Walter, I know that in the past you have discussed on this blog the wear-and-tear that watching and dissecting one shitty movie after another has had on your movie-loving soul over a long period of time.
And I know people on this blog have continued to thank you for your hard work, time and again.
Let me just be the next to say Thank You, because sometimes a Walter Chaw pan is just about the best medicine a guy could ever ask for. Thank you, thank you.
Is the generous half a star Walter gave the Helen Hunt debacle out of appreciation for the sole good thing to come out of the project, a sizable check for Samuel Bass?
I, too, am appreciative of a Chaw or Chambers review of a pice of shit that I had no intention of watching ever. A review of "What Happens in Vegas" or "Made of Honor" would hearten me greatly.
I haven't seen "What Happened In Vegas" but like any good critic, he's actually made me curious to see if he's full of shi-tut. I certainly agree with his "Gangs of New York" comment and very much agree that "In Her Shoes" was unfairly overlooked.
Good thing he didn't name check "The Holiday" however---blaargh.
Shit: add John Philip Law--Diabolik himself (and Pygar to perhaps many more)--to the '08 death toll. I'd been waiting in vain for Tarantino to resurrect his career.
Shit: add John Philip Law--Diabolik himself (and Pygar to perhaps many more)--to the '08 death toll. I'd been waiting in vain for Tarantino to resurrect his career.
Oh yeah. Man was my favorite Sinbad. Always dug those eyes.
The applause was louder at the outset, though. Fans at the early afternoon showing, which preceded the film's glitzy formal premiere with cast and crew Sunday night, cheered and clapped wildly at an announcement that the screening was about to start. Some even hummed the Indiana Jones fanfare as the lights went down.
The applause at the end was more subdued.
Sounds just like the audience that watched Phantom Menace with me.
One thing that I think is important to keep in mind is that 2 of the first 3 Indy movies kinda sorta suck ass; it's a franchise that's always been on a downward slope and I really think it's revisionist, almost, to expect greatness from CRYSTAL SKULL.
I gotta say, though, I wish Janusz Kaminski had stayed the fuck away from it. The guy hates colour, and the one thing the OT had going for it was a consistently lush palette. The commercials and trailers for IJatKotCS look like Kaminski's usual bleach-bypass bullshit; so much for aesthetic consistency.
This is possibly a result of only being old enough to see the third film in theaters, but although I haven't a bad word to say against Raiders, Last Crusade has always been my favorite of the three Indy's. My childhood attachment to these films is strong enough, though, that I actually think that Crystal Skull sucking would be far more crushing to me than the Star Wars prequels.
I'm not sentimental enough to deny the "meh"-ness of Temple of Doom, though.
My childhood attachment to these films is strong enough
Likewise. It's a safe bet that most Indy fans loved it during their childhood/adolescence, when all the bangs and whistles were impressive regardless of whether the filmmaking and storytelling was worth a damn. Last Crusade remains my favourite even though I can see beyond a doubt that Raiders is a better film; now, with Crystal Skull, I think we're about to be faced with a mediocre film which will be making a lot of fans face the fact that the originals aren't as good as our memories of them.
I have a soft spot for the much-maligned Temple of Doom. It's a critical movie in my early cinephilic development, functioning as one of my introductory lessons in the dark side of cinema.
I read somewhere that Spielberg insisted that Kaminski watch all of the 3 films to get a sense of the look that cinematographer Douglas Slocombe attained. Amazingly, Spielberg succeeded in getting 3 other cinematographers to do something similar with Vilmos Zsigmond's Oscar-winning lighting in Close Encounters of the Third Kind when Zsigmond had to start another project before filming was complete.
Since we both recently viewed the Final Cut DVD of Blade Runner, I'd like to throw out a couple of things.
First, having viewed the theatrical cut just a week before, the Final Cut's picture seemed a bit too bright. I know Scott said in the introduction that he personally supervised the transfer, but the brightness of the picture distratced me.
Second, there are 3 plot holes I noticed really for the first time:
(*** possible spoilers ***)
-- Why the sequence of Deckard scanning and magnifying that photograph? All it does is result in a fuzzy photo of Zhora when he surely has way better photos from the police files that he viewed with Bryant.
-- Why doesn't Deckard just "retire" Zhora while in her dressing room?
-- How does Roy know Deckard's name during the final confrontation at Sebastian's building? None of the other replicants knew his name, and neither Sebastain nor Tyrell told Roy of the name.
Just saw Indy 4 here in Sydney. It wasn't as bad as Phantom Menace but just as disappointing-tired, self-indulgent (Spielberg's absent father fixation gets way too much prominence), and poisoned by its creators believing their own hype. Not to mention now that we're in the 50s the "aren't we clever" nostalgic pop culture references appear-such as Shia's character wearing a Marlon Brando "Wild One" cap, and a nuclear test site mockup of a suburban home where the blast test dummies are seated in front of a TV that of course is switched on and showing "Howdy Doody"...
I am really really looking forward to Walter's dissection of this one!
I can't offer an explanation of the last two plot holes you mentionned, though I think the first one is not necessarily a story error.
It is true that there were likely hi-rez images of Zhora at the police station, though there wouldn't have been anything current that would give Deckard a clue to her present whereabouts. It is specifically the snake tattoo that he magnifies and prints out, giving him the motivation to have the snake scale examined and thus revealing it for what it is. This then ultimately leads him to her present location. (And remember that the snake tattoo was his reassurance that he hadn't accidentally retired a human when he examined Zhora's body.)
Late to the party, but here is another one of that type of cover. The Japanese continually do this thing well, and remain the best source of zero-budget C-grade mayhem.
31 comments:
Happy Smile Super Challenge Family Wish Show!
Yeah, I tend to avoid sites that possess a misspelling in their Web addresses.
Here's a fairly entertaining Misty Mundae B-movie...
http://www.monstersatplay.com/review/dvd/b/biteme.php
...that was better than it had any right to.
The new front page ad is f***ing hilarious. I hope it generates sales.
A note about the review of Then She Found Me:
Walter, I know that in the past you have discussed on this blog the wear-and-tear that watching and dissecting one shitty movie after another has had on your movie-loving soul over a long period of time.
And I know people on this blog have continued to thank you for your hard work, time and again.
Let me just be the next to say Thank You, because sometimes a Walter Chaw pan is just about the best medicine a guy could ever ask for. Thank you, thank you.
FYI, Walter's SPEED RACER review is now up at the mothersite.
Is the generous half a star Walter gave the Helen Hunt debacle out of appreciation for the sole good thing to come out of the project, a sizable check for Samuel Bass?
I, too, am appreciative of a Chaw or Chambers review of a pice of shit that I had no intention of watching ever. A review of "What Happens in Vegas" or "Made of Honor" would hearten me greatly.
Did anyone hear that Nick Cage and Herzog are planning a "Bad Lieutenant" remake. Egads! Talk about a screamin' mad odyssey.
In case anyone is really interested, here's a positive review of What Happens in Vegas from (who else?) Armond White:
www.nypress.com/21/20/film/ArmondWhite2.cfm
Yowza. I wonder if this means Keitel is out of National Treasure 3....
I haven't seen "What Happened In Vegas" but like any good critic, he's actually made me curious to see if he's full of shi-tut. I certainly agree with his "Gangs of New York" comment and very much agree that "In Her Shoes" was unfairly overlooked.
Good thing he didn't name check "The Holiday" however---blaargh.
Now Lynch and Herzog? Throw in Chris Walken in the starring role and this may be the geek-tastic 24 hours ever....
Shit: add John Philip Law--Diabolik himself (and Pygar to perhaps many more)--to the '08 death toll. I'd been waiting in vain for Tarantino to resurrect his career.
Shit: add John Philip Law--Diabolik himself (and Pygar to perhaps many more)--to the '08 death toll. I'd been waiting in vain for Tarantino to resurrect his career.
Oh yeah. Man was my favorite Sinbad. Always dug those eyes.
The AP on Indy at Cannes:
The applause was louder at the outset, though. Fans at the early afternoon showing, which preceded the film's glitzy formal premiere with cast and crew Sunday night, cheered and clapped wildly at an announcement that the screening was about to start. Some even hummed the Indiana Jones fanfare as the lights went down.
The applause at the end was more subdued.
Sounds just like the audience that watched Phantom Menace with me.
One thing that I think is important to keep in mind is that 2 of the first 3 Indy movies kinda sorta suck ass; it's a franchise that's always been on a downward slope and I really think it's revisionist, almost, to expect greatness from CRYSTAL SKULL.
I gotta say, though, I wish Janusz Kaminski had stayed the fuck away from it. The guy hates colour, and the one thing the OT had going for it was a consistently lush palette. The commercials and trailers for IJatKotCS look like Kaminski's usual bleach-bypass bullshit; so much for aesthetic consistency.
This is possibly a result of only being old enough to see the third film in theaters, but although I haven't a bad word to say against Raiders, Last Crusade has always been my favorite of the three Indy's. My childhood attachment to these films is strong enough, though, that I actually think that Crystal Skull sucking would be far more crushing to me than the Star Wars prequels.
I'm not sentimental enough to deny the "meh"-ness of Temple of Doom, though.
Walter,
Just read your Knocked Up and We Own the Night reviews... you should ask someone in your family to hug you, or is it too late?
My childhood attachment to these films is strong enough
Likewise. It's a safe bet that most Indy fans loved it during their childhood/adolescence, when all the bangs and whistles were impressive regardless of whether the filmmaking and storytelling was worth a damn. Last Crusade remains my favourite even though I can see beyond a doubt that Raiders is a better film; now, with Crystal Skull, I think we're about to be faced with a mediocre film which will be making a lot of fans face the fact that the originals aren't as good as our memories of them.
I have a soft spot for the much-maligned Temple of Doom. It's a critical movie in my early cinephilic development, functioning as one of my introductory lessons in the dark side of cinema.
Bill,
I read somewhere that Spielberg insisted that Kaminski watch all of the 3 films to get a sense of the look that cinematographer Douglas Slocombe attained. Amazingly, Spielberg succeeded in getting 3 other cinematographers to do something similar with Vilmos Zsigmond's Oscar-winning lighting in Close Encounters of the Third Kind when Zsigmond had to start another project before filming was complete.
I hope that's the case, Jack, and that it's only the commercials that have a certain bleached look.
At the very least, always when Spielberg shoots in 'scope.
Make that "*happy* when Spielberg..."
Eagerly awaiting Indy and Cloverfield reviews!
Walter, just curious, why the love for the Chronicles of Narnia?
Walter,
Since we both recently viewed the Final Cut DVD of Blade Runner, I'd like to throw out a couple of things.
First, having viewed the theatrical cut just a week before, the Final Cut's picture seemed a bit too bright. I know Scott said in the introduction that he personally supervised the transfer, but the brightness of the picture distratced me.
Second, there are 3 plot holes I noticed really for the first time:
(*** possible spoilers ***)
-- Why the sequence of Deckard scanning and magnifying that photograph? All it does is result in a fuzzy photo of Zhora when he surely has way better photos from the police files that he viewed with Bryant.
-- Why doesn't Deckard just "retire" Zhora while in her dressing room?
-- How does Roy know Deckard's name during the final confrontation at Sebastian's building? None of the other replicants knew his name, and neither Sebastain nor Tyrell told Roy of the name.
Just saw Indy 4 here in Sydney. It wasn't as bad as Phantom Menace but just as disappointing-tired, self-indulgent (Spielberg's absent father fixation gets way too much prominence), and poisoned by its creators believing their own hype. Not to mention now that we're in the 50s the "aren't we clever" nostalgic pop culture references appear-such as Shia's character wearing a Marlon Brando "Wild One" cap, and a nuclear test site mockup of a suburban home where the blast test dummies are seated in front of a TV that of course is switched on and showing "Howdy Doody"...
I am really really looking forward to Walter's dissection of this one!
Jack,
I can't offer an explanation of the last two plot holes you mentionned, though I think the first one is not necessarily a story error.
It is true that there were likely hi-rez images of Zhora at the police station, though there wouldn't have been anything current that would give Deckard a clue to her present whereabouts. It is specifically the snake tattoo that he magnifies and prints out, giving him the motivation to have the snake scale examined and thus revealing it for what it is. This then ultimately leads him to her present location. (And remember that the snake tattoo was his reassurance that he hadn't accidentally retired a human when he examined Zhora's body.)
Late to the party, but here is another one of that type of cover. The Japanese continually do this thing well, and remain the best source of zero-budget C-grade mayhem.
http://www.rowthree.com/wp-content/uploads/2008/05/swimmers.jpg
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