Zaqarbal

I prefer Collateral to Heat too. In this case, Mann's "perfume advertisement style" doesn't interfere with the plot's development.

__________________

adidasss

Wow, really? I thought it was it was pretty much the cinematic equivalent of staring at a blank spot on the wall.

__________________
“Think of what a paradise this world would be if men were kind and wise.” - Kurt Vonnegut, Cat's Cradle.

Last.fm

NumberNineDream

:O
Just look at this painting as some introduction to the whole movie:



and Voltaire's "Il faut cultiver notre jardin" (We should cultivate our garden).

It's just one of these films that have an infinite possibility of analysis. From "Eve" to the Garden of Paradise. To the literal garden, and the red apple he shines on his jacket. From the children of television, with Sesame Street (beginning 1969), which is shown 5 minutes into the movie, to the naïvety that is just another way to look into the world without all the prejudices. And just, the illusion, that all the cinema and television are creating, by calling it "reality".

It's just an endless world of possibilities. And that blank spot that is Chance, is exactly what this character is all about. A bit like Peter Sellers himself, that found himself, naked of his character, as nothing.

__________________

dankrsta

Mann's films often leave me cold. The only ones I really love are Manhunter and Public Enemies. Although, Collateral came close to that. I haven't seen Miami Vice yet and people complain about that film for the same reasons they complain about Public Enemies, so I might actually like it. Mann works best for me when he's very minimal in style, tells the story mainly through visuals and lets the atmosphere do the thing. The less talking in his films the better they are.

__________________

Zaqarbal

Sometimes he does it well, sometimes not. A kind of "contemplative" cinema, or a particular style with a purpose and a meaning.

For instance, let's see Collateral. In this case, I totally agree with you. In the middle of the frenzied pursuit, a pause: the two main characters (actors Foxx and Cruise) inside the taxi, stopped before the traffic lights. Suddenly a wolf crosses the street, and Cruise (making an unusual good performance in this movie) looks thoughtfully at him during a moment. I think that's really great cinema. Notice how many things can be expressed through that single scene. The only time in which the human killer thinks about himself is when he sees an animal lonely hunter. Just like him.

EDIT: Correction: a coyote. The scene:

__________________

sidewinder

Last night I finally watched Sex and Lucía. Pretty good I'd say.

__________________
last.fm | my collection on RYM | vinyl instagram @allthatyouseeandhear
I'd love to see your signature/links too, but the huge and obnoxious ones have caused me to block all signatures.

debaserr

i couldn't agree more. and sometimes i struggle to enjoy films where i hate the main character.

Violent & Funky

They use that cover at Blockbuster?

__________________
http://www.last.fm/user/ohio0808

sometimes I don't thrill you
sometimes I think I'll kill you
just don't let me fuck up will you
'cause when I need a friend it's still you

Violent & Funky

Ugh, the 80s. I don't understand what was supposed to be so great about it.



This is how you make summer action flicks...

__________________
http://www.last.fm/user/ohio0808

sometimes I don't thrill you
sometimes I think I'll kill you
just don't let me fuck up will you
'cause when I need a friend it's still you

TheCunningStunt

V&F, The Breakfast Club was great fun. Not a great film, but good fun nonetheless, if you want sentimental coming of age type stuff. I've not even bothered with Iron Man 1 yet..