shizz_27
A rejoint le mars 2003
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Avis25
Note de shizz_27
It's gotta suck to know how you're going to die, what's it going to take getting there and it's the end result no matter what you do or how you do it. Especially for a self-proclaimed "control freak" like Wendy (Mary Elizabeth Winstead). She and some friends, and a few other people she just kind of knows, are getting on a roller-coaster when she sees it take an ugly turn: guy disobeys the no loose objects rule, the safety bars come free and everything f**ks right up. She gets off; others join her. Others don't, and... well, you know.
And, like both FINAL DESTINATION movies before it, you know that cheating death is a no-no. Figure out its "plan", save victims, and it'll improvise. So, as soon as Wendy and Kevin (Ryan Merriman) find out about a certain airplane explosion and freeway pile-up, and how the death "force" tracked down survivors and offed them, anyway, they go to the digital photos Wendy took that night and start looking for clues.
FD3 suffers from repetition (aside from being exactly like the first two films in this series): gruesome death, main characters lament, try and stop the next one, can't. Repeat. But, it doesn't suffer much. It's better acted than even the second installment - which I thought was darn good. Winstead is convincingly trepidatious about getting on that coaster, has a believable freak out. There's also a nice meeting of the minds scene between her and her rebellious kid sister. I liked the two stereotypical airheads, how they give each other an adorable little pound. I liked the brutality and ingenuity, and just sheer screw-PG-13 of the death sequences. Tanning beds that become incinerators, a nasty little drive-thru incident, the opening carnival ride -- all expertly done. The climax is absolutely fabulous. The dialogue isn't horrible; "If there's any place that makes me feel like there's no life after death, it's a cemetery." There's also, I thought, a pretty good point made about "the equality of death", during a funeral.
Sameness notwithstanding, FINAL DESTINATION 3 is a blast. Surprisingly, impossibly, the first really good picture of the new year. Now, fourth go round, maybe have skiers on a chair lift, it stops because someone accidentally misses their chair (been there done that), and a small low flying airplane plows into them. You could even start using, "based on real events" if you wanted; I think I read about that actually happening, once.
And, like both FINAL DESTINATION movies before it, you know that cheating death is a no-no. Figure out its "plan", save victims, and it'll improvise. So, as soon as Wendy and Kevin (Ryan Merriman) find out about a certain airplane explosion and freeway pile-up, and how the death "force" tracked down survivors and offed them, anyway, they go to the digital photos Wendy took that night and start looking for clues.
FD3 suffers from repetition (aside from being exactly like the first two films in this series): gruesome death, main characters lament, try and stop the next one, can't. Repeat. But, it doesn't suffer much. It's better acted than even the second installment - which I thought was darn good. Winstead is convincingly trepidatious about getting on that coaster, has a believable freak out. There's also a nice meeting of the minds scene between her and her rebellious kid sister. I liked the two stereotypical airheads, how they give each other an adorable little pound. I liked the brutality and ingenuity, and just sheer screw-PG-13 of the death sequences. Tanning beds that become incinerators, a nasty little drive-thru incident, the opening carnival ride -- all expertly done. The climax is absolutely fabulous. The dialogue isn't horrible; "If there's any place that makes me feel like there's no life after death, it's a cemetery." There's also, I thought, a pretty good point made about "the equality of death", during a funeral.
Sameness notwithstanding, FINAL DESTINATION 3 is a blast. Surprisingly, impossibly, the first really good picture of the new year. Now, fourth go round, maybe have skiers on a chair lift, it stops because someone accidentally misses their chair (been there done that), and a small low flying airplane plows into them. You could even start using, "based on real events" if you wanted; I think I read about that actually happening, once.
The third theatrical film directed by character-actor Saul Rubinek (did he flat-out own TRUE ROMANCE, or what) is a curious thing. Witty, and oddly fascinating, but at the end of the day just too damn esoteric for my taste.
The title refers to a video diary project of sorts that Betty (Wendel Meldrum) puts together to capture private confessions, or as a performance piece, or manipulation technique, or hell, I couldn't figure it out. She hides her camera everywhere, takes it with her to the gynecologist, to work, on blind dates. Tapes herself talking about Buddhism and how "the inside of the mouth is the same kind of skin as inside the vagina".
Does she really want to know all the stuff she gets about other people, and if so, why? Will she be using the material in some evidentiary way? Is it simply to call attention to the way some people say one thing and turn around and do another, then try and justify it? Or, does Betty just need someone or thing to talk and share her innermost thoughts with, so the digital recorder acts as a therapist? The film never comes clean.
There's a scene at the end where Betty plays her tape to a roomful of people who've unwittingly acted as supporting cast members, and aside from using the word "unconscionable", they mostly remain speechless. At first, CRUEL BUT NECESSARY is funny and intriguing, but by that last scene, you gotta throw your hands up. It's well-acted and written, with Meldrum, our Betty, giving a spot-on, terrific performance. But d*mned if I know what the point was.
The title refers to a video diary project of sorts that Betty (Wendel Meldrum) puts together to capture private confessions, or as a performance piece, or manipulation technique, or hell, I couldn't figure it out. She hides her camera everywhere, takes it with her to the gynecologist, to work, on blind dates. Tapes herself talking about Buddhism and how "the inside of the mouth is the same kind of skin as inside the vagina".
Does she really want to know all the stuff she gets about other people, and if so, why? Will she be using the material in some evidentiary way? Is it simply to call attention to the way some people say one thing and turn around and do another, then try and justify it? Or, does Betty just need someone or thing to talk and share her innermost thoughts with, so the digital recorder acts as a therapist? The film never comes clean.
There's a scene at the end where Betty plays her tape to a roomful of people who've unwittingly acted as supporting cast members, and aside from using the word "unconscionable", they mostly remain speechless. At first, CRUEL BUT NECESSARY is funny and intriguing, but by that last scene, you gotta throw your hands up. It's well-acted and written, with Meldrum, our Betty, giving a spot-on, terrific performance. But d*mned if I know what the point was.