“The loneliest moment in someone’s life is when they are watching their whole world fall apart, and all they can do is stare blankly.”
As a novel deemed incapable of translating onto screen, preconceived notions were buzzing about the film prior to release, especially with director Baz Luhrmann’s sensational modern eye attached to the holiest of holy American classics. With glitz and glamor, Hip-Hop and a glossy 3D finish, Luhrmann’s adaptation paints a boisterous statement—it’s no surprise critics are dissatisfied and dismissive of the highly stylized 21st century vision of F. Scott Fitzgerald’s The Great Gatsby.
But with such a hyper musical score, 3D adaptation and over-stylized CGI, this is questionable content worth giving a chance, because while I’ve read the book and seen the Robert Redford adaptation, I was a little iffy as well. Instead of watching this expecting a page to screen adaptation, consider it a page to screen interpretation coated with 21st century context that only Baz can create. If the greatest complaint is Luhrmann’s style over substance, isn’t that exactly who Jay Gatsby was?
“Not since Hall and Oates has there been such a team.”
If you ride like lightening, you’ll crash like thunder. With as much speed and adrenaline as handsome Luke’s motor riding, The Place Beyond the Pines navigates a complex trail of twists and turns that creates an unavoidable crash course in fate.
Halloween costume 2013?
Dear Sci-Fi nerd nation, apparently my Alien knowledge is less substantial than I thought. The film is edited with extreme precision, and that’s without question or hesitation when you watch the deleted scenes (which I never did until recently). Most of the scenes were worth cutting and would have created lengthy, extended sequences. BUT, there are a couple that I singled out as significant to the film’s monster and Ridley’s ability to slice footage creating greater suspense and molding together the ultimate nightmare.
With the recent release of the third Gatsby trailer, the anticipation for director Baz Luhrmann’s recreation of the F.Scott Fitzgerald classic is mounting. The trailer gives a more in-depth look at the characters, the lavish landscapes and further reveals that Leonardo DiCaprio may hold a candle next to original Gatsby, Robert Redford.
Pillars of the Earth was a bestselling novel by Ken Follett, published in 1989. I read it a few years ago, and it was a truly epic undertaking; probably close to a thousand pages. It bucked convention, killing main characters (before George R.R. Martin made it cool) and allowing horrible things to happen to good people. I was simultaneously infuriated and impressed, recognizing that the author was making a point about the lawlessness and injustice of medieval England.
I finished it just in time for the 2007 miniseries, which featured a few now-familiar faces: Hayley Atwell (Captain America), Eddie Redmayne (Les Miserables), and Rufus Sewell (Knight’s Tale). I had a hard time appreciating the adaptation as I’d just spent several weeks with these characters; in particular I remember my annoyance at our introduction to Atwell’s character, who comically brains her unwanted suitor with a candelabra (they’re missing the whole point of the character!!! Growth! Development! Transformation!! ARGGHH) BUT I digress.
After watching many films in theaters and on Netflix, I’ve finally compiled what I consider the top tier of 2012. Two foreign films, one documentary, a few Oscar nominees and some incredible snubs of the year made my list. The Academy doesn’t always get it right, but I’m curious to see what “surprise” they shock us with this year.
“This isn’t a movie about what AIDS did to us. This is a movie about what we did to AIDS.”
It’s year six of the AIDS epidemic, 1987 in Greenwich Village, NYC. With no medical innovations to treat the disease, AIDS is 100% fatal. Panic surrounding this epidemic drives a backlash of blame along with anti-gay violence. Hope is shutdown as hospitals routinely turned away the dying. Fighting for their lives, patients and advocates take matters into their own hands.
For the past few months, I have been pondering the question: Why do I watch so many horror movies? I can’t attribute my interest to any of the explanations Piece of Cape offers up: the thrill rush, the gore, the “sport.” In reviewing The Descent I expressed an appreciation for the survivability aspect, my admiration for and aspiration to emulate those who rise to every occasion and manage to survive. But on a more fundamental level, I think it boils down to this:
More than any other genre, horror movies will always keep you guessing.
Since I’ve pretty much exhausted all the mythology-related movies I’m familiar with (or at least the ones worth talking about), Courtney and I will now embark on a new blog series: WAR IN MOVIES! Which is a tough category to narrow down, considering the number of incredible films centering on war. But we’ll do our best.
To start things off, we have The War to End All Wars, The Great War, also known as… World War I.