What Is The Last Film You Watched?

[Quintus 5,399]

Tony Scott's best movie is either True Romance or Crimson Tide.

[Koray Savas 2,251]

True Romance is just a rehash of Badlands.

[crocodile 8,052]

The film gets on my nerves. But then I like Tarantino less and less.

Karol

[Quintus 5,399]

I was about to say he's been crap for the last ten years but then I remembered he made Inglorious Basterds. Silly me.

[BurgaFlippinMan 7]

My favorite Tony Scott film is still Top Gun. Domino is the epitome of the Tony Scott visual style though.

[Koray Savas 2,251]

Domino was just a rehash of Man On Fire!

[King Mark 3,631]

Captain America

It was pretty good, thought I suspect it won't make a lasting memory

[A24 4,364]

Domino is the epitome of the Tony Scott visual style though.

And it was terrible! So yesterday's MTV!

[#SnowyVernalSpringsEternal 10,265]

Minority Report

I've not heard him talk about it, save for what is in Alexcremers signature. But Spielberg loves Blade Runner. He loves the look of the film. He loves the symbolism, he loves the off-kilter scenes that tale place between the Replicants and those who made them. Spielberg likes Blade Runner so much that he tried to make his own version. An homage.

Both films share their roots in the works of Philip K. Dick, but they also share a lot more visually.

Spielberg's future Washington looks a bit brighter and less oppressive then the L.A. of Blade Runner. Both are overrun by advertisements. Blimps and billboards in BR, interactive screens, interactive cereal boxes, everywhere.

Eyes are an important part of both films. In both films people are identified by their eyes. Minority Report even has a short flash of an owl.

The main difference is that the plot of Blade Runner largely exists as a reason to show us a futuristic involvement and the characters that inhabit it. In MR the plot is in the centre of the film, dictating the actions of the characters.

The concept of the film is truly fascinating. Stopping murders before they happen, with a system that seems at first to be foolproof. The film opens with a well set up scene showing us pre-crime in action. The mechanics, albeit impossible in the real world look plausible and persuasive.

The foundations of the system prove by be shaky though, so our lead John Anderton played by a Tom Cruise in excellent form turns into a fugitive of a crime he still has to commit, or not.

Spielberg tries to have it both ways. He wants to make a dark and unusual film like Blade Runner, but he also wants it to be an Alfred Hitchcock-like thriller. The 2 styles don't always match.

While attempting to find out the truth, Anderton meets an array of unusual characters. Dr. Iris Hineman, who created pre-crime, an eccentric prison guard, Peter Stormare as an ex-con who gives Anderton a new set of eyes. All these scenes are quirky, with off-kilter dialogue, odd mannerisms from the actors. Sort of resembling the strange conversations Roy Batty and his Replicants have with the humans they encounter.

On their own they are great, but they don't gel well with the thriller aspect of the film. Anderton on the run, being hunted down by his former team and ambitious Danny Witwer, who may or may not have set up the whole thing.

The film does contain a couple of stand-out scenes. The everybody runs scene and the car factory chase are well orchestrated, though suffers a bit from silly, immature comedy.

The spider scene is better, impressive camerawork from above the appartments while webcams on 8 legs go through a building taking iris scans of everyone inside.

My favorite scene is when Anderton kidnaps Agatha, a pre-cog who can see the direct future, and is able to give hints to John about how to avoid capture. It's a rather brilliantly executed chase scene.

The big scene in the hotel bedroom, were Anderton confronts the man he's supposed to kill is very tense, even though we've seen the pre-cog footage, we know what should happen.

Eventually Anderton is captured and put in future-prison for a crime he did not commit. After that the film becomes a reasonable well-directed, but ultimately predictable resolution of the plot. Our hero is set free, the true villain sees the error of his thinking and kills himself, and everyone ends up very happy.

All of this could have been done differently.

The film looks great though. Kaminski is in top form, so is ILM with some breathtaking effects.

The cast is good. Tom Cruise is convincing and Max von Sydov is excellent, especially after he reveals the darker side of his character. Colin Farell is good in keeping you guessing whether he's the good or the bad guy. And Samantha Morton excels in a very tricky sort of role.

The score by John Williams works well in the film, but does not have much of a character. In the past Spielberg allowed Williams to dominate his scenes in some parts of the film, Dictate the rhythm. Those days seem to be over.

It's a good, if uneven film. I applaud Spielberg for trying to combine 2 styles of films that don't naturally go together. A lot of the time he succeeds, sometime the silly comedy let's Spielberg down a bit and as in so many other of his films, he wants his audience to leave the theatre happy and content that everything is fine, and all is back to normal.

Spielberg is a brilliant, brilliant director, but he underestimates the audience.

*** out of ****

[Neimoidian 14]

Nice review, although I don't share your appreciation for the movie. I find myself rather disappointed with it, at least by most of it. It's one of these films, which - as Terry Gilliam once said - contain some brilliant scenes, but fail as a whole.

As you said, he - and the screenwriters - underestimated the audience. The plot was good, really good, but they tried too hard to turn it into entertaining, adrenaline-pumping action thriller, which, ultimately, undermined the seriousness of the story. All the equillibristic action sequences and gags (mainly the "chasing eyes" scene) suddenly detach me from the drama and remind me I am watching a blockbuster. The story with its twists and turns, noirish atmosphere and that fatalistic "You can't escape your future" theme would be perfect in hands of directors like Polanski or Scorsese. Spielberg, unfortunately, can't help going the uplifting route -

Anderton doesn't really kill the guy (after all, Crow provokes the shot against Anderton's will), Crow isn't responsible for killing Anderton's child (it's all set up), the villain is punished, the pre-cogs are liberated and all good guys live happily ever after.

I just don't buy that. For me the best part of the movie is the tragic story of Howard Marks - there Spielberg excels in building tension and proves he can handle emotionally heavy material without going too sentimental. If he had done the whole MR like that, it might have been great.

As for the music, it's just there and doesn't do much for the most part, including the action pieces, which, in my opinion, don't even fit the scenes very well. The most interesting and intellectually provoking musical ideas of the JW's score are better appreciated on the album than in the movie. The only musically significant sequence was the pre-crime investigation one with that classical piece.

[BurgaFlippinMan 7]

and the invasion of the unnecessary spoiler tags have begun.

[Neimoidian 14]

and the invasion of the unnecessary spoiler tags have begun.

Some members might have not watched the movie yet.

[BurgaFlippinMan 7]

It was released 9 years ago. Thats really just too bad for them.

[Hlao-roo 389]

I thought Minority Report was fantastic entertainment. The ending is a bit talky and probably tedious, but I don't buy into the implicit notion that tonal incongruity or inconsistency is inherently bad filmmaking.

My problem with the film is more plot-related: why does Danny Witwer argue against pursuing Anderton and Agatha as they make their escape? The idea that stopping them would be fruitless because "she's already part of his future" seems to contradict the whole point of Pre-Crime.

[#SnowyVernalSpringsEternal 10,265]

The whole concept of pre-crime hinges on the fact that time can be rewritten, once you are aware of future events, they can be altered.

In that context Witwer's comment does not seem to make much sense. Even though he is of course totally correct.

[Quintus 5,399]

It's hardly Temple of Doom though, is it.

Lee - who often forgets that Minority Report exists. Such a bland, forgettable movie.

Bladerunner laughs in its feeble little face, score and all.

Stefan, not exactly criticism... but is there any chance you could structure your future reviews (the ones we'll get until your black girlfriend returns to your bored arms) a little differently? Less two-line sentences; more substantial paragraphs. Cheers.

I know I sound like a cheeky fussy fuck but the short-sentence structure makes your reviews really bloody annoying to read. Develop your observations, less haste...

[#SnowyVernalSpringsEternal 10,265]

I just always wonder with a film involving time travel, or temporal mechanics. If Stephen Hawking watches Minority Report, how many times would he do a facepalm, if he were able to?

[Brónach 1,302]

I really enjoyed the film, but I felt it needed something else. Maybe solve the eye plot hole or something. Introduce more of the quieter stuff, it was great.

My favourite scene is also the escape with Agatha.

A brilliant ending would have been to keep it the same, but give a hint or two that everything might be happening in Anderton's mind, in the prison.

I just always wonder with a film involving time travel, or temporal mechanics. If Stephen Hawking watches Minority Report, how many times would he do a facepalm, if he were able to?

And this is why Interstellar doesn't get done. They bothered to write it with the help of Kip Thorne, who must be totally messing around with the script.

[Demondm810 399]

.

I just always wonder with a film involving time travel, or temporal mechanics. If Stephen Hawking watches Minority Report, how many times would he do a facepalm, if he were able to?

Brilliant.

[#SnowyVernalSpringsEternal 10,265]

A brilliant ending would have been to keep it the same, but give a hint or two that everything might be happening in Anderton's mind, in the prison.

I've heard about that theory. That the last act is in fact just a dream Anderton is having while imprisoned.

It's an intriguing idea, but I dismissed it because it would have actually been a very dark, unresolved ending, something that is not really Spielberg's style. Kubrick yes, Ridley Scott, yes. but not the Berg.

Also. If this is a dream Anderton is having, and everyone ends up happy, why doesn't he get Sean back?

[Brónach 1,302]

A brilliant ending would have been to keep it the same, but give a hint or two that everything might be happening in Anderton's mind, in the prison.

I've heard about that theory. That the last act is in fact just a dream Anderton is having while imprisoned.

It's an intriguing idea, but I dismissed it because it would have actually been a very dark, unresolved ending, something that is not really Spielberg's style. Kubrick yes, Ridley Scott, yes. but not the Berg.

Also. If this is a dream Anderton is having, and everyone ends up happy, why doesn't he get Sean back?

That's why it more of a wish than a theory. I imagine that the virtual world would have to work realistically in order for Anderton to believe he's still in reality. You can imagine all the imprisoned, believing they are escaping...

Interesting what you say about the berg's endings. Well it depends. Though it is true that one of his more brutal endings is straight out of Kubrick ideas...

[Koray Savas 2,251]

Because he's dead and thus obviously dreaming. That's kinda how I wanted Source Code to end.

[Brónach 1,302]

Because he's dead and thus obviously dreaming. That's kinda how I wanted Source Code to end.

How can you be dead and dreaming?

[Koray Savas 2,251]

No, Sean is dead. So if Anderton got Sean in the end, we'd obviously know he is dreaming in prison (if that's the spin they wanted to put on it).

[Brónach 1,302]

Oh I see it now. It could work.

[#SnowyVernalSpringsEternal 10,265]

It was never stated that Sean was dead, only that he was taken.

[Jilal 569]

I just saw Back to the Future. In fact, the credits are rolling right now.

[Quintus 5,399]

Say hi to your mom for me.

[Delorean90 42]

The problem with the dream interpretation thing, though, is that the prisoners only saw their predicted crime over and over. Implanted dreams entirely made up isn't involved in this story.

[Gruesome Son of a Bitch 6,493]

"Residents of 931 Powell, we are deploying spyders into your complex!"

The cops show up and release SPIDERS! I love this flick.

[#SnowyVernalSpringsEternal 10,265]

The problem with the dream interpretation thing, though, is that the prisoners only saw their predicted crime over and over. Implanted dreams entirely made up isn't involved in this story.

Well Gideon, the "prison guard" says. You're a part of my flock now, John. Welcome. It's actually kind of a rush. They say you have visions...that your life flashed before your eyes...that all your dreams come true.

This line is probably the origin of the "dream ending" theory.

[Jeff 10]

A brilliant ending would have been to keep it the same, but give a hint or two that everything might be happening in Anderton's mind, in the prison.

And then he remembers how his wife killed both his children. And then the top doesn't topple. And then he realizes that only the boy can see him.

Happy endings may be cliche, but so are inconclusive and/or sad ones. I'd rather Spielberg stick to his style. I liked the happy ending for Minority Report.

[#SnowyVernalSpringsEternal 10,265]

It was a bit overdone

[Hlao-roo 389]

It's an intriguing idea, but I dismissed it because it would have actually been a very dark, unresolved ending, something that is not really Spielberg's style. Kubrick yes, Ridley Scott, yes. but not the Berg.

I think Spielberg's endings are often more bittersweet than most tend to acknowledge, but I agree he likes to impart the sensation of resolution. Even A.I., easily the darkest of all his endings, superficially conveys wish fulfillment in its most perfectly realized form.

[#SnowyVernalSpringsEternal 10,265]

What Spielberg films end on a somewhat unresolved note?

Close Encounters maybe...

Raiders certainly.

Empire of the Sun maybe...

Have not seen A.I.

There is not much in Spielbergs filmography to suggest he would be capable of a "dream ending" for Minority Report.

Some think Verhoeven's Total Recall ends on an unresolved note. The theory exists that Quaids adventures are actually part of his Rekall dream. Goldsmith's tracktitle End Of a Dream is actually a possible clue.

But with Verhoeven I'm a bit more willing to accept an unconventional resolution (Basic Instinct had one)

[Brónach 1,302]

You might like A.I. It's an amazing blend of ideas.

Munich didn't struck me as having a very resolved ending. In fact it left me like "what the hell does that mean?". I should rewatch it.

I consider Close Encounters is very, very resolved, just because of what happens, but it's still open because it's the beggining of a different story that Roy feels he needs to live. I think Spielberg said he wouln't be able to make that ending today.

[Melange 446]

The Kingdom (2007)

Bloody hell that was a nail biter, that movie.

[Delorean90 42]

The problem with the dream interpretation thing, though, is that the prisoners only saw their predicted crime over and over. Implanted dreams entirely made up isn't involved in this story.

Well Gideon, the "prison guard" says. You're a part of my flock now, John. Welcome. It's actually kind of a rush. They say you have visions...that your life flashed before your eyes...that all your dreams come true.

This line is probably the origin of the "dream ending" theory.

Ah, I forgot that line. I see. But, indeed, if that were the case then Sean would be reunited with his parents.

I don't really have a problem with the ending as is. I actually love the closing shot and music--it's rather lovely.

[Koray Savas 2,251]

Munich didn't struck me as having a very resolved ending. In fact it left me like "what the hell does that mean?". I should rewatch it.

It may have been a bit unresolved in a "political" sense, I guess. But the whole point is that Avner realizes that there will always be someone else to kill.

[indy4 155]

I didn't know the MR talk was in this thread. I'll copy/paste my comments from the review thread, since nobody else seems to be reading that:

Eventually Anderton is captured and put in future-prison for a crime he did not commit. After that the film becomes a reasonable well-directed, but ultimately predictable resolution of the plot. Our hero is set free, the true villain sees the error of his thinking and kills himself, and everyone ends up very happy.

...he wants his audience to leave the theatre happy and content that everything is fine, and all is back to normal...

...Spielberg is a brilliant, brilliant director, but he underestimates the audience.

I think it's overly simplistic to suggest that Minority Report has a purely happy ending. It's much less black and white than that. You have PreCogs forever isolated from civilization, never to be able to live a normal life or recover from their horrible experiences as government agents. You've got Agatha grasping a video of her mother's drowning...that's a memory that's going to stick with her for a while. You have the very dark Anderton household, and pretty fierce rain outside. And you have John Williams' "A New Beginning." Sure it reaches inspiring highs, but all the time it is based on the stressful, cold first few bars of the cue.

In the end, you have the best possible solution to a bad situation, which is very different from a happy ending. It's more optimistic than a film that ends with Anderton in prison, but to say it's "happy" is inaccurate, I think.

[Mr. Breathmask 555]

It may have been a bit unresolved in a "political" sense, I guess. But the whole point is that Avner realizes that there will always be someone else to kill.

Which still remains the biggest "well duh" ending of any movie I've ever seen. Honestly, I had to sit through two-and-a-half hours of film for the movie to tell me THAT? No shit, Sherlock.

[publicist 4,643]

Which still remains the biggest "well duh" ending of any movie I've ever seen. Honestly, I had to sit through two-and-a-half hours of film for the movie to tell me THAT? No shit, Sherlock.

I found the long stretch in Michel Lonsdale's bucolic country home much more bothersome. Some of the scenes in the different european countries also felt a bit like l'il Abner imagines Paris oder Berlin in the 70's, but it could be much worse.

As for MR's ending, it's just a cop-out. This is a rich fart's idea of a happy ending, a posh country home,, ideally located in the Hamptons, drowned in the golden glow of a photoshopped real estate ad. Not good!

[Quintus 5,399]

Each and every one of Spielberg's films is 'resolved' by time the credits roll. Just because one or two end on a question doesn't nullify the tangible sense of resolution he always strives hard to create. There isn't a single Spielberg movie which doesn't end on a cinematically conventional note.

Compare the final moments of Munich to Full Metal Jacket for an example of cinematically resolved vs. unresolved.

[publicist 4,643]

Each and every one of Spielberg's films is 'resolved' by time the credits roll. Just because one or two end on a question doesn't nullify the tangible sense of resolution he always strives hard to create.

I think the problem lies not in concept but in execution. It's all fine to talk about resolutions or happy endings vs. open questions, but with Spielberg, the execution of the concept comes off as lame or at least very square.

I really like parts of MINORITY REPORT or WAR OF THE WORLDS, but it's true that they look like made-by-commitee.

[#SnowyVernalSpringsEternal 10,265]

No, they are made in a way that is supposed to please everyone.

[Neimoidian 14]

No, they are made in a way that is supposed to please everyone.

Somehow many are not pleased by it.

It may have been a bit unresolved in a "political" sense, I guess. But the whole point is that Avner realizes that there will always be someone else to kill.

Which still remains the biggest "well duh" ending of any movie I've ever seen. Honestly, I had to sit through two-and-a-half hours of film for the movie to tell me THAT? No shit, Sherlock.

First of all, perhaps it's not that obvious to all, I guess. Since the events depicted in Munich history has been repeating itself over and over again and people generally loose track of it very quickly and are keen to repeat their mistakes.

Second thing is that, in my opinion, there is more emphasis in the last scene on personal side of Avner's story. At the very end we see our protagonist who is emotionally burnt-out. He comes to realization that all he stood for, all he fought for was in vain, it hardly mattered and now he is alone with his guilt and remorse. Very unusual way to close the movie for Spielberg. It's, in fact, exact opposite of MR ending.

[publicist 4,643]

Second thing is that, in my opinion, there is more emphasis in the last scene on personal side of Avner's story. At the very end we see our protagonist who is emotionally burnt-out. He comes to realization that all he stood for, all he fought for was in vain, it hardly mattered and now he is alone with his guilt and remorse. Very unusual way to close the movie for Spielberg. It's, in fact, exact opposite of MR ending.

I didn't have much of a problem with MUNICH's ending. It's not brilliant, but it kind of works.

No, they are made in a way that is supposed to please everyone.

Which is what a committee usually strives for.

[#SnowyVernalSpringsEternal 10,265]

It's what Spielberg thinks he should do.

[publicist 4,643]

It's all water under the bridge now, MUNICH is 6 years old, MR 8 and seeing the cavalcade of schlock we have endured since, i find it a rather distant memory.

As much as it pains me to say, economic disaster will lead us back to the right path of better films not made by talent-free hacks delivering 'product'.

[#SnowyVernalSpringsEternal 10,265]

I think the success of Transformers 3 will prove you wrong.