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Julia Cafritz recommended Safe (1995) in Movies (curated)
Julia Cafritz recommended Brazil (1985) in Movies (curated)
LoganCrews (2861 KP) rated Avatar (2009) in Movies
Sep 20, 2020
"𝘈𝘭𝘭 𝘦𝘯𝘦𝘳𝘨𝘺 𝘪𝘴 𝘣𝘰𝘳𝘳𝘰𝘸𝘦𝘥, 𝘢𝘯𝘥 𝘴𝘰𝘮𝘦𝘥𝘢𝘺 𝘺𝘰𝘶 𝘩𝘢𝘷𝘦 𝘵𝘰 𝘨𝘪𝘷𝘦 𝘪𝘵 𝘣𝘢𝘤𝘬."
The story has been criticized up and down for being about as basic as can be, as well as being somewhat subtractive of the real life parallel this is generally aiming for - and I agree wholeheartedly. But let's be honest here, nobody goes into this for its merits as a piece of storytelling - which it isn't even necessarily bad at on the whole - it just rushes into and through everything too quickly (that goes double for a movie of this length). No, this is front-to-back pure, rich spectacle. Movies since have tried to emulate it but none have even come close to reaching the grandiose scope, immaculate attention to detail, and luxurious world-building. There's so much on the screen all at once you could almost get lost, as if you were right there in this massive, vibrant splashpad of late 2000s blockbuster merriment. And those last thirty minutes of rock-solid PG-13 fantasy violence just take the cake, holy *shit* they rule (remember when these used to end in half-hour long epic battle sequences where you could actually see and even care about what was going on?). Mechs fighting giant fantastical animals, soldiers getting pincushioned left and right with massive arrows, huge flying creatures shot-putting military aircrafts into the sides of cliffs... had a smile the size of Texas across my face the whole time - that's as good as those things get. Plus this is another entry into my Joel-David-Moore-is-underrated collection because he outacts the entire cast of A-listers here. As beautiful as the day it came out, but perhaps in a different way reflexively.
The story has been criticized up and down for being about as basic as can be, as well as being somewhat subtractive of the real life parallel this is generally aiming for - and I agree wholeheartedly. But let's be honest here, nobody goes into this for its merits as a piece of storytelling - which it isn't even necessarily bad at on the whole - it just rushes into and through everything too quickly (that goes double for a movie of this length). No, this is front-to-back pure, rich spectacle. Movies since have tried to emulate it but none have even come close to reaching the grandiose scope, immaculate attention to detail, and luxurious world-building. There's so much on the screen all at once you could almost get lost, as if you were right there in this massive, vibrant splashpad of late 2000s blockbuster merriment. And those last thirty minutes of rock-solid PG-13 fantasy violence just take the cake, holy *shit* they rule (remember when these used to end in half-hour long epic battle sequences where you could actually see and even care about what was going on?). Mechs fighting giant fantastical animals, soldiers getting pincushioned left and right with massive arrows, huge flying creatures shot-putting military aircrafts into the sides of cliffs... had a smile the size of Texas across my face the whole time - that's as good as those things get. Plus this is another entry into my Joel-David-Moore-is-underrated collection because he outacts the entire cast of A-listers here. As beautiful as the day it came out, but perhaps in a different way reflexively.
JT (287 KP) rated Skyfall (2012) in Movies
Mar 10, 2020
I wondered recently who my favourite Bond is? Do I enjoy the comical quips of Roger Moore or the smooth suave debonair approach of Sean Connery. But everytime I think about it, I keep coming full circle to Daniel Craig, in particularly Skyfall.
After the somewhat disappointment of Quantum of Solace Oscar winning director Sam Mendes has taken Bond 23 and given it a grittier more emotional look while paying homage to some of the past Bond classics. The opening credits are an explosive introduction as we see Bond give chase through a Turkish bazaar which includes an impressive motor bike pursuit and a brilliantly choreographed fist fight on top of a moving train.
After being shot Bond is seen falling to his certain death and the film explodes into its trademark opening credits, complete with Adele’s powerful voice, a song that really evokes everything Bond. When 007 finally returns from the grave having spent time away partaking in scorpion drinking games, post shag Heineken’s and ultimately ’enjoying death’ he comes back to find that MI6 has moved deep into subterranean London after an attack on MI6.
He’s unshaven, disheveled and is a shadow of the former agent, not even able to shoot straight or do a succession of chin-ups without collapsing. Skyfall scratches deep beneath the emotional undertones of both Bond and M as their pasts are dragged up for all to see. Judi Dench in her seventh Bond outing gets a much bigger slice of the action, she is without question the main Bond girl here. Joined by Naomie Harris and Bérénice Marlohe who both take a relative back seat.
The Bond franchise has always had a rich tradition of producing menacing and iconic villains, Bloefeld, Scaramanga and Goldfinger to name a few, but the introduction of Javier Bardem will now have a place in Bond folk-law as one of the best modern day baddies.
His entrance was perfect, with Bond tied to a chair Bardem’s Silva (himself a former agent) entered from an elevator at the far side of the room, and in one take slowly walked forward as he produced a monologue about rats in a barrel, proceeding to taunt 007 about his own past and the connections that they both have with M.
The last few films have also lacked any real gadgetry in terms of Q branch, something which after being around for so long was definitely missing. Ben Wishaw’s appearance as a much younger Q, “you’ve still got spots” points out 007, was a much needed injection as he hands out Bond his new Walter PPK and radio transmitter (they don’t go in for exploding pens anymore).
It’s simple stuff but it was great to see that character back where he belongs.
There is subtle humour throughout and light hearted moments, Bond himself throwing a few winks here and there as Roger Moore used to do so well back in the day. The action of course is another high point, believable or not it’s stunning but then this is what we have come to expect from one of the longest running franchises in film history.
The locations and cinematography were sublime, from the depths of the London underground to the Scottish highlands in the film’s pulsating climax; Skyfall brought Bond back to Britain. The scenes set in Shanghai where also exceptional, the highlight for me, the neon lit skyscraper fight in which Bond fails to hang onto the information he needs, quite literally.
Ralph Fiennes bureaucratic Mallory is another casting masterstroke, Albert Finney ads some touching moments of his own, while MI6 agent Eve who after shooting 007 by mistake and takes a back seat from active duty will no doubt please many fans with her new role.
Skyfall, of which I was not sure what on earth the title meant at the time is all the more clear in the third act. Bond chooses to revisit his child hood home and use that against Silva in a make shift home defense that even MacAulay Culkin would be proud of. It is fantastically shot and is the perfect ending to a film that has been top draw all the way through.
Some comparisons have been drawn to this and The Dark Knight in that the main characters are lost and then re-born in some way, both have a past that haunts them as well as dead parents. Mendes and the writers have taken this film down a darker route but an emotive one as well and that is credit to them, it all made sense and the story flowed well.
Skyfall is nothing short of a triumph and has given Bond fans everything they could have asked for and so much more.
After the somewhat disappointment of Quantum of Solace Oscar winning director Sam Mendes has taken Bond 23 and given it a grittier more emotional look while paying homage to some of the past Bond classics. The opening credits are an explosive introduction as we see Bond give chase through a Turkish bazaar which includes an impressive motor bike pursuit and a brilliantly choreographed fist fight on top of a moving train.
After being shot Bond is seen falling to his certain death and the film explodes into its trademark opening credits, complete with Adele’s powerful voice, a song that really evokes everything Bond. When 007 finally returns from the grave having spent time away partaking in scorpion drinking games, post shag Heineken’s and ultimately ’enjoying death’ he comes back to find that MI6 has moved deep into subterranean London after an attack on MI6.
He’s unshaven, disheveled and is a shadow of the former agent, not even able to shoot straight or do a succession of chin-ups without collapsing. Skyfall scratches deep beneath the emotional undertones of both Bond and M as their pasts are dragged up for all to see. Judi Dench in her seventh Bond outing gets a much bigger slice of the action, she is without question the main Bond girl here. Joined by Naomie Harris and Bérénice Marlohe who both take a relative back seat.
The Bond franchise has always had a rich tradition of producing menacing and iconic villains, Bloefeld, Scaramanga and Goldfinger to name a few, but the introduction of Javier Bardem will now have a place in Bond folk-law as one of the best modern day baddies.
His entrance was perfect, with Bond tied to a chair Bardem’s Silva (himself a former agent) entered from an elevator at the far side of the room, and in one take slowly walked forward as he produced a monologue about rats in a barrel, proceeding to taunt 007 about his own past and the connections that they both have with M.
The last few films have also lacked any real gadgetry in terms of Q branch, something which after being around for so long was definitely missing. Ben Wishaw’s appearance as a much younger Q, “you’ve still got spots” points out 007, was a much needed injection as he hands out Bond his new Walter PPK and radio transmitter (they don’t go in for exploding pens anymore).
It’s simple stuff but it was great to see that character back where he belongs.
There is subtle humour throughout and light hearted moments, Bond himself throwing a few winks here and there as Roger Moore used to do so well back in the day. The action of course is another high point, believable or not it’s stunning but then this is what we have come to expect from one of the longest running franchises in film history.
The locations and cinematography were sublime, from the depths of the London underground to the Scottish highlands in the film’s pulsating climax; Skyfall brought Bond back to Britain. The scenes set in Shanghai where also exceptional, the highlight for me, the neon lit skyscraper fight in which Bond fails to hang onto the information he needs, quite literally.
Ralph Fiennes bureaucratic Mallory is another casting masterstroke, Albert Finney ads some touching moments of his own, while MI6 agent Eve who after shooting 007 by mistake and takes a back seat from active duty will no doubt please many fans with her new role.
Skyfall, of which I was not sure what on earth the title meant at the time is all the more clear in the third act. Bond chooses to revisit his child hood home and use that against Silva in a make shift home defense that even MacAulay Culkin would be proud of. It is fantastically shot and is the perfect ending to a film that has been top draw all the way through.
Some comparisons have been drawn to this and The Dark Knight in that the main characters are lost and then re-born in some way, both have a past that haunts them as well as dead parents. Mendes and the writers have taken this film down a darker route but an emotive one as well and that is credit to them, it all made sense and the story flowed well.
Skyfall is nothing short of a triumph and has given Bond fans everything they could have asked for and so much more.