nemkutya
Aug. 2000 ist beigetreten
Willkommen auf neuen Profil
Unsere Aktualisierungen befinden sich noch in der Entwicklung. Die vorherige Version Profils ist zwar nicht mehr zugänglich, aber wir arbeiten aktiv an Verbesserungen und einige der fehlenden Funktionen werden bald wieder verfügbar sein! Bleibe dran, bis sie wieder verfügbar sind. In der Zwischenzeit ist Bewertungsanalyse weiterhin in unseren iOS- und Android-Apps verfügbar, die auf deiner Profilseite findest. Damit deine Bewertungsverteilung nach Jahr und Genre angezeigt wird, beziehe dich bitte auf unsere neue Hilfeleitfaden.
Abzeichen2
Wie du dir Kennzeichnungen verdienen kannst, erfährst du unter Hilfeseite für Kennzeichnungen.
Rezensionen6
Bewertung von nemkutya
As I was watching the midair climax of the movie (which is a lot of fun, by the way), I couldn't help but think that the music sounded very familiar. It was starting to remind me very much of Anton Bruckner's 8th Symphony in c-minor. No sooner had I made this inner note to myself when the soundtrack actually started *quoting* the 8th, note-for-note! OK, OK, I know this has nothing to do with the movie, which is probably my favorite Ultraman so far... but I like commenting on musical trivia like this. (Another odd Bruckner quote comes in the opening credits of Victor Halperin's "Supernatural" from 1933, which uses a few bars of the Third Symphony in d-minor.)
I love Albert Brooks. I cannot stress that enough. I was let down by this movie. Maybe I missed something? He breaks up "again" with his girlfriend and spends the rest of the movie pining for her and acting obsessively jealous.
The whole Quaalude bit was just lame and not funny although when he puts on the disco record and says it's depressing was funny. Even though his girlfriend kept saying she loved and missed him I never believed it. I always felt she wanted to be somewhere else with someone else, so in the end when he asks her to get married and she says yes I couldn't believe it. I didn't feel Albert was up to his full neurotic obsessive potential, like he was holding back. O.K. movie but probably only bearable to Albert Brooks fans.
The whole Quaalude bit was just lame and not funny although when he puts on the disco record and says it's depressing was funny. Even though his girlfriend kept saying she loved and missed him I never believed it. I always felt she wanted to be somewhere else with someone else, so in the end when he asks her to get married and she says yes I couldn't believe it. I didn't feel Albert was up to his full neurotic obsessive potential, like he was holding back. O.K. movie but probably only bearable to Albert Brooks fans.
I'm willing to admit Carpenter fell pretty much flat on this one. Also, release of this film (in my area at least) completely overshadowed that of "In the Mouth of Madness", which is one of my favorites, and which I think deserved more attention than it got.
I do have one thing to point out in "Village"'s defense, though: "March of the Children". I don't know if Carpenter composed it, or if it was his collaborator, but in any case it was worth it for me to sit through the whole mediocre film just to hear the March play out over the end credits. It alters between 4- and 3-bar phrases, making it unpredictable and unsettling. The Big Tune comes to a huge cadence on a triumphant major chord the first time it's played, and on menacing open fifths thereafter. If only the rest of the movie were so inspired...
I do have one thing to point out in "Village"'s defense, though: "March of the Children". I don't know if Carpenter composed it, or if it was his collaborator, but in any case it was worth it for me to sit through the whole mediocre film just to hear the March play out over the end credits. It alters between 4- and 3-bar phrases, making it unpredictable and unsettling. The Big Tune comes to a huge cadence on a triumphant major chord the first time it's played, and on menacing open fifths thereafter. If only the rest of the movie were so inspired...