Dude Rates Movies
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I see that Wilson went for method acting. Too bad he got lost in the Pacific Ocean for real, we couldn’t give him the Oscar.
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The fundamental problem is that the implementation doesn’t bring any more details than the abstraction. You have characters in the brain that are supposed to be the « internals » of the high-level emotional result and it just turns out that those characters are… emotions. Well thanks but this is useless, I can see the emotions directly by looking at the girl’s face and reactions. The movie gets it when Joy gets lost out of the headquarters which therefore creates a depressive state in Riley. Here we have a non-trivial low-level mechanism that creates a high-level emotion. I also just moderately liked the sort of catalog of the different brain places (memories, abstraction, etc). It’s like we’re on an educative attraction for kids about psychology in Disneyland.
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I would have said that the legal approach to the facts, with the ruling and the defense from the officer, is too didactic. But this is actually written so well and acted so well that I accept it as it is. And it’s excellent.
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Mark Wahlberg edition of the bots fighting. There is a dinosaur. A DINOSAUR. YOU ARE TEARING ME APART, MICHAEL.
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At the beginning of the movie, you have a montage that explains why the big robots were built, and why it must be piloted by a team of two. The explanation for the latter is that the machine’s power puts too big of a physical toll on a single pilot. The related exhibit is a piece of black-and-white, archive-like video, where a pilot bleeds from his nose after trying to pilot alone. This made me very mad. This is supposed to happen in the future. Why would the archives of the future be in black and white? The film deliberately decided to make it in black-and-white to gives a “archive-like” feeling to the spectator, without it making any sense since it’s supposed to be an archive in the future. This is the biggest bullshit ever.
Now, see, most of the time in the movie, the big robots defeat the bad creatures by launching missiles at them (with some sort of missile launchers above their shoulder). So why would you build giant robots when all you need are missiles that can be launched from planes or ground vehicles or boats? Well, because fuck you. This movie is the high-point of non-functional, nonsensical, stylish art. Everything about it is about resorting to clichés actions and visuals. Here is a black-and-white archive for no reason. Here are robots for no reason. It’s like children playing with toys and imitating whatever pieces of nebulous stylish thing they see on the TV without it making any sense at all. The robots are transported out of their hangar on crawlers like the crawler for the Saturn V rocket, that the director probably though was cool in Apollo 13. The point of exoskeletons is that they can fucking walk, why would you crawl them. God dammit.
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Christopher Nolan tries to package decades of science-fiction themes into a single movie. The lossy compression is quite noticeable.
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James Stewart, Jean Arthur, Claude Rains
Saturday 20 February 2016
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