One of the surprising ingredients of this movie is the way the director plays with the audience. We are taken, very gradually, from a rational world governed by science and common consensus, to a relentlessly mounting and finally overwhelming onslaught of fire and brimstone. The film exploits our own many preconceptions about Bible thumpers, southern Hillbillies, priests and racism to scare the living crap out of us. And underneath there is a kind of subliminal tongue in cheek humor, that sneers at us in the ironic twist ending. A definite must see, except for the faint of heart.
This is the best movie that I have seen in a long time. It is a suspenseful shocker, although it is so, on a very subtle scale and pace. A beautiful cloak surrounds a horrifying decent into paranoia, that to some will be troubling but, to others, intense open-mouthed awe. Natalie Portman is beautiful and delightful to watch as she pulls you into her perspective, which always strikes you as real, but then something happens that doesn't add up and you are left wondering, is she going crazy?
This is a must see, especially for those of us who thirst for some originality from a movie.
Although this film is definitely worth seeing, if you haven't already done so, it is one of Kubrick's shots in the oven. The problem is that the protagonist, Barry Lyndon is not a heroic figure. He is really an everyman sort of mediocre character, with no inspirational convictions or ideas. Therefore the whole enterprise suffers from boredom. The interesting things this movie has to offer are the costumes and the music, which are quite delightful to experience. Why Kubrick decided to lavish his talents on this project remains a mystery to me.
Prometheus is the story of how the warning signal came to be placed at the shipwreck planet in the original Alien film, also by Ridley Scott, which was released back in 1979. The characters are compelling, realistic and thoroughly entertaining, especially David the cyborg, who has a sardonic sense of cold humor. The plot is intelligent and absolutely thought through. Just seeing the seminal industrial designs for the transportation and instrumentation alone, is easily worth the price of admission.
Ridley Scott never disappoints, and in this mysterious journey into deep space, our expectations are more than fulfilled. This is a truly epic sci-fi thriller. I can definitely recommend it highly.
John Le Carre, the English author of the book “Tinker Tailor Soldier Spy”, might have wanted to write an entertaining or interesting story but, the whole purpose of all his spy novels is to paint a skeptical and critical picture of the West. His British agents are anti-heroes, the antithesis of James Bond. From the beginning to the end, this whole film features dreary, drab and gloomy sets and interiors, whether we are in swinging free-market London or gray Communist Budapest. The important thing is that there is no distinction made between the gloom of the East or the West.
The notion of there having been a symmetry of culpability and morality between the Communist countries and the Western democracies, is a Marxian rhetorical relic out of the Cold War, which has been largely exposed as false and illogical. Freedom was missing from the Communist countries, which did not allow it's subjects to leave without an exit visa. These visas were difficult to come by and were only granted every three or four years, depending on the standing of the subject who was asking for permission to leave. Escape attempts were punishable by death. In Western countries, no permission is required for anyone who simply wishes to leave, for any reason, or for any amount of time.
Le Carres equivocating intellectual prevarication cannot hide the fact that there was also no freedom of speech, freedom of religion, freedom of association or freedom to decide which career one wanted to pursue, in Communist countries. The staggering poverty and squalor in East Germany, relative to the West, is also not mentioned or referenced in Le Carres Communist regimes. This whole reality is entirel hidden and must not be mentioned, in order to persuade the audience that Western agents are pathetic figures who lead frustrating lonely lives, in contra distinction to the impression one gets watching a James Bond blockbuster. In critical Marxist deconstructionist fashion, we are treated to the scene of a used Aston Martin, the kind that Sean Connery drove in Goldfinger, painted blue and towing the small outdated trailer-home of it's secret agent owner. Also following Marxist-feminist theory, we see the slogan painted on a wall, in the background, which reads “The Future is Female”. Most of the spies in our film are old single men swimming together in a dirty pond, for exercise, presumably.
This film starring Gary Oldman is a sleeper, despite Oldman's first class performance. It is truly difficult to stay awake through all the outdated Marxist self delusion and pessimism towards our Western society.