captelephant
A rejoint le mai 2006
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Note de captelephant
I desperately wanted Sucker Punch to be good. Any large-budget blockbuster that has the balls to include dragons, mechs and nazi zombies in its PREVIEWS gets bonus points with me.
But Sucker Punch isn't very good. It's joyless and heartless and somehow manages to take itself waaaaay too seriously despite the aforementioned dragons, mechs and nazi zombies. For a movie that should be non-stop fun it's surprisingly dreary. That could have worked if that dreariness had generated any power or depth or emotional attachment, but it doesn't, so instead of being dramatic or epic the movie just becomes boring.
The interchangeable, embarrassingly over-fetishized girls are utterly invincible and never in any danger whatsoever... until the plot suddenly needs them to be, which is cheap and, again, boring. The brothel scenes almost immediately became tedious and I found myself impatient for the next action scene to begin.
Of course the action is fantastically well filmed and the special effects are gorgeous. Snyder is probably the best action director working today. But in Sucker Punch it's all so meaningless and lightweight that I felt more numbed than excited. And that's probably the most impressive thing about the movie: how do you make steampunk nazi zombie zeppelins unexciting? See Sucker Punch and find out!
Sucker Punch really isn't terrible. It's just a typical, brainless blockbuster that squanders its unique subject matter. It could have been so much more.
But Sucker Punch isn't very good. It's joyless and heartless and somehow manages to take itself waaaaay too seriously despite the aforementioned dragons, mechs and nazi zombies. For a movie that should be non-stop fun it's surprisingly dreary. That could have worked if that dreariness had generated any power or depth or emotional attachment, but it doesn't, so instead of being dramatic or epic the movie just becomes boring.
The interchangeable, embarrassingly over-fetishized girls are utterly invincible and never in any danger whatsoever... until the plot suddenly needs them to be, which is cheap and, again, boring. The brothel scenes almost immediately became tedious and I found myself impatient for the next action scene to begin.
Of course the action is fantastically well filmed and the special effects are gorgeous. Snyder is probably the best action director working today. But in Sucker Punch it's all so meaningless and lightweight that I felt more numbed than excited. And that's probably the most impressive thing about the movie: how do you make steampunk nazi zombie zeppelins unexciting? See Sucker Punch and find out!
Sucker Punch really isn't terrible. It's just a typical, brainless blockbuster that squanders its unique subject matter. It could have been so much more.
A lot has been written about this film already so I won't repeat the obvious. It is, overall, a very good movie. But it has a big problem.
The emotional core of Inception is DiCaprio's character and his "relationship" with his wife, Mal. Whenever the movie is telling that story it's fantastic. Whenever it's not, it's not.
The end result is a mostly-great movie with about 45 minutes of unnecessary explosions stapled on.
The ultra-generic action sequences (with one notable, Matrix-esquire exception that ends much too quickly) are tiring and unexciting, and show a distinct lack of imagination. The Dark Knight demonstrated that this otherwise-gifted director has trouble building coherent/engaging action scenes, but the gimmicky nature of the Batman franchise made it forgivable. In Inception that failing takes center stage since the last 45 minutes demand almost non-stop action that Nolan is frankly unable to deliver. Placed beside The Matrix, or even this-year's Kick-Ass, the snowy final battle in Inception is downright boring and threatens to bring the film to an anti-climax. Fortunately the resolution of DiCaprio's storyline is fantastically engaging and brings the rest of the movie up with it.
I wonder if Nolan is wasting his considerable story-telling talents working in a genre he doesn't love. This man does not want to film action; it's obvious. Maybe he should just stop trying and focus on telling the tales he wants to tell instead.
The emotional core of Inception is DiCaprio's character and his "relationship" with his wife, Mal. Whenever the movie is telling that story it's fantastic. Whenever it's not, it's not.
The end result is a mostly-great movie with about 45 minutes of unnecessary explosions stapled on.
The ultra-generic action sequences (with one notable, Matrix-esquire exception that ends much too quickly) are tiring and unexciting, and show a distinct lack of imagination. The Dark Knight demonstrated that this otherwise-gifted director has trouble building coherent/engaging action scenes, but the gimmicky nature of the Batman franchise made it forgivable. In Inception that failing takes center stage since the last 45 minutes demand almost non-stop action that Nolan is frankly unable to deliver. Placed beside The Matrix, or even this-year's Kick-Ass, the snowy final battle in Inception is downright boring and threatens to bring the film to an anti-climax. Fortunately the resolution of DiCaprio's storyline is fantastically engaging and brings the rest of the movie up with it.
I wonder if Nolan is wasting his considerable story-telling talents working in a genre he doesn't love. This man does not want to film action; it's obvious. Maybe he should just stop trying and focus on telling the tales he wants to tell instead.
Where the Wild Things are is a well written, intelligent, and very cold drama about the often challenging interactions within a closed group of people, the complexities of leadership and the cost of selfishness.
It's not a movie about imagination or childhood at all, and it's only vaguely concerned with themes of growing up, family or maturity.
It's not wacky or funny. Not colorful or exciting. There's only about 10 minutes of what I'd call "fun" in the whole 2-hour package.
That doesn't make Where the Wild Things Are a bad movie. It just makes it completely defiant of the viewer's expectations, and thus a rather confusing film to watch.
The first time I saw this I wasn't sure how I was supposed to be taking things. Was that supposed to be funny? Is she being sarcastic, or serious? Is Max in real danger now, or not? That's not because the movie is actually confusing, but because it all seems vaguely wrong and inappropriate. I left scratching my head saying "I guess that was good?"
In the end I decided I didn't like it. I felt that this was either the wrong script for this movie or the wrong movie for this script. Either way, it didn't click for me and felt awkward to the end.
Nevertheless there is quality here, and I recommend you watch it yourself and reach your own conclusion.
It's not a movie about imagination or childhood at all, and it's only vaguely concerned with themes of growing up, family or maturity.
It's not wacky or funny. Not colorful or exciting. There's only about 10 minutes of what I'd call "fun" in the whole 2-hour package.
That doesn't make Where the Wild Things Are a bad movie. It just makes it completely defiant of the viewer's expectations, and thus a rather confusing film to watch.
The first time I saw this I wasn't sure how I was supposed to be taking things. Was that supposed to be funny? Is she being sarcastic, or serious? Is Max in real danger now, or not? That's not because the movie is actually confusing, but because it all seems vaguely wrong and inappropriate. I left scratching my head saying "I guess that was good?"
In the end I decided I didn't like it. I felt that this was either the wrong script for this movie or the wrong movie for this script. Either way, it didn't click for me and felt awkward to the end.
Nevertheless there is quality here, and I recommend you watch it yourself and reach your own conclusion.