tag:blogger.com,1999:blog-8214297712303916286.post4677925972407758826..comments2023-04-16T07:57:04.629-04:00Comments on Screen Savour: Rewinding 2008: Part VUnknownnoreply@blogger.comBlogger7125tag:blogger.com,1999:blog-8214297712303916286.post-80536961940321502392009-02-25T13:57:00.000-05:002009-02-25T13:57:00.000-05:00I'm obviously VERY late to the conversation here, ...I'm obviously VERY late to the conversation here, but wanted to extend my appreciation for your appreciation of Stop-Loss. Indeed, it's the first film about the war that has mattered, in my opinion (excluding documentaries, No End in the Sight and The War Tapes being the top that I've seen). <BR/><BR/>I'm interested in The Hurt Locker coming up soon, which may be the second film that has mattered.Danielhttps://www.blogger.com/profile/05222052132452709301noreply@blogger.comtag:blogger.com,1999:blog-8214297712303916286.post-568994624244533672009-01-31T18:09:00.000-05:002009-01-31T18:09:00.000-05:00Thanks for the comments, everyone. There's nothing...Thanks for the comments, everyone. There's nothing quite so daunting as opening your Internet browser and discovering a boatload of comments requiring a response!<BR/><BR/>@FilmDr - Glad to hear the back-up on <I>Slumdog</I>. It's really quite lovely packaging, but I'm not convinced that there's much else inside. I have nothing against a good love story; many contemporary narratives are simply about finding a new way to tell a story in a new way and with a new and different emotional spin. I think <I>Slumdog</I> found a new way of telling its narrative, but I'm not convinced there's enough of a spin on it to make it completely original. On the subject of <I>Cloverfield</I> and the big screen ... that's a good question, one I'm always asking myself. It's fair to acknowledge the environment we see a movie undoubtedly influences our verdict on it, although sometimes it's only so small of an effect we can't notice. Who knows, I may have enjoyed it more; my primary issue with it was how glossy and high-production it was, when what it really needed to be was dirtier and messier and more like an indie. The conceit of the "found tape" lost me when it was clear the screenwriter had built in a series of Hollywood-esque introductions, where we get to meet all the characters in such a cute way and then watch them band together, as if they were pitching the script to us as simpletons. I'd almost wanted them to give me a little credit.<BR/><BR/>@DCD - Glad to hear you liked <I>Man on Wire</I>. I think you'd have to assume Marsh was familiar with much of Hitchcock's work because he has structured his documentary very well. All through it, Mrs. T.S. kept saying, "I WANT TO KNOW DID THEY DID IT!" I was gripped by the whole thing, as was she, so Marsh knows how to structure something that keeps you gripped and wanting more.<BR/><BR/>@MovieMan - Thanks for the kind words. I like the capsule reviews; they help me get my thoughts out of my system and not look back. I've noticed the longer I've been writing on Screen Savour, the longer the reviews have been getting... ha. Anyway, after Hitchcock and Chaplin, I'll go back to shorter reviews; three or four paragraphs. At least until I move onto my next cinematic obsession to write essays and essays about. (I did hear about the exploitation. Who knows the extent to any of that stuff – but the more popular the film gets, the more likely people will be either trying to knock it off its pedestal or trying to get a slice of the pie.)<BR/><BR/>@Farzan - That is true, maybe my perception on it was skewed and I should have accepted it as more of a teen horror flick. The problem as I saw it was that it seemed to be aiming higher than mere schlock; that it wanted us to draw parallels between this and domestic/foreign terrorism. It was difficult for me to give it pass as just a horror flick when it seemed to be clearly invoking something allegorical, and subsequently not living up to its own proposal.<BR/><BR/>@Sam - Thanks, as always, for the prudent comments. I see what you mean on <I>Slumdog</I>. There is a great deal of emotional material bouncing around inside the film, and as you watch it's (nearly) impossible not to be affected. I have not read many TRULY disparaging critiques of <I>Slumdog</I>, which speaks volumes of its ability to captivate and entertain. I can't account for the way it began to fade from my mind almost immediately in any other way but to say it might be due to the final third of the script, which I felt was a little too much expected and without much of an original spin on it. (That also might be due to the fact that I could sense where the film is going in the first 15 minutes – but again, it IS a fairy tale.) I had a good time watching it, so I can't avoid recommending it to people; but I similarly can't name it among the year's best (or even Best Picture) because its allure disappeared too fast, unlike <I>Wall•E</I> or <I>Milk</I>, whose emotional elements stuck with me for weeks after seeing them. But always, I'm lucky to have readers like yourself: intellectual, balanced, allowing yourself to see both sides and then sticking to your guns while allowing me mine. :) Most bloggers don't have that blessing!T.S.https://www.blogger.com/profile/00945932279787919282noreply@blogger.comtag:blogger.com,1999:blog-8214297712303916286.post-12620057742468586972009-01-31T12:15:00.000-05:002009-01-31T12:15:00.000-05:00Once again T.S. your work here with these provocat...Once again T.S. your work here with these provocative capsules is simply outstanding, and your fecund writing is engrossing. I much agree with Movie Man in this sense.<BR/> On two of the four films I completely agree: MAN ON WIRE is a feat, much like its subject. And yes it's visceral and emotional, and it's educational and entertaining. I read in a few quarters where some think the psychology of the main character was underdeveloped, but to remedy that underpinning may well have compromised this film as a deft resurrection of an event that has even more profound and poignant meaning in view of the ensuing tragedy. Of course the film, like Mordecai Gerstein's Caldecott picture book on the same subject, chose rightly to make only cursory allusion to that wrenching calamity, but it's impossible to shake nonetheless.<BR/><BR/> CLOVERFIELD is derivitive, jarring and as you eloquently pose: hobbly, transparent, glossy and predictable. It would be a strong contender for the worst film of the year had such a list been composed, but I am no fan of such celebration of failure.<BR/><BR/> i do not agree with you at all on SLUMDOG MILLIONAIRE, which is a viseral operatic confection, known for its bold artsitic currents and exhilarating emotional content. I fullly endorse the spectacular reviews the film has received, and myself do not take any issue with the (nonetheless) excellent argument you offer here, and lament at the inevitable backlash that will always inform a film receiving this kind of penultimate praise. SLUMDOG MILLIONAIRE (and I was dazzled by the dance at the subway station at the end myself) is surely one of the best films of 2008. One usually reacts to cinema or to any work of art in the way one is emotionally connected. If that connection isn't ever realized, then the issues will be elaborated upon. But again, as in all threads we post to agree and to disagree. Your insights here are perfectly presented. One could ask for no more.<BR/><BR/> Similarly, I did not connect with WALTZ WITH BASHIR as you and 99% of the critical establishment has. I found it tedious, redundant and disjointed, and it's intend resonance was lost in an underwritten script. But again, that was my take, apparently I'm on the outside looking in.<BR/><BR/>Magnificent writing and insights, as per the course for this gifted critic, T.S.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-8214297712303916286.post-7548897791323131282009-01-31T01:34:00.000-05:002009-01-31T01:34:00.000-05:00Good post, I enjoyed Cloverfield. I thought it was...Good post, I enjoyed Cloverfield. I thought it was a good teen horror movie and was pretty entertaining. Its a film thats meant to be seen on the big screen just because its pretty intense. Sure its got problems, but what movie doesnt.Farzanhttps://www.blogger.com/profile/07026623319981761337noreply@blogger.comtag:blogger.com,1999:blog-8214297712303916286.post-58236686883501512412009-01-31T00:12:00.000-05:002009-01-31T00:12:00.000-05:00You are very good with this format...all of these ...You are very good with this format...all of these reviews are well-written and thought-provoking; not that your lengtheir musings aren't but there's a tightness here which is extremely impressive. Good work...and as far as your sentiments, I have not seen Man on Wire, found Cloverfield nauseating (which, oddly enough, I did not find Blair Witch Project) and its characters fairly repellent, liked Slumdog Millionaire though it's been fairly overrated (and the ending lost it for me), and have not seen Stop-Loss but am intrigued, more so by your praise. Waltzing with Bashir remains on my to-see list.<BR/><BR/>Have you heard of the brewing controversy around Slumdog? Apparently, in the process of making this film about exploiting Indian youngsters, the filmmakers...exploited Indian youngsters. Sort of adds to the diminishing returns you already noted.Joel Bockohttps://www.blogger.com/profile/11238338958380683893noreply@blogger.comtag:blogger.com,1999:blog-8214297712303916286.post-56796700978428143492009-01-30T21:42:00.000-05:002009-01-30T21:42:00.000-05:00Hi! T.S.,Oh! yes, I have watched the documentary ...Hi! T.S.,<BR/>Oh! yes, I have watched the documentary <I>Man on Wire</I>...This is a very "fascinating" documentary about <B>French tightrope walker Monsieur Philippe Petit</B> Wow!...What a very fascinating man to attempt and accomplish such a daring "feat" that high above ground level.<BR/><BR/>Personally, I think that he was born to "walk" between the 2 towers. Because from childhood to adulthood he was always climbing and such self confidence and such a sense of determination. <BR/>Remarkable!<BR/><BR/>(My joke question about French tight walk Monsieur Phillippe Petit, and the remake of Alfred Hitchcock's 1958 film. <B>"Vertigo"</B>) <BR/>…Do anybody think that Monsieur Phillippe Petit, will be the perfect choice to portray (Scottie) in the “remake” of director Alfred Hitchcock ’s 1958 remake of (“Vertigo.” ) “Vertigo?”<BR/><BR/><I>My response: No!...because I wouldn't believe him when he said, "I'am afraid of "height(s)"...</I><BR/>Merci! <BR/>DarkCityDame ;-)ratatouille's archiveshttps://www.blogger.com/profile/06369967577590947967noreply@blogger.comtag:blogger.com,1999:blog-8214297712303916286.post-82294389684983251472009-01-30T21:25:00.000-05:002009-01-30T21:25:00.000-05:00Interesting reviews. I fully agree with you about...Interesting reviews. I fully agree with you about <I>Slumdog Millionaire</I>, but I wonder if you might have liked <I>Cloverfield</I> better if you had seen it on the big screen. In his blog <I>Spectacular Attractions</I>, Dan North wrote a nice analysis of the media campaign and some of the visual subtleties of that film.The Film Doctor https://www.blogger.com/profile/03073505923746994988noreply@blogger.com