Lancemc
Blue Crack Addict
Blast! How can I ever convince you to again respect my opinions on second rate crime thrillers from the 90s!? WHAT CAN I DOOOooo?
Blast! How can I ever convince you to again respect my opinions on second rate crime thrillers from the 90s!? WHAT CAN I DOOOooo?
Shit. I guess, like The Dark Knight, it just needed more CGI in its action sequences.
If you're going to mock my tastes you should probably at least get them figured out first.
Please try again later.
Wow, how in the hell is TWBB under-rated? Its the Best Picture Oscar nominee with the least plot in history. I love Daniel Day Lewis's work over the years but the entire reason for the movie's existence (and adapting a horribly out of date work, which is the movie's one accomplishment for me) is as a platform for his greatest over-the-top grandstanding, he used to be a subtle actor (anyone remember In the Name of the Father, or The Boxer?) and while I enjoyed his over the top antics in Gangs of New York, that was weaved within a huge tapestry of a story and surrounded by other things that were interesting and ambitious. What's more is the movie gave us a score by Jonny Greenwood which people moaned was also under-rated because it was rightfully disqualified from the Original Score category because a lot of it is based on and mixed with pre-existing music. (But remember, the innovation of all members of Radiohead will always need more support, particularly around here). I wish Paul Thomas Anderson could do what he did with Magnolia in all his films, but mostly they have absolutely no story and people go gaga over them. Meanwhile, mind-bogglingly well made films like Zodiac get no recognition, and The Diving Bell and the Butterfly is seen by like three people in the United States, those are the masterworks of 2007, both in very different ways. The one thing I greatly enjoyed about TWBB was the cinematography, but Roger Deakins would have won were it not for splitting votes.
Ahh. I hate when I get going like that, I come off as really angry, but I just find the praise behind that movie ridiculous.
Anyway, big thumbs up to Muldfeld for praising David Benioff, excellent writer, although I think he should stick to novels because his presence in the literary world is greatly needed.
And anyway, go rent Diving Bell, its a profound filmmaking achievement.
I'm glad you were able to make my diatribe into a real discussion, and I can also see where you're coming from on a number of your points, and I admit it was a bit much for me to say the entire thing was him grandstanding, but it's certainly made up of more OTT moments than the rest of his body of work. As for PTA, I'm not suggesting he should have made more intertwining ensembles, just that for some reason Magnolia even had more story than his other films, and I don't begrudge someone for being a different kind of film-maker, but there's something about watching his movies that makes me want more story to actually enjoy them and get interested in his characters, certainly true with TWBB and Punch Drunk Love, and Boogie Nights. But the interesting thing you brought up for me is the Robert Altman connection, and yes I recognize he's a grand influence on PTA, but I adore Altman's work haha. I think even in his ensemble sprawling pieces, Altman's movies have screenplays that build enough around their characters so you can care or buy into their acting, but I don't think the same is true with Anderson's writing.
And anyway, go rent Diving Bell, its a profound filmmaking achievement.