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Matt C

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Matt C last won the day on September 26 2013

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About Matt C

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  • Birthday 02/16/1987

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  1. Don't UK cinemas have a discount day during the week to drum up business? Here in the U.S., many theater chains have a Tuesday discount where the tickets are $5-$8 all day.
  2. Where the Heart Is It feels like a Hallmark movie of the week, albeit with ridiculously overqualified actors. Even though it takes place in Oklahoma, Natalie Portman's accent is straight Texan. She does the best she can with the flimsy material, as does Stockard Channing and Ashley Judd. Corny beyond belief, especially the poor script.
  3. He works with two different sets of orchestrators, depending on the project of origin. For his European films, he tends to work with Nicholas Charron, Jean-Pascal Beintus, and Sylvain Morizet. For American films, he tends to work with Conrad Pope, Nan Schwartz, Bill Newlin, and Clifford J. Tassner. Even with two sets of orchestrators, Desplat will co-orchestrate when he can. Every note is his, even if the orchestration isn't.
  4. The Diary of Anne Frank A well-staged and enveloping cinematic adaptation of the play and Frank's diary. George Stevens ably captures the friction between the family members in hiding in well-framed B&W cinemascope... a lot of Millie Perkins' narration is taken verbatim from the diary, which gives aching humanity to the proceedings. The acting is uniformly excellent, particularly Joseph Schildkraut as Otto Frank and Millie Perkins as the titular heroine. A somber but beautiful movie.
  5. Her performance as an "almost perfect" replicant should have some personality. She barely had any chemistry with Harrison Ford, who had more chemistry with Joanna Cassidy.
  6. Greta Gerwig said that Spielberg convinced her to shoot Little Women on celluloid. It really does make a difference.
  7. Blade Runner: The Final Cut Seeing the film projected in a new 4K transfer gives it a different perspective than seeing it on TV or on home video. Ridley Scott wisely didn't ask the restoration team to remove any of the grain, it retains that nice filmic look. Vangelis' score sounds amazing in surround sound and the visuals still hold up. There's still details in the film that you pick up every time you watch it. It's still a flawed classic. The fight between Deckard and Pris is hysterically funny than ominous or blood-pumping, Sean Young's performance is stiff and unconvincing as Rachel, and while Vangelis's score is mesmerizing and beautiful -- it dates the film. But still, it's no wonder people love it and continue to write about its universal themes. The pacing gets to be a bit grueling near the end, but it still offers up food for thought.
  8. Little Women (2019) A refreshing, semi-meta but warm and cozy adaptation of Louisa May Alcott's novel. Greta Gerwig imbues some of the same energy from Lady Bird, giving the film a lived-in feel and giving the sisters a unique perspective. Saoirse Ronan continues to be one of the best working actresses, supported by an amazing supporting cast like Laura Dern, Emma Watson, Florence Pugh, and Louis Garrel. (Meryl Streep is rather boring as Aunt March.) Furthermore, the film is ably helped by Yorick le Saux's luminous 35mm lensing (you can see the occasional white speck) and Alexandre Desplat's delightful score. It's a cinematic treat and complements the previous film adaptations.
  9. It sounds a lot better than the actual film Abrams put out. I'm curious if it was Trevorrow & Connolly's script, why are they given story credit at all? It's pretty clear Abrams & Terrio worked from scratch.
  10. Oz: The Great & Powerful It suffers from a miscast lead, as well as tonal inconsistency and overall feeling of "that's it?". The film still looks every bit the $200 million poured into it (especially the gorgeous bubble voyage sequence), even though the CGI threatens to go into Alice territory. Rachel Weisz and Michelle Williams are far too good for this, but they distract from James Franco and Mila Kunis. (God I hate Kunis' evil cackle so much!) Sam Raimi brought some of his visual flair but apart from that, his usual set of cameos, and the Elfman score -- it could've been directed by anyone. Not much of the personality that was in his Spider-Man movies or Evil Dead. I'd wish he'd direct more instead of producing all these crappy horror movies.
  11. I don't know, Nicole Kidman made a better Ms. Coulter than Ruth Wilson has.
  12. The Coens would’ve addressed the offenses Mildred committed in a humorous way. Martin McDonaugh just ignores them.
  13. Three Billboards Outside Ebbing, Missouri The more I see this, the more I hate it. If you're going to treat the inspiration as a real story, it needs to feel like one with genuine actions and consequences for the main characters (Mildred seems immune to a lot of the consequences). I still love Frances McDormand here, but her character doesn't suffer consequences as she would in real life -- like not being charged with arson after flinging a Molotov cocktail at the police station or charged with battery after kicking several teens in the crotch. Maybe that was done on purpose, but that still bothers me. The critical love for this mystifies me. A hugely flawed movie at best and tone-deaf at worse.
  14. In Variety's article, it noted both Balfe and Wallfisch refused to comment about whether they're helping Zimmer out with the score.
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