February's done, stuff can start coming out again
Blergh, I think this might be the longest I've gone without a post for no good reason. So much for the "100 things" project getting me in a better habit.
Anyway, two more.
#98: The Wind Rises - A look at the life of Jiro Horikoshi, the man who designed Japanese fighter planes during World War II. [imdb]
I saw this on Oscar weekend, actually, and have just been deficient in posting. As you would expect from Studio Ghibli, it was lovely. I particularly enjoyed the effects during dream sequences (a running theme) and the life that the planes had. It was too slow to get started - no real conflict develops for a while, which is a danger of biopics that this one falls into. Jiro just loves designing and building planes, and it's not until he falls in love with another person that there's really any meaningful drama for him. The love story was sweet, and it's what had me tearing up in the last parts of the movie.
#99: The Grand Budapest Hotel - The adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. [imdb]
As I've mentioned, I'm not much of a Wes Anderson fan. His particular schtick doesn't do it for me. That said, I liked this one, although shit got UNEXPECTEDLY DARK halfway through. You'll know when I went O_o and stayed that way for a long while.
The tiredness of Anderson's style is revived in GBH by a framing narrative that specifies the time and provides a ready excuse for the little conveniences and stylistic dialogue that are otherwise likely to irritate me. Because it's all being told to us, and a few layers down at that, Anderson can play with visual absurdity to fill in textual gaps. If you read/hear it as a narration, then of course, the speeches can go uninterrupted, and sure, we can bring the glass of milk through the house for a visual reference. Literal interpretation and wacky hijinks rule the day, and it works, even with the SUDDEN DARKNESS.
As usual, the actors are props, but Ralph Fiennes is just great. Not Voldemorty at all, though one does note that his character's full name is never given. I was disappointed with how little the female characters were actually there, and that they didn't get to do much even when they were. Le Grand Sigh.
The timing has lined up for an appropriate #100. See you next week.
Anyway, two more.
#98: The Wind Rises - A look at the life of Jiro Horikoshi, the man who designed Japanese fighter planes during World War II. [imdb]
I saw this on Oscar weekend, actually, and have just been deficient in posting. As you would expect from Studio Ghibli, it was lovely. I particularly enjoyed the effects during dream sequences (a running theme) and the life that the planes had. It was too slow to get started - no real conflict develops for a while, which is a danger of biopics that this one falls into. Jiro just loves designing and building planes, and it's not until he falls in love with another person that there's really any meaningful drama for him. The love story was sweet, and it's what had me tearing up in the last parts of the movie.
#99: The Grand Budapest Hotel - The adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. [imdb]
As I've mentioned, I'm not much of a Wes Anderson fan. His particular schtick doesn't do it for me. That said, I liked this one, although shit got UNEXPECTEDLY DARK halfway through. You'll know when I went O_o and stayed that way for a long while.
The tiredness of Anderson's style is revived in GBH by a framing narrative that specifies the time and provides a ready excuse for the little conveniences and stylistic dialogue that are otherwise likely to irritate me. Because it's all being told to us, and a few layers down at that, Anderson can play with visual absurdity to fill in textual gaps. If you read/hear it as a narration, then of course, the speeches can go uninterrupted, and sure, we can bring the glass of milk through the house for a visual reference. Literal interpretation and wacky hijinks rule the day, and it works, even with the SUDDEN DARKNESS.
As usual, the actors are props, but Ralph Fiennes is just great. Not Voldemorty at all, though one does note that his character's full name is never given. I was disappointed with how little the female characters were actually there, and that they didn't get to do much even when they were. Le Grand Sigh.
The timing has lined up for an appropriate #100. See you next week.