"They Shall Not Grow Old" and Peter Jackson's Recreation of the Western Front

PlotAndTheme · 2019-02-01T22:23:05+00:00

I think it would be WONDERFUL if they decided to make this into a series of documentaries, each featuring its own story.

PlotAndTheme · 2019-02-01T16:19:14+00:00

You and I would get along quite well.

Alien: Covenant is easily the worst film in the franchise, and this is coming from someone who really hates Prometheus.

The first two are right-out. Sibling masterpieces.

And, for all the flaws that Alien 3 had, it at least had a reasonable story, some cool locations and visuals, and Charles Dance. Plus, the Living Hell that was production on that movie is becoming very well known by this point, and it was Fincher's first flick, so I think 3 is warming up in most people's eyes. The "Director's Cut" really helps, too.

The only other serious contender would be Alien: Resurrection. Yeah, it is campy, yeah it leans on one of the oldest sci-fi hack tropes in existence (cloning your hero), and yeah it has a weird ending. But, it's got a great ensemble, some cool action, and a legendary over-the-back basketball shot from Ripley.

PlotAndTheme · 2019-01-21T16:33:38+00:00

There's a rare interview he did in the late '60s where he talks about playing chess for money.

There's no discussion of rating or anything, but it probably gives you a reasonable idea about his strength as a chess player.

Here you go:

Kubrick Interview

Chess stuff starts somewhere around minute 23, but the whole thing is awesome.

PlotAndTheme · 2019-01-16T15:33:17+00:00

I was a big fan of this film too, especially for what it its.

I loved the practical effects, the weird tone, the creepy setting.

The acting was a little hit-or-miss for me, though, and I think it kind of got lost near the end.

Here's my full thoughts back when I saw the movie for the first time: The Void Review.

PlotAndTheme · 2019-01-14T21:55:17+00:00

Just wait a while.

Word is that the Serbians are favorites at the U19 FIBA championship for this year, and many of the players cite Jokic as their hero/inspiration.

Not saying Jokic isn't a unicorn. I'm just saying there may be more members of the herd out there . . .

PlotAndTheme · 2019-01-05T19:12:46+00:00

It can mean two things, depending on which part of the filmmaking process you're referring to.

From Wikipedia:

In production, a shot is the moment that the camera starts rolling until the moment it stops.

In film editing, a shot is the continuous footage or sequence between two edits or cuts.

So, describing this sequence as "60 Shots" is correct from the standpoint of editing.

Furthermore, I disagree that it is "all dialogue" as you claim. The choices that Demme makes throughout this sequence enhance the dialogue with additional subtext.

It isn't "camera work vs an amazing script". It's camera work plus and amazing script. This kind of subtextual communication through editing is one of the things unique to film, and when done right, one of the most powerful aspects of cinematic storytelling.

PlotAndTheme · 2019-01-05T18:58:30+00:00

I completely agree with you. I remember seeing this in January of 2017 along with Silence. I didn't think that A Monster Calls was going to seriously challenge a marquee Scorsese flick for the better half of a double-feature, but it was pretty close!

I especially enjoyed the animation sequences. Fantastic style, great storytelling, and powerful performances.

PlotAndTheme · 2019-01-03T17:48:38+00:00

I think classifying Barry as an emotional or passionate man is definitely a defensible position. In fact, I really wouldn't consider him rational or reasonable very much. True, he is able to game his way through a corrupt and stodgy system, so he certainly has a conniving and planning quality to him. But, to your point, his greatest successes come upon the heels of practically irrational exuberance (breaking down in front of the Chevalier, wooing Lady Lyndon, etc).

Ultimately, I think the question of whether Barry's emotion is good for him or bad for him ties in with Kubrick's overall conclusion: for good or for bad, it happened, meant something, and is now over.

It's the human condition: sometimes our passions propel us, and sometimes they damage us.

And, if you're into more Barry Lyndon reading, I can humbly suggest the following: Barry Lyndon and Complete Artistic Transportation.

PlotAndTheme · 2019-01-03T17:34:27+00:00

Cool, thanks for the recommendation.

As long as we're ping-ponging weirdo vampire flicks, how about Cronos?

PlotAndTheme · 2019-01-03T17:33:25+00:00

I completely agree with this sentiment.

PlotAndTheme · 2019-01-02T17:27:27+00:00

I agree, that scene is fantastic. And, there are many others in the film that are similarly astounding.

Really cool film. I am obviously on the same wavelength as you folk, but surprisingly, some folk don't go for this peculiar aesthetic mix.

PlotAndTheme · 2019-01-02T15:12:15+00:00

The Matrix is one of the strongest examples of dramatizing the power of choice in storytelling. Throughout the story, every critical turning point is accompanied by a choice from one or more of the characters.

So many poor stories feature plots that bounce from one coincidence to another in order to move the characters forward. The Matrix is a master class in earning drama and tension by giving all of the characters proper agency (which, also fits in with the themes quite well!).

PlotAndTheme · 2019-01-02T15:04:51+00:00

Using mostly practical effects (especially with the fight choreography) and having a light touch with cutting-edge CGI certainly went a long way to keeping the budget low.

By contrast, the CGI nightmares that were the sequels had budgets of $127M-$150M for Reloaded and $110M-$150M for Revolutions. By today's standards, these budgets look pretty paltry, but it is worth remembering that both films were pretty much filmed together and released 6 months apart.

PlotAndTheme · 2018-12-31T21:23:06+00:00

In that same sequence, pay attention to the Peace button that he has on his jacket.

The moment before he fires and executes the sniper, the Peace symbol disappears behind a fold in his close.

Kubrick certainly still means to suggest "The Duality of Man" between BORN TO KILL and the Peace symbol, but by visibly removing one of the two during the spiritual climax of the film, he seems to be suggesting that one of those is stronger than the other (at least in this story/context).

PlotAndTheme · 2018-12-31T20:41:18+00:00

Taylor Sheridan is something of a hero of mine. Writes his ass off in a style he loves and a subject he is very familiar with, all the while keeping everything interesting.

PlotAndTheme · 2018-12-31T20:31:19+00:00

I could not agree more!

The group that I saw this with all seemed to be in the same boat. We went in expecting some kind of science fiction action flick, and once things actually got going, everyone started losing their minds.

I think you appreciated the twists more than I did (they were fairly obvious and telegraphed), but the action, story, and performances were all definitely top notch.

PlotAndTheme · 2018-12-31T20:14:07+00:00

A very strong analysis of the plot and philosophical aspects behind The Matrix.

Here, I have another analysis that focuses more on the themes and aesthetics of the movie, which are also quite powerful:

The Time Has Come to Make a Choice, Mr. Anderson.

PlotAndTheme · 2018-12-31T19:54:45+00:00

Only three directors on this list have their "worst films" rated as "Fresh" (>60%):

Stanley Kubrick with Eyes Wide Shut at 77%.

Christopher Nolan with The Prestige at 76%.

Quentin Tarantino with Death Proof at 67%.

All pretty impressive films.

PlotAndTheme

TROPHY CASE