flipgirl38
Iscritto in data feb 2002
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Valutazione di flipgirl38
Atonement opens on a young Briony Tallis jubilantly finishing a play to be performed that evening for her family. She stands and walks through her home, searching for her mother, and we follow her, ghostlike, looming above, as she searches. In a way, the themes of this film are summed up in this first shot: Briony, aimless, searching for truth in her imagination and fiction. And if this sounds like a contradiction, trust me when I say you will come to understand this by film's end.
I have not read the book, written by Ian McEwan, but after viewing this film, I am eager to pick it up and follow the thoughts of the characters more intimately than what is shown on film. What we have here is amazing work, both technically, artistically, and emotionally, yet on some level, it is unable to grasp the concept of writing fiction from Briony's point of view. There are no doubts about the talents of Joe Wright, who at 34 has now made two exceptional films (Pride and Prejudice being the other one) with his lead actress Keira Knightly, who herself grows in her abilities with each passing year.
James McAvoy cements his position as a leading man, creating a brilliant life in Robbie that glues your eyes to his predicaments and his thought on the world around him. He carries the weight of the film, and is the one who undergoes the most change. From his fresh faced boyishness in the opening scenes to the rugged, worn, and tired eyes in the latter, McAvoy is able to successfully convey the innocence of young love to the brutalities of war, and we love him for it.
Joe Wright has again, proved his talent as a film director, whose use of the tracking shot will be among the greatest, up there with Goodfellas, Pulp Fiction, Children of Men, and Magnolia. His use with a camera lens is so poetic at times, they could be freeze framed and placed on walls as pieces of art in themselves. My only qualm is sometimes these shots are too technical, and distracts from the film itself. Though that is more of a personal observation than a general one.
And let's not forget to mention the score, which only enhances the epic feel it brings, successfully weaving diegetic noise (the typewriter in particular) with the non-diegetic, Dario Marianelli, composer of Wright's previous work, Pride and Prejudice, creates moody, dramatic pieces that perfectly set the tone of the scenes they play in. It's one that will be recognized in years to come.
Without a doubt, Atonement is one of the best films released this year, and certainly a must see for lovers of film in general, if only for its amazing tracking shot of a war torn beach in France. I, for one, look forward to viewing it a second time in the near future.
I have not read the book, written by Ian McEwan, but after viewing this film, I am eager to pick it up and follow the thoughts of the characters more intimately than what is shown on film. What we have here is amazing work, both technically, artistically, and emotionally, yet on some level, it is unable to grasp the concept of writing fiction from Briony's point of view. There are no doubts about the talents of Joe Wright, who at 34 has now made two exceptional films (Pride and Prejudice being the other one) with his lead actress Keira Knightly, who herself grows in her abilities with each passing year.
James McAvoy cements his position as a leading man, creating a brilliant life in Robbie that glues your eyes to his predicaments and his thought on the world around him. He carries the weight of the film, and is the one who undergoes the most change. From his fresh faced boyishness in the opening scenes to the rugged, worn, and tired eyes in the latter, McAvoy is able to successfully convey the innocence of young love to the brutalities of war, and we love him for it.
Joe Wright has again, proved his talent as a film director, whose use of the tracking shot will be among the greatest, up there with Goodfellas, Pulp Fiction, Children of Men, and Magnolia. His use with a camera lens is so poetic at times, they could be freeze framed and placed on walls as pieces of art in themselves. My only qualm is sometimes these shots are too technical, and distracts from the film itself. Though that is more of a personal observation than a general one.
And let's not forget to mention the score, which only enhances the epic feel it brings, successfully weaving diegetic noise (the typewriter in particular) with the non-diegetic, Dario Marianelli, composer of Wright's previous work, Pride and Prejudice, creates moody, dramatic pieces that perfectly set the tone of the scenes they play in. It's one that will be recognized in years to come.
Without a doubt, Atonement is one of the best films released this year, and certainly a must see for lovers of film in general, if only for its amazing tracking shot of a war torn beach in France. I, for one, look forward to viewing it a second time in the near future.
45 minutes into his new film, Gone Baby Gone, sitting in a darkened club with a thug across from him, his girlfriend and private detective associate to his right, Casey Affleck delivers one of the most threatening speeches placed on film this year. One wouldn't think so, given the boyishness of Casey, and his struggle to prove himself as a viable and relevant private investigator. The thug pulls a piece out on him, and threatens to kill him for negotiating the release of a little girl who is being held ransom, with which the thug claims he has no knowledge of. Patrick (Casey Affleck) calmly backs off, and engages in a sixty second monologue of the most amazing, threatening words of which I wish I could reproduce and yet am having trouble finding at the moment.
The opening shot of Gone Baby Gone thrusts you into a world that is cruel, unkind, and with no easy answers. As matter of fact, there were no answers. Only decisions, and living with the consequences of those decisions. Our protagonist is not a hero, though he is portrayed as one. The subject matter dealt with is not good versus bad, though it would seem as such on the surface. Life for the average joe is a cruel, unkind force to be reckoned with, those who give into addictions and cause others around them to be hurt. Yet when something catastrophic happens, it doesn't change you, or the type of person you are. It only changes the world around you, and your adjustments to that new world.
Casey Affleck has given his greatest performance to date. More accessible to his audience, more engaging than his character in The Assassination of Jesse James By the Coward Robert Ford, and faced with a moral dilemma of how to distinguish if there really are opposites in a society which paints them as so. Taking comfort in his native Boston accent, Casey Affleck loses himself in his role. This was not the little boy I grew up watching in the Ocean series, the secondary character who shoots off wise cracking lines to his buddies. This was a young, fresh faced man faced with the impossible task of finding a little girl declared missing. He's loving, but cynical. He's tender, but tough, and not afraid to do what is necessary to get the job done.
Ben Affleck, of all people, has given me a film I've long desired this entire year. A smart, intelligent, realistic film that thrills and saddens. The script is amazing, the way everything falls into place by the end of its run time. My body was tense throughout the film. The acting of all involved was impeccable, from Morgan Freeman (whose character takes a surprising turn), to Ed Harris (the man is a chameleon), to the tragically underused Michelle Monaghan. He gives them the room needed to give their characters the dimension and emotion they deserve. If he can continue with this much care and detail to his films, he has a bright future behind the camera. Absolutely brilliant his first time out.
Much like life, this film leaves you with no answers as to what a good decision is or is not. The moral dilemmas we face everyday are embodied in Patrick Kenzie, and like him, we sit, dazed and confused, at the implausible and unbelievable atrocities that make up our society.
The opening shot of Gone Baby Gone thrusts you into a world that is cruel, unkind, and with no easy answers. As matter of fact, there were no answers. Only decisions, and living with the consequences of those decisions. Our protagonist is not a hero, though he is portrayed as one. The subject matter dealt with is not good versus bad, though it would seem as such on the surface. Life for the average joe is a cruel, unkind force to be reckoned with, those who give into addictions and cause others around them to be hurt. Yet when something catastrophic happens, it doesn't change you, or the type of person you are. It only changes the world around you, and your adjustments to that new world.
Casey Affleck has given his greatest performance to date. More accessible to his audience, more engaging than his character in The Assassination of Jesse James By the Coward Robert Ford, and faced with a moral dilemma of how to distinguish if there really are opposites in a society which paints them as so. Taking comfort in his native Boston accent, Casey Affleck loses himself in his role. This was not the little boy I grew up watching in the Ocean series, the secondary character who shoots off wise cracking lines to his buddies. This was a young, fresh faced man faced with the impossible task of finding a little girl declared missing. He's loving, but cynical. He's tender, but tough, and not afraid to do what is necessary to get the job done.
Ben Affleck, of all people, has given me a film I've long desired this entire year. A smart, intelligent, realistic film that thrills and saddens. The script is amazing, the way everything falls into place by the end of its run time. My body was tense throughout the film. The acting of all involved was impeccable, from Morgan Freeman (whose character takes a surprising turn), to Ed Harris (the man is a chameleon), to the tragically underused Michelle Monaghan. He gives them the room needed to give their characters the dimension and emotion they deserve. If he can continue with this much care and detail to his films, he has a bright future behind the camera. Absolutely brilliant his first time out.
Much like life, this film leaves you with no answers as to what a good decision is or is not. The moral dilemmas we face everyday are embodied in Patrick Kenzie, and like him, we sit, dazed and confused, at the implausible and unbelievable atrocities that make up our society.
United 93 will no doubt become one of the most controversial films to be released by a studio this year. It is a film that is difficult to watch in that the events that took place happened only five years ago, and for most of Americans, happened in a place no one would actually see with their own eyes. It is, in fact, a sort of surreal event most of us experienced through television and newspaper. Yet with United 93, we are put into the positions of the air traffic controllers and the passengers themselves as they go on about trying to de esculate the situation that would become 9/11.
The camera is a first person point of view of the events that took place that day. We are never given a particular character to connect with, instead connecting in unison with all Americans with the events that unfold during that tragic day. Greengrass edits this film with precision and power, smoothly flowing from one air traffic control tower to another, as the controllers try desperately to understand the hijackings taking place. These shots are inter cut with the passengers on board United 93, not knowing the events that have begun to unfold, even before they take off.
The experience of watching this film is intense, and quite difficult to watch in many areas, yet I found it hard to turn away from what was unfolding on screen. The camera boards the plane as if it were just any other passenger, quietly observing the small talk, the flight attendants carrying on about their jobs, the pilots preparing for their flight. We see the terrorists calmly seated in first class, knowing what is to happen within a few minutes, yet being unable to stop them from carrying out their murderous plans.
By the time we see the actual take over of the flight by the terrorists, the WTC have already been attacked, the fear on display in that plane is so overwhelming, and so real, I didn't know what to think. The messages to loved ones by the airline phones broke my heart, yet we never hear or see the other side of the line. We wouldn't if we were actually on the plane, so why would we in this film? The rebellion is heart pounding, and before you can blink, the film ends, and you remain in your seat, heart pounding, hands shaking, and in total shock of what had been witnessed.
Paul Greengrass did absolutely amazing work with this picture. Using no name actors in the roles of the passengers and the air traffic controllers made the film more real and that much more of an experience. It doesn't sentimentalize the events that took place, nor does it become judgmental or linear. It was a day of grand confusion and fear, and Greengrass was able to take his camera and quietly observe the chaos that took place that day.
United 93 is not an easy film to witness, and I don't recommend everyone to watch it because of its subject matter. But if you feel emotionally strong enough to witness these events, I whole heartedly recommend this picture. Very few times can film be considered an actual work of art. I consider this to be one among the few.
HIGHLY Recommended.
MJR
The camera is a first person point of view of the events that took place that day. We are never given a particular character to connect with, instead connecting in unison with all Americans with the events that unfold during that tragic day. Greengrass edits this film with precision and power, smoothly flowing from one air traffic control tower to another, as the controllers try desperately to understand the hijackings taking place. These shots are inter cut with the passengers on board United 93, not knowing the events that have begun to unfold, even before they take off.
The experience of watching this film is intense, and quite difficult to watch in many areas, yet I found it hard to turn away from what was unfolding on screen. The camera boards the plane as if it were just any other passenger, quietly observing the small talk, the flight attendants carrying on about their jobs, the pilots preparing for their flight. We see the terrorists calmly seated in first class, knowing what is to happen within a few minutes, yet being unable to stop them from carrying out their murderous plans.
By the time we see the actual take over of the flight by the terrorists, the WTC have already been attacked, the fear on display in that plane is so overwhelming, and so real, I didn't know what to think. The messages to loved ones by the airline phones broke my heart, yet we never hear or see the other side of the line. We wouldn't if we were actually on the plane, so why would we in this film? The rebellion is heart pounding, and before you can blink, the film ends, and you remain in your seat, heart pounding, hands shaking, and in total shock of what had been witnessed.
Paul Greengrass did absolutely amazing work with this picture. Using no name actors in the roles of the passengers and the air traffic controllers made the film more real and that much more of an experience. It doesn't sentimentalize the events that took place, nor does it become judgmental or linear. It was a day of grand confusion and fear, and Greengrass was able to take his camera and quietly observe the chaos that took place that day.
United 93 is not an easy film to witness, and I don't recommend everyone to watch it because of its subject matter. But if you feel emotionally strong enough to witness these events, I whole heartedly recommend this picture. Very few times can film be considered an actual work of art. I consider this to be one among the few.
HIGHLY Recommended.
MJR