Director:
Joss WhedonGuión:
Joss WhedonCámara:
Ben DavisReparto:
Chris Evans, Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, Samuel L. Jackson, Cobie Smulders, James Spader (más)Streaming (3)
Sinopsis(1)
El destino del planeta pende de un hilo cuando Tony Stark intenta hacer funcionar un inactivo programa para mantener la paz. Las cosas le salen mal y los héroes más poderosos, incluyendo Iron Man, Capitán América, la Viuda Negra, Thor, el Increíble Hulk y Ojo de Halcón, se ven enfrentados a la prueba definitiva. Cuando el villano Ultrón aparece, es tarea de Los Vengadores el detenerle antes de que lleve a cabo sus terribles planes para el mundo. Inesperadas alianzas y acción por doquier sientan las bases para una épica aventura global. (Disney España)
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Reseñas (17)
Un espectáculo palomitero ideal que ofrece lo mejor que se puede esperar de una superproducción de Hollywood de 250 millones de dólares. La acción es clara y está bien rodada, el humor inteligente y a veces agradablemente sofisticado, el villano carismático y la química entre los personajes funciona de primera. No es perfecto, pero es un entretenimiento de primera clase. Me he reído más y mejor que viendo cualquier comedia y he disfrutado de la acción y de cientos de detalles sorprendentes. Sencillamente, es una bomba y una pasada.
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Después de sorprenderme gratamente con la primera entrega, me lancé rápidamente a la segunda, que mantuvo su nivel. Lo que más aprecio de los Vengadores es que el espectador no tiene tiempo para aburrirse, mirar el reloj o pensar que la trama es estirada. Incluso si una escena se dirige hacia esa sensación, pronto es reemplazada por una acción emocionante que hace que todo aburrimiento se olvide. Me encantan todas las películas con temática de amistad y espíritu de equipo, por lo que los Vengadores me afectan mucho. ¿Mi miembro favorito del equipo? Sin duda, Hulk. Si tan solo pudiera interpretarlo de nuevo Ed Norton.
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The sequel to the first film, stripped of the element of surprise and enriched with a more capable villain. The action is less bloated, fits into the plot better, and expands the universe with new characters. Anyway, the predictability is even more tiring than the rest of the Marvel movies. Unless there's a major shift in Civil War, there's no point in looking at it any other way than in standby mode.
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“I’ve had a long day. Eugene O'Neill long.” Unsurprisingly, Whedon is wagering on the tried and true. Also, the second Avengers is a sharp ensemble action movie that entertains more with clever dialogue than with massive, stylistically intoxicating action sequences, which this time are at least a tiny bit clearer thanks to the long “relay” shots (whereas the first film culminated with this technique as an illustration of the team’s cohesion, it serves as a visual leitmotif in the second one). ___ The interaction between the characters is no longer only about the necessity of finding their way to each other, maintaining their individuality and learning to cooperate. They begin to get to know both each other and their own dark sides better, which leads us to see them also as people (or rather characters with human problems) and not just as superhuman and essentially courageous saviours of civilisation (not for nothing do the heroes address each other mostly by their civilian names). Despite that, the film doesn’t cross the line into mutual teasing at the relationship level and it lacks serious conflict that would pose a threat to the team’s unity. Whedon remains too obliging toward his heroes and their somewhat pubescent thought processes, and despite being slightly more serious, Age of Ultron is still far from the bleakness and seriousness of Guardians of the Galaxy or at least The Dark Knight. From the beginning, the tone of the film makes it clear that it’s not going to get heavy, no adult problems will be resolved (“corny” is the best description of the relationship between Natasha and Bruce, as well as Clint’s family life), no serious crisis will occur and the allusions to American foreign policy will remain at a general level (Ultron as the result of the advancing mechanisation of warfare, violence perpetrated in the interest of protecting democratic values, the tension between the transparent and the concealed war on terror, with the former approach represented by the idealistic Captain America and the latter by Stark). ___ Unlike the elitist first film, the primary interest in the human element is not limited to the superheroes – the final action sequence is based on trying to save as many civilians as possible. The absorption in their own tragic story, the mutual flirtation and the amusing measuring of egos against one another are thus balanced by concern for ordinary human lives, though that concern serves mainly to underscore the mythological dimension of the narrative. It would not have been necessary to depict the heroes in the form of classical statuary in the closing credits in order for us to realise that they have the same role in the modern (fictional) world as the Greek gods did in antiquity. ___ The second Avengers is a more masterful, albeit somewhat mechanical, manifestation of what made the first Avengers movie surprising – the combination of a loud blockbuster with an informal and imaginative conversational relationship flick. If it represents the final development phase of Marvel adaptations, that won’t make me angry. In relation to genre conventions, however, the subversive Iron Man 3 and the narratively sophisticated Captain America: The Winter Soldier showed us that it can be done more imaginatively. ___ In the end, Age of Ultron is the most audacious in terms of the demands that it places on viewers who want to flawlessly find their way around in the story and among the large number of characters throughout the film’s entire 140-minute runtime. It begins without any in media res exposition and it doesn’t linger on explaining who is who and what they are after during the next two hours. The many hints, signs and allusions assume that you are as familiar with the fictional encyclopaedia as the characters are. Though I have mostly kept up to speed so far, I cannot imagine how I will manage to sort through the tremendous amount of facts ten movies and a hundred series episodes later. 80%
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So after watching this movie, I wondered if I were crazy, thinking that all these comic book adaptations are all very much the same in the last few years, so I decided to give The Guardians of the Galaxy another try after the second Avengers. And it really had it. It had what I really missed in this instalment of the Avengers. And this essential thing is nothing but the humor that the first instalment still somehow kept going. And that’s too bad, because Age of Ultron would have had the characters for it. Iron Man and Thor are clearly a pair of top catchphrase makers and here it’s as if someone deflated their ego. I have a feeling that it is humor and catchphrases that make comic books into movies that will create an extraordinary experience for the viewer, to which they will be happily returning. And now I know that I will definitely not return to this film. It is not just about humor, but also about the villain, who not only does not have the charisma (which is difficult to have by default in robots) but mainly one is not afraid of him, let alone respect him. Technically, it’s handled well, including action scenes that are exquisite. But everything else just doesn’t work here. In fact, this film accurately describes the type of comic book adaptations that I would prefer not to be repeated, but of which there are more than enough in recent years. As far as content repetition goes, I hope that the next episode will be called Avengers vs. X-Men to experience a complete Marvel recycling.
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