Watch Online Hollywood Horror Movie The Lovely Bones Download Free Trailer Review Photos Cast Crew

The Lovely Bones English Horror Movie 2009

Cast And Crew

Starring: Charlie Saxton, Nikki Soohoo, Saoirse Ronan, Michael Imperioli,
Stanley Tucci, Susan Sarandon, Mark Wahlberg, Rachel Weisz
Director:Peter Jackson
Writers::Peter Jackson, Philippa Boyens, Fran Walsh
Studio:Paramount Pictures
Genre:Drama, Horror
Release Date:December 11th, 2009

The Lovely Bones Hollywood Movie Synopsis :

On her way home from school on a snowy December day in 1973, 14-year-old Susie Salmon is lured into a makeshift underground den in a cornfield and brutally raped and murdered, the latest victim of a serial killer - the man she knew as her neighbor, Mr. Harvey. From heaven, Susie keeps watch over her grieving family and friends, as well as her brazen killer and the sad detective working on her case.Watch online Movie Trailer free The Lovely Bones Hollywood film.The film Directed by Peter Jackson .
An adaptation of the Alice Sebold best-selling novel, "The Lovely Bones" tells the story of Susie Salmon, who is murdered, but continues to observe her family on Earth after her death. Although she is detached from the world she once knew, Susie witnesses the impact of her loss on her loved ones, whilst her killer skillfully covers his tracks and prepares to murder again. In a tone that is both emotionally truthful, and darkly humorous, Susie tries to balance her desire for vengeance against the love she feels for her family and her need to see them heal; and ultimately comes to understand that the concept of family can encompass both the living and the dead.
Based on the critically acclaimed best-selling novel by Alice Sebold, and directed by Oscar® winner Peter Jackson from a screenplay by Jackson & Fran Walsh & Philippa Boyens, The Lovely Bones centers on a young girl who has been murdered and watches over her family and her killer from heaven.


She must weigh her desire for vengeance against her desire for her family to heal. Oscar® nominee Mark Wahlberg and Oscar® winners Rachel Weisz and Susan Sarandon star along with Stanley Tucci, Michael Imperioli and Oscar® nominee Saoirse Ronan.

The Lovely Bones Hollywood Movie Reviews :

The trick to The Lovely Bones, what made Alice Sebold's novel such a sneaky and elegant heartbreaker, is its matter-of-fact acceptance of its wild premise. It's all there in those two concise opening sentences: "My name was Salmon, like the fish; first name, Susie. I was 14 years old when I was murdered on December 6, 1973." There's room for sentiment in Sebold's novel, particularly near the end, but it's all presented in the almost-exasperated way a teenager might. Here is my crazy story. Make of it what you will.
What Peter Jackson has made of it, in his filmed version of The Lovely Bones, is a fantasia of colors and sound and cinematic motifs that pile on top of Susie's story and add absolutely nothing to it. Instead of carefully selecting strands from Sebold's sprawling novel, Jackson wanders around seemingly at random inside it, losing track of nearly every human story thread while spending indulgent minutes in Susie's heaven, a place that sometimes expands on her personality but more often resembles a generic computer desktop background. The film is a triumph of visual imagination over any story or substance, over-directed and over-acted and completely absent a beating heart.

While the book is told entirely in flashback after Susie's death, the film pauses in prologue to introduce us to the Salmon family: devoted and geeky dad Jack (Mark Wahlberg, miscast), mysterious mom Abigail (Rachel Weisz, underused), boozy Grandma (Susan Sarandon), and three kids, with Susie (Saiorsie Ronan) the oldest, then Lindsey (Rose McIver) and four-year-old Buckley. Susie is killed on her way home from school by neighbor George Harvey (Stanley Tucci), an oddball hobbyist who has meticulously built an underground hut in which to lure Susie, pressure her with his adult authority, then rape and kill her.
After a brief purgatory-esque visit with Mr. Harvey following the murder (not in the book, and utterly unnecessary), Susie is transported to heaven, where another little girl named Holly (Nikki SooHoo) accompanies her on whatever adventures they can imagine. Still, Susie is attached to earth, and watches as her father and sister become obsessed with finding her killer, her crush (Reece Ritchie) and a gloomy school friend (Carolyn Dando) grow closer, her mother drifts from the family, and Mr. Harvey continues living his lonely life undetected.
Jackson seems to be presenting the film as a murder mystery, as Susie futilely tries to encourage her sister and father to find her killer, and Mr. Harvey meticulously covers his tracks. But when vestigial, practically abandoned threads from the book aren't getting in the way-- Abigail's abandonment of her family, the entire character of Detective Len Fenerman-- Susie's heaven is. Packed with mountains and streams and trees that turn into birds, her heaven is spectacular but meaningless and constantly shifting. Sometimes scenes from earth show up in front of her as in a play, and other times giant symbols from her life hover in the distance; sometimes she believes she can change events on earth or even revisit it, and others she's insisting that she's powerless. Though she's the first-person narrator in the book, her presence in the movie feels almost pointless, and her struggle to accept her role in heaven feels very out of place with Jackson's horror movie treatment of the events back on earth.

It's hard to see the fluid storytelling and easy humor of the Lord of the Rings films in this movie, but The Lovely Bones is unmistakably Jackson's film, and rarely does he let you forget his presence behind the camera. Simple scenes are rarely unaccompanied by a flourish of sound or camera movement, and any time Jackson wants the audience to notice something-- a charm bracelet in the corner, a connection between two seemingly unrelated characters-- the point is pounded home with three or four cutaway shots. Clearly there's an attempt at subjective filmmaking here, allowing us to feel everything as intensely as Susie does trapped in her heaven, but the result simply panders to or entirely alienates the audience. By the end of the film it's impossible to tell who Susie is or what she wants-- she insists out loud several times that she's more than just "the dead girl," but any moviegoer unfamiliar with the book will find it impossible to see anything else in her.
The handful of moments that work in the film, like a montage of Susie playing around in heaven or Mr. Harvey's creepiest scenes, are quickly forgotten in the shambling narrative, and when the film wraps up in what's supposed to be triumphant closure, you barely feel that you know these people at all. A movie simply can't have the same lived-in feel as a novel, but all of Jackson's attempts at replicating it fall entirely flat. For fans of the novel, The Lovely Bones isn't just a misfire, but a sad, pale replication of something that should be elegant and deep.
There are great visual directors working in films and Peter Jackson is certainly one of them. But, for all his legendary work, he lacks the gene for self-editing. He just falls in love with his creations of beauty and lingers for days. Okay, minutes. It's as though he knows he's got you trapped inside his dramatic framework and now wants you to absorb the greatness of his work so that you'll never forget it.
He did this throughout his wonderful "Lord of the Rings" series to the detriment of natural story power. Its ending, in "The Lord of the Rings: The Return of the King" becomes ludicrous in its extended romanticism until Jackson could finally let go and say bye, bye. One can easily picture him going into withdrawal after concluding the series and as the reality hit him that there would be no more daily call sheets.
So, it's no wonder that, for a delayed followup, he'd gravitate toward material that could give him the chance to use the technology that he has such command over. In order to do so, in the style to which he's accustomed us, though, he took an "almost coming-of-age story" that became a consumation-of-life story and made it surreal, which gave him the freedom to envelop us in unlimited dreamscapes, shifts of scene and segues a director dies for.
One wonders, though, if it was such a good idea to adapt a story with such a dark example of human depravity as a child murderer in order to create visual wizardry. Predictably, he spends time, detail and laborious creativity into something that would be better told with far greater economy. Wallowing in your own talent comes at a price.
Fourteen-year old Susie Salmon (Saoirse Ronan, ("Atonement") narrates in her essentially carefree, breezy manner, taking us through the settings of her life. We meet her beloved parents Jack and Abigail (Mark Wahlberg and Rachel Weisz), her younger sister Lindsey (Rose McIver) and pre-teen bro' Buckley (Christian Ashdale). A good family. Solid. But, when she refers to her "murderer" it comes like a bolt from the blue. Just as intended.
Yes, this girl is dead. Or, almost dead. But she's not speaking to us from the grave so much as from a limbo quarter that exists between life and death. And this gives way to a dimension only a CGI artist can love and tickets Jackson for another long ride with his CGI homies.
The pallette on which Jackson applies his abundant imagination stems from Alice Sebold's best-selling novel. While the convention of a dead girl's spirit talking to us from heaven may seem fit for the written word where the reader's imagination is in play, turn it into a movie and the pictures you see are not those in your mind's eye, they're in the filmmaker's.
The results are as spectacular and over-extended as a "Ring" fan might expect. Susie's romp through her lush but painful limbo is accompanied by a score of constantly morphing, changing images much like those of a very vivid dream. It's idyllic to morose, light to heavy, brilliant, then dark. As Susie recalls what she experienced, gloom descends. As her parents refuse to break their tie to her, her path reverses course. This back and forth is milked by writer-director Jackson until it's rancid.
When he deals with the murderer--George Harvey, a neighbor whom the Salmons hardly think about--the story becomes so grossly horrid we almost can't stand the concentration on more detail than we ever thought we could assimilate in terms of the horror it aims for. Parents take note: if you were thinking your teenager would love this story of a teenager, think again. You might not want to expose your kids to the fear and disgust over sociopathic madness so excruciatingly brought to life by Stanley Tucci.
What Jackson wants to impress us with is prolongued and comes in a repetitive pattern. A two-hour film that would have benefited by thirty minutes less. A second-half that diminishes the first.
Eventually, the strength that the cast shows in their roles as a family is worn away in a tide of stereotype--and just when I was going to admire Wahlberg for his paternal role modeling, and remark on how beautiful Weisz is in her domestic duties. Susan Sarandon, as a grand mom who can shake it and shake up the household at will, provides the comedy relief, which is hard to come by with subject matter of such horrendous proportions, and she throws caution out the window as though she thinks it's better than cleaning it.
Ronan claims the spirit needed for all this and runs with it for all she's worth. We take pleasure in her lively disposition and lack of artifice from the get go. She sells the cheeriness with which the girl describes the horrific without making it seem like an off note. When she wrestles with the curiosity the neighbor man creates, while being pulled toward home because she's late for dinner, she evokes great sympathy for others of her age who have succumbed to predatory adults. Her range is further on display as she goes through dutiful changes while trapped in her celestial surreality.
Small wonder, then, that her performance here has created a buzz in terms of an Oscar nod. My take is that she's a worthy candidate for one, is likely to earn one, but won't win her category because of her age and the long, distinguished career she's laid for herself in these "Bones."
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