C2FThom
A rejoint le sept. 2001
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Note de C2FThom
I just caught the Season 2 marathon for this show last night. I've never watched the show before but it'd always seemed amusing from previews. Well, it's certainly amusing, but that's about the only good thing I can say about it.
Sure, the show finds some ridiculous way to be controversial, by incorporating subplots related to adultery, abortion, religion, pedophilia, or... doubling up on prostitutes. But it covers such topics for strictly exploitative and sensational purposes. It doesn't provide any hard-hitting commentary or food for thought.
Moreover, it only skips about from controversy to controversy to disguise the fact that Nip/Tuck is just poorly written and poorly acted. The tone of the show can oscillate between "Showtime" and "Lifetime" at any minute and usually does so on a per-scene basis. The zombies who think this is an example of great entertainment & great storytelling need to get out more, catch some movies in theatres (which tend to be at least better than this), or even turn the channel. I'm no fan of Desperate Housewives, but at least it's clever in dealing with its own fluff.
Sure, the show finds some ridiculous way to be controversial, by incorporating subplots related to adultery, abortion, religion, pedophilia, or... doubling up on prostitutes. But it covers such topics for strictly exploitative and sensational purposes. It doesn't provide any hard-hitting commentary or food for thought.
Moreover, it only skips about from controversy to controversy to disguise the fact that Nip/Tuck is just poorly written and poorly acted. The tone of the show can oscillate between "Showtime" and "Lifetime" at any minute and usually does so on a per-scene basis. The zombies who think this is an example of great entertainment & great storytelling need to get out more, catch some movies in theatres (which tend to be at least better than this), or even turn the channel. I'm no fan of Desperate Housewives, but at least it's clever in dealing with its own fluff.
It's easy to see why so many people like Amélie. The film is absolutely beautiful, and as has been noted time and again, it plays like a modern day fairy tale. It seems, though, that some people can't understand how it's made its place at #20 in the IMDb's top films list. So, rather than discuss the general merits of the film, as many have done, I'm going to try and address the reasons, in specific, it's reached this level of popularity.
One of the most common write-offs about Amélie is that this is a "romantic comedy," and romantic comedies must by their nature be inferior to other films. Granted, there is a lot of support for this mode of thought, particularly in the form of very cliché, fluffy romantic comedies, the type you see Meg Ryan in so much. They're fun and they're sweet, but ultimately forgettable. But Amélie does not fit this mold. It's about love, definitely, but it's not about the typical self-centered notions of finding that person who "completes" her. On the contrary, she really discovers love through doing good things for others, affecting their lives. She feels gratified for doing so, but for reasons she can't really understand, she's still left feeling empty. When she stumbles upon Nino, her actions are quite playful and curious, but even when she begins to realize he might be that "special someone", she refuses to act on her desires, because such self-serving acts are against her nature. The lovers' eventual union only occurs after her neighbors, those people whose lives she's touched, conspire to return her favors. Thus, in the end, everyone who's found love or made happy has done so thanks to the generosity of others.
One of the other major complaints is about the pacing of the film, particularly that it drags in its final act. This is understandable as it could've been packaged more neatly with a few cut scenes at the end, but I understand Jeunet's intentions and would rather keep the film as is than chop it up for salability. Amélie and Nino aren't delayed from getting together simply so that Dufayel can make his inspirational little speech via her VCR. No, Amélie is absolutely petrified about taking chances and especially doing so for herself, and with such an attitude, she would never find happiness. Jeunet really drives this point in with several repeated and failed attempts. Some people find it unnecessary and are inclined to say, "I get it already!" But for those who can most closely relate--who just find it so hard to work for their own benefit--the inclusions of these scenes really adds to the effect, and drives the points home that good deeds will eventually be reciprocated, and that you must be willing to make yourself happy.
There are so many reasons why I love this film and it'd be impossible to lift them all, but I beg you to give the film a chance. If you don't like it, I'm sorry and a bit saddened. There may just be a chance, though, you'll think like I that Amélie belongs higher on the list than #20.
One of the most common write-offs about Amélie is that this is a "romantic comedy," and romantic comedies must by their nature be inferior to other films. Granted, there is a lot of support for this mode of thought, particularly in the form of very cliché, fluffy romantic comedies, the type you see Meg Ryan in so much. They're fun and they're sweet, but ultimately forgettable. But Amélie does not fit this mold. It's about love, definitely, but it's not about the typical self-centered notions of finding that person who "completes" her. On the contrary, she really discovers love through doing good things for others, affecting their lives. She feels gratified for doing so, but for reasons she can't really understand, she's still left feeling empty. When she stumbles upon Nino, her actions are quite playful and curious, but even when she begins to realize he might be that "special someone", she refuses to act on her desires, because such self-serving acts are against her nature. The lovers' eventual union only occurs after her neighbors, those people whose lives she's touched, conspire to return her favors. Thus, in the end, everyone who's found love or made happy has done so thanks to the generosity of others.
One of the other major complaints is about the pacing of the film, particularly that it drags in its final act. This is understandable as it could've been packaged more neatly with a few cut scenes at the end, but I understand Jeunet's intentions and would rather keep the film as is than chop it up for salability. Amélie and Nino aren't delayed from getting together simply so that Dufayel can make his inspirational little speech via her VCR. No, Amélie is absolutely petrified about taking chances and especially doing so for herself, and with such an attitude, she would never find happiness. Jeunet really drives this point in with several repeated and failed attempts. Some people find it unnecessary and are inclined to say, "I get it already!" But for those who can most closely relate--who just find it so hard to work for their own benefit--the inclusions of these scenes really adds to the effect, and drives the points home that good deeds will eventually be reciprocated, and that you must be willing to make yourself happy.
There are so many reasons why I love this film and it'd be impossible to lift them all, but I beg you to give the film a chance. If you don't like it, I'm sorry and a bit saddened. There may just be a chance, though, you'll think like I that Amélie belongs higher on the list than #20.