dweck
Bienvenue sur nouveau profil
Nos mises à jour sont toujours en cours de développement. Bien que la version précédente de le profil ne soit plus accessible, nous travaillons activement à des améliorations, et certaines fonctionnalités manquantes seront bientôt de retour ! Restez à l'écoute de leur retour. En attendant, l’analyse des évaluations est toujours disponible sur nos applications iOS et Android, qui se trouvent sur la page de profil. Pour consulter la répartition de vos évaluations par année et par genre, veuillez consulter notre nouveau Guide d'aide.
Badges2
Pour savoir comment gagner des badges, rendez-vous sur page d'aide sur les badges.
Avis22
Note de dweck
Okay, so I was really *really* nervous about seeing F2000. I LOVE F1940, and I was worried that they'd trounce it.
But once I saw the opening, where sheets of music and cels from the original go floating past the assembling orchestra, I knew we were in good hands. I knew the creative team would honor the memory of the original and take it to new heights.
And boy, did they ever!
The IMAX presentation was worth every effort I made (had to travel 90 miles to NYC) and every penny I paid. To sit there amid the 60-some speakers and just be awash in the music was an experience I'll remember forever.
The short of it is that the criticisms here are, in my book, unfounded. I didn't think the movie was too short. I didn't object to the musical cuts, which only purists would notice anyway. I didn't think the intersticies were bothersome at all. In fact, stick around for the closing credits and a final joke from Steve Martin.
The only thing I will agree with is that "The Sorcerer's Apprentice" looks every bit of its 60 years. Perhaps the original aspect ratio for this segment would have been advisable...
Other than that, a marvelous film. I can't wait to see it again in a non-IMAX theater. The Noah's Ark sequence, for one, had gags aplenty that I'm sure I missed the first time 'round.
Take a bow, Mickey and company. You certainly deserve one!
But once I saw the opening, where sheets of music and cels from the original go floating past the assembling orchestra, I knew we were in good hands. I knew the creative team would honor the memory of the original and take it to new heights.
And boy, did they ever!
The IMAX presentation was worth every effort I made (had to travel 90 miles to NYC) and every penny I paid. To sit there amid the 60-some speakers and just be awash in the music was an experience I'll remember forever.
The short of it is that the criticisms here are, in my book, unfounded. I didn't think the movie was too short. I didn't object to the musical cuts, which only purists would notice anyway. I didn't think the intersticies were bothersome at all. In fact, stick around for the closing credits and a final joke from Steve Martin.
The only thing I will agree with is that "The Sorcerer's Apprentice" looks every bit of its 60 years. Perhaps the original aspect ratio for this segment would have been advisable...
Other than that, a marvelous film. I can't wait to see it again in a non-IMAX theater. The Noah's Ark sequence, for one, had gags aplenty that I'm sure I missed the first time 'round.
Take a bow, Mickey and company. You certainly deserve one!
I was sure I'd imagined this movie until I found it here. I remember watching it on TV as kid and loving it. I imagine it doesn't hold up much nowadays, though.
The theme song will ring around in my head every now and then; it was an infectuous tune with a tinkly harpsichord. "The spirit is willing... Her kisses are chilling... "The spirit is willing... But the body is weak..."
I'd love to see it again.
The theme song will ring around in my head every now and then; it was an infectuous tune with a tinkly harpsichord. "The spirit is willing... Her kisses are chilling... "The spirit is willing... But the body is weak..."
I'd love to see it again.
Their cinematic effort preceding "TTOTL" is an little unknown comedy called "Little Giant," in which Bud and Lou--showing, perhaps the strain in their personal relationship at the time--act apart as opposed to as a team. "TTOTL" continues that experiment, but produces much better results.
The tail--of a pair of Revolutionary War ghosts (Costello and the beautiful Marjorie Reynolds) trying to clear their names in 1946--has heart. Again, there's comedy here, but also pathos, something Lou Costello was brilliant at playing and for which he received precious little credit. And the *story* is engaging, not just a platform for free-form A&C routines.
The SPFX are top-notch for the day. Watch Costello and Reynolds run at each other and swap clothing. And the performances matter, too. Gail Sondergaard is very creepy during a seance sequence, and even Bud flexes his dramatic-comedic muscles as a fluttery psychologist.
Things are mucked up a bit at the end, when Bud's car goes awry with Lou at the wheel (I guess by then producers felt it couldn't be an A&C picture without at least *one* chase). But with that one transgression forgiven, "TTOTL" is a terrific film (my second-fav of Bud & Lou's, after "Who Done It?").
The tail--of a pair of Revolutionary War ghosts (Costello and the beautiful Marjorie Reynolds) trying to clear their names in 1946--has heart. Again, there's comedy here, but also pathos, something Lou Costello was brilliant at playing and for which he received precious little credit. And the *story* is engaging, not just a platform for free-form A&C routines.
The SPFX are top-notch for the day. Watch Costello and Reynolds run at each other and swap clothing. And the performances matter, too. Gail Sondergaard is very creepy during a seance sequence, and even Bud flexes his dramatic-comedic muscles as a fluttery psychologist.
Things are mucked up a bit at the end, when Bud's car goes awry with Lou at the wheel (I guess by then producers felt it couldn't be an A&C picture without at least *one* chase). But with that one transgression forgiven, "TTOTL" is a terrific film (my second-fav of Bud & Lou's, after "Who Done It?").