お届け先を選択
すべての出品を見る

ザ・ロード スペシャル・プライス [DVD]

5つ星のうち4.3 2,013
仕様
価格
新品 中古品
DVD 1枚組
—
￥1,368 ￥373
DVD 1枚組
—
￥2,329 —
DVD 1枚組
—
￥2,391 —
DVD 1枚組
—
￥3,166 —
DVD 1枚組
—
￥3,687 —
DVD 1枚組
—
￥5,784 ￥3,846
DVD 通常版
—
— ￥792
フォーマット 色, 吹き替え, ドルビー, ワイドスクリーン, 字幕付き
コントリビュータ ヴィゴ・モーテンセン, ジョン・ヒルコート, ガイ・ピアース, シャーリーズ・セロン, コディ・スミット・マクフィー, ロバート・デュヴァル
言語 英語, 日本語
稼働時間 1 時間 52 分
dポイントがたまる、つかえる
アカウントを連携して、dポイントでさらにお得にお買い物 詳しく見る

商品の説明

ヴィゴ・モーテンセン主演、ピューリッツァー賞を受賞したコーマック・マッカーシーの原作を忠実に映画化!
絶望的な世界の中で描かれる父子の深い絆と愛情の軌跡に、誰もが魂を揺さぶられる。

■ヴィゴ・モーテンセン主演!更に圧倒的な存在感を放つ実力派キャストが脇を固める!
■原作はピューリッツァー賞を受賞したコーマック・マッカーシーの全米ベストセラー小説「ザ・ロード」。
■誰もが魂を揺さぶられる奥深い父子の絆と愛情。

【ストーリー】
文明を失い、10年以上経つ。理由は定かではない。太陽は見えず、寒冷化が進み、動物も植物も次々と死滅した世界。
僅かに生き残った人間も保存食を見つけるしか生き延びる手立てはない。
そうしなければ、餓死するか自殺するか、さもなくば、理性を失った人間の餌食になるかだ。
そんな荒廃した道なき道を、“父"と“子"は、寒さから逃れるため、南を目指して歩き続ける。
その道中、父は、幼い息子に、在りし日の世界や道徳観について話をして聞かせる。
今の世界しか知らない息子が、理解しているか不明だが、寒さと飢えで極限になってなお、他人を助けようと務め、善き者であろうと心掛ける。
父は、この天使のような息子を悲惨な現実から守ろうとする。息子は、父に僕が死んだらどうする?と尋ね、父は、お前が死んだらパパも死ぬだろうと答える。
一緒にいられるようにと。それでも、父と子は“世界の終り"を旅する。人類最後の火を掲げ、絶望の道をひたすら南へ―。

【キャスト】
ヴィゴ・モーテンセン/コディ・スミット・マクフィー/ロバート・デュヴァル/ガイ・ピアース/シャーリーズ・セロン

【スタッフ】
監督:ジョン・ヒルコート/原作:コーマック・マッカーシー/製作:ニック・ウェクスラー、ポーラ・メイ・シュワルツ、スティーヴ・シュワルツ/
製作総指揮:トッド・ワグナー、マーク・キューバン、マーク・バタン、ラッド・シモンズ/脚本:ジョー・ペンホール

【特典映像】約27分
● キャスト・スタッフ プロフィール (静止画)
● 予告編+TVスポット集(日本版劇場予告編、日本版TVスポット、US版劇場予告編2種)
● メイキング
● 未公開シーン集
● ヴィゴ・モーテンセン フォトギャラリー(静止画)

登録情報

  • 言語 ‏ : ‎ 英語, 日本語
  • 製品サイズ ‏ : ‎ 25 x 2.2 x 18 cm; 100 g
  • EAN ‏ : ‎ 4907953040199
  • 監督 ‏ : ‎ ジョン・ヒルコート
  • メディア形式 ‏ : ‎ 色, 吹き替え, ドルビー, ワイドスクリーン, 字幕付き
  • 時間 ‏ : ‎ 1 時間 52 分
  • 発売日 ‏ : ‎ 2014/4/2
  • 出演 ‏ : ‎ ヴィゴ・モーテンセン, コディ・スミット・マクフィー, ロバート・デュヴァル, ガイ・ピアース, シャーリーズ・セロン
  • 字幕: ‏ : ‎ 日本語
  • 言語 ‏ : ‎ 日本語 (Dolby Digital 5.1), 英語 (Dolby Digital 5.1)
  • 販売元 ‏ : ‎ Happinet(SB)(D)
  • ASIN ‏ : ‎ B00HF506OI
  • ディスク枚数 ‏ : ‎ 1
  • カスタマーレビュー:
    5つ星のうち4.3 2,013

カスタマーレビュー

星5つ中4.3つ
5つのうち4.3つ
2,013グローバルレーティング

この商品をレビュー

他のお客様にも意見を伝えましょう
カスタマーレビューを書く
Nice and fast transaction and nice item
5 星
Nice and fast transaction and nice item
Nice and fast transaction and nice item
非表示
フィードバックをお寄せいただきありがとうございます
申し訳ありませんが、エラーが発生しました
申し訳ありませんが、レビューを読み込めませんでした

上位レビュー、対象国： 日本

Amazon カスタマー
5つ星のうち5.0 泣ける
2021年2月21日に日本でレビュー済み
Amazonで購入
何回観ても泣ける。
心に炎を持ち続けたいと思う。
4人のお客様がこれが役に立ったと考えています
役に立った
 レポート
Amazon カスタマー
5つ星のうち5.0 Nice and fast transaction and nice item
2020年9月4日に日本でレビュー済み
Amazonで購入
Nice and fast transaction and nice item
カスタマー画像
Amazon カスタマー
5つ星のうち5.0 Nice and fast transaction and nice item
2020年9月4日に日本でレビュー済み
Nice and fast transaction and nice item
このレビューの画像
カスタマー画像 カスタマー画像
カスタマー画像カスタマー画像
役に立った
 レポート
yossi
5つ星のうち5.0 未来は無いのか？
2019年4月12日に日本でレビュー済み
Amazonで購入
言葉で現すのが難しい。
感性で見る作品。
子を持つ親ならなおさら。
1人のお客様がこれが役に立ったと考えています
役に立った
 レポート
zombievsneohuman.blog
5つ星のうち4.0 『THE BOOK OF ELI』『THE LAST OF US』『メランコリア』と本作
2015年1月20日に日本でレビュー済み
Amazonで購入
『THE BOOK OF ELI』『THE LAST OF US』とあわせて繰り返し浸りたい/浸りたくない世界。
生存のための武器もなく、闘いはほとんどすべて逃げること、そして自死することを毎日確認しあう南への道。
父の子への依存があまりにも激しいところにいちばん驚かされる。
南への道の途中で、えんえんと話し合いが続く。対話映画ビフォアシリーズのリンクレイターが、『エレファント』のガスヴァンサントが同じ原作を撮ったらどうなるかと考えてしまう。
『メランコリア』を観直したあと、また本作を観直してみる。
父と子で話しあわれるのは善き人とは、悪き人とは、・・・・ 完成版では削られたかつて存在した鳥の本をめぐっての対話などはない。破滅前の世界についての会話が少い。しかしどう生存していくかの具体的な描写が続くわけではない。ドキュメンタリー『ライフ・アフター・ピープル』で検証されたような世界が詳細に描かれるわけでもない。中心はあくまで父と子の対話と破滅前の記憶の侵襲。想起でなくむこうから毎日、破滅前の世界が毎日、父を襲ってくる。そのおそろしさについては父と子も違うものを感じていると思わせる。
対話しながら、子は疲れはてていつも寝てしまうが、父の子への依存も激しい。
聖書があれ文明は復興する『THE BOOK OF ELI』と違って、神がいない世界で父と子は南へ向かうが、『THE BOOK OF ELI』の主人公のように確信に満ちた強さはない。常に怯えている。そして子が寝た後に、父は子に神をみている。父は子がいなければ大変なことになっていた・・・
内省的なメルにしろ本作の監督にしろ、オーストラリアという地が生む問い続ける者たち。
この監督による、世界の刑務所に取材した映画『亡霊の檻』(『Ghosts... of the Civil Dead』)を一刻も早くDVD化してほしい。そしてこの監督にはウエルベック『ある島の可能性』の映画化にも挑んでほしいとも。
父は子に常に神をみていたが、未来の子どもたちとどう対話していけばいいかが観終わった人すべてにのしかかる。正直その対話がおそろしい。その問いかけは無意識下に沈んだとしても鈍く残り続けてしまう。
やっかいな映画。困ってしまう。
4人のお客様がこれが役に立ったと考えています
役に立った
 レポート
特攻隊長
5つ星のうち5.0 感動する洋画
2017年1月3日に日本でレビュー済み
Amazonで購入
父と子が崩壊した壮絶な世界を生き抜く物語です。

最初のシーンで泣けました。無我夢中で食料を捜索したり、父が子を守る為に必死で人喰い人族に立ち向かって交戦したところが良かったです。

自然災害で危険な地帯から身を削ってまで子を抱き抱えて身を守る父のシーンは必見です。

子が他人に食料を分け与える優しさや、父が子の為にこれから生き残る為にに必要な事を真剣に教える父の言葉にも納得しました。

「パパはもういないんだぞ！これから先、一人の力で生きていかなきゃ駄目なんだぞ！」と心からジーンときます。

もう自分の命が尽きるのを知っていて心身になって父なりの思いやりの言葉を授けたんですね…。

全体的に重く暗くなる話ですがこのようなサバイバルな世界を拝見してみたい方にお勧めです。
4人のお客様がこれが役に立ったと考えています
役に立った
 レポート
にき
5つ星のうち3.0 う～ん微妙
2018年8月4日に日本でレビュー済み
Amazonで購入
悪くはないが、なにか足り無い
終始暗く、いやそれでもなにか訴えるものがあれば良いが・・
父子の旅であったのに、最後に他家族の母親が手を差し伸べるのが、なんとも中途半端な気持ちにさせる
1人のお客様がこれが役に立ったと考えています
役に立った
 レポート
Amazonカスタマー
5つ星のうち5.0 薄っぺらい映画を期待する人には無理
2019年7月6日に日本でレビュー済み
Amazonで購入
終末にただドンパチやったりヒーローが現れたり「〇〇はこうでなきゃおかしい」みたいな薄っぺらなことを期待する映画ではないです。
10人のお客様がこれが役に立ったと考えています
役に立った
 レポート
Sign
5つ星のうち1.0 バカ映画です。
2019年11月7日に日本でレビュー済み
Amazonで購入
空には暗雲がたれこめ、気温は下がりつづける。
目前には、植物も死に絶え、降り積もる灰に覆われて廃墟と化した世界。
そのなかを父は寒さから逃れるため、全裸で滝壺に。
掠奪や殺人をためらわない人間たちの手から逃れ、わずかに残った食物を探し、座礁した船に向かって10月の寒冷化した海を泳ぐ――。

原作は名著なのだけども、
雑に映像化されると父の言動が子に対する児童虐待みたいになってて笑えない、
或は笑っちゃいけない類のバカ映画に。
初見なのにうんざりして度々早送りを使ってしまった。

「お金は兎も角、時間を返してほしい」というのが私のこの作品に対する印象である。
6人のお客様がこれが役に立ったと考えています
役に立った
 レポート

他の国からのトップレビュー

すべてのレビューを日本語に翻訳
Freddy Castillo O.
5つ星のうち5.0 Excelente calidad
2023年7月4日にメキシコでレビュー済み
Amazonで購入
El producto es de muy buena calidad y, además, lo cual es lo más importante, la película es preciosa
レポート
JFL
5つ星のうち5.0 Buena edición
2024年2月19日にスペインでレビュー済み
Amazonで購入
Muy buena calidad de imagen y sonido
レポート
Willinside
5つ星のうち5.0 ANALISI DI UN GRAN BEL TITOLO SENZA SPOILER
2021年2月6日にイタリアでレビュー済み
Amazonで購入
Visto prima su prime video e poi acquistato. È un film classificato azione-fantascienza-drammatico che di azione non ha quasi nulla, di fantascienza quasi nulla in realtà, risultando quasi del tutto drammatico.
Tratto dal famoso libro, il racconto si districare e prende le mosse iniziali da situazioni trite e ritrite che mettono il pubblico di fronte al terrore di vedere la solita cosa su zombie, apocalisse, fine dell umanità, ecc... Che per quanto possano piacere come genere ormai ne hanno un po abusato.
SENZA SPOILER posso dire che, nonostante. Le premesse, si tratta di un bellissimo film che oserei definire sentimentale drammatico che analizza il sentimento di un padre per un figlio (e alla fine viceversa) in un epoca che non lascia spazio ai sentimenti,dove il mondo è in rovina e l umanità sta sparendo.
SE NON RICORDO MALE, AL FESTIVAL FILOSOFICO di qualche anni fa, il sociologo Recalcati citó questo film a sottolineare non solo il rapporto padre/figlio, ma anche quello che definì in un libro il complesso di Telemaco. Opera anch'essa molto interessante per ampliare il proprio orizzonte.
Tornando al film, consiglio la versione blue ray che eleva un po la qualità video che su prime video è pessima (360p, sono sicuro).
Un titolo da avere e rivedere a distanza di tempo che ci ricorda quanto, questa nostra epoca che banalizza i sentimenti o li straccia in scorci televisivi in cui i panni sporchi non si lavano più in famiglia, a volte sia importante ricordarci che tutti noi abbiamo un cuore o, se non consapevoli, prima o poi ne dovremo usare uno.
3人のお客様がこれが役に立ったと考えています
 レポート
J. L. Sievert
5つ星のうち5.0 Miserable future
2019年8月19日に英国でレビュー済み
Amazonで購入
The star of most apocalyptic films is the apocalypse, seen and examined in detail, the how, where and why of it ever-present, inescapable. The world lies in ruins because of it, the central event that determines or influences all others that follow. It’s a haunting, a nightmare that doesn’t go away even when you wake up.

Depressing to be sure. We loved the world and the things we made in it. We loved the lives we had. Life was rich in splendour, in natural wonders and cultural beauties. Civilization was good. We felt secure in it. It seemed permanent, built to last. But this was a grand illusion, a castle made of sand.

The scientists warned us. They told us about habitat loss, acid rain, ozone depletion, melting glaciers and ice caps. They said we were to blame. Our ideas and activities were destructive. The Industrial Revolution, once adored by us, was a disaster. The earth had gone through five major mass extinctions in its 4.5 billion-year history. Now we have kickstarted the sixth mass extinction: resources dwindling, pollinating insects dying, air and water polluted, temperatures rising, deserts spreading, tides rising, food running out. Ecocide is the word for it, the crazed destruction of natural and living things. But it’s all so strange. We believed in the promise made to us by civilization, the dream of progress and prosperity.

Gone now. All of it here in this drama, including those dreams and promises.

A young nameless boy of about 10 is trying to survive in this broken, apocalyptic world. He’s not alone. He’s with his father, a nameless man he calls Papa. His mother is gone. She lost hope and her mind. She walked into the void one night. Just walked away from everything — son, husband, family cabin, hope, belief, struggle — and disappeared. She’s dead now, in a place or state she wanted to be. The husband pleaded with her, begged her to endure, but she had mentally come to the end of her tether. Now all that mattered to her was the deep sleep of forgetting and oblivion.

So they are alone, this boy and man. They haven’t got much but they’ve got each other. Love is the thing that binds them. When it goes all is lost. So they carry it like fire — fire as light, warmth and solace. Fire in fact was one of mankind’s first tools, so maybe the story here in Cormac McCarthy’s telling of it is circular, a kind of homecoming, man starting out with fire and ending with it. The film is based on his book, which is a kind of imagined autobiography, the boy in the story his own son by way of inspiration. McCarthy can imagine doing what this man and boy in the story do when the past is obliterated, their way of life destroyed.

The boy was born in the family cabin in the woods some time — a short time, it seems — after the apocalypse. His mother didn’t want the birth. In normal times she would have welcomed it eagerly. We see her in flashbacks in the mind of her husband. The sun shines, flowers bloom, flying insects buzz. She lies in the grass in her summer dress, her body beautiful, her face smiling.

But now? This world? What future for the child? These thoughts make her miserable, unstable, suicidal. Other families have done it, just put the gun to their heads and pulled the trigger. But her husband is adamant that it’s no way out. The boy was born. He lives. He must be loved and protected. He is the bright future, whatever that can be.

Papa never falters in his love and protection. The boy has become his world, especially now that his dear wife is gone.

Where can they go? What can they do? Before she disappeared the mother said, “Go south. Keep going. You won’t survive another winter here.”

They do that. Travelling is dangerous. Gangs of armed vigilantes roam the land. They look for the vulnerable, especially children. They kill and eat them. That’s what man, or some men, are reduced to — cannibalism. So every move the man and boy make must be well considered, watchful, cautious.

They travel with a shopping trolley, in it blankets, sleeping bags, a tent, other supplies. They forage as they go, finding and eating what they can. This post-apocalyptic world has turned back the flow of time, making this man and his child hunter-gatherers.

What does the boy know about the pre-apocalyptic world, the world that existed before he was born? Only what his father tells him and what books they find can say. One day the boy asks his father about crows. He has never seen one. Perhaps none exist anymore, at least not here, not in this part of devastated America. But he’s fascinated by how they look in a picture book. This is how he learns — from hearsay, from stories. He is part of the new oral tradition, a tradition like the pre-literate old one. He will learn from what he’s told and experiences.

Encounters with others form the tensest parts of the drama. No stranger is above suspicion. The unknown is bad until proven otherwise. There are no friends in the world anymore, just desperate people who will stop at almost nothing to go on living.

This makes the man, father of the boy, desperate too. He has a handgun, although only two or three bullets remain in the chamber. He treasures those bullets, that gun. They give him a limited sense of power and security. If he must kill he will, and there are times when he comes very close to doing it. He teaches the boy that the gun is his friend too, a last-ditch means of survival. The man is thus preparing the boy for a time when he may no longer have a father. He is teaching him how to survive in a desperate and dangerous world.

But there is one stranger, early on, who turns out to be good — an old man called Eli (played beautifully by the great Robert Duvall). Eli has lived through the wars and lost everything. He had a boy once too but has him no longer. The pain of that loss is so intense he can’t talk about it to anyone. They sit round a campfire at night. Eli looks lovingly at the boy as he cuddles up to his father near the fire.

Children are scarce in the world now. They have not survived. It’s like the Black Death. The apocalypse takes the weak and vulnerable first. So Eli views the boy with admiration. He respects the father too, though he doesn’t put that feeling into words.

What will happen to Eli? The same thing that happens to all of us. But the end for him will probably come sooner than for the man and boy.

There is no need to narrate the story further. The man and boy have more encounters, but these should be seen, not read about. Yet there is one final thing I can say. Although most of the people still living are desperate, grasping, selfish, not all are this way. Love and protection exist with others, not only with the boy’s father. This fact will come to have consequences for the boy.

How can such a depressing film be redeeming? By what it shows: so much of what we stand to lose, so much of what we need to preserve. Our economics and politics are dysfunctional. They continue to fail because they’re short-sighted, unimaginative, deluded. They are also irrational, totally mad: profit driven, growth oriented, unlimited expansion in a world of limited resources.

‘Homo sapiens’ means wise one in Latin, a name given to us by us. That figures, irony being what it is. At any rate, Gaia will have the last laugh, though the situation is hardly laughable.

The Extinction Rebellion starts now. How are you doing your bit? This revolution, if it comes off, will be far more powerful than the French one. If it does not, the film under review here is a grim vision of our miserable future.
36人のお客様がこれが役に立ったと考えています
 レポート
Olaf glad and big
5つ星のうち5.0 The Road: Book, Movie, Story
2010年5月26日にアメリカ合衆国でレビュー済み
Amazonで購入
I recommend this film. The film is not the novel which is a beautiful prose poem. But the cinematography, in dvd or blue-ray, dazzles the viewer. The acting deserves awards. Near the beginning of the film I think the director shows footage he took at the site of Mount Saint Helens. But for me, the story pulled me in. I saw the movie first and then read the book.

Rent or buy this film. If you think the premise impossible, check a Scientific American article called, "Nuclear Weapons in a New World", about limited or small nuclear exchanges such as between India and Pakistan. Such a confrontation could kick up enough dust to block the sun around much of the world, decreasing the oceanic plankton growth, for ten years.

The film version of The Road is a modern post Armageddon folktale with unlikely but necessary plot limitations, such as a scarcity rather than a total lack of food. Like many of you, I thought about how even canned food would go bad within a few years and most other food, processed or not, would rot before the story gets to where it starts. The implausibility of the story in no way detracts from the story. People have suspended their disbelief while reading or hearing stories for thousands of years. The search for food propels the plot from one scene to the next, allowing the story teller to do what he wants to do and tell his story.

As in science fiction, a cousin genre to this story, this is a story about the present. As the fish, plant life, animals other than humans, die at a very fast pace around this planet Earth, more every day, we all might be characters in this story. Today, humans judge one another very strongly, and quickly, to be bad people, if not dark and evil. We see a predator around every corner. Our families are separated from other families and individuals are separated by ideas and beliefs. There may be seven billion people in the world but friend is lining up against friend, ideas are lining up against ideas. One billion people, more than there were people in the world one hundred and fifty years ago, live close to starvation around the world today, including in the United States of America. Rich or poor, although we need to protect our children, many of us believe we need to protect our children from other people and other ideas.

Without going too deeply into the story for those who want to read or watch it, Cormac McCarthy spell bounds the reader or listener with his character development of a father and his son trying to survive in a world where they need to feel some purpose and meaning by inventing goals, such as traveling south or to the ocean, without knowing whether going south will help their circumstances in any way. In a world where most of the human race and most animals have died because of some vague catastrophe, this father wants, rather than needs, to raise his son. (The book gives more clues about the cause of the planetary wide mass extinction of life on Earth.) Even his mother could not dig deep enough inside herself to want to go on living in a world without enough other people and without a society holding people together. No social system exists any longer to tell anyone what is right or wrong, good or bad, or good and evil. The boy's father finds books to teach his son to read in a world that does not include humans in its future. The father passes his message of civilization onto his son the only way he can. While telling his son about a world with a community of people, the two of them live separate from the few other people alive in the world who are broken down into either the good people or the cannibals. As the plot progresses, this dichotomy of good and cannibal blurs. The boy rarely sees any other people. When he does, they are starving and trying to survive the only way they know how. Sometimes they don't behave so well. If they eat other people, they are called cannibals. The final scene in the story, after the father dies, shows the boy reaching out to others.

There are other scenes earlier where the boy reaches out to an old man and another where he reaches out to the first other boy close to his own age he has ever seen. His father grabs him and stops him from communicating with the old man and tells the boy not to hold his hand. For one evening, the father shares some food and conversation with the old man. But the father believes getting attached to another human being is too great a risk. The next morning he tells the old man to go his own way. The father believes he cannot afford to trust anyone. When the boy, by chance, sees another fearful boy walk by, he chases him only to have his father stop him. The boy wants to bring trust back into the world and associate with other people. Before a child is ten years old, he will play with any other child, until his parent tells him he does not want him playing with a child who has cancer, cerebral palsy, autism, a different color skin, a different religion, a different nationality, a parent with liberal ideas, and the list can go on for pages.

But, the boy does learn a story about people being good to one another, from his father, that he can pass on to others in spite of the fact that every waking traumatic moment is a horror to the father and this is the only world the boy knows. Cannibalistic groups of men and women hunt other humans for food and a violent death is an ever present fact throughout the story. The reader or viewer needs to suspend disbelief once again. Young children growing up with Europe as their playground during World War Two learned a different lesson while they scrapped for food in and out of the towns. But such children still had a world of people out there, not participating directly in the war, holding the infrastructure of society together. McCarthy gives this boy no such world. Yet, with one insect finally flying by our protagonist, the viewer feels hope, if not for humans, then for life on the earth.

And this is where we the reader might notice something. If you saw or read McCarthy's story No Country for Old Men, you might remember something about someone mentioning carrying the fire in the horn. Once again, in this story the characters pass on the fire from one generation to the next. This is what the father does, the son learns to do, and Cormac McCarthy continues to do.

This is a story about the present. This is not a story about the future.
18人のお客様がこれが役に立ったと考えています
 レポート