal...We wanted to reflect his spirituality without being pious, and his bravery without celebrating violence." The film's accompanying score was recorded at Abbey Road Studios in London, with an orchestra of 70 musicians and a 36-voice choir conducted by Cliff Masterson.

Release.

The world premiere of "Hacksaw Ridge" occurred on September 4, 2016, at the 73rd Venice Film Festival, where it received a 10-minute standing ovation. The film was released in Australia on November 3, 2016, by Icon Film Distribution, and in the United States on November 4, 2016, by Lionsgate/Summit Entertainment. It was released by Bliss Media in China in November, and in the United Kingdom in 2017, with IM Global handling international sales.

Marketing.

On July 28, 2016, Lionsgate released the only official trailer for Hacksaw Ridge which garnered millions of views. In partnership with Disabled American Veterans, Gibson screened the film at both the DAV National Convention and VFW National Convention in August 2016 to raise awareness of veterans' issues. Within the same month, Gibson also appeared at Pastor Greg Laurie's SoCal Harvest in Anaheim, California to promote the film. A number of Seventh-day Adventist ministries offered free copies of the "Hero of Hacksaw Ridge" book during the film's release as well as created promotional materials to highlight Doss's faith. On February 24, 2017, Reto-Moto and Lionsgate announced a cross-promotion where the purchase of a DLC pack for "Heroes & Generals" would also give the purchaser a digital copy of the film.

Reception.

Box office.

"Hacksaw Ridge" grossed $67.2 million in the United States and Canada and $113.2 million in other countries for a worldwide total of $180.4 million, against a production budget of $40 million.  The film opened alongside "Doctor Strange" and "Trolls", and was projected to gross around $12 million from 2,886 theaters. It was expected to play very well among faith-based, Midwest, and Southern audiences. It made $5.2 million on its first day and $15.2 million in its opening weekend, finishing third at the box office behind "Doctor Strange" and "Trolls". The debut was on par with the $15 million opening of Gibson's last directorial effort, "Apocalypto", in 2006. In its second weekend, the film grossed $10.6 million (a drop of just 30%), finishing 5th at the box office.  The film also opened successfully in China, grossing over $16 million in its first four days at the box office and over $60 million in total.

Critical response.

On review aggregator Rotten Tomatoes, the film has an approval rating of 85% based on 267 reviews, with an average rating of 7.26/10. The site's critical consensus reads, ""Hacksaw Ridge" uses a real-life pacifist's legacy to lay the groundwork for a gripping wartime tribute to faith, valor, and the courage of remaining true to one's convictions." On Metacritic, the film has a weighted average score of 71 out of 100, based on 47 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave it a 91% overall positive score and a 67% "definite recommend."  "The Milford Daily News" called the film a "masterpiece", adding that it "is going to end up on many 2016 Top 10 lists, that should get Oscar nominations for Best Actor, Best Director, and Best Picture." Maggie Stancu of "Movie Pilot" wrote that "Gibson made some of his most genius directing choices in "Hacksaw Ridge", and Garfield has given his best performance yet. With amazing performances by Vince Vaughn, Teresa Palmer, Sam Worthington and Hugo Weaving, it is absolutely one of 2016's must-see films." Mick LaSalle of "SFGate" called the film "a brilliant return for Mel Gibson, which confirms his position as a director with a singular talent for spectacle and a sure way with actors." In "The Film Lawyers", Samar Khan called "Hacksaw Ridge" "fantastic," and emphasised "just how wonderful it is to have Gibson back in a more prominent position in Hollywood, hopefully with the demons of his past behind him. If "Hacksaw Ridge" is any indication, we are poised for a future filled with great films from the visionary director." "The Daily Telegraph" awarded four stars, and added: ""Hacksaw Ridge" is a fantastically moving and bruising war film that hits you like a raw topside of beef in the face—a kind of primary-coloured Guernica that flourishes on a big screen with a crowd."  "The Guardian" also awarded the film four stars, and stated that Gibson had "absolutely hit "Hacksaw Ridge" out of the park." "The Australian"s reviewer was equally positive, stating that, as a director, "Gibson's approach is bold and fearless; this represents his best work to date behind the camera." Rex Reed of "Observer" rated it with four stars, and called it "the best war film since "Saving Private Ryan"... [I]t is violent, harrowing, heartbreaking and unforgettable. And yes, it was directed by Mel Gibson. He deserves a medal, too" Michael Smith of "Tulsa World" called "Hacksaw Ridge" a "moving character study" and praised both the direction and acting: "It's truly remarkable how Gibson can film scenes of such heartfelt emotion with such sweet subtlety as easily as he stages some of the most vicious, visual scenes of violence that you will ever see.... "Hacksaw Ridge" is beautiful and brutal, and that's a potent combination for a movie about a man determined to serve his country, as well as his soul." IGN critic Alex Welch gave a score of 8/10, praising it as "one of the most successful war films of recent memory," and "at times horrifying, inspiring, and heart-wrenching." Mike Ryan of "Uproxx" gave the film a positive review, praising Gibson's direction and saying, "There are two moments during the second half of Mel Gibson's "Hacksaw Ridge" when I literally jumped out of my seat in terror. The film's depiction of war is the best I've seen since "Saving Private Ryan"." Peter Travers of "Rolling Stone" gave the film 3.5 stars, writing, "Thanks to some of the greatest battle scenes ever filmed, Gibson once again shows his staggering gifts as a filmmaker, able to juxtapose savagery with aching tenderness." In contrast, Matt Zoller Seitz for RogerEbert.com gave the film 2.5 stars, and described the film as "a movie at war with itself."

Accolades.

"Hacksaw Ridge" won Best Film Editing and Best Sound Mixing and was nominated for Best Picture, Best Director, Best Actor for Garfield, and Best Sound Editing at the Academy Awards. The film won Best Editing and was nominated for Best Actor in a Leading Role for Garfield, Best Adapted Screenplay, Best Sound, and Best Makeup and Hair at the British Academy Film Awards. The film won Best Action Movie and Best Actor in an Action Movie for Garfield and was nominated for Best Picture, Best Director, Best Actor for Garfield, Best Editing, and Best Hair and Makeup at the Critics' Choice Awards. The film received three nominations at the Golden Globe Awards, including Best Motion Picture – Drama, Best Actor – Motion Picture Drama for Garfield, and Best Director. The film won Best Actor for Garfield, Best Film Editing and Best Sound and was nominated for Best Film, Best Director, Best Adapted Screenplay, Best Cinematography, Best Original Score, and Best Art Direction and Production Design at the Satellite Awards.

Hacksaw Ridge is a 2016 biographical war film directed by Mel Gibson and written by Andrew Knight and Robert Schenkkan, based on the 2004 documentary "The Conscientious Objector". The film focuses on the World War II experiences of Desmond Doss, an American pacifist combat medic who, as a Seventh-day Adventist Christian, refused to carry or use a weapon or firearm of any kind. Doss became the first conscientious objector to be awarded the Medal of Honor, for service above and beyond the call of duty during the Battle of Okinawa. Andrew Garfield stars as Doss, with Sam Worthington, Luke Bracey, Teresa Palmer, Hugo Weaving, Rachel Griffiths, and Vince Vaughn in supporting roles.

Hacksaw Ridge: Zrození hrdiny (v anglickém originále Hicksaw Ridge) je americko-australský životopisný válečný film z roku 2016. Režie se ujal Mel Gibson a scénáře Andrew Knight a Robert Schenkkan. Hlavní role hrají Andrew Garfield, Sam Worthington, Luke Bracey, Teresa Palmer, Hugo Weaving, Rachel Griffiths a Vince Vaughn.


Etymology.

The name is an anglicisation of the Gaelic Maol Chinn Tìre (), in English: "The rounded [or bare] headland of Kintyre", where chinn and tìre are the genitive forms of ceann "head" and tìr "land, country" respectively. The English variant "Cantyre" derives from the phrase ceann tìre "head land".  Mull as a geographical term is most commonly found in southwest Scotland, where it is often applied to headlands or promontories, and, often more specifically, for the tip of that promontory or peninsula.  The term "mull" derives from "bald, bare, baldness, bareness". The geographical reference is to a land formation bare of trees, such as a rounded hill, summit, mountain, promontory or headland.

Geography.

The Mull is at the extreme southwestern tip of the Kintyre peninsula, approximately from Campbeltown in Argyll and Bute, Western Scotland. It is about beyond the southernmost village of the peninsula, Southend with its tea room and beaches, and reached via a single-track road.  Ailsa Craig and the County Antrim coast of Ulster and Rathlin Island are all clearly visible from the Mull. On clearer days it is also possible to make out Malin Head in Inishowen in County Donegal in the west of Ulster, and the Ayrshire coast on the other side of Ailsa Craig. Other islands in the Firth of Clyde are also visible when looking east, especially from further back along the single track road from Southend village. The Straits of Moyle (part of the North Channel) allow sea passage from the Irish Sea to the Atlantic Ocean. Notoriously strong currents plague the tip of the Kintyre Peninsula creating a hazard to unmotorised craft and virtually impossible for distance swimmers. At its closest point, mainland Ulster is from the Mull. Owing to the low elevation of Rathlin Island and the high elevation of the Mull of Kintyre it is also possible to see over the top of Rathlin Island to the Antrim coastal town of Ballycastle. Individual houses on the Antrim coast and cars travelling along the coast road can sometimes be seen without the aid of binoculars, visibility conditions depending.

History.

The Mull has been an important landbridge throughout history. It is thought that it was used by early humans in their travels from continental Europe to Ireland via Britain. In more recent times it was used again by the Scotti when they travelled from Ireland to establish the kingdom of Dál Riata in modern-day Argyll.

Air crashes.

The steep cliffs and hills rising out of the sea on all sides, along with the frequent sea mists, have made the area a hazard to flight. It has been the site of numerous air crashes throughout aviation history, and the remains of some of those crashed aircraft still litter the area.  A notable air disaster on the Mull was the RAF Chinook helicopter crash on 2 June 1994.

Nautical disaster.

On 13 June 1858 the SS "New York", a steamship converted to sail, was wrecked at the south end of the Mull of Kintyre.

Lighthouse.

The Mull of Kintyre Lighthouse was the second lighthouse commissioned in Scotland by the Commissioners of the Northern Lights. It was designed and built by Thomas Smith and completed in 1788. Smith had previously designed the light at Kinnaird Head, but Mull of Kintyre was a far more substantial project, in a far more remote location.  The lighthouse was rebuilt in the 1820s. The light was fixed until 1906, when it was converted to flashing, and its power increased from 8,000 to 281,000 candelas. It was converted to electrical power in 1976, automated in 1996 and is now monitored from Edinburgh.  The former keeper's cottages are now run as holiday cottages by the National Trust for Scotland.  <br

The Mull of Kintyre is the southwesternmost tip of the Kintyre Peninsula (formerly "Cantyre") in southwest Scotland. From here, the Antrim coast of Northern Ireland is visible on a calm and clear day, and an historic lighthouse, the second commissioned in Scotland, guides shipping in the intervening North Channel. The area has been immortalised in popular culture by the 1977 hit song "Mull of Kintyre" by Kintyre resident Paul McCartney's band of the time, Wings.

Mull of Kintyre je skalnatý mys ve Skotsku. Tvoří jihozápadní výběžek poloostrova Kintyre v oblasti Argyll a Bute, omývaný vodami Severního průlivu. Nejbližším městem je Campbeltown. Název pochází z gaelského výrazu "Maol Chinn Tìre", který znamená „okrouhlý výběžek pevniny“ Na mysu se nachází budova majáku z roku 1788, který patří k nejstarším ve Skotsku. V roce 1996 byl jeho provoz automatizován a obydlí strážce majáku bylo adaptováno na turistickou chatu ve správě The National Trust for Scotland. Za jasného počasí je z mysu vidět pobřeží Irska. V 5. století zde přistáli Skotové a založili království Dál Riata.