10-15-2006, 11:59 AM | #1681 | ||
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Damon isn't really the "villain," anyway. He's one of the protagonists, both sharing a rather Greek tragic storyline. Costello is the villain if anything, and he doesn't really do much developing throughout, so there you go.
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10-15-2006, 12:49 PM | #1682 | ||
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Kinda thought the tragic storyline was done a bit better in the original too. Heh. Costello was just too much, as I said before, and toward the end all of the headshots were more comical than effective. My audience laughed, and I hear reports of the same thing happening in theaters across the country. Last edited by Once A Villain; 10-15-2006 at 12:59 PM. |
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10-15-2006, 12:57 PM | #1683 |
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Haha I hate when that happens! The woes of modern technology...
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10-17-2006, 09:18 AM | #1684 |
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Is anyone as surprised as I am that Flags of Our Fathers is getting better reviews than The Prestige?
With the Prestige, coming on the heels of the Illusionist, I thought the former would certainly be the jewel of the magician-themed thrillers. It's Christopher Nolan after all, who reinvented the thriller genre with Memento and reinvigorated a classic movie comic franchise with Batman Begins. However, the film has been panned so far. I have to say that I was not looking forward to Eastwood's new film, as I'm not a huge fan of Hollywood war movies, particularly ones that purport to be "the way it really was". Coupled with the trailer, which was bad, I thought Eastwood had finally slipped up (apparently he's on a roll with Mystic River and Million Dollar Baby). Yet, it is the movie that is winning the hearts of the critics for the upcoming weekend. All that being said, the real answer is: who cares about the critics? Let's go out and see these movies and judge them for ourselves. |
10-17-2006, 09:27 AM | #1685 |
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Seein gas the Grudge 2 is the No1 movie in the states at the moment I doubt people pay much attention to critics.
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10-17-2006, 12:46 PM | #1686 | |
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My audience didn't laugh at the headshots. I was perfectly shocked each time because they were all so well edited/placed. It didn't feel like Fatal Attraction where they ruined the movie in the last 20 minutes by turning it into a violent horror movie; the deaths in the Departed felt like they should have happened, or rather they didn't feel out of place. I guess that's all I can really comment on until I see Infernal Affairs. Terrabin - I'm not really surprised at all that Flags of Our Fathers is getting better reviews. It's a WWII movie....by Clint Eastwood. Critics are bound to eat it up. I was already kind of wary about The Prestige; if the critics are in fact panning it as you say, I guess that'd only confirm my fears. Christopher Nolan is talented but I can't say I'm a big fan. Memento was pretty cool and I liked Insomnia and Batman Begins, but he hasn't really wowed me yet. Neither has Eastwood (as director) except for Unforgiven. I feel like, while his recent hits are bound to be critical and awards darlings, they will be forgotten pretty quickly. I'll feel pretty sad for Scorsese if Clint Eastwood shuts him out again (I also thought The Aviator, while not being great, was still better than Million Dollar Baby), even if I end up absolutely loving Flags of Our Fathers.
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10-17-2006, 03:45 PM | #1687 |
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I have recently seen Brick and The Fountain at a filmfestival in Belgium (yes, Brick finally made it over here! ). Both were big time approved! Must say though, that The Fountain is totally different than I expected it to be, much smaller and more intimate than the trailers made me believe it to be. Still, the end result was very good, with Jackman and Weisz on fire and Aronofsky delivering awesome images, in a story about love transcending time and space. Loved every minute of it.
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10-17-2006, 05:49 PM | #1688 |
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Brick's awesome. Obvious neo-noir, but good all the same considering its low budget and what-not. Gordon-Levitt is an actor to watch (see Mysterious Skin if you haven't yet).
I'm jealous you got to see The Fountain already. I can't wait till it gets here.
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10-17-2006, 07:02 PM | #1689 |
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There have been high hopes for Aronofsky since Requiem for a Dream came out. However, that was 6 years ago, and since then, his latest movie has gone through myriad changes. Somehow this movie has been completed, and I'm wondering whether it is possible for a movie that long in production to be a good movie!
I love the subject matter though. It's hard to come by thoughtful sci-fi movies. |
10-17-2006, 07:24 PM | #1690 | |
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10-18-2006, 12:45 AM | #1691 | ||
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I agree about the acting - especially Hugh Jackman, whom I hadn't thought much of until The Fountain, delivered the best performance in his career so far. Quote:
None that I can think of. That said, I don't think your description fits Pi at all, so maybe our definitions of "flashy editing" differ. I actually think all three Aronofsky's films are very different from each other visually/stylistically, although every one of them is impressive.
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10-18-2006, 03:49 AM | #1692 |
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I didn't incredibly like either Pi or Requiem. They both seemed a little immaturely focused on style rather than imagery or composition. It was clear at least in Requiem that Aronofsky has talent that I'm sure will be put to better use as he gets older.
I love that one genre that can only be described as philosophical/thought-provoking disguised as sci-fi, a la 2001 and Solaris, or nearly anything by Cronenberg. Which is why I'm looking forward to this and Cuaron's Children of Men.
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10-18-2006, 08:51 AM | #1693 | |
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10-18-2006, 09:12 AM | #1694 |
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I don't exactly see that as a bad thing really, because Requiem was a movie that thrived on rhythm and became a juggernaut punch in the face that resonates for a long time because of its style. Something like that cannot be reached with composition or strong imagery alone, both of which were present in Requiem as well if you ask me. I've heard before though that people say Requiem is style over content, maybe that is what you meant? I'd have to disagree with that as well. Aronofsky's style was what the story and the script were screaming for. The style here was what made this movie so brilliant, thought provoking and emotionally resonating. It's not a 'cool' movie, in the same way some style-over-content blockbusters might be considered, but it's confrontational, disturbing and, well, not very pretty. I like Aronofsky exactly because he doesn't hold back for the audiences sake, afraid to shock someone, but at the same time he never does it just for the sake of style, it's always in function of the story, characters and the effect he wants the film to have. David Fincher is similar in that way, both make movies based on the idea that the most interesting movies are the ones that scar. But then again, that's only my opinion.
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10-18-2006, 09:47 AM | #1695 |
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Spiwak, what is your favorite Cronenberg that features the genre of which you speak? I haven't seen a lot of Cronenberg, but I loved the Dead Zone (Christopher Walken is a dream).
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10-18-2006, 10:01 AM | #1696 |
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I know you weren't asking me, but I loved eXistenZ.
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10-18-2006, 10:42 AM | #1697 |
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Shit man, there's no such thing as a bad Cronenberg (haven't seen Fast Company, which I bet if there is a bad Cronenberg out there that'd be it). He does mostly "horror" and "sci-fi" and sometimes a combination of the two, but his themes typically involve sex and the idea that horror comes from within the body (in his movies, literally). His earlier movies are interesting but probably not as worth watching, so I especially recommend Videodrome, The Dead Zone, The Fly, Naked Lunch, Crash (and jesus, not that Paul Haggis tripe), ExistenZ and A History of Violence. Scanners and Spider come a little below those for me. Shivers (or They Came From Within) is actually pretty sweet, so throw that in.
As for Requiem, sure sure I heard all that same stuff and used to believe it too, about the style being used as slave to substance, so to say. I just think filmmakers today are perhaps too preoccupied with style instead of using composition to thematically enhance their pictures. These movies look good and all, sure, but for whatever reason I don't tend to notice interesting compositions or whatever in all this style. Perhaps I am actually too preoccupied by it to notice the other visual elements, which would be an interesting twist and could very well be true. I guess it could also just be part of the recent trend in movies I've noticed, where they are trying to become experiences in and of themselves and extract a certain mood from the audience instead of intellectuality. I'm probably talking out my ass by now.
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10-18-2006, 12:31 PM | #1698 | ||
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10-18-2006, 02:11 PM | #1699 |
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Well I dunno about Lynch but I guess I can see Cronenberg (can't think of any Greenaway off the top of my head, which probably means I haven't seen any). And fair enough, I'm sure Aronofsky will become a major force in the years to come (at which point I'm sure everyone will agree, no matter how much they like them, that Pi and Requiem are his immature works. Hopefully The Fountain will be the start of that (for me, anyways).
And yea I've seen Rabid, it's pretty good...for a low-budget horror flick. The premise is fantastic though. I mean, a woman undergoes skin replacement but the cells start doing funky things that create a carnivorous phallus on her armpit that also makes zombies of the people it feeds on. Wow - only in a Cronenberg movie.
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10-18-2006, 03:34 PM | #1700 |
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King Kong
That's the Peter Jackson version. I'm not quite sure how I've managed to avoid seeing this until now (just like I've managed to avoid two of the Lord of the Rings films). It's good fun, but way, way, way, way, way, way, way, way, way too long. I certainly won't be buying the Extended Edition DVD when they release it. |