garydiamond
Joined Jun 2005
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Reviews38
garydiamond's rating
Now I will start by saying that for all the many flaws and silly plot holes, which seem more glaring the more you think about them after viewing the film, I did enjoy the ride. It didn't really stick closely to it's own rules and some of the characters got lost in the shuffle - well, most of them, I suppose - but at least Nolan was trying to create something more than the same old flicks Hollywood churns out like the hot-buttered popcorn you can buy at every cinema. It's not terribly original and nor should anyone buy into the hype that it is, but that doesn't mean it is without merit.
To dispel the myth that this is original, I have to say it draws fairly obvious comparisons to the following works, which isn't to say it lacks originality, more that it treads the same sort of path with a different flavour.
* The Matrix (1999) - Anyone who doesn't see this must be blind; they seem to come from the same seam. It's one of the few similar films that can stand up next to it though. * Dark City (1998) - The buildings, the gravity. I can't say more than that. * Blade Runner (1982) - Chris loves this film. It's more in visual styles than story but it's there. And when I think of the title I can't help but think of the term "incept date". * Star Trek TNG - For the holodeck reference/style mostly. * Heat (1995) - The action scenes, despite the fantasy settings, seem remarkably tight and often quite realistic. * Synecdoche, New York (2008) - The more I think about it, the more similar it seems to this film, and the more this film seems similar to Dark City. Which is why I like them, I guess. * Eternal Sunshine Of The Spotless Mind (2004) - Love is a big theme and how the mind deals with it an even bigger one. It would spoil Leo's story arc to say more. * eXistenZ (1999) - Can't believe I nearly missed this one. In that film it is virtual reality, as with The Matrix, but there are still a lot of parallels. * Ocean's Eleven (2001) - The whole thing about it being a concerted team effort to pull of such an ambitious caper.
There are a lot of tiers at work here, and it's probably going to be the case that it's good first time around, and perhaps more intelligible after another viewing or three. Of course, the folks who fund Nolan films are aware of this and are hoping to double their revenue streams, actually adding this observation to some of the marketing bumph in the hope of getting people to go and see it twice a la Fight Club which makes me more than a little cynical, but I can wait for the home release anyway and would recommend everyone else do the same. This looks like a fun one to learn, certainly something worth studying if you happen to have more than a passing interest in film-making and convoluted slight-of-hand storytelling, and you really need to be able to pause, rewind and freeze-frame advance certain sections in order to do that.
It mines the seam of "what is reality, really?" a favourite topic of Andrew Niccols and Charlie Kaufman, too. Those are among my favourite types of works because they beg endless discussion and if handled correctly can be a great source of inspiration. As I have a soft spot for those kinds of plots I suppose I'm naturally more willing to grant a bit more leeway, because credit where it is due I did find myself mulling over my perceptions of reality and re-evaluating the value of lucid dreams. Most films leave no discernible traces in the minds of anyone which makes this at least above average.
The special effects aren't overused and/or intrusive, merely adding to the story I feel. And the mixture of CGI with real photographed elements is deftly handled. There is the odd moment of "oh, too much" or "not layer blended so well there" but trust me, it's far superior to a lot of the junk that gets through and at times I actually think they were deliberately making it a little weird and obvious to show it's still not a real world.
To tie this review up: as one of the seemingly few people who thought The Dark Knight was a hopeless mess with very little to enjoy outside of a fiery Heath Ledger performance it's a welcome return to the twisting story lines that are usually a Nolan trademark. Despite the length there is enough going on that it doesn't feel like a moment of filler is present. Also, I would like to briefly point out that this is the first film DiCaprio has starred in where I actually enjoyed his performance completely.
This film is not his best but nor is it his worst. It is well worth a watch, no doubt about that, but it shouldn't be heralded as a masterpiece and as of the time of writing this review is far, far too high in the IMDb Top 250. I'll grant that it is better than most of the cookie-cutter remake product that Hollywood is very fond of dishing up as of the past decade or so, therefore it looks better by comparison, but it isn't quite coherent enough to be brilliant. Hopefully it will inspire other writer/director auteurs to come up with similar, perhaps more lucid works. As it is, Memento (2000) and The Prestige (2006) are still the high watermarks against which few others can measure up, even the man himself. But it's still one hell of a ride.
To dispel the myth that this is original, I have to say it draws fairly obvious comparisons to the following works, which isn't to say it lacks originality, more that it treads the same sort of path with a different flavour.
* The Matrix (1999) - Anyone who doesn't see this must be blind; they seem to come from the same seam. It's one of the few similar films that can stand up next to it though. * Dark City (1998) - The buildings, the gravity. I can't say more than that. * Blade Runner (1982) - Chris loves this film. It's more in visual styles than story but it's there. And when I think of the title I can't help but think of the term "incept date". * Star Trek TNG - For the holodeck reference/style mostly. * Heat (1995) - The action scenes, despite the fantasy settings, seem remarkably tight and often quite realistic. * Synecdoche, New York (2008) - The more I think about it, the more similar it seems to this film, and the more this film seems similar to Dark City. Which is why I like them, I guess. * Eternal Sunshine Of The Spotless Mind (2004) - Love is a big theme and how the mind deals with it an even bigger one. It would spoil Leo's story arc to say more. * eXistenZ (1999) - Can't believe I nearly missed this one. In that film it is virtual reality, as with The Matrix, but there are still a lot of parallels. * Ocean's Eleven (2001) - The whole thing about it being a concerted team effort to pull of such an ambitious caper.
There are a lot of tiers at work here, and it's probably going to be the case that it's good first time around, and perhaps more intelligible after another viewing or three. Of course, the folks who fund Nolan films are aware of this and are hoping to double their revenue streams, actually adding this observation to some of the marketing bumph in the hope of getting people to go and see it twice a la Fight Club which makes me more than a little cynical, but I can wait for the home release anyway and would recommend everyone else do the same. This looks like a fun one to learn, certainly something worth studying if you happen to have more than a passing interest in film-making and convoluted slight-of-hand storytelling, and you really need to be able to pause, rewind and freeze-frame advance certain sections in order to do that.
It mines the seam of "what is reality, really?" a favourite topic of Andrew Niccols and Charlie Kaufman, too. Those are among my favourite types of works because they beg endless discussion and if handled correctly can be a great source of inspiration. As I have a soft spot for those kinds of plots I suppose I'm naturally more willing to grant a bit more leeway, because credit where it is due I did find myself mulling over my perceptions of reality and re-evaluating the value of lucid dreams. Most films leave no discernible traces in the minds of anyone which makes this at least above average.
The special effects aren't overused and/or intrusive, merely adding to the story I feel. And the mixture of CGI with real photographed elements is deftly handled. There is the odd moment of "oh, too much" or "not layer blended so well there" but trust me, it's far superior to a lot of the junk that gets through and at times I actually think they were deliberately making it a little weird and obvious to show it's still not a real world.
To tie this review up: as one of the seemingly few people who thought The Dark Knight was a hopeless mess with very little to enjoy outside of a fiery Heath Ledger performance it's a welcome return to the twisting story lines that are usually a Nolan trademark. Despite the length there is enough going on that it doesn't feel like a moment of filler is present. Also, I would like to briefly point out that this is the first film DiCaprio has starred in where I actually enjoyed his performance completely.
This film is not his best but nor is it his worst. It is well worth a watch, no doubt about that, but it shouldn't be heralded as a masterpiece and as of the time of writing this review is far, far too high in the IMDb Top 250. I'll grant that it is better than most of the cookie-cutter remake product that Hollywood is very fond of dishing up as of the past decade or so, therefore it looks better by comparison, but it isn't quite coherent enough to be brilliant. Hopefully it will inspire other writer/director auteurs to come up with similar, perhaps more lucid works. As it is, Memento (2000) and The Prestige (2006) are still the high watermarks against which few others can measure up, even the man himself. But it's still one hell of a ride.
Now let's get one thing straight; this is a television program NOT for the faint at heart. If you like your viewing saccharine, with easy answers and everything wrapped up and snapped back to the beginning by the end of the episode, Breaking Bad is not for you. The premise alone should be enough to tell you that; a cancer-stricken father who is a chemistry teacher turns to illegal drug manufacture with a not-too-bright ex-student and struggles with his own mortality and morality along the way, doing his best to hide the new career choice from his pregnant wife, son with cerebal palsy, medic sister-in-law and law enforcer brother. Yes, this isn't light-weight material by any means.
I'm not a fan of these shows that rely on "inflated sense of tension" to pump up the viewer's adrenaline levels while covering for poor scripting; stuff like 24, Lost and Prison Break started out well-enough but quickly descended into this cheap shock tactic approach to keep the audience hooked. Once I saw through this I stopped watching them completely and have been seeking out quality American shows that are well-produced and equally well-written, and I am happy to say that Breaking Bad is one of these.
Bryan Cranston is perfectly cast as Walt, the man who has to make tough choices to provide for his family. He so perfectly becomes the character that it was not until later I realised he was previously cast as Hal in Malcolm In The Middle. His emotional range is staggering; with a few well-timed gestures or vocalisations he can convey several feelings at once, and when Walt is in pain it is completely believable. Walt is a man of few words, but chooses these words very carefully, so when he speaks everyone on-screen and in the audience are listening.
Cranston isn't just carrying passengers though; he's ably supported by Anna Gunn as his wife Skylar, who brings just the right amount of care and concern for her husband and baby as needed and RJ Mitte plays the son who has CP and gives a very accurate, non-condescending portrayal of the condition so different from the ham-handed "sympathy ploy" approach so overused by shows from the States. Dean Norris plays Walt's brother Hank, the all-American police officer who doesn't take any guff and flushes out drug dealers for a living, with his quirky kleptomaniac wife Marie (the lightest character in this show, amusingly) who is handled with panache by Betsy Brandt. Rounding out the main cast is Aaron Paul as Jesse Pinkman, every inch the nervy, paranoid and streetwise "cook" who becomes Walt's new partner and guide to the world of drug trafficking.
There's much to recommend. Tight, well-plotted scripts that make the unbelievable tangible and don't waste a line while doing so. Superb, inventive direction and settings that perfectly fit the mood of the show, an interesting mixture of steadicam, handicam, point-of-view and camcorder shots that appear to be captured by the cast themselves. Excellent choice of soundtrack; almost every episode ends with a classic song and the musical cues throughout really add to the atmosphere without becoming overpowering; witness the searing, high-pitched noises when we see through Walt's eyes as he is in pain or being given bad news for an example.
What is most remarkable is that the show never gives easy answers, never biases us towards the characters (we are given both sides of the debate and left to make our own choices, which respects the viewers intelligence) and always does things that you will not expect. There is not a single cliché to be found here, no way of knowing exactly how each person will react to the situations they are thrust into. These are complex, multi-faceted individuals with free will and their own motivations, who exist not as mere tools to advance the plot. The plot itself is always coherent and leaves very few loose ends. If you see an event or object framed, however subtlety, you can bet it will come back later on. Maybe not in the same episode, but as part of the story arc. And last but not least is the incredibly pitch black humour that crops up every now and then, so dark it almost feels uncomfortable to laugh.
If you liked the first season of Dexter but don't like the direction it has now, Breaking Bad is for you. Not since I saw Firefly (a very different kind of show) have I enjoyed a television program this much. If they can carry this program on for two or three more seasons and then end it without dragging past the logical closure point - and with Walt the way he is, this is crucial - it will be one of the greatest drama series of all time.
If you haven't tried it, start from the pilot episode, keep an open mind, and you just might find your new favourite show. I know I did.
I'm not a fan of these shows that rely on "inflated sense of tension" to pump up the viewer's adrenaline levels while covering for poor scripting; stuff like 24, Lost and Prison Break started out well-enough but quickly descended into this cheap shock tactic approach to keep the audience hooked. Once I saw through this I stopped watching them completely and have been seeking out quality American shows that are well-produced and equally well-written, and I am happy to say that Breaking Bad is one of these.
Bryan Cranston is perfectly cast as Walt, the man who has to make tough choices to provide for his family. He so perfectly becomes the character that it was not until later I realised he was previously cast as Hal in Malcolm In The Middle. His emotional range is staggering; with a few well-timed gestures or vocalisations he can convey several feelings at once, and when Walt is in pain it is completely believable. Walt is a man of few words, but chooses these words very carefully, so when he speaks everyone on-screen and in the audience are listening.
Cranston isn't just carrying passengers though; he's ably supported by Anna Gunn as his wife Skylar, who brings just the right amount of care and concern for her husband and baby as needed and RJ Mitte plays the son who has CP and gives a very accurate, non-condescending portrayal of the condition so different from the ham-handed "sympathy ploy" approach so overused by shows from the States. Dean Norris plays Walt's brother Hank, the all-American police officer who doesn't take any guff and flushes out drug dealers for a living, with his quirky kleptomaniac wife Marie (the lightest character in this show, amusingly) who is handled with panache by Betsy Brandt. Rounding out the main cast is Aaron Paul as Jesse Pinkman, every inch the nervy, paranoid and streetwise "cook" who becomes Walt's new partner and guide to the world of drug trafficking.
There's much to recommend. Tight, well-plotted scripts that make the unbelievable tangible and don't waste a line while doing so. Superb, inventive direction and settings that perfectly fit the mood of the show, an interesting mixture of steadicam, handicam, point-of-view and camcorder shots that appear to be captured by the cast themselves. Excellent choice of soundtrack; almost every episode ends with a classic song and the musical cues throughout really add to the atmosphere without becoming overpowering; witness the searing, high-pitched noises when we see through Walt's eyes as he is in pain or being given bad news for an example.
What is most remarkable is that the show never gives easy answers, never biases us towards the characters (we are given both sides of the debate and left to make our own choices, which respects the viewers intelligence) and always does things that you will not expect. There is not a single cliché to be found here, no way of knowing exactly how each person will react to the situations they are thrust into. These are complex, multi-faceted individuals with free will and their own motivations, who exist not as mere tools to advance the plot. The plot itself is always coherent and leaves very few loose ends. If you see an event or object framed, however subtlety, you can bet it will come back later on. Maybe not in the same episode, but as part of the story arc. And last but not least is the incredibly pitch black humour that crops up every now and then, so dark it almost feels uncomfortable to laugh.
If you liked the first season of Dexter but don't like the direction it has now, Breaking Bad is for you. Not since I saw Firefly (a very different kind of show) have I enjoyed a television program this much. If they can carry this program on for two or three more seasons and then end it without dragging past the logical closure point - and with Walt the way he is, this is crucial - it will be one of the greatest drama series of all time.
If you haven't tried it, start from the pilot episode, keep an open mind, and you just might find your new favourite show. I know I did.
I've only recently been made aware of the unusual, blunt but brilliant comic stylings of George Carlin, a man whose expletive-laden no-holds-barred observations on a sad sack society still feel ahead of their time in a world full of wannabe "edgy" comics, mostly because he packs in so much wit and veracity in a short space of time.
I saw his 2005 work "Life is Worth Losing" before this, and while that was a superior (and longer) show "Complaints and Grievances" has plenty to recommend it as long as you realise that a lot of the humour is very tongue-in-cheek, perhaps more so than any other comedian you've ever seen. You can't believe that George really does go around running down people in his car - he's saying it for the shock value and to set up a line of related jokes that are sending up the habits and true intentions of a lot of drivers, things we want to do but social etiquette prevents.
George moves swiftly from joke to joke, story to story, so for the couple of lines that might not amuse there are another half a dozen right around the corner. He covers a wide range of topics and regularly changes his pacing and delivery, which for quick-witted viewers is just fine but it might confound a lot of people who prefer simpler humour and more obvious punchlines. But for me, this is part of his appeal - a unique approach that makes him a cult legend.
Certainly this show will not appeal to everyone - the Ten Commandments ending skit alone is sure to boil the blood of a few staunch Christians, although it makes some valid (and hilarious) points about religion as a system of mind-control. For the people it does appeal to though, they will love it and would be well advised to pick up his other, somewhat better, works.
I saw his 2005 work "Life is Worth Losing" before this, and while that was a superior (and longer) show "Complaints and Grievances" has plenty to recommend it as long as you realise that a lot of the humour is very tongue-in-cheek, perhaps more so than any other comedian you've ever seen. You can't believe that George really does go around running down people in his car - he's saying it for the shock value and to set up a line of related jokes that are sending up the habits and true intentions of a lot of drivers, things we want to do but social etiquette prevents.
George moves swiftly from joke to joke, story to story, so for the couple of lines that might not amuse there are another half a dozen right around the corner. He covers a wide range of topics and regularly changes his pacing and delivery, which for quick-witted viewers is just fine but it might confound a lot of people who prefer simpler humour and more obvious punchlines. But for me, this is part of his appeal - a unique approach that makes him a cult legend.
Certainly this show will not appeal to everyone - the Ten Commandments ending skit alone is sure to boil the blood of a few staunch Christians, although it makes some valid (and hilarious) points about religion as a system of mind-control. For the people it does appeal to though, they will love it and would be well advised to pick up his other, somewhat better, works.