Haven't read the book. Avoided reading anything relating to the film. In fact I wasn't even going to bother seeing this one in theaters if it weren't for free tickets. The work of David Fincher in the 21st century doesn't really connect with me, or rather it leaves me as cold and emotionally devoid as the characters that interact in his films.
Much like Fatal Attraction or Audition or Hard Candy before it, I leave Gone Girl suspicious of females. I've met a few that are as manipulative as Rosamund Pike's Amy but none were as perfectly mastermindful. And that is the true highlight or revelation of this film--Pike's performance. Her debut as a Bond Girl in Die Another Day did not have the immediate impact on her career that such a high profile role might typically bring. The twists were predictable but they weren't really the focus as much as the great acting. Even Ben Affleck with his Batman pose was intentionally wooden which I guess counts as a good performance.
The score by Trent Reznor & Atticus Ross is present in nearly every scene and is a continuation of their prior two collaborations with Fincher. I loved their work on The Social Network and thought it did wonders to elevate a well-written and well-shot film. However, it sounds like they took a few cues from the "Facebook Movie" and Dragon Tattoo and slightly remixed them to become rather obnoxious once you realize its presence (especially near the end).
Overall, I wouldn't say I enjoyed it nor would I say I hated it. It was interesting and I hardly noticed the two and a half hour runtime (my theater suffered from a few technical problems which hurt the pacing and flow of the movie). It's not Fincher's best nor his worst (I refuse to list either as it is obvious to each individual where they stand in that regard), but it is quite a rare film for mature audiences especially among all the comic book and mindless actioners that are ever so popular.
Either Terry Gilliam makes kids movies for adults or adult films for kids. The world in Zip-T is a big kid playground. Lots of toys to play with but our "hero", Q, is only focused on what he doesn't have--meaning. Sort of like Gilliam's latest. The lack of meaning isn't a fault of the director nor the actors, they are all operating at 93.7814% of their potentialities. Most of it falls on the presumably original screenplay of first-timer scripter, Pat Rushin. Clearly inspired by, among other things, Gilliam's own masterpiece, Brazil, Rushin fails to say anything that I haven't already contemplated or discussed with others. But bringing my own personal experience shouldn't strike against the film. It is intriguing and most viewers might from more than one view, although that is unlikely in today's world with multiple distractions vying for our attention. I suspect the rather extremist reactions to this film (either-"we love it!" or "I absolutely loathe it!") are coming from people who miss the point entirely or rather haven't taken the time to peel away the layers of meaning.
If I saw this a few years ago, before going through my own existential crises, perhaps I would view this as a revelation but alas I can only be struck by the realization that Mélanie Thierry needs to be in more movies.
The Coen Bros. first film serves as a template for everything that they make after. The inept faux-criminal, silence, a machine that turns material into base form, a damsel in distress, a farm field, staring at the ceiling, witty dialogue, large amounts of money that goes missing.
Perhaps it was the brilliant performance from everyone on camera. Maybe it was the directorial style that featured numerous close-ups. Or it could be watching this forgotten gem on the biggest screen via a 35mm print that made me realize about halfway through that there was no plot, and by the end credits, I had such a great time that I might have to rank this among one of the most watchable plot-less films I have ever seen. It makes you wonder how Elliott Gould and George Segal were ever marquee actors and what happened to their careers after the seventies were over and makes you thankful for Robert Altman and his brilliance.
The perennially subversive Tramp is a Communist rabble rouser that loves blow and foiling prison escapes. As well as stealing the hearts of beautiful street urchin dames.
I am not a big fan of so-called "3D" movies but this was one that is necessary to see in the over-hyped format. If you have read the source material, this is nothing more than just a live adaptation of the graphic novel. The visuals are stunning and will only work if you see on the biggest screen possible. The acting is as good as such a cliched-ridden story can be. The performances are not over-the-top but not full of cheese either, they are true to the characters that Frank Miller created with his story. Everyone has their own favorite Sin City story and this was probably my second favorite after "Hell and Back."
Either an irrational-rational fear or a rational-irrational fear.
What can even be said about this nearly forgotten Kurosawa-Mifune-Shimura collaboration? It captures a very real concern, that even sixty years later is still relevant.
I just came from a screening as a part of the 69th anniversary of the bombing of Hiroshima and as much as I want to write something intelligent of the film, I can't. The last time I felt so emotionally distraught was after Grave of the Fireflies. How dare those Japanese make such emotional powerful and poetic films!
This would make for a good double-bill with the original 1954 version of Gozilla.
If only I didn't watch the 1953 Clouzot original five days prior, perhaps then I would regard this film even higher. As it stands, it is probably one of the best remakes any one will ever craft.
The opening sequence establishing the characters backgrounds enhances the picture while making it different from the original. Different in the sense that the Clouzot picture leaves much for the audience to fill in for themselves, especially the demise of one of the trucks, which Friedkin unfortunately shows.
Having seen the original, with the superbly filmed tense sequences as they approach the oil well, few of the would-be tense moments had any impact on me but they were effective as an audience member next to me was gasping for breath during a few scenes (hopefully he didn't have a respiratory problem). The bridge scene was particularly spectacular.
Another major change was the lack of camaraderie and cooperation amongst the men. In the original, the the characters quickly realized that they had to work together to survive. Here they are selfish and will sabotage each other to increase their payday.
Much like Apocalypse Now, filmed at roughly the same time, this film had a troubled production, which serves to enhance my appreciation of it. Overall, this is a fantastic picture, which looks and sounds great (Tangerine Dream-their first Hollywood score!), and is far from disappointing and if Hollywood had any balls, they should take more risks like this.
I understand why Kubrick would not want anyone to see this. The dialogue and acting are just above B-movie level, with enough philosophy that becomes simply too much for a short run time. Even at sixty minutes, I checked the time too often. But the shot selection is indicative of a great eye and an emerging talent.
Not every great director made great films from the gate and it's always nice to see where they come from as all we remember are their masterpieces. This isn't a failure by any means and greatly enhances my appreciation of everything Kubrick made after. If you watch it on silent or with a soundtrack of your choosing, you might find yourself enjoying it a whole lot more.
If you saw the original series (TV or movie), you probably think this sucks. If your only exposure to Star Trek is via the JJ Abrams lens-flare extravaganza, then you might think this is totes the greatest thing eva.
Personally, I think it is as emotionless and unexpressive as a Vulcan despite the fact that I have seen the original Wrath of Khan of which this is a carbon copy of. I have never watched any of the Star Trek tv series but I am slowly working my way through the entire film series. All that jazz about how this new modern cast is going for something else entirely, something their own. Bullshit. Every character in this turd is exactly the same as their namesake from the older film series. Right down to their mannerisms and catch phrases. But that's more a fault of the writers than the actors. They are doing their best to work with the material provided by the crack Hollywood hack team of Orci, Kurtzman and Lindelof.
If you love other bullshit Hollywood effects heavy nonsense then you'll eat this up with a plastic spoon. If you appreciate plot and character development, you'll find this slightly better than the rest of what the dream factory is crapping out.
I want to imagine a parallel universe where this actually got made and everyone there lives in a state of eternal bliss and contentment. There is no violence nor suffering and everyone exists harmoniously with nature and each other.
"Surprisingly not terrible." That was what I said to the marketing kid who was in charge of capturing everyone's thoughts as we exited out of the advance screening.
Groundhog Day meets Starship Troopers with a bit of Aliens thrown in for good measure. A great blend of action and humor that doesn't take itself too seriously.
I believe the common complaint will be that there just was not enough of Bill "Game Over, Man" Paxton.
Being a fan of Massive Attack I have been listening to this soundtrack for six years before actually seeing the movie. The soundtrack is far superior and it's laughable at how much better my imagined scenes were compared with what the songs actually accompanied.
Indiana Jones is the quintessential American hero. Much like James Bond and Sherlock Holmes for the Brits, Jones represents a perfect blend of brains and brawn in a way that seems impossible for the modern man to possesses. He's as comfortable lecturing on obscure and forgotten cultures of the distant past as he is going bare knuckle with the brutes of the present. Sort of. He's just making it up as he goes!
Leaving the theater, I could sense that several audience members just had their nights or weeks or even lives just shattered. I suspect they will retreat to their hovels to find shelter with reruns of "Full House" and "Step by Step."
Wes Anderson has a unique style that is influenced by everything he has experienced in his lifetime. He is perhaps the best example of the auteur theory. He creates films that one would only need to view a few frames of to know instantaneously who is the creator.
I would like to imagine that all of his films take place in a single universe. For this reason, he makes films that are largely adored and attractive to his audience. The Anderson-verse is one in which we would all love to live in. One full of wit and airy whimsy. People aren't overtly cruel to each other, preferring to engage in pranks and mischief in which everyone has a laugh over.
To live in The Grand Budapest is to be momentarily frozen in time. A period that only dwells in the memory and imagination of those who know of its secluded existence. For me I would like to imagine that the hotel is the mirror image of Kubrick's Overlook Hotel. Winding maze-like corridors, distinctive carpet patterns, old-world charm. Whereas the Overlook was largely vacant during our stay there, we get to see the Grand near its prime and after time mostly forgets all about it. Both hotels are reflections of the world around them as well as of each other.
The influence of the caretaker or concierge is especially obvious. With Gustave H, the Grand flourishes. A grand facade that holds up all too well to cover the cracks in the foundations. But ultimately, nothing lasts forever and change happens whether we want it to or not. The spectacle of control we try to put forth will eventually dissipate when the reality we keep at bay checks-in for a night. And once it checks-out, nothing is ever the same. The grand chandelier is a bit dimmer, the champagne a touch less bubbly, the piano not as emotive.
However, I enjoyed my stay at the Grand Budapest and I shall return soon.
Comments 201 - 225 of 235
Movie comment on Gone Girl
fonz
Haven't read the book. Avoided reading anything relating to the film. In fact I wasn't even going to bother seeing this one in theaters if it weren't for free tickets. The work of David Fincher in the 21st century doesn't really connect with me, or rather it leaves me as cold and emotionally devoid as the characters that interact in his films.Much like Fatal Attraction or Audition or Hard Candy before it, I leave Gone Girl suspicious of females. I've met a few that are as manipulative as Rosamund Pike's Amy but none were as perfectly mastermindful. And that is the true highlight or revelation of this film--Pike's performance. Her debut as a Bond Girl in Die Another Day did not have the immediate impact on her career that such a high profile role might typically bring. The twists were predictable but they weren't really the focus as much as the great acting. Even Ben Affleck with his Batman pose was intentionally wooden which I guess counts as a good performance.
The score by Trent Reznor & Atticus Ross is present in nearly every scene and is a continuation of their prior two collaborations with Fincher. I loved their work on The Social Network and thought it did wonders to elevate a well-written and well-shot film. However, it sounds like they took a few cues from the "Facebook Movie" and Dragon Tattoo and slightly remixed them to become rather obnoxious once you realize its presence (especially near the end).
Overall, I wouldn't say I enjoyed it nor would I say I hated it. It was interesting and I hardly noticed the two and a half hour runtime (my theater suffered from a few technical problems which hurt the pacing and flow of the movie). It's not Fincher's best nor his worst (I refuse to list either as it is obvious to each individual where they stand in that regard), but it is quite a rare film for mature audiences especially among all the comic book and mindless actioners that are ever so popular.
Movie comment on The Zero Theorem
fonz
Either Terry Gilliam makes kids movies for adults or adult films for kids. The world in Zip-T is a big kid playground. Lots of toys to play with but our "hero", Q, is only focused on what he doesn't have--meaning. Sort of like Gilliam's latest. The lack of meaning isn't a fault of the director nor the actors, they are all operating at 93.7814% of their potentialities. Most of it falls on the presumably original screenplay of first-timer scripter, Pat Rushin. Clearly inspired by, among other things, Gilliam's own masterpiece, Brazil, Rushin fails to say anything that I haven't already contemplated or discussed with others. But bringing my own personal experience shouldn't strike against the film. It is intriguing and most viewers might from more than one view, although that is unlikely in today's world with multiple distractions vying for our attention. I suspect the rather extremist reactions to this film (either-"we love it!" or "I absolutely loathe it!") are coming from people who miss the point entirely or rather haven't taken the time to peel away the layers of meaning.If I saw this a few years ago, before going through my own existential crises, perhaps I would view this as a revelation but alas I can only be struck by the realization that Mélanie Thierry needs to be in more movies.
Movie comment on Blood Simple
fonz
The Coen Bros. first film serves as a template for everything that they make after. The inept faux-criminal, silence, a machine that turns material into base form, a damsel in distress, a farm field, staring at the ceiling, witty dialogue, large amounts of money that goes missing.Movie comment on California Split
fonz
Perhaps it was the brilliant performance from everyone on camera. Maybe it was the directorial style that featured numerous close-ups. Or it could be watching this forgotten gem on the biggest screen via a 35mm print that made me realize about halfway through that there was no plot, and by the end credits, I had such a great time that I might have to rank this among one of the most watchable plot-less films I have ever seen. It makes you wonder how Elliott Gould and George Segal were ever marquee actors and what happened to their careers after the seventies were over and makes you thankful for Robert Altman and his brilliance.Movie comment on Modern Times
fonz
The perennially subversive Tramp is a Communist rabble rouser that loves blow and foiling prison escapes. As well as stealing the hearts of beautiful street urchin dames.Movie comment on The Meaning of Life
fonz
http://www.youtube.com/watch?v=xMsyOowMaEYMovie comment on Sin City: A Dame to Kill For
fonz
I am not a big fan of so-called "3D" movies but this was one that is necessary to see in the over-hyped format. If you have read the source material, this is nothing more than just a live adaptation of the graphic novel. The visuals are stunning and will only work if you see on the biggest screen possible. The acting is as good as such a cliched-ridden story can be. The performances are not over-the-top but not full of cheese either, they are true to the characters that Frank Miller created with his story. Everyone has their own favorite Sin City story and this was probably my second favorite after "Hell and Back."Movie comment on Sayat Nova
fonz
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Movie comment on Ikimono no kiroku
fonz
Either an irrational-rational fear or a rational-irrational fear.What can even be said about this nearly forgotten Kurosawa-Mifune-Shimura collaboration? It captures a very real concern, that even sixty years later is still relevant.
I just came from a screening as a part of the 69th anniversary of the bombing of Hiroshima and as much as I want to write something intelligent of the film, I can't. The last time I felt so emotionally distraught was after Grave of the Fireflies. How dare those Japanese make such emotional powerful and poetic films!
This would make for a good double-bill with the original 1954 version of Gozilla.
Movie comment on Village of the Damned
fonz
Lesson: all yellow-haired, weird-eyed British children have dubious motivesMovie comment on Sorcerer
fonz
If only I didn't watch the 1953 Clouzot original five days prior, perhaps then I would regard this film even higher. As it stands, it is probably one of the best remakes any one will ever craft.The opening sequence establishing the characters backgrounds enhances the picture while making it different from the original. Different in the sense that the Clouzot picture leaves much for the audience to fill in for themselves, especially the demise of one of the trucks, which Friedkin unfortunately shows.
Having seen the original, with the superbly filmed tense sequences as they approach the oil well, few of the would-be tense moments had any impact on me but they were effective as an audience member next to me was gasping for breath during a few scenes (hopefully he didn't have a respiratory problem). The bridge scene was particularly spectacular.
Another major change was the lack of camaraderie and cooperation amongst the men. In the original, the the characters quickly realized that they had to work together to survive. Here they are selfish and will sabotage each other to increase their payday.
Much like Apocalypse Now, filmed at roughly the same time, this film had a troubled production, which serves to enhance my appreciation of it. Overall, this is a fantastic picture, which looks and sounds great (Tangerine Dream-their first Hollywood score!), and is far from disappointing and if Hollywood had any balls, they should take more risks like this.
Movie comment on Lemon
fonz
I wonder how many lemons they went through before they decided on that oneMovie comment on Fear and Desire
fonz
I understand why Kubrick would not want anyone to see this. The dialogue and acting are just above B-movie level, with enough philosophy that becomes simply too much for a short run time. Even at sixty minutes, I checked the time too often. But the shot selection is indicative of a great eye and an emerging talent.Not every great director made great films from the gate and it's always nice to see where they come from as all we remember are their masterpieces. This isn't a failure by any means and greatly enhances my appreciation of everything Kubrick made after. If you watch it on silent or with a soundtrack of your choosing, you might find yourself enjoying it a whole lot more.
Movie comment on Star Trek Into Darkness
fonz
If you saw the original series (TV or movie), you probably think this sucks. If your only exposure to Star Trek is via the JJ Abrams lens-flare extravaganza, then you might think this is totes the greatest thing eva.Personally, I think it is as emotionless and unexpressive as a Vulcan despite the fact that I have seen the original Wrath of Khan of which this is a carbon copy of. I have never watched any of the Star Trek tv series but I am slowly working my way through the entire film series. All that jazz about how this new modern cast is going for something else entirely, something their own. Bullshit. Every character in this turd is exactly the same as their namesake from the older film series. Right down to their mannerisms and catch phrases. But that's more a fault of the writers than the actors. They are doing their best to work with the material provided by the crack Hollywood hack team of Orci, Kurtzman and Lindelof.
If you love other bullshit Hollywood effects heavy nonsense then you'll eat this up with a plastic spoon. If you appreciate plot and character development, you'll find this slightly better than the rest of what the dream factory is crapping out.
Movie comment on Moznosti dialogu
fonz
Those Czechs play a much better game of Rock, Paper, Scissors than the rest of usMovie comment on Jodorowsky's Dune
fonz
I want to imagine a parallel universe where this actually got made and everyone there lives in a state of eternal bliss and contentment. There is no violence nor suffering and everyone exists harmoniously with nature and each other.Movie comment on Edge of Tomorrow
fonz
"Surprisingly not terrible." That was what I said to the marketing kid who was in charge of capturing everyone's thoughts as we exited out of the advance screening.Groundhog Day meets Starship Troopers with a bit of Aliens thrown in for good measure. A great blend of action and humor that doesn't take itself too seriously.
I believe the common complaint will be that there just was not enough of Bill "Game Over, Man" Paxton.
Movie comment on Unleashed
fonz
Being a fan of Massive Attack I have been listening to this soundtrack for six years before actually seeing the movie. The soundtrack is far superior and it's laughable at how much better my imagined scenes were compared with what the songs actually accompanied.Movie comment on Raiders of the Lost Ark
fonz
Indiana Jones is the quintessential American hero. Much like James Bond and Sherlock Holmes for the Brits, Jones represents a perfect blend of brains and brawn in a way that seems impossible for the modern man to possesses. He's as comfortable lecturing on obscure and forgotten cultures of the distant past as he is going bare knuckle with the brutes of the present. Sort of. He's just making it up as he goes!Movie comment on Under the Skin
fonz
Leaving the theater, I could sense that several audience members just had their nights or weeks or even lives just shattered. I suspect they will retreat to their hovels to find shelter with reruns of "Full House" and "Step by Step."Movie comment on Caddyshack
fonz
"I've sentenced commentators better than you to the gas chamber. Didn't want to do it. I felt I owed it to them."Movie comment on Transcendence
fonz
An origin story of the Machines from The Matrix and SkyNet from The Terminator mixed with the love story from Her.Movie comment on Le scieur de bois mélomane
fonz
The most efficient man in the history of timeMovie comment on Forbrydelsens element
fonz
The story of how Rick Deckard from Blade Runner solved murders on the Do Long bridge from Apocalypse NowMovie comment on The Grand Budapest Hotel
fonz
Wes Anderson has a unique style that is influenced by everything he has experienced in his lifetime. He is perhaps the best example of the auteur theory. He creates films that one would only need to view a few frames of to know instantaneously who is the creator.I would like to imagine that all of his films take place in a single universe. For this reason, he makes films that are largely adored and attractive to his audience. The Anderson-verse is one in which we would all love to live in. One full of wit and airy whimsy. People aren't overtly cruel to each other, preferring to engage in pranks and mischief in which everyone has a laugh over.
To live in The Grand Budapest is to be momentarily frozen in time. A period that only dwells in the memory and imagination of those who know of its secluded existence. For me I would like to imagine that the hotel is the mirror image of Kubrick's Overlook Hotel. Winding maze-like corridors, distinctive carpet patterns, old-world charm. Whereas the Overlook was largely vacant during our stay there, we get to see the Grand near its prime and after time mostly forgets all about it. Both hotels are reflections of the world around them as well as of each other.
The influence of the caretaker or concierge is especially obvious. With Gustave H, the Grand flourishes. A grand facade that holds up all too well to cover the cracks in the foundations. But ultimately, nothing lasts forever and change happens whether we want it to or not. The spectacle of control we try to put forth will eventually dissipate when the reality we keep at bay checks-in for a night. And once it checks-out, nothing is ever the same. The grand chandelier is a bit dimmer, the champagne a touch less bubbly, the piano not as emotive.
However, I enjoyed my stay at the Grand Budapest and I shall return soon.
Showing items 201 – 225 of 235