Two Fun Films for the Price of One
Aug. 26th, 2010 10:45 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
tealinMICMACS (a.k.a. Micmacs a Tire-Larigot)
I meant to see this when it came out in theatres, really I did, only a colleague and I wanted to see it together and by the time we found a weekend that worked for both of us, it was too late ... Anyway, they had a screening at work yesterday so I made sure to catch it and I'm awfully glad I did. Of all Jean-Pierre Jeunet's films, I think it probably resembles Delicatessen the most in tone, but if you've only seen Amelie, and happened to like it, you'll probably like this as well. Very well-constructed story, good balance of light and dark, whimsy and pragmatism, and action and romance; the characters are mostly bizarre but all charming in their own way, and even though there is a large supporting cast they never feel like they're only there for comic relief but have their own completely valid existence. It also manages to be the sweet but wry caper that so typifies silent film – it's a comedy, and usually it's fairly lighthearted, but you never lose the feeling that at any moment things could go seriously wrong with very real consequences, which keeps you invested in the film. Highly recommended on DVD (or theatre if that's still available to you)! One warning, though: It does make use of Teh Sexytiems as a fairly major plot point, so children and the easily shocked may want to make a strategically-timed bathroom break.
SCOTT PILGRIM VS THE WORLD
I went into this film with mixed feelings, but not in the way you'd expect. On one hand, Edgar Wright is one of a very few directors who I have absolute faith in, and I quite liked the comic books, so this soon became my most-anticipated film of the summer. On the other, reviews from people whose opinions I respect ranged from 'Awesome!' to 'I was expecting it to be the best thing ever AND IT WAS BETTER THAN THAT!' which had me certain that I was hyping myself up despite my best efforts and would inevitably be disappointed no matter how good it was. So my 'mixed feelings' were 'prepare for greatness' vs 'Oh no, I'm preparing for greatness.'
Well, I'm pleased to say ...
I'm going to try to keep this short because it's getting on to bedtime, but there is a lot more I want to write about this movie when I get the time. I should probably start (another) list. In essence:
1. It masterfully captures the feel of the books, but without being too in-your-face about it. As bizarre as it is to mention 'comic book techniques' and 'subtlety' in the same sentence, the graphic and textual overlays really work, and while there is a fair share of 'Kapow!' and 'thonk' stuff written up no screen, the really effective stuff, in my opinion, are the subtler graphics that accompany the musical sequences and supernatural episodes in the fight scenes. You might expect such things to be distracting, as they are so unfamiliar, but as Jean pointed out when we were leaving the theatre, you know you've gotten really immersed in a movie when you expect to see words drift off of sound effects in real life and are surprised when they don't. And getting back to my first point, the whole world of suburban Canadian young adult slackerhood interrupted by completely unreal epic battles is ... just ... perfect. I'm going so far as to say the characters are even better than in the books – I liked Ramona a lot more, in particular, because she seems to have a more rounded character, but ... well, everyone was just great.
2. I must admit it felt a little slow at the beginning, but I'm not sure whether I can be objective on this because I realized that I, knowing what was going to happen, was very impatient to get to Evil Ex #3, who had my favourite downfall as far as I'd read.* I know it needed setup. I know we needed to get used to the humdrum monotony of Scott's existence so the madness would feel madder when it came. But I really wanted to get to the gelato gag. Was the beginning slow? Can I hear from an unbiased member of the audience?
3. So much really savvy filmmaking. I will get into this more later, I just want to say: Thank you, Mr Wright, for making me once again doubt my fitness ever to be a director, because there is no way I could be as creative or mentally clear and organized as you have proven yourself to be. I bow before your mighty directorship. Ommmm.
4. Wallace still rules.
5. Back to point #1, briefly (because I just can't leave it alone), you know your director respects his source material when he puts that source material actually in the movie. The first time the comic book drawings appeared onscreen I was all '!!!!' and then '<3 <3 <3!!'
6 (but not least) – The greatest #1 thing I love about all Mr Wright's films but especially this one is how successfully he communicates the sheer ecstatic joy of geekery. It's as if he's saying 'I LOVE comic books, and I LOVE video games, and I LOVE rock music! Let me show you what's great about them!' And I, as someone who doesn't really care all that much about any of those things, now totally get what makes them awesome. There is so much love and joy in this film, it spills out of every actor and set and special effect, and is wonderfully contagious.
*And the Magic Edgar Wright made it even better than I'd remembered.
I really can't recommend this movie highly enough, and to that recommendation I attach this: do yourself a favour and see it in the theatre. There are many points to be made about casting a vote for creative vision and artistic genius, etc, but I'll save that for my next post on the subject; this one is all about your own viewing experience. See it in the theatre because it is so much more spectacular with really awesome sound. A lot of the action takes place at rock concerts, and some of it is even dependent on that 'wall of sound' effect. 'But movie theatres are too loud already!' you say? I am fairly sensitive to volume at the cinema* and yet I had no problem with Scott Pilgrim, possibly because it was mixed really well, but also probably because it was part of the immersive experience. And unless you have a fantastic sound system and really understanding neighbours, you're unlikely ever to have the chance to experience the movie this way again. I'm probably going to see it again this weekend, and if they screen it here at work when its theatrical run is over** I will be first in line to see it a third time.
*I suspect this is why I immediately took against Russell in Up
**Which looks like it will be depressingly soon, if the box office continues its sad performance
Here, have a BBC slideshow! And a very insightful review! (you'll have to forward to 24:00 unless you want to hear a lot about Inspector Morse and Sean Connery) And a gorgeously edited music video that I can't stop watching! And now I really have to go home!
I meant to see this when it came out in theatres, really I did, only a colleague and I wanted to see it together and by the time we found a weekend that worked for both of us, it was too late ... Anyway, they had a screening at work yesterday so I made sure to catch it and I'm awfully glad I did. Of all Jean-Pierre Jeunet's films, I think it probably resembles Delicatessen the most in tone, but if you've only seen Amelie, and happened to like it, you'll probably like this as well. Very well-constructed story, good balance of light and dark, whimsy and pragmatism, and action and romance; the characters are mostly bizarre but all charming in their own way, and even though there is a large supporting cast they never feel like they're only there for comic relief but have their own completely valid existence. It also manages to be the sweet but wry caper that so typifies silent film – it's a comedy, and usually it's fairly lighthearted, but you never lose the feeling that at any moment things could go seriously wrong with very real consequences, which keeps you invested in the film. Highly recommended on DVD (or theatre if that's still available to you)! One warning, though: It does make use of Teh Sexytiems as a fairly major plot point, so children and the easily shocked may want to make a strategically-timed bathroom break.
SCOTT PILGRIM VS THE WORLD
I went into this film with mixed feelings, but not in the way you'd expect. On one hand, Edgar Wright is one of a very few directors who I have absolute faith in, and I quite liked the comic books, so this soon became my most-anticipated film of the summer. On the other, reviews from people whose opinions I respect ranged from 'Awesome!' to 'I was expecting it to be the best thing ever AND IT WAS BETTER THAN THAT!' which had me certain that I was hyping myself up despite my best efforts and would inevitably be disappointed no matter how good it was. So my 'mixed feelings' were 'prepare for greatness' vs 'Oh no, I'm preparing for greatness.'
Well, I'm pleased to say ...
I'm going to try to keep this short because it's getting on to bedtime, but there is a lot more I want to write about this movie when I get the time. I should probably start (another) list. In essence:
1. It masterfully captures the feel of the books, but without being too in-your-face about it. As bizarre as it is to mention 'comic book techniques' and 'subtlety' in the same sentence, the graphic and textual overlays really work, and while there is a fair share of 'Kapow!' and 'thonk' stuff written up no screen, the really effective stuff, in my opinion, are the subtler graphics that accompany the musical sequences and supernatural episodes in the fight scenes. You might expect such things to be distracting, as they are so unfamiliar, but as Jean pointed out when we were leaving the theatre, you know you've gotten really immersed in a movie when you expect to see words drift off of sound effects in real life and are surprised when they don't. And getting back to my first point, the whole world of suburban Canadian young adult slackerhood interrupted by completely unreal epic battles is ... just ... perfect. I'm going so far as to say the characters are even better than in the books – I liked Ramona a lot more, in particular, because she seems to have a more rounded character, but ... well, everyone was just great.
2. I must admit it felt a little slow at the beginning, but I'm not sure whether I can be objective on this because I realized that I, knowing what was going to happen, was very impatient to get to Evil Ex #3, who had my favourite downfall as far as I'd read.* I know it needed setup. I know we needed to get used to the humdrum monotony of Scott's existence so the madness would feel madder when it came. But I really wanted to get to the gelato gag. Was the beginning slow? Can I hear from an unbiased member of the audience?
3. So much really savvy filmmaking. I will get into this more later, I just want to say: Thank you, Mr Wright, for making me once again doubt my fitness ever to be a director, because there is no way I could be as creative or mentally clear and organized as you have proven yourself to be. I bow before your mighty directorship. Ommmm.
4. Wallace still rules.
5. Back to point #1, briefly (because I just can't leave it alone), you know your director respects his source material when he puts that source material actually in the movie. The first time the comic book drawings appeared onscreen I was all '!!!!' and then '<3 <3 <3!!'
6 (but not least) – The greatest #1 thing I love about all Mr Wright's films but especially this one is how successfully he communicates the sheer ecstatic joy of geekery. It's as if he's saying 'I LOVE comic books, and I LOVE video games, and I LOVE rock music! Let me show you what's great about them!' And I, as someone who doesn't really care all that much about any of those things, now totally get what makes them awesome. There is so much love and joy in this film, it spills out of every actor and set and special effect, and is wonderfully contagious.
*And the Magic Edgar Wright made it even better than I'd remembered.
I really can't recommend this movie highly enough, and to that recommendation I attach this: do yourself a favour and see it in the theatre. There are many points to be made about casting a vote for creative vision and artistic genius, etc, but I'll save that for my next post on the subject; this one is all about your own viewing experience. See it in the theatre because it is so much more spectacular with really awesome sound. A lot of the action takes place at rock concerts, and some of it is even dependent on that 'wall of sound' effect. 'But movie theatres are too loud already!' you say? I am fairly sensitive to volume at the cinema* and yet I had no problem with Scott Pilgrim, possibly because it was mixed really well, but also probably because it was part of the immersive experience. And unless you have a fantastic sound system and really understanding neighbours, you're unlikely ever to have the chance to experience the movie this way again. I'm probably going to see it again this weekend, and if they screen it here at work when its theatrical run is over** I will be first in line to see it a third time.
*I suspect this is why I immediately took against Russell in Up
**Which looks like it will be depressingly soon, if the box office continues its sad performance
Here, have a BBC slideshow! And a very insightful review! (you'll have to forward to 24:00 unless you want to hear a lot about Inspector Morse and Sean Connery) And a gorgeously edited music video that I can't stop watching! And now I really have to go home!
no subject
Date: 2010-08-27 08:41 am (UTC)