Saw Peter Jackson's "They Shall Not Grow Old" in the theater. We could only get tickets for the front row due to the ridiculously short two-day run. While the filmmakers struggled to create a story arc, the technological feat was certainly impressive.
The way they used lip readers to determine what the soldiers were saying, then hiring voice actors who could emulate the regional accents is a welcome attention to detail.
A 30 minute "making of" special shown after the film was essential to a proper understanding. I think another approach to the footage could be to set up each scene with what is known about it, which I hope we see in the future.
Watched the series 'Luther' with Ruth Wilson and Idris Alba.
While I enjoyed it, I was disappointed that she ended up broken-hearted (and the rest), it struck me as a lazy and dated (hero cares more for fighting for justice than any little woman at home) resolution of that relationship.
Post by HEN HAWKADAY II on Jan 6, 2019 10:19:02 GMT
I knew there was some talk about this, but hadn't read any reviews until this morning after I watched it.
I wouldn't have said it was as bad as the critics are saying, there are some good performances (especially Olivia Wilde), but it's terribly melodramatic and full of exaggerated shows of temper and terrible deaths (shown from various angles) and all that. I mean, life is more interesting when you look at the small stuff, right?
And I still can't work out what 'life itself is the unreliable narrator' (or something like that) means. I suspect the writers didn't either.
Last night after my son went to bed, I watched a Face in the Crowd. I haven't seen it in a long time, but it's a great movie. Andy Griffiths is great in it and it's directed by Kazan and written by Budd Schulberg, who also wrote the songs. If you haven't read it, I highly recommend Schulberg's novel, Run, Sammy, Run.
I remember liking this a lot when it came out at the cinema but this time I'm wondering what I saw. It's a film that posits some very interesting and novel human interactions and then puts them aside for the sake of quips, action, and flashy sci-fi tropes.
I first saw this as a film-nerd teenager wanting to become a film buff. I quite liked it back then but didn’t really watch it properly.
Its style is quite something. The musical score of church organs, the stark visuals (which look surprisingly crisp for a low budget film of its time, the transfer I watched looked incredibly modern) that even go full German Expressionist at certain moments, the angular cutting of its editing, the grotesque physical acting which is borderline camp - all of this is just as creepy and off-kilter as its ghostly story that could easily come straight out of a Twilight Zone episode. Sometimes it’s impossible to tell if its strangeness was a deliberate choice or the accidental result of its low budget, especially the poor sound mixing, but it all adds up to create a swirling, surreal atmosphere of dread.
From a modern perspective it’s quite interesting to view Candace Hilligoss’s excellent performance as a cynical, apathetic, and resistant woman in a world full of men constantly trying to control her. There’s her neighbour who typifies the lusty “nice guy” you find a lot nowadays, the moralising and judgmental pastor who employs her as a church organist, and most notably the psychoanalyst who manhandles her into his office due to her “hysteria” when she has a nightmarish vision. Quite how much of this is a byproduct of its time that its director unknowingly undermines radically, I don’t know. Whatever it is, I highly recommend this.