Jump to content

KK

Members
  • Content Count

    18265
  • Joined

  • Days Won

    34

Everything posted by KK

  1. LOTR: The Fellowship of the Ring The sister has never really watched these films properly, so we all decided to start a proper marathon of the trilogy. And my gosh, is it magnificent. I won't wax too much poetic about it. But what struck me this time was not only does this remain the textbook example on high concept adaptation, but it is easily the most sincere in its convictions. I always thought ROTK had the biggest heart, but the relative simplicity of FOTR's scale clearly sells its intentions better. The ending with Boromir, Sam and Frodo, Gandalf's speech to Frodo in Moria...it was just really interesting watching my sister, someone with no relation to Tolkien whatsoever, be affected by the rise and fall of these characters despite all the theoretically distracting mythological elements. To anyone who hasn't read the books, it might sound like Gandalf is spewing out a bunch of gibberish when confronting the Balrog...and yet it is all just so dramatically satisfying, much in part due to McKellan. Anyway, before I ramble too much, FOTR's innocence and sincerity of heart is what makes it the most evergreen of the three. Truly a remarkable feat.
  2. Not really. In fact, it's more of a punk-esque, "rebellious" response to stuff like The Office, which became NBC's template for "smart comedy" at the time. Community is more meta, plays with genres/form but also has a lot of heart to it. It really comes into its own around the second half of the first season, btw. So I suggest sticking it out. The cast is absolutely brilliant. One of the best comedy ensembles ever assembled, without a doubt.
  3. Yea, I binged through the seasons recently too. Got pretty nostalgic. Seasons 2 and 3 still set the bar for best TV comedy!
  4. This was an absolute riot. And their zoom chat reunion afterwards was a real treat too: Hope they get enough buzz for that movie! #sixseasonsandamovie
  5. Scores like this really frustrate me. Because there are clearly some really lovely ideas, they always seem to inevitably get buried by generic blockbuster tropes. And I know JNH is capable of better than that.
  6. His look has gone downhill ever since he parted with Wally Pfister as his DP. And Tenet looks like the most dull thing he's put on screen visually.
  7. I wouldn't call Horner's score adventurous or swashbuckling. But there is a real militant quality to it that clearly understood the drier, "contemporary" Hollywood nature of the film. Yared's score boasts the better music on its own, but is clearly suited for a different kind of movie.
  8. The scene where Lenu Yeah. Richter's music is simple, and derivative of his own material and yet it's so perfect at bringing out the subtext of the writing and characters. Maybe something about the simplicity of the music creates more space for the viewer to invest?
  9. This is an interesting idea, which I feel Nolan does great disservice to in its execution, if that was indeed his intent. He gets so wrapped up in technicalities, spectacle and the contrivances of plot, that he rarely allows space for the idealogical to speak through. And Interstellar is one of his worst examples of that. I just don't think exploring the human condition is really his thing, especially as a writer. With that said, Interstellar is not a bad film at all. And its first hour is especially brilliant. And yes, The Prestige is his best film. Many thrillers do that. Just because Nolan's film has a bunch of non-characters, we're going to start drawing comparisons to 2001 now? Dunkirk is the Gravity of war films.
  10. I hope this film is successful, and that Nolan really does manage to save cinema. But I'm gonna be honest, I'm not sold on this yet.
  11. Jeez. That sounds like an awful mess for everyone involved. Sure. Except Yared got screwed out of a major blockbuster that with a lot of buzz, and Horner got screwed out of a film that barely anybody's heard of.
  12. Nice. I always forget what a looker that one is. One of the few films that delivers on all fronts.
  13. Youth One of the most gorgeously shot films in recent memory, with some wonderful little surrealistic flourishes. Which makes it all the more frustrating when the film falls short of its ambitions. It's asking all the right questions, it's playing with some great visual and sonic ideas and yet doesn't really know what it wants to say. There are one too many half-baked characters acting as cardboard stand-ins for half-baked ideas aiming at Antonioni-esque existential angst. What makes it all watchable, aside from the visuals, is Michael Caine's affecting subtlety, which grounds the whole affair. But for every pretty naval-gazing shot of Caine's sad face, there is some cringe-worthy on-the-nose hallucination of Kietal's former actresses to drive a point home. In the end, I can't help but feel like this screenplay just needed a couple more drafts to really discover itself, because all the ingredients for a great film are there. And if it had nailed everything that came before, that finale with the Lang piece could have been truly transcendent. But as is, Sorrentino's film is sadly more style over substance. Or worse, style pretending to be substance.
  14. I only listened to the first few cues, and it didn’t all sound very Glass, at least on a production level. Sounds like he scribbled down a generic idea or two and it got translated/expanded upon by Morgan. Kind of like Powell’s Solo.
  15. Akhnaten is when he got closest to nailing the opera medium and maximized its potential for storytelling, though the other two clearly have their moments. But it was never really his forte, to be honest. Kundun is brilliant.
  16. You know, I haven't heard any Horner in some time, so I found myself having a pleasant time with the Horner highlight reel that this album was. I can't quite picture what any of this has do with Romeo and Juliet. But hey, I never really expected the masterpiece that most others did. This. I find myself actually having a hard time going back to the Korzeniowski score because of how worn out that formula has become for me. But I'll concede it has an appealing sound that probably worked well a contemporary rendition of R&J.
  17. Yea, that was a great film. Forgot how good it looked too.
  18. Is this real?? I haven't even touched that one yet. It's on the list, but I've been putting it off for years...
  19. Synecdoche, New York Finally got around to seeing it. I'm not entirely sure what to make of it, and I imagine it will be sitting with me for days to come. But I will say that I came out of this absolutely gutted. Kaufman walks a very fine line between neurotic self-indulgent mess and confoundingly brilliant portrait of creative consciousness. Either way, I can't help but applaud it. Some might call it bleak, even nihilistic and perhaps question whether its responsible for a filmmaker to use their work as a means of unhinged self-diagnosis. Kaufman appears to be aware of this (of course), as one of his extras voice this concern in the final act: "No one wants to hear my misery, because they have their own". But his fractured stream-of-consciousness manages to juggle all these ideas in a way that I think most people will still be able to find themselves on screen, in one form or another. Definitely needs some repeated viewings.
  20. Come on now Richard, can't give it away that easily. It's a Kaufman film :p
  21. I agree, it's just that its success at this aim struck me as uneven. I too did not enjoy the on-the-nose preaching in the conversation scenes. Like I said, Mirror covers much this thematic material with greater success. But you're right, this might fare better with future viewings.
×
×
  • Create New...