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OT: Movies/TV Shows

MindzEye said:
That Malick is deeply educated on the matter doesn't stop the premise from being schlocky and overly contrived.

and let's be real here, the film is based about as loosely on the book as SPR is on the real events that "inspired" it. The film is Malick's philosophically driven masturbatory re imaging of the book.
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Yep. Being brilliant and didactic are not mutually exclusive.
 
MindzEye said:
That Malick is deeply educated on the matter doesn't stop the premise from being schlocky and overly contrived.

and let's be real here, the film is based about as loosely on the book as SPR is on the real events that "inspired" it. The film is Malick's philosophically driven masturbatory re imaging of the book.
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there is nothing schlocky about the "premise", and the "premise" is definitely not "war is bad".

and the book is extremely philosophical as well, which is what made it great.
 
zeke said:
Heat was solid, as most Mann films are. But they just lack that little bit extra to make them awesome. I think it might be his choice of music.
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Moby rocks.
Also, that music in the amazing club shooting in Collateral is so damn good. makes me dance everytime.
 
zeke said:
there is nothing schlocky about the "premise"
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Sure there is. Cheap, pop philosophy masquerading as deep and thoughful.

zeke said:
and the book is extremely philosophical as well, which is what made it great.
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I'm taking the words of reviewers on this, but allegedly the movie is a huge departure from the book and the philosophical tones of the movie aren't remotely similar to those of the books and are created out of more or less whole cloth by Malick.


A much better words version of my issues with the movie can be found here:

Despite reports to the contrary, Terrence Malick's "The Thin Red Line" isn't set on Guadalcanal in 1942. It's set instead in some strange internalized zone between now and Zen.
Infernally contemplative and self-absorbed, it's only briefly a war movie in any conventional sense. It is far more a philosophical inquiry into the nature of . . . well, everything. And the nature of everything turns out to be opaque and poetic, rich in questions and impoverished in answers. Where does this evil come from, a man wonders. Why is love so perishable, another asks the sky. Would a giant find you if you hid, asks still a third (a joke, but just barely).

The movie loves birds and flowers and beauty and lean young men who look too much alike and too much like Montgomery Clift. Most of these young men are either taken up in the business of killing or the business of posing dramatically against an empurpled sunset while muttering precious little insights that come closer to Jack Handey's "Deep Thoughts" than to Rimbaud. Malick, a famous maverick in film culture who with this movie ends a self-imposed 20-year exile ("Days of Heaven," 1978, was his last, following on his only other film, "Badlands," 1973), never met a story he could tell, an idea he could resist or a sunset he could ignore.
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and the dismount

It's pointless to compare or contrast "The Thin Red Line" with Steven Spielberg's "Saving Private Ryan," because their intentions are so vastly different. With "Ryan," a kind of generational tribute, Spielberg's ambition was to commemorate the men who won the war. Malick's seems to be to photograph as many parrots as possible.
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MindzEye said:
Sure there is. Cheap, pop philosophy masquerading as deep and thoughful.



I'm taking the words of reviewers on this, but allegedly the movie is a huge departure from the book and the philosophical tones of the movie aren't remotely similar to those of the books and are created out of more or less whole cloth by Malick.


A much better words version of my issues with the movie can be found here:



and the dismount
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Another Saving Private Ryan fanboy tho.

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