I think «The Hangover» and I think «Due Date» and I know «The Hangover 2» have a real cinematic scale to them that I take really
seriously as a filmmaker.
Not exact matches
Instead, it's a goofy, confusing mess of a sequel, a cautionary tale of what happens when a
filmmaker lives too long inside his own franchise to realize that no one takes it nearly
as seriously as he does.
Even the scenes that appear
as comic relief are presented so
seriously that it is hard to believe the
filmmakers thought it would be humorous.
The dearth of compelling, three - dimensional characters perpetuates the arms - length vibe, certainly, and it's clear that the film's violent climax is ultimately unable to pack the punch that Carpenter has obviously intended - which does, in the end, confirm Assault on Precinct 13's place
as a
seriously erratic early effort from an otherwise masterful
filmmaker.
It was while working on The Soft Skin that Truffaut really began to obsess over Hitchcock's films, and,
as Jones explains, the French
filmmaker would soon after be instrumental in Hitchcock's starting to be taken
seriously as an artist in America.
Such incisive moments, though, are subordinate to the
filmmakers» penchant toward deck - stacking caricature, most noxiously the character of Gwendolyn (Christina Applegate), a villainous PTA president who's so invested in her high position that she,
as part of the election platform she articulates when a fed - up Amy eventually challenges her presidency,
seriously advocates for a 365 - day school year, citing Genghis Khan
as a model.
I'm not going to tell you that this film is anything but ridiculous, but this trip to the center of the earth — and it's an express trip, my friend — in an attempt to fix the planet's rotation (no,
seriously) is one worth taking, because the
filmmakers are clearly winking at the screen
as often
as not.