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Chen G.

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Everything posted by Chen G.

  1. As it turned out, I loved that it made me wait for the action. Problem is, the action itself isn't very good: Villenueve doesn't have a natural knack for action, it seems to me. That's probably the main demerit of the film - it wasn't a huge one for me (in fact, I loved it) but other audience members might mind it more.
  2. There can also be the situation where Part Two gets greenlit and made, but doesn't have as big a budget...
  3. Yes. Before it even started shooting in earnest, it already ate-up a budget equivalent to that of Ben Hur, just due to a series of false-starts, recasts, changes of staff, issues with sets, rewrites, etc... A disasterously spendthrifty motion picture.
  4. Yeah, he does conduct; but not the live-to-projection stuff; those are notoriously difficult to conduct.
  5. David Lean films notwithstanding, I find that I don't really like the epics of the 1950s and 1960s. Which is weird because the epic is by far my favourite genre.
  6. To me the theatrically was a deal-breaker. There are moments where the artificiality of the blocking is almost unbearable, like this prologue of sorts and moments of "biblical" dialogue that had me in stitches: Its unintentionally hysterical not so much because of the line itself ("Your eyes are sharp as they are beautiful") but because of the very "Heston enters frame from the left, drops line, exits to the right" blocking. There's a beat after the line where it almost looks like the actress is rolling her eyes at the camera. And that's one example of what's basically the modus operandi of the film...
  7. <Martin Scorsese voice> it isn't cinema </Martin Scorsese voice>
  8. Sure, but the cinematography...there is none. Its extremly stagey.
  9. They're not very good. Y'know the whole "Marvel isn't cinema" thing? Well, the Ten Commandments really isn't cinema: its very high-budget stageplay that happened to have been captured by a camera. An hour in I was practically begging the film for a closeup! Cleopatra is, in a way, a more accomplished film. But it gets pretty hokey and its certainly exoribtantly long.
  10. Dune is definitely a big-screen movie, but at the same time hits gripping regardless of screen-size.
  11. That's what I thought from a superficial familiary with the score. Not that all the leitmotives in a piece need to develop - The "renounciation of love" motive or even "The Curse" motive never particularly change in the course of the Ring, and certainly neither do minor themes like Hunding's; but there definitely needs to be a sense of movement in a piece as a whole, for it to be considered genuinely leitmotivic. If all the themes remain the same (barring minor changes of tempo and orchestration to change the "mood" of the theme) they're not really leitmotives. Another point of leitmotives is that they're not just ever-changing, they're ever-recurring, in the sense that ALL the music is leitmotivic, rather than there being these occasional "Aha!" moments.
  12. Now look here, I enjoy both a good steak and a vist to the Shawarma shop, but that doesn't mean stuffing them both in the same dish makes for a better meal!
  13. I don't know these scores well at all, but the way one lists leitmotives can range grealty depending on whether one subdivided each theme into its individual components or not: Frank Lehman's latest iteration of the Thematic Catalog of Star Wars lists most of themes without subdivision (i.e. one Luke Skywalker theme rather than two) and even Doug Adams' The Music of The Lord of the Rings films doesn't list Shire A and Shire B or Rohan A and Rohan B as separate leitmotives. Its also very rare to see a thematic catalogue of The Ring that, say, split the Valhalla theme into multiple motives. Of course, it depends on the theme: Kylo's two themes are treated by Lehman as two separate motives, Doug lists the Skip-Beat and the End-cap as two separate motives although they're basically one long musical line; and most guides to the Ring list the Freia/Love theme as two discrete motives. So if you did a slightly more "condensed" version the number of themes here may not seem quite so copious, but that's for someone who knows the score better than me to do. But anyway the point of leitmotives as in Star Wars/Middle Earth/The Ring isn't their number, per se, its that (1) they occur throughout the entire piece and (2) they undergo change over the course of the work. Again, I don't know the scores well enough to attest to either of those two.
  14. And its a wonderful movie. That helps, too.
  15. There are very few things in life like a good Die Walk├╝re: https://my.mail.ru/list/romankova.larisa/video/_myvideo/3467.html The Todesverk├╝ndigungscena in this one is to die for.
  16. Whatever it is, its a good movie that will be just as absorbing regardless of screen size. Just let it make enough money!
  17. Oh right! For some reason that headline popped-up again just now. Weird.
  18. I liked this; I liked it a lot! All those "next Star Wars/Lord of the Rings" comparisons are really doing this film a disservice, not because its better or worse, but because its different. The hero is different, more of a brooding young prince as opposed to "unassuming youth sent on a mission"; the story is different, having more of the trappings of a Machiavelian drama; and - as I predicted - its not much of an action film. That latter point actually works splendidly well for the first 1.5 hours. I really like the muted, meditative feeling of the piece. But when things come to a head it definitely loses some steam: the action isn't the best, and the buildup prior had been much more interesting. a very good movie! **** out of *****
  19. And its true, until proven false; because logic!
  20. Its as follows: It still happens that I look at my own signature and burst into laughter over how ludicrous it is. Mattris has said a lot of crazy stuff, but he'll never top that.
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