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Originally Posted by Severian
Very good, except for that nonsense about the he Dark Knight movies not being moving or whatever. It’s like you had a little seizure there in the middle of a perfectly coherent thought. Poor thing.  |
i was coherent enough not to insult you while explaining why i haven’t paid that much attention to nolan’s work, but i guess could start going off about the moronic mass audiences looking in overproduced blockbusters for some deeper meaning that’s just not there—or nah, i just won’t. who has the time?
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Originally Posted by Severian
But yes, I agree about the women.
HOWEVER... I was impressed by just how well Ryan Gosling can hold a movie together on his own. I mean, think about it... he has NEVER be so front-and-Center in a film from beginning to end. Not even in Drive. In this, it was Gosling/K, from minute 3 to the end. He really carried the emotional weight of the entire three hour movie, and he did it surprisingly well.
It doesn’t make the stereotype women any less disappointing, but it’s interestung to see an actor really take the audience trough essentially EVERY SINGLE SCENE. Not just anyone could do that. Not just any film could do that and have it work.
Cinematography was exceptional and I think Deakins will win an Oscar.
I like the way you describe the expanded ecology of this film too. The bee scene was utterly fucking badass.
You might be right. This might be better than the original.
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yeah i’ve been reading reviews by women and the issue with female representation is brought up often but not always negatively— one critic i read was saying that the film does not portray an idealized world but rather the world as it is (as blade runner does) and therefore it’s clearly justified in its depictions, even though they are, in themselves, bothersome.
i wasn’t suprised by gosling. he managed to carry drive with an even more inexpressive face than this one. but yeah that movie lasted 1/2 the time as this one.
but you gotta remember though— the other character here is the cinematography itself and all those moody, abstract shots. so it’s kind of a tag-team job betwee him and deakins. i don’t give 3 fucks about oscars so to me they’re irrelevant to his great work. if a bunch of hacks recognize his greatness, fine. if they don’t, the work is unmarred by it.
what i was suprised with is that i could not just endure but actually enjoy all of the ambient shots. usually i’m first to condemn what i see as such gimmicks— like in, say, various mathew barney movies. but here, with a great display of balls for an “action” movie, it works very well. maybe because it paces and punctuates the action sequences. there was some of that in the original, sure, with the vangelis music, but here it goes far beyond.
and to add— extra thanks to the director for not filling the whole 3 hours with a bunch of fuking explosions.