Movies
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@Matt I went to see it the other night. Still not managed to process that film
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Got pretty psyched when i saw this pop up. Lots of names from the real car scene. Made by and starring the dude who played Han from the fast and furious franchise, not as part of the franchise, but as a indie/grassroots love letter to the scene that they started.
"The whole future lies in uncertainty: Live immediately."
-Seneca -
Heard a lot about it but only saw it for the first time recently. You have to cut it some slack given that it came out in 1988; some of the dialogue might seem a bit wooden by today’s standards. Above all, though, it’s superbly shot and features a gripping story—told in an unusual way, right down to the ending. I’ve heard the 1993 US remake is crap. But if you enjoy watching older films that have aged well and haven’t seen this one yet, I highly recommend it.
si tacuisses
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@WhiskeySandwich looking forward to this. he is a true car enthusiast.
i have a mercury comet, which is a ford maverick in disguise. Han drove a mav in fast 5, but that car never got the role it deserved. movie is set in brazil, and the maverick is a huge icon down there. -
@tody oh heck yeah! crazy to me that they turned the Maverick into a pick-up crossover thing... They've been taking liberties with old classic car names lately across a lot of brands. IDK why car companies cant just make a new name for their new cars....
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@WhiskeySandwich don't get me started on this... ford resurrected the Capri name for an EV over here. built on a VW platform, with zero resemblance to the classic.
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@Matt
Just watched backrooms Sunday; it was def original and interesting, didn’t see any of the YouTube vids before hand. Crazy this director and obesssion both young and low budget high grossing films. Obsession was really good as well, glad see new trend and ideas coming out . Excited to see new movie Hope from director of the wailing, that movie messed with me before bed lol, usually not effected by scary movies. But this Korean horror:thriller movies are freaking intense but so original and well done. Highly recommend “no other choice”as well, def not as gnarly and intense as wailing and jus an amazing film -
The Vanishing (1988) is brilliant. Bleak but brilliant. Didn't bother watching the remake. You can say the same thing for most things, say for example Oldboy. Didn't bother with the Hollywood remake.
However, I did love The Departed (which is a remake/reimagining) and often tell people to go watch the original; Infernal Affairs.
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@endo Not seen that one but cyberpunk/sci-fi will give it a watch.
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"Tell me, O Muse, of the man of many devices, who wandered full many ways ... " (Does this opening of the songs of the Odyssey refer to Odysseus or to Nolan?)
How do you go about it when you want to film a story that is nearly 3,000 years old—one that was handed down through song for centuries, adapted and altered countless times, and indeed already made into film before? I would give hardly anyone other than Christopher Nolan a chance of achieving an acceptable result.
But did he deliver? I'm not sure.
Two things bother me right off the bat. The cast—while impressive—is also a huge obstacle to staying immersed in the story; one recognizes so many of these faces from other roles that it is hard to picture them in the ancient world. Furthermore, the gleam of their super-white teeth seems absurd given the otherwise impressive production design.
Secondly, the film attempts—at least in my opinion—to pull off a balancing act that it doesn't quite manage. On the one hand, it is wonderfully mystical (take the Hades scene, for instance, without giving anything away); on the other, it involves somewhat run-of-the-mill action. Personally, I would have preferred it if Nolan had gone all-in on the mystical approach. Then again, perhaps that would have required a different director.
As I said, I'm not sure. What do you think?
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@endo I saw it Sunday after going back and forth an bunch of times thanks to letting the hype temporarily get to me. I really liked it. There’s far too much content to cram into a movie so pacing was naturally a challenge given the magnitude of the source material, but Nolan did an acceptable job. I liked the various ways he approached each trial in distinctly different ways. While the cast was questionable, it always was going to be, regardless of who handled it, along with the suspension of disbelief also comes along with such a retelling. It’s easy enough to get over with an open mind and a desire to let yourself be entertained and go along for the ride. To do a movie with so much that came before it is almost an impossible challenge, no one could satisfy everyone, but I found it to be just about as good as it could be.
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The film looks and sounds magnificent, but it never decides on what sort of adaptation it wants to be.
The sets and costumes all seem to strive for realism, but that realism is undermined by details that feel obviously modern - from gleaming white teeth to Jon Bernthal's bald-and-bearded look. As you say @endo, these things are important, because the rest of the film is asking to be taken as something serious and authentic.
The film is most immersive when it becomes strange and mythic, and those moments make the conventional-Hollywood-action feel ordinary in comparison. A stylised, even avant-garde interpretation might have worked better.
In terms of performances, Hathaway is very good, but Damon and Holland don't offer much apart from being Damon and Holland. Nolan’s limitations with female characters are still apparent, the dialogue lets it down in places, and some scenes are a little drawn-out.
Ultimately, Nolan is judged more harshly than most directors and he is simply held to a higher standard. Personally, the film was good, very good - but it wasn't the masterpiece that I was anticipating.
