clivechristy
Entrou em jan. de 2010
Bem-vindo(a) ao novo perfil
Nossas atualizações ainda estão em desenvolvimento. Embora a versão anterior do perfil não esteja mais acessível, estamos trabalhando ativamente em melhorias, e alguns dos recursos ausentes retornarão em breve! Fique atento ao retorno deles. Enquanto isso, Análise de Classificação ainda está disponível em nossos aplicativos iOS e Android, encontrados na página de perfil. Para visualizar suas Distribuições de Classificação por ano e gênero, consulte nossa nova Guia de ajuda.
Selos2
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Avaliações6
Classificação de clivechristy
Sometimes the very best films are unintentionally funny, however it is with a heavy heart I inform you that the only unintentionally funny thing about this film is the cavalcade of comedic wigs donned by Bryan Cranston's character. I have seen more convincing hairpieces at a pensioner's pool party in Boca Raton. The only thing that was missing was a Hawaiian shirt, short shorts and a pick up line that begins with "Hey baby....".
The movie has a stellar cast, with two Oscar winners and three Oscar nominees but you would never know it. Juliette Binoche was clearly taking the money and running, gone in 60 seconds (literally) and Ken Watanabe is as lifelike as the Oscar he won. Watanabe stomps leaden footed through most of his scenes garbling his lines but when it comes to stomping, who does it better than Godzilla? Sure the film is called Godzilla but...where IS GODZILLA? It's like some sort of absurdist piece. The titular head of the movie appears only sometimes, and we are first forced to endure a good thirty minutes of scene-setting and bad wigs. Godzilla appears more like the original Japanese version and there is some hat-tipping to the origins of the film franchise, but apart from that...we are still waiting for Godzilla. Not only is Godzilla hard to find in this hard slog of a film, but when Godzilla isn't just stomping over landmarks he is noshing on some sort of angry flying leftover from the film Starship Troopers. He isn't an angry refugee from atomic testing, he is a hungry behemoth who unintentionally saves the world. It's a good thing too...because NOTHING saves this film.
Elizabeth Olsen runs the gamut of emotions from A to...well A. Aaron Taylor-Johnson, MUST be better in other films, because he makes Godzilla look life-like and believable. It is for Sally Hawkins that my heart breaks. She is an outstanding actress, and just this year was rightfully nominated for an Oscar for Blue Jasmine. What was she doing here? What was she doing signing on for this film? She was virtually invisible as the handmaiden to Watanabe, and although she is the only one who it can be said of, was actually acting, she was wasted and lost in the carnage and close ups of Cranston and Watanabe. My final sorrowful song is sung to David Strathairn who is also an Oscar nominated actor, and is deservedly considered one of America's finest character actors. However, therein, lies the problem. In order for one to be a character, one must have a character to inhabit. Strathairn blinks his way through this film seemingly oblivious to the mess around him. It must make it easier when your resume includes, "Lincoln", "Good Night and Good Luck" and "L.A. Confidential" to simply not move and hope no one notices you.
Most good stories start with a fundamental list of ingredients: the initial situation, conflict, complication, climax, suspense, denouement, and conclusion. None of these ingredients will be found in Godzilla. They are simply not applicable. In "Waiting for Godot" Nothing happens, nobody comes, nobody goes. As scholar David Bradby says in his criticism of Godot, this is an understatement: "less than nothing happens."
That same criticism can be made of Godzilla, or as I have called it, "Waiting for Godotzilla."
The movie has a stellar cast, with two Oscar winners and three Oscar nominees but you would never know it. Juliette Binoche was clearly taking the money and running, gone in 60 seconds (literally) and Ken Watanabe is as lifelike as the Oscar he won. Watanabe stomps leaden footed through most of his scenes garbling his lines but when it comes to stomping, who does it better than Godzilla? Sure the film is called Godzilla but...where IS GODZILLA? It's like some sort of absurdist piece. The titular head of the movie appears only sometimes, and we are first forced to endure a good thirty minutes of scene-setting and bad wigs. Godzilla appears more like the original Japanese version and there is some hat-tipping to the origins of the film franchise, but apart from that...we are still waiting for Godzilla. Not only is Godzilla hard to find in this hard slog of a film, but when Godzilla isn't just stomping over landmarks he is noshing on some sort of angry flying leftover from the film Starship Troopers. He isn't an angry refugee from atomic testing, he is a hungry behemoth who unintentionally saves the world. It's a good thing too...because NOTHING saves this film.
Elizabeth Olsen runs the gamut of emotions from A to...well A. Aaron Taylor-Johnson, MUST be better in other films, because he makes Godzilla look life-like and believable. It is for Sally Hawkins that my heart breaks. She is an outstanding actress, and just this year was rightfully nominated for an Oscar for Blue Jasmine. What was she doing here? What was she doing signing on for this film? She was virtually invisible as the handmaiden to Watanabe, and although she is the only one who it can be said of, was actually acting, she was wasted and lost in the carnage and close ups of Cranston and Watanabe. My final sorrowful song is sung to David Strathairn who is also an Oscar nominated actor, and is deservedly considered one of America's finest character actors. However, therein, lies the problem. In order for one to be a character, one must have a character to inhabit. Strathairn blinks his way through this film seemingly oblivious to the mess around him. It must make it easier when your resume includes, "Lincoln", "Good Night and Good Luck" and "L.A. Confidential" to simply not move and hope no one notices you.
Most good stories start with a fundamental list of ingredients: the initial situation, conflict, complication, climax, suspense, denouement, and conclusion. None of these ingredients will be found in Godzilla. They are simply not applicable. In "Waiting for Godot" Nothing happens, nobody comes, nobody goes. As scholar David Bradby says in his criticism of Godot, this is an understatement: "less than nothing happens."
That same criticism can be made of Godzilla, or as I have called it, "Waiting for Godotzilla."
Tonight I watched the classic cinematic experience "Piranha" which puts the ha in piranha. It moves at a pace that only be described as excruciating, while the movie itself defies adjective or simile. The acting is pure Juliard...Aeschylus invented theatre so that this kind of perfectly tuned drama could be played out. With quotes such as, "Hey you cool your jets young lady..." and "Terror, horror, death. Film at eleven." The fact that the "actors" were even able to deliver their lines without bursting into laughter or tears, is testament to their professionalism and dedication. The script itself is a hoot and no cliché is left unturned. It is never explained why the girl Suzie is at summer camp, when she lives on the other side of the water from her father. It is inexplicable like so many things in this gem. Enjoy.
This movie is a roller-coaster of camp, from start to finish. It is like a bunch of gay men sat down to figure out how to dress up Diana Ross and put her in different outfits all done to a never-ending loop of Diana's own song. The montage of Diana as fashion model is perhaps one of the funniest and campest scenes in a movie, and of course was copied almost shot for shot for the Beyonce montage scene in "Dreamgirls". It has to be seen to be believed.
But no-one can inspire a drag queen like Ms. Ross who never lets plot or story-line interfere with her chances to soft pout or give us long enigmatic looks. The good thing is the plot and story-line is so thin and transparent, she doesn't have to struggle too much. The storyline is simple....girl from the projects with big dreams leaves behind the bleakness of Chicago as she is "discovered" by Anthony Perkins who can't quite figure out if he is gay in the movie (as he was in real life) or straight. He veers from camp to psychotic misogynist sometimes in the same scene. The result is unintentional hilarity.
Part of the rags to riches subplot (if you can call it that) is the Billy Dee Williams character who we know is the true love of Ms.Ross. He is a local activist in Chicago who runs for political office. This part of the story is boring, because Diana isn't dressed up and mincing though every scene. It is also boring because Billy Dee's character is almost as clichéd as the rest of the story. Fighting the white honky sometimes with words but sometimes with fists. He is down-to-earth and hard-working as well as fearless. We are supposed to want him to win. Ms.Ross makes a decision that happiness trumps fame and glory and that is the end...or kind of the end. Actually I don't remember the story, because the camera barely moves from Ross the whole time.
If you love high camp then this movie is for you. At one point Diana Ross says, "I wonder if I'm doing the right thing.." Oh Diana, you are. You are doing the right thing. Fun fact, some of the frocks on display were designed by Ms. Ross, and the whole camp drag-show was put together by her then lover, Berry Gordy.
This move is camptastic!
But no-one can inspire a drag queen like Ms. Ross who never lets plot or story-line interfere with her chances to soft pout or give us long enigmatic looks. The good thing is the plot and story-line is so thin and transparent, she doesn't have to struggle too much. The storyline is simple....girl from the projects with big dreams leaves behind the bleakness of Chicago as she is "discovered" by Anthony Perkins who can't quite figure out if he is gay in the movie (as he was in real life) or straight. He veers from camp to psychotic misogynist sometimes in the same scene. The result is unintentional hilarity.
Part of the rags to riches subplot (if you can call it that) is the Billy Dee Williams character who we know is the true love of Ms.Ross. He is a local activist in Chicago who runs for political office. This part of the story is boring, because Diana isn't dressed up and mincing though every scene. It is also boring because Billy Dee's character is almost as clichéd as the rest of the story. Fighting the white honky sometimes with words but sometimes with fists. He is down-to-earth and hard-working as well as fearless. We are supposed to want him to win. Ms.Ross makes a decision that happiness trumps fame and glory and that is the end...or kind of the end. Actually I don't remember the story, because the camera barely moves from Ross the whole time.
If you love high camp then this movie is for you. At one point Diana Ross says, "I wonder if I'm doing the right thing.." Oh Diana, you are. You are doing the right thing. Fun fact, some of the frocks on display were designed by Ms. Ross, and the whole camp drag-show was put together by her then lover, Berry Gordy.
This move is camptastic!