Posted in Uncategorized, tagged A D & Jeremy Talk about Movies, A D Jameson, Angel Salvadore, Apt Pupil, Ben Gazzara, blockbusters, Bryan Singer, Buck Henry, Christopher Nolan, Cuban Missile Crisis, Dan Green, Doom Patrol, Emma Frost, Frank Quitely, Gena Rowlands, Grant Morrison, Hollywood, Hugh Jackman, Ian McKellen, Inception, James McAvoy, Jeremy M. Davies, John Cassavetes, Magneto, Marc Silvestri, Michael Fassbender, Mister Sinister, Moira MacTaggert, New X-Men, Norman Jewison, Patrick Stewart, Peter Falk, Professor Xavier, Saint Jack, Scott Pilgrim vs. the World, Sebastian Shaw, sexiness, Seymour Cassel, short shorts, Superman Returns, The 1960s, The Holy Mountain, The Tree of Life, The Usual Suspects, Timothy Carey, Uncanny X-Men, Wolverine, X-Men, X-Men: First Class, X2 on July 11, 2011 |
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X-Men: First Class.
A D: Much like how you hated The Tree of Life, Jeremy, I hated Bryan Singer’s two X-Men films. Hated them!
Jeremy: What, seriously? They made you physically ill?
Yes, seriously, ill. I would have gnawed my own arm off to escape, if it hadn’t meant forfeiting my malt balls.
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Posted in Uncategorized, tagged Andrew O'Hehir, Ariadne, Bob le flambeur, Bryan Singer, Christopher Higgs, Christopher Nolan, Chuang Tzu, Cornelia Parker, Days of Heaven, Edith Piaf, George P. Cosmatos, Harold Pinter, Inception, Jean Baudrillard, Jim Emerson, Kiss Me Deadly, Lily Hoang, Paul T. Anderson, Philip K. Dick, Quentin Tarrantino, Rififi, Roman Polanski, Ron Silliman, Seinfeld, Simulacra and Simulation, The Asphalt Jungle, The Betrayal, The Dark Knight, The Gateless Gate, The Ghost, The Matrix, The Three Stigmata of Palmer Eldritch, Zabriskie Point on August 8, 2010 |
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Truth in advertising.
Update: Related posts that may interest you:
Christopher Nolan, while presumably a rather likable fellow (he does give work to Michael Caine), is a depressingly artless filmmaker. To be sure, some of the concepts in this new one are clever enough (even if they play like weak snatches from Philip K. Dick): the military developed shared dreaming, which then became a tool for corporate espionage—sure thing. The great Dom Cobb and his team now must infiltrate a businessperson’s mind in order to plant the seed of an idea, rather than steal one—a nice enough twist, and a fine enough premise for a caper.
But Nolan then fails to dramatize his concepts. His primary—indeed, practically his only—tool for delivering information to the audience is character dialogue. Rarely does anyone shut his or her mouth during the 148 minutes that are Inception. Its actors are talking threadbare ciphers, eager mouthpieces for their director.
Examples abound. After failing in their mission to deceive Saito, Cobb remarks to his teammate Arthur: “We were supposed to deliver Saito’s expansion plans to Cobol Engineering two hours ago. By now they know we failed.” (A potential response: “Hey, dude, I’m, like, your partner. I know the score!”) An even better one: the line where Cobb points out to Michael Caine’s character—a university professor teaching in Paris—”You know extradition between France and the US is a legal nightmare.” Yes, Mssr. Professor Caine probably does, in fact, know that! But I’m sure that somebody way in the back row was happy to hear.
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