Good ending, and a nice gradual pace contemplative mood underpins it all. Clooney looks a bit worried in the lead... maybe it's more of a viggo mortensen role, but good on him for getting the film financed. For the most part Corbijn does very well, although it doesn't quite touch the heights of Antonioni's PASSENGER, something it could well have done.
Decent film, but a lot of good work is undone with the convenient plot twists (which remove all practical hurdles) and the self-righteous Americana score. On the latter, director and composer seemed to take heart from John Williams' scoring of AMISTAD, a deadly move for the film.
Great landscapes. Fine performances. Solid direction. And moving.
It does feel less than it could have been though, and I think in the end, it might be a bit literal-minded for its own good. It's at its best when it tries to move beyond the literal -- e.g. the passing of the first comrade. Making it more along those lines would have made the constraints of scale less significant.
Not sure about Burkhard Dallwitz's music. It's too much of an old emphatic film score but done within a synthetic framework. The music doesn't feel like it consistently represents the kind of higher ideal that a film like this needs (e.g. artemyev's music in Stalker comes to mind).
A relatively cool perspective on hot-headed affairs, impeccable performances/technique, and an odd grim sense of humour make this one of the best films I've seen this year. I'm not sure I needed the final sequence -- it felt implied by the last scene with Matt Damon before it. Still, my respect to Soderbergh for pulling this off.
An excellent film. It should not have taken me 5 years to get around to seeing it. If HUNGER captures the poetic side of the political imprisonment experience, this captures the infuriating accidental absurdities of it. I don't know how Winterbottom does it - so prolific, such strong command of a range of subject matter. I note he has a co-director here, who I assume was responsible for the doco footage.
Pretty mixed bag. The production values are there, and the idea has merit. But... the script is pretty laboured, not giving enough reason to engage in the stretches between the moments when the worlds begin to intertwine. And the execution, while stylishly-framed and working well off production values, frequently just fails to involve me in what's going on. A bit like Aronofsky's FOUNTAIN, I more than get it. Getting it isn't the problem, it's getting something out of it. Green and Bernard Hill are reasonably good centers for a film, but Philippe and Sam Riley don't give much.
Easily one of the best films of the year for me. So enjoyable to see a straight-down-the-line samurai film. How is it a pretty direct throwback to an older style of film, very much a retread, can prove to be a much more enjoyable action-adventure film that most of what's there to watch these days?
Not to say that I had any great problems with Soderbergh's 'Che', but this feels a bit more gripping than that film. I've only seen the shorter theatrical version, which could probably have been edited a bit more, but mostly Assayas knocks it out of the park. A great film. Looking forward to seeing the full miniseries.
Reflecting on the film, I can't remember a single setpiece, and for that I'm glad. It's been so long since I've seen a film punching in this studio tentpole zone that didn't feel like a parade of setpieces linked by exposition. But this is great. Pure classic story development.
Arty, pretentious, layered, immaculate, simple, complicated... all these things and more. I do like it though. One of the Godard's richest works, and to me, the strongest dissection of Homer, Odysseus and Penelope on screen.
Brilliant, sparse, tense filmmaking. Although the cast is mostly famous, I didn't realise they were in it until the end -- I thought the filmmaker had found a group of unknowns who recalled famous faces. They all disappear into the roles nicely. And the use of the 4:3 ratio is nothing short of brilliant. :)
Riveting. Superb use of limited available footage. In some ways a natural subject for a documentary maker like Werner Herzog, but it was nice to do without his philosophising and just have a Crowhurst's story related by those who knew him. What Crowhurst went through relates to many things in life.
I don't know how to begin. I was giggling almost continuously for 2 hours. Like the team behind Caveman's Valentine made Bourne Identity, casting a little girl as Matt Damon. So much fun. So silly. So serious. More arthouse film references than you can poke a stick at (Three Colours Blue, Godard, and Lang's M jump to mind), and truly effective piece of film scoring.
Some nice touches, but terribly bland. It lacks the outright hilarity of TAKEN, and tries to do the BOURNE ULTIMATUM first film plot all over again. A disappointment in the Liam Neeson trashy film renaissance.
Hmmm... more discipline wouldn't have hurt. It has however amazing opening and closing scenes that make it worth watching. First hour is strong, but increasingly in the second half the film feels like it's losing its handle on its subject matter. Sound design feels a little underdone at times too. There is the b and w cinematography, and the excellent performances and mise-en-scene throughout
The 1st point. The death of he who must not be named is much more cinematic and character-driven than a certain other Dark Lord who went out as a panicked lidless eye. The 2nd point. British acting royalty cameos rush by at a rate of 2 per minute, giving George Stevens' Greatest Story Ever Told and Robert Altman's Gosford Park a run for their money. The 3rd point. This one was for fans of the book. The 4th point. For someone who just knows the films, it was nice to see a resolution for Alan Rickman's character. The 5th point. It's a strange achievement for a filmmaker to make Desplat's distinctive musical voice seem boring. The 6th. You can't just crossfade to John Williams music from the first film after ignoring the style for 4 films and not have it stick out like a sore thumb. And the 7th. Don't tell me the 3D glasses were there to see the old age make-up peeling off? ;)