>>64506278 This "Sicario is amazing" meme needs to die.
The script was utter dogshit. It looked great, the actors were admirable, solidly edited, atmospheric score. But the writing... you could tell the writer has amateur at best knowledge on the subject. It was all very hokey and sensationalist, with dialogue that wouldn't be out of place on a Law and Order episode (This is the land of wolves). And then there were the contrivances. That Jon Bernthal scene was such a mess from a writing standpoint. The motherfucker happens to have that specific wrist band linked to the drug money in a previous scene? Fuck off. And all the characters other than the three mains were just wastes. I give this movie a 6/10 based on the atmosphere, performances, and other little things, but this won't win any awards and rightly so.
>>64511236 >villeneuve fan is also a marvel fan >villeneuve fan will watch sicario for what he thinks is his intellectual main course and then wash it out with something like the force awakens and captain america for desert. before settling into a night of video games.
they used this shit to bundle the drug money in that town as seen in the bank scene before. the drug lord buys cops to get information about the US investigations. it's very fat fetched that he was given his monthly payoff along with the task to find out about blunt's investigation status right? i know. totally out of proportion and common sense.
>>64513002 >>64513015 It's Deakins so what do you expect? The man has no novel ideas >Let's film characters really far away >Let's film vehicles really far away >Let's hold the camera steady for a few seconds longer than normal
>>64513131 >THIS IS A CREATIVE SHOT PLEBS SURE ARE EASY TO IMPRESS
BLACKHAT HAD A MUCH MORE LUDICROUS PLOT, FAR MORE CONTRIVED CHARACTERS, A ZERO CHEMISTRY LOVE THREAD HAMFISTED INTO THE STORY, LAUGHABLE CGI TECHNOCOOL CIRCUIT BOARD SCENES, TERRIBLE TERRIBLE PERFORMANCES BY LITERALLY EVERYONE, AND ONE MEME CINEMATOGRAPHY SCENE AT THE END
BY NO STRETCH OF EVEN THE MOST AUTISTIC IMAGINATION WAS BLACKHAT A BETTER MOVIE THAN SICARIO
>>64513565 Incendies was boring but tried to masquerade it with edgy twists
Prisoners was boring but tried to masquerade it with powerhouse performances.
Enemy was boring but tried to masquerade it with offbeat symbolism.
That's the problem with his movies: He thinks visual flair will carry empty, rote storylines. Sicario is his best film because it's the only one he's made so far that seems to have a purpose. Even then, the script was dogshit and the cinematography was meme.
What the fuck are we doing here? Seriously now what?
I have not seen genuine discussion about a movie in months here. Just look at this fucking thread look at it. It's the same shit everyday, even if OP posts anything original you get pasta replies like >>64507524 and the whole thread dies in a second and goes into call-of-duty-chat category where everyone just shits on one another with "epic trolling"
>>64513784 >>64513753 You're so upset right now because you understand exactly what I'm saying, and recognize a kernel of truth to it. Deakins phoning it in does not a MOTY make. He didn't shoot it that way because he was particularly inspired, he shot it that way because he knew idiots would lap it up and it was an easy paycheck. Simple as that.
>>64513417 >ONE MEME CINEMATOGRAPHY SCENE AT THE END
So many of its images are already seared in my brain: a handheld camera bouncing and juddering as it chases the heroes through a Chinese aqueduct; a man speeding away on a motorboat as a blown-out sky vibrates behind him; a fist-fight in a Korean noodle house seems to envelope the camera in a blur of motion. I’ve seen Blackhat dismissed by plebs as silly or dramatically flat. It isn’t, but I rather think that misses the point. You don’t face up to a film like this look to pick apart its dialogue or story, even if you think they’ll withstand the scrutiny. When a rush of images this exquisite are upon you the only appropriate response is to give yourself over to them. Mann has pushed the action movie into the realm of abstract expressionism alright. Simply stand back and luxuriate in the beauty.
I hated that the main was a women. We should of got to know the Mexican cop and his family more. The black side kick didn't need to be in the film. It got awful when it turned into Call of Duty. Got better when we learned about del toro. Blunt should of shot del toro and booked it out of the hotel room then credits. B- it was alright.
>>64513909 A computer genius reduced to a man with a blade in a deteriorating wash of digital bodies and fire. Strands of hair blowing in the wind and glances at necks and arms that say more than any amount of dialogue could. After seeing this 3 times now, i stand behind my claim that it's one of the scariest movies ever made. The velocity of the violence, and physicality of not just the prison style shanking at the end, but the way the guns operate. Mann is known for having loud gun sounds but they have never sounded so technical, the deafening rattle of bullets leaving the chamber and ejecting out their barrel. Ear piercing pangs reverberating through and around the tight tunnels, shipping containers and stone structures in that mid-movie shootout. Wei Tang's screams silenced so that all we can hear are the bullets hitting the back of the sign they're hiding behind. A final showdown that is more along the lines of a certain scene in The Tale of the Princess Kaguya than any live action film i've ever seen. The bodies of the leads moving against a sea of black and red, everything starts to become more and more abstract as they try to move closer while being pushed back by the huge crowd carrying fire torches, it starts to become hard to tell who is actually moving and then everything crashes down and the background suddenly becomes nothing but fire and bodies that collapse into flowing shapes. A shot that tracks along Hemsworth's arm and pans around to show his out of focus body against a backdrop of digital noise is one of the most truly 3D moments i've ever seen in a 2D movie.
>>64513964 Mann's digital camera continues to give bodies weight, the team of cops rushing through the tight pathways as the camera aggressively follows behind and tracks back adds an immediate feeling of not quasi-realism but real-realism? Everything carries weight, everything is there, it's happening now. It's not just a prop behind that gun, it's a human. He's one of the only contemporary directors that can achieve realism through abstraction. Claims that he doesn't care about his characters don't make any sense when he gives people without even a word of dialogue a more meaningful death than some films give their lead character, look at the way he focuses on Kassar's face as he finds out that one of his men isn't going to make it. Or the dying breaths of a cop that he lingers on as the rest of the team leave him behind not because they want to but because they have to.
>>64514013 Mann has a way of capturing bodies interacting with the space around them that's only as extraordinary as his ability to capture nightscapes. A film of broken communication and broken data, Blackhat is an exercise in pure form, with Mann concerned by the emotional effect of images, and a disregard for narrative logic and plausibility in favour of tech/digital beauty. His most experimental film, and one of 2015's best
Macro fuels micro, and vice versa, in Michael Mann’s world. He crafts scenes of intimacy as well as violence, an attention to gestures, whether it’s how Tang Wei keeps toying with her hair or the veins in her neck, or the posture of a man in a firefight, he’s keen on how bodies move. And he’s determined to show how their actions, sometimes marrying love to murder, usually in a climactic firefight scored by synths, reflect the world they live in. Hathaway is sprung from prison to track the code to its author, a generic detective plot fraught and complicated not just by his role as a con (and later fugitive) but also by the nature of how his expertise preys on the systems of the world. A small (though buff) man in the scope and size of the planet can cross any border he wants from the seat of his chair: he can get into the NSA (!), he can rob banks, he can trace a pattern in targets’ movements across a metropolis, he can talk to the Ukraine (or is it?) from Los Angeles. His reach is longer than his arms, though in the end that’s all he has to use.
>>64513417 >BLACKHAT HAD A MUCH MORE LUDICROUS PLOT, FAR MORE CONTRIVED CHARACTERS, A ZERO CHEMISTRY LOVE THREAD HAMFISTED INTO THE STORY, LAUGHABLE CGI TECHNOCOOL CIRCUIT BOARD SCENES, TERRIBLE TERRIBLE PERFORMANCES BY LITERALLY EVERYONE, AND ONE MEME CINEMATOGRAPHY SCENE AT THE END
Blackhat is indeed too beautiful for this world, which is why unwashed people like you rejected it. "Too cold", they said. "Not realistic" they said. I struggle to understand what went through the mainstream critics' mind during Hathaway and Lien's first sex scene, which came at a time they were waiting until dawn for an international flight. It was out of necessity that they found each other, and their physical chemistry couldn't have been more perfect. It was beautiful.
And then there was the professionalism, on all fronts. It's a Mann film after all. Lien's brother catches her and Hathaway in bed together, and what does he do? Does he get all huffy and create unnecessary drama like literally hundreds of other movies with the same situation? No. He goes about his fucking job. They all go about their business, because the mission takes absolute precedent.
This is the type of thriller we desperately need these days. The human drama is there, but it's SECONDARY to the mission. But when the human drama is there, it's a home run. During the first firefight, some random mook is mortally wounded. Do the other nameless mooks just leave him there? No, they carry him to safety like he's a real person, a friend, a brother they've worked with before. When that random mook dies on the speedboat (it's not a true Mann film without a speedboat) you FEEL the loss that they feel.
>>64513964 >they have never sounded so technical, the deafening rattle of bullets leaving the chamber and ejecting out their barrel In other words he's repeating what was done in Terminator 2 with some digital cleanup.
>>64517594 >>64518452 The reflection is incorrect; the coffee cup and the porcelain ramekin should be reflecting in it and yet they're not visible. What you're looking at is mirrored footage from a second camera offscreen at 10:30 from your 6, being wrapped around a nonexistent teapot (and the gray object in the middle that shouldn't be there is the placeholder object actually sitting in its place on the table).
If you look carefully at the adobe-colored building to the left of the teapot, it's in the reflection immediately to the inside edge of the teapot itself. It gives away that the mountain in the background was digitally composed into the shot.
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