It is undeniable the importance of Michael Keaton to the cinema and his contribution with several remarkable interpretations. In a pact of redemption, his second work in the direction (the first was bad company, 2008), Keaton bets on the thriller/crime drama, dedicated almost exclusively to his character. In addition to it, the production also features participation, for example, James Marsden (Miles Knox) of the most prominent and who plays Keaton's son; and Al Pacino, as a kind of mentor and predecessor of the protagonist in the criminal organization.
In redemption pact, a very recurring approach in crime films: the discovery of a terminal illness that leads the protagonist to make attitudes and decisions without major concerns about the consequences. However, differently from Christopher Nolan's amnesia, although they both share the theme and the obstacles faced by the protagonist, Keaton bets on a more traditional structure, without temporal jumps, relevant puzzles and ellipses: the viewer knows, along with history, of "guilty" and unfolding
In the redemption pact plot, the Rental Matador John Knox (Michael Keaton) discovers having a kind of deteriorating dementia progressing in a rapidly progressing way. Then comes the opportunity to "approach" with his son, Miles (James Marsden), when he knocks on his door requesting help.
As the title translation suggests, the motivator of history is another "redemption" for the construction of this lost "time" relationship, in which father and son discover their similarities when trying to rescue the lost bond. Redemption pact has “time” as a special theme and explained in the first scene, when John, when collecting his belongings, lasts the clock, Leitmotiv for history.
Redemption Pact Development bets on the charisma and name of Michael Keaton to engage the viewer in history. It is up to him much of the dilemmas proposed by the plot, more concerned with highlighting the protagonist's friendship and kinship relations, a rent killer determined to end his career.
Keaton's fans, a pact of redemption is a chance to see him once again in action, in a personal "rehabilitation" story, keeping similarities with Glenn Caron's past (1988) brands (1988). There is once again the idea of “exorcation of their demons”, of a character tormented in search of hitting the accounts, in this case with his son's story.
Keaton delivers competent performance, although Al Pacino seems to be inserted in the plot somewhat forced, so brief and utilitarian that his participation is. Regarding the plot, Redemption Pact shows several script facilitators and the development of history is weakened. The police investigation part, for example, is very busy and confused at various times, seeming conveniently to serve the protagonist's purposes.
With moments of intrigue and tension proposed by impasses for the main character, the suspense is also built by the deterioration of memory and the consequent removal of the work of a rent killer. Reflecting on losses and friendships, the film gains symbolic character by seeking in the affective trajectory of the character one of its bases.
Then appears the family drama as a highlight for searching for an outcome. In this development, the police plot is set aside, and the sentimental dimension takes the story. This is how, demonstrating some confusion in its development, redemption pact invests in Knox bonds, gaining in some ways, but no doubt losing in others.
It is undeniable the importance of Michael Keaton to the cinema and his contribution with several remarkable interpretations. In Knox goes away, his second work in the direction, Keaton bets on the thriller/crime drama, dedicated almost exclusively to his character. In addition to it, the production also features participation, for example, of James Marsden (Miles Knox) of the most prominent and who plays Keaton's son; and Al Pacino, as a kind of mentor and predecessor of the protagonist in the criminal organization.
In Knox goes away, a very recurring approach in crime films: the discovery of a terminal illness that leads the protagonist to make attitudes and decisions without major concerns about the consequences. However, differently from Christopher Nolan's Amnesia, although they both share the theme and the obstacles faced by the protagonist, Keaton bets on a more traditional structure, without temporal jumps, relevant puzzles and ellipses: the viewer knows, along with history, of "guilty" and unfolding
In the redemption pact plot, the Rental Matador John Knox (Michael Keaton) discovers having a kind of deteriorating dementia progressing in a rapidly progressing way. Then comes the opportunity to "approach" with his son, Miles (James Marsden), when he knocks on his door requesting help.
As the title translation suggests, the motivator of history is another "redemption" for the construction of this lost "time" relationship, in which father and son discover their similarities when trying to rescue the lost bond. Redemption pact has “time” as a special theme and explained in the first scene, when John, when collecting his belongings, lasts the clock, Leitmotiv for history.
Knox goes away Development bets on the charisma and name of Michael Keaton to engage the viewer in history. It is up to him much of the dilemmas proposed by the plot, more concerned with highlighting the protagonist's friendship and kinship relations, a rent killer determined to end his career.
For Keaton's fans, Knox goes away is a chance to see him once again in action, in a personal "rehabilitation" story. There is once again the idea of “exorcation of their demons”, of a character tormented in search of hitting the accounts, in this case with his son's story.
Keaton delivers competent performance, although Al Pacino seems to be inserted in the plot somewhat forced, so brief and utilitarian that his participation is. Regarding the plot, Redemption Pact shows several script facilitators and the development of history is weakened. The police investigation part, for example, is confused at various times, seeming conveniently to serve the protagonist's purposes.
With moments of intrigue and tension proposed by impasses for the main character, the suspense is also built by the deterioration of memory and the consequent removal of the work of a rent killer. Reflecting on losses and friendships, the film gains symbolic character by seeking in the affective trajectory of the character one of its bases.
Then appears the family drama as a highlight for searching for an outcome. In this development, the police plot is set aside, and the sentimental dimension takes the story. This is how, demonstrating some confusion in its development, Knox goes away invests in Knox bonds, gaining in some ways, but no doubt losing in others.
Pacto de Redenção: Michael Keaton aposta na sua grife
É inegável a importância de Michael Keaton para o cinema e sua contribuição com diversas interpretações marcantes. Em Pacto de Redenção, seu segundo trabalho na direção (o primeiro foi Má Companhia, de 2008), Keaton aposta no thriller/drama de crime, dedicado quase exclusivamente ao seu personagem. Além dele, a produção conta ainda com participações de, por exemplo, James Marsden (Miles Knox) de mais destaque e que interpreta o filho do Keaton; e Al Pacino, como espécie de mentor e antecessor do protagonista na organização criminosa.
Tem-se, em Pacto de Redenção, uma abordagem bem recorrente em filmes de crime: a descoberta de uma doença terminal que leva o protagonista a tomar atitudes e decisões sem maiores preocupações com as consequências. Entretanto, de forma distinta de Amnésia, de Christopher Nolan, embora ambos compartilhem a temática e os obstáculos enfrentados pelo protagonista, Keaton aposta numa estrutura mais tradicional, sem saltos temporais, enigmas e elipses relevantes: o espectador sabe, junto com a história, de “culpados” e desdobramentos
Na trama de Pacto de Redenção, o matador de aluguel John Knox (Michael Keaton) descobre ter uma espécie de demência deteriorante progredindo de forma acelerada. Surge então a oportunidade de “aproximação” com o seu filho, Miles (James Marsden), quando este bate a sua porta solicitando ajuda.
Como a tradução do título sugere, o motivador da história é mais uma “redenção” pela construção dessa relação de “tempo” perdido, na qual pai e filho descobrem suas similaridades ao tentar resgatar o vínculo perdido. Pacto de Redenção tem o “tempo” como tema especial e explicitado logo na primeira cena, quando John, ao recolher os seus pertences, deixa por último o relógio, o leitmotiv para a história.
O desenvolvimento de Pacto de Redenção aposta no carisma e no nome de Michael Keaton para engajar o espectador na história. Cabe a ele boa parte dos dilemas propostos pela trama, mais preocupada em destacar as relações de amizade e parentesco do protagonista, um matador de aluguel decidido a encerrar a carreira.
Aos fãs de Keaton, Pacto de Redenção é uma chance de vê-lo mais uma vez em ação, em uma história de “reabilitação” pessoal, guardando similaridades com Marcas do Passado (1988), de Glenn Caron. Há mais uma vez aqui a ideia de “exorcizar os seus demônios”, de um personagem atormentado em busca de acertar as contas, nesse caso com a sua história do filho.
Keaton entrega uma atuação competente, embora Al Pacino pareça inserido na trama de forma um tanto forçada, de tão breve e utilitarista que é a sua participação. No que se refere à trama, Pacto de Redenção mostra diversos facilitadores de roteiro e o desenvolvimento da história fica enfraquecido. A parte de investigação da polícia, por exemplo, é muito corrida e confusa em diversos momentos, parecendo de forma conveniente servir aos propósitos do protagonista.
Com momentos de intriga e tensão propostos por impasses para o personagem principal, o suspense também se constrói pela deterioração de memória e o consequente afastamento do trabalho de matador de aluguel. Refletindo sobre perdas e amizades, o filme ganha caráter simbólico ao buscar na trajetória afetiva do personagem uma das suas bases.
Aparece, então, o drama familiar como um destaque para busca de um desfecho. Nesse desenvolvimento, a trama policial é deixada de lado, e a dimensão sentimental toma a história. É assim que, demonstrando certa confusão em seu desenvolvimento, Pacto de Redenção investe nos vínculos de Knox, ganhando em alguns aspectos, mas sem dúvida perdendo em outros.
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