I am Decidedly Uncool
Earlier in the week (or maybe last week?), I watched The Bourne Identity. Jim and I really really liked it, so we Netflixed the second one.
OW.
I don't like it when my movies are physically painful to observe. I want to be able to see whats going on. If you can't be bothered to frame a shot so that I can see what's going on, how the fuck am I supposed to know it's cool. I don't give a shit about flailing legs if you cut off the heads and torsos in a scene where all the action is at the neck for what I can only assume was strangulation. But I can't be sure, because I only get to see the aftermath. And I don't give a shit about him shifting gears in the shitty cab so he can do some cool maneuver that I don't actually get to see because what you show me is the view from the passenger seat with the camera aimed at Matt Damon. And when you take it underground so that all I can see is darkness and the glare of light off the edges of the cars because you're too interested in your raw and edgy camera angles to actually show me WHAT THE FUCK IS GOING ON I stop caring.
We invented the steady-cam for a fucking reason. And people need to learn how to frame a fucking shot so that the audience isn't constantly wishing for a glimpse of something actually relevant. It looks amateurish and stupid as far as I'm concerned, as though they're using this type of camera work to hide the fact that what's actually happening in the fight and chase scenes isn't half so kickass as they want us to think it is.
And holding that opinion probably makes me decidedly uncool, and a throwback to an earlier type of action movie. I'm sure there are people out there who praise Greengrass (the director) up down and sideways for his style. I don't care, I fucking hate it.
OW.
I don't like it when my movies are physically painful to observe. I want to be able to see whats going on. If you can't be bothered to frame a shot so that I can see what's going on, how the fuck am I supposed to know it's cool. I don't give a shit about flailing legs if you cut off the heads and torsos in a scene where all the action is at the neck for what I can only assume was strangulation. But I can't be sure, because I only get to see the aftermath. And I don't give a shit about him shifting gears in the shitty cab so he can do some cool maneuver that I don't actually get to see because what you show me is the view from the passenger seat with the camera aimed at Matt Damon. And when you take it underground so that all I can see is darkness and the glare of light off the edges of the cars because you're too interested in your raw and edgy camera angles to actually show me WHAT THE FUCK IS GOING ON I stop caring.
We invented the steady-cam for a fucking reason. And people need to learn how to frame a fucking shot so that the audience isn't constantly wishing for a glimpse of something actually relevant. It looks amateurish and stupid as far as I'm concerned, as though they're using this type of camera work to hide the fact that what's actually happening in the fight and chase scenes isn't half so kickass as they want us to think it is.
And holding that opinion probably makes me decidedly uncool, and a throwback to an earlier type of action movie. I'm sure there are people out there who praise Greengrass (the director) up down and sideways for his style. I don't care, I fucking hate it.