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and if you win you get this shiny fiddle made of gold, but if you lose the devil gets your soul

Dec. 30th, 2009 | 12:59 am

Sherlock Holmes has pretty much convinced me that steampunk is just not for me.  And apparently this is mild steampunk. 

As for the technicalities of the movie - trying very hard to be clever and stylish.  There are light-hearted, pseudo-witty moments.  The planning-out-fight-moves-and-then-doing-them thing got old like soooo fast.  And don't get me started on all the slow motion stuff.  Why people continue to artsify the shit out of fight scenes, I don't know.  Time spent on that could have been spent on making the plot less of a poorly-explained migraine.  Then they had to spend like 20 minutes at the end setting up the sequel (this is TOO LONG in a franchise movie; I was afraid Dr. Moriarty was actually going to fucking appear and I'd be in the theater for another hour), after whizzing through the conclusion of the first (current!) movie.  And LOL to the people that are all "oh, it's so homo-erotic!" Meh.  Not something that's going to stick with me. 

Never read the original, though, so I'm not a fan of the series to begin with (for the longest time I thought Sherlock Holmes was involved in the Dr. Livingstone in Africa thing - British people all kind of blurred together when I was a kid).   And I did have a strong margarita beforehand, so my mental faculties may have been impaired.

Also, Rachel McAdams cannot act, sorry.  There was a time when I mixed her up with Amy Adams and believe me, I make that mistake no more.  Amy Adams needs to GTFO of the movies she's always in but at least she can act.

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The Road

Dec. 30th, 2009 | 03:11 pm

Well, that was waaaaay more depressing than the book.  I think it's because you're not seeing the desolation of the dying Earth in the book.  It's also because it feels more like first-person than the book's third-person.  The Man is the narrator now, not just a character.  Viggo Mortensen and Kodi Smit-McPhee did a really unbelievable job, in such difficult roles.  I thought the expansion of The Wife's role was a good thing.  There were tons of heart-wrenching scenes, of course (every scene is either horrific or heart-wrenching), but the conversations where The Man is trying to convince her not to commit suicide are some of the heaviest.  Because you can really see now how awful the world has become, how stripped down to the only things that last.  And I think that's sort of what McCarthy's all about, those lasting things - both good and bad.

I think what really came through for me was how The Boy, who has never seen the world before the trauma (he is both fortunate and unfortunate because of this), was a sort of God-figure, the conscience of humanity - or The Man's "Warrant."  The Boy embodies mercy.  The movie also articulated what "the fire" really is.  I also found myself thinking about all the people that, post-trauma, turn into the bad guys - how did that happen?  What do they think about?  What happened to their families?  And what the hell happens next?  And other things we can't know.

Great adaptation. 

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