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Baumer's/Tele's/Chas' 25 films that have brainwashed people into mindless adulation (Tele pg 26)

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8. The Shining

 

the-shining-poster.jpg

 

Part of my reaction to this, I'm pretty sure, is because I read the book first. The movie, while certainly terrifying in a few spots, is actually pretty campy. Nicholson hams it up pretty much from scene one, Duvall just simpers and shrieks, and the kid is downright terrible. It's not a bad film at all -- it's pretty good -- but it abandons a lot of the strengths of King's book (which really delved into the slow decay of Jack) in favor for over-the-top shenanigans. So, sure, Danny riding his Big Wheel around the hotel is creepy, the twins appearing is great, but (like SCARFACE) much of what people remember is the camp stuff.

 

It doesn't really work as a drama, and it only partially works as a scary movie.

 

(Get away from me with that pitchfork, Jake Gittes!)

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Dead Man's Chest really suffers from being a dark, overplotted fantasy epic in one scene and a silly broad comedy in the next one. COTBP manages the balance a whole lot better, and so does Depp in his performance - in the first movie, Sparrow is a great character because he can outwit anybody by convincingly playing a clown; in the sequels, he's simply a clown. 

 

Also, Geoffrey Rush owns all the parts of COTBP that Depp doesn't. 

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What I like about this is that even if I disagree with Tele, he brings interesting points to consider. Nothing should be loved without considering the flaws, and there are no perfect films.

 

I mean, when I die, it'll probably be after taking some great grand-niece to see the latest Disney Princess film, which I hope she loves. But I hope that she doesn't love it uncritically.

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Seriously though, I haven't read King's novel past page 50 but I'm fucking glad Kubrick didn't go for character development (which by itself is something that tends to brainwash people into mindless adulation) and character study. The movie is Grand Opera from the very first scene, and its whole tone, including the performances, is perfect. I'm so over complaints about Nicholson being over the top. I've met alcoholics. They ARE over the top. 

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Seriously though, I haven't read King's novel past page 50 but I'm fucking glad Kubrick didn't go for character development (which by itself is something that tends to brainwash people into mindless adulation) and character study. The movie is Grand Opera from the very first scene, and its whole tone, including the performances, is perfect. I'm so over complaints about Nicholson being over the top. I've met alcoholics. They ARE over the top. 

 

I completely disagree, buddy. But there we go. :)

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Just realized I mis-typed and gave two #9s.  TF1 is #9, COTBP is #8, SHINING is #7.

 

6. Babel

(really, Inarritu movies in general, but BABEL is the poster child)

 

MPW-20365.jpg

 

Inarritu has a rather fascinating ability to combine elegant film-making technique with dubious stories that seem much deeper than they actually are. He tackles weighty subject matter, but the philosophical thrust is typically shallow. His characters are forced into preposterous decisions simply to drive home a theme that's absurd. You can feel the characters being dragged the way the story requires -- it's inorganic and unnatural and forced. BABEL is the peak of this, but aspects of it show up in BIRDMAN and his other movies as well.

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The Shining? Are u totally deranged? I dont understand you at all. That one cuts to the bone.

Babel is one of the worst excuses for a film ever made.

Transformers? Eat my shorts Tele.

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