you know you spend too much time on tumblr when you want to express all your feelings in .gifs
First and foremost, this happened:
IS THERE A BIGGER WORD FOR JOY AND ELATION THAN JOY OR ELATION, BECAUSE I HAVE EXPERIENCED IT.
But seriously, though. Yesterday I got out of class super early and I took the bus with my dad (worst idea ever) to the movies so we could see Sucker Punch. Once upon a time, my dad and I went to the movies together every single Friday and that is why I have seen almost every movie ever made.
Here is my thing about movies: I will watch almost anything at all, as long as I know exactly what to expect. Foreign-language films, documentaries, blockbusters, PIRANHA 3D, anything. If I know what I'm in for, I can't really be disappointed. After having seen so many movies, a pattern emerges and I can usually predict where storylines are going to go, recognize prop plants and anticipate musical cues. Because of this, I can usually tell whether a movie is going to be good/if I will enjoy it by A) who is involved, B) plot as revealed by film synopsis/IMDB, and C) the music and scenes selected for the trailer. LET IT BE KNOWN THAT YOU CAN MAKE ME WATCH ANY MOVIE EVER IF THERE IS GOOD MUSIC IN THE TRAILER.
Case in point:
The soundtrack for this film was pretty incredible. It opens with Emily Browning's cover of Sweet Dreams (Are Made of This) which plays under the narration and then swells when the narration ends precisely where the song crescendoes. It continues to play through the title sequence as the action unfolds with no audible dialogue. My favorite cinematic device: scoring a scene over dialogue and action, I cannot tell you how emotionally affecting that can be on me (aka reason number one Marissa Cooper's death scene will always make me cry like a bitch).
One thing I've grown to appreciate as I've grown older is cinematic aesthetics. A well-shot scene is like porn for me. One of the reasons I'm a Snyder fan, because there is an omni-present film noir sense to his films and that is something that will always appeal to me. Possibly my favorite part of this entire movie was the opening sequence because it was so beautifully shot. There is an instance in particular where Baby Doll has put her little sister to bed after their mother's funeral and she's crossing the hall to her own bedroom. Her stepfather sees her and, enraged after having learned his late wife bequeathed all her assets to her daughters, attacks Baby Doll. She tries to close the door on him, but he overpowers her and she falls to the floor. Hearing the commotion, Baby's sister appears in her own doorway. The stepfather throws Baby a malicious and pointed sneer before rounding on her sister and pulling Baby's door shut behind him.
I wish I had caps to illustrate how Baby drops desperately to her knees and presses an eye to the door, where we see her stepfather standing over Baby's cringing sister through the silhouette of the keyhole. It is lovely and disturbing and everything I love about filmmaking, all of it. I cannot get over how perfect those first ten minutes were.
This is not to say that the rest of the movie was as flawless. Emily should never be blonde and this film obviously targets a male demographic, but my biggest problems (after Emily's and Jon Hamm's love scene got cut, I mean) were the indiscretion between realities and repetitiveness of the fight scenes. What we're supposed to assume is that after Baby's institutionalized, she uses an alternate reality as a coping mechanism, but within that reality there is another in which she (and presumably the other patients she collaborates with) fights robots and zombies and dragons. The differentiation was not what was confusing, but the execution and necessity for it was. Once in the ultimate reality, Baby and the girls undertake fantastic and elaborate missions to recover particular items. These scenes are long and only-slightly varied interpretations of the same endeavor. We later learn that what takes many minutes in the alt-verse, takes only a few seconds in real time. There is one instance in particular around the death of Jena Malone's character that muddles the distinction between the three realities and does not later rectify it; color me disappointed.
Granted, I have a tendency to overanalyze and dissect, so I may be reading more into these things than the average viewer might, and possibly these things would bother no one but me, so don't let it put you off seeing the movie entirely.
Also, new appreciation for Emily Browning. I spent all of The Uninvited in love with her face, but all of Sucker Punch in love with her voice and the rest of this soundtrack.
Army of Me (Sucker Punch Remix) feat. Skunk Anansie - Bjork
Asleep (The Smiths Cover) - Emily Browning
I Want It All/We Will Rock You (Mashup) feat. Armageddon aka Geddy - Queen
Love is the Drug - Carla Gugino and Oscar Isaac
Search and Destroy - Skunk Anansie
Sweet Dreams (Are Made of This) [Eurythmics Cover]- Emily Browning
Tomorrow Never Knows (The Beatles Cover)- Carla Azar
Where is my Mind? (The Pixies Cover) feat. Emily Browning - Yoav
White Rabbit - Emiliana Torrini
.rar @mediafire
IS THERE A BIGGER WORD FOR JOY AND ELATION THAN JOY OR ELATION, BECAUSE I HAVE EXPERIENCED IT.
But seriously, though. Yesterday I got out of class super early and I took the bus with my dad (worst idea ever) to the movies so we could see Sucker Punch. Once upon a time, my dad and I went to the movies together every single Friday and that is why I have seen almost every movie ever made.
Here is my thing about movies: I will watch almost anything at all, as long as I know exactly what to expect. Foreign-language films, documentaries, blockbusters, PIRANHA 3D, anything. If I know what I'm in for, I can't really be disappointed. After having seen so many movies, a pattern emerges and I can usually predict where storylines are going to go, recognize prop plants and anticipate musical cues. Because of this, I can usually tell whether a movie is going to be good/if I will enjoy it by A) who is involved, B) plot as revealed by film synopsis/IMDB, and C) the music and scenes selected for the trailer. LET IT BE KNOWN THAT YOU CAN MAKE ME WATCH ANY MOVIE EVER IF THERE IS GOOD MUSIC IN THE TRAILER.
Case in point:
Click to viewThe soundtrack for this film was pretty incredible. It opens with Emily Browning's cover of Sweet Dreams (Are Made of This) which plays under the narration and then swells when the narration ends precisely where the song crescendoes. It continues to play through the title sequence as the action unfolds with no audible dialogue. My favorite cinematic device: scoring a scene over dialogue and action, I cannot tell you how emotionally affecting that can be on me (aka reason number one Marissa Cooper's death scene will always make me cry like a bitch).
One thing I've grown to appreciate as I've grown older is cinematic aesthetics. A well-shot scene is like porn for me. One of the reasons I'm a Snyder fan, because there is an omni-present film noir sense to his films and that is something that will always appeal to me. Possibly my favorite part of this entire movie was the opening sequence because it was so beautifully shot. There is an instance in particular where Baby Doll has put her little sister to bed after their mother's funeral and she's crossing the hall to her own bedroom. Her stepfather sees her and, enraged after having learned his late wife bequeathed all her assets to her daughters, attacks Baby Doll. She tries to close the door on him, but he overpowers her and she falls to the floor. Hearing the commotion, Baby's sister appears in her own doorway. The stepfather throws Baby a malicious and pointed sneer before rounding on her sister and pulling Baby's door shut behind him.
I wish I had caps to illustrate how Baby drops desperately to her knees and presses an eye to the door, where we see her stepfather standing over Baby's cringing sister through the silhouette of the keyhole. It is lovely and disturbing and everything I love about filmmaking, all of it. I cannot get over how perfect those first ten minutes were.
This is not to say that the rest of the movie was as flawless. Emily should never be blonde and this film obviously targets a male demographic, but my biggest problems (after Emily's and Jon Hamm's love scene got cut, I mean) were the indiscretion between realities and repetitiveness of the fight scenes. What we're supposed to assume is that after Baby's institutionalized, she uses an alternate reality as a coping mechanism, but within that reality there is another in which she (and presumably the other patients she collaborates with) fights robots and zombies and dragons. The differentiation was not what was confusing, but the execution and necessity for it was. Once in the ultimate reality, Baby and the girls undertake fantastic and elaborate missions to recover particular items. These scenes are long and only-slightly varied interpretations of the same endeavor. We later learn that what takes many minutes in the alt-verse, takes only a few seconds in real time. There is one instance in particular around the death of Jena Malone's character that muddles the distinction between the three realities and does not later rectify it; color me disappointed.
Granted, I have a tendency to overanalyze and dissect, so I may be reading more into these things than the average viewer might, and possibly these things would bother no one but me, so don't let it put you off seeing the movie entirely.
Also, new appreciation for Emily Browning. I spent all of The Uninvited in love with her face, but all of Sucker Punch in love with her voice and the rest of this soundtrack.
Army of Me (Sucker Punch Remix) feat. Skunk Anansie - Bjork
Asleep (The Smiths Cover) - Emily Browning
I Want It All/We Will Rock You (Mashup) feat. Armageddon aka Geddy - Queen
Love is the Drug - Carla Gugino and Oscar Isaac
Search and Destroy - Skunk Anansie
Sweet Dreams (Are Made of This) [Eurythmics Cover]- Emily Browning
Tomorrow Never Knows (The Beatles Cover)- Carla Azar
Where is my Mind? (The Pixies Cover) feat. Emily Browning - Yoav
White Rabbit - Emiliana Torrini
.rar @mediafire