Not exact matches
Far be it from me to expect any sort
of cerebral
experience from a slasher about a doll, but it's evident that a degree
of thought DID go into this, which makes its
overall failure as a horror
film all the more disappointing.
Flanagan does a wonderful job in sucking you into this premise, and I believe this easily could've been a very boring idea, even though my
experience of this
overall film did drag a bit.
While not quite as polished and satisfying
overall as Chicago, the strength
of the music, production and commentary on the ups and downs
of the music industry do make for an interesting, thoughtful, and enriching
experience to justify making a
film version
of, despite some
of the more dated aspects
of the original material.
This featurette sees director Dean DeBlois talking about this sequel and how he feels the 3D format contributes to the audience
experience and the
overall success
of his
film.
The trailer indicates that Ridley's
film is as much a work
of Impressionism about Hendrix's
experience performing as part
of the 1960s London music scene as anything else - a sentiment backed up by the early reviews, with the Seattle Times» Moira Macdonald calling the movie «a mood piece, not a biopic» in her
overall positive critique.
While «Farewell, My Queen» does boast admirable elements (more on those below)
overall, despite some showy trappings it is a frustratingly empty
experience, built around a character whose blankness is supposed to be a virtue, but ends up costing the
film dearly in terms
of identification and interest.
Finally, there are some lines
of dialogue that are ridiculous, but this adds to the
overall experience and will amuse those viewers struggling to take the
film seriously.
As Creed director Ryan Coogler has said when talking about the talented women he's worked with, there's always room for strong voices, who will end up elevating the
overall level
of films being made, because they'll have different points
of view and
experiences, in addition to talent.
Overall, while there were some enjoyable performances, and a couple
of amazing songs, the
film was not the
experience that I felt it should have been and, by the final scene, I was just ready for it to end.
It's true that Altman's
overall ensemble methods — which typically meld the materialist
experience of making a
film with the illusionist
experience of watching one — parallel Renoir's aesthetics in certain respects.
The
film is by no means perfect — it could have been shorter and the narration that appears midway through is a little disruptive — but most
of its flaws are niggling problems that don't affect the
overall experience.
No doubt, my own lacking familiarity with 50s Hollywood was a barrier for entry and at least a sizable contributor to my
overall unmoved intake
of the
film but let that serve as a warning to all: those unversed with the ins and outs
of the entertainment industry circa six decades ago will likely find the
experience similarly cold.
Creating ephemeral monuments through
film, photography, and assemblage Cordova seeks to expand the
overall experience of the visual arts as a platform for discussing our common
experiences, needs, and struggles.