Not exact matches
There are a few beguiling moments in Holy Motors, particularly a martial - arts
sequence and an erotic
dance while Mr. Oscar is dressed in a
motion - capture body suit, but the road between those moments is so strewn with stalled ideas that audiences who care about character and plot are liable to take the exit to a movie that makes sense.
Another notable strength of the film is the slick imagery, courtesy of DP Gianfilippo Corticelli, who uses slow -
motion shots stylishly and appropriately (a
sequence with Cruz
dancing in a puddle as Hirsch photographs her is stunning.)
dance sequences, though spirited, clumsily mix
motion - capture choreography with the kinds of physics - defying feats we expect from animation.
Director Steven Soderbergh shoots those
dance sequences with dynamic flourish (The camera is almost always moving in ways that punctuate the actors»
motions) and plenty of polish (The stark contrast of the darkened house of the club with the perfectly lit stage is itself a contrast to Soderbergh's washed - out cinematography for the scenes outside of the club).
Indeed, her superfluous, slow -
motion pole
dance that sits beside the film's opening credits
sequence does serve as a useful and immediate red flag as to the lazily familiar road the underpowered film will tumble down.
The resurgent Babette Mangolte's Water Motor (1978)(Broadway 1602 / Sikkema Jenkins) elegantly documents Trisha Brown's loose - limbed
dancing, with a seductive repetition of the
sequence in slow
motion.