From
the very first scene of this film, you want to get wring every little drop out of it.
It's a payoff to
the very first scene of the film, wherein father and daughter talk casually about the song, which is Jimmy's favorite.
Not exact matches
But where the
first film's sex
scenes, however tame in the grand scheme
of things, were integral to setting the terms and tone
of the relationship under scrutiny, by this point they're mostly just (
very) attractive digressions, while the once - tremulously mentioned Red Room
of Pain has become merely another indulgent facility at Casa Grey, not to mention a handy spare bedroom in the event
of a soon - resolved marital squabble.
Although they help set the tone at the outset
of the
film, we don't need more
of these
scenes after her
first action sequence as her character's MO is
very clear.
These
scene mostly show
very small, incidental moments which were cut from the
film, but I really liked Cash's reaction to the pressing
of his
first single.
First off, as alluded to above, the
film adheres
very closely to its predecessor in terms
of its story structure, so if you've seen the 1976
film, you'll likely be bored in seeing the same
scenes play out in ways that are vastly inferior.
I also can't lie and say that the last ten minutes weren't absolutely amazing as a lover
of the
very first film — when a
scene makes you want to whoop and holler, you know all is well!
Perhaps if they didn't pay homage to two
films I absolutely detest with every fiber
of my being, or if they at least made obvious fun out
of this type
of filmmaking, perhaps it wouldn't have chipped away my tolerance in seeing re-enactments
of scenes that weren't
very clever or effective the
first time.
What's most surprising
of all, then, is that, despite its death - haunted demeanor and foregone conclusion (revealed in the
very first scene), this is easily Haneke's most humane
film.
A couple
of days we got a look at Brie Larson preparing to undergo some flight training in preparation for her role as Carol Danvers, and now we've got our
very first look at the Oscar winner suited up and
filming scenes as Captain Marvel.
Director Breck Eisner (son
of Disney chief Michael Eisner) helms his
first major
film here (and honestly, given who he is, I wasn't expecting much) and fills the movie with some
very nicely composed shots and gives the action
scenes a
very exciting edge.
The movie may continue the story
of El (somewhat), but Once Upon a Time in Mexico doesn't gel with the
first two
films, and El's flashbacks feel
very tacked on, as do all
of the action
scenes in the
film.