12/16/2023 0 Comments Pandemonium movie 2009I was very pleased with the 3D presentation here, it was very, very rarely (only once or twice) used as a 'cool effect', and overall was very tastefully used to give the visuals more depth. The voice cast is very good and one cannot praise the spectacular animation enough. I missed the singing rats from the novella, but this was more than compensated for by the visual splendor of the garden scene, and there are numerous other examples of the changes from the novel making total sense as Selick's vision of the story differs from Gaiman, but doesn't betray the original work of art, only compliments it. The film's fantasy world grows more bizarre each time we see it, and is as discomforting as it is fun. Less of a horror story than the novella and more of a dark fantasy, "Coraline" features a well-written and well-drawn lead character and brings the novel's bizarre world to life without compromise. Selick's screenplay is excellent and faithful without being a carbon-copy of Gaiman's story, and Selick adds some of his own dialogue to the film, so his contribution is most certainly not only visual, and chooses which dialogue to use from the novel wisely. Henry Selick's "Coraline" is a smart adaptation of Neil Gaiman's extremely popular award-winning novella. Written b圜laudio Carvalho, Rio de Janeiro, Brazil When the Other Mother invites Coraline to stay in her world forever, the girl refuses and finds that the alternate reality where she is trapped is only a trick to lure her. During the night, she crosses the passage and finds a parallel world where everybody has buttons instead of eyes, with caring parents and all her dreams coming true. She finds a hidden door with a bricked up passage. Mute the sound, and you’ve got an adequately produced Apple ad.When Coraline moves to an old house, she feels bored and neglected by her parents. (David Oyelowo’s Hamlet-spouting detective is beneath antipathy.) And while the stark visual formalism of the experiment is ideal for shrunken PDA and laptop screens, the monochromatic backgrounds and crystalline digital sheen seem borrowed from online commercials. But writer-director Sally Potter seems curiously entertained by the most pedestrian performances-Eddie Izzard and Judi Dench, playing a deftly wicked entrepreneur and a blustering art critic, command their chroma-keyed stages with seasoned complexity, but they’re given a paucity of screen time compared to Steve Buscemi’s underwhelming mercantilist photographer and Jude Law’s embarrassing narcissistic transvestite. If the performances were more accomplished, or if the murder mystery storyline were less marginal, or if-the simplest fix-the film were simply shorter, we might not feel as weary about spending time with these fashion insiders. The disadvantage is that the movie’s serenely glabrous surface lacks dynamism: Aside from the colored backgrounds that match each respective character’s eyes, garments, and/or hair, there are no visual indicators of plot development or tension, which lends itself to 98 minutes of occasionally soporific sameness. The advantage of Rage is its stylistic redundancy and still-life portraiture feel one could pause the film at any time to check their email and return without having severed the narrative flow. The sketch-like focus on dialogue and characterization, as opposed to plot or mise-en-scène, is clearly the most logical direction for the burgeoning online/mobile entertainment movement, where grandiose visual concepts are dwarfed into 3.5 horizontal inches and uninspired set pieces are scrubbed ahead with the flick of a pinky. In the film’s primary dramatic premise, a cavalcade of industry characters-designers, models, press reps, wannabes, and has-beens-deconstruct their memories and thoughts on the horrific events before the minuscule iris of a cellphone camera operated by local student Michelangelo, whom we never see or hear.ĭespite provoking crippling skepticism (why would the fashion elite speak with such candor to a student? How could a cellphone produce such high-resolution images?), it’s an intriguing if not altogether successful approach, and one that could easily yield more satisfying results from other filmmakers (one might hope this event has the attention of Todd Solondz or Rodrigo García). Off screen there’s a runway show that dissolves into pandemonium when one of models is killed in an Isadora Duncan-esque freak accident involving a motorcycle prop and an errant scarf two days later another model is shot to death while strutting for her brand. Released this week in a somewhat Soderberghian manner (with simultaneous theatrical, DVD, and online distribution), Rage interweaves 14 fractured blue-screen monologues from an impressive farrago of independent film actors and lesser-known stage names to insinuate a peripheral tale of fashion-world brutality.
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