Scarlet City
My Final LJ post on movies, I'm guessing.
And it'll have two recent ones
Red Eye (2005)
Why Scarecrow, you're quite handsome when you're threatening me without that sack over your head.
The most surprising thing about "Red Eye" isn't any cheap thrill intended to make you jump in your seat; it's the fact that the bulk of the tension is found not in the middle segment, located on the plane, but rather in the third act, when the plot shifts into a cat-and-mouse scenario. This is shocking to me in that I, along with most of the other red eye'd watchers I'm assuming, saw a few of the commercials and expected the "boo!" moments to pop out in the grave and confined atmosphere of the plane setting. And while that was certainly not the case, that's not what ended up detracting from the overall experience. What hurt the movie was that the plot was a little ridiculous and yet predictable, as were some of the actions that took place. However, the two leads were reasonably well-acted, and therefore their characters were made believable, but those are loose anchors in a pretty shaky story. Not bad, but pretty run-of-the-mill stuff.
Rating: B-
Quote:
Rebecca: [to the flight attendant, after Jackson follows Lisa into the airline bathroom] A man went in there.
Young Flight Attendant: Oh, that's okay, honey. They share the same ones up here.
Rebecca: But a lady's in there, too.
Young Flight Attendant: Oh, this is one of "those" flights.
Sin City (2005)
Now if this picture doesn't make you want to watch the movie...
What, I'm talking about the use of color, Gosh.
Now how 'bout that kiss, sugar.
THIS movie is anything but run-of-the-mill. Robert Rodriguez creates a film that is visually inventive yet assured, wildly entertaining but hardly shallow. I can't say that it is as much as a pioneer as, say, "Citizen Kane" was to cinema, but it is certainly worthy of admiration and imitation. The visual style simply oozes "film-noir." Surprisingly, both the black-and-white and the normal color scheme are essential to this making this film what it is. The B & W evokes the classical 50's style, and some purists would accept nothing else. However, the director allows the bold strokes of color to steal the show occasionally, which the audience happily accepts. Now, it may seem as if the only thing to praise about "Sin City" is its accomplished visual style. However, upon inspection, one may notice how inspired the plot is as well. The film lacks one ever-present narration because that would never be plausible; "Sin City" combines three seperate segements anchored together by certain themes as well as a physical setting. The stories often intersect, so one can loosely guess the time frame of the story as a whole. I'm reminded by this irregular type of storyline of my favorite movie, "Pulp Fiction." And that can only be a good thing.
Rating: A
Quote:
Marv: I love hitmen. No matter what you do to them, you don't feel bad.
I'll miss you summer, Netflix, etc. etc.
And it'll have two recent ones
Red Eye (2005)
Why Scarecrow, you're quite handsome when you're threatening me without that sack over your head.
The most surprising thing about "Red Eye" isn't any cheap thrill intended to make you jump in your seat; it's the fact that the bulk of the tension is found not in the middle segment, located on the plane, but rather in the third act, when the plot shifts into a cat-and-mouse scenario. This is shocking to me in that I, along with most of the other red eye'd watchers I'm assuming, saw a few of the commercials and expected the "boo!" moments to pop out in the grave and confined atmosphere of the plane setting. And while that was certainly not the case, that's not what ended up detracting from the overall experience. What hurt the movie was that the plot was a little ridiculous and yet predictable, as were some of the actions that took place. However, the two leads were reasonably well-acted, and therefore their characters were made believable, but those are loose anchors in a pretty shaky story. Not bad, but pretty run-of-the-mill stuff.
Rating: B-
Quote:
Rebecca: [to the flight attendant, after Jackson follows Lisa into the airline bathroom] A man went in there.
Young Flight Attendant: Oh, that's okay, honey. They share the same ones up here.
Rebecca: But a lady's in there, too.
Young Flight Attendant: Oh, this is one of "those" flights.
Sin City (2005)
Now if this picture doesn't make you want to watch the movie...
What, I'm talking about the use of color, Gosh.
Now how 'bout that kiss, sugar.
THIS movie is anything but run-of-the-mill. Robert Rodriguez creates a film that is visually inventive yet assured, wildly entertaining but hardly shallow. I can't say that it is as much as a pioneer as, say, "Citizen Kane" was to cinema, but it is certainly worthy of admiration and imitation. The visual style simply oozes "film-noir." Surprisingly, both the black-and-white and the normal color scheme are essential to this making this film what it is. The B & W evokes the classical 50's style, and some purists would accept nothing else. However, the director allows the bold strokes of color to steal the show occasionally, which the audience happily accepts. Now, it may seem as if the only thing to praise about "Sin City" is its accomplished visual style. However, upon inspection, one may notice how inspired the plot is as well. The film lacks one ever-present narration because that would never be plausible; "Sin City" combines three seperate segements anchored together by certain themes as well as a physical setting. The stories often intersect, so one can loosely guess the time frame of the story as a whole. I'm reminded by this irregular type of storyline of my favorite movie, "Pulp Fiction." And that can only be a good thing.
Rating: A
Quote:
Marv: I love hitmen. No matter what you do to them, you don't feel bad.
I'll miss you summer, Netflix, etc. etc.