LMP
Blue Crack Supplier
Oh! Great catch! Was that made blatantly obvious at some point? The drive-in can be a bit distracting with people passing by, sometimes
Only when Spock directly addressed the crew and the audience on the bridge.
Oh! Great catch! Was that made blatantly obvious at some point? The drive-in can be a bit distracting with people passing by, sometimes
Let The Right One In.
I ran into the same problem the first time I saw Diving Bell.
why bother
we are going to have a cool re-make in English
it will no doubt be better, it may even win awards
like Sberg/s cool re-make of Traffik did
She gave me a different form of Locked-In Syndrome, if you get my meaning.
1. Heat
2. Manhunter
3. Miami Vice
4. Last of the Mohicans
5. Manhunter
6. The Insider
7. Ali
8. Thief
9. Collateral
10. Public Enemies
N/S The Keep
Also you have Manhunter twice on here.
A bit discouraging. Though I'm still holding out hope I'll enjoy it a bit more than you did. However, my ranking of Mann's filmography looks a bit different as well. Also you have Manhunter twice on here.
1. The Insider
2. Heat
3. Miami Vice
4. Collateral
5. Thief
6. Ali
7. Manhunter
8. Last of the Mohicans
Kevin Smith brought up a good point in a review of the movie about the graphic nature of the violence and the sex in the film, and how those were handled in the original text. Superhero sex and the violence hit me when I read it for the first time and I could only imagine how it would back in 1985. So Snyder is ultimately responsible for making these sequences stick out for modern audiences or choosing to keep it the same. I had a problem with how insane the knot-top fight scene was in the film, but when I thought about it in that context, it helped.
I can buy that. But I also think, given that times have changed so much and we're so used to violence in film and in superhero movies even now, that's maybe a point that didn't even need to be made in the movie. It's an important point in the novel, because it's incontext of its own medium, but it's a different game here, and more than anything that's one statement that doesn't really mean much these days. However, what I did take away from that sequence and the prison break, both of which feature Dan and Laurie kicking gratuitous ass, is in relation to those two characters. I think it speaks to their particular stake in dressing up and playing vigilante as you really see they're enjoying it and getting off big time. On the other hand I kind of do think Rorshach's butching the murderer kind of achieves what you suggest, because I even found myself pulling back and wincing when it cut to the guys face being chopped to pieces, and that really spoke to Rorshach's character development there.
guy to his death, but the change in the movie makes it more immediate. That slow build-up of anger that he has before he destroys the guy like he did that dog was absolutely insane... and I definitely agree with what you said.
Did you ever get a chance to hear the Creative Screenwriting podcast with David Hayter and Alex Tse? Recommend it now after you've just come off re-watching the film.
Link pls? I hear about that show every week on filmspotting, but never checked it out.
And to your first point, I might agree, except I just don't think it is satirizing violence in action films. I think Zach Snyder really just thinks it looks cool, though I'm sure he'd say the same thing about needing to amplify the degree of violence to try to keep up with the changing times. I really doubt it's designed to be ironic or satirical though, because that's just how Snyder films his action scene in all 3 of his features.
One could make the argument, especially in the opening scene in Blake's apartment, that Snyder is causing us to look at time as perceived by Dr. Manhattan. As fast or as slow as he chooses (and this is something that really pervades the entire film, from the credit sequence to the various flashbacks of the characters). The usage of Unforgettable on the soundtrack is ironic on several different levels (the perfume is made by Veidt, the public sentiment towards costumed heroes, etc.), but one could also point out the song deals with time and memory literally.
Perhaps I'm giving Snyder too much credit, but of course the end result is what the viewer takes away from it, regardless of director intent. The alley scene needs to be over the top and brutal, because don't we as the audience need to "get off" on it so that we can identify with how it makes Dan and Laurie feel?
Perhaps the prison sequence is finally just overusing it one time too many, as it doesn't serve a purpose that hasn't already been explored.
Using slow motion as an aesthetic choice doesn't bother me as long as it comes at the right moment. It never took me out of it during the opening fight sequence but did a little bit during the prison break. I forgive it though, because I love being able to see the action choreography, and I think Snyder stages action pretty well, too, allowing the viewer to almost feel the impact of each hit with his choice of shot and speed. I prefer it over the more prevalent shaky-cam, fast-paced-style, at least.
Public Enemies.
I don't wanna say MEH, but this wasn't one of Mann's better films. Depp is Depp, which means he doesn't even come close to creating a character with the depth of Will Smith in Ali, De Niro or Pacino in Heat, or Colin Farrell in Miami Vice. Not a surprise, as he doesn't have the acting skills of any of those guys. Someone else may not have looked as perfect, but might have made it a bit more interesting. Cotillard blows him out of the water, a fantastic supporting turn
A handful of VERY well done scenes, especially the last 15 minutes or so, so it won me over to an extent. But I wouldn't describe it as anything more than "good".
Miami Vice is a superior film in almost every way, and I'd rank PE at the bottom of Mann's filmography with Collateral (which also had some standout material but overall didn't have much of an effect on me). Keep in mind I like 1-8 a LOT.
1. Heat
2. Manhunter
3. Miami Vice
4. Last of the Mohicans
5. Manhunter
6. The Insider
7. Ali
8. Thief
9. Collateral
10. Public Enemies
N/S The Keep
Plus, like with Ali, I'd like to check out the Director's Cut to see if anything's significantly different.