spikespiegelthend
Joined Mar 2023
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Welcome to the future of delicious kitch, Cherry 2000 is a contradictory realization where all is simultaneously well done and badly done, believe me it is not easy to define. We feel the technique and aesthetics of this beloved California of the 80s, so close to Terminator and Robocop, with a Total Recall side in the image and colors truly intact, yet nothing really works, the realization and the frames remain typical of this Californian wave but a lot of things are really arranged in spite of common sense. The costumes, the decor, the adventures, the objective of the hero, the dialogues, the casting, it is fascinating because everything is both next to the plate but in a total coherence.
Fascinating obsession that this time capsule, the film is pure "gem" is yes a real diamond in the image of this Cherry 2000, beautiful but artificial that soon leaves the place to this real woman: Lylou dallas, well I mean the original, not the Besson version but certainly his first inspiration, I want of course to tell you about Johnson (but what is this name). Let's get on board his incredible orange dodge, for the most improbable mad maxien road trip on the entire coast. Don't worry, she leads by intuition, mainly.
The condition of the woman is here back in 12, forget modern civilization, women are plagues who think only of security and money, no wonder he cherishes so much his android dear Sam. Because in this tribal area, life this sweet amazon, utopia just as improbable in view of what it accomplishes all day, furioza has nothing to hold (but what is this direction of actor). Of course Johnson is made for Sam, in this ancient modern western, this warrior explodes these opponents in basouka in a scene so exaggerated that she can summarize alone the film: It is improbable, but never stupid, It's not very well arranged but incredibly endearing. How not to fall in love?
You want to go back to that time or Basil Poledouris makes your ears sing? It will not have the magnitude of the great successes of this time but the taste is certainly kitck to death but the atmosphere is intact. Enjoy the trip, because we don't make films like this anymore. Much deeper than it seems in the end, this film is a box of my darling (yes I know it's easy but I finished haha) I can't help but reopen the box, to take again, if you are the lovers of the 80s, It's a matter of urgency, and then who knows... with any luck, you might cross paths with Morpheus before he enters the matrix.
Fascinating obsession that this time capsule, the film is pure "gem" is yes a real diamond in the image of this Cherry 2000, beautiful but artificial that soon leaves the place to this real woman: Lylou dallas, well I mean the original, not the Besson version but certainly his first inspiration, I want of course to tell you about Johnson (but what is this name). Let's get on board his incredible orange dodge, for the most improbable mad maxien road trip on the entire coast. Don't worry, she leads by intuition, mainly.
The condition of the woman is here back in 12, forget modern civilization, women are plagues who think only of security and money, no wonder he cherishes so much his android dear Sam. Because in this tribal area, life this sweet amazon, utopia just as improbable in view of what it accomplishes all day, furioza has nothing to hold (but what is this direction of actor). Of course Johnson is made for Sam, in this ancient modern western, this warrior explodes these opponents in basouka in a scene so exaggerated that she can summarize alone the film: It is improbable, but never stupid, It's not very well arranged but incredibly endearing. How not to fall in love?
You want to go back to that time or Basil Poledouris makes your ears sing? It will not have the magnitude of the great successes of this time but the taste is certainly kitck to death but the atmosphere is intact. Enjoy the trip, because we don't make films like this anymore. Much deeper than it seems in the end, this film is a box of my darling (yes I know it's easy but I finished haha) I can't help but reopen the box, to take again, if you are the lovers of the 80s, It's a matter of urgency, and then who knows... with any luck, you might cross paths with Morpheus before he enters the matrix.
Delicious criticism of opportunistic France and rancid of our campaigns of yesteryear, the film is carried by a magnetic Jeanne Moreau. And we can say that it neither pink nor ideal this French campaign, I would even say particularly obscene, but it is above all the man who is targeted as often with our dear Bunuel.
His relationship with women, with those men who covet, who manipulate, who exploit all women who cross their paths. Again the condition of the woman is terrible, Céléstine tries to extract herself from these monsters but soon she sees this forced to constantly deal with to try to do justice or to extract herself but this fact inexorably trap, to simply survive.
France, seen from the inside, is frightened in the image of Joseph, a militant nationalist, an ordinary monster who acts with impunity, to all the confidence of the bourgeoisie, a cowardly and decadent bourgeoisie that complements itself in its comfort (with a beautifully comic Michel Piccoli).
A timeless echo here devoid of artifice and exposed in the image of a realization as beautiful as classical, indeed here no effect of style in a staging to support his purpose, no usual artifice of the filmmaker who acts in perfect adequacy, this simplicity of presenting things without artifice is a stroke of genius.
Yes, it is very intelligent and fine, as every time with Bunuel, deeper than it seems and even if the desire to demonstrate each of the scenes in their hidden sense titillates me, it is not so much worth it, everything is easily accessible to those who take the time for a second reading.
A great classic of rare efficiency with this final absolutely freezing in a pre-war era, terribly echoing today.
His relationship with women, with those men who covet, who manipulate, who exploit all women who cross their paths. Again the condition of the woman is terrible, Céléstine tries to extract herself from these monsters but soon she sees this forced to constantly deal with to try to do justice or to extract herself but this fact inexorably trap, to simply survive.
France, seen from the inside, is frightened in the image of Joseph, a militant nationalist, an ordinary monster who acts with impunity, to all the confidence of the bourgeoisie, a cowardly and decadent bourgeoisie that complements itself in its comfort (with a beautifully comic Michel Piccoli).
A timeless echo here devoid of artifice and exposed in the image of a realization as beautiful as classical, indeed here no effect of style in a staging to support his purpose, no usual artifice of the filmmaker who acts in perfect adequacy, this simplicity of presenting things without artifice is a stroke of genius.
Yes, it is very intelligent and fine, as every time with Bunuel, deeper than it seems and even if the desire to demonstrate each of the scenes in their hidden sense titillates me, it is not so much worth it, everything is easily accessible to those who take the time for a second reading.
A great classic of rare efficiency with this final absolutely freezing in a pre-war era, terribly echoing today.
Adapting Lovecraft to the screen must have a taste more than exciting with the era of modern special effects for today's authors and studios so this universe offers an exciting organic visual. It is a unique sensory imagination that has almost no possible comparison because reading Lovecraft is mystical, insidious, cosmic while undergoing a slow and dark descent into the darkest darkness. It is even possible to be one of the most difficult readings I have ever read, despite the fact that it is always exciting. Try to chain the news of Lovecraft, it's like doing Silent Hill on playstation alone, at night, isolated in the middle of the countryside in a country house. Except Lovecraft does that even on the subway, which means... Generally in his stories we follow a single ordinary character, confronted with an abyss that goes beyond him and it is absolutely exciting to discover, endowed with a subtle and terrifying atmosphere. There is a hypnotic, fascinating and unhealthy side to wanting to know what lies behind the abyss of each story.
In short in the hands of a cinematographic genius like Darren Aronofsky for example who would be, I think, by far the best possible choice if one day wants to know a real adaptation to the height of the original material, we would live a moment of cinema totally unique. But enough fantasy, here it will be this content of Richard Stanley and it is enough to look at his filmography to realize that we are very far from the account even if yes, it must be recognized, it does here better than usual and even offers a few small successful moments like the cutting of carrots, the discovery of llamas, or the mother and young son very "The Thing" of Carpenter (the reference is almost obvious to the vision of the font of the credits).
The director seeks at times to create an almost naturalistic atmosphere with a certain respect for the original material, illustrated in particular by close-ups here and there of a disturbing, insidious and mysterious nature, especially at the beginning of the story but it will not be enough and those for several reasons. Already Lars Van sort with his magnificent Anti-christ succeeded much better this kind of exercise and especially, very quickly, see already from the first minutes appear a terrible lack of subtlety for a story of this caliber and it will not get better. Very quickly everything will be drowned with an excess of sound and visual introducing the threat in a very adroit way. So in truth on paper, the idea is not stupid in itself, because it participates in making live a saturation of the senses in the image of the characters in the story, but all bet on it to the total excess it is very pity see reductive, quickly making everything much too simplistic.
After the vision of the film, there is almost no doubt that we are faced with an opportunistic attempt to surf on the return of great Nicolas Cage and understand that with the film Mandy (besides he should have tried with his director when I think about it) there is something to try in the atmosphere and the visual for this story (so let's take the star in passing) and then Lovecraft today, he is a much more recognized author of all then... Forward for the adaptation with some changes in size including the main characters, for a better identification of the spectators lambda with his modern family of former townspeople converted into the countryside for simplicity (exit the filthy farmer family of the original news) and then while you're at it, here are some new characters to add a little spice and explanation out loud. Either it might be a good idea to update it, but did it have to be snapshots on all floors and then in terms of "meaning" it's not a great message (like if you come back to nature, you will die) but well, let's go, let's try to believe it.
Even by squinting at best, the film completely misses the mark, forgetting the transcription of a real gradient of this plunged into the colored abyss and everything goes too quickly becoming ever more coarse and caricatural. Whether with the characters, their obsessions, the visual, nature and of course, color. We quickly realize that we are simply in front of a classic horror film, certainly, sometimes a little better than average because the universe it adapts is great, but clearly all is very disappointing when we know the original.
So if we ignore the original news and try to take the film for what it is, again we won't remember much except the concept, it looks anyway and we have a good time, but nothing is really taking, apart from being a few scenes that will mark the spirits well because of its visual power of organic horror but which turns out in the end little transcendent as the film seeks to avoid the discomfort in its viewer (and which is paradoxically the engine in Lovecraft). In fact this adaptation becomes a good little Saturday night movie, even if it means losing all the flavor of the universe. Difficult to digest anyway, when we know that it could have been a unique and incredible experience, but well here we will have to get used to it, Lovecraft at the cinema, it will be for another time, maybe be...
In short in the hands of a cinematographic genius like Darren Aronofsky for example who would be, I think, by far the best possible choice if one day wants to know a real adaptation to the height of the original material, we would live a moment of cinema totally unique. But enough fantasy, here it will be this content of Richard Stanley and it is enough to look at his filmography to realize that we are very far from the account even if yes, it must be recognized, it does here better than usual and even offers a few small successful moments like the cutting of carrots, the discovery of llamas, or the mother and young son very "The Thing" of Carpenter (the reference is almost obvious to the vision of the font of the credits).
The director seeks at times to create an almost naturalistic atmosphere with a certain respect for the original material, illustrated in particular by close-ups here and there of a disturbing, insidious and mysterious nature, especially at the beginning of the story but it will not be enough and those for several reasons. Already Lars Van sort with his magnificent Anti-christ succeeded much better this kind of exercise and especially, very quickly, see already from the first minutes appear a terrible lack of subtlety for a story of this caliber and it will not get better. Very quickly everything will be drowned with an excess of sound and visual introducing the threat in a very adroit way. So in truth on paper, the idea is not stupid in itself, because it participates in making live a saturation of the senses in the image of the characters in the story, but all bet on it to the total excess it is very pity see reductive, quickly making everything much too simplistic.
After the vision of the film, there is almost no doubt that we are faced with an opportunistic attempt to surf on the return of great Nicolas Cage and understand that with the film Mandy (besides he should have tried with his director when I think about it) there is something to try in the atmosphere and the visual for this story (so let's take the star in passing) and then Lovecraft today, he is a much more recognized author of all then... Forward for the adaptation with some changes in size including the main characters, for a better identification of the spectators lambda with his modern family of former townspeople converted into the countryside for simplicity (exit the filthy farmer family of the original news) and then while you're at it, here are some new characters to add a little spice and explanation out loud. Either it might be a good idea to update it, but did it have to be snapshots on all floors and then in terms of "meaning" it's not a great message (like if you come back to nature, you will die) but well, let's go, let's try to believe it.
Even by squinting at best, the film completely misses the mark, forgetting the transcription of a real gradient of this plunged into the colored abyss and everything goes too quickly becoming ever more coarse and caricatural. Whether with the characters, their obsessions, the visual, nature and of course, color. We quickly realize that we are simply in front of a classic horror film, certainly, sometimes a little better than average because the universe it adapts is great, but clearly all is very disappointing when we know the original.
So if we ignore the original news and try to take the film for what it is, again we won't remember much except the concept, it looks anyway and we have a good time, but nothing is really taking, apart from being a few scenes that will mark the spirits well because of its visual power of organic horror but which turns out in the end little transcendent as the film seeks to avoid the discomfort in its viewer (and which is paradoxically the engine in Lovecraft). In fact this adaptation becomes a good little Saturday night movie, even if it means losing all the flavor of the universe. Difficult to digest anyway, when we know that it could have been a unique and incredible experience, but well here we will have to get used to it, Lovecraft at the cinema, it will be for another time, maybe be...