Spidersecu Don't Believe the Hype

Infamousta brilliant actors, brilliant editing

Organnall Too much about the plot just didn't add up, the writing was bad, some of the scenes were cringey and awkward,

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Leofwine_draca Is it possible for Werner Herzog to shoot a documentary that ISN'T interesting? So far my answer would be no; INTO THE INFERNO is every bit as thoughtful, idea-provoking, and thoroughly engaging as the rest of the director's output that I've had the pleasure to watch. This one's all about volcanoes and is a follow-up of sorts to ENCOUNTERS AT THE END OF THE WORLD.Herzog once again craftily mixes a variety of elements to keep this documentary fast-paced and eventful. There are the usual oddball characters acting in eccentric ways while others tell tragic stories and various slice-of-life stories. There's a travelogue aspect with globe-trotting in the Caribbean, Pacific, Japan, North Korea, and Antarctica. Herzog's voice may be softer now that the years advance, but he remains insightful and a pleasure to listen to. The footage of magma lava flows is incredibly beautiful and certainly the best you'll ever watch. As ever, this Herzog is a pleasure to watch.

omdawe I live in Indonesia and i want to learn more about volcanoes and how they work but this movie is 99% about people and their prescriptions of life and 1% about volcanoes so i felt i it was a wast of time.When Werner was narration is so boring i felt like i wanted to give him a energy drink or a coffee!The movie still it got some amazing footage, but so horribly made in every sense!Its not educational any way, more then what people thinks of Volcanoes so i just Werner own vlog!The name of the movie could be "People Prescriptions of Volcanoes"

BlueFairyBlog Werner Herzog is a captivating man who has grand pursuits and a varied set of interests. He has made many films since his breakout hit, "Aguirre, the Wrath of God," in 1972, and all of them have either been exceptionally interesting, complex, fantastical, or illuminating in nature. Herzog makes both fiction and non-fiction films that deal with issues as diverse as colonialism, the savageness of the wilderness, ecological disasters, opera, and ski flying. With his newest film for Netflix, Herzog once again shows us that fascination is an oft neglected but empowering feeling that can be applied to numerous aspects of life. He starts us off with the topic of volcanoes, but he becomes much more fascinated with humankind at large, evidenced by his own reticence to even get close to a volcano.Herzog reels us in with the help of Clive Oppenheimer, a Cambridge University volcanologist that he had previously worked with in the documentary, "Encounters at the End of the World," which was a film about Antarctica. Oppenheimer is a playfully compelling, if timid, guide into the world of volcanoes. He and Herzog travel the world and study volcanoes in Indonesia, Iceland, North Korea, and Ethiopia. At each of these junctures, the cultural importance of the volcano is made the fixture of the film, rather than focusing on hard science. The peoples of these regions all seem to be in awe of volcanoes, and either have a deep fear or respect for what it's capable of. In Ethiopia, a nearby volcano is the key to finding fossils of Paleolithic hominids, the rarest of human fossils. In North Korea the region's fierce patriotism is linked with its local volcano where the leaders Kim Il-sung and Kim Jong-Il once stood, proudly displaying to their nation that they were strong and resilient in the face of outside vitriol.Though some of these excursions seem to undercut the fact that this is a film about volcanoes, this film never bores its audience. Between the panoramic shots of tropical foliage and the drone sequences that pan across villages and volcanoes alike, this is a feast for the eyes. There's a great contrast between the beauty of these regions and the oft-confusing shots of the magma that these ruptures expound with horrifying regularity. The inner regions of volcanoes look both like fire and water, and the magma often looks pitifully tame when it moves slowly down a mountainside, though it is actually a most dangerous force that will destroy all in its path. Herzog talks a bit about a couple who were volcanic photographers and were eventually killed by a fast moving cloud of volcanic ash (at 100 mph). While this tidbit is unprompted, it proves to be yet another interesting facet of these quaking mountaintops. Herzog finds many ways to look at these geographic forces, which can be seen as either benevolent or destructive in power.

tobias_681 You might think that this is a documentary about volcanoes… in which case you wouldn't be wrong. However you have to keep in mind that this is a Werner Herzog documentary about volcanoes. Herzog is not so much interested in the facts about volcanoes (I'm sure he'd tell you to read a book if you want facts) but what volcanoes can tell us about ourselves and about us as a species. So how does he do it, you might ask. Herzog reaches very far back, very far, in fact right back to the dawn of man – through an archaeological expedition in Ethiopia that aims to uncover a complete skeleton of such an ancient human beneath the blazing sand. And indeed Herzog captures something prehistoric with this documentary; amidst our digital age which often tricks us to believe we've conquered nature, he renders man once again so incredibly small and fragile against the (in contrast) everlasting thermal forces of the earth. Herzog explores this feeling of impuissance by traveling to tribal communities in the Pacific and by exploring the state of North Korea and the oppressive, propagandistic cult around their leaders (with some at times truly fantastic footage, you have to keep in mind that it's almost impossible to get a permit to film there). In both communities a volcano plays an important role and Herzog expresses multiple times his interest in how volcanoes "create new gods", once again questioning the permanence of our culture which we so often take for granted. In the end what makes this movie so special is that it's surprisingly contemporary despite being about a phenomenon (volcanos) that is almost as old as the earth itself and that Herzog found new ways to once again render the Vanitas motif from medieval times vividly alive. Herzog reminds us that even today with all out technological progress, we are still small, fragile animals against the mighty forces of nature. Memento Mori, they said in the Middle Ages, remember that you have to die. Some have commented that the film is really shattered; however I'd argue that it's actually really focused on its theme. Don't expect my review to follow the film chronologically though, it takes it's very own spins and turns. And don't expect the film to be sad, it's actually quite witty and filled with funny ironies. Likewise it assembles a large array of different great and fascinating footage from all around the world. However I'd still like to leave you with a famous old poem from one of Herzog's fellow countrymen (which I'm convinced he knows as well), here's Friedrich Hölderlin's "Hyperion's Song of Fate" (be sure to read it in its original German form if you speak the language):Up there you walk through the light on delicate grounds, Elysian Spirits! Shimmering breezes of Gods touch you as softly as the hand of the harpist touches her sacrosanct strings.Unencumbered by fate, like a slumbering newborn, are breathing the heavenly dwellers; chastely protected by a bud unassuming flowers for them eternal the spirit and their hallow'd eyes shine in serene clearness forever.But to us it was given never and nowhere to rest: we suffering humans vanishing, falling blindly from one hour to the next are thrown like the water cliff down to cliff, yearlong into the unknown abyss.