vittorioardore
A rejoint le déc. 2002
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Note de vittorioardore
There isn't much to say about Dandelion that the film doesn't say for itself. Form the beautiful shots of Idaho fields to the perfectly understated acting, Dandelion is its own greatest compliment. The editing, although only using very few techniques succeeds in making the most powerful transistions possible. As well, for a movie of its length and bare bones story it is amazing that the film never feels boring. Most directors would have felt like making Dandelion a short, but in its full length one can see its true colors. Anyone who watches independent film will not be surprised by the plot, but the beauty with which Dandelion executes the simple story is a testament to artistic film making.
I really hate it when people spout off about such and such a movie being "one of the worst of all time." Being someone who is a keen watcher of the terrible turkeys they show on TV I've compiled a list of attributes a movie must have to truly suck. (As you might have guessed, Stormy Nights fits all of them.)
1. Complete absence of plot, or if there is a plot one that makes you wish there wasn't one.
2. Absolutely no semblance of acting.
3. No music, or at least no music that fits.
4. Bad sound--the kind where no matter how you adjust your speakers it still sounds like feedback from a Henry Rollins Band concert.
5. Lack of any cinemotagrahpical techniques besides a a hackneyed close up or two.
6. Lighting that looks like the filmers just went with what was there.
7. Editing that makes "Momento" look like a tidy little story.
8. Lack of delivering what it advertises (in this case sex and suspense).
9. An overall feeling of suckage.
10. And most importantly the train wreck effect. The fact that you'll keep watching it, not because you think it might get better but because you want to see how bad it will get.
As I put above, Stormy Nights not only meets all of these prerequisites but served as a major inspiriation for most of them. Hence I pledge Stormy Nights should be delegated to the bottom rung of the bottom rung and called ONE OF THE WORST MOVIES OF ALL TIME.
Even when viewing this movie at 3:00 a.m. while searching for porn (so as you can guess my standards for film making where already lowered) this movie still came off as a joke puilled on the viewers.
It just goes to show, if you see a movie starring Shannon Tweed do not go view it. Sure she may have a nice body, but what one must go through to get to see it is not worth it.
1. Complete absence of plot, or if there is a plot one that makes you wish there wasn't one.
2. Absolutely no semblance of acting.
3. No music, or at least no music that fits.
4. Bad sound--the kind where no matter how you adjust your speakers it still sounds like feedback from a Henry Rollins Band concert.
5. Lack of any cinemotagrahpical techniques besides a a hackneyed close up or two.
6. Lighting that looks like the filmers just went with what was there.
7. Editing that makes "Momento" look like a tidy little story.
8. Lack of delivering what it advertises (in this case sex and suspense).
9. An overall feeling of suckage.
10. And most importantly the train wreck effect. The fact that you'll keep watching it, not because you think it might get better but because you want to see how bad it will get.
As I put above, Stormy Nights not only meets all of these prerequisites but served as a major inspiriation for most of them. Hence I pledge Stormy Nights should be delegated to the bottom rung of the bottom rung and called ONE OF THE WORST MOVIES OF ALL TIME.
Even when viewing this movie at 3:00 a.m. while searching for porn (so as you can guess my standards for film making where already lowered) this movie still came off as a joke puilled on the viewers.
It just goes to show, if you see a movie starring Shannon Tweed do not go view it. Sure she may have a nice body, but what one must go through to get to see it is not worth it.
It's quite paradoxical that some independent films have as many Hollywood stars as your average big budget promotion-fest. With Mel Gibson, Milla Jovovich and Tim Roth--not to mention Bono penning the story--"Million Dollar Hotel" proves this point by delivering a harshly artistic film that will probably turn you off as many times as it inspires you.
Using a mentally handicapped man to drive and narrate a story is always a gamble. The director risks alienating the viewers or even having the movie get on their nerves, and "MDH" does both in the span of its two hours. Luckily actor Jeremy Davies portrays the title role as an every man even with his apparent disabilities, making the viewer connect with him rather than feel sorry for him. The acting remains great right down the line with each player fitting right into their roles. Mel Gibson is actually perfect in MDH as he is kept in one emotion throughtout the film, not giving him a chance to overact.Jovovich too is great as always--only she can be so hauntingly romantic while playing a dirty, destitute and disturbed twenty something (the alliteration was not meant).
The story itself is not unlike some of Bono's songs. While all the components are moody and depressing it is strangely uplifting overall. (The opening song, done by him, truly captures the movies tone as any titular piece should)
One can tell pretty easily that director Wim Wenders was going for a specific feel throughout the film. With sepia toned shots and mystifying editing he fills the viewer witht he feelings of schizophrenia and disilussionment most its characters possess. The cinematography coupled with great lighting and interiors make the hotel in MDH truly feel more like a mad house than an apartment complex.
There is a lot to be said in MDH about life, the human spirit and the human animal. The problem is that MDH says it to early and too often until the viewer grows tired of the point. Luckily the points are made so artfully as to almost forgive the writer and director for overkill. Sometimes directors get so wrapped up in their message that they forget the medium. Wenders is guilty of the opposite, making the film almost more artistic (and longer) than it needed to be.
MDH is not exactly an easy film to watch, even if you have been weaned on films by men such as Paul Schrader or Christopher Nolan. But if you are willing to give director Wenders a couple hours of your time he will take you to another world that in a very dark sense resembles our own.
Using a mentally handicapped man to drive and narrate a story is always a gamble. The director risks alienating the viewers or even having the movie get on their nerves, and "MDH" does both in the span of its two hours. Luckily actor Jeremy Davies portrays the title role as an every man even with his apparent disabilities, making the viewer connect with him rather than feel sorry for him. The acting remains great right down the line with each player fitting right into their roles. Mel Gibson is actually perfect in MDH as he is kept in one emotion throughtout the film, not giving him a chance to overact.Jovovich too is great as always--only she can be so hauntingly romantic while playing a dirty, destitute and disturbed twenty something (the alliteration was not meant).
The story itself is not unlike some of Bono's songs. While all the components are moody and depressing it is strangely uplifting overall. (The opening song, done by him, truly captures the movies tone as any titular piece should)
One can tell pretty easily that director Wim Wenders was going for a specific feel throughout the film. With sepia toned shots and mystifying editing he fills the viewer witht he feelings of schizophrenia and disilussionment most its characters possess. The cinematography coupled with great lighting and interiors make the hotel in MDH truly feel more like a mad house than an apartment complex.
There is a lot to be said in MDH about life, the human spirit and the human animal. The problem is that MDH says it to early and too often until the viewer grows tired of the point. Luckily the points are made so artfully as to almost forgive the writer and director for overkill. Sometimes directors get so wrapped up in their message that they forget the medium. Wenders is guilty of the opposite, making the film almost more artistic (and longer) than it needed to be.
MDH is not exactly an easy film to watch, even if you have been weaned on films by men such as Paul Schrader or Christopher Nolan. But if you are willing to give director Wenders a couple hours of your time he will take you to another world that in a very dark sense resembles our own.