LMP
Blue Crack Supplier
lazarus said:
That's a cracking one.
Review the last movie you viewed (NO LISTS) III
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That's a cracking one.
lazarus
Blue Crack Supplier
Well Scorsese loves to include a lot of cracking tunes in his movies.
Like Gimme Shelter.
Like Gimme Shelter.
LMP
Blue Crack Supplier
lazarus said:
He should put some Gin Blossoms tunes in his next movie.
Dalton
Blue Crack Addict
I just finished watching Suburban Girl with my wife ... I can't even rate this movie. The only thing that needs to be said is that I am glad I watched this right before I went to bed. If I saw this in a theater my anger would have brought about the untimely demise of 2 or 3 dozen people.
verte76
Blue Crack Addict
I saw "The Great Debaters". It had Denzel Washinton in it, and Oprah Winfrey produced it. It's about an all-black debate team that wins a debate with Harvard. It has stuff about sharecroppers unions in it.
corianderstem
Blue Crack Distributor
I actually liked that we didn't actually see what happened to the family. It was very strongly implied, but I give the director (or whoever's decision it was) credit for actually showing a bit of restraint and not giving us an obligatory KABLAAM!!!
LMP
Blue Crack Supplier
corianderstem said:
That was awesome.
That was 2/3, or maybe 3/4 of a really great movie.
lazarus
Blue Crack Supplier
There Will Be Blood (dir. Paul Thomas Anderson)
Well, after months and months of waiting, I've finally seen it. And while this is a monster of a film that surely will take a while to fully digest, I'll try to share my initial impressions.
Let's get to the point: Is this the best, or my favorite film of the year? I certainly expected it to contend very heavily. Right now, I'd have to say no. While there is probably more to admire within this film than anything else I've seen this year, the complete package did not resonate with me on the level of I'm Not There, and quite possibly No Country For Old Men. I've seen those two multiple times so I feel I'd need to see TWBB again to place it with any kind of legitimacy.
From a technical standpoint, this film has no equal this year. The photography by Robert Elswitt is perhaps not as gorgeous as Roger Deakins' work in Jesse James/Robert Ford, but it is superlative work without any kind of fancy flourishes. The way dust and flame are used...just amazing. The production design by Terrence Malick's collaborator Jack Fisk is beyond realistic, every nook and cranny seeming to reek of 100 year-old presence.
Behind the camera, it's hard to put in the words what PTA has accomplished here. This is so far away from anything he's done before that the filmmaking is almost unrecognizable, and while the screenplay certainly goes over the top, especially in the final movement of the film, visually it's much more restrained, and free from the gimmickry of his previous work. That's not to say it isn't well-directed; there are some marvelous tracking shots, both dolly and hand held, one of my favorites the one with Daniel carrying his son. And there are an array of compositions here that would make Malick proud.
Daniel-Day Lewis. What can you say? The guy puts every other actor to shame, nearly unmasking his peers as mere amateurs. He owns the screen here, mesmerizing even in this mostly low-key performance. And when it does erupt, it's with a fury that almost causes one to choke on nervous laughter. One caveat, however: I don't feel that this performance is quite the achievement that his Bill the Butcher from Gangs of New York was. We certainly see more into the inner life of Daniel Plainview, but there really isn't one specific moment as great as when Bill sits in that chair with the American flag draped over his shoulder, delivering a monologue to DiCaprio's character. And that speech defines Bill's ethos; it doesn't justify what he believes or what he's done, but it something one can understand in connect to. I don't know if you really get that with TWBB, the comparable scene being when Plainview speaks with a man, who for spoiler's sake, I will call a stranger who arrives halfway through the film. What you learn is that Plainview doesn't like people, doesn't like to be around them, and only wants to beat them in competition. And I'm sure we've all felt antisocial, greedy, or competitive before, but it's not much of an emotional foothold. And I think because of this, the character fails to resonate as much. We'll see how I feel about it in the future.
I won't say much more about the acting, but all the supporting players are great in their own way, esp. Paul Dano in what maybe should have been either a a more sympathetic role, or a more dispicable one. I'm not sure about how I feel there.
I'll finish here by going back to the idea of resonance, and I'll compare again here to No Country For Old Men, which it certainly shares similarities with. You have a dry, barren climate. You have men who seem to operate with very odd codes of morals or ethics. And you also see something about the corruption of humanity and the lengths men will go to get the things they want. And while the conclusions of both films will be frustrating for many, NCFOM seems to leave you with much more baggage to take home and reflect on, epecially as it ends on an abrupt, yet elliptical note. Anderson's film is also abrupt, but the punctuation is much more pronounced. It's a cork slammed hard into the top of a crude, bubbling potion; perhaps there was something more to be learned before the end, but it isn't anything you're likely to lose sleep over.
One last comparison to make in this regard is with Malick's Days of Heaven, and while that film doesn't give you much of a portrait of any one human being, or show you the full scope of how the story speaks to (or for) the country it's set in, as Anderson does, its gaze is more tender, more pondering, and overall, I think a bit more effective in what it ultimately reveals about humanity.
This disparity doesn't prevent There Will Be Blood from being a masterpiece (a title I'm not quite ready to bestow on it), though. It just may be a more unwieldy one.
Well, after months and months of waiting, I've finally seen it. And while this is a monster of a film that surely will take a while to fully digest, I'll try to share my initial impressions.
Let's get to the point: Is this the best, or my favorite film of the year? I certainly expected it to contend very heavily. Right now, I'd have to say no. While there is probably more to admire within this film than anything else I've seen this year, the complete package did not resonate with me on the level of I'm Not There, and quite possibly No Country For Old Men. I've seen those two multiple times so I feel I'd need to see TWBB again to place it with any kind of legitimacy.
From a technical standpoint, this film has no equal this year. The photography by Robert Elswitt is perhaps not as gorgeous as Roger Deakins' work in Jesse James/Robert Ford, but it is superlative work without any kind of fancy flourishes. The way dust and flame are used...just amazing. The production design by Terrence Malick's collaborator Jack Fisk is beyond realistic, every nook and cranny seeming to reek of 100 year-old presence.
Behind the camera, it's hard to put in the words what PTA has accomplished here. This is so far away from anything he's done before that the filmmaking is almost unrecognizable, and while the screenplay certainly goes over the top, especially in the final movement of the film, visually it's much more restrained, and free from the gimmickry of his previous work. That's not to say it isn't well-directed; there are some marvelous tracking shots, both dolly and hand held, one of my favorites the one with Daniel carrying his son. And there are an array of compositions here that would make Malick proud.
Daniel-Day Lewis. What can you say? The guy puts every other actor to shame, nearly unmasking his peers as mere amateurs. He owns the screen here, mesmerizing even in this mostly low-key performance. And when it does erupt, it's with a fury that almost causes one to choke on nervous laughter. One caveat, however: I don't feel that this performance is quite the achievement that his Bill the Butcher from Gangs of New York was. We certainly see more into the inner life of Daniel Plainview, but there really isn't one specific moment as great as when Bill sits in that chair with the American flag draped over his shoulder, delivering a monologue to DiCaprio's character. And that speech defines Bill's ethos; it doesn't justify what he believes or what he's done, but it something one can understand in connect to. I don't know if you really get that with TWBB, the comparable scene being when Plainview speaks with a man, who for spoiler's sake, I will call a stranger who arrives halfway through the film. What you learn is that Plainview doesn't like people, doesn't like to be around them, and only wants to beat them in competition. And I'm sure we've all felt antisocial, greedy, or competitive before, but it's not much of an emotional foothold. And I think because of this, the character fails to resonate as much. We'll see how I feel about it in the future.
I won't say much more about the acting, but all the supporting players are great in their own way, esp. Paul Dano in what maybe should have been either a a more sympathetic role, or a more dispicable one. I'm not sure about how I feel there.
I'll finish here by going back to the idea of resonance, and I'll compare again here to No Country For Old Men, which it certainly shares similarities with. You have a dry, barren climate. You have men who seem to operate with very odd codes of morals or ethics. And you also see something about the corruption of humanity and the lengths men will go to get the things they want. And while the conclusions of both films will be frustrating for many, NCFOM seems to leave you with much more baggage to take home and reflect on, epecially as it ends on an abrupt, yet elliptical note. Anderson's film is also abrupt, but the punctuation is much more pronounced. It's a cork slammed hard into the top of a crude, bubbling potion; perhaps there was something more to be learned before the end, but it isn't anything you're likely to lose sleep over.
One last comparison to make in this regard is with Malick's Days of Heaven, and while that film doesn't give you much of a portrait of any one human being, or show you the full scope of how the story speaks to (or for) the country it's set in, as Anderson does, its gaze is more tender, more pondering, and overall, I think a bit more effective in what it ultimately reveals about humanity.
This disparity doesn't prevent There Will Be Blood from being a masterpiece (a title I'm not quite ready to bestow on it), though. It just may be a more unwieldy one.
LMP
Blue Crack Supplier
How would you compare it with Anderson's other films? Or is that even possible?
lazarus
Blue Crack Supplier
I don't think it's better than Magnolia simply because that film was go-for-broke, bursting with ideas, and yet extremely personal. I don't know how you top that, especially if you "refine" your filmmaking sensibilities.
Lancemc
Blue Crack Addict
Not a full review yet, but I saw Cassandra's Dream today because the showing of The Diving Bell and the Butterfly I went for was sold out. I haven't seen any of Allen's more dramatic and serious films yet, but I was still mightily impressed here. It's a remarkably rich film, which may have had a few problems regarding the script or performances, I don't know quite what felt "off" about it.
It is a truly marvelous narrative arc though, one that really impressed me with its deliberate structure and pacing. This is obviously the work of a seasoned master of the medium.
I'd probably give it an 8/10, highly recommended.
And Laz, trust me, TWBB resonates more and more the more you think about it and discuss it, and let it digest. I should be seeing it a second time this weekend, so I'll also be able to give impressions of the film after a second viewing, which I think will reveal many more treasures.
It is a truly marvelous narrative arc though, one that really impressed me with its deliberate structure and pacing. This is obviously the work of a seasoned master of the medium.
I'd probably give it an 8/10, highly recommended.
And Laz, trust me, TWBB resonates more and more the more you think about it and discuss it, and let it digest. I should be seeing it a second time this weekend, so I'll also be able to give impressions of the film after a second viewing, which I think will reveal many more treasures.
LMP
Blue Crack Supplier
lazarus said:
I think he's said that's the best movie he'll ever make... but that was in 1999.
onebloodonelife
Blue Crack Addict
- Joined
- May 20, 2005
- Messages
- 15,106
Sweeney Todd
I really enjoyed this film. There's a lot more to Depp's character than what I originally thought, though I won't say much more to preserve the plot. And, the ending was so sad, yet wonderfully revengeful at the same time.
Also, I love Burton's (or the cinematographer's) ability to make his films look so dreamlike and gorgeous, even while a good chunk of the movie is very dark and depressing, visually.
Oh, and Alan Rickman singing...count me in.
7.5/10
I really enjoyed this film. There's a lot more to Depp's character than what I originally thought, though I won't say much more to preserve the plot. And, the ending was so sad, yet wonderfully revengeful at the same time.
Also, I love Burton's (or the cinematographer's) ability to make his films look so dreamlike and gorgeous, even while a good chunk of the movie is very dark and depressing, visually.
Oh, and Alan Rickman singing...count me in.
7.5/10
LMP
Blue Crack Supplier
Has anyone seen this yet?
Lancemc
Blue Crack Addict
LemonMacPhisto said:
Well, considering I consider Punch-Drunk Love a better film than Magnolia...
And I'd probably rate TWBB higher than both.
LMP
Blue Crack Supplier
Yikes.
I should be getting PDL on NetFlix soon.
I should be getting PDL on NetFlix soon.
No spoken words
Blue Crack Supplier
LemonMacPhisto said:
13 days until you die, suck-mix.
LMP
Blue Crack Supplier
Got that one covered on DVR.
Lancemc
Blue Crack Addict
Be cautious though, I'm one of the few people I've seen who prefers PDL to Magnolia. 
LMP
Blue Crack Supplier
It's cool, I'm just trying to see Punch-Drunk and Sydney before There Will Be Blood.
That includes watching Magnolia again, too.
That includes watching Magnolia again, too.
monkeyskin
Refugee
Here's what I've seen over the past four days at the pictures:
I’m Not There
At the risk of jumping onto the bandwagon, this is my favourite film of 2007. While I strongly believe that 2007 was a much better year for films than 2006, by the end of it I had yet to see a film that left me with a great big grin all over my face just like Brick and Pan’s Labyrinth did. But right at the end this managed it.
God, where to begin? All six of the actors portraying Dylan were excellent with not a weak link among them. They all managed the difficult feat of finding a unique character within their respective roles that stood out from the rest, but at the same time one can see how one blurs into the next at the edges of the performance. Director Todd Haynes uses various techniques to keep the audience familiar with each different Dylan, be it colour coding, film stock, narrative style or general tone. He also manages the difficult task of keeping the film under control and cohesive. After all this isn’t a typical ensemble, multi-strand drama that seemed to have become very hip lately, this is focussing on one man at various points in his life and character.
I’m by no means an avid fan of Dylan, nor particularly informed on his life. I’ve got Highway 61 Revisited and Blonde on Blonde and know bits about the electric and motorbike incidents, but that’s it really. However I think I knew enough to get a lot out of this film and the Richard Gere scenes didn’t jar with me as much as with some others. Overall, wow.
Lust, Caution
This film marks the third time I’ve been completely alone in a screening room and it’s always an odd experience. I certainly hope that more people round here manage to see it though, as it’s a bloody good film. Ang Lee takes his time building up the film’s plot and by the time the stakes are high and the action occurs we are deeply invested with these characters. It also gives him ample time to find room for some beautiful photography, bringing to life WW2 Shanghai and Hong Kong in such an evocative and vivid manner.
Performance-wise, the revelation for me was Tony Leung. I had never seen him play such a complete and utter bastard like this before. The man plays it as smooth as ever, but this time it’s all a calculated front that barely hides what’s going on beneath. Yes, he played a very callous and hurtful character in 2046 and he always conveys great emotional depth in his roles, but never before has he been this dark. Tightly wound and emotionally suppressed, his Mr Yee is by far the most dynamic character in the film. But newcomer Tang Wei doesn’t let her seasoned co-star overshadow her at all, pulling off a complicated and demanding role with apparent ease. Her final scene with the other members of her drama group is heart breaking. But then the focus swings back onto Mr Yee and his final scenes in his office and in the empty bedroom will stay with me for a while.
The Assassination of Jesse James by the Coward Robert Ford
Why of why has this film been shafted around my local area? Out of ten cinemas it gets showed at just one, and even then a mere three times. I’d never seen the place so packed out. It’s such a shame, as this is a film that demands to be seen on the big screen, a TV just won’t be able to do it justice. Epic and languid, but never stretched out or boring, it’s a comfort to know that films like this can still be made today. Aside from the stunning landscapes on display, the lighting too was phenomenal, the train robbery scene being a stand out.
Having only seen Casey Affleck in the Ocean’s Eleven series, it was quite something to actually watch him live up to all of the praise he’s earned for this film. Jesse James’ name might be bigger in the title but as far as I’m concerned Casey played the lead, titular character. That’s not to take anything away from Brad Pitt though. His Jesse James exudes charisma and silent menace; it’s not hard to emphasise with those that fear him for all the right reasons. But Pitt also manages to convey the melancholy beneath this dangerous and arrogant veneer, most clearly in the assassination scene itself.
He also seems to be developing a great level of quality control as a producer, what with this and The Departed just over a year ago. I’ll be keen to see what he leads out from Plan B next.
No Country For Old Men
Now this would make Sam Peckinpah proud. In fact, along with Jesse James, The Three Burials of Melquiades Estrada, Brokeback Mountain and The Proposition, the western seems to be making a covert comeback lately (see also Kevin Costner’s Open Range from slightly further back).
Anyway, to get the one con out of the way right now, the second half of the film just didn’t manage to maintain the level of intensity that the first had. The turning point for me was after Moss and Anton have their first meeting. While the quality of the film didn’t go down I feel some of the forward thrust was lost. But that’s all I can against such a great film. The three leads are all excellent. Josh Brolin as the average guy who’s biggest mistake in the film was borne out of guilt and human compassion. Javiar Bardem is the hitman who would never, ever make a mistake for that reason. His unshakable belief in fate and twisted morals are his only potential weaknesses. And then there’s Tommy Lee Jones, a weary sheriff who feels weak against an increasingly violent world. Interestingly these three actors share very little screen time with one another and they never all share a scene.
The Coen’s took a risk in adapting someone else’s work, as this starting point is what led to their last two outings, arguably their weakest. But maybe it was just a case of finding the right source to work from. After all, O Brother Where Art Thou is hardly a wholly original story. Comparisons to Blood Simple and Fargo are valid based on the level of violence and characters all after the same stash of money, but it’s a disservice to the film to insinuate it’s a retread of earlier efforts or a return to tried and tested motifs. No Country For Old Men feels fresh yet appropriately worn, invigorating yet contemplative and just bloody good.
I’m Not There
At the risk of jumping onto the bandwagon, this is my favourite film of 2007. While I strongly believe that 2007 was a much better year for films than 2006, by the end of it I had yet to see a film that left me with a great big grin all over my face just like Brick and Pan’s Labyrinth did. But right at the end this managed it.
God, where to begin? All six of the actors portraying Dylan were excellent with not a weak link among them. They all managed the difficult feat of finding a unique character within their respective roles that stood out from the rest, but at the same time one can see how one blurs into the next at the edges of the performance. Director Todd Haynes uses various techniques to keep the audience familiar with each different Dylan, be it colour coding, film stock, narrative style or general tone. He also manages the difficult task of keeping the film under control and cohesive. After all this isn’t a typical ensemble, multi-strand drama that seemed to have become very hip lately, this is focussing on one man at various points in his life and character.
I’m by no means an avid fan of Dylan, nor particularly informed on his life. I’ve got Highway 61 Revisited and Blonde on Blonde and know bits about the electric and motorbike incidents, but that’s it really. However I think I knew enough to get a lot out of this film and the Richard Gere scenes didn’t jar with me as much as with some others. Overall, wow.
Lust, Caution
This film marks the third time I’ve been completely alone in a screening room and it’s always an odd experience. I certainly hope that more people round here manage to see it though, as it’s a bloody good film. Ang Lee takes his time building up the film’s plot and by the time the stakes are high and the action occurs we are deeply invested with these characters. It also gives him ample time to find room for some beautiful photography, bringing to life WW2 Shanghai and Hong Kong in such an evocative and vivid manner.
Performance-wise, the revelation for me was Tony Leung. I had never seen him play such a complete and utter bastard like this before. The man plays it as smooth as ever, but this time it’s all a calculated front that barely hides what’s going on beneath. Yes, he played a very callous and hurtful character in 2046 and he always conveys great emotional depth in his roles, but never before has he been this dark. Tightly wound and emotionally suppressed, his Mr Yee is by far the most dynamic character in the film. But newcomer Tang Wei doesn’t let her seasoned co-star overshadow her at all, pulling off a complicated and demanding role with apparent ease. Her final scene with the other members of her drama group is heart breaking. But then the focus swings back onto Mr Yee and his final scenes in his office and in the empty bedroom will stay with me for a while.
The Assassination of Jesse James by the Coward Robert Ford
Why of why has this film been shafted around my local area? Out of ten cinemas it gets showed at just one, and even then a mere three times. I’d never seen the place so packed out. It’s such a shame, as this is a film that demands to be seen on the big screen, a TV just won’t be able to do it justice. Epic and languid, but never stretched out or boring, it’s a comfort to know that films like this can still be made today. Aside from the stunning landscapes on display, the lighting too was phenomenal, the train robbery scene being a stand out.
Having only seen Casey Affleck in the Ocean’s Eleven series, it was quite something to actually watch him live up to all of the praise he’s earned for this film. Jesse James’ name might be bigger in the title but as far as I’m concerned Casey played the lead, titular character. That’s not to take anything away from Brad Pitt though. His Jesse James exudes charisma and silent menace; it’s not hard to emphasise with those that fear him for all the right reasons. But Pitt also manages to convey the melancholy beneath this dangerous and arrogant veneer, most clearly in the assassination scene itself.
He also seems to be developing a great level of quality control as a producer, what with this and The Departed just over a year ago. I’ll be keen to see what he leads out from Plan B next.
No Country For Old Men
Now this would make Sam Peckinpah proud. In fact, along with Jesse James, The Three Burials of Melquiades Estrada, Brokeback Mountain and The Proposition, the western seems to be making a covert comeback lately (see also Kevin Costner’s Open Range from slightly further back).
Anyway, to get the one con out of the way right now, the second half of the film just didn’t manage to maintain the level of intensity that the first had. The turning point for me was after Moss and Anton have their first meeting. While the quality of the film didn’t go down I feel some of the forward thrust was lost. But that’s all I can against such a great film. The three leads are all excellent. Josh Brolin as the average guy who’s biggest mistake in the film was borne out of guilt and human compassion. Javiar Bardem is the hitman who would never, ever make a mistake for that reason. His unshakable belief in fate and twisted morals are his only potential weaknesses. And then there’s Tommy Lee Jones, a weary sheriff who feels weak against an increasingly violent world. Interestingly these three actors share very little screen time with one another and they never all share a scene.
The Coen’s took a risk in adapting someone else’s work, as this starting point is what led to their last two outings, arguably their weakest. But maybe it was just a case of finding the right source to work from. After all, O Brother Where Art Thou is hardly a wholly original story. Comparisons to Blood Simple and Fargo are valid based on the level of violence and characters all after the same stash of money, but it’s a disservice to the film to insinuate it’s a retread of earlier efforts or a return to tried and tested motifs. No Country For Old Men feels fresh yet appropriately worn, invigorating yet contemplative and just bloody good.
Lancemc
Blue Crack Addict
Monkeyskin, your Lust Caution review makes me a very happy panda. Awesome.
Those final two shots really left my with a huge weight in my gut. Stunning work all throughout the last act really.
Those final two shots really left my with a huge weight in my gut. Stunning work all throughout the last act really.
monkeyskin
Refugee
As much as I loathed the character, Tony's actions and expressions in those final scenes actually made me feel for him. He's a man who sold his soul to the Devil and his country to foreign devils and has had to live an increasingly sheltered, paranoid and emotionless life for years, but "Mrs Mak" did far more damage to him than any resistance party ever could.
corianderstem
Blue Crack Distributor
Cloverfield
8/10
This movie actually got better as it went along. I was really bummed at first to see it was shot entirely in that annoying hand-held herky-jerky style, but I think that's what made the movie stand out from other big-action, alien and/or monster, shit blows up movies. Seeing only what the camera saw gave it that extra jolt of terror.
I really dug it; I'd say it even exceeded my expectations. I even shrieked out loud a couple of times. Luckily, people were screaming on screen as well, so I think I was camoflouged.
8/10
This movie actually got better as it went along. I was really bummed at first to see it was shot entirely in that annoying hand-held herky-jerky style, but I think that's what made the movie stand out from other big-action, alien and/or monster, shit blows up movies. Seeing only what the camera saw gave it that extra jolt of terror.
I really dug it; I'd say it even exceeded my expectations. I even shrieked out loud a couple of times. Luckily, people were screaming on screen as well, so I think I was camoflouged.
I rented "Curse of the Golden Flower" last night. It was pretty good. I loved the costuming and set design. The fighting I wish was more realistic. Not that I wanted more blood or gore, just I didn't particulary care for the slo-mo shots for the sake of being dramatic. But other than that, good film. Plus, Gong Li was great in this!
8 out of 10
8 out of 10
lazarus
Blue Crack Supplier
Cassandra's Dream (dir. Woody Allen)
I have to say I had high hopes for this one, which were only heightened by Lance's review yesterday. When I saw that McGregor & Farrell were acting in a film together, and from a Woody script, I was really excited. And from an acting standpoint, these guys definitely deliver the goods. Each character deals with the moral problem in question in his own way, and this continues after the main incident of the film, which I won't reveal here. Farrell continues to show what a wide range he has, this guy is just way too underrated.
The problem for me was really the resolution of the film, which left me wondering what the point was. Obviously, we're meant to attempt to identify with the hopes and dreams of the main characters, and their desperation in trying to achieve those ends. But I felt that the conclusion really didn't have the oomph that Match Point, for example, delivered.
And it's hard not to compare the two films, which are both somewhat sympathetic, or at least empathetic, portraits of ordinary people who find themselves committing extraordinary acts. And while the actors in this film were stronger, I felt the other one was tied up with a bit more profundity. Woody's direction continues to impress, and he is getting better and better at building tension and suspense.
What also bothered me was how some of the supporting characters are left hanging by the script, and their reactions at the end of the film would have benefitted it immensely. At this point, I'd like to get into SPOILER territory, which I realize will only benefit Lance:
S P O I L E R S ! ! !
Wouldn't it have been nice to see some reaction from the girlfriends, the family, at the end? I especially missed Tom Wilkinson, who really only serves as a device to pose the moral dilemma. I'm thinking maybe a short funeral shot, panning across the faces of the girls and the parents, who have no clue how this all happened (although Farrell's girlfriend might suspect), and then you stop on Wilkinson, who knows EXACTLY why they are all standing there, and is the reason for it as well. I don't wish to speak for Allen, but to me that would have been much more appropriate.
I also felt that the girl MacGregor was seeing at the beginning of the film was dropped a bit too quickly, and I would have liked some small comment from her about Ian's social climbing.
Lance, I highly suggest you get a hold of Match Point ASAP, as I think you'll enjoy it much more. And if you haven't seen Crimes & Misdemeanors, you'll want to put that VERY high on your to-see list. It's one of Woody's best, and the one that leaves you with more to think about than any other.
I have to say I had high hopes for this one, which were only heightened by Lance's review yesterday. When I saw that McGregor & Farrell were acting in a film together, and from a Woody script, I was really excited. And from an acting standpoint, these guys definitely deliver the goods. Each character deals with the moral problem in question in his own way, and this continues after the main incident of the film, which I won't reveal here. Farrell continues to show what a wide range he has, this guy is just way too underrated.
The problem for me was really the resolution of the film, which left me wondering what the point was. Obviously, we're meant to attempt to identify with the hopes and dreams of the main characters, and their desperation in trying to achieve those ends. But I felt that the conclusion really didn't have the oomph that Match Point, for example, delivered.
And it's hard not to compare the two films, which are both somewhat sympathetic, or at least empathetic, portraits of ordinary people who find themselves committing extraordinary acts. And while the actors in this film were stronger, I felt the other one was tied up with a bit more profundity. Woody's direction continues to impress, and he is getting better and better at building tension and suspense.
What also bothered me was how some of the supporting characters are left hanging by the script, and their reactions at the end of the film would have benefitted it immensely. At this point, I'd like to get into SPOILER territory, which I realize will only benefit Lance:
S P O I L E R S ! ! !
Wouldn't it have been nice to see some reaction from the girlfriends, the family, at the end? I especially missed Tom Wilkinson, who really only serves as a device to pose the moral dilemma. I'm thinking maybe a short funeral shot, panning across the faces of the girls and the parents, who have no clue how this all happened (although Farrell's girlfriend might suspect), and then you stop on Wilkinson, who knows EXACTLY why they are all standing there, and is the reason for it as well. I don't wish to speak for Allen, but to me that would have been much more appropriate.
I also felt that the girl MacGregor was seeing at the beginning of the film was dropped a bit too quickly, and I would have liked some small comment from her about Ian's social climbing.
Lance, I highly suggest you get a hold of Match Point ASAP, as I think you'll enjoy it much more. And if you haven't seen Crimes & Misdemeanors, you'll want to put that VERY high on your to-see list. It's one of Woody's best, and the one that leaves you with more to think about than any other.
TranceEnding
Refugee
Has anyone seen the film '2 Days in Paris' (with Julie Delpy and Adam Goldberg)?? I saw this at the cinema and love, love, loved it 
So funny ... had quite a poignant ending too.
Wouldn't mind seeing it again (if, for nothing else, to see AG with his t-shirt off )
So funny ... had quite a poignant ending too.Wouldn't mind seeing it again (if, for nothing else, to see AG with his t-shirt off
)
monkeyskin
Refugee
Unfortunately I missed that last year, but it's a high priority on my rental list. I hope the comparisons to Before Sunrise / Sunset are worthy.
lazarus
Blue Crack Supplier
Paprika (dir. Satoshi Kon)
Once again, a Japanese filmmaker proves that, as sophisticated and talented as Brad Bird and some of the other Pixar directors and animators may be, what they are doing is still child's play when compared to their masters across the Pacific Ocean.
While Miyazaki is someone who appears wanting to beat Disney at their own game, creating imaginitive, thoughtful, and non-condescending stories for people of any age, Kon is a whole other thing altogether. Of all the anime that I've seen (and I'm far from an expert, referring here more to widely-released features), Kon's style approaches adult-themed live action the most in the way that it's directed and edited. There are moments where you almost forget it's animated. Also, they tend to be plots that are less-fantastical, and could easily have been done with live actors and sets; Perfect Blue a suspense thriller, Millenium Actress a pseudo-documentary through Japanese film history, and Tokyo Godfathers, essentially a remake of a minor John Ford film (think 3 Men & A Baby). This all changes with Paprika, which I couldn't imagine being done outside the world of animation, the closest thing being that Tarsem-directed Jennifer Lopez-starring The Cell.
With the exception of Godfathers, all of these Kon films deal a lot with the question of what is reality vs. what is fantasy. In each of them, there are scenes where you are really not sure if the action is happening in the characters' heads or not. Paprika takes it even further: The plot is that a new invention, The DC Mini, has been stolen from the labroratory where scientists are still working on it. The machine allows one to record their dreams and view them later, and also allows others to enter the dreams with the dreamer. The criminal that has taken the Mini has found a way to start inputting dreams into former users of the machine, without their consent. Atsuko, one of the scientists on the project, teams up with her coworkers, and a detective (who has been a Mini subject before himself) to track down the machine and the perpetrator. Atsuko's alter-ego inside the dreamworld is Paprika, a young sprite of a girl who seems to have much more control over navigating the bizarre surroundings than the others.
The visuals in this film are beyond description. Images constantly fold back in on themselves, melt into other images, etc. There's a lot of trickery going on, and I imagine it will take multiple viewings to fully notice and understand everything that's truly going on.
While not as emotionally involving as Millenium Actress, my favorite of his films, you really have to admire the ambition here. I really feel like Kon could take on any subject and do it justice. And while it doesn't raise as many intellectual questions as something like Ghost in the Shell 2: Innocence (another mindfuck of a film), it's an easier film to sit through.
Oh yeah, there's a lot of laughs too. I hope I didn't make it sound too serious. And there some very moving scenes when some of the characters are forced to confront their pasts.
If you appreciate animated films at all, you really owe it to yourself to check this out.
Once again, a Japanese filmmaker proves that, as sophisticated and talented as Brad Bird and some of the other Pixar directors and animators may be, what they are doing is still child's play when compared to their masters across the Pacific Ocean.
While Miyazaki is someone who appears wanting to beat Disney at their own game, creating imaginitive, thoughtful, and non-condescending stories for people of any age, Kon is a whole other thing altogether. Of all the anime that I've seen (and I'm far from an expert, referring here more to widely-released features), Kon's style approaches adult-themed live action the most in the way that it's directed and edited. There are moments where you almost forget it's animated. Also, they tend to be plots that are less-fantastical, and could easily have been done with live actors and sets; Perfect Blue a suspense thriller, Millenium Actress a pseudo-documentary through Japanese film history, and Tokyo Godfathers, essentially a remake of a minor John Ford film (think 3 Men & A Baby). This all changes with Paprika, which I couldn't imagine being done outside the world of animation, the closest thing being that Tarsem-directed Jennifer Lopez-starring The Cell.
With the exception of Godfathers, all of these Kon films deal a lot with the question of what is reality vs. what is fantasy. In each of them, there are scenes where you are really not sure if the action is happening in the characters' heads or not. Paprika takes it even further: The plot is that a new invention, The DC Mini, has been stolen from the labroratory where scientists are still working on it. The machine allows one to record their dreams and view them later, and also allows others to enter the dreams with the dreamer. The criminal that has taken the Mini has found a way to start inputting dreams into former users of the machine, without their consent. Atsuko, one of the scientists on the project, teams up with her coworkers, and a detective (who has been a Mini subject before himself) to track down the machine and the perpetrator. Atsuko's alter-ego inside the dreamworld is Paprika, a young sprite of a girl who seems to have much more control over navigating the bizarre surroundings than the others.
The visuals in this film are beyond description. Images constantly fold back in on themselves, melt into other images, etc. There's a lot of trickery going on, and I imagine it will take multiple viewings to fully notice and understand everything that's truly going on.
While not as emotionally involving as Millenium Actress, my favorite of his films, you really have to admire the ambition here. I really feel like Kon could take on any subject and do it justice. And while it doesn't raise as many intellectual questions as something like Ghost in the Shell 2: Innocence (another mindfuck of a film), it's an easier film to sit through.
Oh yeah, there's a lot of laughs too. I hope I didn't make it sound too serious. And there some very moving scenes when some of the characters are forced to confront their pasts.
If you appreciate animated films at all, you really owe it to yourself to check this out.
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