dland
may 1999 se unió
Te damos la bienvenida a nuevo perfil
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Distintivos3
Para saber cómo ganar distintivos, ve a página de ayuda de distintivos.
Reseñas6
Clasificación de dland
It's shot in high-contrast grainy black and white, so you just KNOW it's got to be serious.
I saw the "shocking" ending coming from the time he disassembled the computer mainframe in the first couple of minutes. This film is drivel, but imagines that it isn't. The entire move strikes me as being a lot like its Lenny Meyer character: annoyingly obsessed with something not especially interesting.
I get that the repeated scenes (Cohn taking pills, Cohen at the bathroom mirror, the pointless story about looking at the sun, that dreadful screeching sound during Cohen's attacks) are supposed reflect the "patterns" that Cohen believes are in all things, but the rest of the film falls short on so many levels.
It is ably acted: that gets it a ★. I like the break-beat theme, so there's another ★. And as another reviewer points out, the math problem presented by Jenna at the end resolves to 22/7, a famous approximation of pi, so that's a third ★.
I saw the "shocking" ending coming from the time he disassembled the computer mainframe in the first couple of minutes. This film is drivel, but imagines that it isn't. The entire move strikes me as being a lot like its Lenny Meyer character: annoyingly obsessed with something not especially interesting.
I get that the repeated scenes (Cohn taking pills, Cohen at the bathroom mirror, the pointless story about looking at the sun, that dreadful screeching sound during Cohen's attacks) are supposed reflect the "patterns" that Cohen believes are in all things, but the rest of the film falls short on so many levels.
It is ably acted: that gets it a ★. I like the break-beat theme, so there's another ★. And as another reviewer points out, the math problem presented by Jenna at the end resolves to 22/7, a famous approximation of pi, so that's a third ★.
In interviews on the DVD, Templeton says that hers is a darker Peter & The Wolf than others. Compared to Templeton's other work (the brilliantly crafted, deeply moving, but thoroughly distressing "Dog" and the creepy "Stanley", for instance), and considering the way she ends her "Peter", I'm not sure it's as dark as she thinks it is.
This Peter and the Wolf is clearly not for little kids (when the wolf eats Duck, Peter's best friend, there's no hint that she — swallowed whole in a single gulp in Prokofiev's tale, but taken in several gore-free bites here — is alive and quacking in the end), but for anyone old enough to appreciate the scope of this mini masterpiece, a rewarding discovery awaits.
The sense of connection between Peter and the Wolf is palpable. Two starving beasts get a taste of what they crave: The Wolf, a scrawny duck, and Peter, escape from his grandfather's stern, austere care. If you crave stop-animation with depth, substance, and beauty, you will find this brief film a 30-minute treat, too.
This Peter and the Wolf is clearly not for little kids (when the wolf eats Duck, Peter's best friend, there's no hint that she — swallowed whole in a single gulp in Prokofiev's tale, but taken in several gore-free bites here — is alive and quacking in the end), but for anyone old enough to appreciate the scope of this mini masterpiece, a rewarding discovery awaits.
The sense of connection between Peter and the Wolf is palpable. Two starving beasts get a taste of what they crave: The Wolf, a scrawny duck, and Peter, escape from his grandfather's stern, austere care. If you crave stop-animation with depth, substance, and beauty, you will find this brief film a 30-minute treat, too.
